Program 15. Međunarodnog festivala multimedijalne umetnosti - IMAF 2013 Programe of the 15th International Multimedial Art Festival - IMAF 2013
07. 09. 2013. Galerija MAS / MAS Gallery (Studio za multimedijalnu umetnost / Multimedial Art Studio), S. Markovića 41, Odžaci (Srbija / Serbia) Fausto Grossi (Španija / Spain): “TEROROM PROTIV HORORA 1” / “TERROR VERSUS HORROR 1” performans na ulici / performance on the street Peter Küstermann (Nemačka / Germany): “MAGIČNA FLAUTA” / “THE MAGIC FLUTE” performans / performance Christof Gillen (Severna Irska/Velika Britanija / Northern Ireland/UK): “IMAGINE A CITY OF=” performans / performance Niclas Hallberg (Švedska/Srbija / Sweden/Serbia): "TRANSFORMACIJA" / "TRANSFORMATION“ performans / performance Cai Qing (Kina/Singapur / China/Singapore): "VRISKA“ / “SCREAMS" performans / performance
08. 09. 2013. Galerija MAS / MAS Gallery (Studio za multimedijalnu umetnost / Multimedial Art Studio), S. Markovića 41, Odžaci (Srbija / Serbia) Gilivanka Kedzior & Barbara Friedman (Francuska / France): “DOUBLE BIND” / “DUPLA VEZA” video sa performansa, 2010 / video from the performance, 2010 Gilivanka Kedzior & Barbara Friedman (Francuska / France): “DOUBLE BIND #2” / “DUPLA VEZA #2” interaktivni performans / interactive performance Ema & Radoslav Čugalj (Srbija / Serbia): “RODITELJSTVO” / “PARENTING” performans / performance Fausto Grossi (Španija / Spain): “TEROROM PROTIV HORORA 2” / “TERROR VERSUS HORROR 2” performans / performance Gustaf Broms (Švedska / Sweden): “SPAJANJE #14” / “MERGE #14“ performans / performance Stina Pehrsdotter (Švedska/Srbija / Sweden/Serbia): “GLäDJENS BLOMSTER (CVEĆE RADOSTI)” “GLäDJENS BLOMSTER (FLOWER OF JOY)” performans / performance Nenad Bogdanović (Srbija / Serbia): “MOSTOVI II” / “BRIDGES II” performans / performance
09. 09. 2013. Formverk (art zone), Božidara Kojića 15, Banatska Dubica (Srbija / Serbia) Christof Gillen (Severna Irska/Velika Britanija / Northern Ireland/UK): “HODANJE“ / “WALKING” performans / performance Stina Pehrsdotter (Švedska/Srbija / Sweden/Serbia): ”CRVENI SMEH BLUZ” / “RED LAUGHING BLUES” performans / performance Niclas Hallberg (Švedska/Srbija / Sweden/Serbia): ”UZMI KOLAČ” / "TAKE A CAKE" performans / performance Gustaf Broms (Švedska / Sweden): “SPAJANJE #15” / “MERGE #15“ performans / performance Nenad Bogdanović (Srbija / Serbia): “SREĆA” / ”HAPPINESS” performans / performance Gilivanka Kedzior & Barbara Friedman (Francuska / France): “STAKLENA MENAŽERIJA” / “THE GLASS MENAGERIE” performans / performance Cai Qing (Kina/Singapur / China/Singapore): “NEBESKI FENJER DUBICE” / "DUBICA'S SKY LANTERN" performans / performance
10. 09. 2013. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia) Ema & Radoslav Čugalj (Srbija / Serbia): “RODITELJSTVO” / “PARENTING” performans / performance Nenad Bogdanović (Srbija / Serbia): “57 SRCA” / “57 HEARTS” performans / performance Cai Qing (Kina/Singapur / China/Singapore): "CRVENA ZVEZDA" / “RED STAR“ performans / performance Niclas Hallberg (Švedska/Srbija / Sweden/Serbia): “STOP” / "STOPP" performans / performance
11. 09. 2013. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia)
József R. Juhász (Slovačka/Mađarska / Slovakia/Hungary): “STAVI GLAVU U PESAK” / "BURY YOUR HEAD IN THE SAND" performans / performance Stina Pehrsdotter (Švedska/Srbija / Sweden/Serbia): “TWISTED ON THE BACK)” performans / performance Gilivanka Kedzior & Barbara Friedman (Francuska / France): ”HOD CRVENIH OČIJU” / “RED-EYE WALK” pokretni interaktivni performans / ambulatory interactive performance Gustaf Broms (Švedska / Sweden): “SPAJANJE #16” / “MERGE #16“ performans / performance Christof Gillen (Severna Irska/Velika Britanija / Northern Ireland/UK): ”1968-PUTOVANJE2013” / “1968-JOURNEY-2013” performans / performance
NENAD BOGDANOVIĆ: Jubilarni 15. Međunarodni festival multimedijalne umetnosti – IMAF 2013 se ove godine održavao na tri mesta u Srbiji, pokrajini Vojvodini. Već višegodišnja saradnja sa Savezom udruženja likovnih umetnika Vojvodine rezultirala je predstavljanjem dela festivalskog programa i ove godine u Novom Sadu, u galeriji SULUV prvog dana i na ulicama Novog Sada drugog dana. Zahvaljujući prošlogodišnjem učešću i predstavljanju galerije MAS i IMAF festivala na Beogradskom sajmu umetnosti, čiji je organizator Formverk (art zone) švedska umetnička organizacija, koja deluje sa sedištem u Banatskoj Dubici, došlo je do ponovne saradnje i jednodnevnog programa performansa u Banatskoj Dubici. Festival IMAF se već 15 godina održava u Odžacima, u galeriji MAS (Studio za multimedijalnu umetnost), te je tako i ove godine predstavljen programom performansa poznatih umetnika iz Španije: Fausto Grossi, Francuske: Gilivanka Kedzior i Barbara Friedman, Švedske: Gustaf Broms, Niclas Hallberg i Stina Pehrsdotter, Severne Irske/Vel. Britanije: Christof Gillen, Kine/Singapura: Cai Qing, Nemačke: Peter Küstermann, Slovačke/Mađarske: József R. Juhász, Srbije: Ema i Radoslav Čugalj i Nenad Bogdanović. IMAF je umetnička manifestacija koja je proteklih petnaest godina prepoznata od strane kulturne javnosti kao važan međunarodni umetnički događaj, koji uveliko prevazilazi lokalni značaj. IMAF je dugogodišnja manifestacija sa bogatim programima i brojnim učesnicima od međunarodnog značaja na savremenoj umetničkoj sceni. Imali smo izuzetno zadovoljstvo da ovogodišnje jubilarno izdanje festivala otvori Peter Küstermann, umetnik koji je ove godine učesnik po treći put. Peter se u svom kratkom obraćanju prisutnima posebno osvrnuo na istorijat osnivanja i volšebnom opstanku ovog, za umetnost performansa, veoma značajnog umetničkog festivala. Da bi ovogodišnja jubilarna 15. godina IMAF festivala bila uspešno realizovana posebno treba zahvaliti dugogodišnjim prijateljima i volonterima festivala. Od izuzetnog značaja je i višegodišnja podrška Ministarstva kulture i informisanja, čiju pomoć očekujemo i ubuduće u nadi još uspešnije saradnje. Fausto Grossi U subotu 7. septembra, u prepodnevnim časovima, Fausto je krenuo sa performansom, od galerije MAS ka gradskom parku. Krećući se ulicama Odžaka izazivao je izuzetnu pažnju lokalnog stanovništva. Fausto je izgledao vrlo čudno sa gas maskom na glavi, u u crnim pantalonama, belom košuljom i plavom kravatom sa belim zvezdama, koja neodoljivo podseća na simbole SAD. Šta je umetnik hteo da kaže? I naziv njegovih performansa “Terror Versus Horror” nam mogu donekle pojasniti ideju autora i zašto baš tako. Imao je bele rukavice na rukama i nosio je crnu torbu, hodao energičnim koracima do gradskog parka, gde je sedeo na klupi i pripremao materijal za nastavak performansa sledećeg dana u galeriji MAS. Fausto je pripremio book.art projekat, korice knjižica koje je u parku energičnim potezima prevlačio po travi, i tako štampao “knjige” koristeći boje prirode. U galeriji MAS sledi nastavak “terora” video projekcijom Faustovog prvog dela performansa na ulicama Odžaka i parku. Ulazi u galeriju noseći pripremljen materijal i kuvalo za kafu, sa gas maskom na licu koju nije skidao posle jučerašnjeg performansa. U prokuvalu vodu ubacuje određene biljke sa jakim mirisom i grafitne boje. Postavlja vertikalno book-art artefakte po podu galerije i poput “sveštenika” osvećuje knjige “svetom” vodom iz kuvala. Na kraju performansa čovek sa gas maskom podelio je prisutnima book-art knjižice osvećene prirodom i duhom istine. Peter Küstermann Magična flauta je performans gde autor eksperimentiše sa ovim instrumentom na razne načine. Peter u svojim ranijim radovima koristi razne muzičke instrumente, truba, klavir, violina, harmonika, i sada i ovde flauta, zavisno od ideje koju je dobio za određeni instrument. Ovo je
lagani i opuštajući komad gde Peter koristi nekoliko vrsta flauta koje kod konzumenata uglavnom izazivaju pozitivne vibracije. Slušajući njegove melodije raznih muzičkih žanrova u prisutnima su verujem pobuđena najiskrenija osećanja i zadovoljstvo. Christoff Gillen Umetnička instalacija Christof Gillen-a u galeriji MAS je dijalog koji je započet u oktobru/novembru 2008. godine. Christof je tada realizovao dugotrajni rad, instalaciju u prostoru, otvoreni dijalog sa građanima Belfasta i putem javnih elektronskih medija. Instalaciju je postavljao na severozapadnom delu Crne planine iznad Belfasta. Gradeći instalaciju autor je koristio slova i simbole koji su kulminirali velikom frazom: Imagine A City of =. U galeriji MAS Christof za svoju multimedijalnu instalaciju koristi dokumentarni video dešavanja na Crnoj planini i vise stotina sveća od kojih po podu galerije ispisuje sličnu veliku “frazu”. Autor poziva publiku na interaktivnu saradnju koja kulminira paljenjem velikog broja sveća u zatvorenom prostoru, pun neopisivih emocija, nesnosne vrućine i neodoljive vizuelne atrakcije. Christof Gillen u svom performansu “Hodanje“, u Banatskoj Dubici, ispituje mogućnosti psihičke i fizičke izdržljivosti. U toj maloj seoskoj sredini autor izaziva, u isti mah, interesovanje i nedoumicu seoskog stanovništva. Christof nosi kofe sa vodom ulicama sela, ne spuštajući ih na tlo, veoma dugo, dugo...! Metalne kofe sa vodom koristi takođe na početku performansa “1968Putovanje-2013“ u Novom Sadu, kao nastavak projekta iz Dubice. U Novom Sadu, ispred galerije SULUV, Christof se posipa vodom iz kofa, razbija flaše napunjene perjem, pali veliku vatru, hoda po staklu, i sve to na zgarištu finalizuje otvorenom knjigom na čijim stranicama smo mogli videti mapu Severne Irske i upaljenu sveću na njoj. Niclas Hallberg “Transformacija“ je vrlo kompleksan performans koji postavlja puno pitanja o identitetu i sve zamke koje se vrte oko autora ovog veoma zanimljivog rada. Pitanje polnosti i identifikacija sa jednim od njih je zamka u kojoj se nalazi i samo ponekad, u posebnim prilikama kao što je bila ova, Niclas dozvoli sebi da se transformiše. Retki su umetnici kao što je on, koji iskreno predstavljaju svoje nedoumice i hrabro izlaze iz svoje “kože“. Uspevajući da dotakne u srž stvari koje su predmet njegovog interesovanja bodri i nas da takođe pokušamo pronaći puteve za odgovore na neka naša pitanja. U performansu “Take a Cake“ u Banatskoj Dubici Niclas nastavlja transformaciju, u ovom slučaju samo izgleda svog lica. Na stolu su bile postavljene posude sa različitim prehrambenim materijalima koji se inače koriste za pravljenje kolača. Niclas je u određenim vremenskim intervalima stavljao lice u brašno, med, šećer, kakao ili jaje, i njegovo lice je menjalo izgled. Promenom njegovog identiteta menjalo se i naše raspoloženje koje je kulminiralo lepljenjem cedulja sa ispisanim rečima kao što su: Anxiety, Always, Give, Here, Last, Take, Real, i obmotavanjem glave streč folijom. U performansu “Stopp“, u galeriji SULUV-a, slika zastavu bojama duge, a potom od dasaka i eksera pravi, improvizuje postolje. Pored postolja je stolica na koju seda, skida obuću i zatim ekserima zakucava svoje noge na sredini postolja. Ustaje i tako “zakucan“ stoji dugo, dugo, nemoćno gledajući publiku kao da očekuje neko rešenje. Na kraju je samo rekao “Nema kraja...“. Cai Qing Prostor ispred galerije MAS i performans “Vriska“ Cai Qing-a. Odeven u žutu odeću sa žutom perikom na glavi, nosi plastičnog žutog petla koji na pritisak ispušta vrlo glasan i neprijatan zvuk. Ova njegova šetnja i “upoznavanje“ petla sa ljudima iz publike postaje vrlo komična predstava. Na kraju performansa, uz tužne krike petla, Cai ga vezuje u lance i ostavlja da visi o plafon galerije.
Poslednji performans na programu u Banatskoj Dubici "Nebeski fenjer Dubice". Cai poziva publiku da na fenjerima od papira naprave neku intervenciju, pišu, nacrtaju nešto posvećeno festivalu IMAF 2013. Uz zadovoljstvo prisutnih fenjeri su poleteli u nebo i poneli naše zadovoljstvo doživljenog i nade u mogućnosti i snagu alternativnog. U novosadskom performansu “Crvena zvezda“ Cai pevuši staru partizansku pesmu “O bela Ćao“, koju je kako mi je kasnije rekao prvi put ćuo u jednom jugoslovenskom partizanskom filmu. Pravi i uči prisutne da prave kape od kartona u boji, na koje stavlja crvene petokrake zvezde, jednog od simbola komunizma. Tako nas je autor vratio u daleku prošlost koja nam se, iz ove ograničene tranzicione perspektive, na trenutak, i sa ukusom gorčine, učinila poželjnom. Gilivanka Kedzior & Barbara Friedman Video prezentacijom “Double Bind“ francuskinje Gilivanka i Barbara počinju njihovo predstavljanje u galeriji MAS. Nakon video rada verziju performansa “Double Bind #2“ mogli smo pratiti uživo a po želji i učestvovati u tome. One su sedele na stolicama jedna pored druge i držale u ustima po jedan kraj crvenih traka, a mi iz publike, po dvoje, smo ih obmotavali idući oko njih unakrsno. Za to vreme se čula melodija pesme “Ni za čim ne žalim“ poznate šansone Edit Pjaf. Bio je to veoma dirljiv nastup nabijen emocijama i nizom pozitivnih osećanja. Osećanja koja se tiču prošlosti i radost nastupajuće ljubavi i nade. U Banatskoj Dubici umetrnički duo, koji od 2010. nastupa zajednički kao “Red Bind“, radi veoma težak i fizički naporan performans. Performans “Staklena menažerija“ sa video projekcijom teksta kojeg i čujemo je okvir po kom dirigovano, posle svake izgovorene rečenice, umetnice padaju na kolena. Tekstovi uzeti sa različitih strana deluju nepovezano ali u ovom slučaju jedino mogući. Kako se tekst vremenom ubrzava tako se i one sve češće nalaze na kolenima. Njihovo dizanje na noge je sve sporije a padanje postaje sve bolnije dok ubrzanje ne dostigne vrhunac. Radi bolje ilustracije završio bih sa nekim od rečenica iz performansa: ...“Stanite uspravno!, Којi је vaš posao?, -Ja sam umetnik., -Znači vi neradite..., Stanite uspravno!..“ Iz galerije SULUV, u Novom Sadu, iz mraka izlaze dve maskirane i naoružane osobe u crnom, sa nalepljenom crvenom trakom preko usta. Izlaze polako uz zvuke stare narodne pesme “Ne kuni me ne ruži me majko“ noseći u rukama automatske puške koje svetle. Prizor izaziva pomešana osećanja, od senzacije iznenađenja do uljuljkujuće sigurnosti gledajući ih onako odvažne, “naoružane“ i slušajući tužnu narodnu ljubavnu pesmu. Performansom “Red-Eye Walk“ umetnice su nam omogućile da, uz unutar naizgled banalnih radnji vezanih uz neke aspekte savremenog života, doživimo i poistovetimo se sa određenim urbanim mitom ili legendom. Ema & Radoslav Čugalj Opšte poznata činjenica je da deca uče po modelu. Deca na prvom mestu uče od roditelja koji su im nejvažniji autoriteti. Radoslav je, u galeriji MAS u Odžacima i galeriji SULUV u Novom Sadu, zajedno sa svojom kćerkom Emom realizovao performanse pod nazivom “Roditeljstvo“. Dete još u najranijem uzrastu počinje da uči od svojih roditelja, roditelj je uzor detetu i to je najvažnije što su njihovim performansom hteli da nam kažu. Roditelj može i da nema nameru da svoje dete nauči nekom ponašanju, dete će to roditeljsko ponašanje da “snimi“ i kasnije u životu da praktikuje. Sedeći u performansu jedno naspram drugog Radoslav je govorom ruku “podučavao“ Emu, koje je njegova kćer veoma vešto ponavljala. U jednom momentu Radoslav ustaje sa stolice i odlazi dok Ema nastavlja da vežba naučeno. Ovaj performans edukativnog karaktera može biti od koristi roditeljima koji bi trebali pokazati deci primerom i pomognu im da izaberu, da bi jednog dana postali uspešne i zadovoljne odrasle osobe. Gustaf Broms Gustaf se na festivalu predstavio ciklusom od tri performansa pod nazivom “Merge“. Autor u svakom od njegovih radova primarno koristi prirodne elemente kao što su zemlja, drvo, vatra.
Posmatrali to iz perspektive zapada ili istoka, i ponekad njihovih različitih definicija, sigurno je da prirodni elementi utiču na ponavljajuće prirodne cikluse koji regulišu život na zemlji, rast i umiranje, osećanja i psihologiju čoveka. U odžačkom “Merge #14“ Gustaf je na travnjaku, ispred galerije MAS, vezan konopcem za jednu nogu. Makazama seče svoju kosu i pali je. Kopa rupu u zemlji i nabija glavu u nju. Koliko mu to konopac dozvoljava kreće se kružno, udara kamen o kamen, boji svoje lice i noge u naranđastoj boji zemlje. Stavlja u usta svežu granu drveta i identifikuje se sa ovim elementom iz prirode. “Merge #15“ je performans kojeg je Gustaf izveo u Banatskoj Dubici. Autor nastavlja svoju priču o prirodi i njenim zakonima, kritikujući tako trivijalne dnevno političke događaje u svetu. Mrak je, pod jakom svetlošću reflektora počinje performans listajući i čitajući dnevne novine, sa vezanom korpom za pse na njegovom licu. Čita naslove vesti i informacije iz raznih rubrika koje se kao veoma važni momenti pojavljuju svakodnevno. Dolazi do zadnje stranice novina a ispod nje nalazi travu iste veličine, uzima je i postavlja na svoje telo, grudi. Hodajući unatrag, u mrak stapajući se sa okolnim žbunjem i drvećem. U performansu “Merge #16“ na ulici u Novom Sadu Gustaf je takođe bio vezan konopcem. Koračao je energično u krug a iz njegove odeće je ostajao trag pigmenta u boji zemlje i na taj način crtao krug. Hodajući i dalje kružno čitao je novine raširivši ih rukama. Zatvara novine i sklapa ih lupajući se njima po glavi. Kasnije pali novine i sa bojom od gareži prekriva svoje lice. Veže deo lobanje neke životinje na svoje lice, idući u krug ispruženih ruku nudi prisutnima zemlju. Ljudi uglavnom ne vide sebe kao deo prirode i to neće funkcionisati u nedogled, čini se da je umetnik to želeo da nam kaže. Ljudi moraju težiti balansu sa prirodom kako bi postigli evolucioni pomak i promene. Stina Pehrsdotter U performansu “Cveće radosti“ (Glädjens blomster (Flower of joy) Stina se skida gola i poziva publiku da učestvuju u njenom radu. Predložila je da šlagom u spreju crtaju cvetove po njenom telu. Pored šlaga tu je i jedna teglica đema, ili nešto slično, da kašićicom stave na sredinu cveta. Ideja za ovaj njen rad dolazi od švedske narodne pesme pod originalnim nazivom “Glädjens blomster”, koja govori o ljubavi. Mi živimo u vremenu gde smo zatrpani skarednim prikazima nagosti ljudskih tela, od štampanih do elektronskih medija. Stina je u svom performansu predložila jedno umetničko viđenje i povezivanje nagosti kao čednost i čistotu u službi iskrenosti i ljubavi. Ona to veoma uspešno uspeva da nam približi kroz poetizovano shvatanje umetnosti performansa. U novosadskom ”Twisted on the back” umetnica donosi na travnjak ispred galerije SULUV-a veliku kutiju. Iz nje vadi krparu koju prostire na travu. U kutiji je bilo još puno raznih stvari: knjige, odevni predmeti, čekić, staklo, srce napravljeno od bodljikave žice...itd. Stina deli ove stvari ljudima u publici i moli ih da ih vrate kasnije i postave ih na njena leđa. Ona leže potrbuške na postavljenu krparu a iz publike stižu stvari na njena leđa. Puno je stvari poređano na njenim leđima, jedna preko druge. Kao da joj se sav dugogodišnji životni teret odjednom sručio na pleća. Ili želi da ponovo oseti sve… da se sruči sve to ponovo, odjednom… sa nagomilanom snagom, stečenom tokom dugih godina, i da sve to oseti zajedno sa još većim zadovoljstvom. József R. Juhász József je umetnik koji često iznenađuje svojim veoma interesantnim sadržajima i duhovitim idejama, radeći performanse na mnogim festivalima širom sveta. Za ovu priliku on je na ulici, na Bulevaru Mihajla Pupina, nabio glavu u posudu punu peska. Iz posude se samo moglo videti njegovo povijeno telo u crnom svečanom odelu. I kao što stoji u nazivu njegovog performansa “Bury your head in the sand“ József nas poziva da, ako već nismo, i mi stavimo glave u pesak. Veoma angažovan performans, sa korišćenjem legende o noju koji na znak opasnosti nabija
glavu u pesak, kao kritički osvrt na opštu društvenu krizu, krize vrednosnog sistema i demokratije.
FAUSTO GROSSI: Želja da ponovo vidim Nenada je za mene bila dovoljan razlog da prihvatim poziv na učešće u 15-om izdanju IMAF-a. Uz to, bila je tu i želja da doprinesem i upoznam druge učesnike u sastanku i njihove predloge. Dolazak u Odžake mi je pokazao grad pravougaone strukture i niskih kuća. Sve su mi ulice izgledale isto. Ljudi su srdačni. U MAS Galeriji je bio dobar ambijent. Nenad je pokazao dobrodošlicu, skuvao nam kafu i razgovarali smo. Tad je stigao Gustav. On je Šveđanin, a sreli smo se kao i sa Nenadom na prvom izdanju Infrakcije u Veneciji 2011. Veoma sam sretan što ga ponovo vidim. Kako shvatam, za Gustava je odnos između ljudi i prirode svesnost prirode i samim tim je to i priroda svesnosti. Njegovo je biološko telo kroz koje vitalna iskustva nadilaze fizička iskustva čula da bi postala svesnost i katarza sama za sebe. Nenad nas odvodi do smeštaja. Delim sobu broj 3 sa Kristofom i Šonom, dvojicom izuzetnih irskih umetnika. Kristof, putem katarzičkog iskustva, uključuje posmatrača na etičkom nivou. Njegove akcije govore nam i pozivaju nas da razmislimo o situaciji u Severnoj Irskoj. On veruje da umetnost performansa dozvoljava slobodu eksperimentisanja, a Šon deli i podržava to osećanje. U sobi broj 1 je švedski par: Niklas i Stina. Oni sad žive u Dubici, Srbija. Multimedijalni su umetnici, a kao kustosi su među osnivačima Formwerk (art zone), asocijacije bazirane na projektima kojom upravljaju umetnici. Kao umetnik, Niklas zasniva svoj doprinos na intimi i individualnosti gde je publika uključena i stimulisana pokretnim slikama. Naposletku, njegova istraga dolazi do pitanja koja se tiču identiteta, muškosti i ljudskosti, kako on sam kaže. Stinin doprinos je inspirisan ljudskim telom i njegovim vitalnim nagonima. Ona govori o telu koje je fizičko i mentalno. To je kontekstualno telo i, zbog toga, osetljivo telo. Po viđenju soba otišli smo na večeru. Oko stola sa dobrom hranom i pićem uvek je i dobra prilika za upoznavanje, podelu ideja i iskustava. Sedim pored Cai Ćinga. On je Kinez, učitelj i objavio je disertaciju “Performans art i duhovna terapija”. Odmah postajemo prijatelji. Za stolom su takođe i francuske umetnice Gilivanka Kedzior i Barbara Fridman. Njih dve čine grupu “Crvena veza”. One analiziraju konvencije u društvenim odnosima unutar i van konteksta, iz ugla posmatranja žena. U subotu sedmog septembra, radim svoju akciju. Ujutro šetam od MAS galerije do gradskog parka. Nosim crne pantalone, belu košulju i plavu kravatu sa belim zvezdicama. Imam bele rukavice i nosim crnu torbu. Lice mi pokriva zaštitna maska (gas-maska). Popodne, akcija se nastavlja u MAS galeriji, gde pripremam i potpisujem upijajući papir koji ću podeliti prisutnima. Akcija je veoma moćno iskustvo za mene i pitam se da li kao umetnici smemo biti tako nasilni, ali u isto vreme mislim da je važno sačuvati sećanje čak iako se time povređujemo. Nemački umetnik Peter Kisterman dolazi sa vozačem, par minuta pre svog performansa. On je umetnik mreže od 1983. i sebe definiše kao mejl-artistu, autora, slikara, filmadžiju, kritičara, galeristu i menadžera alternativne kulture u romantičnoj staroj crkvi: BUZ Kulturni centar u Mindenu, Nemačka. U MAS galeriji prezentuje svoje publikacije i svira svoju čarobnu frulu. Na festivalu sam imao zadovoljstvo da upoznam i Čugalj Radoslava. On je iz Srbije i izvodi performans sa svojom ćerkom Emom. Radoslav sebe smatra konceptualnim umetnikom. Cai Ćingov performans sa plastičnim piletom je veoma privlačan i podseća me, ne znam zašto, na manga stripove. To sam mu pomenuo i on mi je rekao da likovi mange imaju oči kao to pile. Zanimljivo, nikad o tome nisam razmišljao.
Da zatvori, Nenad nam predstavlja surovu realnost. Veoma emocionalnu akciju gde predlaže mostove izgrađene u miru, a uništene u ratu, projektovane na zidu. Uskače u sliku svojim slikanjem. To je tišina. U svemu tome, naposletku, verujem da je performans čin poštenja i darežljivosti. Performans je da sebe predaš bezrezervno, da se ogoliš, ne obavezno i fizički, da se ogoliš iznutra, gde je telo interfejs. Kao što sam ranije i govorio, performans odgovara na impuls ka pojavi trenutaka u našem životu koji pokrivaju nerešene potrebe, nedostignuto. Veliki deo vremena vidimo samo emociju ovih iskustava. Možda ne, ali ja sam ubeđen da nam svaki performans govori o umetniku, njegovoj percepciji i interpretaciji sveta.
GILIVANKA KEDZIOR: Nenad Bogdanović: MOSTOVI II 8. septembar 2013. Galerija MAS, Odžaci, Srbija Melodija Betovenovog komada Za Elizu se veselo širi prostorom galerije: dolazi kao ilustracija serije slika projektovanih na belom zidu. Mostovi, razni, svih veličina, ponosno premošćuju Dunav i njegove predivne tekuće vode, rašireni preko pune veličine zida. Veliki, jaki, debeli, spajaju beskrajne vrške ravne zemlje, pokrivene poljima dokle vam pogled seže, par slabo naseljenih urbanih zona, dva blizanačka brega, bez ičeg naročito posebnog. Uski, delikatni, vazdušasti, prekrivaju usta reke široke kao morski zalivi i izgledaju kao delo nekih čudnih paukova. Iznenada, umirujuća pastorala slika koje se smenjuju isparava pod nabojem Betovenove Simfonije br. 5. Moćni ritam muzike odnosi sa sobom svaku prividnu smirenost i naglašava užas koji se sad širi ekranom: kruže nove slike mostova, ali od njihove snage i lepote nema ničeg preostalog. Sve je samo otpad, krš, ruševine, leže usamljeno u pejzažu. Ponovo, muzika se menja: to je valcer, Na lepom plavom Dunavu, Johana Štrausa mlađeg. Nepomičan u uglu galerije još od početka projekcije, Nenad Bogdanović hvata dve od četki ostavljenih u činijama punim primarnih boja na podu. Silinom prateći ritam koraka ovog valcera, Nenad se unosi u crtanje dugih transverzalnih linija obema rukama, gde se sad ekranom prostiru vrškovi zemlje, polja i brda koja ćovek nije ranije povezao svojom veštačkom rukom. Od vrha do dna, on žestoko štampa debele linije koje se šire u kapljicama, ostavlja četkice, hvata dve različite, ponovo crta dve linije s desna na levo, još dva kanala koji potpuno guše korak, a dok se on iscrpljuje ovim neprekidnim valcerom, linije se preklapaju, jedna drugu pokrivaju brzim ritmom muzike, boje se spajaju preko pejzaža, a iznenada izgleda kao da hiljadu mostova pokrivenih hiljadama vatrenih zastava izbijaju iz bojama pokrivenog betona. Stina Pehrsdotter: Red Laughing Blues 9. septembar 2013. Formverk (umetnička zona), Banatska Dubica, Srbija Mislim da sam još bila izgubljena u slatkom maštanju, lica okrenutog nebu, stojeći u tom divljem vrtu u sred malog srpskog sela, kad je pun, zvučan i bogat smeh iznenada ispunio vazduh kako kad bi vas neko uzeo u naručje: telo potpuno pokriveno crvenim satenskim čaršavom upravo je prošlo kroz vrata i krenulo niz ulicu. Razvijajući bogate drhtaje svog smeha na svakom koraku, spori crveni oblik nas je odvodio u svoje prisustvo: niko od nas nije mogao odoleti zovu ove opojne čari dok je odjekivala u dubinama nas samih. Svi smo želeli da pratimo ovu prikazu, da nas odnese poplava njenog smeha i da otkrijemo ono što drugi ne vide. Prešla je ulicu smejući
se glasno, okrenula prema parku, još uvek nasmejana, a mi smo je tiho sledili, hodajući iza nje na maloj udaljenosti. Crven, živ i bučan oblik, klizeći kroz visoku travu, prateći ovu malu kongregaciju jedno popodne u septembru, smrzla je osmeh na našim licima i naterala nam suze na oči jer smo tada znali da joj ne možemo pobeći. Njen smeh je izlivao na nas najdublje i suprotne emocije kao nevidljivi krik umrljan samo bojom njenog vela. Još nosim utisak ove uznemirujuće pojave.
CAI QING: 1. Na putu iz Odžaka u Dubicu 9. septembar 2013. 9 ujutro Svi učesnici i naš prtljag su spakovani u minivan u vlasništvu švedskog para, Niklasa i Stine. Niklas nas vozi u Dubicu. Organizator Nenad mora da je pažljivo izračunao broj učesnika koje poziva jer je kombi napunjen do vrha i nema mesta za još jednog umetnika. Sedeo sam pored Nenada, gde je vetar duvao kroz prozor. Mislio sam da imam sreće što sam poneo šal, poklon vlasnika kineske prodavnice u Odžacima. Nenad je tiha osoba. Saznao sam da je samouk umetnik. Radio je fizičke poslove da bi kasnije postao mejl artista. Takođe je i poznati kustos i izdavač. Počeo je da organizuje godišnji festival IMAF od 1998., sa jedinim prekidom sledeće godine zbog rata u Srbiji. Ove godine s ponosom predstavlja 15-ti IMAF. OStaje u Odžacima i ne želi da se seli u veće gradove kao ostali. Uživa u mogućnosti interakcije sa umetnicima celog sveta kroz IMAF u svom rodnom mestu. Bio je stidljiv kao momak i performans ga je oslobodio osećaja nesigurnosti. Ima 26-godišnjeg sina koji je učestvovao na ovom festivalu, ali ove godine nije mogao doći zbog dodatnih poslova u drugom gradu. Rekao sam mu da i ja uvodim članove porodice u moj rad. Njegova devojka je takođe zainteresovana za performans umetnost i pratila ga je na većini događaja. Bila je uključena u interaktivni performans u Odžacima, tokom performansa dve francuske umetnice, što ga je inspirisalo da ohrabri svoju devojku da postane performans umetnik. Posle dvosatnog putovanja konačno stižemo u Dubicu preko retko naseljenih pašnjaka. U šumi smo pronašli Niklasov i Stinin dom. Kupili su kolibu za 10.000 evra pre oko godinu dana i tu nameravaju da ostanu do kraja života. Ovo je udobna kućica, povezali su dve zgrade drvenom konstrukcijom ispod koje su većina njihovih aktivnosti. Iz dvorišta se može videti crkva u obližnjem selu. 2. Probrane aktivnosti posle večere u Dubici: Niklas je prvi započeo svoj rad. Sedeo je pred stolom ispod reflektora. Na stolu su bila 4 različita materijala: brašno, med mešan sa kakao prahom, beli šećer i mlevena kafa. Prvo je uneo lice u brašno pa je postalo belo. Zatim je to isto uradio sa medom i kakaom, brašno se pomešalo sa tamnim medom i kakaom, pa je prešao na sledeći materijal. Postepeno je njegovo lice pokriveno različitim materijalima pokazalo razne izraze lica i pomalo odrazilo tugu. Rad podseća na zapadnjačku verziju kineske “Promene lica”. Gustaf je došao do Niklasovog naizgled beskrajnog rada. Uključio je sjajno svetlo i postavio ga na travnati pod. Počeo je glasno da čita novine. Konačno, hodao je unazad sa travom u ruci sve dok nije nestao u šumi, dok je Nenad u pravom trenutku ugasio svetlo. Gustaf je potpuno nestao. Nenad je nastavio da koristi malu baterijsku lampu u pokušaju da nađe detelinu sa 4 lista (koja je znak buduće sreće) na zemlji tokom veoma dugog perioda, a onda se pojavio iz mraka sa belim platnom i iskoristio sakupljene trolisne deteline da bi napravio četvorolisnu na platnu. Rekao je “Veoma sam srećan”.
Ova tri umetnika imaju odlično međusobno razumevanje i radovi su im bili dobro povezani, glatki i živi. Samo mali zastoj su uzrokovali dvojica irskih umetnika iz publike koji su se toliko uneli u hvatanje dobrih fotografija da bi ponekad prišli preblizu umetniku. Podizali su kamere dugih sočiva dok su stajali ili ležali u potrazi za najboljim snimkom. Bili su veoma uzbuđeni, uz mnogo kretanja, što je ozbiljno remetilo savršeno izvođenje performansa. Nadamo se da će u budućnosti zadržati odstojanje u odnosu na tekući rad osim ako su pozvani da učestvuju. *Izvučeno iz mog bloga “Looking for Marie Abramovic” (http://blog.artintern.net/article/375393)
Texts on English:
NENAD BOGDANOVIC: 15th International Multimedia Art Festival - IMAF 2013 was held on three locations in Serbian province of Vojvodina. Many years of cooperation with SULUV has resulted in presentation of the part of the festival program in Novi Sad, at the SULUV gallery on the first day, and on the streets of Novi Sad on the second day. Thanks to our last years participation and presentation of MAS gallery and IMAF festival on Belgrade art fair, organized by Formwerk (art zone) Swedish art organization working from Banatska Dubica., we have had a repeated cooperation and one day of program at Banatska Dubica. IMAF has been held for 15 years in Odzaci, at MAS Gallery, and we have also had a presentation of performances by well known artist here, from Spain Fausto Grossi, from France Gilivanka Kedzior and Barbara Friedman, Sweden Gustaf Broms, Niclas Hallberg and Stina Pehrsdotter, Northern Ireland/Great Britain Christof Gillen, China/Singapore Cai Qing, Germany Peter Küstermann, Slovakia/Hungary József R. Juhász, Serbia: Ema and Radoslav Čugalj and Nenad Bogdanović. IMAF is a cultural manifestation that has been recognized during the past 15 years by cultural public as an important international art event, surpassing greatly any local meaning. It has many years of rich program and numerous participants of international influence on contemporary art scene. We have had an extreme pleasure that this jubilant edition of the Festival was opened by Peter Küstermann, with his third participation on IMAF. Peter made a short speech reflecting the history of founding and miraculous survival of this, for performance art, very important festival. For the successful realization of this years Festival we owe special thanks to long time supporters and friends of the Festival. Extreme importance poses the support of the Ministry of culture and information of Republic Serbia, whose assistance we expect in the future, hoping for even better cooperation. Fausto Grossi Fausto started his performance on Saturday, September 7th, during afternoon from MAS Gallery to the town park. His movement along the streets of Odzaci has provoked attention of local population. Fausto made a very strange appearance with facemask on his head, wearing black pants, white shirt and blue tie with yellow stars, irresistibly associating him with USA symbols. What was his story? Title of his performance “Teror versus horor” can simplify the idea to us. He had white gloves and black bag, walked energetically to the park where he sat on the bench and prepared materials for the rest of the performance on the following day at MAS
Gallery. Fausto prepared book art project, bind for the books that he energetically moved along the grass, thus printing his books with the colors of the nature. At MAS Gallery “teror” continues with the projection of Fausto’s first part of the performance. He entered the gallery carrying the materials and coffee boiler, wearing the facemask form the yesterdays performance. In the boiling water he threw certain herbs and graffiti colors, set his book art artifacts up on the floor and “sanctified” them like a priest would with this water from the boiler. At the end, a man with a facemask shared book art booklets sanctified with nature and the spirit of thruth.to the audience. Peter Küstermann Magic flute is a performance in which the author experiments with this instrument on various ways. Peter has been using different instruments in his earlier performances, trumpet, piano, violin, accordion and, now an here, the flute, depending on the idea. This was a light and relaxed piece where Peter uses several kinds of flutes that mainly cause positive vibrations to the consumers. Listening to his melodies of different types of music, invoked most sincere emotions and pleasures. Christoff Gillen Art installation made by Christof Gillen at the MAS Gallery is a dialog started during October/November 2008. Christoff then realized a duration work, installation in space, open dialog with the citizens of Belfast via public electronic media. Installation was placed on the northwest side of Black Mountain over Belfast. During the construction, author used letters and symbols which culminated with the grand fraise IMAGINE A CITY OF =. At MAS Gallery Christoff uses documentary video of those events in his installation along with several hundred candles that spell a similar fraise. Author invited the audience to interactive cooperation that culminates in many lit candles within the enclosed space of the Gallery, full of emotions, unbearable heat and irresistible visual attraction. Christof Gillen in his performance “Walking” at Banatska Dubica, questions the limits of physical and mental endurance. In this small community he provokes, at the same time, interest and doubt of the local population. Christoff carries buckets of water through the streets, without setting them down for a long, long period. Metal buckets are also used at the beginning of his performance “1968 – voyage – 2013” in Novi Sad, as an extension of the Dubica project. In Novi Sad, outside SULUV Gallery, Christoff pours water from the buckets on himself, breaks bottles filled with feathers, lights a great bonfire, walks on glass and all that is finalized on the fireplace by an open book with a map of Northern Ireland and a lit candle in it. Niclas Hallberg „Transformation“ is a very complex performance that asks many questions about identity and sets up many traps revolving around the author of this very interesting piece. Question of sexuality and identification with one of the genders is a trap in which he is and just occasionally, in special circumstances like now, Niclas allows himself to transform. Artist like him, that present their doubts honestly and bravely exits their skins are rare. Succeeding to touch the essence of the objects of his interest he encourages us to try and find the ways for our own questions. In a „Take a cake“ performance at Banatska Dubica Niclas continues transformation, at his point, only of his face. At the table there were dishes with different food materials normally used for baking cakes. Niclas placed his face within set intervals in flour, honey, sugar, cocoa or egg, thus changing the appearance of his face. With the change of his identity our mood was also changed until it culminated with sticking the notes with words like: Anxiety, Always, Give, Here, Last, Take, Real, and wrapping the head in stretch foil. In a performance „Stopp“ at SULUV Gallery, he painted a flag in rainbow colors and then makes a stand with boards and nails. Next to the stand is a chair where he sits, takes off his shoes and
nails his feet to the stand. Stands up and so „nailed“, he stands for a long period helplessly watching the audience as if expecting a solution. At the end he just says „There is no end...“ Cai Qing Space in front of the MAS Gallery and performance „Screaming“ by Cai Qing. Dressed in yellow clothes with yellow wig on his head he releases very loud and unpleasant scream. This walk and „introduction“ of a cockerel with people from the audience becomes a very comical display. At the end of the performance, with sad cries of the cockerel, Cai binds it in chains and leaves it hanging on a gallery ceiling. Last performance in Banatska Dubica „Sky lantern of Dubica“. Cai invites the audience to use paper lanterns and make an intervention on them, to write or draw something dedicated to IMAF 2013. With the pleasure of all present, lanterns flew to the sky carrying our pleasure of the experience and hopes in power and options of the alternative. In his Novi Sad performance „Red star“ Cai sing an old partisan song „O Bella ciao“, that he heard (as I later found out) in an old Yugoslavian movie. He makes and teaches all present how to make partisan caps of colored cardboard, placing red stars on them as a symbol of communism. With this the author returns us in distant past that, from this limited transitional perspective, for a moment and with bitter aftertaste, seems desirable. Gilivanka Kedzior & Barbara Friedman French artists used video presentation „Double bind“ to open their work at MAS Gallery. After the video they performed one version of it „Double bind 2“ inviting the audience to participate. They sat on chairs side by side, each holding one end of the red tape in their mouth, while we could use the remainder of the tape in pairs to wrap them around in it. During the performance we could listen to Edit Piaff's „I don't regret anything“ song. A very touching performance filled with emotions and positive feelings. Feelings regarding past and joy of oncoming love and hope. In Banatska Dubica this pair, performing together as „Red Bind“ since 2010, made a very challenging and difficult performance titled „Glass menagerie“. We saw a video projection of the text that we can hear and on which the artists, after each sentence, fall to their knees. Texts seems unrelated but in this case are the only possible ones. As the video speeds up, they are on their knees more often. Getting up is slower and falling increasingly more painful until the acceleration reaches apex. For the better illustration, here are some sentences from the performance: “Stand up!”... “What is your job?”... “I’m an artist”... “So, unemployed!”... “Stand up!”... Out of SULUV Gallery in Novi Sad, emerge two masked and armed individuals dressed in black with red tape over their mouth. They emerge slowly followed by an old folk song carrying automatic rifles that glow. Site causes mixed emotions, from surprise to safety, as we see them so bold, armed and listening to an old song of love. With their performance “Red-Eye Walk“ they gave us a chance to, within seemingly banal aspects of modern life, experience and feel a certain urban legend or a myth. Ema & Radoslav Čugalj Well known fact is that children learn by model. First and foremost they learn from parents who are their most important authorities. Radoslav has, at MAS gallery in Odzaci and SULUV gallery in Novi Sad, together with his daughter realized performance „Parenting“. A child at his earliest starts to learn from parents, a parent is a role model and that is the most important fact they tried to convey with this performance. A parent may even not wish to teach a child certain behavior, but a child will „record“ that behavior and practice later in life . Siting opposite each other in their performance Radoslav used hand mimic to „teach“ Ema, and she skillfully repeated it. At one point, Radoslav stands up
and leaves while Ema continues to practice the learned technique. This educational performance may be of use to parents in their showing by example and helping children choose in order to become successful and satisfied adults. Gustaf Broms Gustaf presented himself on IMAF with a cycle of 3 performances titled “Merge”. In each of these performances he primarily uses natural elements like earth, wood, fire. Whether we see it from Eastern or Western perspective, and their sometimes different definitions, it is certain that natural elements influence repeating natural cycles that regulate life on earth, growth and dying, emotions and psychology of man. In Odzaci “Merge#14” Gustaf tied himself on the lawn in front of MAS Gallery with a rope. He cuts his hair with scissors and burns it, Digs a hole in the ground and puts his head in it. As much as the rope allows, he moves in circles, hits a rock on another rock, paints his face and legs in dirt orange. Puts a fresh branch in his mouth and identifies himself with this natural element. “Merge #15“ is a performance Gustaf made in Banatska Dubica. Author continues his tale of nature and it's laws, making critics of trivial day-by-day political events of the world. It is dark, under the lights of the reflectors, he starts the performance by reading newspaper, with a dog basket tied around his mouth. He reads news headlines and information from different columns. When he gets to the last page he finds grass under it in the same size, takes it and places on his chest and body. Walking backwards, into the dark, he merges with surrounding bushes and trees. In “Merge #16“ performance on the street in Novi Sad Gustaff was also tied with a rope. He walked energetically in a circle, and his clothes left trails of dirt colored pigment, thus drawing the circle. While still walking, he opened the newspaper wide. Then he closed the paper and hit himself on the head. Later on he light the paper on fire and paints his face with the char. He tied an animal skull on his face, walked with his arms forward, offering earth to the audience. People mostly don't see themselves as part of the nature, but this can not function indefinitely, seem that the artist wishes to say. People must strive to achieve balance with nature to achieve evolutionary shift and advancement. Stina Pehrsdotter In her performance “Flower of joy” Stina took her clothes off and invited the audience to participate in her work. She suggested them to use spray cream to draw flowers on her body. Besides the cream there is a jar of jam also, to be placed on top of cream. The idea comes from Swedish folk song originally titled “Glädjens blomster”, that speaks of love. We live in times of piles of obscene displays of human bodies, in printed and electronic media alike. Stina in her performance suggested an artistic vision and connection of nudity as purity and modesty in service of honesty and love. Her poetic understanding of performance makes her able to convey this emotion onto us. In Novi Sad she made ”Twisted on the back” performance where she bring a large box on the grass in front of SULUV Gallery. Takes out a large rag from it and spreads it on the grass. There were many different thing in the box also: books, clothing, hammer, glass, barb wire heart, etc. Stina distributes these items to the audience and asks them to return the objects later on her back. She lays belly down on the rag, and items arrive on her back from the audience. There are a lot of things piled up on her. As if the entire life’s weight suddenly came on her back in a single moment. Or as if she wishes to feel everything... let it come down again... with gathered strength over the course of years, to feel everything again with even more pleasure. József R. Juhász József is and artist that often surprises with his interesting and humorous ideas, performing at
many festivals worldwide. For this occasion he stuck his head in a bucket of sand in the middle of the street, Mihajlo Pupin boulevard. One could only see his bent body in formal black suite. As his performance title says “Bury your head in the sand“ József invites us to, if we have not yet, put our heads in the sand. Highly engaged performance, using the legend of an ostrich that puts his head in sand on a sign of danger, as a critical review to general crisis in society, crisis of value system and democracy.
FAUSTO GROSSI: The desire to see Nenad again was reason enough for me to accept his invitation to participate in the 15th edition of the IMAF (International Multimedia Art Fdertival). Added to this was the will to contribute to and know the other participants in the meeting and their proposals. The arrival in Odzaci revealed to me a town of orthogonal structure and low houses. All roads seemed to me the same. The people are hearty. In MAS Gallery was good ambient. Nenad are very welcoming, he prepares a coffee and we talk. Here comes Gustaf. He is Swedish and we met, as well as with Nenad, in the first edition of Infraction Venice in 2011. I am very happy to see him again. I understand that for Gustaf the relationship between human beings and nature is the consciousness of nature and at the same time this is the nature of consciousness. His is a biological body through which its vital experience transcends the physicality of the senses to become consciousness and catarsis itself. Nenad takes us where we sleep. I will share the room umber 3 with Christoff and Sean, two outstanding Irish artists. Christof, through a cathartic experience, involves the viewer on an ethical level. His actions speak to us and invite us to reflect on the situation of Northern Ireland. He believe that the performance art allows a freedom of experimentation and Sean share and support this feeling In the room number 1 are the Swedish couple: Niclas and Stina. Now they live in Dubica, Serbia. They are multimedia artists and as curators are founding member of Formverk (art zone), an artist-run project-based association. As artist, Niclas's proposal is based on intimacy and individuality where the public is involved and stimulated through moving picture. Ultimately its investigation deals with questions concerning identities, masculinity and humanity, as he himself says. Stina's proposal is inspired by the human body and its vital drives. She is talking about a body which is a physical and mental body. It is a contextual body and for this, is a sensitive body. After see the rooms we went to dinner. Around the table with good food and drink is always a good time to know each other, share ideas and experiences. I sit beside Cai Qing. He is Chinese. he is teacher and has published his thesis: "Performance Art and Spiritual therapy". We immediately become friends. Sitting at the table there are also the French artists Gilivanka Kedzior and Barbara Friedman. The two are the group "RED BIND."They analyze the conventions and social relations, in and out the context, from the point of view of women. On Saturday, September 7, I propose my action. In the morning I walked by MAS Gallery to the Odzaci main park. I wear blacks pants, white shirt and blue tie with white stars. I have white gloves in my hands and I wear a black bag. My face is covered by a gas mask. In the afternoon, the action takes place in the MAS Gallery, where I prepare and sign absorbent paper to be distributed to those present. The action was a very powerful experience for me and I ask myself if as artists we can be so violent, but at same time I think it is important to preserve the memory even if we hurt us. The German artist Peter Küstermann arrives with his driver, a few minutes before his performance. Since 1983 he is an artist of the network. He ddefinisce himself as email Artist, author, painter, film-maker, art critic, gallerist, and alternative cultural managers in roman (t) ic
old church: BUZ Culture Center in Minden / Germany. In MAS Gallery presents its selfpublishing and there plays his magic flute. In the festival I had the pleasure of knowing Radoslav Čugalj. He is from Serbia and achieves a performance with his daughter Emma. Radoslav considers himself as a conceptual artist. The performance of Cai Qing chicken with the plastic chicken is very participative and makes me think, I don't know why, of the manga comics. I commented on this to Cai Qing and he told me that the characters of the manga have eyes like those of chicken. Interesting, I had never thought about this. To close, Nenad proposes to us the harsh reality. Was a very emotional action, where he propose to us bridges built in peacetime and destroyed during the war projected on the wall. He steps in the image with painting. It is the silence. With all this, and finally, I believe that performance is an act of honesty and generosity. Performance is to give of himself unreservedly, you undress, but not necessarily physically, you undress inside, where the body is the interface. As I have argued on other occasions, the performance responds to an impulse to emerge moments of our lives and unresolved desires, unachieved. Some of these experiences are based in our childhood, others to the present. Most of the time, we only perceive the emotion of these experiences. Maybe it is not, but I am convinced that every performance speaks to us of the performer, of its perception and interpretation of the world.
GILIVANKA KEDZIOR: Nenad Bogdanovic: BRIDGES II September 8th, 2013 MAS Gallery, Odzaci, Serbia The melody of Beethoven’s piece For Elisa spreads cheerfully throughout the gallery space: it comes to illustrate the series of images projected on the white wall. Bridges, of all kinds, in all sizes, proudly spanning the Danube and its beautiful flowing waters, are spreading over the full height of the wall. Big, strong, very thick, they connect endless spits of flat land, covered with fields as far as the eye can see, a few hardly crowded urban outskirts, two tween hills, none of which may be preferred. Narrow, delicate, aerial, they overhang river mouths as wide as arms of the sea and seem to be the work of strange spiders. Suddenly, the reassuring and bucolic succession of images evaporates under the bursts of the Symphony n° 5 by Beethoven. The powerful rythm of music takes with him any apparent serenity and emphasizes the dread now spreading on the screen: new pictures of bridges are scrolling, but of their strength, their grace, there is nothing left. All are just debris, rubbles, ruins, lying alone in the landscape. Again, the music changes: it’s a waltz, On the Beautiful Blue Danube by Johann Strauss, Jr. Motionless in a corner of the gallery since the beginning of the projection, Nenad BOGDANOVIC grabs two of the brushes resting in primary-colors-bowls on the floor. Forcefully following the pacy rythm of this waltz, Nenad applies himself to drawing long transversal lines with both hands, where spits of land, fields and hills that man has not linked with his artificial hand are now spreading on the wall. From top to bottom, he vigorously prints thick lines that extend in drips, puts down his brushes, grabs two different ones, draws again two lines, from right to left, two more canals which completely gash the space, and while he is wearing himself out in this incessant waltz, lines overlap, superimpose at the frantic rate of music, colors blend across the landscape, and it suddenly seems that a thousand bridges covered with a thousand blazing flags are dashing out of the bathed in colors cement.
Stina Pehrsdotter: RED LAUGHING BLUES September 9th, 2013 Formverk (art zone), Banatska Dubica, Serbia I think I was still lost in a sweet reverie, face turned to the sky, standing in this wild garden in the middle of a tiny Serbian village, when a full, sonorous and colorful laughter suddenly filled the air as one would take you in his arms: a body, fully covered with a red satin sheet, just came through the door and was now heading for the street. Unwinding the voluptuous shatters of her laugh at every step, the slow red shape was taking us away in her wake: none of us could resist the call of this charming spell, as it was echoing in the depths of ourselves. We all wanted to follow this apparition, to get carried away by the flood of her laugh and discover what others do not see. She crossed the street, laughing loudly, turned off towards the park, still laughing, and we were silently following her, roaming behind her at close range. Red, lively and noisy shape, undulating along the high grass following this small church one afternoon in September, she froze a smile on our faces and made our eyes moist because then we knew we couldn’t escape her anymore. Her laughter was pouring on us the most intense and opposite emotions, as an invisible cry only stained by the carmine of her veil. I am still carrying the imprint of this stirring appearance.
CAI QING: 1. On the way from Odzaci to Dubica Sep 9, 2013, 9 am All participants and our luggage were packed into the minivan owned by the Swedish couple, Niclas and Stina. Niclas was driving us to Dubica. The organizer Nenad must have carefully calculated to invite the exact number of artists, since our van was fully packed and no more space for an extra artist. I was sitting next to Nenad, where wind was blowing through the window. I thought I was lucky to have the scarf, a present from the owner of the Chinese shop in Odzaci. Nenad is a quiet person. I learned that he is a self-taught artist. He used to do factory work and later became a mail-artist. He is also an established curator and publisher. He started to organize the annual international multimedia art festival (IMAF) since 1998, which was only interrupted once the next year due to the YugoslavWars. This year proudly presents the 15th IMAF. He stays in Odzaci and does not want to move to big cities as others. He enjoys the opportunities to interact with artists from all over the world through IMAF in his hometown. He was a shy young guy and performance art liberates him from feelings of insecurity. He has a 26year old son, who used to attend this event as well, but he could not come this year, due to an extra work duty in other city. I told him that I also incorporate my family members into my work. His girl friend is interested in performance art and has accompanied him to most of the events. She was involved in the interactive performance art this time in Odzaci by two French artists, which inspired him to encourage his girl friend to become a performance artist. After 2-hour journey we finally arrived Dubica through sparsely populated cattle grassland. Within the woods we found Niclas and Stina’s home. They have purchased the 10,000 Euro cottage about a year ago, where they intend to stay for the rest of their lives. This is a cozy home. They have connected two buildings with a wooden shack to host most of our activities. From the backyard we can see a church in the nearby village.
2. Selected after-dinner activities in Dubica; Niclas started his work first. He was sitting in front of a table under the spotlight. There were 4 different materials on the table; Fluor, honey mixed with coco powder, white sugar and coffee powder. He first submerged his face into flour and his face turned white. Subsequently, he placed his face into honey mixed with coco powder, the white flour was mixed with dark honey coco, then moved on to the next material. Gradually his face coated with different materials showed versatile facial expressions and sometimes they reflected sadness. This work resembles the western style of Chinese “changing face”. Gustaf walked towards Niclas’s seemly endless work. He switched on a bright light and placed it on the grass floor. He started to read newspaper out loud. Finally, he walked backwards with a piece of grass on his hand until he disappeared into the woods, while Nenad turned off light at the right moment. Gustaf disappeared completely. Nenad continued to use a small flashlight attempting to find four-leafclover (which is sign of future happiness) on the ground for a very long time, then he emerged from the darkness with a white canvas and utilized the collected three-leaf clovers to make four-leaf clovers on canvas. He said,“ I am very happy”. These three artists had very good tacit understanding and their works were well connected, smooth and vivid. Just a small hiccup caused by two Irish artists as audiences, who were so involved in catching good photos and sometimes got too close to the performer. They raised their cameras with long lens either standing or laying down to get the best shoot. They were very exciting with a lot of movements, which seriously destructed the perfect performance work. Actually they are very good artists and their works are very serious and powerful. Hopefully, in the future they will keep their distance to an ongoing performance work unless they were invited to interact. *Extracted from my blog “Looking for Marie Abramovic” (http://blog.artintern.net/article/375393)
Otvaranje IMAF 2013 – Peter Küstermann – Opening of IMAF 2013:
Performansi / Performances: Fausto Grossi (Španija / Spain) Fausto Grossi was born in Italy fifty-eight years ago. He is graduated as a sculptor by A.A.B.B. Frosinone, Italy and by the UPV Lejona, Vizcaya, Spain. Currently lives in Bilbao, Spain, where, with his wife Victoria and his daugther Luz, he works as "pizzaiolo" and "pasta maker" in Pasta y Pizza Grossi http://www.pastaypizzagrossi.com In Spazio Grossi which share place with Pasta y Pizza Grossi he develops his cultural activity. http://www.pastaypizzagrossi.com/art.htm He as been invited to participate in internationals performances festivals and artistic events in Spain, Italy, France, Poland, Serbia, Switzerland, Portugal, Brazil and the U.S. “TEROROM PROTIV HORORA 1” / “TERROR VERSUS HORROR 1”:
“TEROROM PROTIV HORORA 2” / “TERROR VERSUS HORROR 2”:
Peter Küstermann (Nemačka / Germany) Peter Küstermann was born in Hagen/Westphalia in 1950. He has contributed to the network since 1983 as Mail Artist, author, painter, filmer, art critic, gallerist, and alternative cultural manager in a roman(t)ic old church: Culture Center BÜZ in Minden/Germany. His works are represented in numerous collections: Museum of Modern Art/New York, Tate Gallery/London, Biblioteca Publica de Aragon/Spain, Dallas Public Library/Texas, Mail Art Museum Koshienguchi/Japan, Artpool Archive/Budapest, The Museum of Museums Waregem/Belgium, Literaturium Edewecht/Germany, Biblioteca Nacional de Lisboa/Portugal and diverse other Postal Museums. The editors of the Guinness Book of Records elected him together with Angela Pähler World Champions as Travelling Artpostmen in historic uniforms under their artist names Angela and Peter Netmail. Peter does worldwide performances as Death playing nude on the violoncello, also as singing Dada-woman “Petra”, and as magician “El Magnifico”, as German Pope „Papa-Ratzi“, as Book Baker, and as Doctor Mailart. Being chairmen of the Culture Society WOLKENSTEIN e.V., Angela and Peter edit the Art- and Mailart Magazine OSWALD. Every year, they organize an international Mail-Art & Performance-Festival and several Poetry Slams at “Mail-Art-Mekka Minden”/Germany.
“MAGIČNA FLAUTA” / “THE MAGIC FLUTE”:
Christof Gillen (Severna Irska/Velika Britanija / Northern Ireland/UK) Christof Gillen has worked in performance, installation site and time based art for the past 20 years. Christof studied sculpture at the University of Ulster, Belfast graduating the a BA(hons) in 1998 and following this he undertook a MA in ‘ Art & Public’ University of Ulster, Belfast in 2009. Gillen feels that performance art allows a freedom of experimentation. His work is cathartic challenging the viewer to engage in personal, political, religious and social forms of dialogue. His actions are a commentary on themes relating to Northern Ireland and contemporary cultural politics. Gillen is active within the performance and visual arts community in Belfast he is a member of the performance collective ‘Bbeyond’ and a member of ‘Queen Street Studios’ Belfast. Recent work has been presented at ‘Duo Days’, Catalyst Arts Gallery (13), ‘Rain’, PS2 project space, Belfast (12), ‘Tick Tock’ (11), ‘Art Rebels’ Catalyst Arts Gallery (10), ‘Imagine a city of culture’, Black mountain, Belfast (09) ‘Golden Thread Gallery’ project space, Belfast (09), ‘I AM’ Polish/Irish performance art exchange’, Belfast (08), Art Trail, Cork, Ireland (07). “IMAGINE A CITY OF=”:
“HODANJE“ / “WALKING”:
”1968-PUTOVANJE-2013” / “1968-JOURNEY-2013”:
(Švedska/Srbija / Sweden/Serbia) Niclas Hallberg (Švedska/Srbija / Sweden/Serbia)
Niclas Hallberg (1965) works in video, photo, installation and performance. His experimental works deals with questions concerning identities, masculinity and humanity. He is using the moving picture to express feelings, create inpressions and document performances. He often uses himself as an instrument and actor and hereby he creates a feeling of intimacy and individuality. Niclas Hallberg has participated in a great number of solo and group exhibitions in Sweden and abroad. He has long experience of arranging and leading workshops in a varity of creative contexts. Niclas Hallberg is engaged in several international art projects focused on collaborational exchanges resulting in exhibitions, video-screenings and residencies around the world. Niclas Hallberg founded Formverk (art zone) 2004, an independent project-based exhibition association, together with Stina Pehrsdotter. www.niclashallberg.se "TRANSFORMACIJA" "TRANSFORMACIJA" // "TRANSFORMATION“: "TRANSFORMATION"
”UZMI KOLAČ” / "TAKE A CAKE":
“STOP” / "STOPP":
Cai Qing (Kina/Singapur / China/Singapore) Cai Qing (Sonnenberg) Born in He Long Jian China Zhejiang Academy of Fine Arts, China 1989 Move to Germany 2001 Move to New York, USA 2007-2012 Assistant Professor in NTU, School of Art, Design and Media 2011 PhD of China Academy of Fine Arts, Hangzhou "VRISKA“ / “SCREAMS":
“NEBESKI FENJER DUBICE” / "DUBICA'S SKY LANTERN":
"CRVENA ZVEZDA" / “RED STAR“:
Gilivanka Kedzior & Barbara Friedman (Francuska / France): Gilivanka Kedzior & Barbara Friedman have been working together since 2010 as [RED BIND]. As visual artists working with performance, video, sound and photography, they analyze the confrontation to otherness and its inter-thematic with subjects such as: social yokes ; dominant/dominated relationships ; codes and what happens to them out of their context ; gender and its limits and ambiguities ; issues of the double and of the multiple characters under a single skin ; or yet the identity, status and image of Woman. They have shown video works at several international venues including the Prince Charles Cinema in London, United Kingdom (Nov. 2011) ; the CAM | Casoria Contemporary Art Museum in Naples, Italy (March 2012) ; the University of La Rioja, Logroño, Spain (June 2012) ; the Faculty of Arts, Timisoara, Romania (Oct. 2012) ; the Cultural Center, Belgrade, Serbia (Oct. 2012) ; the Fundação Oriente, Macau, China (Dec. 2012) ; the Mori+Stein Gallery, London, United Kingdom (Jan. 2013) ; the SAZMANAB Platform for Contemporary Arts, Teheran, Iran (Feb. 2013) ; the Goethe Institut, Toulouse, France (March 2013) ; Videotage, Hong Kong (April 2013) ; the Contemporary Art Museum of Wroclaw, Poland (April 2013), and the Museum of Art of Łódź, Poland (June 2013). In the realm of performance, they have performed at venues including DIMANCHE ROUGE Festival of Experimental Performances (Sept. 2011) and IRL Performances (Jan. 2013) in Paris ; the Traverse Video Festival, Toulouse, France (March 2013) ; MPA | Month of Performance Art, Berlin (May 2012) ; ARENA... of the young Arts | International Theatre Festival, Erlangen, Germany (July 2012) ; the Lower Polk Art Walk and many Art galleries in San Francisco, United States (Nov. 2012), as well as the ATHENS Video Art Festival | International Festival of Digital Arts & New Media, Athens, Greece (June 2013). Their performance [ ACANTHESTHESIA ] has been rewarded with the ARENA... of the young Arts Co-Production Prize (July 2012, Erlangen, Germany). They currently live and work in Toulouse, France. http://www.kedzior-friedman.org/
“DOUBLE BIND #2” / “DUPLA VEZA #2”:
“STAKLENA MENAŽERIJA” / “THE GLASS MENAGERIE”:
“RED-EYE WALK”:
Ema & Radoslav Čugalj (Srbija / Serbia): Radoslav Chugaly is conceptual artist, poet, performer, works with artistic objects and instalations, participated on many colective art exhibitions and festivals in Europe, Asia and America. Works in Odzaci. Selected live participations: 2000. - IMAF 2000, Gallery "MAS", Odzaci, Serbia / 2001. - Gallery "Multimedia Arts", Novi Sad, Serbia - Artfort Festival, Komarom, Hungary - IMAF 2001, Gallery "MAS", Odzaci, Serbia / 2002. - IMAF 2002, Gallery "MAS", Odzaci, Serbia / 2003. - PerformaNS, Gallery "Golden Eye" Novi Sad, Serbia - IMAF 2003, " Kamariste", Odzaci, Serbia / 2004. - IMAF 2004, Gallery "MAS", Odzaci, Serbia / 2005. - Transformation, International Festival, Zrenjanin, Serbia - IMAF 2005, Gallery "MAS", Odzaci, Serbia - IMAF 2005, Students Cultural Center, Belgrade, Serbia / 2006. - IMAF 2006 "IZBA", Novi Sad, Serbia / 2007. - "Performance Time", Museum of Contemporary Art, Istanbul, Turkey - "INFANT", KCNS, Novi Sad, Serbia. “RODITELJSTVO” / “PARENTING”:
“RODITELJSTVO II” / “PARENTING II”:
Gustaf Broms (Švedska / Sweden) In 1966 this human body was born, it was given the name Gustaf Broms. This concept now exists in a place called Sweden. To use the time in this predicament as a way to explore the nature of consciousness. Trying to make a translation of the flow of life into a condensed symbol, as a tool for understanding. Spending the last few years looking into the dualistic concept of “I”, in terms of association with the idea of BEING NATURE, as the actual biological reality this body goes through, and BEING MIND as a very direct experience of REALITY. Started out using physical materials (photography, installations) for this exploration, two works led me towards a more formless process. In 1991 I burnt all my work, and realized how the intensity of the action, and the remaining ash far outdid anything I had previously done. In 2005 after the work “5 faiths for a brave new world”, with objects that became physically too heavy for this body to move. These two experiences created a longing to explore the FORMLESS, and led up to the project “ a walking piece” (with Trish Littler), a walk from Vendel to Odessa. During the walk, it became very clear to me that my experience was a reflection of my thoughts and attitudes, rather than what my senses registered. I became interested in the use of my own body as the tool for looking at these processes, inner outer, stillness/movement etc. This reasoning led to the work “the sitting”, where I put my body in sitting position at the central station in Stockholm during rush hour for one year – as an evolution of the walk. Since 2009 I live in the forest of Vendel and work on a series of “movements” that explores why THE DANCING ATOMS OF THIS BODY are not merging with the dancing atoms surrounding it ? www.orgchaosmik.org “SPAJANJE #14” / “MERGE #14“:
“SPAJANJE #15” / “MERGE #15“:
“SPAJANJE #16” / “MERGE #16“:
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Stina Pehrsdotter (Švedska/Srbija / Sweden/Serbia) Stina Pehrsdotter (1966) is curator and artist working in video, photography, installation, objects and performance arts, inspired by the human body and its surrounding. In her work she focuses on the body's and mind’s desires, needs, wishes, regret and loss. Her works often reflects the connection between mind, body and soul, and tensions between body and environment. Her work may be viewed as exploration of existence, memories and the significance of human life. Stina Pehrsdotter has participated in numerous exhibitions in Sweden and abroad. She is involved in several international video collaborations, shown in exhibitions and festivals. As a curator, she has organized many showings and exhibitions in a variety of contexts, and as a founding member of Formverk (art zone), an artist-run project-based association, she has a broad network of other artists and independent art initiatives. www,pehrsdotter.se “GLäDJENS BLOMSTER (CVEĆE RADOSTI)” / “GLäDJENS BLOMSTER (FLOWER OF JOY)”:
”CRVENI BLUZ SMEHA” / “RED LAUGHING BLUES”:
“TWISTED ON THE BACK”:
Nenad  Bogdanović (Srbija / Serbia): Born in 1955 in Odzaci, Serbia. He is engaged in multimedia art, photography, xerox art, video, installation art, performance and art actions. His appearance at the beginning of the eighties in the international art network, "mail art," he marked an post avant-garde period of Yugoslav art and his art work has been recognized and accepted internationally. Freelance visual and performance artist, publisher and curator. Member of art societies of Vojvodina (SULUV) and Serbia (ULUS). From 1984 to 1988 founded and published alternative international art magazines "Total" and "Second Manifesto". Curator of various international art projects and exhibitions since 1980. 1998. he founded of Multimedial Art Studio and MAS Gallery in Odzaci, Serbia. Organiser and curator of International Multimedial Art Festival - IMAF (since 1998, dedicated to performance art). He is the editor and owner of MAS Gallery in Odzaci than 1998 year. Participates in group exhibitions since 1975 year, in more than 500 exhibitions in more than forty countries in the world. Since 1980 Nenad realized his art performances and art actions on many international festivals worldwide (France: 1994, 2011, 2012 & 2013, Italy: 1995, 2003, 2004 & 2011, Slovakia: 1996, Germany: 1996, Japan: 1997 & 2008, Romania: 1998, Poland: 1999, 2007, 2010, 2012 & 2013, Hungary: 2001 & 2011, Belarus: 2001, United Kingdom: 2004 & 2010, Northern Ireland: 2004 & 2011, Switzerland: 2004, USA: 2005, Canada: 2006 & 2008, Turkey: 2007, Israel: 2007, and many times from 1980 in Serbia. From 1993 Nenad starts working on the art project called "Man Gallery" that lasted 15 years. Realised art tours with Man Gallery project in France 1994, Italy 1995, Germany 1996, Japan 1997 and Switzerland 2004. In 2003 year realised two art performances on 50th International Biennial of Venice-Italy (in the International Art Project: Brain Academy Apartment). More about the artist: www.bogdanovicnenad.weebly.com
“MOSTOVI II” / “BRIDGES II”:
“SREĆA” / ”HAPPINESS”:
“57 SRCA” / “57 HEARTS”:
József R. Juhász (Slovačka/Mađarska / Slovakia/Hungary): József R. Juhász (1963, Slovakia) is intermediary oriented performer and poet. He realized hundreds of performances and published four books of experimental poetry. Since 1987 he is the leader of Studio erté (International Multimedia Art Organizing Company) that he co-founded in Nové Zámky with purpose to support action and multimedia art. Till today he organized under its aegis nineteen international multimedia/performance art festivals „Transart Communication“. Since 1989 the editorial board member of prestigious art magazine „Hungarian Workshop“. In 2000 he co-founded the Kassák Centre for Intermedia Creativity „K2IC“. From 2009 he realized several performance art workshops in Slovakia. “STAVI GLAVU U PESAK” / "BURY YOUR HEAD IN THE SAND":
FESTIVAL JE ORGANIZOVAN UZ PODRŠKU / FESTIVAL WAS SUPPORTED BY:
Ministarstvo kulture i informisanja Republike Srbije / Ministry of Culture and Information of Republic of Serbia Autonomna pokrajina Vojvodina, Pokrajinski sekretarijat za kulturu i javno informisanje / Autonomus province of Vojvodina, Provincial department of culture and media Opština Odžaci / City of Odzaci PARTNERSKE ORGANIZACIJE / PARTNER ORGANIZATIONS:
Savez udruženja likovnih umetnika Vojvodine / Alliance of Artists Associations of Vojvodina Formverk (umetnička zona) / Formverk (art zone) POSEBNA ZAHVALNOST NA POMOĆI / SPECIAL THANKS FOR SUPPORT TO: Niclas Hallberg Andrija Ivanov Milena Mitić Stina Pehrsdotter Dušan Perić Petar Perić Darko Stojkov Đula Šanta Bojana Vlahović MEDIJSKA PREZENTACIJA / MEDIA PRESENTATION: TV „Kanal 25“, Odžaci „Radio-televizija Vojvodine“, Novi Sad „Radio Odžaci“, Odžaci „Radio D65“, Odžaci „Dnevnik“, Novi Sad „BLIC“, Beograd „Naše novine“, Odžaci www.artmagazin.info www.upoznajsrbiju.co.rs www.kultura-vojvodina.org.rs www.creemaginet.com/ www.klubputnika.com www.srbija.travel www.manifestacije.com
www.vojvodinaonline.com/ 15. Međunarodni festival multimedijalne umetnosti – IMAF 2013 07. septembar - 11. septembar 2013. URL: www.imaf-festival.weebly.com 15th International Multimedial Art Festival – IMAF 2013 September 7th - September 11st, 2013 IZDAVAČ / PUBLISHER: Studio za multimedijalnu umetnost, 25250 Odžaci, S. Markovića 41, Srbija Multimedial Art Studio, 25250 Odzaci, S. Markovica 41, Serbia GLAVNI I ODGOVORNI UREDNIK / CATALOGUE EDITOR : Nenad Bogdanović ORGANIZATOR FESTIVALA IMAF 2012 / ORGANIZER OF THE IMAF 2012 FESTIVAL: Studio za multimedijalnu umetnost, Odžaci, Srbija Multimedial Art Studio, Odzaci, Serbia VIDEO SNIMCI / VIDEO : Nenad Bogdanović, Barbara Friedman, Dušan Perić, Petar Perić FOTOGRAFIJE / PHOTOS: Barbara Friedman, Christof Gillen, Fausto Grossi, Niclas Hallberg, Andrija Ivanov, Stina Pehrsdotter, Dušan Perić, Petar Perić, Darko Stojkov, Cai Qing KATALOG PRIPREMILI / CATALOGUE PREPARED BY: Nenad Bogdanović, Andrija Ivanov, Đula Šanta TEKSTOVI / TEXTS: Nenad Bogdanović, Fausto Grossi, Gilivanka Kedzior, Cai Qing ENGLESKI PREVODI / ENGLISH TRANSLATIONS: Radoslav B. Čugalj WEBMASTER: Nenad Bogdanović TIRAŽ / EDITION: 350