Perfect exhibition // Savršena izložba by Sandra Stojanovic

´ savršena izlozba ´

SAVRŠENA IZLOZBA ■ PERFECT EXHIBITION Š sandra stojanovic ´

2014

´ SADRZAJ ■

CONTENT

Dete genije. Dete idiot. ■

Predgovor ■

Valiant child. Idiot child.

Foreword

Fiktivni galerijski prostor ■ Fictive gallery space

Od devet do pet ■ From nine to five

Malo pakovanje kineskih flomastera ■ Small pack of Chinese felt pens

Novost ■ Just in

Bista umetnice ■ Bust of an artist

I’ve made it

Crno-belo ■ Black and white

Epilog ■ Conclusion

Dete genije. Dete idiot.

Valiant child. Idiot child.

Odlomci razgovora između Sandre Stojanović

Fragments of the conversation between Sandra

i njene majke Slavice o konceptu Savršene

Stojanović and her mother Slavica about the

izložbe. Slavica Stojanović je oftalmolog sa

Perfect exhibition concept. Slavica Stojanović is an

dugogodišnjim iskustvom, majka četvoro dece,

ophtalmologist with long standing reputation,

veliki tradicionalista i kategorički nepoznavalac

mother of four, great traditionalist and categorical

savremene umetnosti.

non-conoseur of contemporary art.

Sandra: Znaš kako sam već duže vreme

Sandra: You know how I have been trying

u potrazi za nekim prostorom

to find a space in Belgrade for some

u Beogradu gde bih mogla da

time now in order to exhibit my

napravim izložbu od novijih radova?

recent artwork? It has proved to be

To je dosta frustrirajuć proces s

a rather frustrating endeavour given

obzirom da ili su prostori neuslovni,

that gallery spaces are either for the

pa moram sama da uložim novac u

most part inadequate (I would need

opremu i sređivanje da bi izgledali

to invest a lot in equipment and

pristojno, ili su mi nedostupni.

adaptation for the exhibition to look

U svakom slučaju, da bih izložila

properly) or they are completely out

radove na nivou za koji smatram

of my reach. In any case, in order to

da je zadovoljavajući, potreban mi

exhibit in a way I find acceptable,

je ne samo ogroman novac, već i

I would require a lot of money,

osoblje poput tehničara i fotografa,

but also staff e.g. technicians and

jer galerije uglavnom funkcionišu

photographer, due to the fact that

amaterski. S tim u vidu, smislila sam

galleries operate in an amateurish

da napravim izložbu na kojoj bi jedina

fashion. Having this in mind, I thought

izložena stvar bila katalog fiktivne

of making an exhibition at which

izložbe od datih radova kao da se ona

the only exhibited object would be a

‘desila’ u prihvatljivom prostoru.

catalogue of the fictional exhibition as

Slavica: Kako to misliš? Ne bi izložila radove? Sandra: Ne, samo katalog u kome su predstavljeni radovi sa tekstovima

if it had taken place in an acceptable gallery place. Slavica:

u kontekstu te neke moje ideje o savršenoj izložbi... Kada izložba

Slavica:

exhibiting any actual artwork? Sandra:

No, I would not; only the catalogue

prođe, neće biti puno razlike između

containing texts and documentation

toga da li se ona zapravo desila ili ne.

of artwork that are a part of the

Katalog je obično taj koji svedoči o

perfect exhibition concept… After the

tome. Kako ti se to čini?

exhibition, there is not much difference

Pa ne znam... Šta time dobijaš? Čini mi

between whether it had taken place

se da bi samo iznervirala posetioce.

or not. Catalogue is usually its main

Evo na primer, ja kada odem na izložbu volim da vidim radove.

testament. What do you make of it? Slavica:

Sandra: A koliko često ti ideš na izložbe?

would only annoy the visitors. For

Slavica: Sandra: U tome je itekako poenta. Izložbe

example, when I attend an exhibition, I

su velika lična ulaganja umetnika na koje uglavnom dođu njihovi prijatelji i rođaci, i tek ponekad

Well, I don’t know... What would you gain by this? It seems to me that you

Nije u tome poenta...

What do you mean? You would not be

like to see some art. Sandra:

And how often do you attend exhibitions?

Slavica: zalutali prolaznik. Za jedan eksluzivan Sandra:

That’s beside the point...

događaj koji podrazumeva blizak

Exhibitions present huge personal

krug ljudi, tolika ulaganja su stvarno

investments of artists, and are mainly

apsurdna. Nije ni čudo što je veliki

attended by their friends and family,

Oh, but that is very much the point.

Slavica:

broj izložbi koje sam videla u

and occasional accidental passer-by. For

prethodnim godinama produkovan

the exclusive event gathering only a close

sa vrlo malo profesionalnosti i

circle of people, such investments are

promišljanja. Uostalom, sve bi to

absurd. It is no wonder then that a vast

čak i bilo ok, mislim na mali broj

majority of exhibitions, that I witnessed

posetilaca, da postoji i najmanja

in the previous years, is poorly produced;

šansa da se neki od radova prodaju

lacking professionalism and reflection.

nakon izložbe.

Anyhow, that would all be fine, if there

Dobro, ali kako tačno ova tvoja ideja

were any prospects of some the works

rešava taj problem? Na koji način ti utičeš na to da se profesionalizuje Sandra:

Alright, but how exactly does your idea

produkcija izložbi ili razvije tržište?

solve any of this? In what way do you

Za početak jasno se ograđujem

influence professionalism in exhibition

od apsurda tog sistema, odnosno

production or development of the art

nesistema, i standarda za prezentaciju umetnosti. Mislim da će trebati dosta

Slavica:

being sold afterwards. Slavica:

market? Sandra: For starters, I clearly distance myself

vremena da pomislim da napravim

from the absurdity of such system, or

tradicionalnu samostalnu izložbu u

non-system, and current standards for

Srbiji. Za mene je Savršena izložba

art presentation. I believe there would

stejtment, kojim sebe obavezujem

be a long time before I was to even think

da promišljam o prezentaciji svojih

about making a solo exhibition in Serbia,

radova na druge, efektnije načine.

in a traditional sense. For me, the Perfect

Cela stvar je u tome da izložba

exhibition is a statement, through which

nije ni intelektualno ni finansijski

I commit myself to thinking about other,

ekonomična aktivnost.

more effective ways for art presentation.

Ali ti češ i dalje sama finansirati

The whole point revolves around the fact

taj katalog i pretpostaljam da češ

that exhibitions, as a format, are neither

Savršenu izložbu odraditi u nekom

intellectually nor financially economical activity.

od postojećih prostora za izložbe?

Sandra:

nekoga ko tvrdi da negira sistem i

thing will take place in one of the already

hoće od njega da se ogradi?

existing gallery spaces? Isn’t this a bit

U pravu si: priroda ideje o Savršenoj

contradictory for someone claiming to

izložbi nije direktna, već suberzivna,

negate the system and wants to distance

ali to je ne čini manje radikalnom ni

themselves from it? Sandra:

You are right: the nature of the idea about

svih tih elemenata koje si pomenula;

Perfect exhibition is not direct, it is rather

ako ih kontrolisano koristim.

subversive, but that does not make it

Pretpostavljam da to zavisi od osobe i

less radical nor contradictory, since I am

stila, ali meni se za početak čini dosta

aware of the elements you mentioned

zanimljivo da u okviru očekivanja

and am using them controllably. I assume

o izložbi, na mestu gde se izložbe

that it is a matter of personal style, but

inače dešavaju (najverovatnije će

it seems to me quite appealing to play

to biti Osmica), uradim nešto što

with expectations exhibitions commonly

će izneveriti očekivanja, pa makar i

set, at the very place exhibitions happen.

tog malog broja ljudi koji će tu doći,

Even if this means not meeting the

sa nadom da će im pružiti nešto

expectations of a small number of people

drugačije.

who will be in attendance, but at the

E pa to je to – šta neko dobija kada

same time hoping to provide something

dođe na otvaranje izložbe na kojoj je

else, something different.

samo jedna knjiga?

Slavica:

Well, that’s it – what does someone gain

Sandra:

Realnost. I to vrlo iskreno.

out of attending an exhibition at which

Slavica:

Meni je to i dalje vrlo nategnuto. Je

they are only able to see one publication

li problem u novcu? Da imaš novac

shown?

da u nekoj od tih ‘amaterskih’ galerija

Sandra:

organizuješ izložbu, da li bi to uradila? Slavica:

But you will still be the one to finance this catalogue and presumably the whole

kontradiktonom ako sam ja svesna

Slavica:

Zar nije to malo kontradiktorno za

Reality. And quite honestly so. To me this is still a bit far-fetched.

Sandra:

Ako je tako, samo reci koliko ti treba,

Is money the issue? If you had money,

zaboga...

would you consider having the exhibition

Što se tiče ove ideje, ona je mnogo

at one of those ‘amateurish’ galleries? If so,

jači zaključak radova koji bi bili

just let me know, for God’s sake…

izloženi nego bilo kakva izložba,

Slavica:

Sandra: When it comes to this particular idea,

tako da sam sada odlučna u tome da

this is a much stronger conclusion to

Savršenu izložbu realizujem onako

the artwork dealing with the notion of

kako sam ti rekla.

value than any traditional exhibition.

Ali to znači da niko neće uživo da vidi

Therefore, I am determined to have the

onu tvoju bistu od novčića! Ja bih se

Perfect exhibition implemented the way I

osetila uskraćenom. Sandra:

Produkcija radova za mene je

told you. Slavica:

But this consequently means that no

nužnost, ali ne i produkcija izložbe,

one will see your bust made out of coins!

kojom bi se u normalnom društvu

I would feel as though I was denied

bavili neki drugi delovi umetničkog sistema. Kada se od mene očekuje

something. Sandra: Production of artwork comes as

da snosim ceo teret sistema, to

inevitability to me, not so much

je neodrživo, a mislim da je moje

production of exhibitions, which should

puno pravo da ukažem na to šta

normally be somebody else’s job. When

se dešava kada direktan utisak o

I am expected to take responsibility for

radovima izostane. Ako se neko i oseti

the whole system, that is completely

uskraćenim za radove, tim bolje; znači

unsustainable, and it is my full right

da neko još uvek ima potrebu za

to indicate what would happen if the

umetnošću.

experience of artwork was to be denied. If someone was to feel denied of art, the better; it would mean that someone still had a need for it.

Predgovor

Foreword

Savršena izložba je izložba koja u formalnom

Perfect exhibition is an exhibition which formally

smislu predstavlja publikaciju kroz koju je

represents a publication that documented an

dokumentovana izložba koja se nije desila; ona

exhibition which did no take place; you are

se trenutno nalazi pred tobom. Dakle, ovim

currently reading the publication. Thus, this

katalogom predstavljeni su već produkovani

catalogue of sorts portrays the already produced

radovi koji nisu došli u međusobni odnos

artwork, that has not been previously juxtaposed

prezentacijom kroz izložbu u fizičkom svetu,

within a physical exhibition due to financial

usled materijalnih ograničenja i loših uslova

restrains and bad conditions of the art system.

umetničkog sistema. Unfavorable conditions are a symptom of the

Loši uslovi simptom su činjenice da umetničko

fact that art market in Serbia is practically non-

tržište u Srbiji ne postoji, a umetnost je retko

existent, and art is rarely funded. Production

sufinansirana. Troškove produkcije radova

costs are always covered by artists. Further, it is

gotovo bez izuzetka snosi umetnik. Pored toga,

often expected of them to invest in exhibiting

često se dešava da troškove izlaganja takođe

costs. System which overloads one its part to

ili delimično ili u potpunosti pokriva umetnik.

this extent is completely unsustainable. All those

Sistem, u kome je jedan njegov deo do te mere

participating in the situation actively provide

preopterećen, neodrživ je. Svi oni koji učestvuju

legitimacy and help prolong absurdity of the

u datoj situaciji, aktivno daju legitimitet i

situation. I am determined not to contribute

produžavaju apsurdnost situacije. Odlučna

to the art scene paradoxical tendencies, and at

da ne želim da doprinosim paradoksalnim

the same time wanting to somehow present

dešavanjima na sceni, a u isto vreme želeći

my works which broadly dealt with the notion

da na neki način predstavim opus radova koji se

of value, the Perfect exhibition idea imposed

u širem smislu bave odnosom prema vrednosti,

itself. It, too, in a way deals with how I assess the

nametnula se ideja o Savršenoj izložbi, koja opet

traditional format of exhibitions.

predstavlja moj odnos prema vrednovanju formata tradicionalnog pojimanja izložbe.

Within the Perfect exhibition concept, I was guided by the fact that catalogue is one

U koncepciji Savremene izložbe vodila sam se

of the most legitimate testaments of an

idejom da je katalog jedan od najlegitimnijih

exhibition. Besides, one perceives most of the

svedoka održavanja izložbe; uostalom većinu

exhibitions through catalogues due to time

izložbi usled vremenske i/ili geografske

and/or geographical distance. This publication

udaljenosti jedino i percepiramo kroz kataloge.

comprises of: fragment of the conversation

Ova publikacija se sastoji iz: odlomka razgovora

between my mother and I, presentation of

o ideji za Savršenu izložbu sa mojom majkom,

the fictional space in which the exhibitions

predstave isprojektovanog fiktivnog prostora

supposedly took place, artwork with texts, and

u kome se dešava izložba, predstave fiktivno

conclusion. Selected artwork that made it into

izloženih radova sa tekstovima, i zaključka.

the concept are: From nine to five video, Small

Selektovani radovi koji su izložbom obuhvaćeni

pack of Chinese felt pens project, series of death

su: video rad Od devet do pet, projekat Malo

announcements on TV news named Just in, Bust

pakovanje kineskih flomastera, serija inserata

of an artist – sculpture made out of 1, 2 and 5

iz vesti kojom se najavljuju smrti istaknutih

dinar coins, interventions on art documentaries

ličnosti pod nazivom Novost, Bista umetnice –

I’ve made it, and series of drawings called Black

skulptura od kovanica 1,2 i 5 dinara, intervencije

on white.

na umetničkim dokumentarcima I’ve made it i serija crteža na novinama Crno-belo. Izložba

Exhibition takes place only in the minds of

se dešava samo u glavama onih koji dođu u

those who get across the catalogue, and

kontakt sa katalogom, a povlači pitanja vezana

raises issues around efficiency of artwork

za efikasnost prezentacije radova u savremenom

presentation in Serbian contemporary art scene

kontekstu sistema u Srbiji.

context.

Fiktivni galerijski prostor

Fictive gallery space

Od devet do pet ■ From nine to five

Malo pakovanje kineskih flomastera ■ Small pack of Chinese felt pens

Novost ■ Just in

I’be made it

4 6

Bista umetnice ■ Bust of an artist Crno-belo ■ Black and white

1 6 5

Od devet do pet

From nine to five

video, loop, 2’ 15”

Prikaz procesa produkcije radova u periodu od

Depiction of the production process from 9pm

21h do 5h.

until 5am.

vimeo.com/89952456

kadar iz videa

â&#x2013; frame from the video

U situaciji u kojoj je infrastrukura za produkciju

In such circumstances, where infrastructure for art

i umetničko tržište gotovo nepostojeća u

production and market is virtually nonexistent in

Srbiji, umetnici se suočavaju sa ogromnim

Serbia, artists face major challenges in their work

preprekama u stvaralaštvu i održanju sopstvene

and attempting to maintain their art practice. Even

umetničke prakse. Iako univerzalan problem,

though this is a universal issue, it is particularly

on je naročito izražen kod mladih umetnika.

significant when referring to young artists. Large

Veliki broj se prekvalifikuje u prvih par godina,

number of them pre-qualifies in the first couple

a najuporniji rade najrazličitije poslove kako bi

of years, and the most persistent ones do various

mogli u slobodno vreme da se bave onim za

jobs only to be able to devote themselves, in their

šta su školovani i dugi niz godina pripremani

free time, to what they were trained and meant

da rade. Video Od devet do pet je prikaz procesa

to do. From nine to five video is a depiction of my

produkcije radova u improvizovanom studiju u

production process in an improvised studio at my

stanu mojih roditelja u periodu od 21h do 5h.

parents’ house, from 9pm until 5am. Much like many

Kao i mnoge kolege, jedino vreme za neometan

of my colleagues, the only time I find for undisrupted

umetnički rad nalazim u toku noći. Poigravanje

artwork is during nighttime. Deliberate play with

sa tradicionalnim radnim vremenom ima za cilj

traditional working hours aims at drawing a parallel

uspostavljanje paralele sa opšte prihvaćenim

with what is generally conceived as legitimate

radnim procesom, tj. izopštenost umetničkog

working process, i.e. point at disconnection of the

napora, koja za posledicu ima njegovu nevidljivost

artistic effort, which consequently makes it invisible

i, neminovno, dalju marginalizaciju. Postepeno

and, inevitably, further marginalised. By gradually

punivši kadar, u svom procesu dajem i izvesne

filling the image, in my process I make certain

produkte, koji se materijalizuju u vidu crteža i

products, which materialise as drawings and other

drugih radova. U samom videu, raznovrsnost i

artwork. In the video itself, versatile and mildly

blago estetizovana dinamika kreativnog procesa u

aestheticised dynamics of the creative process is

tenziji je sa uslovima u kojima se ona realizuje. Neka

conflicted with conditions in which it takes place. A

vrsta nedorečenosti u završnom kadru kojim se

sort of ambiguity towards the end, depicting only

prikazuje radni prostor sa produkovanim radovima,

workspace and produced artwork, is a radically

radikalno je iskren stejtment na nekoliko nivoa, od

honest statement on multiple levels, one of crucial

kojih je onaj osnovni – ovde se cela stvar završava.

being – this is where the whole thing ends.

Malo pakovanje kineskih

Small pack of Chinese felt

flomastera

pens

crteži, 20 x 20 cm

drawings, 20 x 20 cm

Crteži nastali bojenjem kvadrata jeftinim

Drawings made by cheap Chinese colour felt

kineskim flomasterima, dok se nisu istrošili.

pens until they wore off. Document of available

Dokument dostupnog materijala.

materials.

ĹĄ na zidu crtezi

â&#x2013; drawings on the wall

Novost

Just in

Projekat Novost je osmišljen kao kolekcija,

Just in is meant as a collection, a sort of

svojevrsan pregled bitnih smrti javnih ličnosti

summation of relevant deaths of public

koje su ostale u mom sećanju. Televizijski

persons that stuck in my memory. TV news

dnevnici su razvili određeni format kroz koji

have developed a format in which pieces of

se informacije prenose. Smrt, kao takva, uvek

information are delivered. Death, as such, is

je aktuelna tema. Način na koji reagujemo

always an active topic. The manner in which

na smrt drugoga je uvek intiman, bez obzira

one engages with death of another is rather

na naš prethodni odnos ili izostanak istog.

intimate, regardless of their previous relation.

Suočeni sa smrću, osećamo se živima. Većina

Faced with the notion of death, one feels alive.

verovanja i ponašanja oblikovana je u odnosu

Most of our believe systems and behaviour have

na smrt. Javne ličnosti deo su naših života kao

been shaped by death. Public personas find their

i monumentalne vesti o njihovim smrtima, što

ways into our lives, and so do the monumental

povratno utiče na percepciju i sećanje stvarnosti.

news of their deaths, which partake in our

Iako je u pitanju lična selekcija televizijskih

perception and memory of reality. Even though,

najava smrtnih slučajeva, u isto vreme se radi i o

this is a personal selection of TV news death

arhiviranju vremena i sociopolitičkog konteksta

announcements, it is at the same time an

čiji sam svedok. Naslov Novost je ironični osvrt

archiving of the time and sociopolitical context

na činjenicu da su TV vesti danas umnogome

I bear witness to. The title Just in is an ironic take

inferiorne i spore u odnosu na internet prilikom

on the fact that TV news are largely inferior and

izveštavanja, te su postale sekundarne u

slow to internet when it comes to reporting

informisanju javnosti o aktuelnim dešavanjima.

what is going on, and have taken a back seat in informing public of up-to-date events.

Umro je drug Tito

â&#x2013; Comrade Tito has died

Umro je patrijarh Pavle

â&#x2013; Patriarch Pavle has died

´ Ubijen Zoran Djindjic

´ assassinated ■ Zoran Djindjic

´ ■ Aleksandar Tijanic ´ passed away Preminuo Aleksandar Tijanic

´ ´ Umro akademik Dobrica Cosic

´ ´ dies ■ Scholar Dobrica Cosic

Bista umetnice

Bust of an artist

Bista umetnice je skulptura napravljena od

Bust of an artist is a sculpture made out of 1, 2

kovanica 1, 2 i 5 dinara, koja predstavlja

and 5 dinar coins; a life-size auto-portrait (49 x

autoportret u prirodnoj veličini (49 x 52 x 29 cm).

52 x 29 cm).

Kovanice dinara imaju višeslojnu strukturu i

Dinar coins have a multi-layered structure and

razlikuju se u odnosu na godinu izdanja; sve

are different depending on the year of issuing;

imaju ili niskougljeničnu čeličnu ili niklovanu

all have either low-carbon steel or nickel base,

osnovu, i presvučene su bakrom. Proizvodnja

and are coated in copper. Production costs of

1, 2 i 5 dinara košta oko 20 dinara, te samo je

1, 2 and 5 dinar coins are around 20 dinar, thus

kovanica od 20 dinara vrednija od sirovine od

leaving only the 20 dinar coin surpassing the

koje je napravljena (20 i 10 dinara proizvode se

value of raw materials (20 and 10 dinar are also

i u papirnoj verziji i zbog toga su izuzeti iz rada).

produced in paper versions and are excused

Zbog inflacije koja je posledica jedinstvenog

from the artwork). Due to inflation, which is

sociopolitičog konteksta, kupovna moć

a consequence of the unique sociopolitical

kovanica je minimalna i njihova akumulacija

context, purchasing power of coins is close to

realno predstavlja opterećenje. Sve kovanice

minimal and their accumulation presents a load.

koje su upotrebljene za pravljenje Biste

All coins used in the making of the Bust of an

umetnice skupljene su po džepovima, tašnama

artist are collected by going through pockets,

i sl. ukućana u periodu od godinu i po dana.

bags and such of the household members in

Upotrebljeno je ukupno 11 749 dinara. Rad ima

about year and a half. 11 749 dinar is used in

nekoliko nivoa revalorizacije; kovanice se svode

total. The artwork has several levels of re-

na sirovine (koje paradoksalno imaju nekoliko

valorisation; coins are reduced to raw materials

puta veću vrednost kao takve, nego kao valuta),

(which paradoxically have a few times bigger

a potom i integrišu u ‘umetnički rad’ tj. bistu čime

value than the currency) and then integrated in

se navodno dodaje na vrednosti objekta. Bista je

‘artwork’ i.e. bust, which allegedly adds to the

format kojim se na određeni način odaje počast

total value of the object. Bust is a format used

pojedincima od značaja za društvo i kao takve

to honour individuals who have contributed to

deo su šireg sistema. Autoproklamacijom na

society, and as such is a part of a larger system.

nivou pojedinac kao umetnik, te i (neki) umetnik

Through auto-proclamation on such levels as

kao data vrednost za društvo, krši se nekoliko

individual as artist, and (an) artist as a default

pravila takvog sitema. Pored toga, uništavanje

value to society, several rules of the system are

kovanica je krivično delo.

broken. Besides, destruction of coins is a criminal act.

Bista uopšte podstiče na preispitivanje odnosa vrednosti po inerciji i opravdanost kršenja

The bust, generally speaking, tests relations

pravila pojedinca (pod oznakom ‘umetnost’).

between default values and validity of individuals breaking rules (under the label ‘art’).

Linkovi ■ Links NBS: Novac ■ NBS: Money nbs.rs/internet/latinica/75/index.html NBS: Najčešće postavljana pitanja ■ NBS: Frequently asked questions nbs.rs/internet/latinica/scripts/showfaqsection.html?lang=SER_CIR&konverzija=yes&id_sekcije=34#336 Kovanice za bakšiš i kusur ■ Coins for tips and change rts.rs/page/stories/sr/story/13/Ekonomija/1060904/Kovanice+za+bakšiš+i+kusur.html Putnica sitnišem platila kartu vozač bacio novac kroz prozor ■ Passenger pays her ticket in coins and bus driver throws it through the window 24sata.rs/vesti/aktuelno/vest/srbija-putnica-sitnisem-platila-kartu-vozac-bacio-novac-kroz-prozor/135871.phtml Kako unovčiti džak kovanica? ■ How to cash in a sack of coins? 24sata.rs/vesti/ekonomija/vest/kako-unovciti-dzak-kovanica/107226.phtml

´ Bista uopšte podstice na preispitivanje odnosa vrednosti po ´

inerciji i opravdanost kršenja pravila pojedinca (pod oznakom ‘umetnost’).

The bust, generally speaking, tests relations between default values and validity of individuals breaking rules (under the label ‘art’).

I’ve made it

Rad se bazira na poznatom marketinškom

Project is based on the known marketing

mehanizmu gde se product placement u TV

mechanism through which product placement in

serijama/filmovima retušira u drugi proizvod

TV shows/films are retouched into other products/

ili brend prilikom prikazivanja u drugoj sredini.

brands when aired in another environment. Thus,

Dakle, filmovi ili serije se suptilno menjaju, u

TV shows/films are subtly modified, depending on

zavisnosti gde se i kada emituju, tako da sublimiraju

where and when they are aired, so to sublimate

drugačije proizvode na gledaoca i to se naplaćuje

different products to viewers; this is charged as

kao legitiman prostor za advertajzing. Po sličnom

legitimate advertising space. Following a similar

principu, u dokumentarce i emisije o umetnosti

principle, I did interventions on art documentaries

retuširala sam svoje radove sa originalnim narativom,

and shows by editing in my artwork whilst

koji podjednako odgovara i originalu i mom radu.

keeping the original narrative. It equally fits both

Umetnički kritičari često krajnje generički govore o

the original and my work; art critics often speak of

radovima u okviru ovih emisija ili je slučaj da sam

artwork in vague terms or it is the case of me (sub)

neke stvari svesno/nesvesno preuzela od ljudi koji su

consciously appropriating from those who have

stvarali pre mene. Ovo je iskorišćeno kao okosnica za

produced art before me. This is used as a starting

poigravanje sa pojmovima umetničkog autoriteta,

point in questioning authority, authenticity and

autentičnosti i javnog priznanja u umetnčkom

public recognition in the art world. Project title

svetu. Naziv rada I’VE MADE IT je frazalna igra reči

I’VE MADE IT is a deliberate wordplay in English

na engleskom jeziku koja znači i USPELA SAM, kao

meaning both I’M SUCCESSFUL as well as I

i doslovce JA SAM GA NAPRAVILA. Dokumentarci

PRODUCED THIS. Art documentaries and shows,

i emisije o umetnosti na kojima je intervenisano

which were edited, are posted on the YouTube

postavljeni su na YouTube platformu.

platform.

prvo prikazivanje epizode 1. aprila 2007. episode first aired on April 1, 2007

repriza 2011. rerun in

2011

originalni fragmenti iz emisije “Impresionizam: Osveta dobrog” ■ original fragments from the “Impressionism: Revenge of the Nice” show

Because of its charm, we forget that impressionism is also avant-gardism.

But actually, this is in the same stream as...

...this.

We find it a bit mysterious, but we pretty much know what goes into its shock value.

intervenisani fragmenti iz emisije “Impresionizam: Osveta dobrog” ■ edited fragments from the “Impressionism: Revenge of the Nice” show

Because of its charm, we forget that impressionism is also avant-gardism.

But actually, this is in the same stream as...

...this.

We find it a bit mysterious, but we pretty much know what goes into its shock value.

Crno-belo

Black and white

Crno - belo je serija od oko tridesetak intervencija

Black and white is a series of around 30 pen and ink

perom i tušem rađenih na specijalno pripremljenim

interventions on specially prepared plaster plates

gipsanim pločama i prepariranim listovima dnevnih

and sheets of newspaper. Project was completed in

novina. Radovi su nastali u drugoj polovini 2013.

the second half of 2013, and dimensions vary from

godine, a formati variraju. Sadržaj novinskih

piece to piece. Content from newspaper articles

članaka je uzet kao konceptualna osnova. Naime,

is taken as the conceptual basis. Namely, daily

dnevne novine destiluju neke od najpesimističnijih

newspapers filter some of the most pessimistic and

i najbizarnijih dešavanja, te na taj način aktivno

bizarre events, thus actively (and in a bias manner)

(i pristrasno) utiču na percipiranje stvarnosti.

influencing on one’s perception of what reality is.

Štampani medijum, kao takav, sve više biva

Printed media, as such, is increasingly falling short;

prevaziđen; pristup informacijama je efikasniji

access to information is far more efficient through

korišćenjem interneta. Dnevne novine, kao objekti

online media. Sheets of daily newspaper, as objects

koji na ograničen način prenose uglavnom loše

which have a limited function in reporting bad

vesti, u radu dalje bivaju tretirane belim premazima

news for the most part, in this project get treated

preparature. One se potom lepe na gipsane ploče

with white layers of paint. They are then glued

i pri ovom činu se negiraju dva inicijalna svojstva

onto plaster plates, thus loosing two of its initial

štampanih dnevnih novina. Sadržaj se sublimira

features in the process. The content is sublimated

belim premazima, dok se fizičko svojstvo listova

with layers of white paint, whilst physical

preinačuje u predmetnost gipsa. Članak iz novina,

characteristics of newspaper sheets are altered

ovako tretiran, ne samo da gubi svoja svojstva

into materialisation of plaster plates. Newspaper

već, dodatkom crteža perom i tušem, postaje delom

article, treated like this, not only looses its features,

novog sistema – umetničkog dela.

but with the addition of pen ink drawing,

Ono što je ključno u ovim radovima je dihotomija

transforms into a new system – artwork. What is

krajnosti tj. crnog i belog, koja se smenjuje u više

key to consider in these works is the dichotomy

aspekata. Na prvom nivou, sadržaj članaka svojom

of extremes. At the first level, newspaper article

negativnošću predstavlja <crno> kome se tehnički

content through its negative nature represents

i simbolično suprotstavlja beli preparaturni premaz.

<black> which is, both in technological and

Same novine, kao pisana reč, u odnosu su <crno

symbolical terms, juxtaposed against layers of

na belo>, dok se i crtež oslanja na minimalističku

white paint. Actual newspaper, carrying written

estetiku i igru relacije svetlog i tamnog. Za

words, are part of the <black on white> co-relation,

posmatrača redukovani crtež predstavlja prvi sloj

whilst drawings rely on minimalist aesthetics and

i okosnicu otkrivanja rada. Novinski članci, uprkos

play with use of dark and light. For an observer,

namazu, blago izbijaju na površinu pri pažljivijem

reduced drawings represent the first layer and

gledanju i moguće ih je čitati. Ono što važi za

backbone in discovering the project. Newspaper

ovu vrstu osnove je ono što važi i za bilo koju

articles, despite layers of white paint, subtly

vrstu represije u životu – ona je i dalje prisutna.

show on the surface at close inspection and

U tehničkom smislu, novinski članci kompoziciji

are possible to read. What could be applied for

daju sive tonove i svojom strukturom i prelomom

this kind of artwork base is what applies in any

aktivno utiču na percepciju rada. Minimalizam

sort of repression in real life – it is still present.

crteža postaje manje takvim, kada posmatrač

Technologically speaking, newspaper articles

počne otkrivati kako tonske tako i sadržinske

provide the composition with grey tones; with

slojeve sublimiranih novinskih članaka. To za

their structure and layout, they actively influence

posledicu ima izgradnju svesti o celosti rada tj. on

the perception of artwork. Minimalist nature

zapravo nije ograničen samo na pojam krajnosti

of drawings becomes less so, when one starts

bez ikakve mogućnosti mešanja, međusobonog

to uncover tones and layers of content of the

dopunjavanja i interakcije kao što se to u naslovu

sublimated newspaper articles. Consequently, this

daje naslutiti. Crno - belo nije moguće.

results in the notion of the artwork as a whole i.e. it is not just limited to the ideas of extremes without any kind of possibility of interference, mutual supplementation and interaction as the title might indicate. Black and white is simply not possible.

28.5 x 34 cm

28.5 x 42 cm

35 x 35 cm

42 x 32 cm

42 x 25.5 cm

25 x 20 cm

Epilog

Conclusion

Savršenstvo je iluzija. Savršena izložba (u Srbiji)

Pefection is an illusion. Perfect exhibition (in

dupla.

Serbia) double so.

Projekat Savršena izložba, pored toga što je

Perfect exhibition project, besides being

jedna vrsta autosatire, u mom ličnom procesu

auto-satirical, has opened a new space in

otvorio je novi prostor. Ono što se nameće

my personal process. What comes as a direct

kao direktna posledica preispitivanja formata

consequence of questioning the exhibition

izložbe jeste razvoj (nove) strategije kojom bi

format is a necessity for the (new) strategy in

se radovi komunicirali u javnosti. Ovo će se

communicating artwork in public. This will

gotovo neminovno odraziti na prirodu mog

inevitably reflect on the nature of my work.

rada. Noviji projekti potpuno drugačije koriste

More recent projects use visual communication

vizuelnu komunikaciju. Pretpostavljam da je

in a completely different manner. I suppose it

bilo potrebno samo razjasniti šta je to što želim

was just a matter of deciding what it is that I

da postignem. Metodologija prezentovanja se

wanted to achieve. Methodology of presenting

potom nameće sama po sebi. Period koji sledi

work follows naturally afterwards. The period

izgleda uzbudljivo.

ahead seems thrilling.

stojanovic.s.sandra@gmail.com +381(0) 64 4247767 behance.net/sandrastojanovic sandra-stojanovic.tumblr.com

urednik ■ editor sandra stojanović

kustos ■ curator sandra stojanović

tekstovi ■ texts sandra stojanović

prevod ■ translation sandra stojanović

fotografija ■ photography sandra stojanović

dizajn ■ design sandra stojanović

® 2014 sandra stojanović

perfect exhibition