Vladimir Rankovi}Tu|i prostori – „@ivi li ~ovek od iznutra ka spolja ili od spolja ka iznutra?“

Muzika: Nikola Cvetkovi}

Vladimir RankovicSomebody Else's Spaces – "Does a Man Live From Within to Without or From Without to Within?"

Music: Nikola Cvetkovic

Galerija Doma omladine Beograda2 – 14. oktobar 2007. godine

Belgrade Youth Cultural Centre GalleryOctober 2nd – 14th 2007

Ireni

To Irena

Ivan Manojlovi}

TI SI ONO [TO SLIKA[*

Rad Tu|i prostori – „@ivi li ~ovek od iznutra ka spolja iliod spolja ka iznutra?“ Vladimira Rankovi}a je jedan odra dova ovog umetnika, koji uklju~uje instalacije, foto -gra fije, skulpture i digitalne medije. Vladimir Rankovi} usvo jim delima, konstantno probijaju}i granice umetni -~kih medija, pomera i na momente bri{e onu jasnu crtukoja deli umetnost od `ivota. Umetnost Rankovi}a, koja jepred nama, istra`uje oblasti identiteta i predstavljanja. Ukonceptualnom smislu Tu|e prostore mo`emo po sma -trati kao niz portreta, koji umesto lika portretisanog pred - sta vlja ju njegovo okru`enje.

Portret je va`no polje umetni~kog delovanja, jo{ odre nesanse na ovamo. U po~eku je bio rezervisan za vla da -ju}u elitu, i imao je za cilj da poka`e svu mo} i bo ga tstvotih vlastodr`aca. Pojava gra|anskog portreta opisu je ~la -nove ekonomske i intelektualne elite jednog dru {tva. Na -stanak i razvoj fotografije, u drugoj polovini XIX veka, }eu~i ni ti posedovanje sopstvenog portreta pristupa~nim {i - rokim masama. Predstavljaju}i ih u svom `ivotnom i ra -dnom okru`enju, na ovim portretima se naro~ito obra}alapa`nja na one elemente tog okru`enja, koji ukazuju naso cijalni, verski ili ekonomski status portretisanog. Za -hva ljuju}i tom okru`enju koje se uo~ava na portretima,generi{u se odre|eni zaklju~ci o portretisanim li~nosti-ma. Unutra{nji izgled njihovih stanova, kafana, omilje nihmesta za izlazak, to jest svih onih prostora svakodne vni ce

portretisanog, name}u sliku o „unutra{njim“, mentalnimpro storima.

Ukoliko se iz ovakvih portreta apstrahuje samo taj„spolja {nji“ prostor, bez fizi~ke predstave portretisanog,pribli`e}e se ideji rada Tu|i prostori. Namera umetnikaje da prikazom unutra{njosti neposrednog okru`enja por -tretisanog otkrije psiholo{ku unutra{njost, koja stvara irazlikuje individualne identitete. Od velikog je zna~aja {toove predstave „spolja{njosti“ izra|uju sami portretisani,~ime Rankovi} zamagljuje granicu koju stvara odnos por - tret/autoportret.

Ovim radom, Rankovi} razbija jo{ jedan stereotip. Toje romanti~arsko poimanje umetnika, kao neshva}enogusamljenika, koji u pitomoj prirodi ili polutami ateljea,dokazuje svoj talenat. Osim {to je autor i idejni tvoracdela, Rankovi} uzima jo{ jednu ulogu. Kao reditelj, orke -strator, svoju ideju realizuje kroz iskaze drugih o sopstve -noj li~nosti. Upravo zato rad deluje kao pozornica sa~i -njena od niza scenskih prostora. Ovi prostori su mesta`ivotnih predstava, ~iji je tok uvek druga~iji, jer i sam po -smatra~ ima aktivnu ulogu. Na taj na~in posmatra~„upo znaje“ portretisanog. Kroz ovu, otvorenu formu radVla di mira Rankovi}a izmi~e okvirima konteksta u okviruko jih nastaje. Ovakva bezvremenost, u odnosu na dana -{nju ume tni~ku produkciju, deluje, pre svega, osve ̀ a -va ju}e.

* Reklmani slogan korporacije Sony

Ivan Manojlovic

YOU ARE WHAT YOU SHOOT*

The work by Vladimir Rankovic called Somebody Else'sSpaces – "Does a Man Live From Within to Without orfrom Without to Within?" is one of this artist's works, thatincludes installations, photographs, sculptures and dig-ital media. In his works, Vladimir Rankovic shifts and attimes erases that clear line that separates art from life,constantly breaking through boundaries of artistic media.The art of Rankovic, which is now before us, ponders theriddle of identity and presentation. In the conceptualsense, we may regard Somebody Else's Spaces as asequence of portraits, which do not show faces as muchas settings.

Portrait has been an important field of artistic effort,ever since Renaissance. At first it was a privilege of theruling elite, with a purpose to underline all the wealth andglory of those who wielded power. Portraits of citizensemerged to show members of the economic and intel-lectual elite of a society. With introduction and develop-ment of photography, in the second half of the NineteenthCentury, the masses could also afford their personalportraits. At the very center of attention were those ele-ments of the portraits' background, that revealed thesocial, religious and financial status of the subjects,shown in their everyday life and at work. Thanks to thesebackgrounds on the portraits, one can reach certain con-clusions about the owners of these countenances. Theinterior of their apartments, cafes, favorite leisure spots

and all the other places that marked the daily life of thoseportrayed, imposes an image of inner mental spaces.

If one considers just this external space, without theactual visage, one will inevitably come closer to theidea behind Somebody Else's Spaces. In this way theartists intends to disclose the psychological interior thatcreates and differentiates between individual identities,by means of displaying the interior of the portrait's set-ting. The fact that the portrayed themselves point towardthese images of exterior is of great importance, becauseit is in this way that Rankovic blurs the line that separatesportrait from self-portrait.

Rankovic defies another stereotype with this work. Itis the romantic perception of an artist as a misunder-stood loner, who proves his talent in the refuge of quitenature or his lugubrious studio. Apart from being theauthor of his work, Rankovic undertakes another role, ofa director, a conductor, who fulfills his idea through state-ments the others made on themselves. That is exactlywhy this works looks like a stage made of a series ofbackdrops. It is within these places that life takes place,always with a different course, for the observer too playsan active part, getting to know the portrayed. Throughsuch an open form, this work by Vladimir Rankovic eludesthe context in which it was made. Such timelessness,when compared to contemporary art production, appearsto be, before all, refreshing.

* A slogan of the Sony corporation

Vladimir Rankovi}, ro|en 1973. godine u Kra gu jev cu.Di plo mirao na Fakultetu primenjenih umetno sti u Beo gra -du, odsek Pri menjena grafika, atelje Gra fika i knjiga, u kla -si profesorke Mi li ce Vu~kovi}. Radi na Filolo{ko-ume tni -~kom fakultetu u Kra gujevcu.

Adresa: Kragujevac (34000), Lepeni~ki bulevar 3/27 Telefon: 034/361592 | Mobilni telefon: 064/2318819E-mail: irjena@sbb.co.yu

Vladimir Rankovic, born in 1973 in Kra gu jev ac. Gra -duated from the Faculty of Applied Arts in Belgrade in theclass of professor Milica Vuckovic at the Department ofGraphic Art. Works at the Faculty of Philology and Arts inKragujevac.

Address: Kragujevac, Serbia; Lepenicki bulevar 3/27 Tel: +381/34/361592 | Mob. tel: +381/64/2318819

M. A.

I. A.

A. Z.

D. J.

I. K.

N. C.

V. R.

Dom omladine BeogradaMakedonska 22dobinfo@domomladine.orgwww.domomladine.org

Za izdava~a:Milan Lu~i}, direktorUrednik:Ratko [uti}Savet Galerije:Dobrica Biseni}Dragana Ili} Ka`i}Vladimir Peri}Prevod na engleski:Milo{ Arsi}[tampa:Spektar 7, KragujevacIzdanje:618 (2007)

Tehni~ka pomo} pri realizaciji rada: Aleksandar Krstovi}Goran \uri}

Belgrade Youth Cultural CentreBelgrade (11000), Serbia; Makedonska 22dobinfo@domomladine.orgwww.domomladine.org

Authorised:Milan Lucic, General managerEditor:Ratko SuticGallery Council:Dobrica BisenicDragana Ilic KazicVladimir PericTranslation:Milos ArsicPrinted by:Spektar 7, KragujevacEdition:618 (2007)

Technical support: Aleksandar KrstovicGoran Djuric

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