Savremene vizuelneumetnosti i multimedije

Contemporary Visual Arts and Multimedia

Konkurs Ministarstva kultureRepublike Srbije

(2003–2008)Open contest of the Ministry of Culture of

the Republic of Serbia(2003–2008)

2009.

Recenzije Reviews

Dr Aleksandra Jovićević, red.prof.La Sapienza, Rim i Fakultet dramskih umetnosti, BeogradLa Sapienza, Rome and Faculty of Dramatic Arts, Belgrade

Dr Milena Dragićević Šešić, red.prof.Fakultet dramskih umetnosti, Beograd i Univerzitet umetnosti, BeogradFaculty of Dramatic Arts, Belgrade and University of Arts, Belgrade

Foreword

Contemporary Visual Arts and MultimediaOpen contest of the Ministry of Culture ofthe Republic of Serbia (2003–2008)

Dimitrije Tadić

Mapping of contemporary art trends in SerbiaJasmina Čubrilo

Examples of good practice(organisations, manifestations, projects)

Biographies

Sadržaj Content

Uvodna reč

Savremene vizuelne umetnosti i multimedijeKonkurs Ministarstva kulture Republike Srbije(2003–2008)

Dimitrije Tadić

Mapiranje savremene srpske umetnostiJasmina Čubrilo

Primeri dobre prakse(organizacije, manifestacije, projekti)

Biografije

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Cilj ove publikacije jeste da predstavi i objasni funkcionisanje i rezultate godišnjeg konkursa Ministarstva kulture Republike Srbije za vizuelne umetnosti i multimedije. Taj konkurs funkcioniše u sklopu šire koncipiranog konkursa Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose (Konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture), koji obuhvata sve umetničke oblasti savremenog stvaralaštva.

Objašnjenjem konkursne procedure publikacija može pomoći i profesionalcima u sagledavanju kriterijuma Ministarstva i stručnih komisija koje odabiraju projekte za finansiranje. Na taj način, olakšava se i unapređuje apliciranje na konkursu. Isto tako, važna je i prezentacija rada Ministarstva, kao organa uprave, i u krajnjoj liniji, dela Vlade, a radi transparentnosti procedura, kriterijuma i finansiranja projekata. Na kraju, željeni efekti i rezultati konkursa upućuju i na stavove Ministarstva u smislu kulturne politike.

Da bi se što bolje predstavili kriterijumi odabira projekata za finansiranje, publikacija sadrži i primere dobre prakse. Tu su predstavljene, sa kratkim opisom i kontaktima, inicijative i projekti koje Ministarstvo kulture Republike Srbije finansijski podržava. Za ovu priliku odabrani su projekti koji slikovito i reprezentativno ilustruju kriterijume i efekte konkursa, kao i napore Ministarstva usmerene ka unapređenju funkcionisanja umetničkog, kulturnog, ali i društvenog sistema naše zemlje. Broj projekata podržanih na konkursu znatno je veći.

Tekst Jasmine Čubrilo, istoričarke umetnosti, daje širi kontekst i iz istorijske perspektive bavi se sadašnjim trenutkom.Cilj publikacije jeste i da posle šest godina

The aim of this publication is to present and clarify the procedures and the results of the annual Contest of the Ministry of Culture of the Republic of Serbia in the field of Visual Arts and Multimedia. This contest is a part of a broader concept of the Contest of the Sector for contemporary art, cultural industry and cultural relations (the Contest for the cofinancing of projects /programs that improve the development and presentation of art and culture with their quality), that includes all artistic fields of contemporary art. Through the elaboration of the contest procedures of the publication can also help professionals to comprehend the criteria set up by the Ministry of Culture and the proffessional committees that select the projects that are to be financed. In this way, our intention is to improve and to make the application procedure for the contest easier. At the same time, presentation of the Ministry’s activites, as an administrative body, and as a part of the Government is of great importance and serves the purpose of the transparency of proceedings, criteria and projects’ financing processes. Preferred effects and results of the contest serve to show the position of the Ministry of Culture concerning cultural policy.

The publication contains examples of good practice in order to present the criteria of selection of the projects that are to be financed. The initiatives and projects of the Ministry of Culture of the Republic of Serbia that receive financial support are presented with a short description and contacts. For this occasion, projects that represent and help illustrate the criteria and effects of the Contest are selected, as well as the efforts of the Ministry directed towards the improvement of the artistic, cultural, as well as social system of our country. The number of supported projects is considerably bigger. The text of art historian Jasmina Čubrilo offers

kontinuiranog postojanja konkursa za vizuelne umetnosti i multimedije predstavi i u isto vreme preispita njegove efekte i domete u unapređenju razvoja savremenog stvaralaštva u ovim oblastima. Iznošenje iskustava u radu Ministarstva, odnosno u finansiranju projekata, takođe može biti od koristi svim profesionalcima iz oblasti kulture. Publikacija je štampana kao izdanje udruženja građana Anonymous said: iz Beograda, što treba sagledavati u svetlu neophodne saradnje vladinog i nevladinog sektora, budući da je njena izrada pod direktnim pokroviteljstvom Ministarstva kulture Republike Srbije. Kako Ministarstvo veoma drži do kvalitetne i dinamične saradnje sa civilnim sektorom, ova publikacija ujedno svedoči i o naporima Ministarstva usmerenim ka unapređenju te vrste saradnje. Stoga, svesrdno zahvaljujemo timu “Anonymous said:” i Manetu Radmanoviću na uspešnoj saradnji na ovom projektu.

Veliku zahvalnost dugujemo Aleksandri Jovićević na dugogodišnjoj pomoći i saradnji, kao i Mileni Dragićević Šešić na značajnoj pomoći u strukturiranju tekstova i same publikacije.

Želeli bismo da zahvalimo i Ani Vučetić, pomoćniku ministra kulture za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose, Vesni Jokanović, pomoćniku ministra kulture za ekonomsko-finansijske poslove, i Nadici Momirov, državnom sekretaru u Ministarstvu kulture Republike Srbije, bez čije ljubazne pomoći štampa ove publikacije ne bi bila moguća. Posebnu zahvalnost upućujemo Nebojši Bradiću, ministru kulture u Vladi Republike Srbije.

a wider context from the historic prespective and also deals with the present day.

The aim of the publication is to present the continuing existence of the Contest for Visual Arts and Multimedia after six years, and at the same time to question its effects and its range within the efforts leading towards the improvement of the development of contemporary art in these fields. The presentation of Ministry of Culture’s experience in the projects’ financing procedures can also be of use to all professionals in the cultural field. The publication was printed by the citizens association Anonymous said: from Belgrade, which should be viewed in the frame of a necessary cooperation of the government and non government sector, because its production is realized under the direct auspices of the Minsitry of Culture of the Republic of Serbia. Since the Ministry encourages dynamic and valuable cooperation with the civil sector based on high standards, this publication also testifies about the efforts of the Ministry of Culture directed towards the enhancement of this kind of cooperation. Hence, we are cordially grateful to the “Anonymous said:” creative team and Mane Radmanović for the successful cooperation on this project.

We owe a great deal of gratitude to Aleksandra Jovićević for her continuing help and cooperation, as well as Milena Dragićević Šešić for her considerable help, invaluable for the structure of this publication.

We would also like to express our gratitude to Ms. Ana Vučetić, the Assistant Minister for contemporary art, cultural industry and cultural relations, Ms. Vesna Jokanović, the Assistant Minister for economical and financial affairs, and Ms. Nadica Momirov, the State Secretary in the Ministry of Culture of the Republic of Serbia, whose kind assistance made this publication possible. We give special thanks to Mr. Nebojša Bradić, Minister of Culture in the Government of the Republic of Serbia.

Uvodna reč Foreword

Dimitrije Tadić

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Konkurs Ministarstva kulture Republike Srbije za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture pokrenut je 2003. godine. Posle perioda veoma teškog za celu državu, tadašnji saziv Ministarstva uveo je sistemska rešenja u funkcionisanje da bi se rad Ministarstva unapredio i osavremenio. Između ostalog, to je značilo i promovisanje sasvim drugačijih procedura finansiranja projekata, u skladu sa savremenim evropskim standardima u kulturi. Jedna veoma važna, tada uvedena procedura, jeste konkurs za finansiranje projekata.Taj konkurs raspisuje se u okviru Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose, i u skladu je sa Zakonom o delatnostima od opšteg interesa u oblasti kulture („Službeni glasnik RS“ br. 49/92). Konkurs je otvoren za sve umetničke oblasti i projekte koji su u vezi sa naučnoistraživačkim radom u savremenoj umetnosti i kulturi.Pravo učešća imaju organizacije i institucije kulture, udruženja građana, neformalne grupe i pojedinci sa teritorije Republike Srbije, dok projekti/programi ustanova kulture iz člana 2, stav 2 Zakona o delatnostima od opšteg interesa u oblasti kulture („indirektni korisnici budžeta“) nemaju mogućnost učešća na konkursu. Razlog je to što se rad tih institucija finansira sa drugih budžetskih pozicija, i to u celosti. Godišnji konkurs Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose pokrenut je radi sistematičnosti i transparentnosti rada Ministarstva kulture. Sistematičnost u radu Ministarstva ogleda se u mogućnostima koje konkurs pruža, a to je pregled projekata koji se realizuju tokom godine, kao i čitav niz mera kulturne

In 2003. the Ministry of Culture of the Republic of Serbia announced the Open contest for co-financing of projects /programs which contribute with its quality to the development and presentation of art and culture. After a period that was very difficult for the entire country, the newly elected Ministry introduced systematical framework solutions to enhance and modernize the work of the Ministry. Amongst other things, this meant the promotion of completely different procedures of projects’ financing procedures in accordance with contemporary European standards in culture. A very important, new procedure was introduced - the Open contest for projects’ financing. This contest is organized within the Sector for contemporary art, cultural industry and cultural relations, and it is in correlation with the Law on the Activities of Common Interest in the Field of Culture („Službeni glasnik RS“ br. 49/92).The contest is open to all art fields and projects that are related to scientific work and research in contemporary art and culture. Cultural institutions, citizens associations, informal groups and individuals from the Republic of Serbia have the right to participate. Projects/programs of cultural institutions from article 2, paragraph 2 of the Law on the Activities of Common Interest in the Field of Culture („indirect budget users“) do not have the possibility to participate in the contest. The reason for this is that the work of these institutions is financed from other budget positions in their entirety. The annual contest of the Sector for contemporary art, cultural industry and cultural relations started in regards to the

Uvod IntroductionSavremene vizuelne umetnosti i multimedijeContemporary visual arts and multimedia

Konkurs Ministarstva kulture Republike Srbije (2003–2008)Open contest of the Ministry of Culture of the Republic of Serbia (2003–2008)

Dimitrije Tadić

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politike koje se konkursom sprovode. Mnogi neprofesionalni postupci, nelogičnosti i nedoslednosti u radu prevaziđeni su uvođenjem konkursa. Na taj način donosioci odluka u prilici su da uporede i valorizuju umetničku i kulturnu produkciju u jednoj kalendarskoj godini. Ceo proces dopušta i poređenje unutar jednog tipa projekta. Ta kategorizacija je višeslojna i odnosi se na različite vrste projekata: jednokratni (na primer, samostalna izložba) ili dugoročniji (dvogodišnji projekti, godišnji programi galerija); strip ili fotografija (po umetničkom mediju koji tretiraju); domaći ili međunarodni projekti; projekti čiji su podnosioci udruženja građana ili budžetske institucije itd. Razvrstavanje projekata daje širu, ali i precizniju sliku o godišnjoj umetničkoj ponudi u oblasti savremenog i multimedijalnog stvaralaštva. Transparentnost funkcionisanja konkursa, odnosno Ministarstva kulture Republike Srbije, prepoznaje se u činjenici što su procedure i rezultati konkursa javni. Veoma je značajno i to što su u proces odlučivanja uključeni i profesionalci (članovi komisije). Dakle, osim transparentnosti u proceduri i uključivanja osoba van Ministarstva u proces odlučivanja, potrebno je naglasiti i činjenicu što su odluke o finansiranju umnogome prepuštene profesionalcima iz svake oblasti umetničkog stvaralaštva. Ništa manje nije značajno ni pitanje načina utroška i planiranja budžetskih sredstava kojima Ministarstvo raspolaže u jednoj godini. Uvođenjem konkursne procedure ne samo što je potvrđen značaj transparentnosti i javnosti rada već je zbog dobrog pregleda umetničke i kulturne produkcije uveliko olakšano i planiranje finansijskih sredstava Ministarstva, ali i organizatora projekata. Konkurs za vizuelne umetnosti i multimedije funkcioniše u okviru godišnjeg konkursa Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose. Odnosi se na projekte u jednoj kalendarskoj godini i otvoren je za sve vrste projekata (samostalne, autorske i grupne izložbe, učešće u međunarodnim projektima, godišnji programi galerija itd.). Pored konkursa za vizuelne

systematic and transparent work of the Ministry of Culture. The systematic work of the Ministry can be reflected in the possibilities provided by this contest. This is an overview of projects accomplished throughout the years, as well as numerous actions of cultural policy introduced by this contest. After the contest was introduced, many non professional acts, inconsistencies and irregularities were overcome. In this way decision makers can compare and judge artistic and cultural production in the calendar year. This process allows comparison within one type of project. This categorization is multi layered and it can be applied to various kinds of projects: short-term (for instance, an independent exhibition) or long-term (two year projects, annual gallery programs); comics or photography (divided in the treated media categories); domestic or international projects; projects submitted by citizen associations or budget institutions and so on. The classification of projects offers a wider, yet more precise picture about the annual art production in the field of contemporary and multi medial production. The transparency of the contest, i.e. of the work of the Ministry of Culture of the Republic of Serbia, is visible in the fact that the procedures and results of the contest are public. Another important fact is that professionals (Committee members) are included in the decision making process. Apart from the transparency in the procedure and the inclusion of persons outside the Ministry in the decision making process, it is worth mentioning the fact that the finance decisions are mostly given to professionals from each field of art production. The matter of yearly expenditure and planning of the budget of the Ministry is of not lesser importance. Introduction of contest procedures confirmed the importance of transparent and public work and at the same time greatly simplified processes of planning of financial means for the Ministry of Culture, as well for the project organizers because of the good overview of artistic and cultural production. The Visual Arts and Multimedia Open contest

umetnosti i multimedije, u sklopu konkursa za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture, raspisuju se i konkursi za druge savremene umetničke oblasti, kao i specijalizovani konkursi (na primer, za likovne kolonije). Tako se za svaku stvaralačku oblast formiraju zasebne komisije sastavljene od stručnjaka u svakoj oblasti koje odabiraju projekte za finansiranje. Kako je Ministarstvo organ državne uprave, a ne stručna institucija poput muzeja na primer, stručna služba Ministarstva koordiniše rad komisija, ali su odluke o finansiranju projekata prepuštene članovima komisije. Iako oni donose tzv. predlog odluke, važno je napomenuti da se ni ministar ni njegovi saradnici ne mešaju u donete odluke, tj. preporuke stručne komisije. Jedina eventualna intervencija može se odnositi na iznos za svaki projekat predviđen za finansiranje, što zavisi od budžetskih mogućnosti Ministarstva.Međutim, neobično je važna interakcija i dinamična, kreativna saradnja članova komisije i stručne službe Ministarstva. Tako se, radi što boljeg i svrsishodnijeg sprovođenja mera za unapređenje umetničkog i kulturnog sistema u zemlji, članovima komisije predočavaju kriterijumi i očekivanja Ministarstva. S druge strane, pre početka rada komisije, ti kriterijumi rada ukrštaju se sa mišljenjima i kriterijumima članova komisije, te se na taj način oblikuje jasno definisana strategija za odabir projekata za sufinansiranje. Važno je napomenuti da komisija donosi kriterijume umetničkog kvaliteta projekata i umetničkih dometa umetnika koji apliciraju, što nije uvek lako. Nije uvek moguće pravilno suditi o ponuđenim projektima, naročito ako je reč o mlađim i nedovoljno afirmisanim stvaraocima, jer u tim slučajevima ni biografski podaci nisu sasvim rečiti. Zbog svega toga, od suštinskog je značaja upravo odabir članova stručne komisije, budući da je tu reč o arbitriranju nad ne uvek precizno merljivim kvalitetima. Ovo je utoliko značajnije ukoliko se uzme u obzir da komisija za vizuelne umetnosti

is organized in the framework of the annual contest of the Sector for contemporary art, cultural industry and cultural relationships. It considers the projects in the calendar year and it is open to all kinds of projects (independent, author’s and group exhibitions, participation in international projects, annual gallery programs and so on.). Aside from the contest for Visual Arts and Multimedia, within the contest for part time funding of projects /programs that contribute to the development and presentation of art and culture with their quality, contests concerning other fields of contemporary art are also organized, as well as specialized ones (for instance, for art colonies).In this way for each art field there is a special Committee composed of experts who are selecting projects for financial support. Being that the Ministry is a Body of State Administration, and not a specialized institution like a museum, the Ministry of Culture’s expert service coordinates the work of the Committee members, however, the decisions about the projects’ financing are left to the Committee members. Although they offer so called provisional decisions, it is important to mention that not even the minister nor his associates can interfere in the decision making process, i.e. the recommendations of the Expert Committee. The only possible intervention can relate to the amount for each project recommended for financing, depending on the budget abilities of the Ministry. However, the interaction and dynamic, creative cooperation among the members of the Committee and the Ministry’s expert services are very important. In order to implement measures for the improvement of the art and cultural system in the country in the best and most efficient way, the Committee members are introduced to the criteria and expectations of the Ministry of Culture. On the other hand, before the Committee sessions, these criteria are discussed with the Committee members and in this way the strategy for the selection of the project for co-funding is being strictly defined.It is important to mention that it is the 10 11

i multimedije donosi zaključke o u suštini veoma raznorodnim projektima koji spadaju u te oblasti savremenog stvaralaštva (likovne i primenjene umetnosti, slikarstvo, vajarstvo, novi mediji, video umetnost, crtež, performans itd.). Kako se u savremenom svetu oštre kategorizacije ovakve vrste prevazilaze, pa čak i sasvim brišu, neophodno je razumevanje i poznavanje savremenih interdisciplinarnih umetničkih tendencija. Danas je kontekstualizacija umetničkih praksi neophodna, budući da se savremena umetnost posmatra i kroz neumetničke discipline poput psihologije, sociologije, feminizma, nauke, politike ili aktivizma. Stoga je neophodno komisiju formirati od stručnjaka koji prate teorijsku misao, ali i zbivanja i razvoj vizuelne i multimedijalne scene u zemlji i inostranstvu. Osim stručnih kompetencija, članovi komisije treba da poseduju i izvesnu širinu u sagledavanju i ocenjivanju pristiglih projekata. Često nije dovoljno da članovi komisije budu uskostručno uspešni (najčešće umetnici ili istoričari umetnosti) već i da poseduju specifičnu lucidnost u sagledavanju pristiglih konkursnih prijava. Nije uvek sa lakoćom moguće uočiti potencijale projekata sa loše sastavljenim prijavama, ali i obrnuto, podnosioci projekata sa iskustvom u apliciranju, u prilici su da atraktivno predstave skromne domete svojih zamisli i koncepata. Prilikom formiranja komisija, kolegijum Ministarstva uzima u obzir još jedan problem, podjednako važan: izbeći konflikt interesa. Teško je, međutim, pronaći profesionalce koji se ozbiljno bave profesijom a da nisu aktivni u svojoj delatnosti, što podrazumeva i angažman u konkurisanju za finansijska sredstva. Članovi komisije koji su eventualno predali svoju prijavu na konkurs pre nego što su bili pozvani za tu funkciju, zvanično su povukli svoj projekat. Komisije se formalno sastavljaju (ministar potpisuje Rešenje o formiranju komisija) posle zatvaranja konkursnog roka, kada su prijave već predate, a sastav komisije javno je poznat po zvaničnom donošenju odluka o tome koje će projekte Ministarstvo finansirati te godine.

Committee that defines the criteria for artistic qualities of projects and of artistic range of the artists that apply, which is not always an easy task. It is not always possible to correctly judge submitted projects, especially ones that concern young and emerging artists, because, in these cases, not even the biographical data is well elaborated. Having in mind what we have already said, the selection of Committee members is of essential importance in the matter of the evaluation of qualities that are difficult to grasp. This is even more so important if we take into account that the Committee for the Visual Arts and Multimedia makes conclusions about the diverse projects that belong to the category of contemporary production (Fine Arts and Applied Arts, Painting, Sculpture, New media video art, Drawing, Performance and so on.). Given that in the modern world any kind of distinct categorizations of this kind are surpassed and even completely discarded, understanding of contemporary interdisciplinary art tendencies is necessary. Today, the contextualization of artistic practices is necessary, since contemporary art is being viewed through non artistic disciplines such as psychology, sociology, feminism, science, politics and activism. Hence, it is necessary to form the Committee of experts who are in touch with the theoretical thought, as well as with the events and developments in Visual and Multimedia scene in the country and abroad.Aside from the competency of the experts, the members of the Committee should express certain broadness in the evaluation of submitted projects. It is often not sufficient that the Committee members are successful in just one field (most often artists or art historians), but they also need to possess specific lucidity in the evaluation of applications. It is not always easy to see the potentials of the projects from poorly written applications, and vice-versa, the applicants which are experienced in applying, are in a position to make the modest range of their ideas and concepts attractive.During the formation of the Committee, the Collegium of the Ministry takes into

Mandat komisija je jednogodišnji, ali ukoliko se smatra da je potrebno, uobičajeno je da se ponovi naredne godine, ili da jedan član komisije nastavi da radi i naredne godine. Na taj način komisija je u prilici da evaluira rezultate podržanih projekata.

Vodi se računa i o raznorodnom sastavu komisije, što znači da se članovi biraju i na osnovu njihovih interesovanja i iskustva (novi mediji, slikarstvo i dr.), profesiji (umetnici, istoričari umetnosti, novinari koji stručno prate vizuelne umetnosti i multimedije i dr), ali i godišta.Nakon što komisija donese Predlog odluke, kolegijum Ministarstva evaluira njen rad i potom ministar potpisuje Odluku o finansiranju projekata. Iznos za svaki projekat takođe predlažu komisije, ali se pre potpisivanja te odluke sagledavaju budžetske mogućnosti Ministarstva.

consideration another equally important problem: to avoid the conflict of interests. However, it is difficult to find professionals deeply engaged in their field of expertise and who are not active in it, which also implies their own application for financial support. The Committee members ,which may have applied to the Contest prior to being invited to participate in the Committee, officially withdrew their own projects. The Committees are formally assembled (the Minister signs the committee decree) after closing the Contest deadline, when the applications have already been submitted, and structure of the Committee is publicly known after the official decision on which projects the Ministry will finance that year has been made.The Committee mandate is yearly, but if it is deemed necessary, it is common practice that it is extended for one more year, or at least one member’s mandate is extended. In this way the Committee has the opportunity to evaluate the results of supported projects.

The diversity of the Committee is also taken into account, which means that the Committee members are selected on the basis of their interests and experience (new media, painting, etc.), professions (artists, art historians, journalists that are proficient in visual arts and multimedia). Age groups are also taken into account. After the Committee has reached a draft decision, the Collegium of the Ministry evaluates its work and then the Minister signs the Decree on Projects’ Financing. The amount for each project is also suggested by the Committee, but before the Decree is signed, the budget possibilities of the Ministry are also taken into consideration.

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Dosadašnji sastav komisija 2003 – 2008:

2003. godinaLidija Merenik, Jovan Čekić i Zoran Dimovski

2004. godinaLidija Merenik, Jovan Čekić i Zoran Dimovski

2005. godinaJasmina Čubrilo, Zoran Dimovski iBojana Burić

2006. godinaDušan Otašević, Jasmina Čubrilo iMarina Andrić

2007. godinaMilan Aleksić, Savo Peković iAleksandra Vasović

2008. godinaMilica Tomić, Jelena Vesić i Zoran Pantelić

Na osnovu dostavljenih narativnih i finansijskih izveštaja, ali i praćenjem realizacije, zajedno sa članovima komisije ti projekti se evaluiraju, što u velikoj meri utiče i na finansiranje njihovih podnosilaca naredne godine.

Dokumentacija potrebna za apliciranjena konkursu:

1. popunjen konkursni formular,2. detaljan opis projekta,3. detaljan predračun troškova,4. podaci o pravnom licu koje podnosi prijavu; pojedinac dostavlja profesionalnu biografiju,5. dokument o pravnom statusu (ukoliko postoji),6. pismena obrazloženja dve osobe koje preporučuju projekat,7. katalozi i druga vizuelna dokumentacija o prethodnim projektima (ako postoji), kao i o projektu kojim se konkuriše,8. dokaz o uplati republičke administrativne takse.

Committees 2003 – 2008:

2003. Lidija Merenik, Jovan Čekić and Zoran Dimovski;

2004. Lidija Merenik, Jovan Čekić and Zoran Dimovski;

2005.Jasmina Čubrilo, Zoran Dimovski andBojana Burić;

2006.Dušan Otašević, Jasmina Čubrilo andMarina Andrić;

2007. Milan Aleksić, Savo Peković andAleksandra Vasović;

2008. Milica Tomić, Jelena Vesić and Zoran Pantelić.

Based on the completed narrative and financial reports, but also monitoring the realization, together with the Committee members these projects are evaluated, which greatly affects the financing of their applicants for the following year.

Necessary documentation for the contest application:

1. A filled out contest form;2. A detailed description of the project;3. A detailed estimated budget;4. Information on the applicant legal body; individual submits professional curriculum vitae;5. A document stating legal status (if any);6. Two written recommendations by persons who are supporting the project;7. Catalogues and other visual documents on previous projects (if any), as well as on the submitted project;8. Evidence of payment of the state administrative tax.

KRITERIJUMI U RADU KOMISIJE ZAVIZUELNE UMETNOSTI I MULTIMEDIJE

Uspostavljanje kriterijuma i principa rada neophodno je zbog osnovne strategije delovanja i odgovarajuće selekcije konkursnih prijava. Ustanovljeni su sledeći kriterijumi:

1. visok umetnički kvalitet i profesionalnost u radu,2. promocija savremenih umetničkih formi i izraza i unapređenje razumevanja ideja i jezika savremene umetnosti, kao i podrška inovativnim i eksperimentalnim projektima,3. komunikativnost projekata sa publikom,4. doprinos socijalnoj koheziji i opštem blagostanju – borba protiv predrasuda i stereotipa, multikulturalnost, status pojedinca u društvu, rodna pitanja, učešće žena u javnom životu, ljudska prava, ekološka pitanja, pitanja tzv. društveno marginalizovanih grupa, interkulturni dijalog i dr,5. podrška novim inicijativama i novoj umetničkoj produkciji – kvalitetno i savremeno osmišljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi); podrška projektima izvan institucija ili organizacija koje već prethodno nisu obuhvaćene budžetskim sredstvima grada/opštine, Republike i AP Vojvodine, ili značajnim sredstvima iz ostalih izvora,6. kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim okolnostima kako na lokalnom tako i na regionalnom i međunarodnom planu,7. doprinos decentralizaciji kulture i kulturnoj saradnji,8. podrška projektima koji doprinose jačanju kapaciteta, umrežavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruženja građana,9. podrška projektima retrospektivnog karaktera značajnim za kulturnu sredinu i njeno pamćenje, kao i projektima koji se nadovezuju na već istorizovane umetničke i kulturne pojave i na kulturnu baštinu,10. uravnotežena i optimalna podrška javnom, privatnom i nevladinom sektoru,11. postojanje više finansijera predloženog

CRITERIA OF THE WORK OF THE COMMITTEE FOR VISUAL ARTS AND MULTIMEDIA

Definition of criteria and working principles is necessary because of the basic working strategy and selection the applications. The following criteria have been established:

1. High artistic quality and a professional approach to work;2. The promotion of contemporary art forms and expressions and the promotion of the understanding of ideas and language of contemporary art, as well as the support for innovative and experimental projects;3. The ability of the project to communicate with the audience;4. The contribution to social cohesion and common welfare – the fight against prejudice and stereotypes, multiculturalism, the status of the individual in the society, gender issues, the participation of women in public life, human rights, ecology, the question of so called socially marginalized groups, intercultural dialogue and so on; 5. Support for new initiatives and new art production – individual author’s projects that possess quality and that have a contemporary concept (of artists, curators and other professionals in culture); support of projects outside of institutions or organizations that have not previously been included in the budget of the city/ municipality, Republic and AR of Vojvodina, or significant means from other sources; 6. The critical approach to culture in contemporary social, political and media circumstances, on a local level as well as a regional and international level;7. The contribution to the decentralization of culture and cultural cooperation;8. Support for projects which contribute to capacity building, networking and upgrading the professional level of cultural institutions, organizations and civil groups;9. Support to projects of retrospective character which are significant for the cultural milieu and its memory, as well 14 15

projekta,12. kvalitetno i savremeno osmišljena regionalna i međunarodna kulturna saradnja,13. podrška projektima mlađih umetnika koji su delimično ili nikako finansirani.

Visok umetnički kvalitet i profesionalnostu radu

Osim na visokom umetničkom i koncepcijskom kvalitetu, insistira se i na profesionalnoj realizaciji projekata, to jest kvalitetnoj produkciji.

Promocija savremenih umetničkih formi i izraza i unapređenje razumevanja ideja i jezika savremene umetnosti, kao i podrška inovativnim i eksperimentalnim projektima

Budući da se konkurs raspisuje u okviru sektora Ministarstva koji se bavi savremenom umetnošću i kulturom, sasvim je očekivano da se ovi kriterijumi postavljaju kao vitalni. Iako nije uvek jednostavno sagledati realne efekte projekata, što još više važi za inovativne i eksperimentalne inicijative, ovi projekti imaju jedan veoma poseban kvalitet. Taj kvalitet ogleda se ne samo u njihovoj živoj komunikaciji sa savremenim trenutkom već i u tome što svedoče o vitalnosti umetničke i kulturne scene. Zatvorenost u okoštalom i samozadovoljnom sistemu „proverenih vrednosti“ dovodi do hermetične inertnosti i samoizolacije. U krajnjoj instanci, poznato je, to je i u tesnoj vezi sa kičem, što je uostalom često i u tretiranju kulturne i umetničke baštine.

Komunikativnost projekata sa publikom

Neophodno je da projekti poseduju dobru komunikativnost sa publikom. Zato treba razbijati donekle uvreženu predrasudu prema savremenoj umetnosti kao nerazumljivoj i elitnoj pojavi, te stoga i namenjenoj uskom i zatvorenom krugu poznavalaca. Praksa, nažalost, pokazuje da su ponekad

as projects which are connected to already historically contextualized artistic and cultural forms and cultural heritage;10. Balanced and optimal support of the public, private and non governmental sector;11. Existence of several financial resources for the proposed project; 12. A contemporary and well conceived regional and international cultural cooperation;13. Support for projects of young artists who are partially or poorly financed.

High artistic level and professional approach to work

Apart from a high artistic level and conceptual quality, a professional realisation of the project is insisted upon, meaning a high standard production.

The Promotion of art forms and expressions and the enhancement of the understanding of ideas and languages of contemporary art, as well as the support of innovative and experimental projects

Given that the Open contest is being organized within the Sector of the Ministry which deals with the contemporary art and culture, it is expected that these criteria are vital. Although it is not always easy to perceive the real effects of the projects, which even more so concerns innovative and experimental initiatives, these projects do have a very unique quality. That quality is reflected not only in their vivid communication with the present day, but also in the sense that they testify about the vitality of the art and cultural scene. Enclosure in a calcified and self sufficient system of confirmed values leads to hermetic inertia and self isolation. Eventually, as is well known, it is closely related to kitsch, which is common in the treatment of cultural and artistic heritage.

i sami akteri savremene umetničke scene skloni takvom pretencioznom stavu. Kao posledica toga nastaju projekti koji su sami sebi cilj, što svakako nije prihvatljivo.

Doprinos socijalnoj koheziji i opštem blagostanju – borba protiv predrasuda istereotipa, multikulturalnost, status pojedincau društvu, rodna pitanja, učešće žena ujavnom životu, ljudska prava, ekološka pitanja, pitanja tzv. društveno marginalizovanihgrupa, interkulturni dijalog i dr.

Nažalost, ne samo u Srbiji često se ne razume da kultura nije nešto lepo što dolazi na kraju već je ona dinamična kategorija koja ima veliki potencijal i u ostvarivanju onoga što zovemo otvoreno društvo. Samo otvoreno društvo u mogućnosti je da na kvalitetan način i na obostranu korist komunicira i konstruktivno sarađuje sa drugim sredinama. Veoma je značajno kroz kulturu tretirati i diverzitet, koji se ne odnosi neminovno samo na multikulturna pitanja već i na odrednice koje se tiču različitih društvenih frustracija, rodnih pitanja, borbe protiv predrasuda i stereotipa, tzv. društveno marginalizovanih grupa, statusa pojedinca u društvu itd. Ništa manje nisu značajna ni ona pitanja koja se tiču ekologije ili učešća žena u javnom životu.Kao što znamo da problem učešća žena u javnom životu nije moguće rešiti njihovom inkluzijom koja je izražena brojkama i procentima, tako praksa pokazuje da je potrebno izuzetno pažljivo sagledati stvarne efekte projekata koji se bave takvim pitanjima. Budući da su projekti koji uključuju komponentu socijalne kohezije veoma privlačni za finansiranje institucijama i fondacijama, potrebno ih je valorizovati sa posebnom pažnjom, budući da podnosioci prijava sa iskustvom poznaju načine za uspešno predstavljanje projekata. Tu nije reč samo o progresivnim društvenim promenama, odnosno o kulturi u funkciji socijalne kohezije. Podjednako je važno ukazati i na značaj kulture u razvijanju kulture življenja, jer ona ne podrazumeva isključivo posete izložbama ili drugim kulturnim događajima.

The ability of the project to communicate with the audience

It is necessary that the projects possess a good ability to communicate with the audience. That is why prejudice towards contemporary art as an incomprehensible and elite phenomenon that is hence meant for a small circle of connoisseurs should be broken. Regretfully, practice shows that sometimes the participants of the contemporary art scene themselves are inclined to such a pretentious attitude. As a result, projects that serve as their own purpose come into fruition, which is unacceptable.

The contribution to social cohesion and common welfare – the fight against prejudice and stereotypes, multiculturalism, the status of the individual in society, gender issues, the participation of women in public life, human rights, ecology, the question of so called socially marginalized groups, intercultural dialogue and so on

Regrettably, it is often not understood and not only in Serbia, that culture is not something beautiful that comes at the end, but a dynamic category with a great potential in achieving status which we call an open society. Only an open society is in the position to communicate and constructively cooperate with other societies with a mutual benefit. It is very important that diversity is treated through culture. This diversity does not relate only to multicultural issues, but also to the specifications that concern various social frustrations, gender issues, the fight against prejudice and stereotypes, so called socially marginalized groups, the status of the individual in society and so on. The matters of ecology and the position of women in public life are of no lesser importance. As we know, the question of women’s participation in public life can not be solved with their inclusion which is expressed through numbers and percentages. And so, practice shows that it is needed to extremely carefully observe the true effects of projects 16 17

Podrška novim inicijativama i novoj umetničkoj produkciji: kvalitetno i savremeno osmišljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi); podrška projektima izvan institucija ili organizacija koje već prethodno nisu obuhvaćene budžetskim sredstvima grada/opštine, Republike i AP Vojvodine, ili značajnim sredstvima iz ostalih izvora

Veoma je važno podržati nove inicijative i projekte koji podrazumevaju nastajanje novih umetničkih radova. Ta vrsta podrške usmerena je ka realizaciji autorskih zamisli, što je kod nas posebno dragoceno budući da umetnici i drugi profesionalci u kulturi često nemaju velikih, pre svega finansijskih mogućnosti za kvalitetnu produkciju projekata. Učešće umetnika u većim, ambicioznijim projektima ne podrazumeva uvek nastajanje novih umetničkih radova. Finansijska pomoć Ministarstva često se zato upravo koristi za produkciju novih umetničkih radova. Ovde je potrebno istaći individualnu ulogu kulturnih profesionalaca čije delovanje nije vezano za institucije, kao i njihov doprinos u kreiranju kulturne scene, što je takođe u skladu sa brigom za pojedinca kao društvenog subjekta. Ovi projekti značajni su i za raznovrsnost umetničke scene, kao i za otvorenost javnih kulturnih institucija (budžetskih kulturnih ustanova) u kojima se realizuju.

Kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim okolnostima kako na lokalnom tako i na regionalnom i međunarodnom planu

U savremenom društvu kultura i umetnost razmatraju se u sklopu društvenih, političkih i medijskih okolnosti. S jedne strane, tu je reč o konceptualnom umetničkom promišljanju, dok se, s druge strane, savremena kultura sagledava kao veliki potencijal u progresivnom menjanju društvenih okolnosti. Ova vrsta projekata može se smatrati svojevrsnim aktivizmom jer kritikuje i pokušava da ukaže

na važne probleme u savremenom svetu. Kultura, dakle, nije izdvojen, zaseban entitet, nezavisan od konteksta u kojem postoji i deluje, već je u organskoj vezi sa društvenim okolnostima, od kojih zavisi. Iako je umetnost neminovno uvek bila povezana sa društvenim i političkim okolnostima u kojima nastaje, danas je ta veza još vidljivija, te tako, u tom smislu emancipovana umetnička praksa sasvim direktno inkorporira društveni i naročito politički diskurs.

Doprinos decentralizaciji kulture i kulturnoj saradnji

Ministarstvo kulture Republike Srbije veoma drži do kulturne decentralizacije. Gradska jezgra vremenom su taložila kulturne sadržaje koji danas predstavljaju kulturnu baštinu. Ono što se nastoji da se konkursom za vizuelne umetnosti i multimedije promoviše kao značajna (i nedostajuća) kulturna ponuda jeste kvalitetna produkcija savremene umetnosti. Međutim, i ovde praksa pokazuje da je potrebno veoma voditi računa o načinu na koji projekti savremene umetnosti komuniciraju sa publikom. Postoji izražena opasnost da se takvi projekti dožive kao kulturna kolonizacija velikog umetničkog i kulturnog centra, obično prestonice. Postavlja se i pitanje da li je komotna, samozadovoljna pozicija, na primer umetničkog saveta jedne galerije čiji rad finansira Ministarstvo kulture Republike Srbije, poželjna sa stanovišta lokalnih konzumenata kulture. Tu nije reč samo o kulturnom i umetničkom elitizmu ili pak problemima komunikacije savremene umetnosti generalno već i o svrsishodnosti postojanja programa galerije koji tretira savremenu umetnost, a koji bi lokalna zajednica trebalo da identifikuje kao sebi blizak, intrigantan, zavodljiv. I u prestonici čak postoje projekti visokog kvaliteta koji veoma slabo komuniciraju sa publikom, te je i njihova posećenost loša. Razlog za to najčešće je neodgovarajući koncept, loša organizacija i marketinški pristup.

Podrška projektima koji doprinose jačanju kapaciteta, umrežavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruženja građana

Rad ustanova kulture u Srbiji dugo je bio veoma otežan, te je profesionalnost njihovog funkcionisanja bila urušena. Njihov rad uglavnom je bio obesmišljen zbog duboke politizacije funkcija, što je za posledicu imalo mnogobrojne probleme: program skromnog kvaliteta, nesavremen koncept, loša kadrovska rešenja, lošu tehničku opremljenost, nemotivisanost zaposlenih i dr. Međutim, posle 2000. godine jedan broj kulturnih profesionalaca iz nevladinog sektora uzeo je učešća u radu javnih ustanova, pa čak preuzeo i vodeća mesta u njima. Oni su preneli svoja dragocena iskustva, što je rezultiralo novom energijom, novim strategijama i pristupima radu. U vezi s tim je i razvijanje međuinstitucionalne saradnje. I u sistemima uređenijim od onog u kojem naša zemlja funkcioniše, međuinstitucionalna saradnja ne odvija se uvek sasvim zadovoljavajuće, ukoliko uopšte i postoji. Ona je posebno značajna jer ne samo zato što uslojava, širi mogućnosti i uvećava kapacitete projekata već i doprinosi otvorenosti kulturnih institucija. Veoma je poželjna i dugoročnija saradnja na projektima u kojima učestvuju dve ili više kulturnih institucija. S tog stanovišta, u savremenom društvu neobično je dragocena i saradnja raznorodnih (kulturnih) institucija u smislu njihovih primarnih delatnosti. S druge strane, Ministarstvu kulture Republike Srbije veoma je stalo do povezivanja, to jest umrežavanja vaninstitucionalnih, po obimu manjih inicijativa. To je svrsishodan i uspešan način i za međunarodnu saradnju koja se odvija van institucionalnih, državnih okvira, budući da tako organizovane mreže pojedinaca, udruženja građana ili neformalnih grupa imaju velike kapacitete. Prednosti mogu biti mnogobrojne, od neopterećenosti glomaznim, birokratskim sistemima, do verovatno najznačajnije – mreže kao čvorišta inovativnosti i umetničkog i kulturnog razvoja.

Ono zbog čega je umrežavanje kulturnih institucija i inicijativa važno jeste prenos i mešanje znanja i iskustva, što uvek rezultira boljim rezultatima rada.

Podrška projektima retrospektivnog karaktera značajnim za kulturnu sredinu i njeno pamćenje, kao i projektima koji se nadovezuju na već istorizovane umetničke i kulturne pojave i na kulturnu baštinu

Ovde je reč ne samo o projektima već priznatih savremenih umetnika koji prikazuju njihove ostvarene umetničke domete (na primer, retrospektivne izložbe) već i o projektima koji na savremen način referiraju na kulturnu baštinu u bilo kom smislu. U našoj sredini, često rastrzanoj između prošlosti i budućnosti, projekti ovog tipa imaju veoma značajno mesto.

Uravnotežena i optimalna podrška javnom, privatnom i nevladinom sektoru

Ministarstvo kulture Republike Srbije konkursom za vizuelne umetnosti i multimedije finansijski podržava projekte od opšte društvene koristi sva tri društvena sektora. Svaki od njih na svojstven način doprinosi razvijanju kulturne scene. Prožimanje njihovog rada neophodno je stalno razvijati. Praksa pokazuje tipične problematične tačke u njihovom delovanju: u radu javnog sektora, to je komotna pozicija institucije koja je u celosti finansirana (režijski troškovi, programi, plate i dr.), te pretenciozan i starovremenski stav koji budžetsku instituciju definiše kao sasvim superiornu i nedodirljivu; u radu nevladinog sektora, to je nezainteresovanost za realan i efektivan uticaj na pozitivno menjanje društvene i kulturne stvarnosti; u privatnom sektoru, to je dominacija profita nad kvalitetnim umetničkim sadržajima, što za posledicu ima urušavanje postavljenog koncepta delovanja. Ministarstvu kulture Republike Srbije veoma je stalo do kvalitetnog odnosa i saradnje 18 19

which deal with such issues. Since these projects which include a component of social cohesion are very attractive for the financing by institutions and foundations, it is necessary to valorize them with a special awareness, because the experienced applicants are skillful in finding ways of presenting their projects. This does not concern only the progressive social changes, i.e. the role of culture in social cohesion. It is equally important to stress the importance of culture and the development of the culture of living, because it does not exclusively include visits to exhibitions and other cultural events.

Support for new initiatives and new art production – individual author’s projects that possess quality and that have a contemporary concept (of artists, curators and other professionals in culture); support of projects outside of institutions or organizations that have not previously been included in the budget of the City / Municipality, Republic and AR of Vojvodina, or significant means from other sources

It is very important to support new initiatives and projects which imply the creation of new art works. This kind of support is directed towards the realization of author’s ideas, which are so precious in our country since the artists and other professionals in culture often do not possess financial means for their artistic production. The participation of artists in larger, more ambitious projects does not always imply the creation of new art works. That is why the financial support of the Ministry is often used for the production of new art works. It is necessary to point out the individual role of cultural professionals whose work isn’t tied to institutions, as well as their contribution in the creation of the cultural scene, which is also in coherence to the concern for the individual as a social subject. These projects are significant for the diversity of the art scene, as well as for the openness of public cultural institutions (cultural institutions covered by the budget) in which they work.

The critical approach to culture in contemporary social, political and media circumstances, on a local as well as a regional and international level

In contemporary society culture and art are contemplated within the social, political and media context. On the one hand, we are talking about the conceptual artistic approach, while on the other hand, contemporary culture is observed as a large potential within the framework of the progressive changing of social circumstances. These projects can be perceived as a certain kind of activism since they criticize and point out important problems of the modern world. And so, culture is not an isolated, independent entity, independent from the context in which it exists and acts, but it is in an organic connection with social circumstances on which it depends.Although art has always been inevitably connected with social and political circumstances in which it dwells, that connection is even more so obvious today, and in that sense the emancipated artistic practice is directly incorporated in social and in political discourse especially.

The contribution to the decentralization of culture and cultural cooperation

The question of cultural decentralization is of great interest and importance for the Ministry of Culture of the Republic of Serbia. The city centers have gathered cultural content which today presents cultural heritage. Open contest for Visual Arts and Multimedia attempts to promote an important (and lacking) cultural offering, as high standard production of contemporary art. However, the practice here shows that it is necessary to take good care of the manner in which the projects of contemporary art are communicated to the audience. There is an acute danger of these projects being seen as cultural colonization by the large artistic and cultural center, usually the capital. The question arises whether the casual, self

indulging position, for instance of the Art Council of a certain gallery whose work is financed by the Ministry of Culture of the Republic of Serbia, is welcomed from the position of the local art consumer. This does not only concern the cultural and artistic elitism nor the problems of communicating contemporary art in general, but also the necessity of the existence of a gallery program which deals with contemporary art, which the local community should identify as something familiar, intriguing and seductive. In the very capital there are projects of outstanding quality which poorly communicate with the audience, and hence their attendance is poor. The reason for this is usually an inappropriate concept, bad organization and insufficient marketing approach.

Support for projects which contribute to the capacity building, networking and upgrading the professional level of cultural institutions, organizations and civil groups

For a long time the work of the cultural institutions in Serbia has been very difficult, and hence the professional standard of their work has been compromised. Their activity has been made pointless because of the overwhelming political influence, which as a result produced many problems: programs of poor quality, an outdated concept, inadequate staff solutions, poor technical equipment and non motivated employees. However, after 2000, a number of cultural professionals from the non government sector took part in the activities of public institutions, and even took over the leading positions in them. They conveyed their precious experience, which resulted in a new energy, new strategies and a new approach to work.The development of inter-institutional cooperation emerged. Even in better organized systems than the one in our country, inter-institutional cooperation does not always go smoothly, if it even exists. It is particularly important because it not only creates many layers, widens the capabilities and

enhances the capacities of the project, but also contributes to the openness of cultural institutions. Long-term cooperation on projects is always welcome in projects in which two or more cultural institutions participate. From that standpoint, in contemporary society cooperation of cultural institutions of a diverse nature is very valuable in the sense of their primary activity. On the other hand, the Ministry of Culture of the Republic of Serbia cares deeply about the interconnections and networking of non institutional, and initiatives of smaller parameters. It is a successful and meaningful way for international cooperation that occurs outside of institutional, state boundaries, being that networks of individuals, civil or non formal groups are organized in such a fashion that these groups have large capacities. The advantages can be numerous, from avoiding huge bureaucratic systems all the way to probably the most important – networking as a focal point of innovation and artistic and cultural development. The reason that the networking of cultural institutions and initiatives is so important is the transfer and mixture of knowledge and experience, which always brings better results.

Support to projects of retrospective character which are significant for the cultural milieu and its memory, as well as projects which are connected to already historically contextualized artistic and cultural forms and the cultural heritage

This does not only concern projects of already well known artists who display their artistic range (for instance, retrospective exhibitions) but also projects that refer to the cultural heritage in a contemporary way. In our environment, which is often stretched between the past and future, the projects of this nature have a very special place.

20 21

sa nevladinim sektorom, to jest sa svim projektima udruženja, privatnih inicijativa, pojedinaca i neformalnih grupa. Ta saradnja posebno je, čini se, vidljiva u oblasti vizuelnih umetnosti i multimedija, budući da na tom polju postoji veliki broj inicijativa te vrste. Uspešna saradnja sa civilnim sektorom obezbeđuje potrebni širi opseg društvenog učešća i konsenzusa oko zajedničkih kulturnih interesa, što je jedan od prioriteta u radu Ministarstva.

Postojanje više finansijera predloženog projekta

Postojanje više finansijera jednog projekta ukazuje na ozbiljnost i ambicioznost u osmišljavanju projekta. Finansijska konstrukcija koja uključuje i druge finansijere projektu obezbeđuje i svojevrsnu legitimnost, budući da su njegov značaj, dakle, prepoznale i druge instance.

Izuzetak mogu biti po obimu manji individualni projekti umetnika. Iako se projekti na konkursu za vizuelne umetnosti i multimedije sufinansiraju, toj vrsti projekata (na primer, samostalne izložbe) često se upućuje ceo, ili skoro ceo traženi iznos. Razlog je činjenica što su ti projekti često manje zahtevni za realizaciju, pa je i potrebna suma obično manja od one u budžetima većih projekata. Još jedan razlog za takav stav jesu lokalne okolnosti, to jest veoma teška situacija u kojoj se domaći umetnici mahom nalaze. Međutim, i pored toga što je i skromniji iznos (za razliku od iznosa namenjenih organizaciono i produkcijski zahtevnijim projektima) ponekad dovoljan, ova vrsta podrške Ministarstva veoma je korisna pri apliciranju kod drugih institucija i fondacija. Ukoliko je Ministarstvo finansijski podržalo jedan projekat, to je pozitivan signal za druge finansijere, a ponekad i preduslov za obezbeđivanje dodatnih finansijskih sredstava neophodnih za realizaciju projekta. U smislu decentralizacije kulture, projekti koji su dobili podršku Ministarstva lakše dobijaju i podršku lokalne samouprave.

Balanced and optimal support of the public, private and non government sector

The Ministry of Culture of the Republic of Serbia supports projects of common social benefit in all three public sectors by the Open contest for Visual Arts and Multimedia. Each of them, in their own way enhance the development of the cultural scene. The expansion of their activity should constantly be developed. Practice shows typical problems; the work of the public sector is in a comfortable position of an institution which is completely funded (production costs, programs, salaries and so on.), so a pretentious and old fashioned attitude which defines a budget institution as completely superior and untouchable; in the activity of the non government sector this means lack of interest for a real and efficient influence on the positive change of social and cultural reality; in the private sector this means the domination of profit over quality of artistic content, which results in demolition of the established concept of action.

The Ministry of Culture of the Republic of Serbia cares deeply about the quality of relationships and cooperation with the non government sector, concerning all projects of certain groups, private initiatives, individuals and non formal groups. It seems that this cooperation is especially visible in the field of Visual Arts and Multimedia, because there are numerous initiatives of such kind in this field. Successful cooperation with the civil sector provides a necessary broader aspect of social intervention and consensus concerning mutual cultural interests, which is one of the priorities of the Ministry of Culture.

Existence of several financial resources for the proposed project

The existence of multiple financial resources of a single project is proof of its ambition and determination in conceiving the project. The financial construction which includes other financial resources of the projects provides

Kvalitetno i savremeno osmišljena regionalna i međunarodna kulturna saradnja

Jedan od osnovnih prioriteta u radu Ministarstva jeste regionalna saradnja. Ta vrsta saradnje značajna je za razvijanje i produbljivanje (kulturnih) veza sa državama u regionu, dobrosusedske odnose i stvaranje kreativne, pozitivne politike prema tim državama. Dobar primer regionalne saradnje u evropskom kontekstu i prepoznavanja zajedničkog interesa dao je, na primer, Nordijski savet (Nordic Council). Što se generalno međunarodne saradnje tiče, na konkursu za vizuelne umetnosti i multimedije finansiraju se domaći projekti međunarodnog karaktera i projekti domaćih umetnika u inostranstvu. Domaću savremenu kulturu u inostranstvu trebalo bi predstavljati atraktivnim programima koji uspešno komuniciraju sa inostranom publikom. Neophodno je i da sadržaji i koncepcija njihove prezentacije budu prijemčivi za inostranu publiku. Zato je veoma važno da se projekti adekvatno dokumentuju i objasne. Veoma je važno podržati i projekte koji će savremenim pristupom i konceptom, kao i izgrađenim profesionalizmom, prikazati visoke domete domaće umetničke i kulturne produkcije.

Podrška projektima mlađih umetnika koji su delimično ili nikako finansirani

Uz sve kvalitete koje nesumnjivo poseduje, kulturni sistem u Srbiji ne funkcioniše u dovoljnoj meri u svim svojim segmentima, te se umetnici na počecima svojih karijera najčešće suočavaju sa različitim problemima. Zato je veoma važno podržati njihove prve projekte. Napori da se pomogne mlađim umetnicima svojevrsna su investicija koja vremenom nalazi konkretne načine za afirmaciju pozitivnih društvenih vrednosti.

certain legitimacy, because its importance has been recognized by other instances.

An exception can be smaller individual artist projects. Although projects in the Open contest for Visual Arts and Multimedia are co-financed, these projects (for instance, independent exhibitions) often receive all, or almost all of the required funding. The reason for this is the fact that these projects are often less demanding, so the necessary sum is usually smaller than that of the larger budget projects. Another reason for this can be found in local circumstances, that is, a difficult situation in which domestic artists find themselves these days. However, apart from the fact that a more modest sum (in comparison with the amounts intended for organizationally and productively more demanding projects) is sometimes sufficient, this kind of support of the Ministry is very useful while applying to other institutions and foundations. If the Ministry of Culture financially supports a project, it is a positive signal for other financial institutions and foundations, and this is sometimes a necessary requirement for granting additional funding which is necessary for the realization of the project. Regarding the question of the decentralization of culture, projects that have been granted the support of the Ministry of Culture have easier access to the support of local administrations.

A well conceived and contemporary regional and international cultural cooperation

One of the basic priorities of the Ministry of Culture of the Republic of Serbia is regional cooperation. This type of cooperation is important for the development and strengthening (of cultural) links with countries in the region, bilateral relationships and the creation of productive, positive policy towards those countries. A good example of regional cooperation in the European context and the recognition of common interest was provided by, for instance, by The Nordic Council. 22 23

TEHNIČKI KRITERIJUMI

1. Istinitost predstavljenih podataka

Projekti prikazani kroz veoma preterane troškovnike koji ne odgovaraju stvarnim troškovima bilo kog elementa realizacije, kao i projekti u kojima nisu navedeni postojeći finansijeri (iako postoje) i sl. odbijaju se za finansiranje. Saradnja i kontakti sa drugim finansijerima (opština, grad, inostrane fondacije) olakšavaju proveru podataka navedenih u konkursnim prijavama, što ima velikog udela u donošenju odluka. Informacije dobijene od drugih finansijera koriste se i kao odrednice koje pokazuju da li je neki projekat potrebno finansirati, a ukoliko jeste, u kojoj meri. Komisija će tako, na primer, projektu koji pozitivno vrednuje, a koji je već za deo realizacije dobio finansijsku podršku drugog finansijera, dodeliti sredstva kako bi organizatori bili u prilici da ga kvalitetno sprovedu.

2. Ispunjavanje formalnih uslova konkursa: potpuna dokumentacija, sa opisom projekata i detaljno predstavljenim informacijama, kao i sa jasno ugovorenim mestom i vremenom održavanja projekta

3. Dostavljanje narativnog i finansijskog izveštaja

NE RAZMATRAJU SE:

– projekti u vezi sa rekonstrukcijom ili izgradnjom novih objekata za kulturne namene,– jednokratni projekti koji su već podržani na prethodnom konkursu Ministarstva,– projekti sa izrazito komercijalnim efektima,– projekti koji su prethodnih godina već bili finansirani iz gradskog i/ili republičkog budžeta, a nisu realizovani,– projekti u vezi sa izradom baze podataka, osim izuzetno.

Concerning international cooperation in general, within the Contest for Visual Arts and Multimedia, domestic projects of international character and projects of domestic artists that live abroad are financed. Domestic contemporary culture abroad should be represented by attractive programs which successfully communicate with a foreign audience. It is necessary to make the content and concept of their presentation susceptible to that audience. And so, it is very important to properly document and elaborate these projects. It is also very important to support projects that will, with a modern approach and concept, as well as a well developed professional attitude, show a high level of the domestic artistic and cultural production.

Support for projects of young artists who are partially or poorly financed

Along with all the qualities that it possesses, the cultural system in Serbia does not function in a sufficient manner in all its segments, and hence the artists that are in the early stages of their careers are often faced with various problems. And so, it is very important to support their debut projects. The efforts to assist young artists are a form of investment which will, in time, find a more concrete way to affirm positive social values.

TECHNICAL CRITERIA

1. The reliability of submitted data

The projects presented through highly overestimated expenditures that do not suit realistic costs of any element of realization, as well as projects that do not name existing financial supporters (even though they exist) will be rejected. Cooperation and contact with other financial resources (the City, Municipality, and foreign foundations) ease the validation of the

Projekti u vezi sa izradom dokumentacije i različite baze podataka neće biti podržani budući da izrada dokumentacije, arhiviranje i sređivanje građe spada u permanentnu nadležnost i/ili obavezu institucija, zbog čega se ne mogu smatrati kratkoročnim/jednogodišnjim projektima. Ta vrsta projekata najčešće je vezana za institucije kulturne baštine, čiji programi nisu predmet ovog konkursa.Izuzetak su projekti ovog tipa koji ne spadaju u permanentnu nadležnost kulturnih institucija.

Da bi Ministarstvo podržalo ponuđeni projekat, on treba da ispunjava što je moguće više navedenih kriterijuma. Međutim, konkursne prijave koje su sastavljene sa prostim ciljem da se pribave finansijska sredstva, nemaju velikih izgleda za finansiranje. Netačni podaci u prijavama takođe se lako otkrivaju budući da Ministarstvo sarađuje sa drugim institucijama i fondacijama, te se informacije o podržanim projektima razmenjuju. Osim toga, članovi komisije su informisani profesionalci koji imaju velikog iskustva. Postavljeni kriterijumi takođe veoma dobro ukazuju na problematične tačke u osmišljavanju i realizaciji projekata.Kako je, na primer, jedan od kriterijuma podrška projektima izvan institucija, tu je, između ostalog, reč i o podršci onim inicijativama koje razvijaju otvorenost tih ustanova. Nažalost, ustanove kulture još uvek, u nekim slučajevima, imaju odbojnost prema projektima koji se ne realizuju direktno u njihovoj produkciji, odnosno nisu planirani njihovim godišnjim programom, već dolaze spolja. Zato su ponekad takvi individualni projekti još značajniji jer ukazuju na moguće drugačije modele u osmišljavanju i realizaciji kulturnih projekata. Podrška manifestacijama i projektima koji omogućavaju produkciju radova umetnika koji u njima učestvuju veoma je važna Ministarstvu kulture Republike Srbije. U realizaciji projekata koji se bave decentralizacijom može se javiti problem sa podrškom lokalnih nivoa vlasti. Jedan broj gradova i opština u Srbiji znatno učestvuje

submitted data. This has significant impact on the decision making process. Information gathered from other financial resources is used as a standpoint which shows whether a project deserves funding, and if so, to what extent. And so, the committee will, for instance, for a project that is positively evaluated, which has already been granted funding for part of its realization from other resources, grant funds so that the organizers will be capable of executing the project in a quality manner.

2. The completion of formal conditions of the contest: complete documentation, along with the description of the project and detailed information, as well as a clearly determined place and time for the manifestation of the project.

3. The disclosure of the narrative and financial report

THE FOLLOWING ARE NOT TAKEN INTO CONSIDERATION

– projects concerning the reconstruction and construction of new facilities of cultural purposes,– one-off projects that have previously been rejected by the contest of the Ministry of Culture,– projects with a strictly commercial purpose, – projects that have previously been funded from the city and/or republic budget, but were not completed, – projects concerning data bases, unless they are exclusive.

Projects that are in connection to the production of documentation and various databases will not be supported because works on documentation and archives of various content is permanent responsibility and obligation of institutions and that is the reason why they can not be treated as short term/annual projects. 24 25

u uspešnom sprovođenju projekata, ali u nekim sredinama postoji izrazit problem oko finansijske i svake druge podrške projektima, budući da lokalni nivoi vlasti ne prepoznaju uvek kulturu kao prioritet ili je čak smatraju skoro sasvim nepotrebnom. Međutim, postoje i primeri koji pokazuju da je finansijsko učešće i partnerstvo Ministarstva kulture Republike Srbije u projektima, posebno nevladinog sektora, privuklo pažnju lokalnih vlasti i podstaklo ih na finansiranje.Međutim, postoje i suprotni primeri koji ukazuju na drugu vrstu problema sa kojima se suočavaju donosioci odluka (lokalni nivoi vlasti) na gradskom / opštinskom nivou. Ti problemi obično su: nerazvijena infrastruktura, loša kadrovska rešenja, politizacija kulture, nemotivisanost zaposlenih u kulturi, neorganizovanost civilnog sektora i dr. Česta greška u prezentaciji naše kulture jeste „egzotizam“, to jest prikazivanje naše kulture kao egzotične, ruralne i u tom kontekstu „drugačije“. Prezentacijom naše kulture u inostranstvu dugo su dominirali sadržaji koji se tiču kulturne baštine (često niskog profesionalnog nivoa – i kulturna baština mora se prezentovati u duhu savremenih izlagačkih praksi), dok su projekti savremene kulture bili, nažalost, skrajnuti. Zato je veoma važno voditi računa o ujednačenom predstavljanju kulture.

Konkurs kao instrument kulturne politike/ Utemeljenost u zakonodavstvu i strategijama razvoja

Rad Ministarstva kulture Republike Srbije i kriterijumi za odlučivanje o podršci projektima utemeljeni su u domaćem zakonodavstvu i u aktima Saveta Evrope, čiji je Republika Srbija punopravni član, kao i u različitim domaćim i evropskim strategijama razvoja.Rad Ministarstva baziran je na Zakonu o delatnostima od opšteg interesa u oblasti kulture („Službeni glasnik RS“ br. 49/92). U tom zakonu dat je opšti okvir za delovanje u kulturi.Kriterijumi i funkcionisanje konkursa za

These types of projects are commonly linked to institutions that deal with cultural heritage, whose programs are not the subject of this contest. Exceptions are projects of a kind that do not make part of the permanent obligation of these cultural institutions.

In order to be supported by the Ministry of Culture, the proposed project needs to fulfill as many of the above mentioned criteria. However, applications that are comprised with the simple goal to acquire financial aid, are not likely to be granted funding. Incorrect data in the applications is easily discovered due to the fact that the Ministry of Culture cooperates with other institutions and foundations, so that information about supported projects is being exchanged. Apart from that, the committee members are well informed professionals with great experience. The established criteria also indicate the problematic points in the concept and realization of the projects. Being that, for instance, one of the criteria is the support for non institutional projects the goal is the support to those initiatives that develop the openness of such institutions. Unfortunately, cultural institutions still, in some cases, oppose such projects that are not completed in direct correlation with their production, meaning that they are not included in their annual budget, but come from the outside. And so such individual projects are sometimes significant because they expose different models of the concept and realization of cultural projects. Support of manifestations and projects which allow the production of work by artists that participate in them is important to the Ministry of Culture of the Republic of Serbia. A problem may occur concerning the support from local authorities in the realization of projects that deal with decentralization. A number of cities and municipalities in Serbia willingly take part in a successful accomplishment of these projects, however, in certain environments there is an obvious problem with financial and all other types

vizuelne umetnosti i multimedije, u skladu su i sa domaćim strategijama kao što su Strategija za smanjenje siromaštva u Srbiji i Nacionalna strategija Srbije za pristupanje Srbije i Crne Gore Evropskoj uniji. Veoma je značajno i utemeljenje u Generalnom operativnom planu (GOP). Tako se, naravno, i kriterijumi za dodelu finansijske podrške uklapaju u GOP-om predviđene kratkoročne i dugoročne ciljeve Ministarstva kulture Republike Srbije (socijalna kohezija, održivi razvoj, program kulturnog razvoja).Neka od važnijih evropskih dokumenata na koja se takođe pozivamo jesu: Deklaracija o kulturnoj različitosti (Declaration on Cultural Diversity, 2000); Deklaracija o interkulturnom dijalogu i prevenciji sukoba (Declaration on Intercultural Dialogue and Conflict Prevention, 2003); Faro deklaracija o strategiji Saveta Evrope o razvoju interkulturnog dijaloga (Faro Declaration on the Council of Europe’s Strategy for Developing Intercultural Dialogue, 2005); Evropska kulturna konvencija (European Cultural Convention 1954); Firentinska deklaracija „Kultura i regioni: kulturne aktivnosti u regionalnom kontekstu“ (Florence Declaration „Culture and Regions: Cultural Action in the Regional Context“, 1987); Evropska deklaracija o kulturnim ciljevima (European Declaration on Cultural Objectives, 1984); Arc-et-Senans deklaracija (Arc-et-Senans Declaration, 1972); Friburška deklaracija o kulturnim pravima (Fribourg Declaration on Cultural Rights, 2007); Evropska konvencija o ljudskim pravima (European Convection on Human Rights, 1950); Konvencija o zaštiti i unapređenju raznolikosti kulturnog izraza (UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expessions, 2005).Vidljiva je, dakle, potreba za usklađenošću kulturne politike sa zakonskim okvirom i strateškim dokumentima. Utemeljenje rada Ministarstva kulture u zakonu i različitim domaćim i međunarodnim strategijama i deklaracijama važno je i zbog toga što je neophodno istaći doprinos kulture pozitivnim društvenim promenama. Pozitivan uticaj Ministarstva na razvoj kulturne scene ne ogleda se isključivo u unapređenju položaja

of support, because local authorities don’t always recognize the priority role of culture and even do not consider it necessary. Although there are examples that show that financial participation and partnership with the Ministry of Culture of the Republic of Serbia in projects, especially in the non government sector attracted attention of local authorities and encouraged them to take part in financing. However, there are different examples that show another kind of problem facing decision makers with (local authorities) on a city/municipal level. These problems are usually: underdeveloped infrastructure, poor staff selection, the politicization of culture, the lack of motivation of those employed in culture, the disorganization of the civil sector and so on. A common mistake in the presentation of our culture is „exotic character“, meaning the presentation of our culture as an exotic one, a rural, and in that sense, a „different“ one. Content that concerns our cultural heritage (often in a very unprofessional manner – the cultural heritage must also be presented in a modern exhibitional practice) was dominant in the presentation of our culture abroad, while the projects of contemporary culture have been unfortunately neglected. And hence, it is of utmost importance to take care of a well balanced presentation of our culture.

The contest as an instrument ofcultural policy/ The foundation in legislation and development strategies

The work of the Ministry of Culture of the Republic of Serbia and the criteria for decision making process concerning the support of projects is founded in domestic legislation and in the Council of Europe’s acts of which the Republic of Serbia is a rightful member, as well as in various domestic and European development strategies. The work of the Ministry of Culture is based on the Law on the Activities of Common Interest 26 27

profesionalaca i rada kulturnih institucija i organizacija, kako se često misli. Kultura direktno utiče i na opšte blagostanje i dobrobit, kao i na kvalitet života građana. Zbog toga je viđenje kulture kao „potrošača budžetskih sredstava“ u potpunosti pogrešno.

Brojprijava

Finansijski podržani

Domaćiprojekti

Projektimeđunarodnog

karakteraMultimedijalni

projekti

2003. 225 99 46 42+ 5 multimedijalnih

41+ 1 multimedijalna

46+ 3 multimedijalna22

+ 5 multimedijalnih23

+ 9 multimedijalnih15

+ 13 multimedijalnih

11

2004. 198 109 60 8

2005. 274 118 62 10

2006. 251 88 49 17

2007. 228 85 47 15

2008. 225 93 56 22

Pregled dosadašnjih rezultata konkursa / Statistička analiza

Broj prijavljenih i podržanih projekata i karakter podržanih projekata (domaći, međunarodni i multimedijalni)

Ovi statistički podaci pokazuju da je svake godine broj domaćih projekata veći od broja projekata međunarodnog karaktera. Jedan od razloga sigurno je i to što je za realizaciju međunarodnih projekata neophodna veća finansijska podrška. Broj multimedijalnih projekata je najmanji, ali je vidljivo da raste iz godine u godinu.

Brojpodržanih projekata

Pojedinci i neformalne

grupeUdruženja građana / privatne inicijative

Ustanove čiji je osnivač

opština, gradili Republika

2003. 99 27 43 29

2004. 109 50 38 21

2005. 118 41 53 24

2006. 88 34 41 13

2007. 85 15 49 21

2008. 93 25 50 18

Podržani projekti i tipovi projekata po podnosiocima (pojedinci i neformalne grupe, udruženja građana / privatne inicijative i ustanove čiji je osnivač opština, grad ili Republika*)

Statistički podaci pokazuju da je daleko veći broj podržanih projekata civilnog sektora nego projekata budžetskih ustanova.Razlog za to delom leži u činjenici da budžetske ustanove koje finansira Ministarstvo kulture Republike Srbije nemaju pravo učešća na ovom konkursu. S druge strane, podaci pokazuju da je aktivnost civilnog sektora veća od aktivnosti velikog broja kulturnih ustanova u zemlji čiji je osnivač grad ili opština.

Ova statistika može ukazivati i na razliku u kvalitetu projekata javnog i civilnog sektora, ali i na činjenicu da je civilni sektor agilniji u traženju finansijske pomoći, budući da ne raspolaže stalnim (budžetskim) sredstvima.

*Napomena:Ovde je reč o institucijama koje finansira Republika, ali ne Ministarstvo kulture već, na primer, Ministarstvo prosvete. Pod kategorijom „udruženja građana / privatne inicijative“ podrazumevaju se pravno registrovane inicijative.

Brojpodržanih projekata

Projekti realizovani u zemlji

Projekti realizovani u inostranstvu

2003. 47 30 17

2004. 42 21 21

2005. 49 26 23

2006. 27 17 10

2007. 32 19 13

2008. 28 21 7

Projekti međunarodne saradnje

Na osnovu statističkih podataka, vidljivo je da se veći deo projekata međunarodne saradnje odvija u zemlji. Razlog za to verovatno je finansijske prirode, budući da realizacija samostalnih izložbi ili učešće domaćih umetnika u projektima u inostranstvu zahteva daleko više finansijskih sredstava. Još jedan razlog je i otežana komunikacija sa inostranim kolegama, zbog viznog režima u kojem se naša zemlja nalazi. Statistike, nažalost, pokazuju da mali broj populacije redovno putuje van granica zemlje.

Dolazak i prezentacija rada inostranih umetnika u zemlji uglavnom se sprovodi u okviru godišnjeg izlagačkog plana budžetskih ustanova, kao i programa većih manifestacija (Oktobarski salon, BELEF), dok civilni sektor često nema finansijske mogućnosti za intenzivniju međunarodnu saradnju.

Napomena:U projekte međunarodnog karaktera nisu uključeni godišnji programi galerija i udruženja građana. Ti programi tretiraju se kao jedan projekat i finansiraju se na godišnjem nivou. U njihovom godišnjem izlagačkom planu znatno je manji procenat izložbi / projekata međunarodnog karaktera.28 29

in the Field of Culture („Službeni glasnik RS“ br. 49/92). This act provides for the general framework of activities in culture. The criteria and functioning of the Contest for Visual Arts and Multimedia are in correlation to domestic strategies such as the Strategy for Diminishing Poverty in Serbia and The National Strategy for Serbia’s and Montenegro’s joining The European Union. The foundation in the General Operational Plan (GOP) is highly important. And so the criteria for the distribution of financial aid fits into GOP’s foreseen short term and long term goals for the Ministry of Culture of the Republic of Serbia (social cohesion, sustainable development, and a program for cultural development).Some of the more important European documents on which we call upon are: The Declaration on Cultural Diversity, 2000; The Declaration on Inter cultural Dialogue and Conflict Prevention, 2003; The Faro Declaration on the Council of Europe’s Strategy for Developing Inter cultural Dialogue, 2005; The European Cultural Convention, 1954; The Florence Declaration „Culture and Regions: Cultural Action in the Regional Context“, 1987; The European Declaration on Cultural Objectives, 1984; The Arc-et-Senans Declaration, 1972; The Fribourg

Declaration on Cultural Rights, 2007; The European Convention on Human Rights, 1950; The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 2005.The need for balanced cultural policy together with a legal framework and strategic documents is visible. The foundation of the action the Ministry of Culture within the Law and various domestic and international strategies and declarations is important because it is necessary to point out the contribution of culture for positive social changes. The positive influence of the Ministry of Culture on the development of a cultural scene is not reflected exclusively in the improvement of the position of professional culture workers and institutions and organizations. Culture has direct influence on the common welfare and well being, and also on the quality of life of the citizens. This is why the perception of culture as a „budget user“ is completely wrong.

ApplicantsFinancially supported

Domestic projects

International projects

Multimedia projects

2003. 225 99 46 42+ 5 multimedia projects

41+ 1 multimedia projects

46+ 3 multimedia projects22

+ 5 multimedia projects23

+ 9 multimedia projects15

+ 13 multimedia projects

11

2004. 198 109 60 8

2005. 274 118 62 10

2006. 251 88 49 17

2007. 228 85 47 15

2008. 225 93 56 22

An overview of the contest’s results up to today / statistic analysis

The number of submitted and supported projects and the nature of the supported projects(domestic, international and multimedia)

This statistic data shows that each year the number of domestic projects was bigger than projects of an international type. One of the reasons was that international projects require bigger financial support. The number of multimedia projects is the smallest, but it is obviously growing each year.

Supportedprojects

Individuals and non formal

groupsCivil groups /

private initiatives

Institutions whose founder

is the City, Municipality or

Republic

2003. 99 27 43 29

2004. 109 50 38 21

2005. 118 41 53 24

2006. 88 34 41 13

2007. 85 15 49 21

2008. 93 25 50 18

Supported projects and the types of projects by applicants (individuals and non formal groups, civil groups / private initiatives and institutions whose founder is the City, Municipality or Republic*)

The statistic data shows that there is a much greater number of supported projects of the civil sector than projects of budget institutions.The reason for this lies partially in the fact that budget institutions that are financed by the Ministry of Culture of the Republic of Serbia do not have the right to participate in this contest. On the other hand, data shows that the activity of the civil sector is greater than the activity of a large number of cultural institutions in the country whose founders are the City or Municipality. This statistic also indicates the difference in quality of the project of the public and civil sector, and also the fact that the civil sector is more agile in seeking financial aid, because it does not posses constant (budget) means.

*Comment:We are referring to the institutions that are funded by the Republic, and not the Ministry of Culture; for instance, the Ministry of Education. “Citizen’s associations /private initiatives” belong to the category of legally registered initiatives.

30 31

ZAKLJUČAK

Ministarstvo kulture Republike Srbije konkursom za vizuelne umetnosti i multimedije nastoji da na transparentan način, utemeljen u domaćem i evropskom zakonodavstvu, a sledeći i važeće strategije razvoja, unapredi stanje u savremenom stvaralaštvu u tim oblastima. Ambicija Ministarstva je i da uređenjem i poboljšanjem celokupnog kulturnog sistema utiče na progresivno menjanje društvene stvarnosti, koja se može ticati svakog pojedinca. Da bi se to realizovalo na odgovarajuć i svrsishodan način, bilo je neophodno da se jasno definišu kriterijumi na osnovu kojih se finansiraju projekti iz oblasti kulture, a u funkciji sprovođenja mera kulturne politike. Od suštinskog značaja je i evaluacija efekata podržanih projekata, kao i strateška saradnja Ministarstva sa projektnim partnerima. Prilikom odabira projekata za finansiranje uzimaju se u obzir i okolnosti pod kojima se razvija lokalna kulturna scena. Zbog problema u funkcionisanju kulturnog sistema u zemlji, nije uvek moguće osloniti se na očekivanja koja bi trebalo da se podrazumevaju od, na primer, budžetskih kulturnih institucija. Iako je situacija neuporedivo bolja od one devedesetih godina dvadesetog veka, još uvek postoje različiti problemi u radu kulturnih institucija, nedovoljnoj stručnoj pažnji medija koji prate kulturu, nerazjašnjenom pravnom statusu institucija i objekata ili pak nerazumevanju savremenih tendencija i procesa u kulturi od strane samih kulturnih profesionalaca. Zbog toga Ministarstvo kulture Republike Srbije ponekad ima nezavidnu funkciju „korektora“ u usaglašavanju delova kulturnog sistema, kao i u rešavanju sasvim konkretnih problema. Budući da ne postoji veliki broj fondacija i institucija koje finansiraju kulturne aktivnosti i kojima se kulturni profesionalci mogu obratiti za pomoć, Ministarstvo nastoji da bude dovoljno fleksibilno. To znači da nastoji da situaciju u kojoj kulturni profesionalci i kulturne institucije delaju, sagleda sa razumevanjem stvarnih potreba, te da se

uvaže stvarni problemi sa kojima se oni u svom radu susreću.S druge strane, kako se Ministarstvo postepeno deetatizovalo i usvajalo progresivne promene u svom delovanju, tako se i od kulturnih profesionalaca očekuju promene u skladu sa savremenim kulturnim tokovima. Verovatno najčešći problem u komunikaciji sa njima jeste uveliko zastarelo sagledavanje kulture kao uzvišene, nedodirljive kategorije, te predstava romantizovane misije stvaralaca i kulturnih ustanova.

Takav i slični stavovi neminovno dovode do nesuglasica koje uvek idu na štetu podnosilaca projekata. Taj problem delom proističe iz nemogućnosti adaptiranja na okolnosti u kojima savremena kultura funkcioniše, to jest na sve brže promene razvoja kulture i kulturnog sistema. Taj problem pojavljuje se kod umetnika, ali je veoma tipičan i za javne kulturne ustanove koje u nekim slučajevima nemaju kapacitete za promene i prihvatanje savremenih tendencija. Praksa, nažalost, pokazuje da se menjanje svesti, a samim tim i funkcionisanje tih institucija, uglavnom veoma sporo odvija. Ipak, postoje uspešni primeri koji pokazuju vitalnost tih institucija, kroz intenzivniju saradnju (koja se ne svodi isključivo na finansiranje) i insistiranje Ministarstva na jasno uspostavljenim kriterijumima te saradnje. Ministarstvo kulture Republike Srbije svakako nema nikakvog interesa da podržava nesavremeno koncipirane projekte, ali je pri tom i svesno da njihovo prosto odbijanje ne vodi uvek do željenog rešenja.Zbog svega toga Ministarstvu je veoma stalo da se odnos sa podnosiocima projekata ne svodi isključivo na njihovo finansiranje već, pre svega, na uspostavljanje dugoročne, strateške saradnje.

Veoma je potrebno i veće i kvalitetnije učešće kulturnih menadžera u realizaciji projekata i njihovoj boljoj i profesionalnijoj produkciji.

Supportedprojects

Projects produced in the country

Projects produced abroad

2003. 47 30 17

2004. 42 21 21

2005. 49 26 23

2006. 27 17 10

2007. 32 19 13

2008. 28 21 7

International Cooperation Projects

Based on statistic data, it is noticeable that the big part of international cooperation projects takes place in the country. The reason for this is probably of a financial nature, because the production of independent exhibitions or participation of domestic artists in projects that take place abroad demands considerably larger financial support. Another reason for this is the complex issues regarding the communication with foreign colleagues and difficulties concerning processes of attaining visas for our citizens. Statistics, unfortunately, show that only a small portion of the population travels regularly.

The hosting and presentation of works by foreign artists in the country is often carried out through the annual exhibition plan of the budget institutions, as well as through the programs of larger manifestations (The October Salon, BELEF), meanwhile the civil sector often does not have the financial means to support more intensive international cooperation.

Comment:International projects are not included in the annual programs of galleries and citizens associations. These programs are treated as a single project and are financed on an annual level. A much smaller percentage of international exhibitions/projects are included in their annual exhibition plan.

CONCLUSION

Through the Contest for Visual Arts and Multimedia the Ministry of Culture of the Republic of Serbia intends to improve the position in contemporary production in these fields, in a transparent fashion, which is rooted in domestic and European legislature, and following current strategies of development. The Ministry has the ambition to effect the progressive change of social reality, which can be relevant to every individual, by

the means of organizing and enhancing the entire cultural system, In order for this to happen in a corresponding and suited way, it was necessary to clearly define the criteria of financing for projects from the cultural field and to implement the cultural policy measures. The evaluation of the effect of supported projects is of utmost importance, as well as the strategic cooperation of the Ministry of Culture with its 32 33

S tim u vezi je i kvalitet pisanja predloga projekata, koji nije uvek zadovoljavajući. Greške koje se u njima pojavljuju idu od formalnih (nepotpisane aplikacije, parcijalno popunjeni formulari, nepotpuna dokumentacija i sl) do kardinalnih (projekti koji temom ne odgovaraju konkursu, neinformisanost podnosilaca o kriterijumima i prioritetima u finansiranju i sl). Veoma česta greška u konkurisanju jeste i neprilagođenost dužine tekstova kako u formularu tako i u dodatnoj dokumentaciji. Tekstovi su često ili predugački, sa obično konfuzno predstavljenim informacijama o projektu, ili pak veoma šturi, te u takvim slučajevima nije moguće zauzeti stav prema potrebi finansiranja tog projekta. Kako mnoga ministarstva kulture, čak i u državama koje su uređenije od naše, imaju, u birokratskom smislu, problem sa klasifikacijom i valorizacijom projekata iz oblasti savremene umetnosti (multimedijalnost, intersektoralnost, aktivizam), Ministarstvo kulture Republike Srbije nastoji da u svom funkcionisanju bude dovoljno fleksibilno i prijemčivo za savremena kretanja i tendencije u kulturi. Na kraju, smatramo da, iako nisu predmet konkursa, projekti koji se bave kulturnom industrijom zaslužuju da budu spomenuti. Ti projekti još uvek su, nažalost, veoma retki u našoj sredini. Njihov značaj, pre svega, leži u povezanosti kulture i ekonomije: na primer, projekti u vezi sa dizajnom nameštaja, industrijskim ili modnim dizajnom, razvijaju i finansijsku dobrobit. Oni takođe pospešuju i samoorganizovanost i doprinose i većoj zaposlenosti, što je značajno u svim sredinama. Ti projekti realizuju se na principu malih preduzeća, poslujući kroz partnerstvo, odnosno klastere.

Kulturna industrija znatno je razvijenija u uređenijim društvima. Postoji niz projekata koji pokazuju njihovu važnost, i u kojoj meri oni mogu biti značajni i za ceo grad i za region. Ambiciozni projekti ovog tipa mogu razvijati i animirati čitave gradske kvartove. Tipičan primer jeste novo osmišljavanje funkcija starih i neupotrebljenih industrijskih

postrojenja i kompleksa. Poznat je i „Eden Project” u Velikoj Britaniji, kao eklatantan primer dobre prakse koji je lokalnoj ekonomiji doneo znatna finansijska sredstva i doprineo većoj zaposlenosti. Projekat se sastoji od staklenih struktura zasvođenog prostora atraktivnog dizajna, u kojem se nalazi razno rastinje. „Eden Project“ privlači mnoge umetničke i kulturne sadržaje, ali i razvija svest o ekologiji. Nedovoljno razvijena regija Kornvol (Cornwall) postaje odredište privlačno za ogroman broj domaćih i inostranih turista.

U našoj sredini nisu dovoljno razvijeni ni projekti koji razvijaju partnerske odnose između kulturnog i privrednog sektora.Jedan od projekata tog tipa veoma je uspešno sproveden. Projekat „Centrifuga“, koji su 2007. godine pokrenuli Erste banka i Balkanski fond za lokalne inicijative (BCIF), ima za cilj aktiviranje mladih (od 15 do 30 godina) u promovisanju/pokretanju/iniciranju kulturnih sadržaja u odabranim lokalnim zajednicama (sve lokalne zajednice u kojima Erste banka ima filijale, sem u većim centrima – Nišu, Beogradu i Novom Sadu). Projekat je realizovan u saradnji poslovnog i neprofitnog sektora i daje odličan primer osmišljeno sprovedene decentralizacije i podsticanja aktivizma mladih, a ujedno i društveno odgovornog poslovanja, posebno na mikronivou, koji velike kompanije često zapostavljaju. Osim tih osnovnih kvaliteta, projekat „Centrifuga“ ima i niz drugih pozitivnih efekata: ukazivanje i bavljenje nekim od prioritetnih problema mladih u Srbiji, a u skladu sa izgradnjom kvalitetne politike za mlade i kreiranja strateških dokumenata (Nacionalna strategija za mlade i Akcioni plan za implementaciju Strategije Ministarstva omladine i sporta RS), ostvarivanje trajnih partnerstava sa važnim akterima poput lokalne samouprave, kulturnih i obrazovnih institucija, medija i drugih organizacija, uključivanje novih aktivista iniciranjem novih ideja, inkluzija marginalizovanih grupa, kao što su osobe sa invaliditetom, slepi i slabovidi, Romi itd.

project partners. During the selection of the projects (that are) to be financed, the circumstances under which the local cultural scene is developing are also taken into account. Because of the problems of the cultural system functioning in the country it is not always possible to rely on expectations that should be taken for granted, for instance, from budget cultural institutions. Although the situation is undeniably better than it was during the nineties of the twentieth century, various problems still exist in the activity of cultural institutions, and the insufficiently proficient attention of the media that covers culture, the unclear legal status of institutions or structures or even the incomprehension of modern tendencies and processes in culture from cultural professionals themselves. Because of this the Ministry of Culture of the Republic of Serbia sometimes is in the uncomfortable position to “revise” the tuning of the parts of the cultural system, as well as to solve actual problems. Given that it does not exist large number of foundations and institutions which finance cultural activity and to whom the cultural professionals can turn to for assistance the Ministry of Culture tries to be flexible. This means that it strives to understand the actual needs of the situation in which the cultural professionals and cultural institutions work, so that the real problems they face are taken into consideration. On the other hand, there are expectations from the cultural professionals themselves to change in accordance to contemporary cultural progression, just as the Ministry of Culture accepts progressive change in its own activity. The most common problem in communication with cultural professionals is their outdated perception of culture as a high and mighty, untouchable category, an image of a higher mission of the artists and cultural institutions. This point of view and similar standpoints inevitably lead to disagreements that always harm the applicants. This problem partly derives from the incapability to adapt to the circumstances in which contemporary culture

functions, and rapid changes in culture and the cultural system. This problem is present among artists, but it is very typical in cultural institutions that in some cases do not have the capacity for change and the acceptance of modern aspirations. Unfortunately, practice shows that change of minds, just like the change of the way these institutions function, usually occurs very slowly. There are, however, successful cases that show the vitality of these institutions, through intense cooperation (not only linked to financing) and the importance of clearly defined criteria of this cooperation where Ministry pays special attention. The Ministry of Culture of the Republic of Serbia does not have any interest to support outdated projects, but it is also aware that the desired result is not always gained by rejecting them. Because of all of this the Ministry of Culture insists not only on financial support, but also on establishment of a long term, strategic cooperation.

A participation of high professional standards is needed from the part of cultural managers in the realization of projects and their better and more professional production. Related to this is also the written quality of the project, which is not always satisfactory. Mistakes that appear in them span from formal ones (unsigned applications, partially filled out forms, incomplete documentation and so on) to cardinal ones (projects that do not suit the contest because of their content or subject, the misunderstanding of the criteria and priorities in financing by the applicant and so on). A common mistake in applying is also the inappropriate length of the texts in the forms, as well as in the other documentation. Texts are often either too long, with often poorly presented information about the project, or just very short, and in these cases it is difficult to assess the complete financial needs of the project. Many Ministries of culture, even in better organized societies have, in a bureaucratic sense, problems with the classification and valorization of projects from the field of contemporary art (multimedia, activism).34 35

The Ministry of Culture of the Republic of Serbia aims to be flexible and attractive enough for contemporary trends and tendencies in culture. At the end, we believe that, even though they are not the subject of the contest, projects that deal with the cultural industry deserve to be mentioned. These projects are still, unfortunately, very rare in our environment. Their importance lies in connection of culture and economy: for instance, projects related to furniture design, industrial or fashion design, with a potential of a financial gain. They also enhance self organization and contribute to better and higher employment, which is very significant everywhere. These projects come through small enterprises, dealing through partnerships, or clusters.

The cultural industry is much more developed in better organized societies. There is a number of projects that emphasize their importance, and in to what extent they can be useful to the whole city and region. Ambitious projects of this kind can develop and animate entire city blocks. A typical example is the new conception of old and deserted industrial complexes. The Eden Project in Great Britain is a well known example of good practice which has brought considerable financial assets to the local economy and has contributed to higher employment. The project is based on glass structures that enclose a space of very attractive design, in which there is a rose flower bed. The Eden Project attracts many artistic and cultural contents, and also enhances ecological awareness. The under developed region Cornwall has become an attractive location for many domestic and international tourists. Even projects that cultivate partnerships between the cultural and industrial sector are not well developed in our country. One project of this kind was successfully executed. The “Centrifuga” project, that was started in 2007 by the Erste Bank and the Balkan Fund For Local Initiatives (BCIF), aims to engage young population (from 15 to 30 years of age) in the promotion/setting in motion/initiation of cultural content

in selected local communities (all local communities in which the Erste Bank has branches, but not in larger centers – Niš, Belgrade and Novi Sad). The project was carried out in cooperation of the business and non profit sector and it serves as a good example of a well conceived and executed decentralization. It also encourages the activism of young people and of socially responsible businesses, especially on a micro level. Big companies often neglect that. Apart from these basic qualities, the “Centrifuga” project has a number of other positive effects: detecting and addressing some of the main problems of the young population in Serbia and in correlation to the creation of a good policy for the young and the creation of strategic documents (The National Strategy For The Young and The Plan For The Implementation of The Strategy of The Youth and Sports Department of The RS), the creation of lasting partnerships with important participants such as local governments, cultural and educational institutions, media and other organizations, the inclusion of new activists by the initiation of new ideas, the inclusion of marginalized groups, such as persons with disabilities, the hearing-impaired and visually-impaired persons, Roma people and so on.

The Ministry of Culture of the Republic of Serbia will persevere in its support for well perceived contemporary projects from the field of visual arts and multimedia. In return, it will expect establishment of clearly defined professional work parameters from its colleagues. The Ministry of Culture expresses its readiness for positive change and revision of its work and its mechanisms of support.

Ministarstvo kulture Republike Srbije odlučno će istrajati u podršci kvalitetno i savremeno koncipiranim projektima iz oblasti vizuelnih umetnosti i multimedija, očekujući od saradnika uspostavljanje jasno određenih profesionalnih parametara u radu. I obrnuto, Ministarstvo izražava sopstvenu spremnost za pozitivne promene i preispitivanje svog rada i mehanizama podrške.

36 37

Savremena umetnost je nepregledno polje različitih stilova, tehnika, materijala, formi, tema, značenja, učinaka i estetskih tradicija. Publika se poslednjih decenija susreće sa objektima i prizorima koji mogu da se kreću od onih jednostavnijih, neopterećenih, jasnih „na prvi pogled“do onih intelektualno i/ili tehnički zahtevnijih, kompleksnijih, od onih efemernih do monumentalnijih,od prepoznatljivih do hermetičnih. Pojam savremeno danas se u literaturi koja se na temeljima različitih ili sličnih metodoloških pristupa bavi sagledavanjem, sistematizovanjem i interpretacijom globalne umetničke prakse, uz male varijacije, slično objašnjava i vremenski postavlja.1

Dakle, pojam savremena umetnost obuhvata heterogenu umetničku praksu od osamdesetih godina do danas, to jest od manifestovanja postmodernističkog „preokreta“ u kulturi i njegovog reflektovanja u umetnosti. Umetnost se ukazuje kao polje pluralnih, neuređenih ili labavo uređenih, nepreglednih, performativnih i medijskih mogućnosti i njihovih umnožavanja. Tako, savremena umetnost ne favorizuje nijedan medij, slikarstvo opstaje uz uspone i padove, fotografija postaje važna, a skulptura kao umetnička forma proširuje granice svoga polja; novi mediji privlače umetnike, nove tehnologije proizvode nove paradigme, biopolitički angažman radikalizuje performanse, a site-specific instalacije kao ishodišta mikro sociološko-antropološkog istraživanja interpretiraju (traumatična) iskustva, kako kaže Hal Foster, kulturalnog drugog. Takođe, razmatranja o savremenoj umetnosti uzimaju u obzir veze koje savremene prakse uspostavljaju sa umetničkim nasleđem XX veka: avangardama, neoavangardama, modernizmom shvaćenim kao fokusiranje na formalne „uglađenosti“ i zanemarivanje istorijskih specifičnosti i društvenih transformacija.2

Contemporary art is an immense area of various styles, techniques, materials, forms, themes, meanings, achievements and aesthetic traditions. In the past few decades the audience has been presented with objects and images that can span from simple, unpretentious, clear, to intellectually and/or technically more demanding, more complex from ephemeral to monumental, from recognizable to hermetic ones. The notion of contemporary in literature today based on different or similar foundations of methodological approaches deals with comprehension, systematization and interpretation of global art praxis with little variations, and it is explained rather similarly and is temporarily established1. The notion of contemporary art therefore comprises heterogeneous artistic praxis from the nineties up until today, that is from manifestations of post-modernistic „turnovers“ in culture and new reflections in art. Art perhaps seen as an area of plural, disorderly and loosely ordered, immense, performative and medial possibilities and their multiplication. Contemporary art does not favor any media, painting perseveres with ups and downs, photography becomes important and sculpture as an artistic form widens its frontiers; new media attract artists, new technologies outpour new paradigms, biopolitical engagement radicalizes performances, sight specific installations as springs of micro socio-anthropological research interpret (traumatic) experiences, says Hal Foster, of the cultural Other. Evaluations about contemporary art take into account connections which contemporary practices establish with twentieth century artistic heritage: avant-guard, neo avant-guard, modernism regarded as a focus on the formal „courtships“ and the neglection of historical specifics and social transformations2.

Mapiranje tokova savremene umetnosti u SrbijiMapping of contemporary art trends in Serbia

Jasmina Čubrilo 1) Videti u: B. Taylor, Art Today, Laurence King Publishing, London, 2005; J. Robertson, C. McDaniel, Themes of Contemporary Art, Visual Art After 1980, Oxford University Press, New York, 2005; G. Perry, P. Wood (eds), Themes in Contemporary Art, Yale University Press, New Haven&Londoin, 2004; Z. Kocur, S. Leung, Introduction, u: Z. Kocur, S. Leung (eds), Theory in Contemporary Art since 1985, Blackwell Publishing, 2005, 1–3.2) H. Foster, The Return of the Real, The MIT Press, 2001.1) See: B. Taylor, Art Today, Laurence King Publishing, London, 2005; J. Robertson, C. McDaniel, Themes of Contemporary Art, Visual Art After 1980, Oxford University Press, New York, 2005; G. Perry, P. Wood (eds), Themes in Contemporary Art, Yale University Press, New Haven&Londoin, 2004; Z. Kocur, S. Leung , Introduction, u: Z. Kocur, S. Leung (eds), Theory in Contemporary Art since 1985, Blackwell Publishing, 2005, 1-3;2) H. Foster, The Return of the Real, The MIT Press, 2001,39

Postmodernizam je označio kraj master narativa (F. Liotar) i ukazao na procese fragmentacije koji strukturiraju i čine da sadašnjost bude nesinhronizovana, mešavina različitih vremena (F. Džejmson). Stoga je model interpretacije, ali i umetničkog rada po horizontalnoj osi zamenio do tada dominantan vertikalni model, s jedne strane, hronološkog teksta istorije i kritike, a s druge, bavljenja disciplinarnim formama datog umetničkog medija ili žanra. Već od šezdesetih godina prošlog veka umetnost se nije mogla opisati samo u prostornom i medijskom smislu (atelje, galerija, muzej, odnosno slikarstvo, skulptura) jer postaje diskurzivna mreža različitih praksi, iskustava, odnosno institucija koja uvezuje umetnika i njegovu publiku kao društvene subjekte definisane jezikom i označene ekonomskim, etničkim, rasnim, rodnim i ostalim razlikama. U tom smislu, i savremena umetnička praksa, ali i praksa pisanja i interpretiranja pojava u savremenoj umetnosti, temelje se na kontekstualizovanju, odnosno mapiranju socioloških i antropoloških aspekata odabranog/datog konteksta.Postmodernizam, pluralizam, multikulturalizam, globalizam, raznovrsnost, razlike, kulturalno drugo – to su samo neki od ključnih pojmova niza transformacija kroz koje je savremena umetnost prolazila tokom prethodnih decenija u ubrzano menjajućem svetu (od CD plejera do iPoda, od PC računara do laptopa, od bežičnog telefona do iPhonea i BlackBerryja, od globalnih TV stanica do interneta, zatim globalno zagrevanje, genetski inženjering i kloniranje, pad Berlinskog zida i geopolitičko prestrukturisanje Evrope, Zalivski rat, brutalni građanski rat u bivšoj Jugoslaviji, etnički masakr u Ruandi, nacionalistički konflikti između novostvorenih zemalja bivšeg Sovjetskog Saveza, globalni terorizam, rat u Iraku, imperija, neoliberalizam, neokonzervativizam, postblokovski globalizam i njegova podela na prvi, drugi i treći svet, da navedemo samo neke od pojava i formi savremenosti).

Frederic Jameson, pošto je osamdesetih definisao pojam Prvi svet kao svet razvijenog poznog kapitalizma, početkom devedesetih definiše pojam Drugi svet kao svet „an emergent socialist culture, whose development, in its Eastern or Slavic form, has been cut short“ i „whose originality was defined in part by its distance from commodity fetishism“3 . Dakle, pojam Drugi svet obuhvata bivše socijalističke zemlje koje su tokom druge polovine XX veka delile slično ideološko i kulturno nasleđe. U tom svetu pozicije političke moći i objavljivanja ideologije bile su objedinjene na jednom mestu, u Partiji, što je za posledicu imalo homogenizovano i kontrolisano društveno polje u kome je svaka mogućnost razlike i društvenih antagonizama, a posebno njihovog ispoljavanja, unapred bila ukidana. Unutar takvog okvira umetnost i kultura dobijaju centralnu ulogu u širenju društvenih i političkih ideja autentičnog socijalističkog ili komunističkog društva, a umetnici su bili oslobođeni od pritiska tržišta – dovoljno je bilo da pristanu na pravila igre i mogli su da žive u zlatnom kavezu, sa adekvatnom apanažom koja im je omogućavala bezbedan i udoban život, prestiž i poštovanje.

Geopolitički prostor istočne Evrope je prostor dva dominantna narativa koja su delila i koja dele ljudi koji su živeli ili žive u njegovim granicama. Prvi je narativ partijskih, ideokratskih država čiji se identitet definisao oko centralne ideje stvaranja besklasnog društva i odumiranja države, bez obzira da li je reč bila o modelu centralizovanog socijalizma ili modelu samoupravnog socijalizma. Drugi je ideološki narativ demokratizacije, tranzicije, ali i uspostavljanja nacionalnih država, odnosno „life backwards“: napuštanje principa svođenja istorijskih identiteta i razlika na apsolutnu uniformnost radi prihvatanja proliferacije diverziteta kao temeljne pretpostavke funkcionisanja tržišta.

Post modernism marked the end of the master narrative (F. Lyotard) and it has shown the processes of fragmentation that structure and make present times non synchronized, a mixture of different times (F. Jameson). Hence, the model of interpretation, as well as artistic performance in the horizontal axis has been replaced by then dominant vertical model on the one hand of the chronological text of history and critique, and on the other dealing with disciplinary forms of given artistic media and genre. Since the 60-es of the last century art could not be described in just a spatial and media sense (studio, gallery, museum, i.e. painting and sculpture) because it becomes a discursive net of various practices, experiences, that is institutions that bind an artist and his audience as social subjects defined by the language and determined by economic, ethnic, racial, gender and the like differences. In that sense, both contemporary artistic practice as well as the practice of writing and interpreting experiences in contemporary art are founded on the contextualization and mapping of sociological and anthropological aspects of the chosen/given context. Post modernism, pluralism, multiculturalism, globalism, variety, differences, the cultural other – these are just a few of the key concepts of a string of transformations through which contemporary art has been traversing during the previous decades and in the rapidly changing world (from CD players to iPods, from PC computers to laptops, from wireless telephones to iPhones and Blackberries, from global TV stations to the Internet, then came global warming, genetic engineering and cloning, the fall of the Berlin Wall and geopolitical restructuring of Europe, The Gulf War, the brutal civil war in ex-Yugoslavia, the ethnic massacre in Rwanda, nationalistic conflicts between newly born nations of the ex-Soviet Union, global terrorism, the war in Iraq, neoliberalism, neoconservatism, post block globalism and its division to on first, second and third world, to

mention only a few of the manifestations and forms of contemporary times)

Frederic Jameson, having defined the concept of the First World during the eighties as the world of developed late capitalism, during the nineties defines the concept of the Second World as a world of „an emergent socialist culture, whose development, in its Eastern or Slavic form, has been cut short“ and “whose originality was defined in part by its distance from commodity fetishism3“ Therefore, the concept of the second world comprises previous socialistic countries which during the second half of the twentieth century shared similar ideological and cultural heritage. In that world the positions of political power and promotion of ideology were united only in the Party which as a consequence had homogenized and controlled the social space in which every possibility of differences and social antagonisms and particularly their expression had been broken beforehand. Within these frames art and culture gain a central role in the promotion of social and political ideas of authentic socialistic or communistic society where artists were liberated from market pressures – it was sufficient for them to comply with rules of the game and they could live in a golden cage with adequate rewards that enabled them a safe and comfortable life, prestige and respect.

Geopolitical space of Eastern Europe is a space of two dominant narratives which were and still are shared by the people who lived and still do within its borders. The first narrative of the particratic, ideaocratic states which identity was defined around the central idea of creating classless society and the withering of the state no matter it was a question of a model of centralized socialism or a model of self governed socialism. The other is an ideological narrative of democratization, transition but also a creation of national states, that is “life backwards”: giving up principles of reducing historical identities and

3) F. Jameson, The Seeds of Time, Columbia University Press, New York, 1994, xvi-xvii; navedeno prema A. Erjavec, Introduction, u: (ed); Postmodernism and the Postsocialist Conditions, Politicized Art under Late Socialism, University of California Press, 2003, 18.

3) F. Jameson, The Seeds of Time, Columbia University Press, New York, 1994, xvi-xvii; according to A. Erjavec, Introduction, u: (ed); Postmodernism and the Postsocialist Conditions, Politicized Art under Late Socialism, University of California Press, 2003, 1840 41

Generalno, u bivšoj Jugoslaviji i Srbiji unutar bivše Jugoslavije, kao uostalom i u evropskim socijalističkim zemljama, od Drugog svetskog rata pa do sedamdesetih godina XX veka prepoznaju se tri različita sveta umetnosti koja su se ponekad preklapala i čije se trajanje nije uvek sasvim poklapalo, ali i specifična, konzervativna ili radikalno kritička odstupanja i varijacije u skladu sa lokalnim nasleđem, tradicijom i okolnostima. Prvi svet pripada periodu optimizma ranog socijalizma i bio je utemeljen na retorici i estetici socijalističkog realizma koji je idealizovao svet socijalističke revolucije i imao podršku države i partijske elite. Sa postepenim slabljenjem entuzijazma i ideologije socijalističkog realizma i formiranjem građanskog srednjeg sloja tehnokratske, birokratske i humanističke inteligencije, javlja se umereni (socijalistički, ili uz velike ograde, komunistički) modernizam koji dobija podršku od državnih institucija, internacionalno cirkuliše kanalima zvaničnih razmena, simbolizuje meru i „ukus slobode“, a zapravo je ili i dalje u funkciji glorifikovanja revolucionarne prošlosti i ideala (spomenička skulptura) ili reflektuje hermetičan, apolitizovan pristup. Treći svet pripada poznosocijalističkom periodu i institucionalno marginalizovanim malobrojnim umetnicima koji se okreću konceptualnoj umetnosti, politizovanom i kritičkom govoru, odnosno neoavangardnim intermedijskim istraživanjima, te njihovoj, takođe malobrojnoj publici.

Umetnost i kultura u poznosocijalističkim i postsocijalističkim zemljama, delile su takođe veliki broj zajedničkih karakteristika. Prema Erjavecu, te zajedničke odlike su: konceptualizam, svesna ili spontana upotreba postmodernističkih tehnika i procedura, promišljena, veoma informisana upotreba socijalističkih/komunističkih znakova i slika, nacionalnog nasleđa i narodne, tradicionalne i masovne kulture.4 I kao što su umetnici svoju praksu izvodili iz složenog, kolažiranog, fragmentisanog identiteta, identiteta koji

se izvodi u dijalogu sopstvenog iskustva i reprodukovanja zapadnog iskustva vremena, tako se i istoriografija temeljila na uočavanju sličnosti, kompatibilnosti, razlika i odstupanja od dominirajućih obrazaca. Postmodernizam se u socijalističkim zemljama manifestovao najranije tokom sedamdesetih, a najkasnije početkom devedesetih godina prošlog veka. U Srbiji i u bivšoj Jugoslaviji već krajem sedamdesetih i na samom početku osamdesetih uočavaju se različiti primeri postmodernog eklekticizma, aproprijacije, recikliranja, odnosno definisanja decentriranih, hedonističkih, senzualnih, erotizovanih pozicija. Raznolikost pozicija tokom poznih sedamdesetih i osamdesetih godina razvijala se od (neoekspresionističkog, transavangardnog, neekspresionističkog) uživanja u redefinisanju granica medija skulpture i slikarstva pa do postkonceptualnih pozicija teorijski utemeljenih, koje su kritički problematizovale odnos između originala i kopije, između institucija sveta umetnosti i njegovog šireg političkog konteksta, ili potrošnju značenja i predstava koje kultura stvara i prihvata kao svoju realnost i preko kojih se uspostavlja kontinuitet između sedamdesetih i devedesetih godina XX veka.

Skulptura se od akademizovane, estetizovane i umereno modernističke spomeničke forme konvencionalnih sadržaja, transformiše u simbolički, narativni, dekorativni, citatno-eklektični, višeznačni, trodimenzionalni fikcionalni prostorno-skulptorski prizor/tekst, a u domaćoj kritici govori se o „skulpturi predstave“, „skulpturi u prizoru“, „prizoru u skulpturi“, „opredmećenoj slici“5. Slikarstvo prolazi kroz slične ako ne i identične procese, i neretko se medijski transformiše u objekte, ambijentalne situacije, instalacije. Zapravo, i slikarstvo i skulptura postaju neka vrsta otvorenog koncepta kojim se obuhvataju dvodimenzionalna, prostorna i objektna umetnička dela, odrazi fragmentarnog iskustva umetnika/umetnica kako svoje tako i drugih kultura i tradicija.

differences to absolute uniformity in order to accept the proliferations of diversity as a basic assumption for the market’s functioning.

Generally speaking in ex-Yugoslavia and Serbia within ex-Yugoslavia, which goes also for other European socialistic countries after World War II to the seventies of the twentieth century we can recognize three different worlds of art which sometimes overlapped and whose duration didn’t always overlap but also a specific conservative or radical critical diversions and variations in accordance with local heritage, tradition and circumstances. The First World belongs to a period of optimism of early socialism and has been founded on rhetoric and aesthetic of the socialist realism which idealized the world of socialist revolution and that was supported by the State and the Party elite. With gradual weakening of enthusiasm and ideology of socialistic realism and in forming the civic middle class of technocratic, bureaucratic and humanistic intelligence there appears a moderate (socialistic or with great reserve, communistic) modernism supported by state institutions it internationally circulates through channels of official exchange symbolizing the measure and „taste of freedom“, whereas it was still a function of glorification of revolutionary past and ideals (sculptural monuments) or it reflects a hermetic, non politicized approach. The Third World belongs to the late socialistic period and to institutionally marginalized small number of artists who turned to conceptual art, politicized and critical speech, neo-avantguard, intermediary research and their minor audience.

Art and culture in late socialistic and post socialistic countries had shared a great deal of common characteristics according to Erjavec they were: conceptualism, conscious or spontaneous use of post modernistic techniques and procedures, contemplative and very informed use of socialistic,

communistic signs and images, national heritage and folklorist, traditional and mass culture4. Similar to artists who carried out their practice in a complex, collage like, fragmented identity, identity which has been derived in dialog between personal experience and reproducing western experiences of the time, so the historiography has been founded on the perception of similarities, compatibilities, differences and departure from the dominant model. Post modernism in socialist countries was manifested as early as during the seventies and in the beginning of the nineties of the past century the latest. In Serbia and in ex-Yugoslavia already at the end of the seventies and in the very beginning of the eighties there could have been noticed various examples of post modern eclecticism appropriations, recycling and defining decentered, hedonistic, sensual, eroticized positions. The diversities of the position during late seventies and eighties developed from (neo-expressionistic, trans-avantguard, non-expressionistic) delight in redefining the frontiers of the media of sculpture and painting to post conceptual positions that were theoretically founded which were critically problematizing the connection between the original and the copy, between institutions of the world of art and its wider political context, or consumption of meanings and presentations which culture creates and accepts as its reality and through which there arises a continuity between the seventies and nineties of the twentieth century. From academic, aesthetic and moderately modernistic sculptural form of conventional contest, the sculpture has been transformed into a symbolic, narrative, decorative, citation-eclectic, multi-faceted, three-dimensional fictional spatial-sculptural image/text, and while in domestic criticism there was mention of „sculpture of imagery“, „sculpture in scenery“, „scenery in sculpture“, „embodied picture5“. Painting passes through similar, but not identical processes, and more often than not has been medially transformed into

4) A. Erjavec, ibid, 4.5) J. Denegri, Osamdesete: teme srpske umetnosti, Svetovi, Novi Sad, 1997, 127.

4) A. Erjavec, ibid, 4;5) J. Denegri, Osamdesete: teme srpske umetnosti, Svetovi, Novi Sad, 1997, 127;42 43

Tokom devedesetih godina XX veka, u uslovima „odumiranja Jugoslavije“6, odnosno u uslovima specifičnog primera postsocijalističkog stanja obeleženog u Srbiji politikom (i kulturom) nacionalizma, populizmom, ratom, te prekidom neposredne međunarodne razmene informacija i iskustava, razvijaju se različiti i kontradiktorni oblici umetnosti. Aktivnosti umetnika na domaćoj sceni grubo bi mogle da se isprate u nekoliko pravaca. Početkom devedesetih, tendencija koju su podržavale zvanične institucije na čije su čelo bile postavljene režimu odane, neokonzervativne i nacionalistički orijentisane uprave, bila je „nacionalni realizam“7, populističko, ignorantsko, vulgarizovano i banalizovano tematizovanje i interpretiranje prošlosti i/ili savremenosti u formi uglavnom lokalnih varijanata realizma ili istorijskog akademizma. To je bila umetnost koja se kretala od budućnosti ka prošlosti, kako bi Boris Grojs rekao, od kraja istorije ka istorijskom vremenu8, a sve radi obnavljanja socijalizmom potisnutog nacionalnog identiteta i opravdavanja i podgrevanja ratne retorike.Nasuprot toj tendenciji nalaze se ostale koje zajedno čine „alternativan“ svet umetnosti, javno prisutan zahvaljujući (opozicionim) programskim politikama alternativnih i regionalnih umetničkih institucija i aktivnoj podršci u akademskom i profesionalnom smislu relevantne kritike, nevladinih organizacija i malobrojnih stranih fondacija. Kritičari i jedan broj umetnika koji učestvuju i oblikuju ovaj svet svoj rad sve više temelje na kritičkoj analizi i poststrukturalističkim, feminističkim, psihoanalitičkim teorijama. U okviru ovog

objects, ambient situations, installations. Factually both painting and sculpture become a sort of open concept which comprises two dimensional, spatial object artistic acts, as a reflection of fragmentary experience of the artist, representing its own and other cultures and traditions. During the nineties of the XX century, in the process of „the disintegration of Yugoslavia6“, that is to say under the conditions of a specific example of post-socialistic conditions which was marked in Serbia by politics (and culture) of nationalism, populism, war and the interruption of immediate international exchange of information and experience, there developed different and contradictory forms of art. Activities of the artist on the local scene could roughly be followed in a few various directions. In the beginning of the nineties the tendency supported by official institutions led by servile neoconservative and nationalistically oriented management was directed by „national realism“ , populist, vulgar and trivial subject-matter interpretation of the past and/or contemporariness in the form of mainly local variants of realism or historical academism. This was art which traveled from future to the past, as Boris Groys out it, from the end of history towards historical time8, in order to renovate the national identity that had been repressed by socialism as well as justification and reanimation of the martial rhetoric.

In direct opposition to this tendency there were other tendencies which together form the alternative world of art, openly present thanks to the (oppositional) programmatic policies of alternative and regional art

sveta umetnosti izdvajaju se, s jedne strane, konceptualizovani eksperimenti sa formom, strukturom i materijalima, od domaće likovne kritike imenovani kao „neomoderna“, „druga moderna“, „modernizam posle postmodernizma“9, a s druge, struja koja se u osnovi nadovezivala na modele mekog pisma, medijatizovanu kulturu i iskustvo, eklekticizam, fikcionalnost, fragmentarnost umetničkog izraza osamdesetih, a u domaćoj likovnoj kritici imenovana kao „fictional site“ i/ili „aktivni eskapizam“10. Osim tih, u suštini neokonceptualnih strategija, mogla bi se izdvojiti još jedna, njima manje ili više bliska tendencija koja je pokazivala svest i osetljivost za društvena i politička pitanja, te koja nije samo tematizovala već i eksplicitno problematizovala i konceptualizovala susret sa traumatičnim društvenim i političkim realnim. Uprkos marginalizaciji, ove umetničke prakse su, možda više nego i u jednoj deceniji pre u srpskoj umetnosti, pomno ispraćene i dokumentovane, što potvrđuje veoma obimna tekstualna produkcija iz tog vremena, a nakon političkih promena 2000. godine ovaj svet umetnosti počinje da učestvuje i/ili da strukturira rad zvaničnih institucija (vladin i nevladin sektor, muzeji i ostale institucije kulture, edukacija, galerije).

Generalno, prethodne dve decenije preovlađivao je model umetnika kao „kulturalnog proizvođača“ ili „kulturalnog autora“ koji radi u polju kulturalne produkcije u smislu u kome ga Pjer Burdio određuje.11 Krajem devedesetih, neki od umetnika svojim se radom više približavaju modelu umetnika kao kulturalnog radnika i aktiviste, odnosno modelu etnografa koji podrazumeva ulogu

institutions, and the active support in the academic and professional sense of relevant critique, NGO organizations and a few foreign sponsors. Critics as well as a number of artists who participate and form this world base their work ever more so on critical analysis and post-structuralist, feminist, psychoanalytical theories. Within this world of art conceptual experiments stand out with their form, structure and materials proclaimed by art critics as „neomodern“, „other modern“, „modernism after post modernism9“ , on the one hand, and on the other there was a current which basically tied onto models of mild language, mediatized culture and experience, eclecticism, fictionalization, fragmentary artistic expression of the eighties, which in local art critique has been named as ‘fictional site’ and/or ‘active escapism10’ . Apart from these mainly neoconceptual strategies, a familiar tendency that was more or less close to them could be separated and it showed the awareness and sensibility for social and political issues and which did not only demonstrate but also explicitly problematized and conceptualized an encounter with traumatic social and political realistic issues. Although marginalized, this artistic practice, perhaps more than in any other previous decade in Serbian art, was carefully represented and documented and which a very wide textual production of the time shows, and after the political changes in 2000. this world of art began to participate and/or structure the activity of official institutions (both the government and NGO sector, museums and other institutions of culture, education, galleries).

6) „Odumiranje Jugoslavije“ na ovom mestu ima referencu na tezu istoričara Dejana Jovića, koji je u konceptu „odumiranje države“ uočio razlog za raspad Jugoslavije. Jović obrazlaže ideološke, ekonomske, etničke, kulturne i pravne razloge zbog kojih je Jugoslavija kao ideokratska tvorevina – odumrla. Videti u: D. Jović, Jugoslavija – država koja je odumrla, Uspon, kriza i pad četvrte Jugoslavije, Prometej, Zagreb i Samizdat B92, Beograd, 2003.7) M. Šuvaković, Art as a Political Machine, Fragments on the Late Socialist and Postsocialist Art of Mitteleuropa and the Balkans, u: A. Erjavec (ed); ibid, 94–95.8 ) B. Groys, Beyond Diversity: Cultural Studies and Its Postcommunist Other, u: O. Enwesor; C. Basualdo; et all (eds) Democracy Unrealized, Documenta 11_Platform 1, documenta und Museum Fridricianum, Kassel, 2002, str. 303–322.

6 ) ‘The Disintegration of Yugoslavia’ reffers to the thesis of historian Dejan Jović who in the concept of ‘The Disintegration of the State’ visualised the reason for the break-up of Yugoslavia. Jović explains ideological, eceonomic, ethnic, cultural and legal reasons because of which Yugoslavia as an ideocratic creation – disintegrated. See: D. Jović, Jugoslavija – država koja je odumrla, Uspon, kriza i pad četvrte Jugoslavije, Prometej, Zagreb i Samizdat B92, Beograd, 2003;7) M. Šuvaković, Art as a Political Machine, Fragments on the Late Socialist and Postsocialist Art of Mitteleuropa and the Balkans, u: A. Erjavec (ed); ibid, 94-95;8)- B. Grojs, Beyond Diversity: Cultural Studies and Its Post communist Other, u: O. Enwesor; C. Basualdo; et all (eds) Democracy Unrealized, Documenta 11_Platform 1, documenta und Museum Fridricianum, Kassel, 2002, str. 303-322;

9 ) O ovim terminima, njihovoj eksplikaciji i autorima videti u: J. Čubrilo, Beogradska umetnička scena devedesetih, Radio B92, Beograd, 1998, 2–33; (Belgrade Art Scene – the Nineties, Summary, 203–235).10) L. Merenik, no wave: 1992–1995, u: art in yugoslavia 1992–1995, Fond za otvoreno društvo, Centar za savremenu umetnost, Beograd, 1996.11) P. Bordieu, The Intellectual Field, A World Apart, u: Z. Kocur, S. Leung (eds), ibid, 11–18.

9 ) Of these terms, their explication and authors see: J. Čubrilo, Beogradska umetnička scena devedesetih, Radio B92, Beograd, 1998, 2 - 33; (Belgrade Art Scene – the Nineties, Summary, 203-235)10) L. Merenik,.no wave: 1992-1995, u: art in yugoslavia 1992-1995, Fond za otvoreno društvo, Centar za savremenu umetnost, Beograd, 1996;44 45

odnosno XX veka u celini. Ono se kao takvo protezalo od koncepta identiteta kao prirodne i samoočigledne istine, kao samodeterminišućeg, racionalnog i koherentnog sopstva, pa do preispitivanja ove postavke identiteta čiji se zaključak realizovao u (poststrukturalističkom) konceptu identiteta kao provizornog, nestabilnog, uslovljenog, hibridnog. Danas, kada se u kontekstu dinamike kretanja kapitala prepoznaju novi i zanemarivani subjekti, subjekt se zapravo, kako Hal Foster ukazuje, vraća u kulturnu politiku različitih subjekata. Pitanje identiteta (i dalje) predstavlja jednu od ključnih kategorija savremene kulture koja se sada razmatra u kontekstu diskursa (multi)kulturalnog drugog i njegovih učinaka. Stoga se svaki oblik predstavljanja (izložba, tekst, publikacija) koji ima nameru da posredno ili neposredno govori o kulturi jedne države, posebnostima i mehanizmima njenog funkcionisanja, kao i učincima unutar jednog ili više njenih specifičnih polja, temelji na prepoznavanju i predstavljanju sopstvene raznolikosti, drugim rečima na interpretaciji iskustva sopstvenog vremena i/ili sopstvenog identitetskog iskustva i/ili sopstvenog realnog.

umetnika kao „kulturalnog semiologa“ ili „kontekstualnog terenskog radnika“(H. Foster).12

Razmatranja o savremenoj umetnosti, naročito od početka devedesetih, više se ne mogu fokusirati samo na mlade koji dolaze donoseći sa sobom nove pristupe i nova iskustva, već se preusmeravaju na paralelne egzistencije umetnika koji pripadaju različitim generacijama i koji, svojim kontinuiranim radom aktivno učestvuju i intervenišu u mreži predstava i fragmentisanju fiksiranih pozicija, proizvodeći radove kompleksne višeznačnosti, medijski razrađene, tehnološki zahtevne. U tom smislu uglavnom se ne može govoriti o pojedinačnim, stabilnim, homogenim umetničkim praksama, već samo o zbiru individualnih procesa, stalnih izmeštanja, nomadskih kretanja kroz žanrove i medije. Stoga, navedena podela ne predstavlja poredak statičnih i nepromenljivih pozicija. Naprotiv, reč je samo o jednoj operativnoj sistematizaciji u okviru koje su se realizovali momenti pojedinačnih umetničkih praksi kako umetnika starijih generacija tako i onih koji započinju svoju karijeru krajem osamdesetih, tokom devedesetih i prve decenije XXI veka. Većina umetnika i dalje ima svoje boravište u Srbiji, i izložbama i projektima, to jest galerijskim sistemom, participira na globalnoj umetničkoj sceni, dok je izvestan broj njih za svoje privremeno ili stalno boravište odabrao uglavnom evropske gradove i time razne vrste nomadskih/emigrantskih/identitetskih izmeštanja i egzistencija, u zavisnosti od pravno-administrativnih okvira zemalja domaćina.

Narativ o savremenoj umetnosti Srbije, kao uostalom i narativ o umetnosti bilo kog perioda razmatrane u okvirima bilo koje kulture jednog naroda ili svih naroda koji žive na teritoriji jedne države, svodi se na pitanje identiteta. Pitanje identiteta jedno je od suštinskih pitanja modernosti,

Generally during the past two decades a model of an artist can be presented as a „cultural producer“ or „cultural author“ who works in the field of cultural production as Pierre Bourdieu defines him11. In the late nineties, some of the artists came closer to the model of an artist as a cultural worker and activist, meaning a model of an ethnographer which comprises the role of an artist as a „cultural semiologist“ or „contextual field worker“ (H. Foster)12.

Contemplation about contemporary art, from the beginning of the nineties in particular can no longer be focused only on the young who come bringing with them new approaches and new experiences since they are redirected on the parallel existence of artists who belong to different generations and who with their continuous work actively participate and intervene in the network of conceptions and in the fragmentations of the fixed positions so producing works of complex, various meanings, medially detailed, technologically demanding. In this sense we generally can not speak of individual, stable, homogeneous artistic practices but only of a sum of individual processes, permanent dislocations, nomadic ventures through genre and media. So that the above mentioned division does not represent an order of static and unchangeable positions. On the contrary it is only an operational systematization within which there have been performed moments of individual artistic practice of the older generations of artists (some of which have already been mentioned) as well as those who were at the beginning of their careers by the end of the eighties, during the nineties and during the first decade of the XXI century. Most of those artist are still residing in Serbia and via exhibitions and projects and the system of galleries participate in the global art scene whereas a certain number of them as their temporary or permanent residence has chosen mainly European cities and in that

sense various kinds of nomadic/immigrant/identical dislocation and existence depending on legal, administrative framework of the domicile countries. The narrative of contemporary art in Serbia as well as the narrative of art of any period surveyed within every culture of one nation or all nations which live within the territory of one state is reduced to a question of identity. The question of identity is essential question of modernity and the XX century in its entirety. It spanned itself from a concept of identity as a natural and self evident truth as self-determined, rational and coherent self all the way to re-examining this layout of identity realized in its conclusion in (post-structuralist) concept of identity as provisional, unstable, conditional and hybrid. Today when in the context of the dynamic moving of capital, neglectable and new subjects are recognized, it actually goes back to cultural policy of various subjects, as Hal Foster says. The question of identity (continues) represents one of the key categories of contemporary culture which today is surveyed in a context of discourse of the (multi) cultural of the other and its achievements. And hence each form determines (exhibition, text, publication) intending to directly or indirectly speak of a culture of a nation, its uniqueness and mechanisms of its functioning, as well as achievements within one or more of its specific fields is based on recognition and representation of personal diversities, in other words on the interpretation of experience of one’s own time and/or ones own identity based experience and/or its own actuality.

12) H. Foster, ibid, 171–204.11) P. Bordieu, The Intellectual Field, A World Apart, u: Z. Kocur, S. Leung (eds), ibid, 11-1812) H. Foster, ibid, 171–204. 46 47

OrganizacijeOrganisations

Galerija ArtgetThe Artget Gallery

Galerija Artget posvećena je predstavljanju, tumačenju, razumevanju i promovisanju fotografske slike. Od osnivanja 2002. godine, u tom izlagačkom prostoru, jedinom u Beogradu koji je namenjen isključivo fotografskoj umetnosti, predstavljena su dela velikog broja domaćih i stranih autora u širokom rasponu od dokumentarne i istorijske fotografije do fotografije u savremenoj vizuelnoj umetnosti.Radi unapređenja prakse i razumevanja tog sveprisutnog medija i sveta savremene vizuelne umetnosti i kulture, 2005. godine pokrenuta je i specijalizovana izdavačka delatnost koja, za sada, obuhvata dve biblioteke, „Foto Artget – Teorija“ i „Foto Artget – Monografije 5 ½“. Galerija Artget je višenamenski prostor u kome se, osim fotografskih izložbi, organizuju i koncerti, književne večeri i tribine.

Kontakt Contact:Galerija Artget / The Artget Gallery Kulturni centar Beograda / The Cultural Center of BelgradeKnez Mihailova 6, 11 000 Beograd, SrbijaMilica Stanković-ĐorđevićT: +381 (0)11 3281 407E: milica.djordjevic@kcb.org.yu www.kcb.org.rs

The Artget Gallery is dedicated to presenting, deciphering, understanding and promoting photographic images. Ever since its founding in 2002, in this exhibition space, which is theonly space in Belgrade dedicated exclusively to photographic images, a large number of domestic and foreign authors have been presented. The exhibitions span from documentary and historic photographs to photography in the contemporary visual art sense. Because of the idea to advance the practice and understanding of this omnipresent medium and the world of contemporary visual art and culture, a specialized publication effort has been set in motion in 2005. This effort contains two libraries: „Foto Artget – Teorija“ and „Foto Artget – Monografije 5 ½“. The Artget Gallery is a multi purpose space in which, apart from the photography exhibitions, concerts, literary nights and tribunals are held.

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Centar za kulturnu dekontaminaciju (CZKD)Center for cultural decontamination (CZKD)

Centar za kulturnu dekontaminaciju (CZKD) počeo je da radi kao nezavisna i neprofitna institucija u Paviljonu Veljković 1. januara 1995. na osnovu inicijative iz 1993. godine, sa ciljem da se umetničkim, kulturnim i društvenim angažmanom suprotstavi ratnoj politici režima Slobodana Miloševića, nacionalizmu, ksenofobiji, netoleranciji, mržnji i strahu, i željom da osnaži otpor civilnog društva. Posebnost Centra za kulturnu dekontaminaciju zasniva se na aktivnostima koje se već gotovo punih petnaest godina realizuju u okviru i uz podršku Centra. Bilo da su u pitanju debatni programi, radionice, seminari, konferencije, koncerti, pozorišne predstave ili izložbe, institucionalna praksa zasnovana je na nekoliko idejnih tačaka – umetnost i kultura moraju da napuste ono područje (zonu) samodovoljnosti u kojoj važe ograničenja hijerarhizovanog, narcisoidnog i elitističkog sistema; nasuprot tome, umetnička praksa i kulturni obrasci upravo funkcionišu kao performativne zone kritike i preispitivanja neposrednog okruženja. Centar za kulturnu dekontaminaciju mišljen je i građen kroz negaciju, suprotstavljanje i nepristajanje, kroz kritiku i otpor koji su istovremeno značili emancipaciju, afirmaciju i promociju.

The Center For Cultural Decontamination (CZKD) began working as an independent and non profit instituition in the Pavillion Veljković on the 1st of January in 1995. based on the initiative from 1993. with the aim to confront the war policy of Slobodan Milošević, nationalism, xenophobia, intolerance, hatred and fear by means of artistic, cultural and social engagement, and with the will to strengthen the civic resistance. The uniqueness of The Center For Cultural Decontamination is based on its activites carried out for the past fifteen years. Whether it is concerning debate programs, workshops, seminars, conferences, concerts, plays or exhibitions, the institutional practice is based on a few ideological aspects – art and culture must leave behind the area of self sufficiency in which the hierarchy based, narcissistic and elitist system are held in esteem; contrary to this, artistic practice and cultural frameworks function as performative zones of criticism and the revision of the immediate surroundings. The Center For Cultural Decontamination was conjured and built through the negation, opposition and non conforming, through critique and through the resistance that, at the same time, meant emancipation, affirmation and promotion.

Kontakt Contact:Centar za kulturnu dekontaminaciju / The Center for Cultural Decontamination Birčaninova 21, 11 000 Beograd, SrbijaBorka PavićevićT/F: +381 11 361 0270, 361 0954E: info@czkd.org www.czkd.org 50 51

DEZ.ORG

Projekat DEZ.ORG je fluktuentna grupa vizuelnih umetnika sa sedištem u Beogradu koju su 2005. godine pokrenuli Gordana Belić,Dragan Đorđević, Tijana Knežević, Maja Radanović, Jelena Radić, Dragan Rajšić, Maja Rakočević-Cvijanov, Milica Ružičić, IvanaSmiljanić, Boba Mirjana Stojadinović i Boris Šribar. Grupa sarađuje sa velikim brojem lokalnih i međunarodnih organizacija i individualaca umetnika.

Grupa DEZ.ORG s kritičke pozicije govori, misli i radi u savremenoj umetnosti i društvu, često okupljajući veoma različite aktere lokalne i međunarodne scene. Generalni pravci kojima se bavi obuhvataju: traženje načina da se sopstvena autorska praksa poveže sa praksom drugih umetnika; stvaranje u lokalnom kontekstu, prepoznavanje lokalnog u širem okviru i oslobađanje od istog tog lokalnog; ispitivanje načina na koje može da se deluje u sferi obogaćivanja mišljenja; opčinjenost tehnološkim fenomenom generisanja digitalnog, ali isto tako ispitivanje mogućnosti distribucije znanja; komunikacija javnog, često skulpture u javnom prostoru, i privatnog, i preispitivanje granica između onog ko nudi i onog ko prima umetnost; interesovanje za beleženje, kolekcioniranje i preispitivanje savremenog okruženja u kojem se živi, kao i eho referenci koje dolaze iz umetnosti, popularne i nepopularne kulture.

Kontakt Contact:DEZ.ORG, Ravanička 36, 11 050 BeogradT/F: +381 (0) 11 24 11 489 Boba Mirjana Stojadinović +381 63 346 462 Jelena Radić +381 62 754 994E: dezorg@gmail.com

www.dezorg.nethttp://dezorgbgd.wordpress.com

The DEZ.ORG Project is a fluctuating group of visual artists with its headquarters in Belgrade, that was started by Gordana Belić, Dragan Đorđević, Tijana Knežević, Maja Radanović, Jelena Radić, Dragan Rajšić, Maja Rakočević-Cvijanov, Milica Ružičić, Ivana Smiljanić, Boba Mirjana Stojadinović and Boris Šribar in 2005. The group cooperates with a large number of local and international organisations and individual artists.

The DEZ.ORG group speaks, thinks and works from a critical standpoint in and about art and society, and it often assembles various and diverse participants from the local and international scene. The general range of interest of the group is: seeking ways to connect one’s own practice with the practice of other artists; exploring ways in which one can enhance his /her views; the infatuation with the technological phenomenon of generating the digital, but also examining the potential distribution of knowledge; the communication of that which is public, often sculptures in public space, and private, and the revision of the boundaries of who offers and who recieves art; the interest in keeping track of, making a collection of and revising the contemporary surroundings in which one lives, as well as the echo of references that come from art, popular and non popular culture.

Dom kulture „Studentski grad“, likovni programCultural Center “Student’s city”, visual arts program

Izložbena aktivnost Doma kulture „Studentski grad“ odvija se u dva galerijska prostora, Galeriji i Velikoj galeriji, koje svojim koncepcijama, međusobno komplementarnim, čine jedinstvenu programsku celinu. Program Galerije usmeren je pre svega ka afirmaciji rada studenata i mladih umetnika koji tek stupaju na savremenu umetničku scenu i koji u svojim istraživanjima na inovativan način pristupaju umetničkom mediju. Aktivnost Velike galerije uključuje realizaciju izložbi afirmisanih vizuelnih stvaralaca i produkciju projekata nastalih specijalno za tu galeriju ili inspirisanih njenim specifičnim prostorom. Od 1981. godine u Domu kulture „Studentski grad“ u kontinuitetu se održavaju bijenala studentskog crteža i studentske grafike.

Kontakt Contact:Dom kulture „Studentski grad “/ Cultural Center “Student’s City”Bulevar Zorana Đinđića 179, Novi Beograd, SrbijaMaida GrudenT/F: +381 11 2691442, 3193 889E: office@dksg.rs sekretar@dksg.rs www.dksg.rs

The exhibitions in the “Student’s City” Cultural center take place in two galleries, in the Gallery and in the Main Gallery. The concepts of these two galleries are complementary and they form a unified program. The program of the Gallery focuses mainly on the affirmation of student’s works and emerging artists that are just entering the contemporary art scene and that, through their artistic exploration, approach the artistic medium in an innovative way.The activities of the Main Gallery include the realization of exhibitions of well known visual artists and the production of projects that were created specially for that gallery or that were inspired by its specific space. Ever since 1981. biennials of students drawings and prints has been held in the “Student’s City” Cultural Center.

52 53

Centar za nove medije_ kuda.orgCenter for new media_kuda.org

Centar za nove medije_kuda.org je organizacija koja od osnivanja 2000. godine okuplja umetnike, teoretičare, medijske aktiviste, istraživače i široku publiku na polju informacijskih i komunikacijskih tehnologija (ICT – Information and Communication Technologies), na polju istraživanja novih kulturnih odnosa, savremene umetničke prakse i društvenih tema, otvarajući prostor za kulturu dijaloga, alternativne metode obrazovanja i istraživanja. Centar je posvećen pitanjima uticaja elektronskih medija na društvo, na kreativnu upotrebu novih komunikacijskih tehnologija i na savremenu kulturu, društvo i politiku. Neke od glavnih tema su interpretacije i analize istorije i značaja informacijskog društva, potencijala same informacije i rasprostranjenosti njenog uticaja na političke, ekonomske i kulturne odnose u savremenom društvu. Bitan deo rada Centra_kuda.org čini i novo čitanje progresivnih praksi neoavangarde danas, odnosno novi put komunikacije između njih i savremene umetničke produkcije.

The center for new media_kuda.org is an organisation that has, ever since its founding in 2000, gathered artists, theoreticians, media activists, researchers and a wide audience in the field of information and communication technologies (ICT – Information and Communication Technologies), exploring new cultural relationships, contemporary art practice and social subjects, setting the platform for the culture of dialogue, alternative methods of education and research.The Center is dedicated to the questions of the influence of electronic media on society, on the creative use of new communication technologies and on contemporary culture, society and politics. Some of the main subjects are interpretations and analysis of history and the importance of the information society, the potential of information itself and the dispersion of its effect on politics, economic and cultural relationships in contemporary society. An important part of the Center’s work is dedicated to the new interpretation of progressive practices of the neo avantguarde today and to foundation of a new path of communication between them and contemporary art production.

Kontakt Contact:Centar za nove medije_kuda.org / The Center for new media_kuda.orgBraće Mogin 2, PO Box 22, Detelinara, 21 113 Novi Sad, SrbijaZoran PantelićT/F: +381 21 512 227E: office@kuda.org www.kuda.org

Kolektiv

Nezavisna umetnička asocijacija Kolektiv promoviše savremenu umetnost i teoriju, arhitekturu i dizajn, a cilj joj je osnivanje Centra za savremenu umetnost u Šapcu. Osnovni principi Kolektiva jesu edukacija i afirmisanje savremene umetnosti i novih tehnologija organizacijom izložbi, projekcija, predavanja, tribina i sl. Kolektiv čine umetnici, arhitekte, istoričari umetnosti i menadžeri u kulturi.

The independent artist association Kolektiv promotes contemporary art and theory, architecture and design, and its aim is the foundation of a center for contemporary art in Šabac. The basic principles of the Kolektiv are education and the affirmation of contemporary art and new technologies by means of organizing exhibitions, screenings, lectures, and debates. The Kolektiv consists of artists, architects, art historians and managers in culture.

Kontakt Contact:Kolektiv – nezavisna umetnička asocijacija/ Kolektiv – an independent artist associationKneza Ive od Semberije 3/2, 15000 Šabac, SrbijaSlobodan PeladićT: +381 15 346 137E: home@peladic.com office@kolektiv.org.rs www.kolektiv.org.rs 54 55

Umetnička galerija „Nadežda Petrović”The Art Gallery “Nadežda Petrović”

Umetnička galerija Nadežda Petrović osnovana je 1961, godinu dana posle organizovanja Prvog memorijala Nadežde Petrović, sa ciljem da prati savremenu aktuelnu likovnu umetnost i formira zbirke. Od osnivanja do danas galerija je organizovala više od 300 izložbi (grupnih, samostalnih, tematskih, problemskih, edukativnih, istorijskih, međunarodnih) i 24 Memorijala Nadežde Petrović, najstarije likovne manifestacije u zemlji, koja neguje tradiciju prvih jugoslovenskih izložbi koje je inicirala, organizovala i na kojima je izlagala i Nadežda Petrović. Memorijal prati, predstavlja i afirmiše savremenu likovnu praksu. U zbirkama galerije smešteno je više od 400 eksponata. Uporedo sa izlagačkom razvijala se i izdavačka aktivnost galerije.

The art gallery Nadežda Petrović was founded in 1961, one year after the organisation of the first Nadežda Petrović Memorial, with the aim to follow contemporary fine art and to form collections. From its foundation up until today, the Gallery has organized more than 300 exhibitions (group, independent, theme, educational, problematic, historic, international) and 24 Memorials of Nadežda Petrović, the oldest fine arts manifestation in the country, which nourishes the tradition of the first Yugoslav exhibitions which were initiated, organized by Nadežda Petrović. She also exhibited in these shows. The Memorial follows and represents the contemporary artistic practice. More than 400 exhibits are stored in the galleries collections. The gallery also publishes materials.

Kontakt Contact:Umetnička galerija „Nadežda Petrović” / The Art Gallery “Nadežda Petrović”Cara Dušana 6, 32000 Čačak, SrbijaMilica PetronijevićT/F: + 381 32 222 375E: galerynp@eunet.rs www.nadezdapetrovic.rs

Kulturni centar PančevoThe Pančevo Cultural Center

Bijenale umetnosti

Kulturni centar Pančevo organizuje Međunarodno bijenale umetnosti već skoro tri decenije. Nekad Izložba jugoslovenske skulpture, Bijenale se vremenom transformisalo u prestižnu internacionalnu smotru vizuelnih umetnosti i svrstalo u sam vrh svetskih manifestacija novih trendova likovnog stvaralaštva. Prateći umetničke afinitete i osluškujući puls nove publike, Bijenale 2006. godine proširuje svoj program na pozorišnu i filmsku umetnost, čime uključuje i druge umetničke izraze, uz neizostavno učešće domaćih i stranih umetnika i teoretičara umetnosti. Trinaesto bijenale umetnosti održano je 2008. godine pod nazivom „Čist izraz“, kao logičan nastavak težnje Kulturnog centra Pančeva, kao organizatora, da skrene pažnju na problem zagađenosti i odbrane grada.

Biennial of Art

The Pančevo Cultural Center has been organizing the International Biennial of Art for almost three decades. Formerly known as the Exhibition of Yugoslav Sculpture, the Biennial has now transformed into a prestigious international review of visual art and it has marshaled itself into the very peak of worldly manifestations of new trends of artistic creativity. Following artistic tendencies and by listening to the pulse of the new audience, the Biennial has, in 2006, expanded its program onto theater and film art by which it also includes other artistic forms of expression. There is, of course, a necessary participation from domestic and foreign artists, as well as art theoreticians. The thirteenth biennial of art was held in 2008. under the name „Clear Expression“, as a logical continuation of The Pančevo Cultural Center’s tendency, as an organizer, to revise the issue of city pollution and defense.

Kontakt Contact:Centar za kulturu Pančevo, Galerija savremene umetnosti/ The Pančevo Cultural CenterTrg kralja Petra I br. 8, 26 000 PančevoJasmina VečanskiT: +381 (0)13 332 334, +381 13 345 088E: panart@panet.rs

www.pankult.org.yuwww.kulturnicentarpanceva.rs 56 57

LED ART

LED ART osnovan je 1993. u Beogradu, na inicijativu Nikole Džafa, slikara. Tokom deset godina postojanja, u projektima Led arta učestvovalo je više od 300 istomišljenika različitih profesija i socijalnih slojeva: umetnici iz svih oblasti stvaralaštva, sociolozi, istoričari umetnosti, novinari, naučni radnici, tehničko osoblje, radnici... Januara 2000. godine LED ART transformiše se u Multimedijalni centar „Led art“ sa sedištem u Novom Sadu. Krajem 2002, u podrumskom prostoru u ulici Grčkoškolskoj 5, startuje utopistički projekat ART KLINIKA, kao odgovor na „bolesno društvo u kom živimo“, s uverenjem da umetnost može da leči i menja svet. U okviru Art klinike radi ŠOK GALERIJA, najmanja galerija na Balkanu (dva kvadratna metra, galerija za jednu osobu). Šok galerija neguje granična područja različitih oblasti, podržava autonomni likovni izraz, eksperiment i provokaciju kao polazišta u tematskom i izvođačko-prikazivačkom vidu i afirmiše mlade stvaraoce.

LED ART was founded in Belgrade in 1993, by the initiative of Nikola Džafo, a painter. Led art projects gathered more than 300 participants and like minded people from various professions and social strata: artists from different walks of creativity, sociologists, art historians, journalists, scientists, technical staff, workers... In January 2000. LED ART was transformed into The Multimedial Center “Led Art” with its headquarters in Novi Sad. In late 2002, in the basement in Grčkoškolska street 5, the utopian ART CLINIC project was started as an answer to the “rotten society that we live in”, with the idea that art can heal and change the world. SHOCK GALLERY works within the Art Clinic. It is the puniest gallery in the Balkans (for just one person, measuring 2x2). The Shock Gallery nurtures borderline fields of various areas, it supports autonomous artistic expression, experiments and provocation as starting points in the thematic and performative-exhibitional aspect and promotes young artists.

Kontakt Contact:LED ARTGrčkoškolska 5, 21 000 Novi SadNikola DžafoT: +381 21 66 11 207 E: artklinika@gmail.com

Remont

REMONT, nezavisnu umetničku asocijaciju, osnovala je u oktobru 1999. godine grupa umetnika sa internacionalnim iskustvom. Misija asocijacije jeste uspostavljanje novih profesionalnih standarda i popularizacija savremene umetnosti u Srbiji. Aktivnosti: galerija, izdavaštvo, elektronsko izdavaštvo i različiti projekti lokalnog, regionalnog i internacionalnog tipa. Remont je član više stručnih internacionalnih mreža.

REMONT, an independent artist association was founded in October of 1999. by a group of artists with international experience. The mission of the association is to raise new professional standards and to popularize contemporary art in Serbia. Activities: gallery, publishing, electronic publications and various projects of a local, regional and international character. Remont is a member of various proficient international networks.

Kontakt Contact:Remont – nezavisna umetnička asocijacija/ Remont – an independent artist associationMakedonska 5/II, 11 000 Beograd, SrbijaDarka RadosavljevićT/F: + 381 (0)11 32 23 406, 33 44 171E: remont@remont.net

www.remont.netwww.serbiancontemporaryart.info 58 59

Rex

REX je centar za savremenu, angažovanu umetnost i analitičku kulturnu praksu. Proširujući polja delovanja savremene kulture i kreativne primene novih medija, REX podržava produkciju i prezentaciju umetnosti i kulture u kojima se reflektuju aktuelne građanske potrebe i inicijative; promoviše vrednosti otvorenog društva; realizuje programe u Beogradu i gradovima širom Srbije sa težnjom da postane aktivan deo evropskog kulturnog miljea – organizuje gostovanja umetnika, učestvuje u forumima i radionicama, inicira i realizuje internacionalne projekte, razmenjuje programe i iskustva sa srodnim centrima; radi sa mladim autorima i publikom ističući edukativni aspekt delovanja; stvara slobodnu zonu za diskutovanje o aktuelnim političkim i društvenim procesima. REX je član TEH-a, Mreže nezavisnih kulturnih centara Evrope i neformalne regionalne platforme Clubture, i partner je Evropskog volonterskog servisa.

REX is a center for contemporary, engaged art and analytical cultural practice. By expanding the fields of exertion of contemporary culture and the creative application of new media, REX supports the production and presentation or art and culture in which current citizens’ needs and initiatives are reflected; it produces programs in Belgrade and in cities across Serbia with the aim to become an active part of the European cultural milieu – it organizes artist visits, it participates in forums and workshops, initiates and produces international projects, exchanges programs and experiences with like minded centers; it works with young authors and audiences emphasizing the educational aspect of work; it creates a free zone for discussion about current political and social processes. REX is a member of the TEH, a network of independent cultural centers of Europe and informal regional platforms Clubture, and it is a partner of the European Volunteer Service.

Kontakt Contact:Rex Jevrejska 16, 11 000 BeogradDušica Parezanović T: + 381 11 3284 534, 3284 398, 3284 299E: rex@b92.net www.rex.b92.net

TkH

TkH (Teorija koja hoda) osnovan je kao istraživačka teorijsko-umetnička grupa u Beogradu 2000. godine radi podsticanja razvoja savremenih izvođačkih umetnosti i kritičkih teorijskih diskursa u lokalnom kontekstu, kao i njihove promišljene afirmacije na internacionalnoj sceni. TkH deluje kroz različite programe i projekte: TkH časopis za teoriju izvođačkih umetnosti, edukativne programe (s-o-s, Šverc znanja, Deschooling Classroom), dramaturške treninge, onlajn platformu (tkh-generator.net), Forum za kritiku i seriju interdisciplinarnih performansa. TkH je aktivan i na polju kulturne politike i sarađuje sa samoorganizovanim inicijativama iz Beograda (Druga scena), regiona (Clubture regionalna inicijativa) i šire (PAF) na jačanju infrastrukturnih i diskurzivnih potencijala nezavisnih kulturno-umetničkih scena.

TkH (Theory that Walks) was founded as a research theoretical /artists group in Belgrade in 2000. with the aim to encourage the development of contemporary performance art and critical theoretical discourse in the local context, as well as their well thought up affirmation on the international scene. TkH acts through various programs and projects: TkH Magazine for Theory of The Performance Arts, educational programs (s-o-s, Illegal Transportation of Knowledge, Deschooling Classroom), drama trainings, an online platform (tkh-generator.net), The Forum for Critique and a series of interdisciplinary performances. TkH is also active in the field of cultural politics and cooperates with self organized initiatives from Belgrade (Second Scene), the region (Clubture Regional Initiative) and even more (PAF) active in the field of strengthening of infrastructural and discursive potentials of independent cultural and art scenes.

Kontakt Contact:TkH – centar za teoriju i praksu izvođačkih umetnosti/ TkH – Center for Performing Arts Theory and PracticeMagacin, Kraljevića Marka br. 4, 11 000 Beograd, SrbijaAna VujanovićT/F: +381 11 3286849, 3061524E: tkh@tkh-generator.net tkh@yahoo.com www.tkh-generator.net 60 61

VISART

VISART je asocijacija za vizuelnu umetnost i kulturu koja se bavi promovisanjem nove umetničke prakse, afirmacijom estetskih vrednosti preko pojedinačnog i kolektivnog umetničkog rada nekomercijalnog karaktera i novih medija kroz pojedinačne i zajedničke umetničke akcije, podsticanjem i afirmacijom mladih stvaralaca, promovisanjem novog menadžmenta vizuelnih umetnosti i saradnjom sa sličnim asocijacijama, udruženjima, ustanovama kulture i obrazovanja, umetnicima, teoretičarima i kuratorima u zemlji i inostranstvu.Posebno polje istraživanja asocijacije jeste umetnost u vaninstitucionalnom sistemu, u javnim i alternativnim prostorima, i kontekstualna umetnička praksa. Asocijacija deluje preko stručnih konferencija, predavanja, prezentacija, izdavaštva, umetničkih akcija, rada In Situ i izložbi. VISART je osnovan u decembru 2005. godine. Do sada je realizovao 22 projekta i uspostavio saradnju sa brojnim galerijama, muzejima, udruženjima, fakultetima, umetnicima, teoretičarima i medijima u zemlji i inostranstvu.

VISART is an association for the visual arts and culture that promotes new artistic pratice, along with the affirmation of aesthetic values through individul and collective art work of a non commercial nature and new media through individual and group artistic action, stimulation and affirmation of emerging authors, by promoting new management of the visual arts and through cooperation with similar associations, cultural institutions, educational institutions, artists, theoreticians and curators in the country and abroad. A special field of research for the association is art in the non institutional system, in public and alternative spaces, and contextual art practice. The association operates through professional conferences, lectures, presentations, publications, artist actions, „In Situ“ projects and exhibitions. VISART was founded in December of 2005. Up until today it has realized 22 projects and established cooperation with numerous galeries, museums, assiciations, faculties, artists, theoreticians and media in the country and in the world.

Kontakt Contact:VisartMiloša Bajića 11, 21 000, Novi SadSvetlana MladenovT/F: +381 21 661 8949M: +381 63 249 319, +381 64 141 9235E: info@visart.org.rs www.visart.org.rs

Galerija ZvonoZvono Gallery

Program Galerije Zvono fokusiran je na prvom mestu na mlade i nedovoljno etablirane umetnike, ali galerija sarađuje i sa već uspešnim umetnicima. Tako je veći deo programa, u smislu „nekonformističke pozicije” upravo opredeljen za eksperimente i „nepotvrđene vrednosti”. Izlagački plan fokusiran je u pravcu afirmacije savremenih tendencija i savremenih načina umetničke komunikacije. Tokom godine, u galeriji se održava veliki broj kako samostalnih tako i grupnih i autorskih izložbi. Značajna je i saradnja sa drugim kulturnim institucijama u zemlji i inostranstvu.

The program of the Zvono gallery is primarily focused on the young and non established artists. However, the gallery also work with the well known artists. The larger portion of the program is, in the sense of the “nonconformist position” determined towards experiments and “unconfirmed values”. The exhibition plan is focused in the direction of the affirmation of contemporary tendencies and contemporary ways of artistic communication. Throughout the year the gallery hosts a large number of independent and group exhibitions. Cooperation with other domestic and foreign cultural institutions is also important.

Kontakt Contact:Galerija Zvono / Zvono GalleryVišnjićeva 5, 11 000 Beograd, SrbijaLjiljana TadićT: +381 11 2625 243E: galerijazvono@gmail.com www.galerijazvono.org 62 63

Anonymous said:

Anonymous said: je organizacija posvećena realizaciji projekata iz oblasti savremene umetnosti, kreativnim formama promocije i prezentacije kulture, razvoju partnerstva između društvenog i privatnog sektora i saradnji u oblasti kulture. Programi Anonymous said: obuhvataju polja savremene istraživačke i umetničke prakse, društveno angažovane projekte, edukaciju u oblasti menadžmenta i marketinga u kulturi i različite forme međunarodne kulturne saradnje, koja uključuje razmenu stručnjaka, umetnika, organizaciju umetničkih projekata, radionica i predavanja. Projekti se organizuju u Beogradu, gradovima širom Srbije i Evrope.

Anonymous said: Kreativne komunikacije.

Kontakt Contact:Anonymous said:Cara Nikolaja II 61 b, 11 000 Beograd, SrbijaAnica TucakovT/F : +381 11 3732 546E: markovic.sandra@anonymoussaid.org anica.tucakov@anonymoussaid.org www.anonymoussaid.org

Anonymous said: is an organization dedicated to projects in the field of contemporary art, creative promotion of the culture, development of partnership between social and private sectors and cultural collaboration. Programs organized by Anonymous said: include research activities and contemporary artistic practice, educational activities and different forms of international cultural cooperation – experts and artists exchange, organization of artistic projects, workshops and lectures. Projects are organized in Belgrade, throughout Serbia and Europe.

Anonymous said: Creative communications.

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ManifestacijeManifestations

Alternative film/video

Festival novog filma i videa ALTERNATIVE FILM/VIDEO 2006. godine od regionalnog je prerastao u međunarodni festival, sa misijom istraživanja pojma alternativnog u raznim aspektima te prakse. Održava se u Domu kulture „Studentski grad“ u organizaciji Akademskog filmskog centra (AFC). Takmičarski program bira selekciona komisija, a žiri sastavlja listu značajnih ostvarenja festivala. Dosadašnji tim festivala, u koncipiranju specijalnih programa, izložbi, performansa, predavanja i projekcija (teme od 2005. do 2008: Mreže, Laboratorija, Asocijacije, Sećanja), reaktuelizovao je pojam alternativnog u savremenoj filmskoj i video produkciji.

The festival of new film and video, ALTERNATIVE FILM/VIDEO had grown from a regional festival into an international festival in 2006, with the mission to explore the concept of the alternative in the various aspects of that practice. It is held in the “Student’s City” Cultural Center and it is organized by the Academic Film Center (AFC). The competitive portion of the festival is chosen by the selection committee, and the jury is responsible for choosing the important accomplishments of the festival. The team of the festival up until today has reactualized the concept of the alternative in contemporary film and video production by concieving special programs, exhibitions, performances, lectures and projections (themes from 2005. to 2008: Networks, Laboratory, Associations, Memories ).

Kontakt Contact:Akademski filmski centar / Academic Film CenterDom kulture „Studentski grad“ / Cultural Center “Student’s City”Bulevar Zorana Đinđića 179, 11 070 BeogradMiodrag MiloševićT/F: +381 11 269 1442, 319 3889E: alternative@dksg.rs www.alternativefilmvideo.org65

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BELEF

Beogradski letnji festival BELEF, multimedijalni je festival pozorišne, muzičke i vizuelne umetnosti i kulturna manifestacija od posebnog značaja za grad Beograd. Osnivač i pokrovitelj festivala je Skupština grada Beograda, resorni Sekretarijat za kulturu, a značajnu podršku daje i Ministarstvo kulture Republike Srbije.

To je, pre svega, festival produkcija, koje imaju svoje ambijentalno izvođenje tokom letnjih meseci. Belef omogućava ekskluzivnu i premijernu ponudu umetničkih proizvoda domaćih i svetskih umetnika, u sve tri umetničke discipline koje pokriva.

Kontakt Contact:Belef centarIlije Garašanina 24, 11 000 Beograd, SrbijaMilena StojićevićT/F: + 381 11 3238 341, 3238 859E: office@belef.org www.belef.org

The Belgrade summer festival BELEF is a multimedial festival of theatrical, musical and visual arts. It is one of the most significant cultural manifestations in the city of Belgrade. The founders and patrons of the festival are the Assembly of the City of Belgrade and its Secretariat for Culture, and the Ministry of Culture of The Republic of Serbia also provides fundamental support.

It is, first and foremost, a festival of productions with their own ambiental performances throughout the summer. BELEF presents an exclusive offering of artistic products from domestic and foreign atrists in all three art forms that it covers.

Real Presence

REAL PRESENCE 2001–2009. jeste poznata manifestacija međunarodnog workshop programa mladih umetnika i studenata sa različitih umetničkih akademija. Workshop, umetnička radionica, obuhvata veliki broj učesnika, razvija široku mrežu kontakata, saradnje, razmene i novih inicijativa, prezentacija, plasmana i promocije. Real Presence workshop održava se svake godine od 20. do 30. avgusta, paralelno sa velikim smotrama poput Bijenala u Veneciji i Istanbulu, bijenalskim projektom Manifesta i gostuje u okviru akademija: Steadelshule u Frankfurtu, Lasalle u Singapuru, IUAV i Akademije u Veneciji, kao i poznatih muzeja: Moderna Muset u Stokholmu, Istanbul Modern i Muzej savremene umetnosti Castello di Rivoli / Torino. Program workshopa prate prezentacije umetnika kao redovna aktivnost, predavanja profesora, gostiju iz različitih oblasti, okrugli stolovi i razgovori sa učesnicima. Real Presence je umetničko-edukativna manifestacija mladih, a cilj joj je širenje i podizanje umetničkog i edukativnog standarda profesionalnog rada studenata/umetnika.nKA – nezavisna KULTURNA ASOCIJACIJA – neprofitna organizacija – bavi se koncipiranjem umetničkih/edukativnih projekata mladih autora i dokumentarnih/problemskih programa. nKA programi održavaju se u okviru MKM – Magacina u ul. Kraljevića Marka 4, Beograd.

REAL PRESENCE 2001–2009. is a well known manifestation of the international workshop program of young artists and students from various arts academies. The artist workshop contains a large number of participants, it helps develop a wide network of contacts, cooperation, exchange and new initiatives, presentations, endorcements and promotions. The Real Presence workshop is held each year from the 20th till the 30th of August, parallel to large surveys such as The Biennial in Venice and Istanbul, the biennial project Manifesta and is a guest within the following academies: Steadelshule in Frakfurt, Lasalle in Singapore, IUAV and the Venitian academy, and well known museums such as : Moderna Muset in Stockholm, The Istanbul Modern and the Museum of Contemporary Art Castello di Rivolo / Torino. The workshop programs are are followed by artist’s presentations as a regular activity, lectures, guests from various fields, debates and conversations with participants. Real Presence is an artistic and educational manifestation of the young, its aim is the expansion and elevation of the artistic and educational standard of professional work of the student/artist. iCA – independent Cultural Association – is a non profit organisation that deals with concieving artstic/educational projects of young authors and documentary/problems programs. The iCA programs are held in the MKM - Warehouse in the Kraljevića Marka street 4, Belgrade.

Kontakt Contact:nKA / iCA BeogradDr Ivana Ribara 113/3, 11 070 Novi Beograd, SrbijaBiljana TomićT/F: +381 11 215 8948E: btomicka@EUnet.yu

Dobrila DenegriVia Angelo Tittoni 4, 00153 Rome, ItalyT: +39 06 580 6724

Noć muzeja Museum Night

Manifestacija „Noć muzeja“ danas je jedan od najpoznatijih kulturnih brendova u Srbiji, najposećeniji događaj u oblasti kulture i jedina manifestacija koja se na popularan način bavi muzejima i kulturnom baštinom. Do sada je održana šest puta i beleži razvoj kako po broju poseta tako i po broju institucija koje u njoj učestvuju. Prva „Noć muzeja“, održana u pet beogradskih muzeja i galerija, uspela je da animira više od 4.000 posetilaca, dok je za samo četiri godine taj broj narastao na neverovatnih 450.000, na skoro 120 lokacija u više od 30 gradova Srbije. Mnoge ustanove za samo jedno veče zabeleže više posetilaca nego tokom čitave godine.

The manifestation “Museum Night” is one of the best known cultural brands in Serbia today. It is the most frequently attended event in the cultural domain and the only manifestation that deals with museums and cultural heritage in a popular fashion. Up until today, it has been held six times and is still developing in terms of visitors and participating institutions. The first “Museum Night”, which was held in five museums and galleries in Belgrade, succeeded in attracting more than 4.000 visitors. During the past four years that number has grown to 450.000, in almost 120 locations in more than 30 cities in Serbia. Many institutions have more visitors in this one night than they do during the entire year.

Kontakt Contact:UPG Noć muzejaKneza Miloša 25, 11 000 BeogradMladen PetrovićT/F: +381 11 3620 777, 2641 542E: kontakt@nocmuzeja.rs

www.nocmuzeja.rs www.festivalnauke.org 68 69

Oktobarski salon, Beograd The October Salon, Belgrade

Oktobarski salon je najstarija, najuglednija, najkompleksnija manifestacija iz oblasti vizuelnih umetnosti u Srbiji, čiji je osnivač i pokrovitelj grad Beograd. Osnovan je 1960.godine sa željom da na godišnjem planu predstavlja reprezentativno aktuelno stvaralaštvo domaćih savremenih umetnika. Za pet decenija postojanja Oktobarski salon prošao je kroz dinamičnu transformaciju od revijalne izložbe do međunarodne manifestacije autorskog tipa. Od 2004. godine umetnički direktori poslednjih pet međunarodnih izdanja bili su Anda Rotenberg, Darka Radosavljević, Rene Blok, Lorand Heđi i Bojana Pejić. Tokom šest nedelja Oktobarski salon poseti sto hiljada ljudi različitih stručnih profila i generacija, a beogradski umetnički narativ postaje sve zanimljiviji za istraživanje.

The October Salon is the oldest, most prestigious, most complex manifestation in the field of contemporary visual art in Serbia, organized by the auspices of the manifestation’s founder - City of Belgrade. It was founded in 1960. with the aim to show representative and current work of domestic contemporary artists, on an annual level. During the five decades of its existence the October Salon has endured a dynamic transformation from a mere review to an international author’s manifestation. Since 2004. the art directors of the last five international reviews have been Anda Rotenberg, Darko Radosavljević, Renne Bloch, Laurant Hegy and Bojana Pejić. During the six weeks of the October Salon, it is visited by over 100.000 people of various professional profiles and generations, and Belgrade’s artistic narrative becomes ever more so interesting to explore.

Kontakt Contact:Organizator Oktobarskog salona / The organizer of The October SalonKulturni centar Beograda / Cultural Center of BelgradeKnez Mihailova 6/1, 11 000 Beograd, SrbijaZorana ĐakovićT/F: + 381 11 2622 926, 2623 853E: zorana.djakovic@kcb.org.rs

www.kcb.org.www.oktobarskisalon.org

Refract

Refract je regionalni festival alternativne kulture koji se paralelno svake godine održava u više gradova Srbije (Beograd, Kragujevac, Zrenjanin, Požarevac, Banatsko Novo Selo...). Predstavlja stvaralaštvo i autore savremene evropske scene iz oblasti muzike, teatra i vizuelne umetnosti. Za devet godina, koliko se festival održava, predstavljeni su umetnici iz skoro svih evropskih zemalja i izvedeno je više od 600 pojedinačnih programa. Jedan od ciljeva manifestacije jeste uspostavljanje aktivne kulturne mreže među gradovima Srbije direktnom programskom saradnjom vladinog i nevladinog sektora.

Refract is a regional festival of alternative culture which is held simultaneously inmultiple towns in Serbia (Belgrade, Kragujevac, Zrenjanin, Požarevac, Banatsko Novo Selo...).It presents work and authors of the contemporary European music scene, theatrical and visual arts. During the course of nine years, which is how long the festival has existed, artists from almost all European countries have been presented and more than six hundred individual programs have been carried out. One of the goals of the manifestation is the constitution of an active cultural network that spans through Serbian cities by means of direct program cooperation of the government and non government department.

Kontakt Contact:Kulturni frontMakedonska 22, 11 000 Beograd, SrbijaDejan UbovićT/F: +381 11 316 42 96 E: mail@refractfestval.net www.refractfestival.net 70 71

Festival Videomedeja Festival Videomedea

Međunarodni video festival VIDEOMEDEJA je nezavisna i neprofitna manifestacija koja se održava svake godine. Prvi video festival održan je 1996. Festival VIDEOMEDEJA okuplja internacionalne i regionalne umetnike. To je manifestacija sa tradicijom i kvalitetom koji je prepoznat na međunarodnom nivou, te predstavlja vrlo važan događaj za Novi Sad i Srbiju. Festival se fokusira na umetničke projekte koji kombinuju sliku i zvuk, naprednu komunikaciju i objekte: video radove, dokumentarne i kratke filmske forme, digitalne animacije, medijske instalacije, intervencije u prostoru, interaktivne i robotizovane objekte, url projekte, open source aplikacije, žive audio- -vizuelne nastupe, elektronsku muziku, napredne tehnologije u umetničkoj praksi... VIDEOMEDEJA poseduje arhivu radova medijske umetnosti sa oko 1.500 izabranih naslova, jednu od najvećih i najznačajnijih kolekcija tog tipa u Srbiji i regionu, reprezentujući svetsku video scenu, od sredine sedamdesetih do danas. U njoj se nalaze video radovi i umetnički projekti u srodnim formatima, kratki ekperimentalni filmovi, dokumentacija medijskih instalacija i audio-vizuelnih koncerata, publikacije, katalozi, specijalizovani magazini itd.

The international video festival VIDEOMEDEA is an independent and non profit manifestation that is held each year. The first video festival was held in 1996. The VIDEOMEDEA gathers artists from all over the world, as well as from the region. It is a manifestation that has tradition and quality that is valued on a world wide level. It represents a very important event for Novi Sad and Serbia. The festival is focused on art projects that combine image and sound, progressive communication and objects: video art, documentary and short films, digital animation, media installations, spacial interventions, interactive and robotic objects, URL projects, open source applications, live audio-visual performances, electronic music, progressive technologies in the artistic practice... VIDEOMEDEA possesses an archive of media art that includes around 1.500 titles, one of the largest and most significant collections of its kind in Serbia and the in region, representing world video scene, since the seventies until today. It contains video works and art projects in similar formats, short experimental films, a documentation of media installations and audio-visual concerts, publications, catalogues, specialized magazines, etc.

Kontakt Contact:Udruženje za video umetnost VIDEOMEDEJA/ Association for video art VIDEOMEDEAPoštanski fah 137, 21 101 Novi SadIvana SremčevićT: +381 21 452 099E: office@videomedeja.org www.videomedeja.org

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Festival alternativne kulture ZaletFestival of Alternative Culture Zalet

Osim na organizovanju pseudoklasičnih manifestacija poput izložbi, koncerata i pesničkih večeri, akcenat je i na inovativnim i progresivnim vidovima umetničkih izražavanja kao što su performans, umetnost stripa, lo-fi video, video-art i konceptualna umetnost, kao i na suživotu tradicionalne likovne i konceptualne umetnosti.

Reakcije od gnevnih do euforičnih potvrdile su naše uverenje da postoji potreba za primenom savremenih umetničkih praksi, koja će pružiti drukčiji pristup društvenim i kulturnim vrednostima, stilovima života, novim idejama, podstaći razvoj umetničkog ukusa i omogućiti urbanom duhu specifične interakcije socijalnog miljea i alternative.

Apart from organizing pseudo-classical manifestations such as exhibitions, concerts, poetry reading nights and... the accent is on innovative and progressive aspects of artistic expression such as performances, comic book art, low-fi video, video art, conceptual art, as well as the co-existence of traditional fine arts and conceptual arts.

Reactions that span from angry to euphoric have confirmed our belief and opinion that there is a need to implement contemporary artistic practice, which will offer a different approach to social and cultural values, life styles, new ideas, and that will encourage the development of artistic affection and that will allow the urban spirit of specific interaction of the social milieu and the alternative.

Kontakt Contact:Pokret alternativne kulture ZALET/ Alternative culture movement ZALETPredrag MiloševićT: +381 19 428 536, 69 733 352E: zalet_org@yahoo.com www.zalet.org.yu

ProjektiProjects

Otvoreni put E-761Open Road E-761

Kooperacioni projekat „Otvoreni put E-761“, koji je pokrenut januara 2005, zatvoren je decembra 2008. godine, poslednjom retrospektivnom izložbom u Narodnom muzeju u Užicu. Projekat je bio zasnovan na podizanju kapaciteta kulturnog sistema u četiri grada u unutrašnjosti Srbije, u saradnji organizacija civilnog društva. Za četiri godine aktivnog delovanja u Užicu, Požegi, Čačku i Kraljevu, njima susednim opštinama, ali i na nacionalnom nivou, „Otvoreni put“ realizovao je više stotina manjih i većih inicijativa, predstavio dobru praksu i lokalni kreativni kapital, inicirao partnerstva i pokrenuo nekoliko značajnih projekata ili platformi koje su nastavile da deluju i posle završetka oficijelnog dela programa. Program će biti nastavljen pod imenom E-761, kao projekat regionalne balkanske saradnje.

The co-operational project “Open Road E-761”, which was initialized in January 2005, was closed in December 2008, with the final retrospective exhibition in the National Museum in Užice. The project was based on the cultural system capacity building in four cities in Serbia, by the cooperation of civil society organizations. During the course of four years of active practice in Užice, Požega, Čačak and Kraljevo, and their neighboring municipalities, but also on a national level, the “Open Road” has realized several hundred smaller and larger initiatives. It has presented good practice and local creative capital, initiated partnerships and set in motion several important projects or platforms which have continued to act even after the official end of their part of the project.The program shall be continued under the name E-761, as regional cooperation project in the Balkans.

Kontakt Contact:ACADEMICA – Akademska grupa / Academic group – ACADEMICADimitrija Tucovića 129/I, 11120 Beograd, SrbijaAleksandar ĐerićT/F: +381 11 24 12 841, 38 06 549M: +381 62 408 363E: programme@academica.org.rs75 www.academica.org.rs

GRRR!

Kao nastavak Internacionalnog festivala autorskog stripa GRRR!, koji je od 2002. do 2007. godine u Pančevu okupljao zavidan broj autora, teoretičara i izdavača stripa iz zemlje i inostranstva, Kulturni centar Pančeva i Saša Rakezić 2008. godine pokrenuli su GRRR!Program. Ta nova serija manifestacija promoviše strip i druge oblike kreativnog stvaralaštva na lokalnoj sceni. Kao centar aktivnosti odabrani su Galerija „Elektrika“ i drugi prostori Kulturnog centra Pančeva. Među gostima GRRR!Programa bili su strip autori iz Italije (Gianluca Costantini, Mara Cerri, Magda Guidi), Austrije (Christian Wellmann, Ewald Elmecker, Janina Wegscheider, Alexander Wilhelm, Martin Bruner), italijanski teoretičar stripa Andrea Plazzi i brojni autori iz naše zemlje (Wostok, Maja Veselinović i drugi).

As a continuation of the International Festival of Author’s Comics GRRR! which has, since 2002. untill 2007. in Pančevo, gathered an enviable number of authors, theoreticians and comic book publishers from within the country as well as from abroad. The Pančevo Cultural Center and Saša Rakezić started the GRRR! Program in 2008. This new series of manifestations promotes comics and other forms of creative production on the local scene. The Gallery “Elektrika” and other venues of the Pančevo Cultural Center have been chosen as centers of activity. The GRRR! Program has had many international guests such as comic book authors from Italy (Gianluca Costantini, Mara Cerri, Magda Guidi), Austria (Christian Wellmann, Ewald Elmecker, Janina Wegscheider, Alexander Wilhelm, Martin Bruner), as well as the Italian comic book theoretician Andrea Plazzi and many authors from our country (Wostok, Maja Veselinović and others).

Kontakt Contact:GRRR! FestivalAleksandar RakezićE: aleksandarzograf@gmail.com

KontraStudio

KontraStudio je multidisciplinarni studio koji deluje u oblasti vizuelnih komunikacija. Razmišljajući strateški i kreativno, zajedno sa svojim partnerima, organizacijama i pojedincima, stvara jedinstvene dizajnerske i arhitektonske vizuelne forme, zasnovane na realnim društvenim potrebama.KontraStudio i pojedinci koji ga čine realizovali su projekat „(ne)postojeće“, izložbu nerealizovanih logotipa i znakova niških autora (umetnička intervencija u javnom prostoru u Nišu).Značajne rezultate KontraStudio je ostvario učešćem u realizaciji projekata: „Campus Urbanism & Architecture – Pablo Campos“ na Univerzitetu u Nišu (organizator: SITON, podrška: LEDIB, 2009), „young2young“ i„Centres for Women Entrepreneurship – A Cross-border Network for the Future“ (organizator: Delegacija Evropske komisije u Republici Srbiji, vodeći partner: RPK Niš, 2007–2009).

KontraStudio is a multi-disciplinary studio whichis active in the field of visual communication. By using strategic and creative thought, along with its partners, organizations and individuals, it creates unique design and architectural visual forms, based on real social needs. KontraStudio and the individuals that it is comprised of have realized a project called “(non)Existing”, which is an exhibition of logotypes and symbols of authors from Niš, that were never realized (an artist intervention in a public space in Niš).KontraStudio has had significant outcomes by participating in the realization of the project called: „Campus Urbanism & Architecture – Pablo Campos“ at the University in Niš (organizer: SITON, support: LEDIB, 2009), „young2young“ and „Centers for Women Entrepreneurship – A Cross-border Network for the Future“ (organizer: Delegation of the European Committee in the Republic of Serbia, leading partner: RPK Niš, 2007–2009).

Kontakt Contact:KontraStudioNestora Žučnog 9a/1, 18000 NišZoran NikolićT/F: +381 18 526 196E: nikolic@kontrastudio.com stankovic@kontrastudio.com www.kontrastudio.com76 77

PrepoznavanjeRecognition

Knjiga – umetnički objekatBook – Art object

Kruševac, Čačak, Kraljevo, Niš

Projekat Prepoznavanje počeo je da se realizuje 2004. godine, u saradnji Umetničke galerije Narodnog muzeja Kruševac (nosilac projekta), Narodnog muzeja u Kraljevu, Umetničke galerije „Nadežda Petrović“ u Čačku i Galerije savremene likovne umetnosti u Nišu, i kustoskog tima (Biljana Grković, Ljubiša Simović, Julka Marinković, Milica Todorović), kao objedinjena postavka autorskih izložbi u svakom od gradova učesnika. Cilj projekta je da angažuje kreativne sadržaje u određenim sredinama, uspostavi komunikaciju kulturnih sredina u regionu, postojećih i novih medija izražavanja, doprinese razvijanju komunikacije sa publikom i podstakne razvoj i razumevanje savremene umetničke prakse.Prepoznavanje 2, pored dosadašnjih učesnika kao ravnopravnih partnera, uključuje i nove saradnike iz zemalja u okruženju, sa autorskim pogledima na sopstvenu scenu na objedinjenoj postavci, sa zajedničkom temom „Ksenofobija/ksenofilija“, da bi se promovisalo prepoznavanje umetničkih ideja i praksi u nepoznatim ili manje poznatim sredinama i na nov način aktuelizovala pitanja lokalnih umetničkih scena.

Projekat Knjiga – umetnički objekat, Beograd 2008, napravljen je sa ciljem da promoviše i podrži svaki nekonvencionalni pristup toj specifičnoj umetničkoj oblasti koja se odnosi na knjige-objekte, knjige-instalacije, autorske umetničke i eksperimentalne knjige.„Ovaj projekat je pokušaj da se uđe u novu sferu čitanja i karakterističan je po tome što sadržaj knjige ne koristi kao predložak za interpretaciju već knjigu tumači i pokazuje kao umetnički predmet koji vizuelnim sredstvima i znacima utiče na percepciju čitaoca, ostavljajući mu prostor da sam prepozna i dogradi sadržaj.“(Darka Radosavljević)

Rezultat ovog projekta je Međunarodna izložba radova prispelih na konkurs, kao i prateća izložba gostujućeg umetnika po pozivu. Ove godine to je bila izložba Joanne Hoffmann iz Poznanja, Poljska, održana u Muzeju „25. maj“ u Beogradu.

Autor i kustos projekta: Nena Skoko Snežana

Organizatori: Nezavisna umetnička asocijacija „Punkt za umetnički eksperiment“, Beograd i Narodna biblioteka, Beograd.

Kruševac, Čačak, Kraljevo, Niš

The Recognition project started in 2004, as cooperation of the Art Gallery of the National Museum in Kruševac (the offical bearer of the project), the National Museum in Kraljevo, the Artist Galley “Nadežda Petrović“ in Čačak, and the Gallery of Contemporary Fine Arts in Niš, and the curator team (Biljana Grković, Ljubiša Simović, Julka Marinković, Milica Todorović), as a unified postulate of authors’ exhibitions in each of the participating cities. The aim of the project is to motivate and engage creative content in specific environments, to establish the communication of cultural environments in the region, existing ones, as well as new mediums of expression, to enhance the development of communication with the audience and to rouse the development and understanding of contemporary artistic practice. Recognition 2, apart from people that have participated to this date, also includes new accomplices from neighboring countries, with author’s points of view on their scene in this unified display. All the works have the common subject of “Xenophobia/Xenophilia“, in order to promote the recognition of artistic ideas and practice in unknown, or less known environments and to make the question of local art scenes current again, but in a new way.

Project Book-art object, Belgrade 2008 was created in order to promote and support every unconventional approach to the specific artistic topic addressing books-objects, books – installations, authorial artistic and experimental books. “This project is an attempt to go into a new sphere of “reading”. Its main characteristic is that it does not treat book’s contents as a matrix for interpretation; it rather interprets and reveals book as an artistic object that visually affects the “reader”, leaving him/her the space to recognize and improve the contents.” (Darka Radosavljević)

The result of this project is the international exhibition of works submitted to the open competition, as well as the accompanying exhibition of the works of one invited artist. This year guest artist was Joanna Hoffmann from Poznan, Poland. Exhibition took place at the Museum „25th of May“ in Belgrade.

The author and curator of project:Nena Skoko Snežana.

Organizers: Independent Artistic Association „Punkt for Art Experiment“, Belgradeand National Library of Serbia, Belgrade.

Kontakt Contact:Projekat Prepoznavanje / The project RecognitionUmetnička galerija Narodnog muzeja Kruševac / The Art Gallery of the National Museum of KruševacMajke Jugovića 12, 37 000 KruševacBiljana GrkovićT: +381 37 439 224E: ugalerijaks@gmail.com

Kontakt Contact:PUNKT za umetnički eksperiment / PUNKT for art experimentM. Veličković 16/16, 11 470 Beograd, SrbijaNena Skoko SnežanaT: +381 11 3195600, 64 1771523E: punktum@yubc.net smaslacak@yahoo.com

www.cincplug.com/nenawww.serbiancontemporaryart.infowww.artbook08.wordpress.com78 79

Slobodna zonaFree zone

SLOBODNA ZONA je serija programa koji se baziraju na angažovanoj, savremenoj filmskoj produkciji i bave aktuelnim društvenim i političkim temama iz celog sveta.SLOBODNA ZONA ima četiri toka aktivnosti:– SLOBODNA ZONA BG – filmski festival u novembru i mesečni programi tokom godine– SLOBODNA ZONA SR – turneja izabranih filmova sa festivala u deset-dvadeset gradova Srbije– SLOBODNA ZONA na TV-u – emitovanje filmova(od jedan do četiri, u zavisnosti od obezbeđenih sredstava) koje je publika festivala glasanjem izabrala za najbolje na TV stanici sa nacionalnom frekvencijom,– SLOBODNA ZONA JR – program za srednjoškolce.Sve aktivnosti SLOBODNE ZONE rezultat supotrebe da se afirmativno i jasno, na komunikativan i savremen način, podstakne debata o aktuelnoj društvenoj i političkoj situaciji u svetu i položaju Srbije u njemu.

Dobro došli u Slobodnu zonu!

FREE ZONE is a series of programs which are based on engaged, contemporary film production and that deal with current social and political topics from around the world.FREE ZONE has four activities:– FREE ZONE BG – a film festival in November and monthly programs throughout the year– FREE ZONE SR – a tour of the films selected from festivals in ten – twenty cities in Serbia– FREE ZONE on TV – the broadcast of films (usually from one to four, in correlation to the supplied assets) that the audience of the festival has voted on as most suitable for television broadcast on a national frequency, – FREE ZONE JR – programming for high school students.All activities of FREE ZONE are a result of the necessity to affirmatively and clearly, in a communicative and contemporary way, create a debate about the current social and political situation in the world and Serbia’s position in it.

Welcome to Free zone!

Kontakt Contact:Organizacija / Organization:Kulturni centar REX / Cultural Center REXJevrejska 16, 11000 Beograd, SrbijaBojana ĆućilovićT/F: +381 11 3284536, 3284299E: info@freezonebelgrade.org www.freezonebelgrade.org

Dokument 2000Document 2000

Otkako je februara 2000. otvorio svoj javni prostor, REMONT – nezavisna umetnička asocijacija, paralelno sa drugim aktivnostima prikupljao je dokumentaciju o umetnicima. U saradnji sa katedrom za Istoriju moderne umetnosti Filozofskog fakulteta u Beogradu, studenti, mladi istoričari umetnosti, angažovani su na sređivanju te dokumentacije. Jedan od rezultata njihovog rada predstavlja i postavljanje veb baze podataka sa osnovnim informacijama o umetnicima koji su aktivni od 2000. Baza je kasnije proširena informacijama o internacionalnim manifestacijama, biografijama art kritičara i kustosa i listom novinara koji prate savremenu scenu vizuelnih umetnosti.Cilj projekta je dostupnost informacija širem krugu lokalnih i internacionalnih art profesionalaca.

Ever since it opened its public space in February 2000, REMONT – an independent artist association, has gathered documentation about artists, along with its other activities. In cooperation with the Chair of Contemporary Art History, Faculty of Philosophy in Belgrade, the students and young art historians, have been engaged in compiling this documentation. One of the results of their work is presented by the insertion of a web information database that contains basic information about artists that have been active since 2000. The database was later expanded with information about international manifestations, biographies of art critics and curators and a list of journalists that cover the contemporary visual art scene.The goal of the project is the accessibility of information to a wider range of local and international art professionals.

www.remont.netwww.serbiancontemporaryart.info

Kontakt Contact:Remont – nezavisna umetnička asocijacija/ Remont – an independent artist associationMakedonska 5/II, 11 000 Beograd, SrbijaDarka RadosavljevićT/F: + 381 (0)11 32 23 406, 33 44 171E: remont@remont.net 80 81

BiografijeBiographies

Dimitrije Tadić rođen je 1973. godine u Beogradu. Fakultet primenjenih umetnosti u Beogradu završio je 1999. godine.

Zaposlen je u Ministarstvu kulture Republike Srbije kao savetnik za vizuelne umetnosti i multimedije, u Sektoru za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose. Učestvovao je na mnogobrojnim seminarima i konferencijama: Kulturna industrija i nove tehnologije, Savet Evrope, Strazbur (2001); Kulturna politika i kulturna prava, Univerzitet u Friburgu (2002); Kulturna saradnja sa Jugoistočnom Evropom, Evropska kulturna fondacija, Amsterdam (2003); Kulturna politika i umetnička produkcija, Univerzitet umetnosti u Beogradu (2004); Kulturna politika i njena administracija, Nacionalni institut za kulturnu politiku, Grenobli Kuća svetskih kultura, Pariz (2006), i dr.

Autor je tekstova i urednik dve publikacije: Galerija 2003 - 2006 (Kulturni centar Sopot, Beograd, 2006) i Savremene umetničke inicijative (Remont - nezavisna umetnička asocijacija, Beograd, 2006). Učestvuje u koncipiranju i organizaciji programa galerija (galerija Centra za kulturu Sopot, od 2002; galerija Službeni glasnik, 2006 - 2008), kulturnih manifestacija i projekata.

Vizuelni je umetnik i autor više multimedijalnih projekata. Učesnik je mnogobrojnih grupnih izložbi i projekata. U saradnji sa Majom Josifović izdaje i almanah kao prateći segment autorskih projekata: Evropizam (2001), Od sreće i od sna (2004), Istorijska čitanka (2005), Zlatni presek opsene (2006) i Velike strasti (2008). Objavio je knjigu priča Kabineti kurioziteta, promenade i drugi divertismani (Albatros plus, Beograd, 2009).

Jasmina Čubrilo, rođena je u Beogradu. Diplomirala, je magistrirala i doktorirala na Katedri za modernu umetnost Odeljenja za istoriju umetnosti Filozofskog fakulteta u Beogradu.

Radi kao docent na Teorijskoj katedri Likovnog odseka Akademije umetnosti Univerziteta u Novom Sadu, a predaje i na beogradskom Fakultetu muzičke umetnosti Istoriju umetnosti (osnovni kurs). Tokom 2004. predavala je na predmetu Teorija i istorija performansa na postdiplomskim specijalističkim studijama za pozorišne i plesne izvođače pri Akademiji umetnosti Univerziteta u Novom Sadu.

Objavila knjigu „Beogradska umetnička scena devedesetih” u izdanju beogradskog Radija B92, kao i veliki broj studija i članaka u katalozima, monografijama, zbornicima, stručnim časopisima, dnevnim i nedeljnim novinama kod nas i u inostranstvu.

Dobitnica je nagrade za likovnu kritiku „Lazar Trifunović” za 1997. godinu. Članica je Društva istoričara umetnosti Srbije i Međunarodne asocijacije likovnih kritičara (AICA).

Dimitrije Tadić Jasmina Čubrilo

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Dimitrije Tadić (born in 1973, Belgrade) holds a B.A. degree from the Faculty of Applied Art, Belgrade (1999).

Works at the Ministry of Culture of the Republic of Serbia as the Advisor for Visual Arts and Multimedia in the Department for conteporary art, cultural industries and cultural relations. Participant of numerous seminars and conferences: Cultural Industry and new technologies, Council of Europe, Strasbourg (2001), Cultural policy and cultural rights, University of Fribourg (2002), Cultural cooperation with SEE, European Cultural Foundation, Amsterdam (2003), Cultural policy and art production, University of Arts, Belgrade (2004), Cultural policy and its administration, National Institute for Cultural policy, Grenoble and House of World Cultures, Paris (2006), among others.

Author of numerous essays and editor of two publications: Gallery 2003 – 2006 (Cultural Center Sopot, Belgrade, 2006) and Contemporary art initiatives (Remont – an independent artists initiative, Belgrade, 2006). Participates in program concepts and organization of art galleries (Gallery of the Center for Culture, Sopot, since 2002; Službeni glasnik Gallery 2006-2008), cultural manifestations and projects.

Dimitrije Tadić is visual artist and author of several multimedia projects. Participant of numerous group exhibitions and projects. In collaboration with Maja Josifović works on publication Almanach, as additional segment of author projects: Evropism (2001), Out of happiness and out of a dream (2004), History text book (2005), Golden intersection of delusion (2006) and Strong Passions (2008). He has written a book of stories Curiosity cabinets, promenades and other divertisments (Albatros plus, Belgrade, 2009).

Jasmina Čubrilo, born in Belgrade. Holds B.A, M.A. and PhD degree from the Department of History of Art at the Faculty of Philosophy, Belgrade (Cathedre for History of Modern Art).

Works as assistant professor at the Department for Theory at Visual Art Department of the Academy of Art, University of Novi Sad. Lecturer at the Belgrade Faculty for Music (History of Art). In 2004. Jasmina Čubrilo was lecturer at the postgraduate studies for performing artists at the Academy of Art, University of Novi Sad (Theory and history of peformance).

Ms. Čubrilo is the author of the book „Belgrade contemporary art scene in the nineties“, released by Radio B92, as well as numerous studies and articles published in catalogues, monographs, specialized magazines, daily and weekly newspapers in Serbia and abroad.

In 1997, she has received prestigious award for art critic “Lazar Trifunović”. Member of the Society of art historians of Serbia and International Association of Art Critics (AICA).

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Konkurs Ministarstva kulture Republike Srbije (2003 – 2008)Open contest of the Ministry of Culture of the Republic of Serbia (2003 – 2008)

SAVREMENE VIZUELNE UMETNOSTI I MULTIMEDIJECONTEMPORARY VISUAL ARTS AND MULTIMEDIA

Izdavač:Udruženje građana „Anonymous said:”Cara Nikolaja 61b, Beograd

Za izdavača:Sandra MarkovićAnica Tucakov

Urednik/Editor:Dimitrije Tadić

Tekstovi/Texts by:Dimitrije Tadić, Jasmina Čubrilo

Dizajn i prelom/Design and layout: Mane Radmanović

Prevod na engleski jezik/Translation:Damjan Babić

Lektura/Proof reading:Vesna Kalabić

Tiraž/Number of copies:1000Štampa/Printed by:Standard 2

Beograd, 2009. god.

www.anonymoussaid.orgwww. kultura.gov.rs

CIP - Каталогизација у публикацијиНародна библиотека Србије, Београд

354.34(497.11).078.5]:7”2003/2008”(083.94)7(497.11)”2003/2008”

ТАДИЋ, Димитрије, 1973-Savremene vizuelne umetnosti i multimedije = Contemporary Visual Arts and Multimedia : konkurs Ministarstva kulture Republike Srbije (2003-2008) = open contest of the Ministry of Culture of the Republic of Serbia (2003-2008) / [tekstovi, texts by Dimitrije Tadić, Jasmina Čubrilo : prevod na engleski jezik, translation Damjan Babić]. - Beograd : Udruženje građana “Anonymous said:”, 2009 (Beograd : Standard 2). - 85 str. : ilustr. ; 21cm

Uporedo srp. tekst i engl. prevod. - Tekst štampan dvostubačno. - Tiraž 1000. - Biografije: str. 83.

ISBN 978-86-87913-02-81. Чубрило, Јасмина, 1967 - [аутор]a) Србија. Министарство културе - Пројекти - 2003-2008б) Уметност - Србија - 2003-2008COBISS.SR-ID 167551244