The Quadrilateral Biennial 4 - Out of Left Field by MMSU Rijeka

Muzej moderne i suvremene umjetnosti Rijeka, 11. studenoga â&#x20AC;&#x201C; 23. prosinca 2011. Museum of Modern and Contemporary Art Rijeka, 11th November â&#x20AC;&#x201C; 23rd December, 2011

INTRO: MAPIRANJE BIJENALA 03

Tekst / Text: Ksenija Orelj

INTRO: MAPPING THE BIENNIAL

BIJENALE KVADRILATERALE - BQ (QUADRILATERAL BIENNIAL) ulazi u šestu godinu. Nastao je kao reakcija na diplomatsku inicijativu Kvadrilaterale (zasnovanu 2000.), s ciljem regionalnog pozicioniranja umjetnosti susjednih zemalja – Hrvatske, Italije, Mađarske i Slovenije. Svakim novim izdanjem Bijenale se mijenja u strukturi i koncepciji. Prvi BQ promišlja relativizam i mogućnosti sumjerljivosti različitih geopolitičkih i kulturnih sustava; drugi kolaps kulturnog heroja i krizu ideoloških sustava; treći medijsku umjetnost i digitalnu kulturu, određenja globalnog i lokalnog, virtualnog i realnog.

The QUADRILATERAL BIENNIAL (BQ) has reached its sixth year. It was created as a reaction to the diplomatic initiative of the Quadrilateral (founded in 2000), with the aim of regional positioning of art in neighbouring countries – Croatia, Italy, Hungary, and Slovenia. With every issue, the structure and concept of the Biennale changed. The first BQ reflected on relativism and possibilities of comparison between different geopolitical and cultural systems, the second on the collapse of the cultural hero and the crisis of ideological systems, the third on media art and digital culture, the determination of global and local, virtual and real.

Od trećeg, medijskog bijenala, manifestacija nastoji proširiti nacionalne granice prihvaćajući izazov istraživanja pluralnog i nomadskog karaktera suvremene umjetnosti.

Since the third, media Biennale, this event strived to transcend national borders by accepting the challenge of investigation into the pluralistic and nomadic character of contemporary art.

Još uvijek pod kvadrilateralnim imenom, pokušava se transformirati i ponuditi širu oglednu sliku umjetnosti, koja probija ograničenja nacionalnih selekcija i geotopografskih klasifikacija. Zastupajući njezin multidimenzionalni identitet, otvara horizont za sagledavanje političkih pitanja, integracijskih interesa i perspektiva u kulturi i umjetnosti. Raste sagledavanjem svoga regionalnog fokusa u multilateralnom okruženju te propitivanjem svojih veza s konkretnim prostorom, Rijekom kao gradom domaćinom, ovdašnjom

Still under the name of Quadrilateral, it tries to transform and offer a broader model image of art able to surpass the limitations of national selections and geo-topographic classifications. Representing its multidimensional identity, it widens the horizon, enabling the comprehension of political issues, integration interests, and perspectives in culture and art. It grows through the insight into its regional focus in multilateral environment, as well as through the investigation of its connections with the concrete surroundings, the city of Rijeka as the

publikom i umjetničkom scenom. Zbog geografskih povlastica, RIJEKA je mapirana kao fluentan kulturni krajolik utjecanja Mediterana, Balkana, Srednje i Jugoistočne Europe, koji se može razviti kao upečatljivo mjesto zbivanja suvremene umjetnosti.

host, the local public, and the art scene. Because of its geographical privileges, RIJEKA is mapped as a vivid cultural landscape under the influence of the Mediterranean, Balkans, Middle and Southeast Europe, with the potential to develop into an impressive scene for contemporary art events.

MUZEJ MODERNE I SUVREMENE UMJETNOSTI od svog se osnutka 1948. upleće u tokove regionalnih i međunarodnih manifestacija, koncipirajući Salon, Bijenale mladih umjetnika Jugoslavije, Bijenale mladih umjetnika europskog Mediterana te Međunarodnu izložbu crteža i Bijenale kvadrilaterale, koje se još uvijek održavaju. Pritom se nastoji profilirati kao prostor testiranja odnosa institucije, umjetnosti i publike, afirmacije i kritike postojećih vrijednosti, artikulirajući aktualne poglede na institucionalna ograničenja, ali i na različite načine kako bi im se moglo odoljeti.

Since its foundation in 1948, the MUSEUM OF CONTEMPORARY ART has been involved in regional and international events by setting up its Salon, the Biennale of Young Artists of Yugoslavia, the Biennale of Young Artists of European Mediterranean, the International Exhibition of Drawings, and the Quadrilateral biennial, all events that still regularly take place. In this it attempts to be profiled as a place where the relation between the institution, art, and public is tested, the existing values confirmed and critically assessed, current views of institutional limitations articulated, and different ways how they might be resisted outlined.

BQ 4 propituje performans, prakse izvođenja i njegovih materijalizacija u drugim medijima, s ciljem sudjelovanja u raspravama o ekspanziji performansa i performativnog u različitim područjima umjetnosti, kulture i društva. Bijenale također pokušava aktualizirati problematiku performansa unutar institucionalne matrice, s obzirom na njegovu relativnu zastupljenost u muzejskoj djelatnosti predstavljanja, istraživanja, sakupljanja i dokumentiranja suvremene umjetnosti. Uz izložbu koja obuhvaća performanse, dokumentaciju, ali i druge umjetničke medije koji sažimaju pojedine strategije performansa, Bijenale uključuje PARALELNI PROGRAM razgovora, screeninga i predavanja. Usporedbom različitih iskustva, pristupa i uvjeta rada bavi se načinima predstavljanja, izvođenja i izlaganja performansa, kustoskom ulogom i prisutnošću umjetnika, problematikom historizacije i dokumentiranja.

BQ4 investigates the performance, its realization practices, and its materializations in other media, with the aim of participation in discussions on the expansion of performances and the performative in different spheres of art, culture, and society. The Biennale also tries to reopen the question of performance within the institutional matrix, considering its relative high participation in the museum activity of presenting, researching, collecting, and documenting contemporary art. Along with the exhibition that encompasses performances, documentation, but also other art media that summarize individual performance strategies, the Biennale includes a SIMULTANEOUS PROGRAM of discussions, screenings, and lectures. By comparing different experiences, approaches, and working conditions, it is concerned with the ways of presenting, staging, and exhibiting

INTRO: MAPIRANJE BIJENALA

INTRO: MAPPING THE BIENNIAL

Sudionici su domaći i strani akteri nezavisne i institucionalne scene – Vlasta Delimar i Milan Božić, Tevž Logar, Suzana Marjanić, Mara Vujić i Gaby Wijers. Kustosica je izložbe Jovana Stokic, outsiderka po kvadrilateralnom kriteriju, ali insiderka po medijskom ključu i aktivnoj ulozi u praćenju performansa na međunarodnoj sceni. Izložba međunarodnom selekcijom i polifonom teksturom nadilazi četveročlanu formu predstavljanja i zaviruje u različite točke i sjecišta na karti Europe i Sjeverne Amerike. Pozvani umjetnici raznorodni su karakteri čiji je nacionalni identitet uglavnom u drugom planu, multilateralan i hibridan, a očituje se i postaje relevantnim u pojedinim radovima, upravo zbog kritičke analize i dekonstrukcije društvenih stereotipa i predrasuda. Moj OSOBNI IZBOR triju umjetnica – MILIJANE BABIĆ, BOŽENE KONČIĆ BADURINA i SANDRE STERLE – zasnovan je na želji snažnijeg uključivanja, uvjetno rečeno, ovdašnje umjetničke scene. Pritom sam se, prije negoli pozivanjem na sličnosti, vodila razlikama u njihovim radovima i pristupima te osobnostima. Različito promišljaju i izvode udarne sastavnice performansa. Startna je pozicija određena varijacijama u prisutnosti autora kao izvođača te varijabilnim označavanjem tijela kao medija, sadržaja i mjesta uspostavljanja odnosa ja i ti, mi i oni. Kod Sandre se ostvaruje kroz interakciju s publikom i odnos 1:1, kod Milijane je tjelesna radnja naglašena kao govor iz prvog lica i fizički test izdržljivosti, a kod Božene je autor odsutan, stvara režiranu situaciju u kojoj je publika dovedena u ulogu izvođača. Doživljajnost radova, izlaženje iz sebe, iz pozicije autora, ali i publike, održava napetost i u kasnijem prijenosu

performances, the curatorial role in this and the presence of the artist, the problematics of historization and documentation. The participants are local and international protagonists of both the independent and the institutional scene – Vlasta Delimar, Milan Božić, Tevž Logar, Suzana Marjanić, Mara Vujić and Gaby Wijers. The curator of the exhibition Out of Left Field is Jovana Stokić, an outsider by Quadrilateral criteria, but an insider if the media key is applied and also in terms of her active role in international perception of performance art. In its international selection and polyphonic texture the exhibition surpasses the four-participant presentation form and takes a peek into different points and intersections on the map of Europe and North America. The invited artists show very different characters and their national identity is mostly of secondary importance, multilateral and hybrid. This is manifested and becomes relevant in some of the works, because of the critical analysis and deconstruction of social stereotypes and prejudices. My PERSONAL SELECTION of three artists – MILIJANA BABIĆ, BOŽENA KONČIĆ BADURINA, and SANDRA STERLE – is based on the desire for stronger inclusion of, tentatively speaking, the local art scene. More than by similarities in their work and approach, I was guided by differences and their personalities. They differently conceive and realize the principal elements of their performances. Their starting position is determined by variations in the presence of the author as the performer and varied determination of the body as a medium, content, and place of establishing the relationship of me and you, us and them. Sandra establishes this through interaction with the public and the 1:1 relation, Milijana stresses bodily action as first person speech

izvedenih događaja, preko različitog izbora interpretacije i posredovanja konkretnog iskustva. Njihovi radovi oslobađaju različite čvorove psiholoških i društvenih odnosa, fenomena u kulturi koji se najčešće i najradije potiskuju. U sva tri slučaja riječ je o kontroverznim pojavama, osnaženima u posljednje vrijeme divljanjem krize i buđenjem retrogradnih, totalitarnih mentaliteta. Sandra kao metu postavlja izloženost idolopoklonstvu i napadnoj ikonografiji spektakla; Milijana stranputice i spoticanja u procesu borbe sa samim sobom i nadvladavanja društveno nametnutih imperativa; Božena otuđivanje individue i njezino sakrivanje pod nesigurnim ljušturama. Idealna slika ciljanih područja daleko je od nas. Ono s čim nas se suočava njihovo je ekstremno stanje, izolirani pojedinac, zastranjen u shizofrenoj gužvi koja ostavlja sve manje vremena za sabiranje fokusa. Bijenale će se održati od 11. studenoga do 23. prosinca 2011. i muzejska ekipa želi zahvaliti svima onima bez čijeg se odaziva i suradnje projekt ne bi dogodio, ponajprije umjetnicima i sudionicima popratnog programa. Želimo, također, istaknuti podršku različitih osoba, udruženja i ustanova, koji su pomogli u organiziranju Bijenala i skrajanju vitkog džepa od 115.000 kuna. Možemo vas pozvati u rutu NIOTKUDA.

and a physical endurance test, while in Božena’s case the author is absent and creates a staged situation in which the public is entrusted with the role of the performer. The experiential aspect of the works, detachment from the self, from the position of the author, but the public as well, reflects the tension also in further conveyance of the performed events, through a different interpretative choice and the mediation of a concrete experience. Their works loosen different nodes of psychological and social relations, cultural phenomena which most often and preferably tend to be suppressed. In all three cases these are controversial occurrences, lately more pronounced through the impending crisis and the awakening of retrograde, totalitarian mentalities. Sandra’s target is being exposed to the idolatry and showy iconography of the spectacle, Milijana’s are the wrong turns and fallbacks in the process of the struggle with the self and overcoming of socially imposed imperatives, Božena’s is the estrangement of the individual and its hiding under insecure protective cases. The ideal image of the targeted areas is far away from us. What we face is their extreme condition, the isolated individual, lost in a schizophrenic rush that leaves increasingly less time for focusing. The Biennale will be held from November 11th to December 23rd, 2011 and the Museum crew wishes to thank everybody without whose response and collaboration this project would not be possible, in the first place the artists and the participants in the accompanying program. We would also like to stress the support from different persons, associations, and institutions who have helped in tailoring the lean budget of the Biennale. We are pleased to invite you to the OUT OF LEFT FIELD route.

NIOTKUDA 07

Tekst / Text: Jovana Stokić

OUT OF LEFT FIELD

Ovo je trebao biti kritički osvrt o izboru koji sam provela kao kustosica. Umjesto toga, radije bih napisala osobniji tekst u kojem bih objasnila kako je rad umjetnika na ovoj izložbi utjecao na moj rad kao kustosice.

This text was supposed to be a critical essay about my curatorial choices. Instead I wish to write a more personal text to explain how practice by the artists represented at this particular exhibition has influenced my work as a curator.

Izložba se temelji na mojem divljenju prema osnovnoj skupini umjetnika s kojima osjećam blisku povezanost i za koje sam osmislila kustosku strategiju čiji je cilj obuhvatiti njihove raznolike prakse.

This exhibition has started with my admiration for the core group of artists I feel closely connected with and for whom I developed a curatorial strategy to encompass their multifold practices.

Ne kol i ko s a m p o s l j e d n j i h g o d i n a ra d i l a s performerima mlađe generacije u ovome mediju. Moja je zadaća kao kustosice odabrati njihov najbolji rad. Istodobno sebe ne vidim kao lovca na talente. To stvaralaštvo u neprekinutom razvoju stalan je izazov mojemu razumijevanju suvremene umjetnosti performansa. Sebe vidim kao glasnogovornicu moje „osnovne skupine“ umjetnika. Oni su moje zvijezde, a ja sam njihova obožavateljica, no ujedno sam im i trenerica, pa sebi ne dopuštam nekritično oduševljenje kojemu se obožavatelj može prepustiti. Uz njih, izložba obuhvaća nekoliko umjetnika i umjetnica koji ne pripadaju ovoj zamišljenoj skupini, a zastupljeni su ne samo kao „prateći vokali“, nego i zato da izložbi daju bogatiju polifonu teksturu. Njihov je rad utjecao na moje preispitivanje stanja u umjetnosti performansa, njezinih ciljeva i budućnosti. Izložbu NIOTKUDA vidim kao stratešku intervenciju čiji je

In the course of several years, I have been working with performance artists who belong to the younger generation working in this medium. My job as a curator is to find the best work. At the same time, I do not see myself as a talent scout. These developing practices are constantly challenging my understanding of performance art today. I see myself as a champion of my “core group” of artists. They are my stars, I am their fan. However, I am also doubling as a couch to them, not allowing myself uncritical devotion only a fan can indulge in. Along with them, the exhibition contains several artists who do not belong to this imaginary constellation and are represented not only to support as “back-up singers” but to provide a richer polyphonic texture of the exhibition. Their practice influenced my examination of status, goals and future of performance art. I see the exhibition OUT OF LEFT FIELD as a strategic intervention aimed to provide some critical insights

cilj omogućiti kritički uvid u ovu problematiku. Željela bih performansu dati središnje mjesto u međunarodnom doživljaju umjetnosti. Nakon što se pojavio šezdesetih i sedamdesetih godina, performans je radikalno utjecao na dr uge umjetničke oblike, od kazališta do fotografije i glazbe. Prožeo je popularnu kulturu, medije i društvene poglede na stvarnost. U posljednjih nekoliko godina, velike manifestacije, ponajprije u New Yorku, pokazuju obnovljeno zanimanje za taj uzbudljivi umjetnički izraz. Postavlja se pitanje može li umjetnička zajednica zadržati taj zamah i razvijati se na njegovim krilima.

into this matter. My interest lies in bringing performance art to a central position in the international artistic experience. Since emerging as a phenomenon in the 1960s and 1970s, performance art has radically influenced other art forms, from theater to photography to music. It has pervaded popular culture, media, and social attitudes. In the last couple of years, blockbuster shows, primarily in New York, demonstrate rekindled interest in this vibrant artistic expression. Now, the question is if the artistic community can maintain this momentum and build on it.

Smatram da je umjetnost performansa temelj dijaloga između drugih umjetničkih oblika i svijesti o sebi – i sudionika i promatrača.

I believe that performance art is critical to the dialogue between other artistic forms and to the individual self-awareness of participants and observers.

Potrebne su joj raznolike platforme za pothranjivanje novih ideja. Želi li stvarati nove, angažirane radove, trebaju joj eksperimenti. Performans se može razvijati samo zbiljskom izvedbom.

It needs multifold platforms where to nurture new ideas; it needs experimentation if it is to develop new engaging works. Performance art can only grow through actual performance.

Ova je izložba osmišljena za četvrto izdanje BIJENALA KVADRILATERALE u Rijeci. Nudi središnji program izvedbi uživo, popraćen performativnim postavom umjetničkih radova u galeriji. Na taj način prolazna događanja uživo ne postaju jednokratne prigode za odabranu publiku koja će uživati u ekskluzivnosti. Izložba je u cjelini predviđena da ide uživo – ona je „izvođenje galerije“, preispitivanje preobrazbenih značajki vremena u kontekstu galerijske izložbe. Cilj joj je također potvrditi sposobnost umjetnosti performansa da neposredno uključi publiku, u živome međuodnosu koji nadilazi prolaznost.

This exhibition is conceived for the fourth edition of the QUADRILATERAL BIENNIAL in Rijeka. It offers a central program of live performances to be accompanied by a performative display of art objects in the gallery. Thus the live ephemeral events do not become one-off opportunities for selected audience to indulge in their exclusivity. The exhibition on the whole is supposed to be live – it is “performing the Gallery”, as an investigation of the transformative quality of time in the context of a gallery exhibition. The exhibition also aims to confirm performance art’s ability to engage its audience directly, in lively interaction that transcends ephemerality.

Današnji performeri nastavljaju postavljati kritička pitanja o sakupljanju, recepciji i očuvanju efemernih radova: kako suvremena umjetnost

Performance artists today continue to raise critical questions concerning collection, reception and

NIOTKUDA

OUT OF LEFT FIELD

21. stoljeća naručuje, izlaže i čuva takva djela? Kako se radikalne prakse, koje često nadahnjuju performere, mogu prikazati u muzejskom i galerijskom kontekstu?

conservation of ephemeral artworks: How does contemporary art of the 21st century commission, exhibit, and preserve such works? How can radical practices that often motivate performance artists be represented in the museum and gallery context?

Kako promjenjiva uloga umjetničke institucije kao živoga kulturnog središta utječe na oblikovanje predodžbi umjetnika o performansu? Može li „muzejski održiv“ performans ostati radikalan i provokativan poput pionirskih performansa sedamdesetih, organiziranih izvan institucionalnog konteksta?

How does the changing role of the art institution as a lively cultural center shape the artists’ ideas about performance? Can a “museum safe” performance still be radical and provocative like the pioneer performances of the 1970s, which were organized outside of the institutional context?

U današnjem svijetu umjetnosti položaj se performansa u odnosu spram institucija mijenja. Pojavljuju se novonaručeni performansi koji mijenjaju očekivanja gledatelja. Svjedočimo velikim promjenama u javnom prikazu performansa – od jednokratne alternativne izvedbe u stilu šezdesetih i sedamdesetih do današnjeg mainstream spektakla. Muzeji se preobražavaju u mjesta spektakla, prije svega gradnjom novih arhitektonskih arena i globalnom ekspanzijom, obraćanjem široj, nespecijaliziranoj publici i izložbama kao „događanjima“, često popraćenima u društvenim medijima. Ta promjena u muzejskoj kulturi slavi i oživljava duchampovskog promatrača – umjetnikovu protutežu – koji poslije postaje „budućom generacijom“. Muzeji su prigrlili element „buduće generacije“ umjetnosti performansa, koju se sada može sakupljati, očuvati i reproducirati. Aktualni trend u umjetnosti performansa, okrenute široj publici, a time i reprodukciji spektakla u smislu marksističke kritike Guya Deborda, jest povrat performansa kazališnim korijenima kao zajednici pojedinaca, „emancipiranih gledatelja“ Jacquesa Rancièrea. Performans kao posve prolazna umjetnost, kao nešto definirano nestajanjem, izvorno se protivio težnji arhiviranja, koja je stajala iza dokumentiranja i historizacije performansa

In the art world of today, the status of performance art in relation to institutions is changing. Newly commissioned performance works are emerging, which are changing the expectations of the viewing audience. We have witnessed a definitive change in the public presentation of performance art — from an ephemeral alternative in the mode of the 60s and 70s to the present mainstream spectacle. Museums are transforming into sites of spectacle, primarily through the construction of new architectural arenas and global expansion, the outreach towards wider non-specialized public, and exhibitions as “events,” often distributed via social media. This change in museum culture celebrates and activates the Duchampian spectator — the artist’s counterpart — who later becomes “the posterity.” Museums have embraced “the posterity” element of performance art, which has become collectable, preservable, and reproducible. The current development in performance art oriented towards the delivery of enhanced spectatorship, and thus reproduction of the spectacle along the lines of Guy Debord’s Marxist critique, is performance art returning to the origins of the theater as the coming together of a community of individuals, as Jacques Rancière’s “emancipated spectators”. Performance as purely ephemeral art, as

sedamdesetih. I dok su performansi sedamdesetih bili dokumentirani zabilješkama i fotografijama njihovih autora, videozapisima i filmovima, taj je materijal u međuvremenu postao „forenzičkim dokazom“ izvornog događaja. Nadam se da će materijal nastao u Rijeci nadići tu kategoriju. Izložba je zamišljena kao dinamički narativ koji sažima različite strategije performansa, a one prevode njegovu prolaznu prirodu u instalacije, filmove, videa i fotografije.

Nigdje Naziv izložbe poziva se na (meni) stranu američku frazu – out of left field – koja potječe iz bejzbola, a znači iznenada, iz neočekivanog izvora ili smjera. Na isti način, moj kustoski koncept za ovaj Bijenale nastoji ukazati na taj element iznenađenja, ali i aludirati na političke i ideološke sfere. Predstavljeni umjetnici usmjereni su na oponašanje strategije nesvrstanosti, pri čemu se, počevši s najjačom individualnošću, uspostavlja mogućnost koegzistencije. Umjetnici predstavljaju radove u svim medijima putem snažnog dijaloga s umjetnošću performansa. Moj osobni položaj u gradu Rijeci jest onaj obrazovanoga gosta, nikako turista koji dolazi niotkuda – iz moje nove domovine, Sjedinjenih Država. Kao kustosica pokušala sam „gledati iskosa“, da parafraziram poznati naslov Slavoja Žižeka. Izložbu treba razumijevati kao ironičan naglasak na pozdrav koji šaljemo nekadašnjim sunarodnjacima, jer nekoć smo bili sunarodnjaci. Naši su se životi u međuvremenu znatno udaljili, a i moj je položaj namjerno nadnacionalan. Temelj je te pozicije činjenica da potječem iz susjedne zemlje – Srbije; morala sam otići sve do Amerike, ravno u središte, savršeno svrstana, a ipak, paradoksalno, nesvrstana – da bih se vratila niotkuda.

something defined by its disappearance, was originally opposed to the archival impulse behind the documentation and historicization of 1970s performance practice. While performances of the 1970s were documented through their authors’ notes and photographs, videos and films, now this material has become ‘forensic evidence’ that bears witness to the original event. My hope is that the material developed in Rijeka will transcend this category. The exhibition is planned as a dynamic narrative that sums up performance art’s multifold strategies of translating its ephemeral nature into installations, films, videos, and photographic works.

Left Fields The title of the exhibition invokes a foreign (to me) US English idiom – out of left field - that stems from baseball and means suddenly; from an unexpected source or direction. In the same manner, my curatorial concept for this Biennial seeks to evoke this element of surprise but also to allude to political and ideological spheres. Artists represented are guided to mimic the strategy of non-alignment, where, starting from strongest individuality, a possibility of coexistence is established. Artists co-present works in all media in powerful dialogue with performance art. My own position in the city of Rijeka is that of an educated guest, never a tourist who comes from the left field: my adopted country United States. As a curator I tried to “look awry,” paraphrasing Slavoj Zizek’s famous title. The exhibition was to be understood as an ironic intonation of regards sent to one’s ex-co-nationals, because, we were once co-nationals. However, now our existence is so far removed from this, as my position is purposely trans-national. Undercurrent to this position is the

NIOTKUDA

OUT OF LEFT FIELD

Ironija je što stalan tehnološki i komunikacijski napredak u našoj globaliziranoj sadašnjosti ne jamči svima jednake mogućnosti. Umjesto stvaranja „nadnacionalne zajednice sa zajedničkim estetskim i percepcijskim temeljima“, 1 svijet umjetnosti ostaje uobličen kao niz raznorodnih hegemonijskih sustava. Kritička intervencija na specifičnom području trebala bi imati još kritičkiju ulogu u globalnom kontekstu umjetničkog svijeta. Čini se da se (ljevičarska) utopija mirne koegzistencije može ostvariti jedino na individualističkoj mikrorazini. Demokratski pristup radu zajamčen je kada se zajednica pojedinaca skupi u funkciji emancipiranih promatrača. Moja strateška intervencija sastoji se u stvaranju mogućnosti za radikalno djelovanje umjetnosti performansa s ciljem postizanja emancipacije – niotkuda.

Lijeva strana / desna strana Presudne za moje shvaćanje djelovanja performansa bile su umjetnice pionirke: od Marine Abramović preko Marthe Rosler do Joan Jonas. Ono što me privuklo performansima Jonasove bila je njihova fascinantna artikulacija njezina umjetničkog ja u iskazu. Njezin rani video LEFT SIDE RIGHT SIDE iz 1972., u kojemu istražuje inverziju, paradigma je preispitivanja sebe, identiteta, subjektivnosti i objektivnosti. Pristup Jonasove je formalistički i redukcionistički, a izvedba pokazuje ironičnu teatralnost. Te su značajke imale velik utjecaj na umjetnike predstavljene na ovoj izložbi. 1

J. Crary, N. de Oliveira, N.Oxley, M. Petry, Installation Art

fact that I stem from a nearby country – Serbia – but had to go all the way to the US to come back – out of left field, right at the center, perfectly aligned, while, paradoxically being non-aligned. Ironically, the continuing technological and communicational advances in our globalized present do not guarantee equal opportunities for all. Instead of generating a “trans-national community with a shared set of aesthetic and perceptual foundations”1 the art world remains structured as a set of multiple hegemonic systems. A critical intervention in a specific region should have an even more critical role in the global context of the art world. It seems that the (leftist) utopia of peaceful co-existence can be achieved only at the individualist, micro-level. Democratic access to work is guarantied when the community of individuals comes together as emancipated spectators. My strategic intervention consists in creating opportunities for radical agency of performance art to make emancipation happen – out of the left field.

Left Side / Right Side Crucial to my understanding of performance art agency were pioneer feminine artists: from Marina Abramovic, to Martha Rosler, to Joan Jonas. What drew me to Jonas’s performances was their compelling articulation of her artistic self in representation. Her early video LEFT SIDE RIGHT SIDE from 1972, in which she explored inversion, is a paradigm of an examination of self and identity, subjectivity and objectivity. Jonas’s approach 1

J. Crary, in N. de Oliveira, N.Oxley, M. Petry, Installation

in the New Millennium: The Empire of the Senses, New

Art in the New Millennium: The Empire of the Senses, New

York: Thames & Hudson, 2003., str. I.

York: Thames & Hudson, 2003, p.i

Isto se može kazati i za hrvatsku umjetnicu Sanju Iveković čiji rani radovi slijede diskurzivnu praksu rigoroznog preispitivanja i ideološkog aparata i samoga sebe. Svrha njezina rada jest uspostava općeg tona rodnog područja izložbe budući da želim postaviti suvremene umjetničke akcije kao iskaze parafeminizma. Parafeministički poticaji nastavljaju najvažnije poticaja svih inačica feminizma šezdesetih, no odbacuju binarizam i težnju prema poopćivanju, prisutne u tim ranijim feminizmima.2 Ovdje nije riječ o obliku suvremenoga parazitskog feminizma, ovisnog o staležu, rasi, kulturnom prisvajanju i podčinjavanju. Ciklus dugih performansa Marije Jose Arjone pomno preispituje razne sustave moći, no ponajprije se bavi IZBOROM kao najrelevantnijom manifestacijom slobode. Umjetnica ustraje na odgovornosti gledatelja za vlastite postupke. Njezin najnoviji dugotrajni performans SILENCE, posebno naručen za Rijeku, bavi se najrazličitijim konotacijama i značenjima tišine, pomičući granice za vrijeme trajanja i u sklopu današnje suvremene umjetnosti, pri čemu se čini da buka i zvuk dolaze iz svega: slika i razgovora. Tišina bi trebala biti usmje-rena ka gledatelju – kako bi se usjekla u samo središte kakofoničkih zvukova koji nas okružuju. Videoradovi Vladimira Nikolića bave se preklapanjem glasova tako što preispituju ulogu komentatora – u svijetu u kojem je smješten sustav normativne umjetnosti. Video Davida Ballianoa temelji se na njegovu performansu THE HEART OF YOUR MOTHER FOR MY DOGS, čiji je naslov izveden iz pjesme THE BALLAD OF BLIND LOVE Fabrizija

is formalist and reductive, while her performance reveals an ironic theatricality. These traits prove to be hugely influential for the generation of artists present in this exhibition. The same is true of the Croatian artist Sanja Iveković whose early works follow this discursive practice of rigorous examination of both the ideological apparatus and the self. Iveković’s work serves the purpose of setting the tone of the exhibition’s gendered field – as I would like to situate contemporary art actions as manifestations of parafeminism. The Parafeminist impulse extends the most important impulses of the feminisms of the 1960s, while rejecting binarism and the tendency towards universalism in these earlier feminisms. 2 This is not a form of contemporary parasitic feminism that is dependent on class, race, cultural appropriation, and subjugation. Maria Jose Arjona’s cycle of long-durational performances closely examine diverse systems of power but they primarily address CHOICE as the most relevant exercise of freedom. The artist insists on making the audience responsible for their actions. Her new long-durational performance, specially commissioned for Rijeka, SILENCE, addresses all possible connotations and meanings of silence by pushing its boundaries through its duration and within contemporary art today, where noise/sound seems to irradiate from everything; images, dialog, conversations, talks. Silence is supposed to be directed at the audience – to cut right at the center of cacophonous sounds that surround us. The voice-over is treated in Vladimir Nikolić’s videos by examining the rule of commentators – of 2

Amelia Jones, Self/Image: Technology, Representation,

and the Contemporary Subject, London: Routledge, 2006.

About the notion of parafeminism see st Amelia Jones,

Self/Image: Technology, Representation, and the Contemporary Subject, London: Routledge, 2006

NIOTKUDA

OUT OF LEFT FIELD

De Andrea, koja prikazuje tragičan tableau vivant neuzvraćene ljubavi. Taj scenarij služi kao podloga za istraživanje bioloških pojavnosti pakla, za koje umjetnik kaže da se okreću oko tri središnje teme: tama, hladnoća i samoća. Fotografski projekt Nebojše Šerića Shobe BATTLEFIELDS prilično su vjerodostojne fotografije koje prikazuju bojna polja u njihovoj današnjoj uporabi ili zapuštenosti. Verdun je poljoprivredno imanje okruženo dalekovodima i McDonald’sovom reklamom. Guernica je urbani park. Gettysburg je pitoma livada. Na sličan način videoradovi Alberta Hete često se kreću u međuprostorima i ukazuju na radikalna izmještanja. Performans Lilibeth Cuence Rasmussen, AFGHAN HOUND, prikazuje četiri imitacije glasova iz Afganistana. Tematizira rodne složenosti, posebno u kulturama u kojima muškarci dominiraju, a žene žive izdvojeno. Kada seksualnost nije vidljiva, razvijaju se nove rodne konstrukcije. U ovom slučaju, prisilno nastaju hibridni rodovi određeni tradicijom, a nameće ih određeno društvo i kultura. Radovi Ane Prvački uobličeni su kao raznoliki projekti i pothvati utemeljeni na izvedbi, potrošačkoj estetici i popularnim stilovima, a cilj im je ispitati naš sve nematerijalniji sustav usluga i ideja. Neočekivano, Anini se radovi okreću prema sposobnosti umjetnosti da liječi. U jednom od njih umjetnica svira flautu da bi proizvela slinu. Tijekom jednostavnog alkemijskog procesa, slina se skuplja i pretvara u poseban lijek protiv bolova, proizveden glazbom. Video Vlatke Horvat OUT ON A LIMB (Na tankome ledu) vizualna je dosjetka u najuspjelijem obliku – smiješna, a istodobno tugaljiva, gotovo melankolična. Utjelovljuje englesku inačicu te fraze, kao i njezine registre značenja koji se odnose na jedinstveno, nestabilno postojanje – koristeći rastavljeno tijelo, čime pokazuje njegovu ranjivost. Rad mnogo govori o

the realm where the normative art system resides. Davide Balliano’s video is based on his performance THE HEART OF YOUR MOTHER FOR MY DOGS, whose title derives from the song THE BALLAD OF BLIND LOVE by Fabrizio De Andre, which presents a tragic tableau vivant of unrequited love. This scenario acts as a platform for an investigation of the biological manifestations of hell, described by the artist as revolving around three central themes: darkness, coldness and loneliness. Nebojša Šerić Shoba’s photographic project BAT TLEFIELDS are seemingly straightforward photos that show wartime arenas in their current state of use or disuse. Verdun is a farm plot bracketed by power lines and a McDonald’s sign. Guernica is an urban park. Gettysburg is a tranquil meadow. Similarly, Albert Heta’s videos often operate within interstices and point to radical dislocations. L i l i b e t h C u e n c a R a s m u s s e n’s performance AFGHAN HOUND includes four impersonations of voices from Afghanistan. It thematizes the complexities of gender, specifically in cultures where men and women live segregated and masculinity rules. When sexuality is not in the open, new constructions of gender develop. In this case, cross-over genders are enforced, ruled by the traditions and order of a given society and culture. Ana Prvački’s works take the form of varied projects and enterprises that draw on performance, consumer aesthetics and popular style to investigate our increasingly dematerialized economy of services and ideas. Ana’s works turn unexpectedly toward art’s ability to heal. In one piece, the artist plays and practices her flute to generate saliva. In a simple alchemical process, the saliva is collected and transmuted into a special, music-derived painkiller. Vlatka Horvat’s video OUT ON A LIMB is a visual pun at its best – funny and, at the same time, wistful, almost melancholic. It embodies the

riziku – i u životu i u umjetnosti. Vlatka istražuje odsutnost, sjećanje i skrivanje, suprotstavljajući dijelove postojećeg sustava, kao što je ljudsko tijelo, pozadini svijeta u cjelini. Umjetnica stvara neobičan ambijent od projiciranih slika, izmijenjenih pronađenih predmeta i arhitektonskih „prijedloga“, gdje su tijelo i prostor koji zauzima prikazani kao mjesto razočaranja, sloma i fragmentacije, no još uvijek nudi alternativni obrazac ponovnog otkrivanja, otpora i igre. Milijana Babić igra se konceptima autorstva i nazočnosti umjetnika, stvarajući nelogične, ekscentrične i apsurdne situacije – nudeći gledateljima da odgonetnu njezine objekte ili instalacije. Božena Končić Badurina navodi publiku da aktivno sudjeluje u specifičnim situacijama, napete i voajerske naravi, koje se neočekivano odvajaju od uobičajenih obrazaca ponašanja. Sandra Sterle djeluje u okviru pojma maskiranja i igranja uloga, nudeći višeznačno samopredstavljanje, subverzivno spram „normalnih“ obrazaca identiteta. U svojim skupnim portretima prikazanima nizom fotografija, Anna Fabricius prisvaja poznate situacije iz vlastite okoline, propitujući mehanizme pripadanja i asimilacije, kao i gluha područja supostojanja u skupini. Nika Oblak i Primož Novak od 2003. djeluju kao umjetnički kolektiv. U svojoj umjetničkoj praksi duhovito preispituju suvremene medije i društvo koje pokreće kapital, standardiziranog pojedinca u njemu i vlastitu ulogu u okviru suvremene umjetnosti. Niz slikarskih radova Jelene Tomašević, naslovljen JOY OF LIFE, prikazuje ženske i muške likove u isprekidanim vremenskim sljedovima unutar bjeline praznih, apstraktnih prostora. Svim likovima očito nedostaje svaka ljudska emocija. Oni zapravo nisu „pravi“ prikazi: svi su replike – kopirane iz modnih časopisa. Tako svi ženski likovi nose visoke pete i uzbudljivu odjeću, a

saying and its registers of meaning that refer to a unique unstable existential situation – by employing the body in its fragmented state, showing its vulnerability. It speaks volumes about taking a risk, both in life and art. Vlatka has explored absence, memory, and concealment by juxtaposing the component parts of a given system, such as the human body, against the backdrop of the world at large. The artist creates an uncanny environment of projected images, modified found objects, and architectural “propositions” in which the body and the space it occupies are presented as sites of delusion, collapse, and fragmentation, while still offering an alternative model for reinvention, resistance, and play. Milijana Babić is playing with the concepts of authorship and artist’s presence, creating non-logical, eccentric, and ludicrous situations - offering her objects or installations to the audience to be deciphered. Božena Končić Badurina leads the audience to actively participate in specific situations, tense and voyeuristic by their nature, which unexpectedly break with the common behavior formulas. Sandra Sterle is working within the notion of masquerade and role playing, offering her ambiguous self-representations and subverting ‘normal’ identity codes. In her group portraits in photo series, Anna Fabricius appropriates familiar situations from her own environment, questioning the mechanisms of belonging and assimilation, as well as blind spots in the group coexistence. Nika Oblak & Primož Novak have been working as artists’ cooperative since 2003. In their art practice they are humorously exploring contemporary media and capital driven society, a standardized individual within it and their own role in the frame of contemporary art. Jelena Tomašević’s series of paintings titled JOY OF LIFE represents female and male figures in disjointed time sequences within a white void of empty abstract

NIOTKUDA

OUT OF LEFT FIELD

sudjeluju u neobičnim, snovitim radnjama koje nagovještavaju neposrednu prijetnju nasiljem. No počinitelja nasilne radnje ne vidimo. Ovdje prikaz doseže nultu točku, pretvarajući svako moguće suosjećanje u posredovani spektakl. U radovima Jelene Tomašević prevladavajuće ozračje blaziranog pristupa njezinih protagonista izgleda kao da označava nadolazak spektakla kasnog kapitalizma u balkansku divljinu. Projekt Marte Jovanović, DANCE REHEARSAL PROJECT: FUCK ART LET’S DANCE, usredotočuje se na žanr portreta i koncept ljepote u suvremenoj fotografiji. Polazi od demokratske postavke koja ne isključuje nikoga: svatko zaslužuje da bude predstavljen. Njezine fotografije govore o ograničenjima ljepote u tradicionalnom kanonu. Iako su fotografije same po sebi prekrasne, njihova estetika pokazuje veliku dozu prijezira prema modnim standardima suvremene ljepote. Možda je to najzanimljiviji aspekt njezine strategije: gledatelju nudi raskošnu, sjajnu, uljepšanu fotografiju u velikom formatu s ciljem subverzije medija modne fotografije. Marta izvodi performans posebno naručen za Rijeku, koji hotimice iznevjerava očekivanja i kani ući ispod površine biografije u umjetnosti. Video Paola Canevarija slijedi performativnu prirodu apstraktnog slikarstva na jeziv, groteskan, no zaigrano neposredan način. Rad Jenny Perlin THE PERLIN PAPERS niz je od osam kratkih filmova koji prikazuju priče o špijuniranju vlastite zemlje tijekom hladnoga rata u Sjedinjenim Državama. THE PERLIN PAPERS je arhiv od 250 000 stranica pohranjen na Sveučilištu Columbia. Arhiv sadrži brojne FBI-jeve dokumente vezane uz slučaj Juliusa i Ethel Rosenberg, američkih građana osuđenih i pogubljenih 1953. zbog navodne špijunaže u korist Sovjetskog Saveza. Još dva desetljeća nakon izvršenja kazne, FBI je pratio stotine ljudi koji su došli

spaces. All figures are visibly lacking any human emotions. They are actually not “real” representations: they are all replicas - copied from fashion magazines. Thus, feminine representations are clad in stilettos and edgy outfits while engaged in strange, dream-like actions that suggest imminent violence. However, the perpetuator of the violent actions is never shown. Here the representation reached its zero degree, turning any possible empathy into a mediated spectacle. In the field of Tomašević’s representations, the prevailing atmosphere of her protagonists’ blasé attitudes seems to mark the advent of the spectacle of late capitalism into Balkan wilderness. Marta Jovanović‘s project, DANCE REHEARSAL PROJECT: FUCK ART LET’S DANCE, focuses on the genre of portraiture and the concept of beauty in contemporary photography. She starts from a democratic, all-inclusive stance: everybody deserves to be represented. Her photographs speak about the limitation of beauty in traditional canon. Although photographs themselves are beautiful, their aesthetics conveys a strong disdain for fashion standards of contemporary beauty. This is perhaps the most intriguing aspect of her strategy: offering the viewer a lush, highly polished, glossy, large-format photograph in order to subvert the medium of fashion photography. In a specially commissioned performance for Rijeka, Marta performs herself against the expectations and plans to go beyond skin deep into the realm of biography in art. Paolo Canevari’s video traces performative nature of abstract painting in a gruesome, grotesque, yet playfully direct manner. Jenny Perlin’s work THE PERLIN PAPERS is a series of eight short films that reveal stories of domestic espionage during the Cold War period in the United States. THE PERLIN PAPERS is an archive of 250,000 pages located at Columbia University. The archive contains many of the FBI documents

makar i u najmanju vezu s tim slučajem. Filmovi THE PERLIN PAPERS bave se naizgled nevažnim dokumentima u arhivu, koje su prije previdjeli, kao načinom pronicanja u povijest i mogućnošću njezina povezivanja sa sadašnjošću. Dolaze niotkuda, ravno u središte.

related to the case of Julius and Ethel Rosenberg, U.S. citizens who were tried and executed in 1953 for allegedly spying for the Soviet Union. For two decades after the execution, the FBI tracked hundreds of people tangentially connected to the case. THE PERLIN PAPERS films focus on the overlooked and seemingly unimportant documents in the archive as a way of unpacking history and connecting it to the present. They come out of left field straight at the center.

O UMJETNICIMA 17

ABOUT ARTISTS

MILIJANA BABIĆ DAVIDE BALLIANO PAOLO CANEVARI LILIBETH CUENCA RASMUSSEN JOAN JONAS MARIA JOSE ARJONA MARTA JOVANOVIĆ ANNA FABRICIUS ALBERT HETA VLATKA HORVAT SANJA IVEKOVIĆ BOŽENA KONČIĆ BADURINA VLADIMIR NIKOLIĆ NIKA OBLAK & PRIMOŽ NOVAK JENNY PERLIN ANA PRVAČKI SANDRA STERLE NEBOJŠA ŠERIĆ - SHOBA JELENA TOMAŠEVIĆ

MILIJANA BABIĆ 18

„Polazište mojega rada jest vlastiti položaj pojedinca i umjetnice u društvu koje boluje od kroničnih bolesti; ono umjetnost vidi kao moćno oruđe u kolektivnoj potrazi za lijekom, koje valja shvatiti ozbiljno. Umjetnost se prije svega mora boriti za vlastito priznanje.” „Strategija je Milijane Babić da uobičajenu radnju ili društveno prepoznatljivu ikonu premetne u vlastitu suprotnost te tako u komunikaciji s javnošću, najčešće u odnosu jedan na jedan, omogući publici katarzični odmak od prepoznatljive slike zbilje, otvarajući joj prostor da je sagleda kritički.” (Branko Franceschi) The starting point of my work is my own position as an individual and an artist, in a society which suffers from serious diseases, seeing art as a powerful tool in the collective search for the cure, which should be taken seriously. Before anything, art needs to fight for its own recognition. ‘Milijana Babić’s strategy is to transform an ordinary action or socially recognized icon into its own opposite and thereby, in communication with the public, mainly on one-to-one basis, create a cathartic distance from the recognizable picture of reality, allowing a space for its critical observation.’ (Branko Franceschi)

DAVIDE BALLIANO 20

Rad Davidea Balliana, SRCE TVOJE MAJKE ZA MOJE PSE, čiji je naslov izveden iz pjesme BALADA O SLIJEPOJ LJUBAVI talijanskog umjetnika Fabrizija De Andrea, tragični je tableau vivant neuzvraćene ljubavi. Taj scenarij služi kao podloga za istraživanje bioloških manifestacija pakla, za koje umjetnik kaže da se okreću oko tri središnje teme: tame, hladnoće i usamljenosti. Nadahnut razgovorom s katoličkim svećenikom i profesionalnim egzorcistom, umjetnik ističe da te teme objedinjuju osjećaje opsjednutih žrtava. Apstraktnim oblicima i postupcima, Ballianov performans čini tamne sjene ljudske duše vidljivima. Davide Balliano’s work, THE HEART OF YOUR MOTHER FOR MY DOGS, whose title derives from the song THE BALLAD OF BLIND LOVE by Italian artist Fabrizio De Andre, presents a tragic tableau vivant of unrequited love. This scenario acts as a platform for an investigation of biological manifestations of hell, described by the artist as revolving around three central themes: darkness, coldness, and loneliness. Inspired by a past conversation with a Catholic priest and full-time exorcist, the artist articulates these themes as embodying the shared sensations amongst victims of possession. Through abstract forms and actions, Balliano’s performance makes the dark shadows of the human soul visible.

PAOLO CANEVARI 22

„Moja je premisa jednostavnost. Svoj bih estetski pristup mogao definirati kao minimalistički, a konceptualni pristup kao barokni. U djelu koje se mora poštovati, po mojem je mišljenju sadržana idiosinkrazija, da tako kažemo. Ima simbola koji su, ako hoćete, vrlo banalni jer se služim popularnom ikonografijom: vjerskim slikama (...) ili, općenitije, slikama zajedničkim različitim kulturama. Često koristim vučicu, simbol Rimskoga Carstva, carstva koje je kliznulo u dekadenciju. No vučica nije samo simbol antičkog Rima, nego i mnogih drugih kultura – sjetite se koliko je vuk važan američkim Indijancima ili nordijskim kulturama. To znači da je umjetničko djelo otvoreno; ima cijeli niz mogućnosti. To je ono što me zanima – da djelo bude susret između gledatelja i njegova osjetilnog doživljaja dok ga promatra i onoga što djelo postaje u sjećanju neke osobe.“ My premise is simplicity. I would define my aesthetic approach as minimalist, and my conceptual approach as baroque. There is an idiosyncrasy, so to speak, in the work that must be respected, in my opinion. There are symbols which are very banal, if you will, because I take popular icons: religious images, (…), or, more generally, images shared by various cultures. I have often used the she-wolf, which is a symbol of the Roman Empire, an empire that fell into decadence. The she-wolf, though, is not only a symbol of ancient Rome, but of many other cultures—think of how important the wolf is for American Indians or Nordic cultures. This is to say that the work of art is open; it has a range of possibilities. This is what I am interested in: that the work be an encounter between the viewer, who has the sensory experience in front of an artwork, and what that work then becomes in that person’s memory.

LILIBETH CUENCA RASMUSSEN 24

Vaše zapadnjačke oči Sude! Propovijedaju! O pravima žena Birate sukobe za gledanje Sućut i pomoć nikada nisu badava Prirodu držim u ravnoteži Za svaki uzeti život sjeme posadim Ubijam, silujem bez pogovora Tako smo rekli, zar ne? Vaše zapadnjačke oči Sude! Propovijedaju! O pravima žena Birate sukobe za gledanje Sućut i pomoć nikada nisu badava Žensko je društvo presloženo Draži mi je dečko kad želim seks Žene su kurve, nisu ni za što Korisne samo kad rađaju muške Vaše zapadnjačke oči Sude! Propovijedaju! O pravima žena Birate sukobe za gledanje Sućut i pomoć nikada nisu badava Zaboravite iluzije o jednakosti I priroda je samo poredak stvari Gospodarstvo određuje „demokraciju“ E, to ja zovem licemjernim Vaše zapadnjačke oči Sude! Propovijedaju! O pravima žena Birate sukobe za gledanje Sućut i pomoć nikada nisu badava Ja častim, još runda za sve S vlasti nikada neću sići Ja častim, još runda za sve S vlasti nikada neću sići

Your Western eyes Judging! Preaching! About Womens Rights You chose which conflicts you want to see Your sympathy and aid –they’re never for free It’s the balance of Nature that I keep For each life I take I plant a new seed I kill and I rape without debate This is part of the deal that we made, remember? Your Western eyes Judging,! Preaching! About Womens Rights You chose which conflicts you want to see Your sympathy and aid are not ever for free Female company is too complex I prefer a boy when I need sex Women are useless whores Only of use when they breed boys Your Western eyes Judging,! Preaching! About Womens Rights You chose which conflicts you want to see Your sympathy and aid are not ever for free You can trash your illusions about equality Even nature is based upon hierarchy Economy is what determines “Democracy” Now that’s what I call hypocrisy Your Western eyes Judging,! Preaching! About Womens Rights You chose which conflicts you want to see Your sympathy and aid are not ever for free It is happy hour, double up I will never leave the power, huh It is happy hour, double up I will never leave the power, huh

Afganistanski hrt, pjesma 2. Afghan Hound, song 2

ANNA FABRICIUS 26

„Što danas znači sloboda mišljenja? Je li tvrdnja da je čovjek sposoban usmjeriti vlastiti život više od obične iluzije? Kako različita motrišta utječu na naše stavove? Proizvoljan niz fotografija slikanih polaroidom, bez ikakve narativne podloge, upotpunjen je po jednom sintagmom koja pripomaže da se na drugi način izrekne ono što pojedine slike pokazuju. Te sintagme, natpisi s karata za gatanje, u trenutku kada je karta izvučena određuju smjer tumačenja životnih situacija prikazanih na fotografijama, onemogućavajući slobodu izbora. Nakon snimanja, ljudi na slikama izvlačili su kartu po vlastitom izboru, određujući na taj način tumačenje slike.” What does freedom of thought mean nowadays? Is it more than a mere illusion that man has the ability to decide upon the direction of his or her life? How do our different points of view influence our standpoints? The random string of Polaroid pictures, lacking any kind of story, is completed with one expression each that helps rephrase whatever that particular picture shows. These expressions, captions taken from fortune telling cards, instantly determine the line of interpretation for the life situations depicted on the photos at the moment those are drawn, neutralizing the freedom of choice in the process. After the photo shoot, people on the pictures were allowed to choose freely from the fortune telling cards, thus determining the interpretation of the pictures.

ALBERT HETA 28

Kratki film NEDJELJA nastao je suradnjom Marije Jose Rojas, čileanske umjetnice, i Alberta Hete, kosovskog umjetnika i kustosa, u kontekstu studijskog boravka u američkom Art Institute u Santa Fe. Njihove su se razlike u temama i stvaralačkim procesima, no ne nužno u političkim pozicijama ili društvenoj pozadini, pokazale plodnim tlom za istraživanje. Jedan je od rezultata te bliske suradnje NEDJELJA, projekt snimljen pod otvorenim nebom u prigradskoj pustinji. U njemu vidimo automobil kako se vrti u krug, besmisleno pokušavajući podignuti u zrak zmaja. Taj je projekt, utemeljen u neproduktivnom pokretu, bespredmetnosti i nesvrhovitom utrošku energije, proizvod užitka i zaigranosti u višeznačnost događanja koja se ne mogu predvidjeti ili staviti pod nadzor. U potrazi za slobodnim tumačenjem Amerike, upotrebljava minimalna materijalna sredstva.

The short film SUNDAY is collaboration between Maria Jose Rojas, Chilean artist and Albert Heta, Kosovar artist and curator in the context of a residency in the Santa Fe Art Institute, USA. Their differences in themes, creative processes but not necessarily the political positions or social backgrounds prove to be fertile territory for investigation. One of the products of this close communication is SUNDAY, a project filmed underneath a large sky in the suburban desert. In it we see a car going around in circles pointlessly trying to elevate a kite. This project based on the non-productive movement, objectless, pointless and purposeless energy is a product of the enjoyment and playfulness in the ambiguity of events that cannot be foreseen or disciplined, using minimal material means in search of a free interpretation of America.

VLATKA HORVAT 30

„U novijim me radovima zanimala problematika zauzimanja prostora te sukoba ljudskog tijela sa svakodnevnim stvarima, krajolikom i izgrađenim okolišem. Koristeći se jednostavnim gestama kao što su rezanje i presavijanje, rastavljanje i popravljanje, rad se često posvećuje ponovnom ucrtavanju granica i postavljanju okvira te preslagivanju i reorganizaciji predmeta, tijela, samog prostora, ali i obuhvaćenih prostornih i društvenih odnosa. U središtu mojih posljednjih projekata – sobnih instalacija – nalaze se različite, ali povezane skulpture, načinjene od pronađenih i čestih materijala, prikazane u dijalogu s radovima na papiru koji izgledaju kao da neke aspekte svojega likovnog izraza posuđuju od tehničkih uputa, vodiča u slikama, karata i planova. Uz to, te instalacije na elementima izgrađenog okoliša provode diskretne intervencije, pokušavajući odraziti ili ponoviti određene značajke izložbene prostorije, koristeći neodgovarajuće, jef-tine materijale kao što su karton, spužva, komadići drva, ljepljiva traka i gumice. Često izraženi kao ‘inačice istog’, tijelo i predmeti u mojemu radu naginju tome da se s njima postupa kao s ranjivim prijedlozima, uhvaćenima u dinamičkom procesu umnožavanja i fragmentacije. Često se služim dvama vrlo različitim tipovima geste: s jedne strane rezanje i odsijecanje, s druge spajanje i popravljanje. Višestrukim izvođenjem tih gesti, tijelima, predmetima i prostoru koji zauzimaju pristupa se kao s mjestima pokusa, potencijalnog urušavanja i disfunkcije, ali i kao s mjestima ponovnog osmišljavanja, mogućnosti i igre.”

In my recent work, I have been interested in the problematics of occupying space, and in the human body’s contentious relationship with everyday objects, landscape, and the built environment. Using simple gestures such as cutting and folding, dismantling and repairing, the work frequently focuses on re-drawing borders and frames, and on re-arranging or reconfiguring physical objects, the body, space itself, and the spatial and social relations at play in it. At the center of my recent projects – room based installations are diverse-but-related sculptures made of found and commonplace materials, presented in a dialogue with works on paper, which appear to borrow aspects of their visual language from technical and How To manuals, pictorial guides, charts and plans. Additionally, these installations have enacted discrete interventions upon elements of the built environment by attempting to mirror, echo, or repeat particular features of the exhibition room using inadequate, cheap materials such as cardboard, sponge, scrap wood, tape, and rubber bands. Often manifested as ‘versions of the same,’ the body and physical objects in my work tend to be treated as vulnerable propositions, caught in the dynamic processes of their own multiplication and fragmentation. I frequently employ two distinct types of gestures: cutting up and severing on the one side, and merging and repairing on the other. Multiple iterations of these gestures approach the body, objects and space they occupy as sites of testing and rehearsal, sites of potential collapse and dysfunction, but also as sites of reinvention, possibility, and play.

SANJA IVEKOVIĆ 32

„Crtež tušem koji slijedi liniju masaže lica i vrata uništava se samom masažom koja je zamišljena kao uljepšavanje crta lica, i svodi se na nelijepe zamrljane rubove.”

Ink drawing of lines along which a face and neck massage is performed is destroyed and reduced to unsightly splotch edges by the very massage that is designed to beautify the features.

Sanja Iveković, Personal Cuts, Galerie im Taxispalais, Beč, 2001., str. 79.

Sanja Iveković, Personal Cuts, Galerie im Taxispalais, Wienna, 2001, p.79.

JOAN JONAS 34

U LIJEVA STRANA DESNA STRANA Joan Jonas dosjetljivo rabi ogledalo i mogućnosti medija videa u ispitivanju vlastita tijela i njegove slike. Rad je oblikovan od krupnih planova pojedinosti. Joan rukom pokazuje što je desno, a što lijevo: „Ovo je moje desno oko, a ovo lijevo.“ Zahvaljujući složenoj konstrukciji, istodobno možemo vidjeti sliku na ekranu s lijeve strane i zrcalnu sliku s desne, oboje snimano samo jednom, fiksnom kamerom. Na taj način autorica udvostručuje vlastiti lik. Pred gledateljevim se očima odvija složena i zbunjujuća igra između lijeve i desne strane, kao i između videoslike i zrcalne slike. Što je video, a što odraz? Zagonetka se ne rješava sve dok ne vidimo „pravu“ Joan Jonas: sjedi licem prema ekranu i ogledalu, koji su postavljeni usporedno. Kamera, njoj nasuprot, iza ekrana i ogledala, snima njezine pokrete i sliku prenosi neposredno na monitor. Druga kamera, postavljena dijagonalno iza nje, snima sliku koja prikazuje i monitor i zrcalo. Slika koju vidimo na videu izmjenjuje onu između monitora i zrcala i neposredne snimke autorice. http://catalogue.nimk.nl/site/?page=%2Fsite%2 Fartist.php%3Fid%3D3765 (pristup: 10.10.2011.)

In LEFT SIDE RIGHT SIDE, Joan Jonas makes use of a mirror and the properties of the medium of video to investigate her own body and self image in an ingenious manner. Left Side Right Side is built up out of close-ups. Jonas points with her hand to indicate what is right and what is left: ‘This is my right eye, this is my left eye.’ Due to a complex construction, we can see, at the same time, a monitor image to the left and a mirror image to the right, both filmed by a single stationary camera. In this way, Jonas duplicates her own self. Before the viewer’s very eyes, a complex and confusing game unfurls between right and left, and between video image and mirror image. What is video image and what is reflection? Not until we can see the ‘real’ Jonas is the mystery solved: Jonas is seated with her face turned towards both the monitor and the mirror, which are placed side-by-side. A camera, placed directly opposite her, behind the mirror and the monitor, is filming her movements and transmits this image directly to the monitor. A second camera, standing diagonally behind her, records the image that shows both the monitor and the mirror. During the playing time of the videotape, the image we see alternates between that of the monitor and mirror and the direct shots of Jonas. http://catalogue.nimk.nl/site/?page=%2Fsite%2 Fartist.php%3Fid%3D3765 (retrieved: October, 10, 2011)

MARIA JOSE ARJONA 36

„Kao primarni materijal u mojemu radu, kao medij vizualne komunikacije i razmjene energije, ponavljanjem i nehijerarhijskim gestama, tijelo postaje oruđem za razumijevanje prostora i vremena, ključnih elemenata na koje valja odgovoriti da bi se postalo dijelom svijeta kakva ga danas doživljavamo – gdje komunikacija, mogućnost putovanja i migracije utječu na naš život; gdje multikulturalizam i identitet zamjenjuje simbiotički odnos s drugima putem virtualnih prostora i tehnologije, omogućavajući prevladavanje ograničenja stvorenih nasiljem i strahom. U mojim performansima ljudska nazočnost ne funkcionira kao simbol, pripovjedač ili zabavljač; tijelo ulazi u interakciju s prostorom da bi stvorilo doživljaj (ne priču koji izaziva tjelesne i kognitivne reakcije. Gledatelj postaje katalizator razmjene osjeta, što vodi do razumijevanja tijela i same te interakcije, izvan granica identiteta i prikaza, no unutar prolaska vremena.“

As primary material in my work, as a medium of visual communication and energy exchange, through repetition and non-hierarchical gestures the body has become an agent to understand space and time, the key elements to respond to and be part of the world we are experiencing today; where communication, travel and migration are affecting the way we live; where multiculturalism and identity are being overtaken by a symbiotic relationship with the other via virtual spaces and technology producing as a result the transgression of the limitations caused by violence and fear. Throughout my performances the human presence doesn’t function as a symbol, storyteller or entertainer; the body interacts with space to create an experience (not a narrative) that triggers bodily and cognitive responses where the viewer becomes the catalyst for sensory exchange, leading to understand the body and that same interaction, outside of the boundaries of identity and representation, but within the passing of time.

MARTA JOVANOVIĆ 38

„Kao umjetnici, dužnost mi je podijeliti unutarnji život s drugima i pozvati ih da učine isto - i da tako stvorimo zajedništvo. Godine 1919. Gabrielle D’Annunzio, talijanski dekadentni pjesnik, ‘osvojio’ je Rijeku, proglasivši je Cittá di Vita (Gradom života), vjerojatno prvom i jedinom potpuno umjetničkom republikom koja je ikada postojala. Privlačila je goste i obožavatelje iz cijele intelektualne Europe. Filippo Tommaso Marinetti, otac futurizma, napisao je da je u Rijeci D’Annunzio ostvario „globalnu revoluciju“, onu koja, osim u umjetnost, ulaže u svako ponašanje, ukus, strast i stremljenje modernog čovjeka. Još jednom pozivam na stvaranje potpune umjetničke republike na Balkanu, u Rijeci. U dva rada, videu naslovljenom SÉLYSETTE (D’Annunzijev alter ego) i performansu naslovljenom PRINCIPE DI MONTENEVOSO, sve će se suprotnosti pomiriti u harmoniji. Jahat ću crnog konja iz riječke luke, prolazeći ispred zgrade koja je u D’Annunzijevo doba bila Palazzo del Governo, do MMSU-a, u simboličkom performansu kojim ću, na trenutak, osvojiti umjetničko tlo Rijeke.“

As an artist, it is my duty to share my inner worlds in order to invite others to, all together, create the universal. In 1919 Gabrielle D’Annunzio, Italian decadent poet “conquered” Fiume and proclaimed it Cittá di Vita (A City of Life), probably the first and only total art republic that ever existed attracting guests and admirers from all over intellectual Europe. Filippo Tommaso Marinetti, the father of Futurism, wrote that in Fiume D’Annunzio achieved a “global revolution”, the one that invests, besides arts, in all the behaviors, tastes, passions and tendencies of a modern man. One more time, I am inviting to a creation of the total art republic in the Balkans, in Rijeka. Through two works, a video entitled SÉLYSETTE (D’Annunzio’s alter ego) and a performance entitled PRINCIPE DI MONTENEVOSO, all opposites will meet in harmony. I will be riding a black horse from the harbor of Rijeka, passing in front of what at D’Annuzio’s time was Palazzo del Governo, to the Museum of Modern and Contemporary Art in Rijeka in a symbolic performance through which, for a brief moment, I will conquer Rijeka’s artistic grounds.

BOŽENA KONČIĆ BADURINA 40

„Vrlo važan vid mojega rada jest istraživanje odnosa moći između promatrača i objekta, kao i pitanje što se događa kada se njihove uloge zamijene. Najviše me zanima istraživanje granica između vlastitog i tuđega mentalnog, fiziološkog i fizičkog prostora, posebno onih perifernih područja u kojima se ti prostori otvaraju, dodiruju, preklapaju i miješaju, osvještavajući u nama i nazočnost onih oko nas i naših reakcija na njih. Često radim s plaćenim pomagačima ili dobrovoljcima, koji mi pomažu da stvorim neku vrstu pozornice na koju posjetitelji ulaze. Uglavnom statični scenariji takvih situacija stvaraju neku vrstu intenzivnog polja koje posjetitelja stavlja u središte zanimanja, u nesiguran položaj u kojemu odustaje od nadzora nad vlastitim prostorom, dok se uobičajena uloga promatrača i potrošača izokreće. Kao u nekakvom pokusu, posjetitelji se nađu u stanju izloženosti drugima, preispitujući vlastiti uobičajeni doživljaj okoline, dok granice prema drugima na trenutak prestaju biti stabilne i utvrđene. “

A very important aspect of my work is the research of relations of power between the viewer and the viewed, and what happens when the two switch roles. What most interests me is research into the borders between one’s own and another’s mental, psychological and physical space, and particularly those peripheral zones in which these spaces open up, touch and overlap, mingle, making us more aware of both the presence of those around us and our reactions to them. I often work with hired extras or volunteers who help me to create a kind of stage onto which the visitors make their entrance. The mainly static scripts of these situations create a kind of intensive field that places the visitor in the centre of interest, in the uncertain position in which he gives up control over his own space and in which the usual role of observer and consumer is inverted. As if in some kind of experiment, visitors find themselves in a state of being exposed to others, testing out their own common perception, while the borders with others cease for the moment to be firm and fixed.

VLADIMIR NIKOLIĆ 42

(...) Marc i Q koji poput sportskih komentatora na televiziji (Marc je „reporter“, a Q „stručnjak“) k o m e n t i ra j u i i n t e r p re t i ra j u u m j e t n i k o v o ponašanje. Tko su zapravo Marc i Q, koji na besprijekornom (BBC-jevom) engleskom, u opuštenom ozračju, no uz inteligentne i duhovite komentare dobrih poznavatelja umjetnosti, razgovaraju o umjetničkom činu? (...) Marc i Q mogli bi biti sugovornici Nikolićevu monologu pomoću kojega umjetnik, rabeći metodu dekartovske sumnje, propituje značenje vlastitih nakana, a time i pretpostavljeno javno razumijevanje djela. U tom smislu Boris Groys govori o „unutarnjem kustosu“ koji poput Sokratova demona umjetniku ne govori što bi trebao, nego što ne bi trebao činiti želi li da mu djelo bude adekvatno prihvaćeno u sustav i vrednovano.1 Taj kustos zapravo utjelovljuje autoritet umjetničke institucije, ugrađen u umjetnikovu psihu poput mikročipa koji usklađuje odnos između privatnog i javnog značenja, mašte i estetske paradigme, starog i novog u umjetnosti. (...) umjetnik se pojavljuje kao homo duplex – jedan koji „glumi“ naivan umjetnički subjekt i jedan koji se ruga vlastitu pozivu uz pomoć akuzmatskih glasova. No taj dvostruki pristup ovdje ima posebno značenje, uzmemo li u obzir da umjetnik doslovno ponavlja izražajne oblike konceptualne umjetnosti (land-art, videoperformans), koji su trebali uključiti umjetničko u životnu praksu ukidanjem posredovanja umjetničkih institucija ili, da budemo točniji, „pravila komentatora“ na kojima počiva sustav normiranja umjetnosti. Umjetnost se promijenila, kao i kontekst, zaključuje Q, izražajni oblici korišteni u kritici

Boris Groys, On the New, Art Power, The MIT Press,

Cambridge-London, 2008., str. 28.

(...) Marc and Q, who in the manner of sports TV commentators (Marc is the “reporter”, and Q the “expert”) comment on and interpret the artist’s behavior (...) Who, in fact, are Marc and Q, who in an impeccable (BBC) English language, in a relaxed atmosphere, but with intelligent and often humorous comments of good connoisseurs of art, discuss the artistic act? (...) Marc and Q could be the interlocutors of Nikolic’s soliloquy through which the artist, using the method of Cartesian doubt, puts his own intention on the test of meaning, and by this also the supposed public understanding of the work. In this regard, Boris Groys speaks of an “inner curator” who, like Socrates’ demon, doesn’t tell the artist what he should but what he shouldn’t do in order for his work to be adequately systemically accepted and valorized.1 This curator actually impersonalizes the authority of the institution of art, built into the artist’s psyche like a microchip that coordinates the relationship between private and public meaning, creative imagination and aesthetic paradigm, the old and the new in art. (...) the artist appears as homo duplex – the one “playing” the naïve artistic subject and the one mocking his own calling through the acousmatic voices. But this double position has a special meaning here, having in mind that the artist literally repeats the expression forms of conceptual art (land-art, video-performance) that should have integrated the artistic into life practice, by eliminating the mediation of art institutions or, to be more precise, the “rule of commentators” on which the normative art system lies. (...) Art has changed and the context has changed, concludes Q, the forms

Boris Groys, “On the New”, in Art Power, The MIT

Press, Cambridge-London, 2008, p. 28.

institucija odavno su muzealizirani kao ostaci iz prošlosti, a njihovo ponavljanje trebalo bi stvoriti novu kvalitetu da bi mogli oživjeti u sadašnjosti. Dejan Sretenović, Umetnik i njegov demon, G odišnjak Muzeja savremene umetnosti u Beogradu, 2009.

of expression used in the criticism of institutions have long since been musealized as the relicts from the past and their repetition must produce some new quality in order for them to come to life in the present. Dejan Sretenović, The Artist and His Demon, Annual Catalog of the Museum of Contemporary Art Belgrade, 2009

NIKA OBLAK & PRIMOŽ NOVAK 44

„Suvremena je umjetnost samo posao, mi je shvaćamo kao šalu.‘‘ Nika Oblak & Primož Novak djeluju kao umjetnički kolektiv od 2003. U svojoj umjetničkoj praksi kritički preispituju suvremene medije i društvo pokretano kapitalom, secirajući njegovu vizualnu i jezičnu strukturu. Prožet humorom, njihov rad povlači usporednice između trgovačkog i umjetničkog svijeta. Oblak i Novak kreću se rubnim područjima između zbilje i fikcije, usvajajući vizualne strategije i zavodljive konstrukcije često upotrijebljene u masmedijima da bi se privuklo potrošača. Često se pojavljuju kao protagonisti svojih radova, igrajući različite uloge. Njihova umjetnička praksa proteže se od videa preko fotografije do novih medija i instalacije. ‘Contemporary art is nothing but a business, we take it as a joke.’ Nika Oblak & Primož Novak have been working as an artist’s cooperative since 2003. In their art practice they make a critical examination of contemporary media and capital driven society as they dissect its visual and linguistic structure. Infused with humor their works draw parallels between the commercial and the art worlds. Oblak and Novak operate in the border zones between reality and fiction, and adopt the visual tactics and seductive constructions commonly employed in the mass media to lure the consumer. They often appear as protagonists of their works and they act out different roles. Their practice spans from video, photography, new media and installation.

JENNY PERLIN 46

„Moja umjetnička praksa sa šesnaestmilimetarskim filmom, videom i crtežom surađuje s dokumentarnom tradicijom, ali joj se i opire, koristeći inovativne stilske tehnike da bi naglasila pitanja istine, nesporazuma i osobne povijesti. Svaki aspekt mojega rada potanko ispituje načine na koje se društvene makinacije odražavaju na najmanje elemente svakodnevnog života. Moji se projekti bave fragmentima, ostacima, pretpostavkama, neuspjesima i retroaktivnim razmišljanjima. Bilo to oživljavanje računa iz Wal-Marta i njegovo sučeljavanje s naslovom iz New York Timesa, pretraživanje FBI-jeva arhiva iz pedesetih ili snimanje intervjua u mjesnoj trgovini, moje je zanimanje usredotočeno na to kako veliki povijesni koraci utječu na pojedinosti ljudskoga iskustva.” My practice in 16mm film, video, and drawing works with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Each aspect of my work looks closely at the ways in which social machinations are reflected in the smallest elements of daily life. My projects engage with fragments, detritus, speculation, failures and afterthoughts. Whether it is animating a receipt from Wal-Mart and juxtaposing it with a New York Times headline, scouring through 1950s FBI archives, or filming interviews at the local deli, my interest is in the ways in which the sweeping statements of history affect specific details of human experience.

ANA PRVAČKI 48

Tijekom prošle godine Ana Prvački radila je na projektu koji se bavi pristojnošću i gostoljubivošću te mogućnošću da takvi postupci ljude učine pristupačnijima i omoguće im da izađu iz neprobojnih opni, odnosno da uspostave protočnost koja bi nam pomogla da nadiđemo „ja“ i gestom pokažemo da „nema neprijatelja“. Danas je taj projekt posebno relevantan, budući da globalne migracije praktično svima donose susrete s „drugima“. Pozivajući se, između ostalih, na Zenona, Luja XIV., Derridu, Emily Post, Levinasa i Borata, autorica preispituje društvenu tjeskobu, komični potencijal faux pasa te društvenopolitičku važnost iskazivanja dobrodošlice „drugome“.

During the last year Ana Prvački has been working on a civility/hospitality project, thinking about the gestures of hospitality and socialization and the possibility that such acts could disarm and enable us to break out of our impenetrable bubbles or establish a porousness allowing us to expand beyond the “self”, gestures that demonstrate that there is “no enemy”. Today this project is of particular relevance as global migration brings the encounter with “others” to virtually everyone. Referencing Zeno, Louis XIV, Derrida, Emily Post, Levinas and Borat among others, Prvacki explores social anxiety, the comedic potential of a faux pas as well as the sociopolitical significance of welcoming the “other”.

SANDRA STERLE 50

„U suvremenom svijetu svjedočimo povratku vjere kao jednom od najvažnijih čimbenika globalne politike i kulture. Ritual, ponavljanje i reprodukcija postali su iznimno nazočni u današnjem društvu. Sve se reproducira – kapital, roba, tehnologija i umjetnost. U tranzicijskim zemljama Srednje i Istočne Europe očituje se poseban odnos između vjerskih ikona i društvenih aspekata akumulacije kapitala. U mnogim se gradovima urbanistički planovi sastoje od novih crkava i golemih shopping centara.”

In the contemporary world we see the return of religion as one of the most important factors in global politics and culture today. Ritual, repetition, and reproduction have become extremely present in the society of today. Everything reproduces itself—capital, commodities, technology, and art. In the Middle and East European countries in transition there is a specific relation between religious icons and social aspects of capital accumulation. In many cities new master plans often consist of new churches and huge shopping malls.

NEBOJŠA ŠERIĆ-SHOBA 52

Unovačen u borbu za obranu rodnoga grada Sarajeva tijekom građanskog rata u Bosni (1992.–1995.), Nebojša Šerić-Shoba proveo je najveći dio vojne službe kopajući rovove između tijela razasutih po bojnom polju. Iz tih je ratnih iskustava umjetnik razvio dubok osjećaj nepovjerenja prema političkoj mašineriji u kojoj je susjed nišanio na susjeda, pucajući preko naizgled proizvoljnih demarkacijskih crta. Na kraju ga je to iskustvo dovelo do trijeznog uvida da se „povijest ljudskog roda... može gledati kao povijest sukoba“ u kojima je većini „suđeno da bude zaboravljena i zakopana ispod površine povijesti“. Umjetnika su putovanja nakon toga odvela do brojnih bojnih polja, koja je fotografirao, npr. Waterloo, Galipolje, Troy, Verdun, Normandiju, Istanbul, Gettysburg i Kursk. Budući da stalno natjecanje društvenih, kulturnih i lingvističkih utjelovljenja gotovo onemogućava da se polaže pravo na bilo koji utvrđeni koncept nacionalne povijesti ili identiteta, odnos između povijesti i mjesta postao je borba za posjedovanje prošlosti.

Conscripted to fight in defense of his hometown of Sarajevo during the Bosnian civil war, (1992 – 1995), Nebojša Šerić-Shoba served the major part of his military mandate digging trenches amidst the bodies strewn across the battlefield. It is from these wartime experiences that the artist developed a profound sense of distrust for a political machine that saw neighbors taking aim at neighbors, firing across seemingly arbitrary lines of demarcation. Eventually, this experience led him to the sober realization that the “history of the human race… can be seen as a history of conflicts,” the majority of which “are destined to be forgotten, buried beneath the surface of history.”The artist’s subsequent travels found him photographing numerous battlefields, including those at Waterloo, Gallipoli, Troy, Verdun, Normandy, Istanbul, Gettysburg, and Kursk. As competing social, cultural, and linguistic incarnations make it nearly impossible to lay claim to any fixed idea of national history or identity, the relationship between history and place has become a struggle for the possession of the past.

JELENA TOMAŠEVIĆ 54

„…Stvarnost potlačena glazurom ‘umjetnosti’... Ni jedna točka nije dovoljno smjela, ni jedna tehnika dovoljno uzbudljiva, ni jedan učinak dovoljno snažan...” ...Reality under the stuffy cover of ‘art’...No trick cheeky enough, no technique exciting, no effect strong enough...

LEGENDE 56

LIST OF WORKS

MILIJANA BABIĆ

ANNA FABRICIUS

BUILDING A BRIGHT FUTURE

UNVISIBLE EVENTS OF THE FUTURE

GRADIMO SVIJETLU BUDUĆNOST

NEVIDLJIVI DOGAĐAJI BUDUĆNOSTI

Grupni performans, 2011.

Polaroidi, 2011.

Collective performance, 2011

Polaroids, 2011

Fotografija / Photo: Ana Rita Rodrigues

ALBERT HETA & MARIA JOSE ROJAS DAVIDE BALLIANO

SUNDAY / NEDJELJA

FIRST GIANT / PRVI DIV

Video, boja, zvuk, 2005.

Video, c/b, stereo, 2009. / Video, b/w, stereo, 2009

Video, colour, sound, 2005

Fotografija / Photo: Alessandro Zuek Simonetti

VLATKA HORVAT

PAOLO CANEVARI

THIS HERE AND THAT THERE (BERLIN VIDEO)

THREE HEARTS / TRI SRCA

OVO OVDJE I ONO TAMO (VIDEO BERLIN)

Video, boja, stereo, 2010.

Video, boja, loop, 2009.

Video, colour, stereo, 2010

Video, colour, loop, 2009

LILIBETH CUENCA RASMUSSEN

SANJA IVEKOVIĆ

HAIR BALL / BUSEN KOSE

INSTRUKCIJE BR. 1 / INSTRUCTIONS NO 1

Inkjet-print na aluminijskoj foliji, 2011.

Video, c/b, zvuk, 1976. / Video, b/w, sound, 1976

Ink-jet prints on aluminumfolie, 2011

Zbirka Muzeja moderne i suvremene umjetnosti (MMSU2518) / Collection of the Museum of Modern and Contem-

JOAN JONAS

porary Art (MMSU-2518)

LEFT SIDE RIGHT SIDE LIJEVA STRANA DESNA STRANA

BOŽENA KONČIĆ BADURINA

Video, c/b, zvuk, 1974. / Video, b/w, sound, 1974

GLEDALIŠTE / AUDITIORIUM

Zahvala: umjetnica i NIMk / Courtesy: the artist and the

Performans na otvorenju izložbe Nagrada T-HT,

Netherlands Media Art Institute (NIMk)

Muzej suvremene umjetnosti, Zagreb 2007. Performance at the opening of the exhibition T-HT Award,

MARIA JOSE ARJONA

Museum of Contemporary Art, Zagreb, 2007

HEAD WITH BLINDERS / ZASTRTI POGLED   Serija performansa VIRES, Bologna, 2009. – 2010.

VLADIMIR NIKOLIĆ

Performance Cycle VIRES, Bologna, 2009 - 2010

PAINTING / SLIKA Video, boja, bez zvuka, 2009.

MARTA JOVANOVIĆ FUCK ART LET’S DANCE: LINDA & KURT JEBEŠ UMJETNOST, IDEMO PLESATI: LINDA & KURT Digitalne fotografije, 2009. Digital photographs, 2009

Video, colour, silent, 2009

NIKA OBLAK & PRIMOŽ NOVAK WE DID THIS AND THAT / NAPRAVILI SMO OVO I ONO Instalacija, fotografije i video, 2005. – 2007. Installation, photographs, video, 2005 – 2007

JENNY PERLIN THE PERLIN PAPERS / SLUČAJ PERLIN MIMEOGRAPH / MIMEOGRAF  Film, 16-mm, boja, zvuk, 18:50, 2010. Film, 16mm, color, sound, 18:50, 2010  Zahvala: umjetnica i Galerije M+R Fricke, Berlin, Annet Gelink, Amsterdam / Courtesy the artist, Galerie M+R Fricke Berlin and Annet Gelink Gallery Amsterdam

ANA PRVAČKI  PERFORMING DAILY PRACTICE IZVOĐENJE SVAKODNEVNIH RADNJI Video, boja, zvuk, Isabella Stewart Gardner Museum, 2010. Video, colour, sound, Isabella Stewart Gardner Museum, 2010 Kadar iz videa / Video still: Bijoyini Chatterjee

SANDRA STERLE UKAZANJE / APPARITION Performans, 2011. / Performance, 2011

NEBOJŠA ŠERIĆ – SHOBA BATTLEFIELDS / BOJNA POLJA Fotografska serija započeta 1999. An ongoing photo-series begun in 1999

JELENA TOMAŠEVIĆ APPARENT SERVITUDE / PRIVIDNA USLUŽNOST Kombinirana tehnika na čeliku, 2010. Mixed medium on steel, 2010

BIOGRAFIJE 58

BIOGRAPHIES

MILIJANA BABIĆ

Milijana Babić (1974.) vizualna je umjetnica iz Rijeke.

Milijana Babić (1974) is a visual and performance artist

Završila je studij kiparstva na Durban Institute of Techno-

based in Rijeka, Croatia. She graduated in sculpture at

logy u Durbanu, Južnoafrička Republika 2002., a magistri-

the Durban Institute of Technology, Durban, Republic of

rala na Akademiji likovne umjetnosti i dizajna u Ljubljani

South Africa in 2002 and received her MA at the Academy

2007. Članica je Hrvatske zajednice samostalnih umjet-

of Fine Arts and Design, Ljubljana, Slovenia in 2007. She

nika i HDLU-a Rijeke i Zagreba. Od 2004. sudjeluje u

is a member of the Croatian Freelance Artists Association

organizaciji i izvedbi Međunarodnog festivala suvremene

and the Croatian Associations of Visual Artists in Rijeka and

umjetnosti Grad žena u Ljubljani. Od 2007. predaje na

Zagreb. Since 2004, collaborates in organisation / execu-

Odsjeku za kiparstvo Akademije primijenjenih umjetnosti

tion of the International Festival of Contemporary Arts –

u Rijeci.

City of Women, Ljubljana. Since 2007, works as an asso-

Radovi su joj prikazivani na brojnim izložbama i festival-

ciate assistant professor at the Department of Sculpture,

ima u Hrvatskoj, Južnoj Africi, Sloveniji, Italiji, Njemačkoj,

Academy of Applied Arts Rijeka.

Nizozemskoj, Belgiji, Španjolskoj i Estoniji.

Her work has been presented on numerous exhibitions and festivals in Croatia, South Africa, Slovenia, Italy, Germany,

DAVIDE BALLIANO

Netherlands, Belgium, Spain and Estonia.

Davide Balliano (1983.) živi i radi u New Yorku. U Torinu je završio dodiplomski studij grafičke umjetnosti. Godine

DAVIDE BALLIANO

2002. preselio se u Milano gdje je završio drugi stupanj na

Davide Balliano (1983) lives and works in New York. He

odsjeku za fotografiju Centra za strukovno usavršavanje

earned a Bachelor in Graphic Arts in Turin. In 2002 he

Riccardo Bauer. Od 2004. do 2005. boravio je u Fabrici,

moved to Milan where he earned a second degree in

umjetničkoj rezidenciji Benetton grupe.

Photography at the c.f.p Riccardo Bauer. From June 2004

Odmjerenom i minimalističkom uporabom različitih medija

to June 2005, Balliano was a resident in Fabrica, artist’s

(performans, crtež, instalacija, video i fotografija), njegovo

residence of Benetton group.

umjetničko istraživanje omogućava mu da se udubi u

Through an unemotional and minimal use of differ-

najskrivenije zakutke ljudskoga uma, otkrivajući njihove

ent media (performance, drawing, installation, video and

krhke strukture i kontradikcije. Ballianovi radovi i perfor-

photography), his artistic research allows him to delve

mansi prikazani su u Location One, The Artists Space i

deeply into the most hidden aspects of the human mind,

PS1 Contemporary Art Center u New Yorku, The Watermill

revealing their fragile structures and contradictions. Balli-

Centru, Hamptons, Plymouth Art Centru u Velikoj Brita-

ano’s works and performances were shown at Loca-

niji i u drugim mjestima u Europi te na Novom Zelandu i

tion One, The Artists Space and PS1 Contemporary Art

u Japanu. Njegova je mapa nedavno izložena u Archive of

Center in New York, The Watermill Center in South Hamp-

Viafarini u sklopu izložbe NO SOULS FOR SALE u london-

tons, Plymouth Art Center in Great Britain, as well as in

skoj galeriji Tate Modern. Jedan je od dobitnika nagrade

New Zealand, Japan and all across Europe. His portfolio

AOL 25 FOR 25 godine 2010.

has been recently exhibited in the Archive of Viafarini in the context of the event NO SOULS FOR SALE at the Tate Modern Gallery in London. He’s one of the winners of the AOL 25 FOR 25 Award 2010.

PAOLO CANEVARI

Paolo Canevari rođen je u Rimu 1963. Živi i radi u New

Paolo Canevari was born in Rome in 1963, and lives and

Yorku. Nakon prve samostalne izložbe u Rimu 1991., upus-

works in New York. Since his first solo show in Rome in

tio se u dijalog s vlastitim podrijetlom i obrazovanjem,

1991 Canevari engaged in a dialogue with his own back-

kao umjetnik koji potječe iz klasičnoga kulturnog kruga i

ground and education as an artist coming from a classical

umjetničke obitelji.

culture and an artist family.

Koristeći se različitim vrstama materijala i medija, poput

Using different kinds of material and media like animation,

animacije, crteža, videa i instalacije, umjetnik prikazuje

drawing, video and installation, the artist presents highly

vrlo prepoznatljive ili čak uobičajene simbole ne bi li

recognizable or even commonplace symbols in order to

komentirao koncepte poput vjere, urbanih mitova o sreći

comment on concepts like religion, urban myths of happi-

ili osnovnih načela u pozadini stvaranja i uništavanja.

ness or the major principles behind creation and destruc-

Započevši kao kipar, umjetniku taj dio njegova rada služi

tion. Starting as a sculptor, the artist treats the rest of his

i kao poticaj da pasivno stanje duha pretvori u odlučan,

work also as a drive to turn the passive state of mind into

kreativni čin. Njegovo prihvaćanje medija videa povezano

an energetic, creative act. His adoption of the medium of

je i sa željom da stvori prolazne, no vizualno snažne slike.

video is also associated with his desire to create ephemeral

Novije videoradove možemo gledati kao oblik prolazne

yet visually striking images. His recent video-works can be

skulpture koja odbacuje retoriku vječitih spomenika.

seen as a form of ephemeral sculpture which rejects the

Canevari je svoj rad predstavio međunarodnoj pub-

rhetoric about eternal monuments.

lici, a video BOUNCING SKULL nalazi se u zbirci Muzeja

Canevari has presented his work internationally and his

moderne umjetnosti u New Yorku.

video BOUNCING SKULL is part of the collection of the Museum of Modern Art, New York.

LILIBETH CUENCA RASMUSSEN www.lilibethcuenca.com

LILIBETH CUENCA RASMUSSEN

Lilibeth Cuenca Rasmussen rođena je 1970. u Manili na

www.lilibethcuenca.com

Filipinima, a živi u Kopenhagenu, u Danskoj. Diplomirala

Lilibeth Cuenca Rasmussen was born 1970 in Manila, Phil-

je na Danskoj kraljevskoj akademiji za likovnu umjetnost

ippines and lives in Copenhagen, Denmark. She graduated

u Kopenhagenu 2002. Bavi se najviše videoumjetnošću

from the Royal Danish Academy of Fine Arts Copenha-

i performansom. Polazeći od vlastita dansko-filipinskog

gen in 2002. She primarily engages in video and perfor-

podrijetla, Cuenca prikuplja, prilagođuje i poopćuje

mance art. Taking her own Danish-Filipino background as

svoje narative, pristupajući im kritički i s humorom; oni

a point of departure, Cuenca gathers, adapts, and univer-

obuhvaćaju pitanja kao što su identitet, kultura, vjera,

salizes her narratives in both a critical and humorous

povijest umjetnosti, rodni i društveni odnosi. Produk-

approach in regards to issues such as identity, culture, reli-

cije joj uključuju scenarije i pjesme, komponiranu

gion, art history, gender and social relations. Her produc-

glazbu te složene vizualne elemente poput scenografije

tions involve scripted texts/songs; composed music as

i kostimografije.

well as intricate visual elements that include set design

Održala je samostalne izložbe u Danskoj nacional-

and costumes.

noj galeriji u Kopenhagenu, u Konstcentrumu u Gävleu

She had solo exhibitions at the National Gallery of

2006. i u heidelberškom Kunstvereinu 2010. Sudjelovala

Denmark in Copenhagen, at the Gävle Konstcentrum in

je na mnogim izložbama kao što su: Performa 09, New

2006 and at Heidelberger Kunstverein in 2010. She has

York, Solunski bijenale suvremene umjetnosti i The

participated in exhibitions worldwide, including: Performa

Tate Modern u Londonu 2009. te Global Feminisms u

09, New York City, The Thessaloniki Biennial of Contem-

newyorškom Brooklyn Museumu 2007. Godine 2006.

porary Art and The Tate Modern in London in 2009, Global

sudjelovala je na bijenalima Busan i Rauma Balticum u

Feminisms at the Brooklyn Museum in New York, 2007. In

Finskoj. Monografiju o njezinim radovima, s tekstovima

2006 she participated in the Busan Biennial and in Rauma

Andréa Lepeckog, Bettine Knaup i Larsa Banga Larsena,

Balticum Biennial in Finland. A monograph on her works

objavio je Revolver Publishing, Berlin 2010.

with texts by André Lepecki, Bettina Knaup and Lars Bang Larsen is published by Revolver Publishing, Berlin in 2010.

ANNA FABRICIUS / www.fabriciusanna.com Anna Fabricius (r. 1980.) diplomirala je 2005. na Odsjeku

ANNA FABRICIUS / www.fabriciusanna.com

za fotografiju Mađarskog sveučilišta za umjetnost i dizajn.

Anna Fabricius (1980) graduated in 2005 from the Photog-

Od 2004. izlaže u Mađarskoj i po cijeloj Europi.

raphy Department of the Hungarian University of Art and Design. She has been exhibiting since 2004 in both

ALBERT HETA / www.albertheta.com

Hungary and throughout Europe.

Albert Heta rođen je u Prištini, Kosovo 1974. Djela su mu često jednostavne intervencije u postojeća

ALBERT HETA / www.albertheta.com

društvena stanja, odgovori na danu situaciju ili ponovno

Albert Heta was born in 1974 in Prishtina, Kosovo. His

promišljanje postojećih objekata.

works are often simple acts of intervention in an existing

Njegovi važniji radovi, IT’S TIME TO GO VISITING: NO

social condition, responses to a given situation, or rethink-

VISA REQUIRED, javna intervencija na jumbo-plaka-

ing of existing objects.

tima British Airwaysa u Prištini (2003.), EMBASSY OF

His notable works IT’S TIME TO GO VISITING: NO VISA

THE REPUBLIC OF KOSOVA IN CETINJE, SCG (2004.)

REQUIRED, a public intervention on British Airways bill-

za Cetinjski bijenale, kustosi Nataša Ilić i René Block, ili

boards in Prishtina (2003), EMBASSY OF THE REPUBLIC

KOSOVSKI PAVILJON ZA VENECIJANSKI BIJENALE (2005.),

OF KOSOVA IN CETINJE, SCG (2004) for Cetinje Biennale,

distribuiran u suradnji s e-fluxom nisu samo instalacije ili

curated by Natasa Ilic and René Block, or his KOSOVAR

činovi prisvajanja, nego i angažirano djelovanje uz uvjete

PAVILION VENICE BIENNIAL (2005) distributed in collab-

pod kojima su kustosi, mediji, političari i publika prihva-

oration with e-flux, are not merely the installations or acts

tili radove.

of appropriation, but also acts of engagements with the

Od 2006. radovi su mu kanalizirani smjerom zajedničke

conditions under which the works were accepted by the

intervencije, projektne institucije STACION – Centar za

curators, media, politicians, and the public.

suvremenu umjetnost Priština.

Since 2006, his work is also channeled through a collab-

VLATKA HORVAT / www.vlatkahorvat.com

for Contemporary Art Prishtina.

orative intervention, project institution STACION - Center Vlatka Horvat rođena je u Hrvatskoj, a živi u New Yorku i Velikoj Britaniji. Koristi se različitim oblicima i medijima,

VLATKA HORVAT / www.vlatkahorvat.com

kao npr. instalacijom, skulpturom, fotografijom, perfor-

Vlatka Horvat is a Croatian-born artist based in New York

mansom, videom i radovima na papiru. Diplomirala je na

and in the UK, working across a range of forms and media,

Columbia Collegeu u Chicagu, SAD (dodiplomski studij,

including installation, sculpture, photography, perfor-

1996.), završila drugi stupanj na Northwestern Universi-

mance, video and works on paper. She is a graduate of

tyju u Evanstonu, SAD (magisterij, 1997.) i doktorirala na

Columbia College in Chicago, USA (BA 1996), Northwest-

Roehampton Universityju u Londonu 2009. Godine 2010.

ern University in Evanston, USA (MA 1997), and Roehamp-

nagrađena je nagradom za likovnu umjetnost zaklade

ton University in London, UK (PhD 2009). Horvat is a recip-

Rema Hort Mann.

ient of the Rema Hort Mann Foundation visual art award

Njezini noviji radovi bave se problematikom zauzimanja

in 2010.

BIOGRAFIJE

BIOGRAPHIES

prostora, sukoba ljudskog tijela sa svakodnevnim pred-

Her recent work has been interested in the problematic

metima, krajolikom i izgrađenim okolišem. Skorije izložbe

of occupying space and in the human body’s contentious

Vlatke Horvat obuhvaćaju samostalno izlaganje u Bergen

relationship with everyday objects, landscape and the built

Kunsthallu i newyorškoj galeriji The Kitchen te naručene

environment. Horvat’s recent exhibitions include solo

projekte za MoMA-u, PS1, New York; Aichi trijenale u

shows at Bergen Kunsthall, Bergen and the Kitchen, New

Nagoji; Galeriju ŠKUC u Ljubljani i 11. istanbulski bije-

York, as well as commissioned projects for MoMA PS1, New

nale. Prošle godine izlagala je u galerijama annex14, Bern,

York; Aichi Triennale, Nagoya; Gallery SKUC, Ljubljana and

Enrico Astuni, Bologna i Marlborough Chelsea, New York,

11th Istanbul Biennale. In the past year gallery exhibitions

te u bečkoj galeriji Georga Kargla.

include annex14, Bern; Enrico Astuni, Bologna; Marlborough Chelsea, New York and Georg Kargl Fine Art, Vienna.

SANJA IVEKOVIĆ Sanja Iveković rođena je u Zagrebu 1949., gdje je od 1968.

SANJA IVEKOVIĆ

do 1971. studirala na Akademiji likovne umjetnosti. Ranih

Sanja Iveković was born in 1949 in Zagreb, Croatia, where

sedamdesetih počela se baviti videom i performansom,

she studied from 1968 to 1971 at the Academy of Fine

kao jedna od pionirki novih medija i Nove umjetničke

Arts. In the early seventies she started to work in video

prakse. Jedna je od prvih feministički orijentiranih umjet-

and performance, as one of pioneers in new mediums and

nica. Od početaka umjetničke karijere uvijek ju je zani-

New Art Practice. She is one of the first feminist artists in

mao prikaz i položaj žene u društvu. Surađuje s Centrom

Croatia, since the beginning of her artistic career, always

za ženske studije u Zagrebu od njegova otvorenja 1994.

interested in the representation and position of women in

Za svoj je rad dobila više nagrada i izlagala na poznatim

society. She is engaged at the Centre for Women’s Stud-

međunarodnim manifestacijama i izložbama kao što su:

ies in Zagreb since its opening in 1994. She won several

Gwangju bijenale, 2010., 10. istanbulski bijenale, 2007.,

prizes for her work and exhibited internationally at rele-

Gender Check, MUMOK Beč, 2009.–2010., re.act.femi-

vant events and exhibitions, Gwangju Biennale, 2010; 10th

nism – umjetnost performansa šezdesetih i sedamdesetih

Istanbul Biennial, 2007; Documenta 12, 2007 and Docu-

danas, Umjetnička akademija Berlin, 2008.–2009; Docu-

menta 11, 2002; Gender Check, MUMOK Wien, 2009–

menta 11 2002. i Documenta 12 2007.

2010; re.act.feminism – performance art of the 1960s and 70s today, Akademie der Künste, Berlin, 2008–2009.

JOAN JONAS Joan Jonas rođena je u New Yorku 1936. Jedna je

JOAN JONAS

od najvažnijih umjetnica koje su se pojavile kasnih

Joan Jonas was born in 1936 in New York. She is one of

šezdesetih, pionirka videa i performansa. Njezini rani

the most important female artists to emerge in the late

videoradovi otvaraju nove perspektive uporabom

1960s, pioneering video and performance art. Her early

fenomenoloških značajki medija u svrhu autorefleksivnog

video works break new ground in their application of the

proučavanja ženskog identiteta.

phenomenological properties of the medium to a self-

Od 2000. predaje na Massachusetts Institute of Technol-

reflexive study of female identity.

ogy u Cambridgeu. Svoja je djela često izvodila i izlagala

Since 2000 Jonas has taught at Massachusetts Institute of

na brojnim izložbama. Imala je i nekoliko velikih retros-

Technology, Cambridge. Jonas has performed and exhib-

pektiva poput one u Queens Museumu of Art, New York,

ited her work extensively throughout the world. She has

Stedelijk Museumu u Amsterdamu, Van Abbemuseumu u

also had several major retrospectives, like Queens Museum

Eindhovenu i Stadtsgalerie u Stuttgartu.

of Art in New York; Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, and Stadtsgalerie Stuttgart

MARIA JOSE ARJONA

Maria Jose Arjona, rođena u Bogoti, Kolumbija 1973.,

Maria Jose Arjona, born in Bogotá in Colombia in 1973,

performerica je koja živi i radi u New Yorku. Studirala

is performance artist living and working in New York. She

je suvremeni ples i diplomirala na Višoj umjetničkoj

was trained in contemporary dance and graduated at the

akademiji u Bogoti. Izvodila je i izlagala svoje radove

Higher Academy of Art in Bogotá. She performed and

na brojnim izložbama i festivalima u SAD-u i inozem-

exhibited her work at numerous exhibitions and festivals

stvu. Novije su izvedbe npr: SITUATION (performans),

in USA and abroad. Her recent shows include, SITUATION

The Ballroom Marfa, New York; HABITO (performans),

(Performance), The Ballroom Marfa, New York; HABITO

Art First, Bologna; TRANSCRIPTION-INFUSION-MEMORY

(Performance), Art First, Bologna; TRANSCRIPTION-INFU-

(razgovor), Abramovic Studio at Location One, New York;

SION-MEMORY (Conversation), Abramovic Studio at Loca-

SITUATION #2 (akcija), Museo del Banco de la Republica,

tion One, New York; SITUATION #2 (Action), Museo del

Bogota; ALIMETNO (performans), Zbirka Tony i Hather

Banco de la Republica, Bogota; ALIMETNO (Performance),

Podesta, Washington; TRANSCRIPTION-INFUSION-

Tony and Hather Podesta Collection, Washington; TRAN-

MEMORY (performans), The Festival of Ideas, The New

SCRIPTION-INFUSION-MEMORY (Performance), The Festi-

Museum, New York; THE ARTIST IS PRESENT (ponovna

val of Ideas, The New Museum, New York; THE ARTIST IS

izvedba), LUMINOSITY, IMPONDERABILIA i NUDE WITH

PRESENT (Re-enactment),LUMINOSITY, IMPONDERABILIA

SKELETON, Museum of Modern Art, New York; VIRES

and NUDE WITH SKELETON, Museum of Modern Art, New

(ciklus performansa), Madre Museum, Napulj.

York; VIRES (Performance cycle), Madre Museum, Naples.

MARTA JOVANOVIĆ

MARTA JOVANOVIĆ / www.m-art-a.net

www.m-art-a.net

Belgrade born, multimedia artist Marta Jovanović (1978),

Rođena u Beogradu 1978., multimedijska umjetnica Marta

lives and works between London, New York and Rome. She

Jovanović živi i radi između Londona, New Yorka i Rima.

received Batchelor of Arts degree from Tulane University

Dodiplomski studij završila je na Tulane University (2001.),

in 2001 after attending Scuola Lorenzo de Medici, in Flor-

nakon što je pohađala školu Lorenzo de Medici u Fire-

ence. In the cradle of Renaissance, she mastered the Italian

nci. U toj kolijevci renesanse završila je drugostupa-

language, literature and belle arti. The florentine experi-

njski studij talijanskog, književnosti i likovne umjetnosti.

ence had an immense impact on the young artist sharp-

Firentinsko iskustvo imalo je golem utjecaj na mladu

ening her sense of aesthetics and classical canons that

umjetnicu, izoštrivši njezin smisao za estetiku i klasične

continue to influence her entire ouvre. Marta Jovanovic

kanone koji nastavljaju utjecati na njezin svekoliki rad.

has been exhibited in Europe and the United States, in

Marta Jovanovic izlagala je u Europi i SAD-u u suradnji s

collaboration with curators like Achille Bonito Oliva and

kustosima kao što su Achille Bonito Oliva i Jovana Stokić,

Jovana Stokic and in, among others, well known institu-

među ostalim, u poznatim institucijama kao što je rimski

tions like Museo Pietro Canonica in Rome. Her perfor-

Museo Pietro Canonica. Njezin performans SHOOT ME!

mance SHOOT ME! was executed at the Benefit for Marina

izveden je u Abramovic Studio at Location One u New

Abramovic Studio at Location One in New York in 2010

Yorku 2010., dok joj je skulptura LJUBAVSREĆAISTINA

while her sculpture LJUBAVSRECAISTINA / LOVEFORTU-

stalno izložena u vrtu Muzeja istorije Jugoslavije 2011.

NETRUTH has been permanently installed in the garden of

Martu zastupa rimska galerija BOSI Artes.

the Museum of Yugoslav History in 2011. Marta is represented by BOSI Artes Gallery from Rome.

BIOGRAFIJE 63

BIOGRAPHIES

BOŽENA KONČIĆ BADURINA

http://bozenakoncicbadurina.blogspot.com

Božena Končić Badurina (1967.) likovna je umjetnica

Božena Končić Badurina (1967) is a visual and perfor-

i performerica iz Zagreba. Na Filozofskom fakultetu u

mance artist based in Zagreb, Croatia. She took a degree

Zagrebu završila je 1995. studij njemačkog i ruskog jezika

in German and Russian languages and literature from

te književnosti. Diplomirala je i na Grafičkom odsjeku

the Faculty of Humanities and Social Sciences, Zagreb in

Akademije likovnih umjetnosti u Zagrebu 1996. Članica je

1995. She also took a degree in the print department of the

Zajednice umjetnika Hrvatske i HDLU-a Zagreb. Radovi su

Academy of Fine Arts in Zagreb in 1996. She is a member of

joj prikazani na brojnim izložbama i festivalima u Hrvat-

the Croatian Freelance Artists Association and the Croatian

skoj, SAD-u, Njemačkoj i Sloveniji. Za svoju je umjetničku

Association of Visual Artists in Zagreb. Her work has been

praksu dobila više nagrada. Godine 2010. boravila je u

presented on numerous exhibitions and festivals in Croatia,

New Yorku koristeći stipendiju zaklade Art in General.

USA, Germany and Slovenia. She has won several awards

Njezin umjetnički rad obuhvaća performans, intervencije

for her artistic praxis. In 2010 she was artist in residence at

i konstruirane situacije sa sudjelovanjem publike, koje

Art in General, New York. Her artistic work involves perfor-

propituju silnice ljudskih susreta.

mance, intervention, and constructed participatory situations that interrogate the power dynamics of human

VLADIMIR NIKOLIĆ

encounters.

www.vladimir-nikolić.com Vladimir Nikolić (r. 1974.) živi i radi u Beogradu. Samo-

VLADIMIR NIKOLIĆ

stalne izložbe (izbor): VOICE-OVER, Galerija NT, Bologna,

www.vladimir-nikolic.com

2009.; VOICE-OVER, Salon Muzeja savremene umetnosti

Vladimir Nikolić (1974) lives and work in Belgrade. Selected

Beograd, 2009.; AUTOPORTRETI, Galerija HO, Marseille,

solo shows include: VOICE-OVER, NT Gallery, Bologna,

2008.; RITAM, Galerija 2META, Bukurešt, 2002. Skupne

2009; VOICE-OVER, Salon of Museum of Contempo-

izložbe (izbor): Plug in II, Musée de l’île d’Oléron, Saint-

rary Art Belgrade, 2009; AUTOPORTRAITS, HO Gallery,

Pierre d’Oléron, Francuska, 2011.; Mediations Biennale/

Marseille, 2008; RHYTHM, Gallery 2META, Bucarest 2002.

Erased Walls, Poznanj, 2010.; Okolnosti, 50. Oktobar-

Selected group shows include: Plug in II, Musée de l’île

ski salon, Beograd, 2009.; Beyond Theory, Sushi Gallery,

d’Oléron, Saint-Pierre d’Oléron, France, 2011; Mediations

San Diego, 2008.; Forever Young, Galerija ANNE+, Pariz,

Biennale/Erased Walls, Poznan, 2010; Okolnosti, 50th

2008.; Euroasia, Muzej MART, Italija, 2008.; New Video,

Octobar Salon, Belgrade, 2009; Beyond Theory, Sushi

New Europe, The Kitchen, New York, 2006.; Situated Self,

Gallery, San Diego, 2008; Forever Young, ANNE+ Gallery,

Muzej savremene umetnosti, Beograd, 2005.; New Past,

Paris, 2008; Euroasia, MART Museum, Italy, 2008; New

Maronnier Contemporary Art Center, Seul, 2004.; Imagi-

Video, New Europe, The Kitchen, New York, 2006; Situ-

nary Balkan, Cornerhouse Gallery, Manchester, 2003.; In

ated Self, Museum of Contemporary Art Belgrade, 2005;

the Gorges of the Balkans – A Report, Kunsthalle Frideri-

New Past, Maronnier Contemporary Art Center, Seoul,

cianum, Kassel, 2003; Blood and Honey, Sammlung Essl,

2004; Imaginary Balkan, Cornerhouse gallery, Manchester,

Klosterneuburg, Beč, 2003.; European Contemporary Art,

2003; In the Gorges of the Balkans - A Report, Kunsthalle

Muzej suvremene umjetnosti Solun, 2002.

Fridericianum, Kassel, 2003; Blood and Honey, Sammlung Essl Collection, Klosterneuburg, Viena, 2003; Europian Contemporary Art, Museum of Contemporary Art Thessaloniki, 2002.

NIKA OBLAK & PRIMOŽ NOVAK

www.oblak-novak.org

Nika Oblak & Primož Novak djeluju kao umjetnički kolek-

Nika Oblak & Primož Novak have been working as an

tiv od 2003. Studirali su na Akademiji likovnih umjetnosti

artist’s cooperative since 2003. They studied at the Acad-

u Ljubljani. Nika Oblak diplomirala je slikarstvo 2002.,

emy of Fine Arts, in Ljubljana, Slovenia. Nika Oblak gradu-

a naslov magistrice umjetnosti (video) stekla je 2005.

ated in painting, in 2002, and received her M.F.A. in video,

Primož Novak završio je studij kiparstva, magistriravši

in 2005. Primož Novak graduated in sculpture, in 2002,

2006. Akademske godine 2000.–2001. gostovali su u

and received his M.F.A. in sculpture, in 2006. In the 2000-

klasi Katharine Sieverding na berlinskom Universität der

2001 academic years they were guest students in the class

Künste.

of Prof. Katharina Sieverding at the Universität der Künste

Izlagali su širom svijeta, primjerice na Sharjah bijenalu,

in Berlin. Oblak and Novak have exhibited worldwide, in

Japanskom festivalu medijske umjetnosti u Tokiju, Istan-

venues like the Sharjah Biennial; Japan Media Arts Festival,

bulskom bijenalu, Biennaleu Cuvee u Linzu, Transmedi-

Tokyo; Istanbul Biennial; Biennale Cuvee, Linz; Transme-

aleu u Berlinu i Aleksandrijskom bijenalu mediteranskih

diale, Berlin; Alexandria Biennale for Mediterranean Coun-

zemalja. Žive u Ljubljani.

tries... They are based in Ljubljana, Slovenia.

JENNY PERLIN / www.nilrep.net

Jenny Perlin diplomirala je na School of the Art Institute

J e n n y P e r l i n r e c e i v e d h e r M FA f r o m t h e S c h o o l

of Chicago (film), a postdiplomski studij završila je u New

of the Art Institute of Chicago in Film, and

Yorku na Whitney Independent Study Programu.

completed postgraduate studies at the Whit-

Bavi se filmom, videom, instalacijama i crtežom. Projekti

n e y I n d e p e n d e n t S t u d y P r o g r a m i n N e w Yo r k .

joj se temelje na interdisciplinarnom istraživačkom zani-

She makes films, videos, installations, and drawings. Her

manju za povijest, kulturne studije, književnost i lingvis-

projects draw on interdisciplinary research interests in

tiku. Filmovi joj sadrže inovativne tehnike za proučavanje

history, cultural studies, literature and linguistics. Her films

povijesti i njezina odnosa spram sadašnjosti. Snima u

incorporate innovative techniques to investigate history

16-milimetarskom formatu i digitalnom videu, a spaja

as it relates to the present. Perlin shoots 16mm film and

događanje uživo, režirane i dokumentarne slike s rukom

digital video and combines live-action, staged, and docu-

crtanom animacijom, utemeljenom na tekstu.

mentary images with hand-drawn, text-based animation.

Filmovi su joj prikazivani kao jednokanalni radovi i

Her films have been shown as single-channel works and

višekanalne instalacije u više izložbenih prostora kao

multi-channel installations at several venues including the

što su Guggenheim Museum (2011.), Mass MoCA (2011.),

Guggenheim Museum, (2011), Mass MoCA (2011), MoMA,

MoMA (2007.), Guangzhou trijenale (2008.), IFC Center

(2007), Guangzhou Triennial (2008), IFC Center (2008),

(2008.), Berlinski i Roterdamski filmski festivali (2003.–

Berlin and Rotterdam film festivals (2003-2007), the Draw-

2007.), Drawing Center (2001. i 2008.) i newjorški The

ing Center (2001 and 2008), and The Kitchen in New York

Kitchen (2006.). Studijski je boravila u Švedskoj (IASPIS,

(2006). She is currently teaching at the University of Penn-

Wexner Center) i Civitelli Ranieri (ISCP). Predaje na

sylvania, the Cooper Union, and The New School in New

Sveučilištu u Pensilvaniji te Cooper Unionu i The New

York.

School u New Yorku.

ANA PRVAČKI ANA PRVAČKI

Ana Prvački, born in 1976 in Pancevo in Serbia, is an artist

Ana Prvački rođena je 1976. u Pančevu, Srbija. Rad ove

whose work draws on daily practices and social research.

umjetnice oslanja se na svakodnevnu praksu i društvena

Her interventions into daily life are meant to transform

istraživanja. Svojim intervencijama u svakodnevni život

the viewer’s perception and experience of daily life and

BIOGRAFIJE

BIOGRAPHIES

želi preobraziti gledateljevu percepciju i doživljaj, nudeći

routine, providing solutions to our daily problems, worries,

rješenja za naše svakodnevne probleme, brige i strahove.

and fears. She explores social anxiety and the comedic

Ispituje društvenu tjeskobu i komični potencijal faux pasa

potential of faux pas as well as the sociopolitical signifi-

te sociopolitičku važnost dobrodošlice „drugome“.

cance of welcoming the “other.”

Ana Prvački nedavno je bila na studijskom boravku u

Prvački was recently an Artist-in-Residence at the Hammer

Hammer Museumu, Los Angeles, gdje je oblikovala

Museum (Los Angeles) where she developed GREETING

ODBOR ZA DOBRODOŠLICU (Greeting Committee, 2011.),

COMMITTEE (2011), a participatory project about gestures

projekt uz sudjelovanje publike, koji se bavi gestama gosto-

of hospitality, civility, and etiquette. She has shown her

primstva, uljudnosti i lijepa ponašanja. Njezini su radovi

works in international venues including: Bloomberg (NY),

izlagani u raznim međunarodnim prostorima, kao što su

Lombard-Freid Projects (NY), Art in General (NY), Isabella

Bloomberg, Lombard-Freid Projects i Art in General, New

Stewart Gardner Museum (Boston), Centre Pompidou

York, Isabella Stewart Gardner Museum, Boston, Centre

(Paris), Castello di Rivoli Museo d’Arte Contemporanea

Pompidou, Pariz, Castello di Rivoli Museo d’Arte Contem-

(Turin), Sydney Biennial, Singapore Biennial, Turin Trien-

poranea, Torino, bijenali u Sidneyu i Singapuru. Živi u Los

nale. Prvacki is based in Los Angeles and Singapore.

Angelesu i Singapuru.

SANDRA STERLE SANDRA STERLE

Sandra Sterle (1965) is an artist, currently working as asso-

Sandra Sterle (1965.) predaje kao izvanredna profesorica

ciate professor of Performance, Video and New Media at

performans, video i nove medije na Umjetničkoj akadem-

the Art Academy in Split, Croatia. In 1989, she graduated

iji u Splitu. Godine 1989. diplomirala je na Akadem-

at the Academy of Visual Art in Zagreb and continued her

iji likovne umjetnosti u Zagrebu te nastavila studij na

studies at Kunstakademie in Düsseldorf, 1995-96. From

Umjetničkoj akademiji u Düsseldorfu, 1995./96. Od 1991.

1991 to 2000 lived and worked in Amsterdam, where she

do 2000. živjela je i radila u Amsterdamu gdje je za svoj

received grants and awards for her work. From 2000 till

rad dobila više stipendija i nagrada. Godine 2000. i 2001.

2001 worked on projects at various places in U.S.A. She has

radila je na projektima u raznim mjestima u SAD-u. Izla-

been presenting her work in solo shows, at international

gala je na samostalnim i međunarodnim izložbama te

exhibitions, residencies and festivals from 1995. Her works

prigodom studijskih boravaka i na festivalima od 1995.

featured in most important retrospectives of Croatian

godine. Radovi su joj prikazivani na najvažnijim retros-

video art like Frame by Frame, Personal Cinema Program,

pektivama hrvatske videoumjetnosti kao što su Frame by

Insert and the Dutch retrospective A Short History of

Frame, Personal Cinema Program, Insert i na nizozem-

Dutch Video Art.

skoj retrospektivi pod nazivom Kratka priča o nizozemskoj videoumjetnosti.

JOVANA STOKIC Belgrade-born, New York-based art historian and cura-

JOVANA STOKIĆ

tor Jovana Stokic holds a Ph.D. from the Institute of Fine

Rođena u Beogradu, živi u New Yorku; povjesničarka

Arts at the New York University. Her dissertation, titled

umjetnosti i kustosica, Jovana Stokić doktorirala je na

The Body Beautiful: FEMININE SELF-REPRESENTATIONS

Institute of Fine Arts Newyorškog sveučilišta. Njezina

1970 – 2007, analyzes works of several women artists –

disertacija naslovljena LJEPOTA TIJELA: ŽENSKO SAMO-

Marina Abramovic, Martha Rosler, Joan Jonas — since the

PRIKAZIVANJE 1970.– 2007. analizira radove neko-

1970s, particularly focusing on the notions of self-repre-

liko umjetnica – Marine Abramović, Marthe Rosler i

sentation and beauty. Jovana has been writing art criti-

Joan Jonas – od sedamdesetih godina, posebno se

cism for several years, and has curated several thematic

usredotočujući na pojmove samoprikaza i ljepote. Jovana

exhibitions and performance events in the US, Italy, Spain

već više godina piše umjetničke kritike, a bila je kustosica

and Serbia. Jovana was a fellow at the New Museum of

nekoliko tematskih izložaba i performansa u SAD-u, Ita-

Contemporary Art, New York, a researcher at the Whit-

liji, Španjolskoj i Srbiji. Jovana je bila znanstvena asisten-

ney Museum of American Art, New York, and the curator

tica u New Museumu of Contemporary Art, znanstvena

of the Kimmel Center Galleries, New York University. She

suradnica u Whitney Museumu of American Art, New York

has most recently written an essay for Marina Abramovic’s

i kustosica u Kimmel Center Galleries na Newyorškom

MoMA exhibition catalogue and is curator of performance

sveučilištu. Nedavno je napisala prilog za izložbeni kata-

art at Abramovic Studio, Location One in New York.

log Marine Abramović u MoMA-i. Kustosica je za performans u Abramovic Studiju, Location One, New York.

NEBOJŠA ŠERIĆ-SHOBA Nebojša Šerić-Shoba, born in 1968 in Sarajevo, Bosnia and

NEBOJŠA ŠERIĆ-SHOBA

Herzegovina, lives and works in New York and Sarajevo.

Nebojša Šerić-Shoba rođen je u Sarajevu 1968., a radi u

His work deals with manifold ways of reframing history.

New Yorku i Sarajevu. U svojim se radovima bavi razno-

The artist confronts us with the many memories and points

likim načinima kontekstualizacije povijesti. Umjet-

of view that such a history evokes. He exhibits mostly in

nik nas suočava s mnogim sjećanjima i motrištima koje

USA and in Europe. His recent exhibition include: BATTLE-

takva povijest pobuđuje. Izlaže uglavnom u SAD-u i

FIELDS, Dumbo Arts Center, New York; UNEXPECTED,

Europi. Novije su mu izložbe, primjerice, BATTLEFIELDS,

Kunstmuseum, Bochum, Germany; BROKEN DOWN

Dumbo Arts Center, New York; UNEXPECTED, Kunstmu-

WALLS OF CRIMSON SALON, ŠKUC, Ljubljana, Slovenia;

seum, Bochum, Njemačka; SRUŠENI ZIDOVI GRIMIZNOG

PHOTO I, PHOTO YOU, Calvert 22, London, UK.

SALONA, ŠKUC, Ljubljana; PHOTO I, PHOTO YOU, Calvert 22, London, VB.

JELENA TOMAŠEVIĆ Jelena Tomašević was born in 1974 in Podgorica, Monte-

JELENA TOMAŠEVIĆ

negro, lives and works in Podgorica and Berlin. She

Jelena Tomašević rođena je u Podgorici, Crna Gora

received MFA at the Academy of Fine Arts, Cetinje 2004

1974. Živi i radi u Podgorici i Berlinu. Diplomirala je na

Her work has been presented on numerous interna-

Akademiji likovne umjetnosti na Cetinju 2004. Radovi

tional exhibitions like Apparent Servitude, Artopia Gallery,

su joj prikazani na brojnim međunarodnim izložbama,

Milan; Just Kidding, video, Gallery Thrust Projects, New

npr.: Apparent Servitude, galerija Artopia, Milano; Just

York; Buero.DC, Cologne; Joy of Life II, Thrust Projects,

Kidding, video, galerija Thrust Projects, New York; Büro

New York; Gender Check, Zacheta National Gallery of Art,

DC, Köln; Joy of Life II, Thrust Projects, New York; Gender

Warsaw and MUMOK Museum, Vienna; Quartett / Vier

Check, Nacionalna umjetnička galerija Zacheta, Varšava i

Biennalen im Spiegel grafischer Blätter, TANAS, Berlin; The

muzej MUMOK, Beč; Quartett/Četiri bijenala se ogledaju

Eros of Slight Offence, Pavilion of Serbia & Montenegro,

u grafičkim listovima, TANAS, Berlin; Eros male uvrede,

51st Venice Biennale; Scary Tels, Filiale, Berlin, Germany.

paviljon Srbije i Crne Gore, 51. venecijanski bijenale; Scary Tels, Filiale, Berlin.

BQ4 PROGRAM 67

BQ4 PROGRAM

PETAK / 11.11.2011. / MMSU

FRIDAY / NOVEMBER 11TH / MMSU

17 sati: performans MARTE JOVANOVIĆ od lukobrana do Muzeja 18 sati: performansi MARIJE JOSE ARJONE, BOŽENE KONČIĆ BADURINE i SANDRE STERLE

At 5 p.m. performance by MARTA JOVANOVIĆ, from the Pier to the Museum At 6 p.m. performances by MARIA JOSE ARJONA, BOŽENA KONČIĆ BADURINA and SANDRA STERLE

SUBOTA / 12.11.2011. / MMSU

SATURDAY / NOVEMBER 12TH / MMSU

17 sati: razgovor s umjetnicima i kustosicom 18 sati: performansi MILIJANE BABIĆ, MARIJE JOSE ARJONE i LILIBETH CUENCA RASMUSSEN

At 5 p.m. talks with the artists and the curator At 6 p.m. performances by MILIJANA BABIĆ, MARIA JOSE ARJONA and LILIBETH CUENCA RASMUSSEN

PETAK / 18.11.2011. / MMSU

FRIDAY / NOVEMBER 18TH / MMSU

18 sati: predavanje TEVŽA LOGARA (ŠKUC, Ljubljana): Performativna fotografija Ulaya 18:45: predavanje i razgovor s MAROM VUJIĆ (Festival Mesto Žensk, Ljubljana): Program performansa na Festivalu Mesto Žensk

At 6 p.m. lecture by TEVŽ LOGAR, (ŠKUC, Ljubljana), Performative photography by Ulay At 6:45 p.m. lecture and talk with MARA VUJIĆ (Festival Mesto Žensk, Ljubljana), Program of Performances at the Festival Mesto Žensk

ČETVRTAK / 24.11.2011. / MMSU

THURSDAY / NOVEMBER 24TH / MMSU

18 sati: predstavljanje MILANA BOŽIĆA i VLASTE DELIMAR (Zagreb): Projekt Apsolutni umjetnik (sjećanje i osjećaj), Antonio Gotovac Lauer 18:45: predavanje i razgovor sa SUZANOM MARJANIĆ (Zagreb): Protest art: art komentari i izvedba protesta

At 6 p.m. presentation by MILAN BOŽIĆ & VLASTA DELIMAR (Zagreb), Project Absolute Artist (Memories and Feelings), Antonio Gotovac Lauer At 6:45 p.m. lecture and talk with SUZANA MARJANIĆ (Zagreb), Protest Art: Commentaries on Art / Performing the Protest

PETAK / 25.11. I 2.12.2011. / MMSU 18 sati: vodstva izložbom BQ4

FRIDAYS / NOVEMBER 25TH AND DECEMBER 2ND / MMSU

PETAK / 5.12.2011. / MMSU

At 6 p.m. guided tours through the exhibition BQ4

18 sati: predstavljanje IVE MATULIĆA i KSENIJE ORELJ: Vidljivost Muzeja u kvartu – interesi i motivacija publike

FRIDAY / DECEMBER 5TH / MMSU

PETAK / 9.12.2011. / MMSU

At 7 p.m. presentation by IVO MATULIĆ & KSENIJA ORELJ, Museum Visibility in Neighbourhood: Visitors Interests and Motivations

19 sati: zvučni dijalog IGORA ZENZEROVIĆA: Stepen zvuka, hommage Johnu Cageu, rondo za 8 izvođača

PETAK / 16.12.2011. / MMSU 18 sati: predavanje GABY WIJERS, NIMk, Amsterdam: Dokumentacija performansa – iskustvo u očuvanju vremenski bazirane umjetnosti

PETAK / 23.12.2011. / ART KINO CROATIA 18 sati: projekcija filmova JENNY PERLIN: The Perlin Papers (Slučaj Perlin)

FRIDAY / DECEMBER 9TH / MMSU At 7 p.m. sound dialogue by IGOR ZENZEROVIĆ: Stepen zvuka, Homage to John Cage, Rondo for 8 performers

FRIDAY / DECEMBER 16TH / MMSU At 6 p.m. lecture by GABY WIJERS, NIMk, Amsterdam: Documenting Performance Art Practices – Experiences in Preservation of Time Based Art

FRIDAY / DECEMBER 23RD ART KINO CROATIA At 6 p.m. film projection The Perlin Papers by JENNY PERLIN

IMPRESSUM 68

IMPRESSUM

IZLOŽBA / EXHIBITION Bijenale Kvadrilaterale 4 – Niotkuda

KATALOG I IZLOŽBA BIJENALE KVADRILATERALE 4 –

4th Quadrilateral Biennial – Out of Left Field

NIOTKUDA REALIZIRANI SU ZAHVALJUJUĆI POTPORI

bq4.tumblr.com

Odjela za kulturu Grada Rijeka, Primorsko-goranske županije, Ministarstva kulture Republike Hrvatske

Muzej moderne i suvremene umjetnosti Rijeka, 11. stude-

i sponzora // THE CATALOGUE AND THE EXHIBITION

noga 2011. – 23. prosinca 2011. / Museum of Modern and

4TH QUADRILATERAL BIENNIAL – OUT OF LEFT FIELD

Contemporary Art Rijeka, 11th November, 2011 – 23rd

HAS BEEN MADE POSSIBLE THANKS TO THE FINANCIAL

December, 2011

SUPPORT of the City of Rijeka - Department of Culture, Primorsko-goranska County, Ministry of Culture of the

IZDAVAČ / PUBLISHED BY Muzej moderne i suvremene

Republic of Croatia and sponsors

umjetnosti / Museum of Modern and Contemporary Art // ZA IZDAVAČA / FOR THE PUBLISHER Jerica Ziherl

SPONZORI / SPONSORS

KUSTOSICA IZLOŽBE / CURATOR OF THE EXHIBITION Jovana Stokić // VODITELJICA PROJEKTA, UREDNICA /

Hrvatska gospodarska komora, Županijska komora

PROJECT MANAGER; EDITOR Ksenija Orelj

Rijeka, Zajednica Crnogoraca Primorsko-goranske županije, Rijeka, Cyclorama d.o.o., Rijeka, G. I. S. d.o.o.,

FOTOGRAFIJE / PHOTOGRAPHS Umjetnici / Artists //

Kastav

PRIJEVODI NA HRVATSKI I KOREKTURA ENGLESKOG / TRANSLATION INTO CROATIAN AND PROOFREADING OF

ZAHVALE / ACKNOWLEDGEMENTS

THE ENGLISH TEXT Andy Jelčić // LEKTURA I KOREKTURA

Location One, New York, NIMk, Amsterdam, Art kino

HRVATSKOG TEKSTA / PROOFREADING OF THE CROA-

Croatia, Rijeka, Muzej grada Rijeke, Pučko otvoreno

TIAN TEXT Gordana Ožbolt // GRAFIČKO OBLIKOVANJE I

učilište Poreč, Savez udruga Molekula, Galerija SIZ, Rijeka

PRIPREMA ZA TISAK / DESIGN AND LAY-OUT  Budor + Čule // ODNOSI S JAVNOŠĆU / PUBLIC RELATIONS Ivo Matulić

MEDIJSKO POKROVITELJSTVO / MEDIA PARTNERS

// EDUKACIJA / EDUCATION Milica Đilas // VOLONTERI

Kanal Ri, Kulturpunkt, Novi List, Zarez, Radio Trsat

/ VOLOUNTEERS Nina Brenčić, Zana Dragičević, Katarina Hanžek, Danijela Orešković, Jelena Vinković, Andrea Vojvodić, Maja Zidarić // POSTAV IZLOŽBE / EXHIBITION SET-UP Jovana Stokic, Ksenija Orelj // TEHNIČKI POSTAV

/ TECHNICAL SET-UP Vanja Pužar, Anton Samaržija, Željko

Museum of Modern and Contemporary Art Rijeka

Žuža // ADMINISTRACIJA / ADMINISTRATION Stošija

Tel. + 385 51 492 611, Fax + 38551 492 623

Baljak, Tanja Jelovica, Tamara Medač – Medija, Snježana

Dolac 1/II, 51000 Rijeka, Hrvatska/Croatia

Sinčić // TISAK / PRINTED BY Stega Tisak // NAKLADA /

mmusu@ri.t-com.hr, www.mmsu.hr

PRINT RUN 300 // BROJ PUBLIKACIJE / PUBLICATION NUMBER 309

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 121009076

Tiskanje dovršeno u listopadu 2011. Printing finished in October 2011

ISBN 978-953-6501-80-9