Post-Nature metodologije (bio)arta i njihova lekovita svojstva – predavanja i radionica Post-nature methodologies of (bio)art and their healing purposes – lectures and workshop
Opis programa „Post-Nature metodologije (bio)arta i njihova lekovita svojstva – predavanja i radionica“ u Novom Sadu Projekat City><Hospital se temelji na razumevanju celog grada kao lečilišta, polazeći od činjenice da je bolest deo svakodnevice i integralni deo života. Stoga, lečenje, zbrinjavanje i ozdravljenje takođe treba da su deo svakodnevnih navika, društvenih praksi i kolektivna obaveza. Кoja je uloga umetnosti u tome? Prepoznajući ekološke prakse kao vid zaceljenja i put ka ozdravljenju urbanih struktura i cele planete, Centar za promociju transdisciplinarnosti Кo-ART u okviru projekta City><Hospital kojim prevodi udruženje F.ACT iz Graca, realizovao je interdisciplinarnu radionicu Post-nature: metodologije (bio)arta i njihova lekovita svojstva koja je otvorena za sve zainteresovane građane. Delujući iz životnog prostora, svako od nas može da doprinese ozdravljenju ljudi, gradova, planete, stvarajući od čaja ekološki materijal koji može postati potpuna zamena plastici, a o tome možemo da učimo kroz umetnost. Lekovitost čaja time dobija mnogo širi opseg, kao i aktivnost koju možemo da sprovodimo u životnom prostoru. Radionicu su vodili umetnici i teoretičari koji su deo svoje prakse posvetili primenjivanju, razvijanju i/ili izučavanju ekoloških materijala biljnog porekla. Program je bio podeljen u dva dela – teorijski i praktični – i posmatrao je lekovita i umetnička svojstva biljaka, a potom i mikrobioloških i simbiotičkih kultura koje nastaju od određenih biljaka. U prvom delu, teoretičarka umetnosti i nezavisna kustoskinja Sonja Jankov je dala pregled umetničkih praksi koje se zasnivaju na upotrebi biljaka i razmotrila ove prakse u kontekstu bioart-a i umetnosti u otvorenim javnim prostorima. Vizuelni umetnik Nikola Radosavljević je predstavio svoje radove koji sadrže biljke, ekološke biljne derivate i mikroorganizme, sa fokusom na ideju zaceljenja u svojoj umetnosti i ukazavši kako se oni mogu koristiti za detektovanje „oboljenja“ građevina. Predavači su sa učesnicima razmotrili da li su sve umetničke prakse u kojima se koriste biljke uvek i bioart, na koje načine biljke u umetnosti doprinose dobrobiti gradova, koje sve poruke i osećanja mogu da se izraze biljkama, da li je i na koje načine ono što nastaje takvim praksama lekovito po ljude, društvo, gradove, planetu. Drugi deo programa je počeo predavanjem umetnice Adrienn Ujhazi o tome kako kombuhu i skobi upotrebljava u svojoj umetničkoj praksi. Sa time je počeo i praktični deo radionice o pravljenju ovih kultura u kućnim uslovima. Кombuha i skobi su daleko cenjeni zbog svojih lekovitih i ekoloških svojstava jer se koriste u ishrani i istražuju se i unapređuju kao zamena za najlon i plastiku. Oni se takođe mogu koristiti i u druge svrhe i cilj radionice je da nauči polaznike da ih prave materijalima koje svako ima kod kuće.
Description of the programme “Post-nature methodologies of (bio)art and their healing purposes – lectures and workshop” in Novi Sad The City><Hospital project is based on the understanding of the whole city as a health resort, starting from the fact that illness is an integral part of everyday life. Therefore, treatment, care and healing should be also part of daily habits, social practices and collective commitment. What is the role of art in that process? Recognizing environmental practices as a form of healing and a way to heal urban structures and the entire planet, the Centre for the Promotion of Transdisciplinarity Co-ART within the project City><Hospital led by F.ACT from Graz, carried out interdisciplinary workshop Post-nature methodologies of (bio)art and their healing purposes – lectures and workshop, which was open to all interested citizens. Acting from our own living space, each of us can contribute to the healing of people, cities, the planet, creating an ecological material from tea that can become a complete substitute for plastic, and learning about that through art. The healing properties of tea are thus much wider, as well as the activity that we can carry out in our living space. The workshop was led by artists and theorists who have dedicated part of their practice to the application, development and/or study of ecological materials of herbal origin. The programme is divided into two parts – theoretical and practical – and focuses on the healing and artistic properties of plants, as well as the microbiological and symbiotic cultures that grow from certain plants. In the first part, art theorist and independent curator Sonja Jankov gave an overview of artistic practices based on the use of plants and discussed these practices in the context of bioart and art in open public spaces. Visual artist Nikola Radosavljević presented his works that contain herbs, ecological plant derivatives and microorganisms, focusing on the idea of healing in his art practice and pointing out how these bio-materials can be used to detect “diseases” of buildings. Lecturers discussed with the participants whether all artistic practices in which plants are used are always bioart, in what ways plants in art contribute to the well-being of cities, what messages and feelings can be expressed by using plants, whether and in what ways everything created by such practices is healthful for people, society, cities, the planet. The second part of the programme begun with a lecture by artist Adrienn Ujhazi on how she uses kombucha and scoby in her artistic practice. This was the beginning of the practical part of the workshop on making these cultures at home. Kombucha and scoby are highly valued for their healing and environmental-friendly properties because they are used as dietary supplement and are being researched and developed as a substitute for nylon and plastic. They can be also used for other purposes and the aim of this workshop is to teach the participants how to make them from tools that everyone has at home.
Opis projekta „CITY><HOSPITAL“ Citi><Hospital je dvogodišnji program F.ACT-a koji ima za cilj podsticanje kolektivnog procesa preispitivanja stanja bolesti, uključujući njene prostorne manifestacije, kao i politiku i praksu lečenja. Sam naziv Citi><Hospital izražava potrebu za alternativnom, produktivnom i inkluzivnom spatijalizacijom bolesti – umesto simboličkog brisanja bolesti kroz njeno zadržavanje u visoko specijalizovanim prostorima (bolnicama), Citi><Hospital ceo grad shvata kao sanatorijum. Ako se urbani prostor rekonceptualizuje na ovaj način, bolesti postaju vidljive i prihvaćene kao integralni aspekt života, suočavanje sa bolešću se odnosi na kolektivno iskustvo, a lečenje se posmatra kao društvena praksa i obaveza. Program obuhvata četiri grada – Grac, Rijeku, Novi Sad i Maribor – koji dele status evropskih prestonica kulture, što ih čini primerima procesa izgradnje brenda i pogodnim za ispitivanje ideoloških osnova. Posebno u vremenima pandemije COVID-19, koja se preklapa sa prvobitno planiranim mandatom EPК Rijeke (2020) i Novog Sada (2021), kao i Godinom kulture 2020. u Gracu, razlika između slike gradova (željnih investicija i turista) prisutna na međunarodnoj javnosti i slike realnosti urbanog života postaje sve očiglednija – tim pre što su mnogi od zakazanih kulturnih događaja morali biti otkazani zbog epidemije, a praksa socijalnog distanciranja značajno je promenila izgled urbanih prostora. Sve ovo doprinosi potrebi za ponovnim osmišljavanjem mesta koje bolest i oboleli imaju u gradovima i načina na koji zajednice shvataju i nose se sa bolešću. Citi><Hospital se realizuje kao serija otvorenih radionica (po jedna u svakom od uključenih gradova), uključujući seriju „disperzivnih“ publikacija i putujuću izložbu rezultata radionica. Svaka radionica će pokriti određeni aspekt tematske oblasti kojom se program bavi. Uz pomoć interdisciplinarnog tima mentora i predavača iz oblasti vizuelnih i performativnih umetnosti, kulturne antropologije, nauka o životnoj sredini, javnog zdravlja i psihoterapije, polaznici radionica će koristiti fotografiju, nove medije, crteže, tekstove, site-specific instalacije ili performanse kako bi stvarili novu sliku gradova u kojima žive – gradove shvaćene kao prostore zajedničke bolesti, lečenja i nege. Citi><Hospital odaje počast Eriki Petrić – arhitektici, istraživačici, fotografkinji i osnivačici F.ACT-a, koja je preminula 11. jula 2020. godine od posledica karcinoma.
Description of the project “CITY><HOSPITAL” City><Hospital – a two-year program of F.ACT – aims at fostering a collective process of rethinking the condition of disease, including its spatial manifestations as well as politics and practices of healing. The very name City><Hospital expresses the need for an alternative, productive and inclusive spatialization of disease – instead of the symbolic erasure of illness through its containment in highly specialized spaces (hospitals), City><Hospital understands the entire city as a sanatorium. If urban space is reconceptualized in this way, diseases become visible and accepted as an integral aspect of life, confrontation with illness pertains to the collective experience, and healing is seen as a social practice and obligation. The program encompasses four cities – Graz, Rijeka, Novi Sad, and Maribor – that share the status of European Capitals of Culture making them exemplary for the processes of brand building and suitable for examination of the ideological foundations thereof. Particularly in times of the COVID-19 pandemic, which overlaps with the ECoC mandate of Rijeka (2020) and Novi Sad (2021) as well as with the Year of Culture 2020 in Graz, the disparity between the image that the cities (eager for investment and tourists) present to the international public and the reality of urban life has become increasingly apparent – even more so as many of the scheduled cultural events had to be canceled due to the epidemic, and the practice of social distancing significantly altered the appearances of urban spaces. All this adds to the need for reimagining the place that the disease and the ill have in cities and the ways communities conceive of and deal with illness. City><Hospital will be realized as a series of open workshops (one in each of the involved cities), including a series of “dispersive” publications and a traveling exhibition of the workshop results. Each workshop will cover a specific aspect of the thematic field addressed by the program. Assisted by an interdisciplinary team of mentors and lecturers from the field of visual and performance arts, cultural anthropology, environmental sciences, public health, and psychotherapy, the attendants of the workshops will use photography, new media, drawings, texts, site-specific installations and performances to create a new image of the cities they live in – cities understood as spaces of shared illness, healing, and care. City><Hospital pays tribute to Erika Petrić – architect, researcher, photographer, and founder of F.ACT – who passed away on July 11th, 2020 due to a cancerous disease.
Ana Jeinić, samostalna istraživačica Sonja Jankov, nezavisna kustoskinja
UVOD U POST-NATURE
Biljke i biljni preparati, a naročito čajevi, od davnina igraju nezamenjivu ulogu u praksama lečenja. U tradicionalnoj medicini, većina lekova se dobija od biljaka, dok ekstrakcija aktivnih supstanci iz biljnog materijala nije manje važna ni u savremenoj farmaciji. Pored korišćenja biljnih lekova, i samoj se praksi gajenja biljaka pripisuje terapijski učinak. Vezivanje biljaka i brige o njima uz pojmove zdravlja i isceljenja temelji se na živototvornoj ulozi biljnog pokrivača i mistično-simboličkoj interpretaciji tog njegovog svojstva: pretvarajući neživu tvar u organsku materiju, biljke su istovremeno temeljni oblik, uslov i kontekst zemaljskog života. Posmatrano iz ovog ugla, gajiti biljke znači uzeti direktno učešće u vitalnom procesu stvaranja, održavanja i negovanja (našeg) sveta. Iako povezivanje biljaka sa praksama lečenja i ritualima isceljenja ima vanvremenski karakter te je kao takvo prisutno u svim kulturnim tradicijama, načini na koji se to povezivanje konkretno ostvaruje istorijski su specifični. Tako se neke interpretacije i manifestacije zdravstvene uloge biljaka vezuju uz kulturne, ekonomske i prostorne politike karakteristične za eru neoliberalnog kapitalizma, uznapredovalih klimatskih promena i pretećih ekoloških katastrofa. Načini na koji su savremene botaničke i fitoterapijske prakse integrisane u kapitalističke procese eksploatacije i komodifikacije (ili se opiru tim procesima) međutim su složene i često ambivalentne te ovise o konkretnom kontekstu unutar kojeg se odvijaju. Tako na primer sve popularnija praksa urbanog vrtlarenja s jedne strane predstavlja svesni iskorak iz masovne, profitne, visoko mehanizovane i ekološki neodržive poljoprivredne proizvodnje, dok s druge strane indirektno doprinosi revitalizaciji i posledičnoj gentrifikaciji pojedinih gradskih prostora kao i širenju neoliberalnog pojma fitnesa i individualizaciji odgovornosti za kvalitet ishrane i psiho-fizičko zdravlje stanovništva. Na sličan način, dok upotreba savremenih naučnih metoda i tehnologija omogućava sve bolje razumevanje biljnog sveta i njemu svojstvenih načina „komunikacije“ i umeća preživljavanja, to razumevanje istovremeno predstavlja ključ za sve invazivniju komodifikaciju biljnih tvari, fitobioloških procesa i genetskih kodova.
Imajući u vidu lekovita svojstva biljaka i moć biljaka da „komuniciraju“ sa drugim organizmima, POST-NATURE program je povezao građane različitih profesionalnih usmerenja kako bi se upoznali sa procesom stvaranja skobija – simbiotske kulture kvasaca i bakterija – koja se uzgaja iz fermentisanog čaja. Taj proces polazi od lekovitih biljaka kojima je prošao životni ciklus (čajeva) i nastavlja se nekoliko nedelja tokom kojih se balansira između bolesti (buđi) i željene zdrave kulture (skobija) kontrolisanjem kiselosti kombuhe (slatkog čaja koji stajanjem fermentiše i u kojem se razvija skobi). Sa akcentom na „post-“ simbiotsku kulturu koja nastaje iz čaja, POST-NATURE se razvio kao odgovor na savremenost koju karakterišu brojne „post-“ instance, kako u društvenoekonomskim sistemima i teorijama (post-komunizam, post-socijalizam, posttranzicija, post-kapitalizam), tako i u vidu globalnog nastojanja da kao vrsta na planeti svoja delovanja modelujemo sa svešću o post-anthropocene periodu. On je takođe nastao i kao odgovor na globalne restriktivne mere izlolacije tokom 2020. i 2021, to jest kao poziv da prostore u kojima boravimo istražimo na jedan nov način i da se kroz razmenu iskustava upoznamo. Kroz teorijski, a posebno praktični deo radionice, pokrenula su se brojna pitanja na koja su saradnici i učesnici nalazili različite odgovore, pitanja kao što su: Da li posle/iz prirode nastaje priroda? Šta sve nastaje od biljaka kojima je životni ciklus završen? Kako početak i kraj životnog ciklusa biljaka može biti umetnički medij? Šta je uspešan eksperiment u umetnosti? Koje sve rezultate možemo dobiti i šta se sve može desiti u procesu uzgajanja skobija? Koliko je taj proces terapeutski? Šta sve saznajemo o urbanom prostoru kroz ovakav jedan proces? Učesnice radionice, koje profesionalno deluju u različitim disciplinama (vizulena umetnost, scenski dizajn, arhiviranje, bibliotekarstvo, humanističke nauke), tokom uzgoja skobija su došle do zanimljivih i novih saznanja o estetici buđi (koju smatramo bolešću), o latentnim stanovnicima urbanih struktura (kao što su mravi), o česticama u prostorima koje mogu poremetiti uslove za zdrav razvoj skobija (kao što su mačje dlake), o načinima da se skobi boji kroz sušenje/presovanje u herbarijumu. POST-NATURE je time bio jedan vid povezivanja u urbanom okruženju tokom pandemije, specifičan „izgranak“ urbanog vrtlarenja koji počinje od čaja, a nastavkom svedoči da posle prirode nastupa upravo – priroda i da imamo ključnu ulogu u njenom ozdravljenju.
Ana Jeinić, independent researcher Sonja Jankov, independent curator
INTRODUCTION TO POST-NATURE
Herbs and herbal derivatives, especially teas, have long played an indispensable role in healing practices. In traditional medicine, most medicaments are obtained from plants, while the extraction of active substances from plant material is no less important in modern pharmacy. In addition to the use of herbal medicines, the practice of growing plants itself is attributed a therapeutic effect. Binding plants and caring for them with the concepts of health and healing is based on the life-giving role of greenery and the mystical-symbolic interpretation of its properties: by transforming inanimate matter into organic matter, plants are at the same time the basic form, condition and context of earthly life. Viewed from this angle, cultivating plants means taking a direct part in the vital process of creating, maintaining and nurturing (our) world. Although the connection of plants with healing practices and healing rituals has a timeless character and as such is present in all cultural traditions, the ways in which this connection is concretely realized are historically specific. Thus, some interpretations and manifestations of the healing role of plants are related to cultural, economic and spatial policies characteristic of the era of neoliberal capitalism, advanced climate change and looming environmental disasters. However, the ways in which contemporary botanical and phytotherapeutic practices are integrated into (or resist) capitalist processes of exploitation and commodification are complex and often ambivalent and depend on the specific context in which they take place. Thus, for example, the increasingly popular practice of urban gardening on the one hand represents a conscious step out of mass, profit, highly mechanized and environmentally unsustainable agricultural production, while on the other hand indirectly contributes to the revitalization and subsequent gentrification of certain urban spaces, as well as spreading of the neoliberal concept of fitness and individualisation of responsibility for the quality of nutrition and psychophysical health of the population. Similarly, while the use of modern scientific methods and technologies enables a better understanding of the plant world and its inherent ways of "communication" and survival skills, this understanding is key to increasingly invasive commodification of plant matter, phytobiological processes and genetic codes.
Having in mind the healing properties of plants and the power of plants to "communicate" with other organisms, the POST-NATURE program connected citizens of different professional orientations to get acquainted with the process of creating scoby – symbiotic culture of yeasts and bacteria – grown from fermented tea. This process starts with medicinal plants whose life cycle has ended (teas) and continues for several weeks during which it balances between diseases (mold) and the desired healthy culture (scoby) by controlling the acidity of kombucha (sweet tea that ferments with time and develops scoby). With an emphasis on the "post-" symbiotic culture that emerges from tea, POST-NATURE has developed in response to contemporaneity characterized by numerous "post-" instances, both in socio-economic systems and theories (post-communism, post-socialism, post -transition, postcapitalism), as well as in the form of a global effort to model our actions as a species on the planet with an awareness of the post-anthropocene period. It was also created as a response to the global restrictive measures of isolation during 2020 and 2021, that is, as an invitation to explore the spaces in which we spend our time in a new way and to get to know each other through the exchange of experiences. Through the theoretical, and especially the practical part of the workshop, a number of questions were raised to which associates and participants found different answers, questions such as: Does nature come after/from nature? What can be created from plants whose life cycle ended? How can the beginning and the end of the plant life cycle be an artistic medium? What is a successful experiment in art? What results can we get and what can happen in the process of growing scoby? How therapeutic is this process? What do we learn about urban space through such a process? The participants of the workshop, who work professionally in various disciplines (visual arts, stage design, archiving, librarianship, humanities), gained interesting and new knowledge about the aesthetics of mold (which we consider a disease), about the latent inhabitants of urban structures (such as ants), about particles in spaces that can disrupt the conditions for the healthy development of scoby (such as cat hair), about ways to dye scoby through drying/pressing in the herbarium. POST-NATURE was thus a kind of connection in the urban environment during the pandemic, a specific "branch" of urban gardening that starts with tea, and continues to testify that after nature comes nature – and that we have a key role in its healing.
Sonja Jankov UPOTREBA BILJAKA KAO STVARALAČKA STRATEGIJA SAVREMENIH UMETNIČKIH PRAKSI
Uvod - biljke i urbana sredina Odnos između biljaka i urbane sredine predmet je istraživanja brojnih antropoloških, medicinskih, istorijskih, kulturoloških, gastronomskih, holističkih, ekoloških i drugih studija i projekata iz različitih disciplina. Poslednjih nekoliko decenija, konstantno je prisutan izuzetno kompleksan problem koji zahteva interdisciplinarni pristup da bi se razrešio, a to je masovno uništavanje zelenog pokrivača planete zarad ekspanzije urbanih struktura i obradivih površina, usled čega cela planeta gubi moć da zaceli. Svesni ovog problema, u fokusu prostornih teorija i prostornih politika su sve češće materijali koji se recikliraju, „zelena“ energija, kao i integracija bilja u urbane prostore kroz zelene fasade i krovove kako bi gradovi bili što zdravije sredine. Kada su urbanizam, kultura i biljke u pitanju, povezanost između njih se takođe ostvaruje i kroz kategoriju spomenika prirode koju Zavod za zaštitu prirode Srbije definiše kao manju prirodnu prostornu celinu, objekat ili pojavu, kao i ljudskim radom formiranu botaničku vrednost, od naučnog, estetskog, kulturnog ili obrazovnog značaja. Osim što može biti geološki, geomorfološki, speleološki ili hidrološki, spomenik prirode takođe može biti i botanički. Na teritoriji opštine Novi Sad, pod zaštitom je nekoliko spomenika prirode botaničkog karaktera u koje spadaju botaničko-prostorne celine, drvoredi i pojedinačna stabla: Dunavski park (status od 1998), Futoški park (status od 2006), Kamenički park (status od 2008), Park pokrajinskog Instituta za onkologiju, plućne i kardiovaskularne bolesti u Sremskoj Kamenici (status od 2016), koprivić u centru Novog Sada (status od 1995), javorolisni platan (status od 1995), američki platan na Sajlovu (status od 1995), američki platan u Futogu (status od 1995), dud na Čenejskom salašu (status od 1995), stablo platana u dvorištu OŠ „Miloš Crnjanski“ (status od 2002), stablo koprivića u Ulici Miroslava Antića, pored ulaza u Poklon zbirku Rajka Mamuzića (status od 2019), stablo tise u Ulici Miroslava Antića (status od 2019), stablo ginka kod hotela Park (status od 2019) i hrast lužnjak na Petrovaradinskoj tvrđavi (status od 2019). Zajedno sa spomenicima kulture Novog Sada, oni čine autentičnu spomeničku sliku grada, a time i identitet grada. Zajedno sa drugim biljem, oni utiču na kvalitet naše neposredne životne i radne sredine.
Osim što mogu biti spomenici prirode, biljke ulaze u uži diskurs kulture i urbane sredine i putem savremenih umetničkih praksi, pogotovo putem novih medija i bioart-a. Kako je savremena umetnost u sve većoj meri zainteresovana za globalne probleme, kao što su zagađenje planete, pandemija, nestanak šuma i druge teme od globalnog značaja, sve veći broj umetnika se okreće botanici i biljkama u svojim praksama. Neki od njih, poput Sesilije Džonson (Cecilia Jonsson) kroz umetničku praksu pronalaze inovativna rešenja za pročišćenje zemljišta zagađenog teškim metalima, uz pomoć jednogodišnjih travnatih biljaka koje imaju visoku tolenaciju na neorganske metale.1 Pored Džonson, velik je broj umetnika koji sarađuju sa stručnjacima iz različitih disciplina i kroz takve kolaboracije dolaze do novih otkrića. U nastavku teksta, dajemo pregled umetničkih praksi u urbanim prostorima koje koriste različite tipove biljaka, a potom i uži pregled bioart praksi koje se takođe okreću botaničkom diverzitetu i primenjuju u većoj meri interdisciplinarni, pa čak i transdisciplinarni pristup u svom stvaralačkom procesu.
Biljke, umetnost i urbana sredina Kada je u pitanju odnos između umetničkih praksi i drveća, od izuzetnog značaja za istoriju umetnosti je bila akcija koju je Jozef Bojs (Joseph Beuys) pokrenuo 1982. u okviru umetničke manifestacije Documenta 7. Prepoznajući da gradu Kesel nedostaje drveća, sa građanima je počeo da sadi 7000 hrastova, proces koji se nastavio i narednih nekoliko godina. Ovu akciju je naslovio City Forestation Instead of City Administration, što se može shvatiti kao preokret u kojem građani počinju da brinu o pošumljavanju/ ozeljenjavanju grada umesto nadležne službe za to, ali se takođe može shvatiti i na način da grad treba da bude centar pošumljavanja/ ozelenjavanja, a ne centar administracije. Na tragu Bojsovog okretanja drveću, umetnica Maja Lin (Maya Lin) je u proleće 2021. godine postavila instalaciju Ghost Forest (Duh-šuma) u parku Madison Square Park u Njujorku. Instalaciju čini 49 presađenih mrtvih stabala belih atlantskih kedrova, od kojih su neka i po 80 godina stara, a koja su, kao i 50% čitave populacije atlantskih kedrova, obamrli usled porasta nivoa mora zbog globalnog otopljavanja i posledičnog porasta saliniteta močvarnih područja u kojima kedrovi rastu. Postavljajući svoju instalaciju, to jest mrtve kedrove u centar Njujorka, Lin je približila građanima ovaj problem kojeg velika većina nije svesna, te ne može ni da razmišlja u pravcu toga da preduzme nešto kako bi se on rešio.
1 Pogledati njen rad Gvozdeni prsten (The Iron Ring) iz 2013.
Umetnici se takođe okreću i manjim biljkama, kao što su sobne ukrasne vrste. U okviru instalacije i višemedijske akcije „Klackalište – poligon neravnoteže“ grupe ŠkART kojom se Srbija predstavljala na 12. Međunarodnom bijenalu arhitekture u Veneciji, 2010. godine, našli su se objekti koje autori opisuju kao „mobiljke“. Ovi objekti su kombinacija metala sa otpada i sobnih biljki i predstavljaju specifična kolica ili šetalice za sobne biljke, čime se one izvode u šetnju u javni urbani prostor kao kućni ljubimci. Među mobiljkama su „travotrč“, „hodrvo“, „biljka šunjalica“ i „žbunotrč“, a umetnici takođe uvode i nove termine za ovu novu praksu kao što su herb-o-bile, plantractor, bush-o-rush i plant-o-pet. Davanjem mobilnosti inače imobilnim sobnim biljkama i njihovim izvođenjem u javni prostor, umetnici spajaju privatni, intimni prostor sa javnim urbanim prostorom i stvaraju akciju u kojoj može da učestvuje šira zajednica. Tretiranje biljaka kao kućnih ljubimaca koji se izvode u šetnju sreće se i u umetničkim akcijama koje se okreću povrću. Tako kineski umetnik Han Bing 2000. godine započinje višegodišnju akciju i seriju fotografija Šetanje kupusa (Walking the Cabbage), koju su brzo prihvatili pojedinačni građani, tako da je šetanje kupusa postalo specifičan globalni trend. Bing se na ovu akciju opredelio jer je kineski kupus vekovima bio simbol bogatstva i blagostanja, a kako je u savremenom društvu hrana postala mnogo dostupnija i raznovrsnija, kupus je izgubio na svom značaju, postavši potcenjena i nerado birana namirnica. Iz tog razloga, on kineski kupus izvodi na uzici na najatraktivnije turističke destinacije u različitim gradovima, fotografišući se sa njim, kao sa simbolom statusa i prestiža. Za razliku od ŠkART-ovih „mobiljki“, Bingov kupus nema noseću konstrukciju sa točkićima, tako da je njegova mobilnost u stvari imobilnost i umetničko-kritička izjava o savremenim društvenim vrednostima i simbolima prestiža. Na društvene vrednosti se fokusira i umetnica Zoi Lenard (Zoe Leonard) kroz svoju instalaciju Strange Fruit koju je realizovala u više navrata u periodu od 1992. do 1997. Inače aktivistkinja u borbi za prava obolelih od side i za njihovo prihvatanje od strane društva, Lenard je i kroz svoju umetničku praksu težila da predstavi ključna pitanja o nedostatku empatije prama obolelima od side i o njihovoj stigmatizaciji. Instalaciju Strange Fruit, koja se može prevesti kao Čudno voće, a u stvari je kombinacija pogrdnih naziva za ljude LGBT orijentacije koje je šira javnost okrivljivala za širenje ove bolesti, čine kore različitog voća koje je Lenard zašivala i na taj način pokušavala da zaustavi njihovo truljenje i propadanje. Ovim simboličkim činom, ona je obolele, stigmatizovane, odbačene ljude uporedila sa korama voća, koje se uvek bacaju i smatraju nepotrebnim. Kako te kore tokom vremena trajanja izložbe sve više propadaju, njen čin zašivanja predstavlja poslednje pokušaje da se obolela tela zaleče.
Savremene umetničke prakse se takođe okreću i cveću. Tako Džef Kuns (Jeff Koons) od 1992. godine na trgovima različitih gradova stvara skulpturu Kuče (Puppy). Skulptura sadrži oko 55 tona zemlje i 60.000 cvetajućih biljki, što je čini specifičnim objektom koje prolaznici percepiraju i vizuelno i olfaktivno. Ona takođe predstavlja još jedan primer spajanja imobilnosti biljaka sa simbolikom kućnih ljubimaca poput pasa u javnom prostoru. Na sasvim različit način, ali sa ciljem specifičnog fizičkog, biološkog i duhovnog pročišćenja prostora, Nikola Radosavljević u nekoliko svojih instalacija koristi suvu žalfiju i njena lekovita svojstva, dolazeći pri tome do zanimljivog otkrića o kapacitetu žalfije da akumulira toksične supstance, a time i sama postane otrov kada ih previše akumulira. Floralne elemente nalazimo i kod novosadskog umetnika Nemanje Milenkovića koji koristi latice ruže u okviru svog master istraživačkog umetničkog projekta „Četiri minuta tišine“ koja se fokusira na četiri aktivistkinje koje su bile ubijene dok su se borile za očuvanje prirodnih staništa i prava životinja. Milenković koristi latice ruže da bi stvorio instalaciju posvećenu Džoan Rot (Joan Root), aktivistkinji grupe „Operativna grupa“ (The Task Force) čiji je cilj bila zaštita biodiverziteta na jezeru Naivaša u Keniji, a koja je bila upucana 2006. puškom AK-47 (Avtomat Kalašnjikov) od strane četiri nepoznata počinioca. Milenković crvene latice aranžira u oblik Kalašnjikova, povezujući ova dva vizuelna simbola na značenjskom nivou. Sve ove prakse svedoče o okretanju botaničkom fundusu kao specifičnom mediju za umetničko stvaranje, stvaranje znanja, povezivanje ljudi i prenošenje ideja. U tu svrhu treba posvetiti pažnje i bioart-u, s obzirom da umetnici bioarta rade „sa živim supstancama – životinjskim i biljnim ćelijama, tkivima, membranama, DNK-om, genima, bakterijama i drugim organizmima – katališući, uzimajući uzorke, modifikujući i manipulišući takav materijal u žive forme koje se pomeraju, transformišu i umiru na načine koji su često nepredvidivi“ (Johung, 2019: 4). Prema Robertu Mičelu (Mitchell), bioart je umetnost koja koristi „živa bića kao medij“ (2010: 10), te upotrebljava termine kao što su vitalnost medija (vitality of media), živi medij (alive media) i biološki novi mediji (biological new media)2, pri čemu se „'biološki medij' ne odnosi na specifičan set hemikalija i izlučevina, nego na set kontekstualno zavisnih odnosa između živih bića, hemikalija, energije i ciljeva pojedinačnog eksperimenta“ (ibid., 116). Umetnik Eduardo Kac (Katz) biotehnologiju jednostavno smatra medijem svog vremena (Byerley, Chong, 2015: 208).
2
Bioart se takođe klasifikuje i u „nestabilne umetnosti“, kako to čini kulturna politika Norveške koja ima Veće za nestabilne medije i umetnosti (Unstable Media and the Arts Council Norway).
Biljke u bioart-u Za prvo delo bioart-a se smatraju genetski modifikovani cvetovi delfinijuma koje je Edvard Štajken (Edward Steichen) 'patentirao' i izložio 1936. godine u njujorškom Muzeju moderne umetnosti – MoMA. Inače fotograf za Vogue i Vanity Fair, a kasnije i kustos zbirke fotografija u MoMA, Štajken je bio dobitnik zlatne medalje Francuskog hortikulturalnog društva 1913, a u periodu kada je stvorio novu rasu cveta Delphinium Connecticut Yankees, bio je predsednik Američkog delfinijskog društva. Uviđajući da cvetovi koji su nastali ukrštanjem da bi imali nove boje ne mogu da se dalje razmnožavaju, Štajken je genetski modifikovao semenje hibridnih cvetova novih boja da bi oni mogli dalje da se razmnožavaju. Izlažući ih kao umetničku instalaciju u MoMA 1936. godine, Štajken je stvorio prvu izložbu onoga što je kasnije prepoznato kao bioart. On je pri tome primarno izložio nove živuće boje, dok su mirisi cvetova takođe postali „živi medij“, da se vratimo na termin Roberta Mičela, koji ulaze u fizionomije posetilaca i spajaju biologiju izloženih artefakata sa biologijom posmatrača. Pored Štajkena, stvaranje hibridnog cveća kao umetničkog medija primenio je i Žorž Žeset (George Gessert) koji je 2007. godine, nakon dest godina ukrštanja i selekcije, zasadio hibridnu liniju kukuruznih makova „Persefona“ u bašti Centralnog muzeja u Utrehtu (Gessert, 2010: 164). Korak dalje je otišao Eduardo Kac koji je nakon pet godina eksperimentisanja uspeo da uzgoji transgenetski cvet petunije koji sadrži njegov DNK, u radu „Prirodna istorija Enigme“ (2003/2008). Kada je u pitanju bioart koji se okreće drveću, izdvaja se rad Jedno drvo Natali Džeremdžejnko (Natalie Jeremijenko) koja je u periodu od nekoliko godina od 1998. jedno drvo klonirala hiljadu puta i zasadila klonove na različite lokacije kako bi se videlo kako sredina utiče na jedinke. Svako od ovih dela bioart-a zahteva mnogo vremena, eksperimentisanja, pokušaja, neuspeha, modifikacija i znanja iz drugih disciplina, zbog čega su ona, ako i posmatrana samo kao umetnička dela, zapravo rezultati interdisciplinarnih istraživanja, radije nego mediji jer svaki rad bioart-a rezultira novim i dugačijim medijem. Osim što uzgajaju živa umetnička dela, umetnici koji se bave bioart-om takođe održavaju ta dela u životu, stvaraju detaljnu dokumentaciju o svim procesima rada i angažovano pišu o bioart-u da bi utvrdili njene koncepte i parametre, ali i obavestili javnost o nastojanjima bioart-a, novoj estetici i terminima (Byerley, Chong, 2015: 207).
Svojom praksom, umetnici bioart-a „teže da služe kao zajednica interpretatora između disciplina“ (ibid.: 213), ali upravo i kroz te discipline. Bioart primenjuje „jedan ili više od ovih pristupa: (1) dresira bio-materijale da se ponašaju na željene načine ili da imaju željeni oblik, (2) na neobičan ili subverzivan način koristi biotehnološke alate ili procese, (3) stvara nove ili transformiše postojeće žive organizme sa ili bez njihove integracije u društvo ili okolinu“ (Kac, citirano u Mitchell, R. 2010: 24). Bioart umetnici to čine na tri načina: (1) u vaninstitucionalnoj saradnji sa pojedinačnim specijalistima iz drugih oblasti, (2) u okviru naučnih centara koji imaju programe za umetnike kao što su Evropska organizacija za nuklearna istraživanja (CERN) Institut za istraživanje atmosferskih i zemljanih sistema (INAR), (3) potpuno samostalno, izučavajući samostalno metode i procese drugih disciplina, kao što Adrienn Újházi u svojoj umetničkoj praksi stvara skobi – simbiotsku kulturu bakterija i kvasca, ili akademski, kao što je Ben Rajt (Ben Wright) biolog i umetnik po struci. Bivajući otvorena za nezamislive rezultate iz saradnje sa najrazličitijim specijalistima iz bioloških nauka, bioart, kao i druge umetničke prakse koje primenjuju interdisciplinarne i transdisciplinarne strategije kao stvaralačke metode, teže slobodnom povezivanju koje je po Nikoli Buriou (Nicolas Bourriaud) aura savremene umetnosti (2002: 61). Kroz bioart se stvaraju posebne forme društvenosti između umetnika, naučnika i publike čime se ostvaruje višestruka emancipacija. Razumevanjem umetnosti kao interdisciplinarne ili transdisciplinarne prakse, skreće se pažnja na često nerazumljiv i nesaglediv rad i vreme koje umetnici ulože od ideje, preko pokušaja, eksperimenata i varijacija do finalne realizacije. Isto se može reći i za rad naučnika, bilo prirodnih, medicinskih, drušvenih ili humanističkih nauka. Savremene umetničke prakse su te koje mogu da približe javnosti ovu tematiku, kao i da prikažu sve pritiske tržišta nad kako umetničkom, tako i naučnim disciplinama. Shvatajući koliko je teško stvoriti i održavati radove poput Kacove Prirodne istorije Enigme, shvata se koliko je teško doći do svakog novog otkrića bilo ono potrebno u ovom trenutku čovečnastvu ili ne, pogovoto kada takva otkrića nisu nešto što je ekonomski isplativo.
Bioart, kao jedna od grana novomedijske umetnosti koja odražava njene interdisciplinarne i transdisciplinarne karakteristike, primer je kako kolaboracija između stručnjaka različith disciplina može da rezultira nečim u potpunosti novim i neočekivanim. Osim toga, samostalno primenjivanje različitih procesa iz različitih disciplina, poput uzgoja bio-razgradivih materija poput skobija, kako to čini Adrienn Újházi, svedoči o težnji umetnosti da ne samo govori o nužnosti očuvanja prirode, nego i da dā primer svojom praksom. Iz tog razloga su savremene umetničke prakse vid stvaranja znanja, kako kod umetnika i neumetnika koji sarađuju i uče o disciplinama jedni drugih, tako i kod publike koja se susreće sa njihovim radovima. Pri tome, treba imati u vidu da savremene umetničke prakse nisu samo mediji, ili discipline iz kojih su bila potrebna znanja za realizaciju rada, ili kritika, ili forme produkcije znanja – savremene umetničke prakse su sve to i još mnogo više toga što nastaje iz susreta sa publikom.
Sonja Jankov USE OF PLANTS AS A CREATIVE STRATEGY OF CONTEMPORARY ART PRACTICES Introduction - plants and urban environment The relationship between plants and the urban environment is the subject of research in numerous anthropological, medical, historical, cultural, gastronomic, holistic, environmental and other studies and projects from various disciplines. In the last few decades, an extremely complex problem has been constantly present that requires an interdisciplinary approach to be solved, and that problem is the mass destruction of the green areas due to the expansion of urban structures and for agricultural purposes, as a result of which the whole planet loses its healing power. Being aware of this problem, the recent spatial theories and spatial policies are increasingly focusing on recyclable materials, "green" energy, as well as the integration of plants into urban spaces through green facades and green roofs, in attempt to make cities as healthy as possible. When it comes to urbanism, culture and plants, the connection between them is also realized through the category of natural monuments that the Environment Protection Institute of Serbia defines as a smaller natural spatial unit, object or phenomenon, as well as man-made botanical value of scientific, aesthetic, cultural or educational significance. Apart from being geological, geo-morphological, speleological or hydrological, a natural monument can also be botanical. On the territory of the municipality of Novi Sad, several monuments of nature of botanical character are protected, which include spatial units, tree lines and individual trees: Dunavski Park (status since 1998), Futoški Park (status since 2006), Kamenički Park (status since 2008) , Park of the Provincial Institute of Oncology, Pulmonary and Cardiovascular Diseases in Sremska Kamenica (status since 2016), nettle tree in the center of Novi Sad (status since 1995), maple leaf sycamore (status since 1995), American sycamore on Sajlovo (status since 1995), American sycamore tree in Futog (status since 1995), mulberry tree on the Čenejski salaš (status since 1995), plane tree in the yard of the elementary school "Miloš Crnjanski" (status since 2002), nettle tree in Miroslav Antić Street, beside the entrance to the Gift Collection of Rajko Mamuzić (status from 2019), yew tree in Miroslav Antić Street (status from 2019), ginkgo tree near the Park Hotel (status from 2019) and pedunculate oak at the Petrovaradin Fortress (status from 2019). Together with the cultural monuments of Novi Sad, they form an authentic monumental image of the city, and thus the identity of the city. Together with other plants, they affect the quality of our immediate living and working environment.
In addition to being monuments of nature, plants enter the narrower discourse of culture and urban environment through contemporary artistic practices, especially through new media and bioart. As contemporary art becomes increasingly interested in global issues such as planetary pollution, pandemics, deforestation and other topics of global importance, an increasing number of artists are turning to botany and plants in their practices. Some of them, as Cecilia Jonsson, find innovative solutions through artistic practice for the purification of soil contaminated with heavy metals, with the help of annual herbs that have a high tolerance for inorganic metals. 3 In addition to Johnson, there is a large number of artists who collaborate with experts from various disciplines and through such collaborations new discoveries are made. On the following pages, we provide an overview of artistic practices in urban spaces that use different types of plants, and then a brief overview of bioart practices that also turn to botanical diversity and apply a more interdisciplinary and even transdisciplinary approach in their creative process.
Plants, art and the urban environment When it comes to the relationship between artistic practices and trees, of great importance for art history was the action initiated by Joseph Beuys in 1982 as part of Documenta 7. Recognizing that the city of Kessel lacks trees, he began to plant 7,000 oaks, a process that continued for the next few years. He called this action City Forestation Instead of City Administration, which can be understood as a turnaround in which citizens start caring about forestation of the city instead of the communal services, but it can also be understood in the way that the city should be a centre of forestation, not the centre of administration. In the spring of 2021, artist Maya Lin set up a Ghost Forest installation in Madison Square Park in New York City, following in the footsteps of Boyce's action with trees. The installation consists of 49 transplanted dead white Atlantic cedars, some of which are 80 years old, and which, like 50% of the entire population of Atlantic cedars, died due to rising sea levels due to global warming and consequent increase in salinity of marshes where cedars grow. By setting up her installation, that is, dead cedars in the centre of New York, Lynn brought closer to the citizens this problem that the vast majority was not even aware of and could not even think in the direction of doing something to solve it.
3
See her work The Iron Ring, 2013
Artists also turn to smaller plants, such as indoor species. Within the installation and multimedia action "Seesaw Play-Grow" by the ŠkART collective, which represented Serbia at the 12th International Biennial of Architecture in Venice in 2010, there were objects that the authors describe as "mobile plants". These objects are a combination of metal obtained at flea markets and houseplants and represents specific carts or walkers for houseplants, which means that they are taken for a walk in a public urban space as pets. For these mobile plants and new practice of walking them, the artists introduce new terms, such as herb-o-bile, plantractor, bush-o-rush and plant-o-pet. By giving mobility to otherwise immovable houseplants and bringing them into public space, artists combine private, intimate space with public urban space and create an action in which the wider community can participate. Treating plants as pets that are taken for a walk is also found in artistic actions that turn to vegetables. Thus, in 2000, the Chinese artist Han Bing started a long-term action and a series of photographs Walking the Cabbage, which was quickly accepted by individual citizens, so that cabbage walking became a specific global trend. Bing decided on this action because Chinese cabbage has been a symbol of wealth and prosperity for centuries, but, since food has become far more accessible and varied in modern times, cabbage has lost its significance, becoming an underestimated and reluctantly chosen food. For that reason, he takes Chinese cabbage on a leash to the most attractive tourist destinations in various cities, taking photos with it, as a symbol of status and prestige. Unlike ŠkART's mobile plants, Bing's cabbage does not have a supporting structure with wheels, so its mobility is in fact immobility and an artistically-critical statement about contemporary social values and symbols of prestige. Artist Zoe Leonard also focuses on social values through her installation Strange Fruit, which she realized on several occasions between 1992 and 1997. Leonard, an activist fighting for the rights of AIDS patients and their acceptance by society, through her artistic practice, also strived to present key questions about the lack of empathy for AIDS patients and their stigmatization. The Strange Fruit installation, whose title is in fact a combination of derogatory names for LGBT people blamed by the general public for spreading the disease, is made of peals of various fruits, which were sewed by Leonard in attempt to stop their decay. With this symbolic act of sawing up, she compared sick, stigmatized, rejected people with fruit peels, which are always thrown away and considered unnecessary. As these peels deteriorated more and more during the duration of the exhibition, her act of sewing represents the last attempt to heal the diseased bodies.
Contemporary artistic practices are also turning to flowers. Thus, since 1992, Jeff Koons has been creating a sculpture Puppy in the squares of various cities. The sculpture contains about 55 tons of earth and 60,000 flowering plants, which makes it a specific object that passers-by perceive both visually and olfactory. It is also another example of combining the immobility of plants with the symbolism of pets in public space. In a completely different way, but with the goal of specific physical, biological and spiritual purification of space, Nikola Radosavljević uses dried sage and its healing properties in several of his installations, making an interesting discovery about the ability of sage to accumulate toxic substances and thus become itself a poison when accumulating too much toxic materials from the environment. We also find floral elements in the practice of artist Nemanja Milenković, who uses rose petals as part of his master's research art project "Four Minutes of Silence," which focuses on four activists who were killed while fighting to preserve natural habitats and animal rights. Milenković uses rose petals to create an installation dedicated to Joan Root, an activist for The Task Force, whose goal was to protect biodiversity on Lake Naivasha in Kenya, which was shot in 2006 with an AK-47 rifle (Kalashnikov) by four unknown perpetrators. Milenković arranges the red petals in the shape of a Kalashnikov, connecting these two visual symbols on a semantic level. All these practices testify to turning to the botanic diversity as a specific medium for artistic creation, creation of knowledge, means of connecting people and transmitting ideas. For this reason, we will also turn to bioart, since bioart artists work "with living substances - animal and plant cells, tissues, membranes, DNA, genes, bacteria and other organisms - by catalyzing, taking samples, modifying and by manipulating such material into living forms that move, transform and die in ways that are often unpredictable” (Johung, 2019: 4). According to Robert Mitchell, bioart is an art that uses "living beings as a medium" (2010: 10), which is why he uses terms such as “vitality of media,” “living media” and “biological new media,” 4 where “‘biological medium’ does not refer to a specific set of chemicals and secretions, but to a set of contextually dependent relationships between living beings, chemicals, energy and the goals of an individual experiment” (ibid., 116). The artist Eduardo Katz simply considers biotechnology to be the medium of his time (Byerley, Chong, 2015: 208).
4
Bioart is also classified as “unstable art” and Norway has the Unstable Media and the Arts Council.
Plants in bioart The first work of bioart is considered to be genetically modified Delphinium flowers, which were 'patented' and exhibited in 1936 at the New York Museum of Modern Art - MoMA, by Edward Steichen. A photographer for Vogue and Vanity Fair, and later curator of the MoMA photo collection, Steichen won the Gold Medal of the French Horticultural Society in 1913, and was president of the American Delphinium Society when he created the new species – Delphinium Connecticut Yankees. Realizing that hybrid flowers with new colors could not further reproduce, Steichen genetically modified the seeds of hybrid flowers so that they could continue to reproduce. Exhibiting them as an art installation at MoMA in 1936, Steichen created the first exhibition of what was later recognized as bioart. He primarily exhibited new living colors, while the scents of flowers also became a "living medium", to return to the term of Robert Mitchell, that enters the physiognomy of visitors and combines the biology of exhibited artifacts with the biology of observers. In addition to Steichen, the creation of hybrid flowers as an artistic medium was applied by George Gessert, who in 2007, after ten years of crossbreeding and selection, planted a hybrid line of corn poppies "Persephone" in the garden of the Central Museum in Utrecht (Gessert, 2010: 164). Eduardo Katz, who after five years of experimentation managed to grow a transgenic petunia flower containing his DNA, went a step further in his work Natural History of the Enigma (2003/2008). When it comes to tree-oriented bioart, the work One Tree by Natalie Jeremijenko stands out. She has cloned a tree a thousand times over the years since 1998 and planted the clones in different locations to see how the environment affects the individuals. Each of these works of bioart requires a lot of time, experimentation, attempts, failures, modifications and knowledge from other disciplines, which is why they, if viewed only as works of art, are actually the result of interdisciplinary research, rather than the media, because each bioart practice results in a new and different medium. In addition to creating and inventing living works of art, bioart artists also keep these works alive, create detailed documentation of all work processes and engage in writing about bioart to determine its concepts and parameters, but also to inform the public about bioart's efforts, its new aesthetics and terms (Byerley, Chong, 2015: 207). Through their practice, bioart artists "strive to serve as a community of interpretatiors between disciplines" (ibid.: 213), but also through those disciplines. Bioart applies “one or more of these approaches: (1) it trains bio-materials to behave in the desired ways or to have the desired shape, (2) it uses biotechnological tools or processes in an unusual or subversive way, (3) it creates new or transforms existing living organisms with or without their integration into society or the environment” (Katz, quoted in Mitchell, R. 2010: 24).
Bioart artists do this in three ways: (1) in extra-institutional cooperation with individual specialists from other fields, (2) within research centres that have programs for artists such as the European Organization for Nuclear Research (CERN) or Institute for Atmospheric and Earth System Research (INAR), (3) completely independently, studying independently the methods and processes of other disciplines, as Adrienn Újházi in her artistic practice creates skoby – symbiotic culture of bacteria and yeast, or academically, as Ben Wright is both biologist and artist by profession. Being open to unimaginable results from collaborations with various specialists in biological sciences, bioart, as well as other artistic practices that apply interdisciplinary and transdisciplinary strategies as creative methods, strive for free association which, according to Nicolas Bourriaud, is the aura of contemporary art (2002: 61). Through bioart, special forms of sociability are created between artists, scientists and the public, which results in multiple emancipations. By understanding art as an interdisciplinary or transdisciplinary practice, attention is drawn to the often incomprehensible and inconceivable work and time that artists invest from ideas, through attempts, experiments and variations to the final realization. The same can be said for the work of scientists, whether they work in the field of natural, medical, social or humanistic sciences. Contemporary artistic practices are the ones that can bring this topic closer to the public, as well as show all the pressures of the market on both artistic and scientific disciplines. Realizing how difficult it is to create and maintain works like Katz's Natural History of the Enigma, one realizes how difficult it is to make every new discovery, whether humanity needs it at the moment or not, especially when such discoveries are not economically viable. Bioart, as one of the branches of new media art that reflects its interdisciplinary and transdisciplinary characteristics, is an example of how collaboration between experts from different disciplines can result in something completely new and unexpected. In addition, the independent application of different processes from different disciplines, such as the cultivation of biodegradable materials such as skoby, as Adrienn Újházi does, testifies to the aspiration of art not only to speak about the need to preserve nature, but also to set an example through practice. For that reason, contemporary art practices are a form of knowledge creation, both for artists and non-artists who collaborate and learn about each other's disciplines, and for the audience that encounters their works. At the same time, we should be aware that contemporary art practices are not just media, or disciplines that required knowledge for the realization of works, or criticism, or forms of knowledge production – contemporary art practices are all that and much more that emerges when met with the
Literatura / Sources Bourriaud, Nicolas. (2002). Relational Aesthetics. Dijon: Les presses du reel Byerley, Anne and Chong, Derrick. (2015). “Biotech Aesthetics: Exploring the Practice of Bio Art.” Culture and Organization, vol. 21, no. 3, 197–216. DOI: http://dx.doi.org/10.1080/14759551.2013.836194 Johung, Jennifer. (2019). Vital Forms: Biological Art, Architecture, and the Dependencies of Life. Minneapolis: University of Minnesota Press Kac, Eduardo. (2008). “Natural History of the Enigma,” 2003-2008, <http://www.ekac.org/nat.hist.enig.html>, last accessed August 18, 2020 Mitchell, Robert. (2010). Bioart and the Vitality of Media. University of Washington Press Zagorac, Marinela. (ur.). Zaštićena područja na teritoriji Novog Sada. Novi Sad: Gradska uprava za zaštitu životne sredine, 2015.
Učesnice radionice Workshop participants:
Anita Lalić Gabriela Sigeti Irina Tucakov Maja Vilić Marija Đokić Sara Tanasković Srbislava Šahović Živana Mijailović
Predavači na programu Post NATURE Post NATURE programme lecturers
Adrienn Újházi (Novi Sad, 1995) svoje stvaralaštvo usmerava ka ispitivanju odnosa čoveka i same prirode, što obuhvata oblasti ekološke umetnosti i bioart-a u formi različitih vizuelnih medija. Godine 2018. je završila osnovne, te 2020. master studije na Akademiji umetnosti u Novom Sadu, na Departmanu likovnih umetnosti, studijska grupa – Slikarstvo. Radila je 2020-2021. godine kao profesorka u srednjoj školi za dizajn „Bogdan Šuput“ na smeru Likovni tehničar. Tokom studija je dobila nekoliko stipendija i nagrada od kojih se ističu stipendija Fonda za mlade talente „Dositej Obradović”, Godišnja nagrada Katedre za likovne umetnosti za najuspešnije umetničko delo u disciplinama crtanje (2018) i slikanje (2018) na Akademiji umetnosti u Novom Sadu, prva nagrada organizacije Udruženja alumnista Ujedinjenog Kraljevstva u Crnoj Gori – MAUK, Nagradni konkurs „ZBOGOM BALKAN? ZBOGOM, BALKAN!“ i Nagrada za vrhunske rezultate postignute na evropskim i svetskim takmičenjima u školskoj godini (2017-2018) koju dodeljuje Univerzitet u Novom Sadu. Aktivno učestvuje na izložbama, projektima i likovnim kolonijama u zemlji i inostranstvu. Samostalno je izlagala više puta.
Dobitnica je nagrade od strane Evropske Kulturne Fondacije (ECF) – “STEP Travel Grant” – Amsterdam, povodom Internacionalne rezidencije “Montemero Art Residency” u Španiji (2019) gde je bila pozvana od strane kustoskinje Zeren Oruc (Iksvy Art) da bude mentor radionice. Članica je „Šok zadruge”, Híd Kör Art – kulturnog magazina za mlade na mađarskom jeziku u Novom Sadu, i SULUV-a.
Adrienn Újházi (Novi Sad, 1995) directs her work towards examining the relationship between man and nature itself, working in the fields of ecological art and bioart, in the form of various visual media. She had completed her Bachelor studies in 2018 and Master’s studies in 2020 at the Academy of Arts in Novi Sad, at the Department of Fine Arts, study group – Painting. She worked (2020-2021) as professor at the high school for design “Bogdan Šuput,” study programme – Art Technician. During her studies, she received several scholarships and awards, including the scholarship of the Fund for Young Talents “Dositej Obradović,” the Annual Award of the Department of Fine Arts for the best work of art in the disciplines of Drawing (2018) and Painting (2018) at the Academy of Arts in Novi Sad, first prize from the Association of Alumni of the United Kingdom in Montenegro – MAUK, prize within the competition “GOODBYE BALKANS? GOODBYE, BALKANS!,” as well as the Award for top results achieved at European and world competitions in the school year (2017-2018) awarded by the University of Novi Sad. She actively participates in exhibitions, projects and art colonies in the country and abroad. She had several solo exhibitions. She won an award from the European Cultural Foundation (ECF) – “STEP Travel Grant” – Amsterdam, on the occasion of the international residence Montemero Art Residency in Spain (2019) where she was invited by curator Zeren Oruc (Iksvy Art) to mentor the workshop. She is a member of “The Shock Cooperative” in Novi Sad, Híd Kör Art – a cultural magazine in Hungarian language for young people in Novi Sad, and SULUV. Web: https://adriennujhazi.com/
Nikola Radosavljević, rođen 1991. godine u Užicu. Doktorirao na studijama Fakulteta primenjenih umetnosti u Beogradu, 2020. godine, na temu knjige umetnika i novomedijskih grafičkih praksi. Do sada je organizovao trideset i pet samostalnih izložbi po konkursu ili pozivu i učestvovao na više od sto pedeset kolektivnih izložbi u zemlji i inostranstvu (Srbija, Holandija, Nemačka, Kina, Švajcarska, Rusija, Bugarska, Makedonija, Mađarska, SAD, Turska, Poljska, Nepal, Indija, Grčka…). Dobitnik je više od dvadeset različitih nagrada i priznanja od kojih su posebno značajne: zlatna medalja Praškog kvadrijenala, For provoking a dialogue – nacionalnog nastupa studentske sekcije, Prag, Češka, 2015 (kao deo tima); plaketa za doprinos, svetsko bijenale crteža, Osten, Makedonija, 2017; nagrada svetskog trijenala grafike malog formata za tehnološki doprinos i likovni domen, Ural, Rusija, 2019; otkupna nagrada Ministarstva kulture i informisanja Republike Srbije, Galerija Grafičkog kolektiva, Izložba male grafike, 2019. Na temu knjige umetnika i primene novomedijskih umetničkih praksi održao niz javnih predavanja.
Sa urednicom likovnog programa DKSGa Novi Beograd Maidom Gruden organizovao međunarodnu kulturnu razmenu umetničkih knjiga sa Univerzitetom umetnosti u Feniksu, Arizona, SAD, koja je rezultirala nizom izložbi, predavanja i radionica na temu knjige umetnika i graničnih grafičkih praksi, 2015-2017. Godine 2020. je predsednik žirija za selekciju radova i dodelu nagrada za Studentsko bijenale knjige umetnika, sa Željkom Lončarem i Marielom Cvetić. Predavač i moderator po pozivu organizatora ISWIB festivala, International Students Week in Belgrade, 2019. i 2020. godine; autor i predavač radionica iz oblasti umetnosti. Radovi mu se nalaze u mnogobrojnim javnim i privatnim kolekcijama širom Srbije i inostranstva. Član ULUSa, grafička sekcija. Član UVUUa, grafička sekcija. Član ULUPUDSa, slikarskografička sekcija. Bavi se grafikom, crtežom, i knjigom umetnika.
Nikola Radosavljević, born in 1991 in Užice. Gained his Doctorate in Arts from the Academy of Applied Arts in Belgrade, in 2020, on the theme of artist’s book and new-media print practices. He has had thirty five solo exhibitions and took part in more than hundred and fifty group exhibitions in Serbia, Netherlands, Germany, China, Switzerland, Russia, Bulgaria, Macedonia, Hungary, USA, Turkey, Poland, Nepal, India, Greece... He received more than twenty awards and prizes, including the Golden medal of The Prague Quadrennial of Performance Design and Space for the national exhibition of student section For provoking a dialogue (2015, as part of the team), award for artistic contribution from the World Biennial of Drawing, Osten, Macedonia (2017), award of the World Triennial of Small Format Print for technological and artistic contribution, Ural, Russia (2019), acquisition award by Ministry of Culture and Information of Republic of Serbia, Gallery of Fine Print Art collective (2019). He gave numerous public lectures on the theme of artists’ book and new-media art practices. With Maida Gruden, art director of DKSG New Belgrade, he co-organised international exchange of artists’ books with the University of Arty in Phoenix, Arizona, USA, which resulted in several exhibitions, lectures and workshops on the theme of artist’s book and borderline print art practices (2015-2017). In 2020, he became the president of the jury for selection of works and awards at the Student Biennial of Artists’ Books, with Željko Lončar and Mariela Cvetić. He was invited lecturer and moderator at the International Students Week in Belgrade, 2019 and 2020. His works are included in numerous public and private collections in Serbia and abroad. He is a member of ULUS, UVUU and ULUPUDS. He works in domains of fine art print, drawing and artist’s book.
Sonja Jankov (1985) je nezavisni kustos. Doktorat iz oblasti Teorije umetnosti i medija je stekla na Univerzitetu umetnosti u Beogradu. Volontirala je i radila u Muzeju savremene umetnosti Vojvodine (2012-2015) i spoljni je saradnik brojnih institucija i nezavisne scene u regionu. Kao rezident je boravila u Poljskoj, Rumuniji, Austriji i Hrvatskoj, a provela je i godinu dana usavršavajući se na Centru za kritičku teoriju u Pragu (2008/2009). Realizovala je i devet samostalnih umetničkih izložbi u Bukureštu, Zagrebu, Novom Sadu, Užicu i Beogradu. Kao kustos je realizovala izložbe u MMSU – Rijeka, Galeriji Kazamat – Osijek, Pogonu Jedinstvo – Zagreb, Kulturnom centru Beograda, Galeriji savremene umetnosti – Pančevo, Galeriji Remont – Beograd. Autor je nekoliko naučnih radova, među kojima su “Full-Scale Architectural Models in Post-Yugoslav Art Practices” (Interkulturalnost 16, 2018), “Re-Thinking Architectural Modernism in Contemporary Art: Jasmina Cibic, Dušica Dražić and Katarina Burin” (AM Journal of Art and Media Studies 16, 2018), “Architectural Scale Models within Contemporary Art Practices in PostSocialist Europe” (Život umjetnosti: časopis o modernoj i suvremenoj umjetnosti i arhitekturi 102, 2018), „Pionirski gradovi u post-jugoslovenskom kontekstu” (Arhitektura i urbanizam 44, 2017). Živi u Novom Sadu.
Sonja Jankov (1985) is an independent curator. She holds PhD in Art and Media Theory from the University of Arts in Belgrade. She volunteered and worked at the Museum of Contemporary Art Vojvodina (2012-2015) and has collaborated with numerous institutions and independent organisations in the region. She took part in residencies in Poland, Romania, Austria and Croatia, and had spent a year studying at the Centre for Critical Theory in Prague (2008/2009). She has realized nine solo art exhibitions in Bucharest, Zagreb, Novi Sad, Užice and Belgrade. As a curator, she realized exhibitions in MMSU – Rijeka, Gallery Kazamat – Osijek, Jedinstvo – Zagreb, Cultural Center of Belgrade, Gallery of Contemporary Art – Pančevo, Gallery Remont – Belgrade. She is the author of several scientific papers, including “Full-Scale Architectural Models in Post-Yugoslav Art Practices” (Interkulturalnost 16, 2018), “Re-Thinking Architectural Modernism in Contemporary Art: Jasmina Cibic, Dušica Dražić and Katarina Burin” (AM Journal of Art and Media Studies 16, 2018), “Architectural Scale Models within Contemporary Art Practices in Post-Socialist Europe” (Život umjetnosti: Journal of Modern and Contemporary Art and Architecture 102, 2018), “Pioneer Camps in the Post-Yugoslav Context” (Architecture and Urbanism 44, 2017). She lives in Novi Sad. Web: https://cargocollective.com/sonjajankov
Partneri na realizaciji programa Post-NATURE Partners in the realisation of the Post-NATURE programme
Udruženje za unapređenje istraživanja i prezentaciju umetnosti u diskursu roda F.ACT, Austrija
Кroz radionice, izložbe i razgovore sa umetnicima, F.ACT istražuje obrazovni i emancipatorski potencijal umetnosti i kulture. Deluje kao otvorena platforma za istraživanje i praksu na granici umetnosti i arhitekture i ima bogato iskustvo u vođenju i organizovanju radionica u akademskom i javnom kontekstu. Stručnost leži u razvoju metoda svesnog odnosa prema građi i društvenom okruženju. F.ACT sledi premisu da se suštinski razvoj demokratske samosvesti zasniva na uključivanju građana, obrazovanju i interkulturalnom dijalogu, a moguć je kroz umetničku praksu. Svesnost, kreativnost i eksperimentisanje u javnom prostoru vidi kao oruđe za izgradnju demokratske svesti i samosvesti pojedinca kao moćnog agensa društvenih promena i razvoja.
F.ACT – Verein zur Förderung der Forschung und Präsentation in der Kunst unter dem Gender-Aspekt, Austria
Through workshops, exhibitions and artist talks, F.ACT investigates the educational and emancipatory potential of art and culture. It operates as an open platform for research and practices on the borderline of art and architecture and has ample experience in leading and organizing workshops in both academic and public context. The expertise lies in the development of the methods of a mindful relation to the build and social environment. F.ACT follows the premise that the substantial development of democratic selfconsciousness is based on the inclusion of citizens, education and intercultural dialog, and is possible through artistic practice. It sees mindfulness, creativity and experimentation in public space as a tool for building up democratic consciousness and the selfawareness of the individual as a potent agent of social change and development.
Centar za promociju transdisciplinarnosti Кo-ART, Srbija Centar za promociju transdisciplinarnosti Кo-ART je građansko udruženje, nastalo iz želje za afirmacijom i edukacijom o savremenoj kulturi i umetnosti i o njihovom povezivanju sa ekologijom, arhitekturom i humanističkim naukama posredstvom novih informacionih tehnologija i kulturnih događaja. Centar КoART fokus stavlja na promovisanje transdisciplinarnih praksi, starih i novih kulturnih modela, kroz različite teorijske i praktične discipline. Posebna pažnja se posvećuje afirmisanju savremene umetnosti kao prostora za edukaciju o reciklaži i ekologiji. Cilj Centra su i saradnja i umrežavanje sa organizacijama, institucijama i pojedincima koji se bave istraživačkim, naučnim i kulturnim delatnostima u domenu umetničkih praksi, ekologije i humanističkih nauka radi stvaranja novih transdisciplinarnih sadržaja. Vođen idejom multikulturalnosti i interkulturalnosti, Centar posreduje u pružanju znanja neintegrisanim pojedincima i grupama, pomaže u razvoju sistema komunikacija između javnih, privatnih i NVO organizacija u zemlji i inostranstvu, posebno onim koje afirmišu savremenu umetnost i kulturu. Edukativni programi Centra Кo-ART povezuju sve zainteresovane grupe i pojedince primenom metoda iz savremene umetnosti, ekologije, arhitekture i humanističkih nauka.
Centre for the Promotion of Transdisciplinarity Co-ART, Serbia Center for the Promotion of Transdisciplinarity Co-ART is a civic association, created out of a desire for affirmation and education about contemporary culture and art and their connection with ecology, architecture and humanities through new information technologies and cultural events. Center Co-ART focuses on promoting transdisciplinary practices, as well as old and new cultural models, through various theoretical and practical disciplines. Special attention is given to affirmation of contemporary art as a space for education about recycling and ecology. The goal of the Center is cooperation and networking with organizations, institutions and individuals engaged in research, scientific and cultural activities in the field of artistic practices, ecology and humanities in order to create new transdisciplinary content. Guided by the idea of multiculturalism and interculturality, the Center mediates in providing knowledge to non-integrated individuals and groups, helps developing communication systems between public, informal and NG organizations in the country and abroad, especially those that focus on contemporary art and culture. The educational programs of the Co-ART connect all interested groups and individuals by applying methods from contemporary art, ecology, architecture and humanities.
Impresum autorke tekstova / text authors: Sonja Jankov, Ana Jeinić fotografije / photographs: Anita Lalić, Elvira Kakuszi, Gabriela Sigeti, Irina Tucakov, Maja Vilić, Marija Đokić, Nikola Radosavljević, Sara Tanasković, Srbislava Šahović, Živana Mijailović Prelom, dizajn, editovanje, vizuelni identitet / design, editing, visual identity: Adrienn Újházi Podrška / support: Uprava za kulturu grada Graca / Kulturamt der Stadt Graz 2021