To Float

G

po

an Des r o

tovski

ar t works 1999-2008

installations

to float exhibition

G

po

an Des r o

tovski

ar t works 1999-2008

i nst allat io ns

to float exhibition

Muzej savremene umetnosti Vojvodine

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installations

to float exhibition

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G o ra n D es p o tovs k i Muzej savremene umetnosti Vojvodine u Novom Sadu The Museum of Contemporary Art Vojvodina in Novi Sad April 2008.

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Svetlana Mladenov GORAN DESPOTOVSKI «Umesto da pripremi i najavi buduće svetove, savremena umetnost oblikuje raspoložive»1

Kontekst Umetničku karijeru Goran Despotovski započinje na razmeđu vekova, stičući afirmaciju u okviru vojvođanskog kulturnog prostora. Svoju vizuelnu poetiku uspeo je da izgradi tražeći harmoniju unutar različitih konteksta: mesta, vremena, lokalnog i globalnog, intimnog i javnog.

Umetnička scena Vojvodine krajem 20. i početkom 21. veka predstavlja složeni sistem koji na prvi pogled deluje rasplinuto i nepregledno, ali je, zapravo, jedan živo pulsirajući organizam u kome se prepliću uticaji tranzicionog, balkanskog, ali i uređenijeg, srednjoevropskog umetničkog prostora. Mada su se umetnička istraživanja Gorana Despotovskog odvijala i još uvek se odvijaju unutar «getoizovanog», zatvorenog društva, kakvo je ono danas u Srbiji, razvoj novih tehnologija i ubrzani protok informacija omogućili su da ideja o globalizaciji umetnosti postane stvarnost, a internacionalni umetnički diskurs bude prihvatljiv i razumljiv umetnicima širom sveta. Brža i jednostavnija komunikacija među različitim društvima i pojedincima usled veće individualne pokretljivosti i «nomadskog» načina života brojnih umetnika, masovna upotreba novih telekomunikacionih sistema, pristupačnost interneta i sl. – sve to je doprinelo da savremena umetnost postane zajednička civilizacijska svojina, koja se gradi i obogaćuje usvajanjem novih vrednosti, specifičnih za identitet različitih regiona ili nacionalnih zajednica. «Umetnost posle dvehiljadite teži da kao sopstveni kontekst prepozna neku vrstu opšteg stanja koje već postoji na planu tehnike, kako tvrdi Ernst Jinger. A tu nema centra, postoji samo polje koje je stalno pod uticajem raznih periferija»2 Jedan od takvih perifernih regiona je i Vojvodina. Njena umetnička scena krajem dvadesetog veka imala je, a i danas ima živu aktivnost, koja se ogleda u većoj meri u različitim inicijativama, idejama, kratkotrajnim intervencijama, virtuelnim istraživanjima, a manje u realizovanim projektima i finalizovanoj i materijalizovanoj umetničkoj produkciji. Mnogo je razloga za ovakvo stanje unutar umetničkog sistema, koji je više samoorganizujući, nego što se bazira na strategijskom promišljanju. On još uvek zavisi od agilnosti i kreativnosti pojedinaca, njihove sposobnosti snalaženja u konfuznom društvenom okruženju koje ni malo nije naklonjeno savremenoj umetnosti. Brojni su činioci koji negativno utiču na opšti utisak o vojvođanskoj likovnoj sceni: osiromašenje institucija kulture, neizgrađenost sistema donatorstva, nepostojanje tržišta savremene umetničke produkcije, nepostojanje adekvatnih prostora za prezentaciju vizuelne umetnosti kao i velikih manifestacija koje bi služile njenoj promociji, odsustvo novih umetničkih istraživanja i sl. Zato je zamagljena realna slika o vrednosti umetničkih ostvarenja, kao i o značaju pojedinačnih napora umetnika i kuratora, koji se trude da snagom sopstvenih ideja i lične inicijative prevaziđu postojeće probleme. Stoga su dragocene umetničke ličnosti koje, poput Gorana Despotovskog, snagom sopstvenog talenta i iskrenom potrebom za istraživanjem čine onaj tok vojvođanske aktuelne umetnosti koji u sebi nosi vitalističku snagu. Usvojivši internacionalni umetnički diskurs i obogativši ga specifičnim duhom regiona iz koga potiče i u okviru koga deluje, Despotovski ulazi u red onih ne tako brojnih vojvođanskih umetnika, koji svojim umetničkim konceptom prevazilaze granice ovog regiona i bez kompleksa se priključuju evropskoj i svetskoj umetničkoj porodici.

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Nikolas Burio, Relaciona estetika, Košava, br.42-43, Vršac, mart 2003 Akile Bonito Oliva i Đulio Karlo Argan, III Moderna umetnost 1770-1970-2000, Clio, Beograd, 2006.

U plastičkom konceptu Gorana Despotovskog mogu se prepoznati bitne odlike savremene umetničke prakse s početka 21. veka: slobodno kretanje kroz «polje umetnosti», upotreba različitih medija i njihovo kombinovanje (slikarstvo, skulptura, fotografija, intervencije u prostoru, novi mediji), korišćenje različitih materijala (klasičnih, neklasičnih i ready made - stare tkanine, jastučnice, posteljina, perje, vuna, tapacirano platno, draperije, drveni delovi nameštaja i ograde, užad, konac, kaputi, TV ekrani, pantalone, sakoi i sl.), ovladavanje novim tehnologijama (digitalna fotografija, video, veb-dizajn), shvatanje važnosti dijaloga umetničkog dela/čina sa publikom, usvajanje relacione estetike kao teoretskog promišljanja sopstvenog dela, poštovanje konteksta one realnosti u kojoj nastaje nov umetnički sadržaj.

Polazeći od slikarstva kao osnovnog medija, Despotovski svoja kasnija umetnička istraživanja usmerava u pravcu iskoraka slike u prostor i njenom daljem osvajanju prostora. U njegovim novoizgrađenim ambijentima slika i prostorni umetnički predmeti u početku su ravnopravni, da bi u kasnijim nastojanjima primat preuzeli predmeti. Usvojivši nove tehnologije, umetnik ih vešto i znalački koristi. Uvodeći digitalnu fotografiju i ekransku sliku u svoja istraživanja, umetnik postiže novi kvalitet, njegovi radovi dobijaju na aktuelnosti i privlačnosti.

Nikada sasvim ne napušta ranije usvojenu ljudsku figuru, koja je u njegovim slikama povremeno nestajala, da bi ustupala mesto preispitivanjima čiste likovnosti, i vraćala se, opredmećena u prostornim aranžmanima. Figura čini okosnicu i njegovih najnovijih instalacija, predstavljenih na ovoj izložbi.

Instalacije Sopstvenu poetiku Goran Despotovski gradi na ukrštanju emocionalnog i racionalnog, pri čemu blagu prednost daje osećanjima i intimnijem doživljaju sveta, u kome traganje za osobenim, ličnim prostorom postaje cilj umetnikovog angažmana. Artikulišući emocionalno u pravcu ostvarivanja prvobitne ideje, njegovi plastički koncepti odražavaju stanje društva u kome su nastali, ističući u prvi plan kulturološko-socijalni aspekat.

Sve to umetnik čini s merom, bez patosa i snažnih ekspresionističkih gestova, ali uz duboko saučestvovanje i saosećanje sa čovekom koji je uvek u pozadini, bar u naznakama. Intimno i javno, lično i opšte prepliću se, brišući međusobne granice i stapajući se u zajedničko «nedefinisano» stanje, u kome lično lako prelazi u kolektivno, intimno u javno, a pojedinačno u opšte, i obrnuto.

Prisustvo čoveka u prostornim konceptima Gorana Despotovskog naslućuje se i kada figure čoveka nema u bukvalnom smislu. Kaputi i ogrtači u instalaciji «Showroom», razmešteni tako da čine poseban ambijent, sugerišu sećanje na ljude koji su ih nosili, nagoveštavajući njihovo postojanje ili davno bivstvovanje. Zvuk koji se čuje kada se približite ovoj ambijentalnoj postavci samo još više podvlači njihovo tajanstveno prisustvo.

Umetnik često koristi stare, upotrebljene i zaboravljene predmete i tkanine, izvučene iz starih porodičnih kuća, stavlja ih u novi kontekst i otvara ih prema javnosti. Odsustvo čoveka u ovim instalacijama čini ga samo još prisutnijim: «Medium», «Suggestions», «Folding», «Repeat» i dr.

U najnovijim prostornim radovima «Mumbled» i «Insult» glavnu ulogu ima ljudska figura. «Mumbled» pretstavlja instalaciju, sastavljenu od lutaka/ljudskih figura kao objekata u prirodnoj veličini, načinjenih od mekog materijala, sunđera i tkanine, bez definisanih lica, koje su postavljene u nizu. Ponavljanje istovetnih figura u funkciji je kritike društva, umetnik koristi taj postupak s namerom da podseti publiku na događaje iz devedesetih godina – na rat, izolaciju, represiju, dugačke redove pred prodavnicama, bankama, benzinskim pumpama... Figure bez izražene individualnosti, kao klonirane od jednog originala, podvlače bezličnost tih ljudi, utopljenih u masu, dok zvuk koji čuju posetioci, kad im se približe, dočarava žagor koji se stapa u nerazgovetno mrmljanje mase. Mir i strpljenje ljudi u redu nagoni posmatrača da ih pokrene, da učini nešto što će ih «prodrmati» i izbaviti iz izmanipulisane situacije i beznađa u kome su se našli.

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Ljubav za «čoveka u masi», razumevanje njegovih problema, nastalih kao posledica bezumnog stanja u kome se on zatekao, govori o umetniku, za koga je humanost bitan aspekat življenja, a kritika društva, upozorenje i javno neslaganje obaveza umetnika.

Poznato je da je sudbina pojedinca u društvu kao što je naše određena ne samo njegovim poreklom, odlukom da se društveno-politički angažuje ili ostane pasivni posmatrač, već i novim realnim odnosima u društvu.

U zemlji u kojoj je prisutna permanentna borba političkih partija i finansijskih moćnika oko vlasti, gde se slavi kapital i nameće potrošački mentalitet, došlo je do neminovnog urušavanja sistema vrednosti i potiskivanja humanosti i solidarnosti Zabrinutost umetnika za sudbinu «malog čoveka» i očuvanje njegovog mikrokosmosa prisutna je u većini instalacija Despotovskog. Umetnik se uživljava u probleme drugih, osluškuje šapat mase i u stanju je da razume njegovo suštinsko značenje, što govori o snažnoj empatiji umetnika, o njegovoj spremnosti da zajednički deli sudbinu drugih.

U instalaciji «Insult» umetnik koristi prozirno-belu tkaninu od koje gradi ljudske figure nalik na lutke. Ove bezimene i bezlične lutke ne samo da su izgubile lica već i svaki nagoveštaj boje, pretvarajući se u nešto amorfno, bolesno isprano, bolnički sterilno, nedodirljivo i nestvarno. One prestaju da predstavljaju jedinke i postaju simbol jednog opšteg, nedefinisanog stanja.Umetnik sluti da je ljudski opstanak ugrožen, on nas upozorava na opasnost od gubitka individualnosti u novom svetskom poretku, na sve prisutniji proces utapanja pojedinca u bezobličnu i bezličnu masu, na ljudsku međusobnu otuđenost.

Delo Despotovskog je ukorenjeno u kriterijumu koegzistencije, o čemu svedoči njegova potreba za podsticanjem dijaloga i stvaranjem mogućnosti da ga posmatrač upotpuni. «Instalacija postaje mesto susreta, nepostojan prostor, mesto sastanka sa društvom»3. «Umetnost je, dakle, stanje susretanja»4 U pojedinim instalacijama posmatrač sopstvenim kretanjem pokreće zvuk, pojačava ga i smanjuje i tako omogućava da se žagor i mrmljanje mase čuje, pojačava ili sasvim gubi. Na taj način, publika zajedno sa umetnikom učestvuje u formiranju i menjanju umetničkog dela. Svojom aktivnošću ona doprinosi faktoru iznenađenja, te se krajnji ishod nikada unapred ne može predvideti. Interaktivnost postaje suštinski važna i bez nje bi mnogi umetnikovi napori ostali nedovršeni ili nedovoljno razumljivi. Interakcija između umetnika, dela i publike, s jedne strane, geografskog mesta, vremena i prostora, s druge strane, i memorije, realnosti i predviđanja, s treće, čini ambijent u kome se kreću umetnička istraživanja Gorana Despotovskog.

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Akile Bonito Oliva i Đulio Karlo Argan, III Moderna umetnost 1770-1970-2000, Clio, Beograd, 2006.

Nikolas Burio, Relaciona estetika, Košava, br.42-43, Vršac, mart, 2003.

Svetlana Mladenov GORAN DESPOTOVSKI “Instead of preparing and heralding future worlds, contemporary art shapes the existing ones”1

Context Goran Despotovski began his artistic career at the turn of two centuries, gaining his affirmation in the framework of the Vojvodinian cultural environment. He has managed to develop his visual poetics by seeking harmony within different contexts: place, time, local and global, intimate and public.

Vojvodinian art scene at the end of the 20th and the beginning of 21st century is a complex system, which seems diluted and unclear, but is actually an active pulsating organism incorporating a mash of influences of transitional, Balkan, but also a better organised, central European art spaces. Although Goran Despotovski’s artistic explorations have been happening in a “ghettoised”, closed society, such as the Serbian society today, the development of new technologies and an accelerated information flow have enabled the idea of globalised art to become reality, and the international artistic discourse to become more acceptable and understandable to artists worldwide.

Faster and easier communication between different societies and individuals which came as a result of a heightened individual mobility and “nomadic” lifestyle of numerous artists, global use of new telecommunication systems, accessibility of the Internet, etc. – all these helped contemporary art to become a common property of the entire civilisation, which is build and enriched by adopting new values characteristic of the identity of different regions or national communities.

“Art after the year 2000 attempts to recognise as its own context some kind of a general state of things which already exists in the field of technology, as Ernst Jünger claims. And there is no centre, only a field under a constant influence of different peripheries.”2 Vojvodina is one of such peripheral regions. Its art scene at the end of the 20th century was lively with activity as it still is today. This activity is reflected more in different initiatives, ideas, short-term interventions, and virtual explorations, and less in realised projects and finished and materialised artistic production. Reasons are plenty for such a state of the art system, which is more self-organisational than based on strategic planning. It is still dependent on individual agility and creativity, their ability to cope in the confused social environment, lacking the slightest inclination towards contemporary art.

There is a number of factors that have had a negative influence on the general impression about Vojvodinian visual art scene: impoverished state of the institutions of culture, undeveloped donor system, the lack of a market for contemporary artistic production, the lack of adequate spaces for presenting visual art as well as large events which would serve its promotion, the absence of new artistic accomplishments, etc. Therefore the image of the value of the artistic accomplishments is blurred, as well as the one of the significance of individual efforts by artists and curators, who are giving their best to overcome the present obstacles with the bare strength of their ideas and personal initiatives.

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Nicolas Bourriaud, Relational Aesthetics, Kosava, No.42-43, Vrsac, March 2003 Achille Bonito Oliva and Giulio Carlo Argan, III Modern Art 1770-1970-2000, Clio, Belgrade, 2006

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Artistic figures like Goran Despotovski are therefore invaluable – the figures who give the force of their talent and the genuine thirst for exploration to the current of Vojvodinian contemporary art which carries its vital energy. Having adopted the international artistic discourse and enriched it with the particular sprit of the region he originates from and where he works, Despostovski enters the category of those not so numerous Vojvodinian artists who push the regional boundaries by their artist concept, and join the European and world artistic family without a complex.

In Goran Despotovski’s plastic concept one can recognise the key features of contemporary artistic practice from the beginning of the 21st century: free navigation through the ‘field of art’, use of different mediums and their combination (painting, sculpture, photography, space interventions, new media), use of different materials (traditional, untraditional and ready-made – old textiles, pillowcases, bed linen, feathers, wool, drapes, wooden parts of furniture and fences, ropes, thread, coats, TV screens, trousers, jackets, etc.), understanding of how important it is for an artwork/act to communicate with its audience, implementation of relational aesthetics as a theoretical base for one’s own work, respect for the contexts of the reality a new artistic content is born in.

Having set off from painting as the basic medium, Despotovski focuses his later artistic research in the direction of transforming it from a two-dimensional form into a spatial one, leading it to a further conquest of space. In his newly-developed ambiences, painting and spatial artistic objects take the positions of equals at first, but in the later efforts the objects take precedence. Having mastered new technologies, the artist applies them skilfully and competently. By introducing digital photography and screen picture in his explorations, the artist achieves a new quality; his works become more attractive and up-to-date. He has never abandoned his human figure adopted earlier, which has been occasionally vanishing from his canvases, to make room for re-examination of pure art, and coming back again, incarnated in spatial arrangements. Figure is the backbone of his latest installations, presented at this exhibition.

Installations Goran Despotovski builds his poetics on making a crossbreed between emotional and rational, giving a slight advantage to feelings and a more intimate perception of the world, in which the search for a distinctive, personal space becomes the aim of artistic engagement. Articulating this emotional drive in the direction of achieving his original ideas, his plastic concepts mirror the state of the society they emerged in, putting the cultural-social aspect in the foreground. The artist does so with a right measure, without pathos and powerful expressionistic gestures, but with a profound empathy with the person who is always in the background, at least implicitly.

Intimate and public, personal and communal intertwine, erasing their boundaries and merging in a common ‘undefined’ state, in which personal gets easily transformed into collective, intimate into public, and individual into general and vice versa.

The presence of a human being in spatial concepts developed by Goran Despotovski can be felt even when the human figure is not physically there. Coats and cloaks in the installation entitled ‘Showroom’ are arranged in such a way to make a special ambience, suggesting memories of people who used to wear them, implying their present or past existences. The sound which is heard when you come closer to this ambiental setting only underscores their mysterious presence.

The artist frequently uses old, already used and forgotten objects and fabrics saved from old family houses, puts them in a new context and opens them to the public. The absence of human figure in the following installations makes it even more present: ‘Medium’, ‘Suggestions’, ‘Folding’, ‘Repeat’, etc.

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In the latest spatial works ‘Mumbled’ and ‘To Float’ human figure plays the leading role. ‘Mumbled’ is an installation composed of dolls/human figures as natural-size objects, made of soft materials, sponge and fabric, without defined facial features, placed in a line. The repetition of identical figures serves to state a social criticism - the artist’s intention is to remind the audience of the events from the 1990s: wars, isolation, oppression, long lines in front of the supermarkets, banks, petrol stations… The figures stripped of all individuality, as if clones made from one original, underscore the impersonality of these people, merged into a mass, while the sound the visitors hear when they come closer illustrates a murmur which merges with the indistinct mumbling of the masses. The peacefulness and patience of the figures in the line impels the spectator to move them, to do something that will ‘shake them up’ and rescue them from the situation and hopelessness they have ended up in.

Love for ‘a man in the crowd’ and the understanding for his problems which come as a result of the insane situation he finds himself in speak of the artist, for whom humanity is an essential aspect of living, while a critical stance toward the society, warning and expressing public disagreement is a duty of an artist.

It is well-known that the destiny of an individual in a society such as ours is determined not only by their origin, decision to become socio-politically engaged or remain passive observers, but in new actual relations in the society. In the country with a permanent fight among political parties and financial powers for control, where capital is celebrated and consumer mentality is forced upon the people, an inevitable collapse of the value system has occurred together with repression of humanity and solidarity. The artist’s concern about the destiny of an ‘ordinary man’ and the preservation of his microcosm is evident in most installations done by Despotovski. The artist feels with other people’s problems, listens to the whispers of the masses and is capable of understanding their essential meaning, which speaks of his strong empathy, his willingness to share the fate of the others.

In the installation entitled ‘To Float’ the artist uses a transparent white fabric for making figures resembling dolls. These nameless and impersonal dolls have not only lost their faces but all implication of colour, turning into something amorphous, ill, washed out, hospital-like sterile, untouchable and unreal. They cease to represent individuals and become symbols of a general undefined state.

The artist evokes a feeling that human existence is endangered, he warns us of the danger that individuality could be lost in the new world order, of the increasingly present process of individuals turning into a shapeless and faceless masses, of the human alienation.

Despotovski’s work is rooted in the criteria of coexistence, which can be seen in his need to instigate dialogue and create opportunities for spectators to give their own contribution. ‘Installation becomes a place of encounter, a fleeting space, a place of meeting with the society.’ 3 ‘Art is therefore a state of encounter.’ 4 In some installations spectators set off the sound by their motion, turning it up and down thus making the murmur and mumbling of the masses audible, louder or fade away completely. By this, the audience takes part in forming and changing the work of art together with the artist. Its activity contributes to the factor of surprise, so the final outcome can never be told in advance. Interactivity becomes of essence and without it many of the artist’s efforts would stay unfinished or insufficiently understandable. The interaction between the artist, the work and the audience on the one hand, and geographical place, time and space on the other, and memory, reality and predicting on the third, constitute the environment the artistic explorations of Goran Despotovski live in.

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Achille Bonito Oliva and Giulio Carlo Argan, III Modern Art 1770-1970-2000, Clio, Belgrade, 2006 Achille Bonito Oliva and Giulio Carlo Argan, III Modern Art 1770-1970-2000, Clio, Belgrade, 2006

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i n s t a l l a t i o n s 1 9 9 9 2 0 0 8

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Medium, 2000.

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Suggestions, 1999.

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Repeat, 2002.

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18

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Medium Coat 1, 2001.

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Introvert, 2001.

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Medium Coat 2, 2001.

Three-Wood Gate, 2001.

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Phenomenoms, 1999.

Ejaculate, 2002.

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Coat, 2002.

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Folding, 2003.

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29

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Fall, 2004.

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Civil, 2007.

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34

To float, 2007.

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Generating preview, 2007.

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Showroom, 2004.

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39

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41

42

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Moth, 2006.

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Distance, 2006.

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Boiling, 2007.

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48

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Mumbled, 2007.

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Insult, 2008.

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Ind ex

p12, 13

Me diu m, Installations, 2000.

series Medium: Towel 160x50x15cm, wood, textile; Trunk 45x45x200cm, wood, ash-soot; Bed 200x45cm, wood, textile / pillow; Bed 45x190cm, wood, textile / pillow; Excavation 60x55x28cm, wood, textile.

p 25

(21 segments, 70x50cm, 210x350cm). p 26, 27, 28, 29,30,31

Sug gesti on s, Installations, 1999.

series Suggestions: Golgota 220x450cm, wood, jute; Candle 300x500x100, wood, jute; Mather 200x25x40cm wood, black tin, textile; Mather, 2 segments 50x70x25cm; 70x50x25cm, black tin, textile; Mather 240x100cm, wood, fextile; 1,2,3,4... 40x450x35cm, wood, blue mass; Look 200x210x30cm, wood, wool; Unleeavend cake 300x300x30cm, wood, flour.

IV Internationale Biennial Of The Yuong, 2000. Novi Sad Art Salon, Cultural Centre of Novi Sad 2000. CSK Konkordia Vrsac 2000. p17, 18,19

Center For Contemporary Art Konkordia, Vrsac, 2002. p 20

Me diu m C o at, Photography, 2001.

p 21

Introver t, Installations, 2001.

p 22

p 32,

Fa l l, Frame, 2004.

p 33,34

C i v i l, Photography, 2007.

p 35

To f l o at, Video, 2007.

p 36,37

G e ne ra t i ng p re vi e w, Installation, 2007.

p 38,39, 40, 41, 42, 43

Sh ow ro om, Installation, 2004.

VI Internationale Biennial Of The Yuong,Vrsac, 2004; CZK Zlatno oko / street L.Teleckog, 2005; KC Vrsac, 2005; Gallery Conterporary Art Zrenjanin, 2005; The 46th october’s sallon, Belgrade, 2005. p 44

M o t h , Installation, 2006.

series Introvert: I, 4 segments 25x25cm, textile; II, 120x200cm, textile; III, 120x120cm, textile; IV, 50x50cm, textile.

p 45

Di st anc e, Video-Installation, 2006.

Me diu m C o at (1 ,2 ), Installations, 2001.

p 46,47,48,49

Thre e- Wo o d G ate, Installation, 2001.

(3 segments 200x300/200x900cm).

XI Art Expo, Novi Sad; Sity art stage, Novi Sad.

p 24

B oi l i ng, Installation, 2007. (two dools the size of life)

Balkan Art 2007, CZK Zlatno Oko Novi Sad. p 50,51,52, 53,54,55,56,57

Mu mbl e d, Installation, 2007.

p 58,59,60,61,62,63,64

In su lt, Installation, 2008.

Phen om en om s, Photography, 1999.

(12 segments 40x45cm).

Gallery Podrum / Project Like difference II, 2006.

(version 1. box 250x370x60cm, version 2. baner 400x500)

Center For Contemporary Art Konkordia, Vrsac, 2002. p 23

Internationale Biennial New Media, Gallery New Moment, Belgrade 2007

(series 50 objects coats & musics mechanisms)

Center For Contemporary Art Konkordia, Vrsac, 2002.

(3 segments, 220x110cm). p 22

KC Vrsac; Gallery Conterporary Art Zrenjanin, 2005.

Re p e at, Installation, 2002.

(black tin, coat, ogledala, 2 segments 2 x 200x420cm).

Fol d i ng, Paitings, 2003.

series Folding: Clipping 4 segments 205x200cm; Clipping I 12 segments 85x87cm; Clipping II 9 segments 85x87cm; Clipping J. I 2 segments 120x40/120x90cm; Clipping Mr. 2 segments 130x60.

Gallery ULUV, Novi Sad 2000. p14, 15, 16

C o at, Photography, 2002.

In Situ, Museum of Contemporary Art of Vojvodina, Novi Sad / The Manual Forgotten Art Museum Internationale Biennial New Media, Pavilion Cvjeta Zuzoric, Belgrade 2007

Eja c u l ate, Installation, 2002.

(sintetic wool, gloss, ejaculate, 220x220x220cm).

V Internationale Biennial Of The Yuong,Vrsac, 2002.

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Suggestions, installations, 1999.

Radovi iz ciklusa Suggestions načinjeni su od materijala iz prostora stare kuće1. Korišćeni materijali na ovim radovima su: stare daske (patos), stare grede, stara tkanina (jastučnice, posteljina), vuna, užad. Ovi materijali na površini imaju tragove organskog porekla i neposrednog korišćenja, a suprotno tome, u njih su implementirani metalni elementi, epruvete, staklo... Ovi oblici podsećaju na ormar, kutiju, televizor, čiviluk, ogledalo, sanduk i ukazuju na prisustvo namene.

U ovom ciklusu nastali su radovi pod nazivima: golgota, sveća, majka, I/II/III/IV, pogled, pogača.

Phenomenoms, photo-installations, 1999.

Serija fotografija Scenes nastala je u prostoru stare kuće. Na fotografijama su prikazane svetlosno oblikovane forme u tamnom ambijentu. Ovi procesi transplantacije realnih stvari u nove apstraktne forme, nastaju pod uticajem svetla i tame.

Medium, installations, 2000.

Radovi iz ciklusa Medium napravljeni su od upotrebnih predmeta iz prostora stare kuće. Korišćeni materijali u radovima su: stare tkanine, jastučnice, posteljina, perje, vuna, štepano platno, draperije, drveni delovi i sl. Na materijalima se nalaze isflekane forme, kao tragovi nekadašnje upotrebe predmeta. Ovi detalji, u novoj, sada već neupotrebnoj funkciji, stvaraju utisak prisustva nekog procesa /radnje u odsustvu čoveka. U ovom ciklusu nastali su radovi pod nazivima: sanduk, ubrus, krevet, iskopina, jastuk...

Three-Wood Gate, installation, 2001.

Rad Three-Wood Gate sačinjen je od dasaka stare ograde, koja je odvajala dvorište stare kuće od ulice. U ovoj zidnoj instalaciji daske su umetnute u mekani, tapacirani deo u tri segmenta. Tri dela ove instalacije formiraju trokrilnu kapiju, a u odnosima (unutra-spolja), poprimaju novu pregradnu funkciju.

Coat, photo-installations, 2002.

Foto-instalacija Coat, predstavlja sekvence snimaka sakoa u raznim položajima. Prikazane kao jedna celina, sekvence oblikuju dramatičnu formu. Iako se prostiru kao vantelesna prikaza, «osobe» ipak zadržavaju svoje individualne karakteristike, koje posmatraču signaliziraju da individua pripada određenom sloju i ima konkretan društveni status.

Ove sekvence sakoa, zaustavljenog u pokretu, predstavljaju različite oblike napetosti, izazvane odnosom društva prema pojedincu.

Ejaculate, installation, 2002.

Rad Ejaculate čini sterilno bela prostorija od sintetičke vate. Na podu je uzdignuti postament sa staklenom ispeskiranom pločom na kojoj se nalazi tekst K.G.Junga o postanku i smislu života. Površina teksta i njena plitka reljefnost u staklenoj ploči ispunjeni su ejakulatom. ...Life flows from muddy to clear water spiring it leads through muddy to clearness, but as it is clearer the intensity of life is weaker because of the decanted substance which is making it muddy. The process of evolution needs not only clearing up but also making muddy...

Repeat, Installation, 2002.

Instalaciju Repeat čine dva metalna okvira sa po jednim prikačenim kaputom. Svaki od kaputa ima jedan reket sa obostrano postavljenim ogledalom. U ovom radu princip ponavljanja stvara iluziju beskonačne manipulacije.

Folding, paintings, 2003.

U slikama iz ciklusa Folding forme su izvedene od otiska bačene tkanine, to su slobodno iscrtani oblici postavljeni u kontekst znaka, siluete, senke, izvedene od kolažiranih elemenata tkanine, gaze i lepila.

Tako postavljeni i urezani u pločaste betonske forme čine celinu.

Showroom, installation, 2004.

Instalaciju Showroom čine stari kaputi na drvenim stalcima. Postavljeni kaputi oponašaju potpuno stanje slučajnog mesta, čineći karakter određene mase i grupe. Na njima su prikačeni muzički mehanizmi koji manifestuju zvuk različitih melodija (krštenja, venčanja, rođendana,

božića...). U tom dijalogu izražena je konfuzija ovih geografskih prostora, sagledana kroz različita tragična stanja našeg društva.

Moth, Photo-installations, 2004.

U ovom foto kolažu stvoren je ornament od moljaca, koji je apliciran na odeći, bedževima...

Distance, video installation, 2006.

Na prednjoj površini pravougaone ploče nalazi se 16 paralelno postavljenih ekrana. Svi ekrani su umreženi i na njima se emituju video sekvence neograničenog trajanja. Video klipovi prenose sliku koja poigrava i zvuk šuštanja kanala bez frekfencije, koji se povremeno prekida. Ovakva dinamika različitih klipova odvija se paralelno na svih 16 ekrana. U svakom video klipu implementiran je prateći tekst odabranih tematskih sadržaja, pomoću (RSS FEED-a), koji se preuzima sa odabranih web lokacija. Odabrani sadržaji su površne diskusije koje banalizuju određeni aktuelni događaj. Ovi tekstovi se direktno prikazuju u video radu.

Mumbled, installation, 2007.

Predstavlja rad sa lutkama koje na klasičan način predstavljaju čoveka.

Lutke su izvedene u prirodnoj veličini od tkanine, kao i njihova odeća (pantalone i sakoi). One «stoje u redu» na nekom fiktivnom mestu. U telu svake figure-lutke nalaze se zvučnici koji emituju zvuk nerazgovetnog govora (mumlanja). Ove lutke su postavljene tako da formiraju red određene mase ili grupe ljudi, koji mumlajući stvaraju konfuziju u komunikaciji i dijalogu, što predstavlja svakodnevnu sliku sa naših prostora.

Generating preview, Installation, 2007.

Instalaciju čini 16 vertikalno postavljenih sanduka u kojima je razapet baner sa fotografijom. Iz pozadine svakog objekta nezavisno se emituju intimne priče. Rad predstavlja repliciranog pojedinca u oskudnoj i dramatičnoj atmosferi, umetnutog u prostor sanduka. Svi postavljeni objekti u prostoru, emitujući govor, stvaraju utisak neformalne, ali i tajanstvene konverzacije, pri čemu je posmatrač indirektno uključen u prisluškivanje razgovora.

Boiling, Installation, 2007.

Rad predstavlja dve lutke koje su napravljene od belog platna, što je predstava o čoveku, svedena na čist simbol, dok su karakter i individualnost potpuno izostavljeni. Lutke su u paru postavljene u ležećem položaju i emituju zvuk mokrenja, prdenja, krčenja creva,...

Ove lutke, sa istaknutim audio elementom, predstavljaju pojedine momente svakodnevnih fizioloških radnji čoveka. Ujedno, ova manifestacija sugeriše načine na koje je moguće odgovoriti na svakodnevne društvene događaje.

Plasma, Installation, 2007-08.

Instalaciju čini modifikacija kolica – prikolice sa površinom sačinjenom od prošivene tkanine, jastučnica i posteljine. Na površini tkanine postavljeni su zvučnici koji emituju zvuke zapljuskivanja vode i govora.

Rad predstavlja sunovrat našeg društva u poslednjim decenijama sa nesagledivim tragičnim posledicama.

Civil, photo-installations, 2008.

Na radu su prikazane dinamične sekvence odeće bez tela, koje prikazuju zatečeno stanje. Rad je apliciran u osam segmenata.

Insult, Installation, 2008.

Rad čini više desetina lutaka u obliku čoveka, načinjenih od bele sintetičke tkanine. Ove lutke u grupi (nabacane, u redu, prikačene, uvijene,...), obrazuju celinu i prikazuju čoveka u rigidnom, ispijenom, dementnom stanju. Sterilnost materijala ukazuje na bezličnosti, a zvuk i govor, koji se emituju, ukazuju na agresivan stav.

1

66

Stara kuća: kuća u kojoj sam odrastao (1972 -1981).

Suggestions, installations, 1999.

Works from the series Suggestions are made of materials taken from an old house space.1 Materials used for these works are: old floor boards, old beams, old fabric (pillowcases, bed linen), wool, ropes.

These materials have traces of organic matter and immediate use and on the contrary to that, metal elements, test tubes and glass have been implemented in them. These shapes resemble a wardrobe, box, television set, hanger, mirror, and chest and imply the some practical purpose. This series includes the works entitled: Golgotha, Candle, Mother, I/II/III/IV, Sight, Round Bread.

Phenomenoms, photo-installations, 1999.

The series of photographs entitled Scenes was made in a space of an old house. The photographs depict forms shaped by light in dark space.

These processes of transplantation of real objects into new abstract forms happen under the influence of light and darkness.

Medium, installations, 2000.

Works from the series Medium are made of practical objects from an old house. Materials used in works are: old fabrics, pillow cases, bed linen, feathers, wool, drapes, wooden parts, etc. There are stained forms on the materials, as traces of the past uses of the objects. These details, in the new, now impractical function, create an impression of the presence of a certain process/activity in the absence of people. The works included in this series are entitled: chest, towel, bed, excavation, pillow…

Three-Wood Gate, installation, 2001.

The work Three-Wood Gate is made of boards once building a fence which separated an old house front yard from the street. In this wall installation, boards are inserted in a soft, upholstered part in three segments. The three parts of this installation form a three-winged gate, and in the relations (inside-outside), they are given a new separating function.

Coat, photo-installations, 2002.

The photo-installation Coat is made of sequences of a coat photographed in different positions. Displayed as a comprehensive unit, the sequences form a dramatic shape. Although they spread as a bodiless phantom of a ‘person’, they keep their individual characteristics, signalling the spectator that the individual belongs to a certain social class with a corresponding status. These sequences of a coat, frozen in motion, represent different forms of tension, caused by the society’s attitude towards the individual.

Ejaculate, installation, 2002.

The work Ejaculate consists of a sterile white room made of synthetic cotton wool. An elevated postament is on the floor with a sandblasted glass board with the text by K.G. Jung about the origin and meaning of life. The surface of the text and its shallow relief on the glass board are filled with ejaculate. ...Life flows from muddy to clear water spiring it leads through muddy to clearness, but as it is clearer the intensity of life is weaker because of the decanted substance which is making it muddy. The process of evolution needs not only clearing up but also making muddy...

Repeat, Installation, 2002.

The installation Repeat consists of two metal frames with a coat attached to each. Each coat has a racket with a two-side-set mirror. In this work the principle of repetition, creates an illusion of an endless manipulation.

Folding, paintings, 2003.

On the paintings from the series entitled Folding forms are made of impressions left by discarded fabrics; they are free-style shapes placed in the context of a sigh, silhouette, shadow, done in collage elements of fabrics, gauze and glue. They form comprehensive entities thus set and engraved onto flat concrete forms.

Showroom, installation, 2004.

The installation entitled Showroom consists of old coats on wooden

stands. The coats set mimic a complete state of incidental place, making up the character of a certain mass and group. Musical mechanisms attached to them manifesting the sound of different melodies (christening, wedding, birthday, Christmas,...) This dialogue expresses confusion of geographical spaces, seen through different tragic states of our society.

Moth, Photo-installations, 2004.

In this photo-collage an ornament made of moths is created, applied on clothes, bedges…

Distance, video installations, 2006.

On the front surface of a rectangular board there are 16 parallel screens. All the screens are networked and they show video sequences of unlimited duration. Video clips transmit an instable picture and a sound of a television channel without frequency, which is interrupted at times. Such dynamics of different clips unfolds simultaneously on all 16 screens. An accompanying text with selected topics is implemented in each video clip, by (RSS FEED-a), which is taken from the chosen web locations. The chosen contents are superficial discussions which make a certain current event banal. These texts are directly shown in the video installation.

Mumbled, installation, 2007.

Mumbled is a work with dolls which represent humans in classical way. The dolls are in natural size, made of cloth as well as their clothes (trousers and jackets). They are ‘standing in a line’ on a fictitious place.

In the body of each figure-doll, there are speakers which emit a sound of an indistinguishable speech (mumbling). These dolls are place in such a way to form a line of a mass or group of people, who create confusion in communication and dialogue by their mumbling, representing the everyday picture of our parts.

Generating preview, Installation, 2007.

The installation consists of 16 vertically set cases with a stretched out banner bearing a photograph. From the background of each object intimate stories are being transmitted. The work represents a replicated individual in a meagre and dramatic atmosphere, inserted in a space of a case. All the objects set in space, transmitting speech, create an impression of an informal, but mysterious conversation, while a spectator is indirectly involved in listening in.

Boiling, Installation, 2007.

The work consists of two dolls made of white cloth, representations of a human being, reduced to a mere symbol, while the character and individuality are completely left out. The dolls are set in pairs in the lying position and they transmit sounds of urinating, farting, bowl movements…These dolls with an emphasised audio element represent certain moments of everyday physiological activities of people. Simultaneously, the manifestations suggest the ways in which a possible answer to everyday social events can be given.

Plasma, Installation, 2007-08.

The installation consists of a modification of a cart – trailer with a surface made of sewn fabric, pillowcases and bed linen. The surface of the fabric holds speaker transmitting sounds of waves and speech.

The work represents the decline of our society in the last decades with unforeseeable tragic consequences.

Civil, photo-installations, 2008.

The work displays dynamic sequences of clothes without a body, which show the found state affairs. The work is applied in eight segments.

Insult, Installation, 2008.

The work consists of several dozens of dolls in the form of a human being, made of white synthetic fabric. These dolls in groups (thrown, in a line, hang, curved,…) form a whole and depict a man in a rigid, worn-out, dement state. Sterility of the material implies impersonality, while the transmitted sound and speech point to an aggressive attitude.

1

Old house: house where I was grown (1972-1981).

67

BIO GR A FIJA Goran Despotovski rođen 13. avgusta 1972. godine u Vršcu.

Diplomirao 1995. god. na Višoj školi likovnih i primenjenih umetnosti u Beogradu. Diplomirao 1999. god. slikarstvo na Akademiji umetnosti u Novom Sadu. Magistrirao 2003. god. slikarstvo na Akademiji umetnosti u Novom Sadu u klasi profesora Dušana Todorovića. Od 1999. god. član ULUV-a i ULUS-a, a od 2005. član saveta ULUV-a. Od 2002. radi kao saradnik Centra za savremenu kulturu Konkordija u Vršcu. Od 2004. zaposlen kao asistent slikarstva na Akademiji umetnosti u Novom Sadu.

Koordinator je projekta Voleti razlike Akademije umetnosti u Novom Sadu.

NAGRADE I POHVALE: Nagrada za eksperimentalni akvarel, 7. Bijenala akvarela, Zrenjanin, 2007. Nagrada SKC na 5. Bijenala mladih, Vršac, 2002. Dobitnik nagrade YU palete mladih, Vrbas, 2001. Pohvala 4. Bijenala mladih, Vršac, 2000. Dobitnik godišnje nagrade za slikarstvo Akademije umetnosti u Novom Sadu (1999). Dobitnik nagrade Univerziteta u Novom Sadu za postignute rezultate u umetničkim aktivnostima (1999).

ADRESA: Bulevar Cara Lazara 5, 21000 Novi Sad, Srbija Vojvode Putnika 47, 26360 Plandište, Srbija tel: ++381 (0)21 455 233 / mob: 063 820 13 81 e-mail: despotovski@eunet.yu / www.despotovski.vrsac.com SAMOSTALNE IZLOŽBE: 2008. - To float, Muzej savremene umetnosti Vojvodine, Novi Sad 2005.

- Centar za vizuelnu kulturu Zlatno oko, Novi Sad

- Savremena galerija, Zrenjanin

- KC, Centar za savremenu kulturu Konkordija, Vršac 2003.

- Akademija umetnosti, Novi Sad - Salon 77, Galerija moderne umetnosti, Niš 2002.

- Narodno pozorište Sterija, Vršac 2001.

- Centar za savremenu kulturu Konkordija, Vršac

- Galerija SKC, Kragujevac

- Galerija savremene umetnosti, Pančevo 2000.

- Galerija ULUV-a, Novi Sad

- Galerija savremene umetnosti Konkordija, Vršac

- Galerija savremene umetnosti Laza Kostić, Sombor

- Novosadski likovni salon, Kulturni centar, Novi Sad

- Dom kulture Studentski grad, Novi Beograd

- KIC Srpska kuća, Požarevac 1999.

- Galerija SKC DA, Novi Sad

- Galerija Most KPZV, Novi Sad 1998.

- Galerija okružnog zatvora, Zrenjanin

- Galerija Akademije umetnost, Novi Sad IZABRANE KOLEKTIVNE IZLOŽBE: 2008.

- Balkan Art, Internacionalna revija video radova, Pečuj 2007.

- Skulptura /objekti, instalacije, ambijenti, intervencije / u urbanom prostoru. Visart, Muzej savremene umetnosti Vojvodine, Novi Sad - Internacionalni Bijenale proširenih medija, Galerija New Moment i Paviljon Cvijete Zuzorić, Beograd - Izložba Umetničke kolonije Ečka, Savremena galerija, Zrenjanin - Balkan Art, Centar za savremenu kulturu Zlatno Oko, Novi Sad - In Situ, Muzej savremene umetnosti Vojvodine, The Manual Forgotten Art Museum, Novi Sad 68

- Do kraja veka - Umetnost u Vojvodini od šezdesetih do 2000-te (iz privatne zbirke Save Stepanova), Muzej savremene umetnosti Vojvodine, Novi Sad - Internacionalna Izložba umetničkih zastava, Galerija Zlatno oko, Novi Sad - 7. Bijenale akvarela, Savremena galerija, Zrenjenin 2006.

- Biblioteka - otvorena knjiga Balkana, Sarajevo 2006.

- Biblioteka - otvorena knjiga Balkana, Centar za vizuelna istraživanja Krug, Čačak - Primeri iz aktuelne umetnosti u Vojvodini - Početak veka: sudbine i komentari, Labin, Hrvatska - Voleti razlike_2, Galerija Podrum, Novi Sad. - Grad - umetnička pozornica, Visart, Novi Sad. - 11. Art Expo, Novosadski sajam, Novi Sad 2005.

- Internacionalna Izložba radova kolonije Tragom Paje Jovanovića, Narodni Muzej, Vršac.

- Internacionalni 46. Oktobarski salon, Kulturni centar Beograda, Beograd.

- Voleti razlike, Muzej savremene likovne umetnosti, Novi Sad. 2004.

- Međunarodna izložba, Observatoire 4 gallery, Montreal, Kanada.

- Internacionalna izložba 6. Bijenale mladih, Vršac.

- Izlagačka praksa kao kulturno-politička strategija, CSK Konkordija, Vršac.

- Međunarodna izložba, A Space galerija, Toronto, Kanada.

2003.

- 33. Oktobarski salon, Galerija savremene umetnosti, Pančevo.

- Korak korak napred dva koraka napred, Centar za vizuelnu kulturu Zlatno Oko, Novi Sad. 2002.

- Eksperimentalni crtež, Galerija moderne umetnosti, Niš.

- Internacionalni 5. Bijenale mladih, Vršac.

- Izložba SULUV-a, Novi Sad - Internacionalni Festival performansa i eksperimenata, Sankt Peterburg, Rusija.

- Internacionalna izložba Ogledalo Balkana, Kraljevo.

- 3. Izložba vršačkih autora, Centar za savremenu kulturu Konkordija, Vršac.

2001.

- Prolećna izložba ULUS-a, Beograd.

- 2. Izložba vršačkih autora, CSK Konkordija, Vršac.

- YU paleta mladih, galerija Doma kulture, Vrbas.

- 30. Novosadski oktobarski salon, Novi Sad. - 31. Oktobarski salon, Galerija savremene umetnosti, Pančevo.

2000.

- Internacionalni 4. Bijenale mladih, Vršac.

1999.

- 28. novosadski oktobarski salon, Novi Sad. - 17. Oktobarski salon, Kovin.

- 6. Salon mladih umetnika, Sremski Karlovci.

1998.

- 27. Novosadski oktobarski salon, Novi Sad. - Projekat Afrodita, Galerija Zvono, Beograd - 16. Oktobarski salon, Kovin.

- 2. Jesenji salon, Vršac.

- Projekat Afrodita, Centar za vizuelnu kulturu Zlatno Oko, Novi Sad 1997.

- 27. Oktobarski salon, Pančevo.

- 15. Oktobarski salon, Kovin.

BIO GR A PH Y Goran Despotovski was born on August 13th 1972 in Vrsac.

In 1995 he graduated from the College for Visual and Applied Arts in Belgrade. In 1999 Despotovski graduated in Painting Art from the Academy of Arts in Novi Sad where he also received his MA in 2003, studying with Professor Dusan Todorovic. Since 1999 he has been a member of the associations of visual artists of Vojvodina and Serbia - ULUV and ULUS. He has been an associate of the Centre for Contemporary Culture Konkordija in Vrsac since 2002, and Assistant Professor at the Academy of Arts in Novi Sad – Section Painting since 2004, where he is also the coordinator for the project ‘Loving Differences’.

PRIZES AND RECOGNITIONS: Award for Experimental Watercolour, 7th Biennale of Watercolour Zrenjanin, 2007. The SKC Award at the 5th Biennale of the Young, Vrsac, 2002. Award of the YU Pallet of the Young, Vrbas, 2001.

Recognition of 4th Biennale of the Young, Vrsac, 2000. Annual Award for Painting from the Academy of Arts in Novi Sad, 1999. Award for Achievements in Art from the University of Novi Sad, 1999 ADDRESS: 5 Bulevar Cara Lazara, 21000 Novi Sad, Serbia 47 Vojvode Putnika, 26360 Plandiste, Serbia tel: ++381 (0)21 455 233 / mob: 063 820 13 81 e-mail: despotovski@eunet.yu / www.despotovski.vrsac.com SOLO EXHIBITIONS: 2008 - To Float, Museum of Contemporary Art of Vojvodina, Novi S. 2005 - Centre for Visual Culture Zlatno Oko, Novi Sad

- Contemporary Gallery, Zrenjanin

- KC, CSK Konkordia, Vrsac 2003 - The Academy of Arts, Novi Sad - Gallery, Novi Sad - Salon 77, Gallery of Modern Arts, Nis 2002 - National Theatre Sterija, Vrsac 2001 - Gallery of Contemporary Arts, Pancevo

- SCC Gallery, Kragujevac

- Center for Contemporary Art Koncordia Vrsac, 2000 - ULUV Gallery, Novi Sad

- Gallery of Contemporary Art Konkordia, Vrsac

- Gallery of Contemporary Art Laza Kostic, Sombor

- Novi Sad Art Salon, Cultural Centre of Novi Sad

- Culture Club Campus, New Belgrade

- Serbian House Gallery, Pozarevac 1999 - Gallery SKC YES, Novi Sad - Bridge Gallery, Novi Sad 1998 - Gallery of the Academy of Arts in Novi Sad

- Gallery of the Regional Prison, Zrenjanin SELECTED GROUP EXHIBITIONS: 2008 - Balkan Art, International review of video works, Pecuj 2007 - Sculpture - objects, installations, ambiences, interventions / in Urban Spaces, Visart, Museum of Contemporary Art of Vojvodina - International Biennale of Extended Media, New Moment Gallery and The Pavilion of Cvjeta Zuzoric - Exhibition of Ecka Art Colony, Contemporary Gallery, Zrenjanin - Balkan Art, Centre for Contemporary Culture ‘Zlatno Oko’, Novi Sad

- In Situ, Museum of Contemporary Art of Vojvodina, Novi Sad / The Manual Forgotten Art Museum - To the End of the Century – Art in Vojvodina from the 1960s to 2000 (from the collection of Sava Stepanov) - International Exhibition of Artistic Flags, Gallery ‘Zlatno oko’, Novi Sad - 7th Biennale of Watercolour, Contemporary Gallery, Zrenjenin 2006 - Library – The Open Book of the Balkans, Sarajevo 2006 - Library – The Open Book of the Balkans, Centre for Visual Research “Krug”, Cacak - Examples of Current Art in Vojvodina – Beginning of the Century: Destinies and Commentaries, Labin, Croatia - Liking Diifferences 2, Gallery “Podrum” Novi Sad - City – Art Stage, Visart, Novi Sad - 11th Art Expo, Novi Sad Fair, Novi Sad 2005 - International exhibition of works of the colony “On the Footsteps of Paja Jovanovic”, National Museum, Vrsac - International 46th October Salon, Cultural Centre of Belgrade - Loving Differences, Museum of Contemporary Art, Novi Sad. 2004 - International Exhibition, Observatoire4 Gallery, Montreal, Canada; - International Exhibition 6th Biennale of the Young, Vrsac - Exhibition Practice as Cultural-political Strategy, CSK Conkordia, Vrsac - International Exhibition, A Space Gallery, Toronto 2003 - 33rd October Salon, Pancevo - One Step Forward, Two Steps Back, Centre for Visual Culture “Zlatno Oko”, Novi Sad 2002 - Experimental Drawings, Gallery of Modern Art Nis - International 5th Biennial of the Young Vrsac - Annual exhibition of SULUV, Novi Sad - 5th International Festival of Experiment and Performance, Sent Petersburg, Russia.

- International Exhibition “The Mirror of the Balkans”, Kraljevo - 3rd Exhibition of Vrsac’s Authors, CSK Konkordia.

2001 - The Spring Exhibition of ULUS, Belgrade - 2nd Exhibition of Vrsac’s Authors, CSK Konkordija - YU Pallet of the Young, Vrbas - 30th Novi Sad October Salon, Novi Sad - 31st October Salon, Gallery of Contemporary Art, Pancevo 2000 - International 4th Biennial of the Young, Vrsac 1999 - 28th Novi Sad October Salon, Novi Sad. - 17th October Salon, Kovin - 6th Salon of Young Artists, Sremski Karlovci.

1998 - 27th Novi Sad October Salon, Novi Sad - Project Aphrodite, Gallery “Zvono”, Belgrade - 16th October Salon, Kovin - 2nd Autumn Salon, Vrsac - Project Aphrodite, Centre for Visual Culture “Zlatno Oko”, Novi Sad 1997 - 27th October Salon, Pancevo - 15th October Salon, Kovin

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Izdavač / Publisher Muzej savremene umetnosti Vojvodine u Novom Sadu The Museum of Contemporary Art Vojvodina in Novi Sad Jevrejska 21, 21000 Novi Sad Tel: +381 21 6613 526, Fax: +381 21 6611 463 e-mail: info@msuv.org / website: msuv.org Za izadavača / Executive Publisher Živko Grozdanić Kustos / Curator Svetlana Mladenov Tekst / Text Svetlana Mladenov Lektura / Lecturer Katja Juršić-Huzjan Prevod / Translation Lidija Kapičić Centar za strane jezike Babylon Dizajn / Design Goran Despotovski PR Danijela Halda Štamparija / Printed by Stojkov Tiraž / Print Run 700 april 2008

in st a l l at i ons

to float exhibition

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GORAN DESPOTOVSKI A R T W O R K S 1999-2008

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CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад 73.038.55(497.113) : 929 Деспотовски Г. (083.824) ДЕСПОТОВСКИ, Горан Goran Despotovski : installations : art works 1999-2008 : to float exhibition, Muzej savremene umetnosti Vojvodine, Novi Sad [april] 2008 / [tekst Svetlana Mladenov ; prevod Lidija Kapičić]. - Novi Sad : Muzej Savremene umetnosti Vojvodine, 2008 (Novi Sad : Stojkov). - 70 str. : ilustr. ; 22 cm Tiraž 700.

ISBN 978-86-84773-42-7 а) Инст а лације - Војводина - 1999-2008 - Изложбени каталози б) Деспотовски, Горан (-) - Изложбени каталози COBISS.SR-ID 230160135

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i n stallations Goran Despotovski

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