O3one knjiga 2014 test 24 09 by Superedza

NEBOJSA

• ONO ŠTO NAS JE POKRENULO

Uvek je teže sa takozvanim “okruglim” jubilejima od onih regularnih. Kad napunite deset godina od nekog početka time ste ispunili neki cilj, oblikovali sopstvenu istoriju, ali morate i da najavite šta ćete raditi sledećih deset godina. “O3one” je stvoren da bi povezao do tada nepovezive stvari, pokrenuo ono što nije imalo gde da se kreće i otvorio nove kanale komunikacije posle decenija izolacije i usamljenosti. Ako postoji neka reč kojom bih mogao da definišem osnovni motiv, i pokretač, “O3one-a” onda bi to bila radoznalost. Ne postoji ništa važnije od radoznalosti kad je reč o kreativnosti i vitalizmu. Mi smo, svi zajedno, gajili radoznalost svih ovih godina kao redak i dragoceni cvet koji može da opstane samo u sredini koja je ispunjena tolerancijom, solidarnošću i spremnošću da se angažujemo u stvaranju jednog boljeg i pravednijeg društva. Nova znanja i nove tehnologije bile su neprekidno naši saveznici. “O3one” je u najvećoj meri, proteklih deset godina, bio okrenut prema dizajnu kao svojoj osnovnoj delatnosti. Mada je to, najčešće, bio jedan poseban oblik dizajna koji prožima sve pore savremenog života. Uspeli smo da napravimo amalgam između dizajna i aktivizma, sponu koja povezivala umetnost i nove medije, tehnologiju i društvenu teoriju, muziku i ekologiju. Pored svih izazova sa kojima se O3one susretao, poseban je ipak bio onaj koji je pred nas postavljala sama umetnost – izabrati ono najbolje što se u konkretnom momentu pojavilo na sceni. Radoznalost koja nas je pokretala imala je uvek pozitivan predznak. Ideja opšteg dobra za nas nikada nije bila utopijska ideja već način na koji se kreativnost i radoznalost upotpunjuju. Biti angažovan, i podržavati one koji su slabi i nemoćni, koji su izloženi pritisku i poniženjima, to je nešto što se stalno mora stavljati u prvi plan. U tom je pogledu “O3one” bio, i ostao, mesto sigurnosti i poverenja. Učinićemo sve da “O3one” takav i ostane. Nebojša Babić

OUR DRIVING FORCE

It’s always more difficult when you have a “rounded” jubilee than just a regular anniversary. Ten years have passed since the moment we started something - we have accomplished a certain goal, shaped our own history, but that is also the point where we have to announce what we will be doing in the next ten years. “O3one” was created in order to connect the ideas that hadn’t been linked previously, to set in motion things that had no place of their own and open new channels of communication after decades of isolation and solitude. If there was a word which I could use to define the motive and impetus behind “O3one” it would be curiosity. There is nothing more important than curiosity when we talk about creativity and vitality. We have, all of us together, nurtured this curiosity all these years as a rare and precious flower which can survive only in an environment of tolerance, solidarity and readiness to take part in creating a better and more just society. The new know-how and new technologies have been are constant allies. In the last ten years “O3one” was predominantly designoriented, though it was, more often than not, a very special type of design penetrating all pores of contemporary life. We managed to make an amalgam of design and activism, a link that connects art and new media, technologies and social theory, music and ecology. Among all the challenges set before O3one, the one set by art itself was particularly demanding - choosing the best works on the art scene at a given time. The curiosity that drove us had always had a very positive intent. The idea of common good was never a utopian idea for us but rather a way in which creativity and curiosity complement one another. Being committed, and supporting the ones who are weak and powerless, who are exposed to pressure and humiliation, that’s something that must always come first. In that respect “O3one” has always been the place of safety and trust. We will do everything we can to keep it so. Nebojša Babić

• O3ONE - CREATED IN BELGRADE

Kultura bilo koje zemlje ne može da se razvija ukoliko sva tri sektora - javni, privatni i civilni - nisu podjednako dobro razvijeni i ne stoje na zdravim osnovama. Ono što gotovo u potpunosti nedostaje u Srbiji jesu organizacije privatnog sektora koje bi se bavile kulturom, podržavale kulturu i umetnost, i čak same bile producenti.

A šta predstavlja privatni sektor u kulturi, a samim tim i „O3one“ kao privatna inicijativa? To je ustvari jedini sektor koji je usmeren na budućnost. Naime, civilno društvo se bavi društvom danas, i pokušava da ispravi nepravde svih vrsta danas i ovde. To su aktivističke organizacije koje se bave socijalnim, društvenim i političkim nepravdama. Javni sektor je okrenut prošlosti. On nastoji da očuva nasleđe, postignuća, znanja, visok stepen usko shvaćenog profesionalizma... Privatni sektor je jedini koji ima preuzetnički duh, i koji je spreman na rizik – bilo da je u pitanju organizacija, ili individualni, delatni, „samo(ne)zaposleni“ umetnik. U ovom sektoru se danas stvara umetnička produkcija koja će biti kulturno nasleđe sutra. Bez ove aktivnosti, nema ni savremene umetnosti, niti ćemo mi imati šta da čuvamo i štitimo za 50 godina. Ostaćemo na nivou onog što je davno stvarano, pre 100 godina.

U tom smislu, biti jedan ili jedan od nekoliko i to u polju kulture danas u Srbiji, ne daje mnogo šansi za uspeh i teško je očekivati da se može opstati na duži rok kada nema odgovarajućeg miljea neophodnog za razvoj svake pojedine organizacije. Ipak, uprkos tome, „O3one“ je opstao i to celih 10 godina, sa raznovrsnom programskom politikom. Te 2004. kada je „O3one“ pokrenut, celo društvo se našlo na razmeđi. To je momenat kada mnogi ideali koji su se početkom dvehiljadite pojavili (kao i veliko okupljanje kulturnog i umetničkog sektora) i fantastična energija koja je pokretala napred – gube svoj zamajac. Tokom devedestetih su javne ustanove bile toliko urušene da sve što se u ovom poletnom periodu desilo u javnom sektoru nije moglo da pomeri mnogo. Kulturna politika je u tom periodu bila nužno okrenuta javnom sektoru (tada je i pokrenuta ideja o rekonstrukciji Narodnog muzeja, Muzeja savremene umetnosti..., a vidimo da se čak ni sa tim nije stiglo daleko). Istovremeno, podržavan je i civilni sektor koji je praktično izneo savremenu umetničku produkciju tokom devedesetih, i Ministarstvo je posebnu pažnju poklonilo i tim organizacijama, poput Dah teatra, Yustata, Remonta...

Stoga, privatni sektor ostaje u većini zemalja taj koji prednjači sa inovacijama u umetnosti, koji omogućava umetnicimapojedincima i korišćenje novih tehnologija u umetnosti (što umetnici sami sebi ne mogu da priušte), čega po prirodi stvari nema u javnom sektoru, a za šta civilni nema finansijsku snagu. „O3one“ je na svoj način podržao (i podržava i dalje) savremenu umetnost, prvenstveno vizuelnu u najširem smislu reči, i spada među maksimalno desetak organizacija privatnog sektora u Srbiji koje su uspele da od svoje početne ideje naprave dovoljan prihod da bi mogle da opstanu na tržištu, da deluju kao pravi producenti, da pomažu i pozivaju umetnike. Iako kod nas tržište kulture faktički ne postoji, dobro je što postoje pojedinci i organizacije koji pokreću različite inicijative. No, s obzirom da su ove inicijative izuzetak a ne pravilo, a kulturna politika države nije još uvek u svoj delokrug stavila privatni sektor na pravi način, nije došlo ni do stvaranja jednog zdravog samoodrživog privatnog sektora u kulturi kod nas.

Stoga je cela priča o podršci i jačanju privatnog sektora prosto morala da izostane, naročito nakon 2004-2005, kada prestaje i podrška civilnom sektoru. To je momenat kad se javlja potpuno pionirski projekat „O3one“. Dakle, kada se u javnosti širilo uverenje da privatni sektor i civilno društvo samo troše pare javnog sektora na nešto što možda nije prioritet u smislu građenja nacionalnog identiteta u tradicionalnom smislu reči, Nebojša Babić u potpuno privatnoj režiji i podršku kreativnog Orange studija, pokreće projekat „O3one“.

Značaj davanja podrške savremenoj umetnosti i tržištu umetnosti nekako još uvek ne dopire do javnosti jer je javnost bombardovana podacima o propadanju materijalnog i nematerijalnog nasleđa, brojnih „nacionalnih“ ustanova. Ali i pored ovih istina, nije dovoljno samo baviti se prošlošću... Jedna dobra kulturna politika mora da nađe balans između podrške savremenoj umetnosti i podrške nasleđu, ali isto tako mora da se bavi i razvojem publike i radu na dostuponosti (savremene) kulture. Na taj način se zaokružuje polje (Burdije), „kruženjem“ umetničkih dela od njihovih stvaralaca do onih koji će u njima da uživaju. Istovremeno, radimo na tome da izložbe ne posećuju samo komšije, rođaci i kolege umetnika, već da svi građani steknu naviku da posete galerije, izložbene prostore, sva mesta gde se mogu sresti sa umetničkim delima i njihovim tvorcima. Galerija „O3one“ je jedno od takvih mesta gde ljudi imaju naviku da svrate da vide šta ima novo. I pored svih negativnih trendova, među kojima je i nezaobilazna ekonomska kriza i smanjivanje izdataka za kulturu kako na ličnom nivou tako i na

Na početku, da razjasnimo neke nedoumice... U Srbiji jedini „pravi“ sektor u kulturi je javni sektor (sistemski predviđen uz finansijsku i pravnu sigurnost delovanja). On jedini ima svojevrsnu održivost. Civilni sektor je pritom nastao kao reakcija na nemoć javnog sektora da se bori sa pravim pitanjima i problemima u kulturi, tako da su brojne NVO u različitim trenucima istorije pokretale i kulturne programe i ustanove (od Rexa kao kulurnog centra Radija B92, do Centra za kulturnu dekontaminaciju vezanog za brojne građanske inicijative). Ove ustanove civilnog društva imaju preciznu i jasnu političku misiju, i uključene su u procese društvenih promena na različite načine – ali izričito fokusirajući sadašnjost i tekuće probleme kulturnog i socijalnog konteksta. 6

nivou organizacija, projekat „O3one“ je opstao i ne samo to. On je definitivno ostavio traga u kulturnoj slici Beograda i Srbije. Specifičnost ovog projekta i ono po čemu se izdvojio u odnosu na druge slične, jeste prvenstveno njegova otvorenost. U ovom prostoru je istovremeno galerijski tretiran i dizajn i klasične vizuelne umetnosti, koje su se kod nas dosta razdvajale. U momentu nastanka, „ O3one“ je ušao u jedno polje koje je u tom trenutku bilo prazno i napravio je dobar pokušaj na davanju značaja onome što je vezano za popularnu kulturu. Popularna kultura nije, kao što je već neko vreme uvreženo mišljenje, sva kič i neukus, ne. Baš kroz „O3one“ smo dobili mogućnost da vidimo kulturu svakodnevice iz drugog ugla. I baš ta otvorenost je dala dodatnu vrednost „O3one“-u, te je ovaj prostor postao bitan u oblikovanju vrednosti, stavova, mišljenja... Različiti trendovi i tendencije koje su svoje mesto našle u „O3one“ galeriji, kao i izbor umetnika potpuno različitih struja i provenijencija (koje biste na nekom drugom mestu teško mogli naći zajedno), ovde ste mogli da vidite jedne za drugima. To je posebna čar ovog mesta: sposobnost da spoji nespojivo. Milena Dragićević Šešić

• O3ONE - CREATED IN BELGRADE

The culture of any country can not be developed if all three sectors - public, private and civil - are not equally well developed and do not stand on sound ground. What are almost entirely missing in Serbia are private sector organizations to deal with culture, supporting the culture and art, and even taking the part of producers.

And what is the private sector in the culture, and thus “O3one” as a private initiative? It’s actually the only sector that is focused on the future. In fact, civil society is engaged in society today and is trying to correct the injustices of all kinds here and now. These are activist organizations dealing with social, society and political injustices. The public sector is facing the past. It seeks to preserve the heritage, achievements, knowledge, high level of narrowly conceived professionalism... The private sector is the only one who has entrepreneur spirit, and which is willing to take risks - whether it comes to an organization or individual, effective, “self-employed” artist. This sector is now creating art production to be the cultural heritage of tomorrow. Without these activities, there is no contemporary art, nor will we have anything to preserve and protect in 50 years from now. We will remain at the level of what was long ago devised, 100 years ago.

In this sense, to be one or one of a few in the field of culture in Serbia today, does not give much chance for success, and it is unlikely that it can survive in the long term when there is no appropriate milieu that is necessary for the development of each singular organization. However, despite this, “O3one” made it and even for entire 10 years, with a colorful program. Back in the 2004, when “O3one” was launched, the entire society found itself at the crossroads. This is the point where many of the ideals that were beginning in 2000 appeared (as well as a large gathering of cultural and artistic sector) and the fantastic energy that propelled society forward – lost its momentum. During 90s the public institutions were so ruined that everything that occurred in this spirited period in the public sector could not move much. Cultural policy in this period was necessarily facing toward the public sector (then was launched the idea of the reconstruction of the National Museum, the Museum of Contemporary Art ... and we see that even with those it was not done much). At the same time, the civilian sector was supported and it practically presented contemporary art production in the nineties, and the Ministry gave attention and to these organizations, such as Dah theater, Yustata, Remonta ... Therefore, the whole story about the support and strengthening of the private sector simply had to fall behind, especially after 2004-2005, when support to the civil sector stops. That is the moment when it pioneer project “O3one” occurs.

Therefore, the private sector remains in most countries, one that leads the innovations in art, which allows artists-individuals and the use of new technologies in the arts (as the artists themselves can not afford), which by its nature is not in the public sector, and for what civilian has no financial strength. “O3one” in its own way supported (and still supports) contemporary art, primarily visual in the broadest sense, and is among a maximum of ten organizations of the private sector in Serbia which got from its initial idea sufficient income to be able to survive on the market, to act as a true producers, to help and invite artists. Although the culture market actually does not exist, it is good that there are individuals and organizations who run various initiatives. But given that these initiatives are exception rather than the rule, and the cultural policy of the state is still not puting in its scope the private sector in the right way, there has been no creation of a healthy self-sustaining private sector in culture.

So when in the public the belief was that the private sector and civil society are only spending money on public sector something that might not be a priority in terms of the construction of national identity in the traditional sense of the word, Nebojsa Babic in a completely private setting and support of creative Orange studio, initiated the project “O3one. “ At the outset, let’s clear some doubts ... In Serbia, the only “real” sector in the culture is the public sector (system provided with the financial and legal security action). It only has a kind of sustainability. The civil sector emerged as a reaction to the inability of the public sector that was struggling with real issues and problems in the culture, so a number of NGOs in different moments of history initiated discussion and cultural programs and institutions (from Rex as culture center B92, the Center for Cultural decontamination linked to numerous civic initiatives). These institutions of civil society have a precise and clear political mission, and are involved in processes of social change in different ways - but specifically focusing on present and the current problems of the cultural and social context.

The importance of supporting contemporary art and the art market somehow still does not reach the public because the public is bombarded with data about the decline of tangible and intangible heritage, of a number of “national” institutions. But despite these facts, it is not enough just to deal with the past ... One good cultural policy must find a balance between supporting contemporary art and supporting heritage, but also has to deal with and develop audiences and work on availability of the (contemporary) culture. In this way creating the rounded field (Bourdieu), of “circling” artworks by their creators to those who will enjoy in them. At the same time, we are working in order to accustom all citizens with the habit to visit galleries, exhibition spaces, all places where you can meet with works of art and their creators visiting the exhibition and not only neighbors, relatives and fellow artists.

Gallery “O3one” is one of those places where people have the habit to stop by to see what’s new. Despite all the negative trends, including the inevitable economic crisis and reduced expenditures for culture both on the personal level and at the level of the organization, the project “O3one” is alive and not only that. It definitely left his mark in the cultural picture of Belgrade and Serbia. The specificity of this project and what sets it aside compared to other similar ones is primarily its openness. In this area design and classical visual arts are treated in the same time, which are commonly quite separated. At the moment of its creation, “O3one” has entered one field that was empty at that moment and made a good attempt at giving importance to what is related to popular culture. Popular culture is not, as has already been a while popular opinion, all the kitsch and bad taste, it is not. Through “O3one” we got the opportunity to see the culture of everyday life from a different angle. It is this openness that made added value to “O3one”, and this area has become essential in the formation of values, attitudes, opinions ... Various trends and tendencies that have found their place in the “O3one” gallery, as well as a selection of the artist completely from different currents and provenance (which would be hard to find together elsewhere), here you are able to see each other. It’s a special charm of this place: the ability to combine unthinkable. Milena Dragićević Šešić

• KAO: PLATFORMA, PROSTOR ZA PROJEKTE, KAO LOUNGE, KAO IZAZOV…

Prvi događaj u okviru programa „O3 programme”, koji se odigrao samo dan nakon žurke povodom otvaranja, već je jasno ukazivao na budući profil tog mesta, koje nije imalo prethodnika na lokalnoj institutionalnoj sceni. To je bio živi muzički događaj u kojem su učestvovali Zbignjev Karkovski, eksperimentalni izvođač i ujedno i kompozitor, kako akustične tako i elektroakustične muzike, sa popriličnim akademskim znanjem iz savremene muzeologije, i Helmut Šefer, umetnik koji se bavi zvukom, potekao sa demo muzičke scene, a počeo koristeći Komodor i Atari kompjutere, prvi šesnaestobitni sempler (Kasio FZ 1), različite plejere semplova i druge midi uređaje. Njihov zajednički performans i razgovor o njihovom radu organizovan je, na scenu postavljen i realizovan u saradnji O3ONE prostora za projekte, inicijative Činč, projekta „Kompozitor u prvom licu”, i MAME – multimedijalnog instituta iz Zagreba, sa namerom da se iniciraju događaji koji probijaju barijere postavljene između kulturnih disciplina i različitih tipova publike, da bi prostor koji je nekada bio poznat kao prilično ordinarna galerija otvorili ka mnoštvu izlagačkih formata, tipova događaja i procedura realizovanja izložbi. Razlog da se takav prostor za događaje u oblasti vizuelnog otvori upravo performativnim događajem, koji se zasnivao na manipulaciji zvukom, ali nije imao podtekste poput onih koje su svi oni DJ događaji izvođeni u galerijskim prostorima širom Evrope, tokom devedesetih godina, imali, i upravo u okružju koje je bilo tehnološki unapređeno do nivoa koji nijedan uobičajeni događaj u oblasti vizuelnih umetnosti ne bi zahtevao, pa ni potrebovao, korenio je u uverenju da nijedna institucionalna niti prostorna forma u kojoj se izvode umetnički, kulturni i društvnei sadržaji, nije neutralna, niti treba biti smatrana za takvu. Ukoliko se neki, „umetnosti namenjeni prostor” već

posveti inovativnoj i eksperimentalnoj umetnosti, onda to ne treba da bude limitirano samo na specifične tipove izlaganih sadržaja ili podržanih događaja, već treba da se uzme u obzir i način na koji on deluje kao neka vrsta terminala za različite društvene mreže koje ga smatraju bliskim svojim kulturnim potrebama, interesima i ukusima, njihovom društvenom i ekonomskom statusu, njihovim željama i očekivanjima. Jedan od načina da se sve ovo uzme u obzir pri konstruisanju nekog institucionalnog profila bio bi da se sve odluke unapred donose i da se prosto taj profil drži neke konkretne mreže proizvođača i korisnika kulturnih sadržaja, i da dati institucionalni prostor učini dobrim partnerom u prezentaciji i produkciji svega onoga što se u okviru te mreže proizvodi. Drugi način, koji je O3ONE u stvari i počeo da razvija, jeste da se stvari načine što je moguće hibridnijima, i da se pokuša povezivanje podeljene realnosti, i da se tim povezivanjem pokrenu različite nove, hibridne prakse u umetnosti i dizajnu, poslovanju i marketingu, koje bi delovale na nestandardne načine. Kada se na Internetu pretražuju sadržaji koji su arhivirani na sajtu O3, i nailazi na impresivan broj realizovanih događaja (preko dvesta realizovanih u prve tri godine), može se uvideti i da to nije samo jedan, pa čak ni nekoliko tipova programa koji tu zajedno postoje, već skoro nepregledna masa koja se može samo naknadno urediti, jer dok biva generisana to se dešava tako nekontrolisanom brzinom da je teško udaljiti se i sve to sagledati sasvim sa strane. Jedna od prepoznatljivih linija u programu vezana je za neki međuprostor u kojem vizualne umetnosti sreću eksperimentalnu ili popularnu savremenu muziku. Nakon koncerta Karkovskog i Šefera, na eksperimentalnoj strani bili su, na primer, izložba pod naslovom „Zvuk sreće vizuelno u savre-

menoj francuskoj umetnosti”, koju je priredila An Rokinji, prezentacija para izvođača pod imenom „Pink Twins”, ili striming performansi grupe pod nazivom „Recoil Performance Group”. Na popularnoj strani su bili izložba „EKV Rewind”, omaž lokalnom kultnom pop sastavu iz osamdesetih, koji je autorski načinio Vuk Vidor, potom izložba posvećena grupi R.E.M, nazvana „Posle 25 godina”, izložba posvećena Darku Rundeku i nazvana „Cargo aspekti”, izložba naslovnih strana londonskog džez časopisa „Straight No Chaser”, itd. Pored toga, možda je najčešći sadržaj izložbi i događaja bio na liniji koja povezuje grafički, industrijski, urbani i arhitektonski dizajn, tako da je vredno u tom kontesktu i pomenuti izložbe kao što su „Adrenalin – dizajn i aktivizam u Srbiji”, zatim „Commonications” Vladana Srdića, „The Look of Passion” mreže Design Serbia, „Dodirni” FormArt-a, „Priče o Srbiji” Andree Dežo, „Ideja” časopisa „Oris”, „Remix Srbija” Karlssonwilkera, „Savremeni dizajn sa Islanda” asocijacije Kirsuberjatréð, događaj u organizaciji Designers Republic, „Radovi” Insomnia Design Group, te „YUGO” projekat Vladimira Bojića, prezentacija Mute časopisa od strane Džejmi Kinga, kao i prezenacije Detroita kao izumirućeg grada, od strane Kjong Parka, a potom i Manfreda Cimermana. Postoji takođe i vidno prisustvo elektronski unapređene, objektno ili procesno usmerene vizuelne umetnosti, poput one Dorijana Kolundžije, ili niza umetnika iz regiona koji su nastupili u okviru izložbe „Device Art”, zatim projekta „Ballettikka Internettikka”, prezentacija Džoe Dejvisa ili Roba Mejersa. Konačno, postojao je i niz humanitarnih i edukativnih izložbi i događaja poput onog koji je organizovala grupa „Hajde da...”, pokazujući edukativne TV programe za decu, ili „Mojim očima”, foto izložbe koju su deca sa karcinomom sama radila, itd. Može se reći da je postojala razlika u selektovanju lokalnih umetnika i onih koji su dolazili iz inostranstva, i da ona nije bila zasnovana samo na razlici u troškovima produkcije i transporta, ili dostupnošću tih autora. Lokalni umetnici, može se reći, bili su uglavnom birani kao veoma etablirani

eksperimentalni umetnici, kojima je ponuđen bolji okvir produkcije i prezentacije nego na drugim mestima (to su, na primer, Uroš Đurić, Mihael Milunović, Aleksandar Kujučev, Aleksandar Zograf, Vuk Vidor, Johnny Rackowitzch, itd), ili kao perspektivni umetnici koji su imali projekte koji se razlikuju od uobičajenih na lokalnoj sceni. Sa druge strane, strani umetnici su bivali pozivani ili kao rezultat saradnje sa nekim lokalnim ili stranim partnerima, ili na osnovu neke inicijative lokalnih umetnika ili kustosa, sa idejom da se uspostave saradnje koje će lokalnu scenu uzdrmati uvođenjem nekih umetničkih, kulturnih i društvenih aktivnosti koje se razlikuju od onih već postojećih. Od samog početka, najverovatnije usled različite vizuelne pojavnosti i praktične funkcionalnosti tog prostora, O3ONE je privlačio veoma različite grupe ljudi, sa idejom da doprinesu programu, ili da taj prostor iskoriste da bi sa njega lansirali neke svoje ideje ili radove. U stvari, kada se radi o O3, veoma je teško biti puki posmatrač. Ili se uhvatite u neku rutinu stalnog obilaženja i „čekiranja” šta se tu dešava, u pokušaju da povežete sve te razne stvari, što se često završava idejom da se ponudi projekat za program, ili se prosto izgubite u masi informacija koje odatle stižu, nalazeći stvarno teškim da sve to što se tamo dešava stavite u jedan okvir. Zasigurno je izvesno da nema lokalne institucije vezane za vizuelne umetnosti koja je u tako kratkom periodu imala toliki protok ljudi koji su tu neko vreme radili u punom obimu radnih sati, privremeno doprinosili programu, ili realizovali jedan ili niz projekata. Sa jedne strane, to je dovelo do prilično velikog ubrazanja dinamike programa, tako da su nekada dan za danom, ili čak više puta u toku istog dana bili predstavljani drugi, pa ponovo drugi sadržaji. Sa druge strane, to je ovaj prostor pretvorilo u indeksno mesto nove produkcije u oblasti umetnosti, dizajna i njima bliskog biznisa, kao i u mesto koje još uvek predstavlja izazov za većinu profesionalaca u ovim oblastima, izazov da tu oprobaju svoje ideje i testiraju svoj javni imidž. Stevan Vuković

• AS A PLATFORM, A PROJECT SPACE, A LOUNGE, A CHALLENGE…

an art venue claims to support innovative and experimental art, that should be not limited only to the specific types of items that are being displayed, or events hosted in that physical space, but should take into account the manner in which it acts as a terminal for different social networks that consider it being close to their cultural needs, interests, and tastes, their social and economic status, their desires and expectations. One way of taking into account all this in constructing an institutional profile would be to make all choices in advance and stick to a very specific network of producers and users of cultural contents, and make the veue into a good partner in presenting and producing whatever is being produced in that network. The other, which was actully the one O3ONE started to develop, was and still is to make things as hybrid as possible, and to try to stir up the divided realms, mixing different types of practices in art and design, business and marketing in various unconventional ways. As one browses through the web site that stores documentation of an impressive number of realized events (over two hundred of them in the first three years), one can notice that it was not one, nor even several types of programs presented, but almost an uncomprehisible mass that could be ordered only after the fact, for when it was being generated, it was in such an uncontrollable speed, that it was difficult to move away and see it alltogether. One of the recognizible lines in its programming have remained linked to the space in which visual arts meet experimental or

The very first event in the O3 programme, which took place only a day after the opening party, was already clearly showing the future profile of this venue, which had no precedent at the local institutional scene. It was a live noise music act by Zbigniew Karkowski, experimental performer and composer of both acoustic and electroacoustic music, with quite some academic knowledge in contemporary musicology, joined by Helmut Shaefer, sound artist originally coming from the demo music scene, who used to be using Commodore and Atari computers, first 16 bit Sampler (Casio FZ 1), different sample players and various other midi tools. Their joint performance and artist talk was organized, staged and realized in cooperation between the O3ONE project space, the CHINCH initiative, Composers in First Person project, and MAMA - Multimedia institute from Zagreb, with the intention to initiate events that cross barriers between cultural disciplines and target audiences, and open up a place formerly known as a “straight” exhibition space to a variety of display formats, event formats and exhibition timelines. The reason to open up a visual art venue with a sound based performative act that had no populist undercurrents such as all those DJ events that got to be expeceted in visual art venues all over Europe in the nineties, and in the sourrounding that was technologically upgraded to a level that almost no “straight” visual art event would ever need it, was rooted in the belief that no institutional or spatial format in which artistic, cultural and social events take place is neutral, nor should be taken as it is. If 12

popular contemporary music. After the Karkowski- Shaefer concert, on the experimental side there was, for instance, an exhibition titled ”Sound Meets Visual In Contemporary French Art”, curated by Anne Roquigny, the presentation of “Pink Twins”, or streaming performances of the Recoil Performance Group”. On the popular side, there was the “EKV Rewind” exhibition, as a hommage to a local cult pop band from the eighties, by visual artist Vuk Vidor, then an exhibition on R.E.M. titled “After 25.years”, an exhibition on Darko Rundek, titled “Cargo Aspects”, the one on the covers of the “Straight No Chaser”, London bazed Jazz Magazine, etc. Besides, perhaps the most frequent content of exhibitions and events at this venue was linked to graphic, industrial, urban or architectural design, so that it is worth menitioning exhibitions such as the one titled “Adrenalin - Design and Activism in Serbia”, “Commonications” by Vladan Srdić, “The Look of Passion” by Design Serbia, “Touch it” by FormArt, “Stories on Serbia” by Andrea Dezso, “Idea” by the “Oris” magazine, “Remix Srbija” by “Karlssonwilker”, “Contemporary Design from Island” by the association Kirsuberjatréð, the Designers Republic event, “Works” by the “Insomnia Design Group”, the “YUGO” project by Vladimir Bojić, presentation by Jamie King on Mute, London, of Kyong Park, and then also Manfred Zimmermann on Detroit, as a dying city. There was also a visible presence of electronically enhanced, object or process related visual art, like the one of Dorian Kolundžija, or several regional artists, titled “Device Art”, “Ballettikka Internettikka” Joe Davis, or Rob Myers. Finally, there was a strong humanitarian set of exhibition and events, such as the ones, for instance, organized by the group “Let’s.....”, showing educational TV shows for children, “Trough my eyes”, a photo show done by the cancer effected children themselves, etc.

of their own ideas or creations. In fact, when O3 is in case, it is quite hard to be a plain observant. Either one gets into the routine of constantly checking it out, and try to link together things that seem very disparate, which often ends up in proposing a project for its programme, or one simply gets lost in the mass of info sent out from there, finding it difficult to place most of the events going on there in any given specific frame. It is completely sure that there is no local visual art related institution that had in such a short period such a vivid flux of people who were working there full time for a while, contributing from time to time, or just realizing a project or a set of projects. On one hand, that has led to a wast acceleration of the programm, so that there were times when day after day, or even several times a day there would be some new contents presented. On the other, that has made this venue into an indexical site for the new production in the realms of art, design and related business, and a place that was and still is a challenge for the most of the local professionals to try out their ideas and their public image. Stevan Vukovic

One can say that there were different parameters in selecting local artists and those coming from abroad, and that was not based only on the difference in production and transport costs, or their reachability. The local artists, one can say, were mainly selected either as very established experimental artists that were offered a production and presentation frame which was higher than on other local venues (such as Uroš Đurić, Mihael Milunović, Aleksandar Kujučev, Aleksandar Zograf, Vuk Vidor, Johnny Rackowitzch, etc), or as upcoming artists that had projects that did differ from the average on the local scene. On the other hand, the foreign artists were coming to be invited either as a result of cooperation with local and international cooperation partners, or upon the initiatives of local artists and curators, having ideas on coopeartions that could stir up the local scene by introducing some artistic, cultural and social practices that differ from the present ones. Right from the very beginning, most probably both because of the different visual appearance and its practical functionality, the O3ONE venue has been attracting very diverse groups of people who had ideas of somehow contributing to the programm or using the venue as a platform for launching some 13

• The DETEChild BEOGRADA of Belgrade

Već šest godina, projekat O3ONE pulsira svojim živim programskim bićem, stremeći art vertikalama i premošćavanju daljina i stoga šireći u kulturi dobar „kreativni” ozon, iz centra Beograda u region i svet. Koncepcija ovog sinergijskog projekta i doslednost njegovog spiritus movensa – poznatog beogradskog fotografa Nebojše Babića, u odnosu na prioritete O3ONE-a (savremenu umetničku praksu i nove tehnologije) omogućili su mu da preživi eksperimentalnu fazu. Uz to, publika i javnost osvojeni su na nivoima do tada nepoznatim ovdašnjoj galerijskoj praksi.

događaje. Najzastupljenije su izložbe mladih umetnika i članova umetničkih grupa iz zemlje i sa evropskog i američkog kontinenta, kao i renomiranih autora, predstavnika srednje generacije. Shodno uslovima multimedijalnog prostora, projekat O3ONE bazira se pretežno na multimedijalnim izložbama i prezentaciji intermedijalnih umetničkih radova i projekata. Prioritet je afirmacija domaće, regionalne i svetske umetničke prakse koja nastaje primenom novih tehnologija, ali ne izostaju ni kvalitetne izložbe radova izvedenih u tradicionalnim tehnikama. Projekat O3ONE specifičan je i po svojoj otvorenosti za protagoniste savremenih likovnih umetnosti kao i za stvaraoce na polju primenjenih umetnosti i dizajna, čime praktično doprinosi razbijanju predrasuda po pitanju njihovih sličnosti i razlika.

Od 3. oktobra 2004. godine, projekat O3ONE, prvo embrion a danas ”enfant terrible“ Beograda, raste na Andrićevom vencu, u decentnom i tehnički savremeno opremljenom galerijskom prostoru, prema kojem svakodnevno gravitiraju građani, ličnosti iz javnog i kulturnog života i gosti prestonice. To dete grada izdanak je Beograda kakvog pamtimo iz 70-ih i 80-ih godina 20. veka, iz vremena uspona naše kulturne urbane scene, i mnogi ga porede sa ondašnjim Studentskim kulturnim centrom. Oglasilo se koncertom Zbignjeva Karkovskog, jednog od najpoznatijih umetnika noise-elektronike, uz čuđenje još letargičnih sugrađana, i u rekordnom roku postalo kultno mesto Beograda.

Neretko su izložbe savremenih tematskih okvira imale socijalni pretekst, sa fokusom na savremenu političku moć i reprezentaciju, kulturnu klimu i vrednosni sistem u društvu, cenzuru i autocenzuru, autorstvo – posebno u slučajevima korišćenja računarskih programa. Savremenim načinom prezentacije, rasvetljavani su i pojedini fenomeni iz istorije umetnosti, a posredstvom nekih izložbi jasno je ispoljen i stav o potrebi popularizacije visoke umetnosti.

Govoriti o projektu kao da je reč o individui, svakako, nije uobičajeno, ali to samo potvrđuje utisak da je Beograd s O3ONE-om konačno dobio jednu živu kulturnu instituciju, koja podjednako drži do svojih visokih kriterijuma i publike. To živo kulturno biće, svesno potreba savremenog čoveka za estetskim, edukativnim i zabavnim sadržajima, za informacijom i komunikacijom, raspoloživi prostor učinilo je centrom za prezentaciju naprednih umetničkih ideja, bibliotekom za dizajnere, aulom za fotografe, likovne umetnike, studente, kustose, predavače, ljude iz medija... ali i fensi mestom. Kao najviši domet O3ONE-a upravo se nameće njegova sposobnost širenja pozitivne energije, uspostavljanja komunikacije, kako u geografskom tako i u interdisciplinarnom pogledu. O ovome najbolje svedoče gostovanja Karima Rašida, Karla Luisa i Zubina Mehte u O3ONE-u, kao i nova internacionalna manifestacija – Beogradski festival novih komunikacija, B-link, koju je O3ONE iznedrio.

Sa svešću o tome da je dizajn sve uticajniji u savremenoj civilizaciji, O3ONE je, različitim povodima, predstavio rad vrhunskih svetskih dizajnera, od Karlson Vilkera do Branka Lukića, a bio je prvi i u otkrivanju novih imena koja pomeraju granice savremenog dizajna. Sve to O3ONE čini iz uverenja da vibracije radova pojedinaca, izoštrenih komunikacijskih sposobnosti, i kreativnih timova, pozitivno deluju na ljude; dakle, tražeći i promovišući etičko u dizajnu. Posebna pažnja posvećena je i oblasti fotografije; za ove tri godine, u okviru projekta O3ONE, predstavljene su brojne fotografske izložbe poznatih, ali i anonimnih autora, profesionalnih fotografa, ali i studenata i učenika, projekti definisani shodno umetničkim, dokumentarističkim ili altruističkim ambicijama. Pojedine izložbe fotografija delovi su širih projekata umetnika ili umetničkih asocijacija i institucija, usmerenih na istraživanja: reprezentacije bogatstva, statusnih simbola u različitim kulturama, prirodnih lepota ili nečeg drugog, a bilo je i onih vezanih za edukativne kampanje, poput izložbe „Njen prijatelj” sa fotografijama poznatih ličnosti i njihovih prijatelja koji su se lečili od raka dojke (deo globalne kampanje „Breast Friends” farmaceutske kompanije Roche).

Veliki deo programa O3ONE-a i inače je posvećen individualnim i institucionalnim naporima koji se širom sveta ulažu u afirmaciju upotrebe informacionih i komunikacijskih tehnologija na polju savremene umetnosti, uopšte kulture, nauke... kao i njihove primene u domenima tradicionalnih medija. Promovišući, u Beogradu, evropske i svetske centre posvećene digitalnoj tehnologiji i umetnosti, podstičući slične inovativne projekte, O3ONE je i sam otvorio prostor za eksperiment i produkciju na ovom polju, a time i za stalne izazove publici u interakciji sa virtuelnim karakterima, kako u enterijeru tako i u eksterijeru.

U okviru kustoske platforme „art-e-conomy” Marka Stamenkovića, održane su brojne izložbe i prezentacije internacionalnih projekata usmerenih na pitanja umetnosti u poznom kapitalističkom dobu. Domaćoj javnosti je ovim ciklusom ukazano na potrebe savremenih umetnika da svoja dela predstave i kao komercijalne proizvode, akcentovani su neophodnost prožimanja umetnosti i poslovnog sektora, kao i novi modeli menadžmenta u umetnosti.

Projekat O3ONE u osnovi čine dve programske sheme: prva uključuje izložbe, a druga ostale, najčešće jednodnevne, umetničke 14

Istovremeno, u žiži su bili rezultati umetničke prakse koja kritički interpretira savremenu ekonomiju, afirmiše demokratske mogućnosti umetničkog rada u domenima razvoja i produkcije, podstiče dijalog među ljudima kao višeglasan neprekidni proces.

U suštini, O3ONE nastoji i uspeva da podstakne kritički dijalog između različitih strategija u okviru sveta umetnosti i izvan njega. Štaviše, O3ONE doprinosi stvaranju umetnosti aktivnijeg dejstva, koja može imati plasman na tržištu. Činjenica je, takođe, da O3ONE-ov tim ume da animira umetnike i umetničke asocijacije da učestvuju u preduzetim projektima, koji su često u vidu work in progress-a, i koji rezultiraju finalnim izložbama, kao i da u njih uključi publiku tako da ona bude i sama vinovnik kreativnosti, i kritičar.

Pod događajima u okviru projekta O3ONE podrazumevamo prezentacije projekata, predavanja, okrugle stolove, kreativne radionice, kustoske seminare, koncerte... Težište je na prezentaciji internacionalnih festivala koji se baziraju na naprednim umetničkim idejama datim u elektronskim i digitalnim medijima. Predstavljeni su i pojedini umetnički i istraživački projekti koji ispituju etičko i estetičko u kontaktu umetnosti i biologije. Osim toga, tu su i multimedijalne promocije: internacionalnih umetničkih kampova i radionica, modnih manifestacija, DVD-a o izuzetnim ličnostima iz sveta kulture, knjiga i časopisa, muzičkih albuma, kao i projekcije eksperimentalnih filmova. Bilo je sluha i za promociju nezavisnih inicijativa usmerenih ka prezentaciji umetničkih potencijala i razvoju kulture kroz unapređenje komunikacije i mobilnosti u svetu umetnosti.

O3ONE, dakle, sopstvenim primerom, već doprinosi razvoju novih kolaborativnih formi između umetnika i subjekata izvan domena umetnosti, u našoj sredini i izvan nje. Zahvaljujući njemu, postalo je očiglednije da se od sada moraju uvažavati nova gledišta po pitanju produkcije i prezentacije umetnosti, ne samo u ovom prostoru. Uprkos širini programske platforme i medijskoj i tematskoj fleksibilnosti, projekat, srećom, ne odstupa od svoje idejne trase i vizuelnog koda. Svojevrsni cyber-junak, O3ONE, sada se, posle tri godine, nalazi pred izazovom: kako i dalje reagovati brzo, komunikativno i eksplozivno, delovati radijalno, a istovremeno izgrađivati svoj identitet? To dete bi da odraste. Dopustimo mu to.

O3ONE je organizovao niz predavanja uglednih predavača iz zemlje i sveta, od socijalnih antropologa i umetnika do inženjera... Izlaganja su se, između ostalog, odnosila i na razvoj i mogućnosti računarske industrije kao i na uticaje savremenih tehnoloških dostignuća na sisteme kreiranja umetničkih formi.

Ljubica Jelisavac-Katić

U programu umetničkih događaja nastupali su, pored pomenutih, i predstavnici drugih vokacija: pesnici, prozni pisci, karikaturisti, muzičari, baletski igrači, dramski umetnici, DJ-evi... Važniji segmenti programa praćeni su medijskim performansima koji direktnim audio-vizuelnim linkom premošćuju hiljade kilometara, putem Internet striminga, a ponekad su to izdvojene programske celine, jednovečernji, često humanitarni, interaktivni događaji, realizovani u okviru O3ONE-ovog programa „Soundbridging”. Težeći novim dimenzijama kreativnosti, ovakvi projekti podrazumevaju: eksperimentalan pristup korišćenju i kombinovanju prirodnog glasa, elektronskih uređaja i akustičnih instrumenata, povezivanje reči, zvuka, vizuelnih elemenata, pokreta... – uvođenje publike u novu realnost. Radi realizacije svojih programa, O3ONE je uspostavio saradnju sa mnogim kompanijama, ambasadama, institucijama, manifestacijama (Beogradski maraton...), festivalima (Belef…), međunarodnim projektima (Noć muzeja...), domaćim i internacionalnim časopisima, konkursima… Učestvovao je u realizaciji akcija od društvenog i planetarnog značaja, a često ih i pokretao, poput proslave Međunarodnog dana mira u Beogradu, koju je ustanovio 2005. godine, zajedno sa Društvom Umeće življenja, i pod pokroviteljstvom Narodne kancelarije predsednika Republike.

• THE CHILD OF BELGRADE

O3ONE- the child of Belgrade

dedicated to digital technology and art, and by enticing similar innovative projects, O3ONE created space for experiment and production in this field, and for the continual challenges for the audience in interaction with virtual characters, both in the interior and the exterior.

Project O3ONE has been pulsating with its vibrant programme, for over six years reaching for new heights in the world of art, bridging the distances, spreading good and creative ozone right from the centre of Belgrade into the region and the world. The concept of this synergetic project and the consistency of its spiritus movens – Nebojsa Babic, a well known photographer from Belgrade, in balance with the priorities of O3ONE (a contemporary artistic practice and new technologies) have made it possible for the project to survive its experimental phase. Furthermore, both the audience and the general public have been won over on the levels, up until then unknown to the local gallery practice.

O3ONE Project basically consists of two programme schemes: the first one includes the exhibitions and the second – all the rest, mostly one-day artistic events. Most of the exhibitions are those by young artists and art collectives from the country and abroad, also exhibitions by established artists, mostly representatives of the older generations. In accordance with its space, O3ONE Project is based predominantly on multimedia exhibitions and the presentations of interdisciplinary artistic works and projects. Priority is the affirmation of Serbian, regional and international art practices created by the application of new technologies, however, high quality exhibitions of works made in traditional manner are also included. O3ONE Project is exceptional for its openness towards the creators of contemporary fine arts, and for the artists in the domain of applied arts and design, therefore contributing to the elimination of prejudices regarding their similarities and differences.

Since 3rd October 2004, O3ONE Project has turned from an embryo into enfant terrible of Belgrade, continually developing at Andricev venac. It is a sophisticated and technically state-of-theart exhibiting space, which attracts both public and well known personalities from the public and cultural life. That “child of the city” is the type of offspring we remember from the 70’s and the 80’s of the twentieth century - the time when our cultural urban scene really took off and many people compare it to the Student’s Cultural Centre, as it was then. It announced its existence with the concert by Zbigniew Karkowski, one of the most famous performers of noise-electronica, to the amazement of our lethargic citizens and in no time, managed to become the top place in the city. To speak of a project and a place as of an individual, certainly is unusual, but it only confirms the fact that Belgrade finally possesses a living, vibrant cultural institution which manages to maintain its high criteria and its audience. That living cultural being is aware of the need of a modern man for aesthetics, education and entertainment, for information and communication, and has turned the available space into the centre for presentation of advanced artistic ideas, a library for the designers, a space for photographers, artists, students, custodians, lecturers, people from the media … but also into a very “in” place. One of the greatest achievements of O3ONE is precisely its capacity to emanate positive energy, establish communication on geographical and interdisciplinary level. As an illustration of this ability of O3ONE, we can mention guest appearances of internationally acclaimed personalities such as Karim Rashid, Carl Lewis and Zubin Mehta or O3ONE’s brainchild which quickly became the new international manifestation - B-link - Belgrade festival of new communications.

Numerous exhibitions with contemporary thematic structure, had a social pretext focused on the power of politics in modern times and its representation, cultural climate and the system of values within the society, censorship and self-censorship, authorship – especially in cases when computer programmes were used. Certain phenomena from the history of arts were explained with a contemporary presentation, while the necessity for popularization of fine art was clearly expressed through a number of exhibitions. Baring in mind the fact that design is becoming increasingly important in modern society, O3ONE used different opportunities to present the works of top international designers, from Karlsson-Wilker to our Branko Lukic, and it was the first to disclose new names that pushed the boundaries of contemporary design. O3ONE does all this out of conviction that the vibrations of the works created by individuals, refined communication capabilities and creative teams, have positive influence on people; O3ONE is finding and promoting what is ethical within design. Special attention was paid to the area of photography; numerous photographic exhibitions of famous, as well as anonymous authors, professional photographers, as well as students and pupils, projects defined according to artistic, documentary or altruistic ambitions - have all been presented as part of the O3ONE Project during the past three years. Some exhibitions were part of a broader artistic projects or those of artistic associations and institutions that are focused on research: presentations of wealth, status symbols in different cultures, natural beauties

Considerable part of the programme is dedicated to individual and institutional efforts invested throughout the world in the affirmation of the use of information and communication technologies in the domain of contemporary art, culture in general, science, education…, as well as their application in spheres of the traditional media… By promoting international centres 16

to reach new dimensions in creativity, these projects include experimental attitude towards the use and the combination of human voice, electronic devices and acoustic instruments, the connection of words, sound, visual elements, movement…the introduction of the public into the latest of reality.

and the like, and there were also those connected to the educational campaigns, such as the exhibition “Breast friend” with photographs of famous personalities with their friends who were treated from breast cancer (the exhibition was a part of global campaign “Breast Friends” sponsored by pharmaceutical company Roche).

In order to realize its programmes, O3ONE initiated collaboration with numerous companies, embassies, manifestations (Belgrade marathon), festivals (such as Belef), international projects (Museums’ Night), domestic and international magazines, competitions, etc. O3ONE participated in the realization of activities of social and environmental importance, and it also has initiated them, such as the celebration of International Day of Peace in Belgrade, which O3ONE established in 2005, together with the Art of Living Society and under the patronage of the National Office of the President of the Republic. O3ONE essentially aims and manages to support the critical dialogue between the different strategies within the world of art and beyond it. O3ONE facilitates the creation of art with a more dynamic effect, which could have market placement. It is also evident that O3ONE’s team of professionals can engage artists and artistic associations to participate in projects, often in the form of work in progress, which effectively result in exhibitions, and to include the audience in the work so that they become the initiators of creativity and also give their standpoint on the subject.

Within custodian platform “art-e-conomy” by Marko Stamenkovic, numerous exhibitions and presentations of international projects which focused on issues of art in the late-capitalist era were held. The attention of domestic public was turned to contemporary artists’ need to present their work as commercial products too, with the emphasis on the necessity of art and business sectors being connected, as well as new models of art management. At the same time, the focus was on the results of artistic practice which reviews modern economy with a critical eye, which reaffirms democratic abilities of an artwork in domains of development and production, and stimulates dialogue among people as a continuous multi-voice process. O3ONE Project activities are: project presentations, lectures, round table discussions, creative workshops, custodian seminars, concerts….The focus is on the presentation of international festivals based on progressive artistic ideas presented in electronic and digital media. Certain artistic and research projects questioning the ethic and aesthetic content at the intersection between art and biology were presented. Numerous multimedia promotions of international art camps and workshops, fashion manifestations, DVD presentations of extraordinary personalities the world of culture, promotions of books and magazines, music albums, as well as screenings of experimental films. There was also interest for the promotion of independent initiatives focused on the presentation of artistic potential and cultural development through the improvement of communication and mobility in the world of art.

So, O3ONE itself already Contribute to the development of new collaborative forms between artists and subjects beyond the domain of art, in our region and on international level as well. Thanks to O3ONE, it became evident that it is time to acknowledge that a brand new point of view on art production and presentation has to be accepted, and not only here. Despite the extensive programme platform and media and thematic versatility, the project does not digress from its inspiration and visual code. A kind of a cyber-hero, after three years, O3ONE is facing a challenge – how to react quickly, communicate and interact, function radially, and at the same time, develop its own identity? That child would like to grow up. So let it!

O3ONE organized a set of lectures by renowned lecturers from the country and abroad, by social anthropologists and artists, engineers… Development and capabilities of computer industry were among the topics of the lectures and discussions, as well as the influence of contemporary technological achievements on the systems of creation of artistic forms.

Ljubica Jelisavac - Katić

Besides the above mentioned professionals, representatives of other vocations took part in the artistic events programme - poets, prose writers, caricaturists, musicians, ballet dancers, actors, DJs… More important segments of the programme were followed by media performances able to bridge thousands of kilometres with an audio-visual link - Internet streaming whereas, at other times, those were independent events, one-night interactive happenings, usually organized as a charity events, realized within O3ONE’s “Bridging” programme. In an effort 17

NASLOV

ART

ERA MILIVOJEVIĆ - KONCEPTUALNA ISTORIJA UMETNOSTI IZLOŽBA EXHIBITION

The exhibition includes one hundred best works across all disciplines of communication design and strategy selected by a jury of industry peers in 2007 (i.e. graphic design, package design, advertising and corporate design, editorial design, and more).

Izložba se sastoji od oko sto izabranih radova u svim disciplinama communication dizajna i strategija (grafički dizajn, advertajzing i korporativni dizajn, editorijal dizajn, eksperimentalni dizajn i druga polja). U ovu izložbu uvršćen je Publikum kalendar 2007, koji je kreirala čuvena američka dizajnerka Paula Scher, inspirisana ćirilicom, a tu su i radovi dizajnera i studija kao što je Stefan Sagmeister, Pentagram Dizajn, New York Times magazin, ESPM magazin, dizajn kompanije Thirst i mnogih drugih.

The AIGA “365” show in Belgrade presents a unique opportunity for visitors to learn about the top graphic design production from the most dynamic market in the world. The exhibition was exhibited at the AIGA National Design Center in New York in January and February 2008.

365:AIGA izložba predstavlja jednstvenu priliku da se publika u Beogradu upozna sa samim vrhom produkcije sa polja grafičkog dizajna koja se odvija na najdinamičnijem tržištu u svetu, a prvi put je bila postavljena u AIGA Nacionalnom dizajn centru, u New Yorku, u januaru i februaru 2008.

TALENT FACTORY – REZERVNA PLANETA / SPARE PLANET IZLOŽBA EXHIBITION

“A Spare Planet” exhibition will present the latest works by Talent Factory in which the artist is exploring the nature of micro and macro cosmos. Through videos, photography and audio works, Talent is creating his own universe as an alternative option. An art intervention transforms the real object – a small copper sphere – into a planet with its own characteristics and mysteries. Vladimir Perić (1962, Zemun), studied graphic art and photography at the Faculty of Applied Arts and Design in Belgrade. From 1986 until 1996 he exhibited his work under the pseudonym of Talent, and from 1996, as a member of the group Talent Factory. His work was published in magazines such as Domus, How, Graphics International, Blue, European Photography, Kvadart, Eterna, Reč, New Moment, Remont, Art Magazin…; and in books: David Carson – 2nd sight (Lawrence King Publishing), Steven Heller & Mirko Ilic – Icons of Graphic Design (Thames & Hudson) …. Spare authors: Momcilo Milosevic, Aleksandar Vasiljevic

Vladimir Perić (1962, Zemun) studirao je grafiku i fotografiju na Fakultetu primenjenih umetnosti i dizajna u Beogradu. Od 1986. do 1996. izlaže pod pseudonimom Talent, a od 1996. godine, kao član grupe Talent Factory. Radove je objavljivao u časopisima: Domus, How, Graphics International, Blue, European Photography, Kvadart, Eterna, Reč, New Moment, Remont, Art Magazin….; knjigama: David Carson – 2nd sight (Laurence King Publishing), Steven Heller & Mirko Ilić – Icons of Graphic Design (Thames & Hudson) …. Rezervni autori: Momčilo Milošević, Aleksandar Vasiljević 23

www.mirkoilic.com

Izložba „Rezervna planeta” objedinjuje najnoviju seriju radova, Talent Factory, kojom umetnik ispituje prirodu mikro i makro kosmosa. Kroz video radove, fotografije i muzičku podlogu Talent kreira sopstveni univerzum kao opciju i mogućnost koja se otvara čoveku. Umetnička intervencija pretvara konkretan predment - bakarnu kuglu izuzetno malih dimenzija – u planetu koja ima sopstvene zakonitosti, karakteristike i misterije.

ŽIVKO GROZDANIĆ – NARODNI HEROJ PETAR PETROVIĆ IZLOŽBA EXHIBITION

Nova serija radova koji razmatraju istorijske kontradikcije aktera nacionalnih istorija u Jugoslaviji i EX YU (partizani, četnici, ustaše...). Izložba se sastoji od 36 objekata i tri velike skulpture, a osnovni motiv je izjava Stjepana Mesića, predsednika Republike Hrvatske: „Nijedna žrtva iz Jasenovca nije kriva za nijednu žrtvu na Blajburgu, a dio žrtava na Blajburgu su bili krivi za žrtve u Jasenovcu”. Kao „harizmatski stvaralac koji je autodidakt”, ali i ALEGORIJANAC, autor daje sebi za pravo da ovu političku izjavu preobrati u epistemološki znak umetnosti ili konceptualni rad. U takvoj aproprijaciji Mesićevog teksta, sada se sama izjava, ali i cela izložba i predmeti u njoj, sagledavaju kao integralni deo umetnosti. Postavljanjem izjave ili dela u „svet umetnosti” ima svoje uporište u ontologiji i kao takvo upućuje na sam izvor ili bit samih događaja tokom 1945. godine.” Akademiju završio 1983. u Sarajevu. Osnivač manifestacije Bijenala mladih u Vršcu, osnivač magazina Košava i Art Contekst. Politički aktivista demokratske stranke od 1990. godine, od 1984. godine organizovao je preko dvesta izložbi u Galeriji Konkordija. Danas direktor Muzeja savremene likovne umetnosti. Učesnik velikog broja grupnih i problemskih izložbi. Postavio 30 samostalnih izložbi.

New series of works as part of exhibition “National hero Petar Petrović”. This works will be regarding the historical contradictions of the national history actors in Yugoslavia and EX YU (partisans, “četnici”, “ustaše”…). The exhibition consists of 36 objects and 3 large sculptures, and the basic motive is the statement of Stjepan Mesić, president of the Croatian republic: “No victim from Jasenovac is responsible for any victim at Blajburg, and part of the victims from Blajburg was responsible for victims at Jasenovac”. As “charismatic creator who is autodidactic”, but also as ALLEGORIAN, author allows himself to convert this political statement into epistemological sign of art, and conceptual work. In such appropriation of Mesić’s lines, now the statement itself, as well as the exhibition in all, and the objects that are part of it, are seen as integral part of the art. Placing a statement or an act inside of the “art world” has it’s grounds in ontology, and as such it points to the very source or the very essence of the events during the year 1945. Graduated at the Academy at Sarajevo in 1983. Founder of manifestation of Youth biennale in Vršac, founder of Košava and Art Context magazines. Political activist of the Democratic party from 1990. From 1984. he organized over 200 exhibitions at the Konkordija gallery. Today he is a director of the Museum of the contemporary art. He is a participant in many group and topic exhibitions. He placed 30 independent exhibitions.

ZORAN NASKOVSKI – PRECIOUS MEMORIES

Uz zvuke gospel muzike, izložba evocira sećanje na pobedonosni pogodak Majkla Džordana i neočekivani preokret u NBA finalu 1998. godine. Pored legendarnih trenutaka sa terena, urađenih u slow motion-u, tu je i fotografija koša snimljena u sakralnom prostoru na koledžu u Anapolisu, koja odslikava karakterističnu atmosferu mesta na kojem je Džordan snimao reklamne spotove. Autor je u O3ONE-u postavio izložbu o Majklu Džordanu, igraču koji pripada NBA sistemu – svojevrsnom multimedijalnom spektaklu. Drugi deo izložbe bio je postavljen u Muzeju afričke umetnosti, jer su Džordanov pristup igri i način na koji je radio na sebi jednaki ozbiljnosti i veri s kojima pripadnik primitivne kulture pravi magijski predmet. Zoran Naskovski (1960, Izbište) živi i radi u Beogradu. Diplomirao je na Fakultetu likovnih umetnosti u Beogradu (1986), gde je potom i magistrirao. Naskovski je svojim radovima o Džordanu, „Nothing but Net” (nagrađen na Oktobarskom salonu 2003), „L’Origine du Monde” i „Smrt u Dalasu” (kojim je, 2003. godine uzburkao Ameriku na velikoj izložbi u muzeju „Vitni”) stekao svetsku reputaciju. Trenutno izlaže na Venecijanskom bijenalu, po pozivu selektora Bijenala Roberta Stora.

To the sound of gospel music, this exhibition evokes the memory of Michael Jordan’s winning shot and unexpected turnover in NBA’s play-off final match in 1998. Alongside other unforgettable moments from the court made in slow motion, there is a photograph of basketball hoop, taken in a “sacred space” at a college in Annapolis, which reflects a typical atmosphere of the place where Jordan’s commercials had been made. Part of the exhibition which was shown in O3ONE, was the one that depicted Michel Jordan, a player who was a part of the NBA system – a multimedia spectacle. Second part of the exhibition was presented in the Museum of African Art and shows the other side of Jordan – a man whose approach to the game and the way he worked on himself could be compared to the devotion a member of a primitive society would have in a process of making an object of worship. Zoran Naskovski (1960, Izbiste) lives and works in Belgrade. He graduated at the Faculty of Fine Arts in Belgrade in 1986, where he also acquired his MA degree. With his works on Jordan, “Nothing but Net” (for which he was awarded a prize at the October Salon in 2003), “L’Origine du Monde” and “Death in Dallas” (which caused a commotion in 2003 at the Whitney Museum in USA) and earned him a status of a world-renowned artist. Currently his work is being presented at the Venice Biennale, where he was officially invited by the curator Robert Storr. 27

http://www.draganzdravkovic.com/

IZLOŽBA EXHIBITION

UROŠ ĐURIĆ – CRVENI IZLOŽBA EXHIBITION

Poslednji radovi Uroša Đurića, koji se, inspirisani dokumentima i arhivskom građom, tematski bave istorijskim nasleđem ideje levice na našem tlu. Podstaknut događajem opisanim u dokumentu iz 1873. godine po kome je praktikant suda opštine beogradske Mijailo Arsenijević prijavljen zbog javnog iznošenja mišljenja da su „zakoni zasnovani na nečovečanstvu i da nad narodom tiranišu; da su činovnici više nagrađeni nego što treba, a da vrlo malo rade; da poneki bogataši imadu vrlo mnogo, a neki povasdan rade a nemaju ni leka, pa razlažući kaki pravični zakoni postoje u Sjedinjenim državama u Americi, u Švajcarskoj i kako je narod onamo ujednačen, pa da bi trebalo i kod nas jedared sve postojeće srušiti i narodnosti sve ujednačiti, itd.“, Uroš Đurić se bavi slobodom govora, zabranama, zastrašivanjima, progonima i ubistvima u prošlosti, kao i pozicioniranjem današnjih elita, koje kroz zakone, deklaracije, istrage, školstvo, javne nastupe kreiraju iskrivljenu sliku o razvoju savremenog srpskog društva. Studirao Istoriju umetnosti na Filozofskom fakultetu u Beogradu. Diplomirao 1992. i magistrirao 1998. godine na Likovnoj akademiji u Beogradu. Učesnik beogradskog punk pokreta tokom ranih osamdesetih godina (Urban Guerrila). Osnivanjem autonomističkog pokreta 1989. godine sa Stevanom Markušem i objavljivanjem “Manifesta autonomizma” 1994. godine, postao aktivni učesnik beogradske umetničke scene. Izlagao je u Briselu, Ljubljani, Antverpenu, Edinburgu, Barseloni, Beču, Pragu, Čikagu, Parizu.

The latest works by Uros Djuric, which, inspired by various documents and archive materials, have as their subject matter the legacy of ideas of the Left and their significance for our country. Inspired by the event described in a document dating from 1873 whereby the Belgrade Municipal Court clerk, Mijailo Arsenijevic, was denounced for publicly expressing his view that „the laws are inhumane and designed to oppress; that clerks are overpaid for the little work they do; that a small number of rich are extremely rich whilst some people work from dusk until dawn yet can’t afford a basic medicine“. Uros Djuric deals with the freedom of speech, suppression, intimidation, persecution and assassinations that happened in the past, he also deals with the positioning of the current elite, declarations, investigations, schooling system, public appearances and everything else that creates the a distorted picture about the development of contemporary Serbian society. Uros Djuric studied History of Art at the Belgrade Faculty of Philosophy. He graduated in 1992 and completed his master’s thesis at Belgrade Fine Arts Academy in 1998. He was a member of the Punk movement in the early eighties (Urban Guerrilla). Together with Stevan Markus he founded the autonomist movement in1989 and upon the publishing of the “Autonomist manifesto” in 1994, he became an active member of the Belgrade art scene. His works were exhibited in Brussels, Ljubljana, Antwerp, Edinburgh, Barcelona, Vienna, Prague, Chicago, Paris.

UROŠ ĐURIĆ – PREVIOUSLY UNRELEASED

Exhibition “Previously Unreleased” is an element of the “Populist project” that artist is developing for several years now, through conceptual photography and painting, installations and performances. Project aims to research the connection between the popular culture, media and contemporary art in the process of branding and promotion of an artist at the market of artistic ideas and objects, as well as the influence of the cultural industry on visual perception. In the populist sense, taken from the music industry, as an alternative to “The best of Uros Djuric” he is going to present his work from the period from 1993 to 2003, not seen in public before for various reasons. Curator: Stevan Vukovic Uros Djuric (1964), lives and works in Belgrade. His works were exhibited in the most prestigious galleries and museums all over the world. He collaborated with Gerald Matt, Lorand Hegyi, René Block, Harald Szeemann… His works are in the collections of: Sammlung Essl Klosterneuburg, Julia Friedman gallery Chicago, MUMOK Stiftung Ludwig Wien, Galerie 1900-2000 Paris, Gallery Marino Cettina Umag, ATA Center for Contemporary Art Sofia, Museum of Contemporary Art Belgrade, Behemot Gallery Praha...

Izložba pod nazivom „Previously Unreleased” u okviru je „Populističkog projekta” koji umetnik razvija već nekoliko godina kroz medije konceptualne fotografije i slikarstva, instalacija i performansa. Projekat preispituje odnos popularne kulture, medija i savremene umetnosti u procesu brendovanja umetnika i njegovog plasiranja na tržiše umetničkih ideja i tržište umetnina, kao i uticaj kulturne industrije na vizuelnu percepciju. U populističkom okviru, preuzetom iz muzičke industrije, Đurić će, kao neku vrstu „alternative Best Of Uroš Đurić” predstaviti niz svojih radova iz perioda od 1993. do 2003, koji usled različitih spletova okolnosti nisu dospeli do javnog izlaganja. Kustos: Stevan Vuković Uroš Đurić (1964) živi i radi u Beogradu. Radovi su mu izlagani u najprestižnijim svetskim galerijama i muzejima. Sarađivao je sa: Džeraldom Matom, Lorandom Heđijem, Rene Blockom, Haraldom Zimanom... Radovi su mu u kolekcijama: Sammlung Essl Klosterneuburg, Julia Friedman gallery Chicago, MUMOK Stiftung Ludwig Wien, Galerie 1900-2000 Paris, Gallery Marino Cettina Umag, ATA Center for Contemporary Art Sofia, Museum of Contemporary Art Belgrade, Behemot Gallery Praha... 31

www.urosdjuric.com

IZLOŽBA EXHIBITION

PREDRAG PEĐA NEŠKOVIĆ – NEW DANDY

Projekat na najdirektniji način otvara komunikaciju sa savremenom kulturom u čijem je središtu moda, ta univerzalna formula koja objedinjuje kratkotrajnost, sadašnjost i mobilnost, kao ugaone kamenove vladajuće epohe, izgubljene u delirijumu površnosti, spektaklima izložljivosti, u svetkovinama instanta. Otvarajući sofisticirani dijalog sa savremenošću potpuno ogrezlom u svojevrsnoj tiraniji proseka, Nešković svojim projektom ostvaruje simboličku potragu za ekskluzivitetom izgubljenim u amorfnosti i mediokritetstvu savremene kulture. Birajući modu kao samo srce savremene kulture, autor je pokazao kako prirodni zagrljaj mode i medija preobražava samo značenje potrošnje. Slaveći Novo, mediji su skinuli krivicu sa čina kupovanja, oslobodili grča fenomen potrošnje i učinili demodiranim koncept štednje. Poigravajući se deliričnim standardima univerzalnih modnih trendova, uvodeći reciklažu, duhovito intervenišući na zaboravljenim modnim fetišima, svojim projektom NEW DANDY vratio dignitet autentičnosti u svetu ogrezlom u fantazmu ponavljanja, serijske proizvodnje, gubljenja auretičnosti. Izbor pokretne trake, na kojoj umetnik defiluje u svojim kreacijama, predstavlja simptomatičnu repliku na vladajući infekt mobilnosti, univerzalni imperativ kratkotrajnosti, na zaborav koji je upisan na samo središte savremene kulture. Mimo vladajuće paradigme prema kojoj je moda uglavnom lahorasta i bezazlena, Nešković je ovim projektom pokazao kako može biti instrumentalizovana u jednom logičnom i ohrabrujućem traganju za integritetom.

Project by our renowned artist Predrag Neškovic, opens up in the most direct manner a communication with the contemporary culture which centers on fashion, that universal formula which envelops brevity, present and mobility as corner stones of the ruling epoch, lost in delirium of frivolous, spectacles of exhibitionism, celebrations of the instant. By starting this sophisticated dialogue with the contemporary which is wallowing in the tyranny of mediocrity, Neškovic manages to realize a symbolic search for exclusivity lost in the amorphous and mediocrity of modern culture. By placing fashion at the heart of contemporary culture, author showed us how this natural embrace of fashion and media transforms the very meaning of consumption. By celebrating the New, media have taken the guilt off the act of shopping, freed the phenomenon of consumption and made a concept of saving totally redundant. By playing with delirious standards of universal trends in fashion, by introduction of recycling and humorous interventions on long forgotten fashion fetishes, with this project Nešković is giving back the dignity to authenticity in the world lost in repetition, serial production, and lost auras. The choice of a treadmill on which the artist marches in his creations, presents a symptomatic replica of the ruling infect of mobility, universal imperative of brevity, the oblivion written all over the very heart of contemporary culture. Despite the widely accepted paradigm according to which fashion is just an easy and harmless category, author showed this project that it can become an instrument in a logical and encouraging search of integrity.

www.predragneskovic.com

IZLOŽBA EXHIBITION

PEĐA NEŠKOVIĆ - NAGA MAJA I KOSOVKA DEVOJKA IZLOŽBA EXHIBITION

Šta je to što povezuje Kosovku devojku i Gojinu Maju, i onu golu i onu obučenu? Tačan odgovor je: Peđa Nešković. Obe devojke velike su junakinje «visoke likovne umetnosti», i one internacionalne i one lokalne. Ali su obe i ličnosti sa bombonjera, goblena, poštanskih maraka, porcelanskih suvenira, samoposlužnih kesa, šolja, poslužavnika, omota muzičkih ploča i kaseta, pakovanja jeftinih kozmetičkih sredstava i firmopisa ugostiteljskih objekata.

What is it that connects Kosovo girl and Goya’s Maja, the one naked and the other clothed? The correct answer is: Pedja Neskovic. Both girls are great heroines of the “high art”, both internationally and locally. They are also both the individuals from boxes of chocolates, tapestries, postage stamps, porcelain souvenirs, vending bags, cups, trays, musical record and tape covers, cheap cosmetics packaging and restaurant signs. The naked Maja, the alleged first act in the history of art in which pubic hair is shown and because of which the Spanish painter was called in for questioning by the ecclesiastical inquisition, is one of the icons of the beginning of the modern era and, later, the enormous role of technical reproduction in it. A similar reproductive fate Predic’s Kosovo girl also had within the inner fantasy of Serbian national order. It is the most known visualization of a humble heroine of our folk poetry – the one that “turns over the heroes in blood” looking for her fiancé, godfather and brother-in-law and in whose arms a knight dies whom she “washes down with cold water and gives red wine to drink.”

Gola Maja, taj navodno prvi akt u istoriji umetnosti na kom su prikazane stidne dlake i zbog kog je španskog slikara na informativni razgovor zvala i crkvena inkvizicija, jedna je od ikona početaka modernog doba i kasnije ogromne uloge tehničke reprodukcije u njemu. Sličnu će reproduktivnu sudbinu unutar užeg fantazma srpskog nacionalnog poretka imati i Predićeva Kosovka devojka, najpoznatija vizuelizacija smerne junakinje naše narodne poezije – ona koja «prevrće po krvi junake» i traži svog verenika, kuma i devera i kojoj u naručju umire vitez kog «umiva hlađanom vodicom i pričešćuje vinom crvenijem».

VLASTIMIR MIKIĆ VOLCANO - SATENI IZLOŽBA EXHIBITION

Posredi su ulja na platnu, čistih boja, dimenzija100x113.5 cm većih, 34×45 i 40×45 cm manjih formata, redovno sa drvenim elementom u donjem delu, što ovim slikama pridaje izgled i status specifičnog „objekta“. Slike su na prvi pogled „apstraktne“: jedini i konstantni motiv celog ciklusa jeste pravilno organizovana celina sastavljena od standardnog broja istovetnih jedinica (najčešće 5×5) u strogom strukturalnom rasporedu. Ali način slikanja ovih jedinica krije suptilnu zamku posmatranja: gledaocu se, naime, ukazuju u iluzionističkoj projekciji utiska blagih ispupčenja/udubljenja na dvodimenzionalnoj slikanoj površini. Zbog toga ove slike izazivaju neke moguće asocijacije na viđene ili potencijalno postojeće pojavne realitete i otuda su na svoj način predstavne i „predmetne“. Znajući za umetnikove prethodne sklonosti ka novim tehnološkim medijima valjalo bi zaključiti da je posredi slikarstvo kakvo nastaje zahvaljujući imaginaciji zasićenoj sceprisutnošću ekranskih i kompjuterskih generisanih slika.

Oil on canvas, pure colors, dimenzija100x113.5 cm large, 34 × 45 and 40 × 45 cm smaller formats regularly with wood element in the lower part, which attaches the image appearance and status of the specific “object”. Images were at first “abstract”: only the constant motive of the whole cycle is a whole which is properly organized made up of the standard number of identical units (usually 5 × 5) in the strict structural composition. But the manner of painting these units lies in a subtle trap of observations: the viewer is, in fact, indicated in the illusionistic projection of impression of slight bumps / dents on a twodimensional painted surface. Therefore, these images provoke some possible associations with perceived or potential existing emergent realities and hence are in their way of representative and the “subjective”. Knowing the artist’s previous inclination towards new technological media, one should conclude that it was a painting of what arises thanks to the imagination of saturated wholeness the display and computer-generated images.

ALEKSANDRA STRATIMIROVIĆ – SUNNY DAY IZLOŽBA EXHIBITION

Sunny day by Aleksandra Stratimirovic is a collection of over four thousand glass medical vials filled with carefully mixed coloured liquids. When taking a couple of steps back the vivid image of a girl appears, standing at a lakeside, with summery blue sky above.“Sunny day” is the largest size work from the “laboratory” series of the author. After the success with “Girl with ice cream”, which was awarded with the first prize on the international competition Targetti Light Art Award, and is part of Targetti Light Art Collection, placed in the villa La Sfacciata in Florence.

Izložba ”Sunny day” je kolekcija preko četiri hiljade malih, staklenih medicinskih bočica punjenih tečnošću precizno umešane boje i nijanse. Sa nekoliko koraka udaljenosti od rada ova kolekcija bočica nestaje, a portret osobe na obali jezera postaje vidljiv. “Sunny day” je do sada najveći format u “laboratorijskoj” seriji autorke. Nakon uspeha sa “Girl with ice cream”, koji je nagrađen prvom nagradom na međunarodnom takmičenju Targetti Light Art Award i postao deo stalne kolekcije Targetti Light Art Collection, smeštenoj u vili La Sfacciata u Firenci.

SAŠA PANČIĆ – TRENUTAK ASIMETRIČNOG ĆUTANJA IZLOŽBA EXHIBITION

Author conceived the exhibition with the message on one side and visual artistic response on the other side. With the series of drawings named Letter I, II, III... and video works, author shows an imaginary space in perpetual transformation. Music (Hendrix, Aboriginal and Bieber) defines cultural framework, provides a moving picture timelines and transforms them into a transient landmark points... By this exhibition Pančić writes his letter and addresses it - at the hands of the sender, the time and place of origin of Russian constructivism with which he plays.

Saša Pančić rođen je 1965. Diplomirao slikarstvo na Fakultetu likovnih umetnosti u Beogradu 1989. Završio post-diplomske studije crteža na Fakultetu likovnih umetnosti u Beogradu, 1992, 2007/2009. Predsednik ULUS-a. Rođen u Mostaru 1965. Po završetku srednje Pravno-birotehničke škole 1984. upisuje Fakultet likovnih umetnosti u Beogradu, odsek slikarstvo, koji završava 1989. Post- diplomske studija za crtež na istom fakultetu završava 1992. U status Samostalnog umetnika je od 1986., a član ULUSa od 1992. Od 2007 do 2009. u funkciji Predsednika ULUSa, od 2009 do 2011 bio urednik likovnog programa galerije O3on, Beograd, 2011. likovni urednik BELEFa i osnivač fondacije „OBALA“ Priredio je 19 samostalnih i izlagao na više grupnih izložbi u zemlji i inostranstvu /Hrvatska, Finska, Rusija, Francuska, Japan, Bugarska,Tajland, Austrija/ Ima više radova izvedenih u javnom prostoru/Bugarska, Laponija, Srbija/ Živi i radi u Beogradu.

Saša Pančić was born in 1965. He graduated from the Faculty of Fine Arts in Belgrade, 1989. He completed post-graduate studies in art at the Faculty of Fine Arts in Belgrade 1992, 2007/2009 Chairman of ULUS. 41

art@sasapancic.com | www.sasapancic.com

In 1920 Yevgeny Zamyatin wrote a book called WE, in which he ironically scrutinized the system of controlled society, playfully and without being mean or hateful he managed to identify all absurd characteristics of the communist-soviet system. “This is not it. With you once again, my unknown reader, I speak as if you are… let’s say, my old friend, R-13, a poet, with lips of a Negro, well, everyone knows him. And yet, you are – on the Moon, or Venus, Mars or Jupiter –who knows where and who you are.”

Jevgenij Zamjatin 1920. godine piše knjigu MI, u kojoj duboko ironiše sa sistemom kontrolisanog društva. Modernim jezikom, razigrano bez zlobe i mržnje pogađa sve apsurdne tačke komunističko - sovjetskog sistema. Danas posle skoro sto godina kao da se ništa nije promenilo. Samo bez ideološkog rama, prepoznajemo se u Zamjatinovom ogledalu, pod nekim drugim imenom, bezlični i apersonalni, prekriveni kulturom visoke produktivnosti. Izložbu je autor koncipirao na primljenoj poruci sa jedne i sročenom likovnom odgovoru sa druge strane. Serijom crteža Pismo I, II, III... i video radova, prikazuje imaginarni prostor u neprekidnoj transformaciji. Muzika (Hendriksa, Aboriđina i Bibera) određuje kulturne okvire, daje pokretnoj slici vremensku odrednicu i pretvara ih u prolazne tačke-orjentire… Izložbom piše svoje pismo i adresira ga – na ruke pošiljaocu, u vreme i prostor nastanka Ruskog konstruktivizma sa kojim se on poigrava.

MIHAEL MILUNOVIĆ - (X)CHANGE IZLOŽBA EXHIBITION

Delo Mihaela Milunovića se zasniva na nekoj vrsti zadrške u kojoj on koristi rečnik diktature sadašnjosti svodeći ga na njegov najgroteskniji ili najužvišeniji oblik. Uzmimo za primer njegove poslednje radove koji se zasnivaju na ovom kontrastu. U prvi mah, oni predstavljaju u jednom veoma čistom grafizmu, scene koje su direktno vezane za realnost : boks meč, učesnika motociklističkih trka, ženu u donjem vešu u svojoj sobi, uličnu borbu, scenu ubistva… Ali, gotovo istog trenutka, sve ove predstave se povlače. Osim jakog kontrasta izmedju bele boje papira i crne boje mastila, svaki pogled se razvija u mnostvo čudnih i misterioznih znakova, gotovo apstraktnih. U sceni ubistva žrtvi je oduzeto lice, a njena glava je postala neka vrsta košnice. Isti princip nalazimo i u sceni u biblioteci. U njoj je to isto razdvajanje jos vise naglašeno kućnom haljinom i ogrtačem super heroja koji nosi ženska žrtva. Svi ovi likovi izgledaju kao odsutni iz sopstvenih tela. Specifične crte njihovog karaktera i identiteta nam ostaju nepoznate : ima jako malo lica u ovoj seriji umetnikovih radova ili ih nema uopšte.

Mihael Milunović work is based on some kind of delay in which he uses a dictionary of the dictatorship of the present, reducing it to its most grotesque and most sublime form. Take for example his recent works which are based on the contrast. At first, they are in a very clean graphics’, scenes that are directly related to reality: a boxing match, the participants of motorcycle racing, a woman in her underwear in her room, street-fighting, murder scene ... But, almost immediately, all of these performances retreat. In addition to the strong contrast between the white paper and black ink, each view is developed in a multitude of strange and mysterious characters, almost abstract. The scene of the murder the face of the victim was taken, and her head has become a kind of hive. The same principle is found in the scene in the library. It’s the same separation even more emphasized by dressing gown and cape of a super hero wore by a female victim. All these characters seem absent from their own bodies. Specific traits of their character and identity remain unknown to us: there are very few people in this series of the artist’s work or none at all.

MIHAEL MILUNOVIĆ – POD CHE / UNDER CHE IZLOŽBA EXHIBITION

Autor: Mihael Milunović Gosti: Zbignjev Karkovski, Dorijan Kolundžija i Mitar Marinović Fenomen mitologizacije istorijske ličnosti dovodi do brisanja pravih činjenica. Stvaranje mita i njegovo apstrahovanje jeste proces koji zadire u kulturološko-sociološko-populističke segmente društva i koji se u raznim pojavnim oblicima prezentuje svekolikoj populaciji kao model za ideološku identifikaciju i bunt. Samim tim, Čeov lik postaje više nalik brendu istog, postaje znak buntovne mladosti širom sveta, deo pop kulture tog vremena. Izložbu dokumentarnog i savremenog materijala i objekata prati publikacija sa stručnim tekstovima istoričara, istoričara umetnosti, filozofa, antropologa i psihologa iz zemlje i inostranstva. Projekat ima za cilj da ukaže na višeslojnost fenomena Če, kroz analizu transfiguracije jednog istorijskog lika, od njegovog prvog pojavljivanja preko proslavljenih fotografija Alberta Korde, do kreiranja prvih rasterizovanih i šablonskih postera Džima Ficpatrika (Jim Fitzpatrick). Mihael Milunović (1967, Beograd) živi i radi u Francuskoj. Diplomirao je na Fakultetu likovnih umetnosti u Beogradu, 1992. Magistrirao je na istom fakultetu, 1995. godine. Specijalizirao je u Parizu (l’Ecole Nationale Supérieure des Beaux-Arts – ENSBA) 1996. godine.

Author: Mihael Milunovic Guest artist: Zbigniew Karkowski, Dorijan Kolundzija and Mitar Marinovic Creation of a myth from a historical figure results in a removal of facts. It is a process which involves cultural, sociological and populist segments of society, a process which takes different shapes and serves as a model for ideological identification and defiance. Consequently, Che became a brand, a model of rebellious youth worldwide, and part of popular culture of the time. Exhibition consisted of the artifacts from actual time and contemporary material, and was complemented with the publication written by historians, art historians, philosophers, anthropologists and psychologists from the country and abroad. Main aim of this project is to point toward the multitude of layers in the phenomenon of Che, and through analysis of the transfiguration of a historical figure – from the first publication of now legendary photographs by Albert Korda, to the creation of the first rasterized template posters by Jim Fitzpatrick. Mihael Milunovic (1967, Belgrade) lives and works in France. He received his BA and MA degrees at the Faculty of Arts in Belgrade and specialised at L’ Ecole des Beaux arts de Paris in 1996. 45

JOVANA STOKIĆ - NEW YORK KAO OPEN MARKET IZLOŽBA EXHIBITION

Koncept izložbe i selekcija: Jovana Stokić New York kao open market - Pojedinac u globalnom spektaklu Umetnici: Mika Rotenberg, Aida Ruilova, Džon Duli, Rendi Mur, Dženi Perlin, Nebojsa Šerić Šoba. Umetnici koji nemaju samo za cilj da se njihova roba nađe na rafovima (art) SUPERMARKETA, oni koji uživaju u ritualu koji prati razmenu, u hvaljenju i kuđenju, u cenjkanju i ponosnom odbijanju bedne i nedostojne ponude, biće ovde predstavljeni. Priznajuci da se tako mora delati da bi se postojalo, ovi umetnici razmenjuju umetnost za novac, ali pokazuju da razmena može da bude i znatno dinamičnija – razmena ideja, vizuelnih jezika, načina i predstava. Želeći da kritički osvetli trend fascinacije globalnim spektaklom u centru sveta umetnosti, ova izložba predstavlja eminentne umetnike koji su prisutni na njujorškoj sceni i koji reflektuju ovaj fenomen. U isto vreme, koristeći obrasce savremene popularne kulture, umetnici je preispituju, tvrdeći da oni ostaju stranci u toj sredini, ispraznoj i ispražnjenoj. Umetnici koji u ovoj izložbi direktno odgovaraju na pitanja privlačnosti medijski upakovanog nastupa, otkrivaju nam da je suština svakog apelovanja samo kulturni i društveni konstrukt.

Concept and art selection: Jovana Stokic New York as an open market - An Individual In the Globalized Spectacle Artists: Mika Rottenberg, Aida Ruilova, John Dooley, Randy Moore, Jenny Perlin, Nebojsa Seric Shoba. Artists who don’t aspire to see their work displayed on the shelves of (art) SUPERMARKET, those who enjoy rituals that surround the logic of exchange, those who enjoy bargaining, but also refuse “indecent proposal” that would compromise their critical stance. These artists confront the balanced exchange of money and art-as-merchandise by challenging the nature of power relations within these transactions. Shedding important light on the fascination with the global spectacle in the centre of the world of art, this exhibition presents eminent authors from the New York art scene which reflects this phenomenon. At the same time, by using the templates of the modern popular culture, artists are also reviewing it, stating that they, in fact, are strangers in that desolate environment. The artists who admit they need to trade art for money in order to produce new art, undoubtedly show us that the dynamic lies in the exchange of ideas and visual sensitivities, and that the essence of any appeal lies in the eye of beholder. 47

MIODRAG KRKOBABIĆ – SLIKE USPEHA IZLOŽBA EXHIBITION

...Pozicioniranje nekoga kao umetnika unutar polja umetnosti teži i simboličnoj i ekonomskoj isplativosti. Miodrag Krkobabić pristupa ovoj temi u svojim “Uspešnim serijama” (započetim 2004) i opet iz pomalo drugačije, prilično autoironične perspektive. Ovde je žiža usmerena na različita značenja koja bi pojam “uspeh” mogao da pretpostavlja – bilo da se povezuje s lepotom i modom, slavom, avanturom ili je predstavljen materijalnim fetišima kao što je “besan“ auto. On i neki od njegovih kolega umetnika - Zoran Todorović, Milica Tomić i Dragana Žarevac – portretisani su sa atributima njihovih “ličnih” želja koji su sasvim usklađeni sa stereotipnim slikama uspeha koje predstavlja savremeno društvo...

…To position oneself as an artist within the artistic field aims for both symbolic and economic payoff. Miodrag Krkobabić approaches this topic in his “Successful Series” (2004–ongoing) again from a slightly different, quite self-ironic perspective. The focus here is directed onto the different meanings the notion of “success” – whether connoted with beauty, fame, adventure or represented in material fetishes like a hot car – may assume. He and some of his artist colleagues – Zoran Todorović, Milica Tomić and Dragana Žarevac – are portrayed with the attributes of their “personal” desires which correspond well with the stereotyped images of success contemporary society presents… Astrid Wege

Astrid Wege

PRVI KONTAKT – CENTAR LE CUBE / FIRST CONACT – CENTRE Le Cube, Paris

First contact / Digital Art Festival, festival of the interactive city, was organized as a part of Belef in cooperation with the French Cultural Centre and New Media Centre Le Cube from Paris. Open air exhibition in a public space meant that installations were set in a specially constructed and designed urban furniture. Works by contemporary French artists from the fields of multimedia and digital art were exhibited (Catherine Ikam and Louis Fléri, Michel Jaffrennou, Vincent Lévy, Pierre Bongiovanni, Joseph Rabie, Thierry Coduys, Florent Aziosmanoff, Du Zhenjun, Marie-Hélène Tramus and Michel Bret). Their work, in a very unique way, makes the audience interact with virtual characters that move and react to the viewer and by doing so, become the new residents or visitors to the city… Le Cube is the very first space dedicated entirely to digital art. Mission of the Centre is to inform and educate the public about the significance of information and communication technology in the fields of culture and art. Le Cube aims to show that as well as being an important segment of everyday life, the use of digital technology is the best way to acquire knowledge and culture, and an instrument for expression and creation.

Prvi kontakt / Festival digitalne umetnosti, festival interaktivnog grada, organizovan je u okviru Belefa, a u saradnji sa Francuskim kulturnim centrom i Centrom za nove medije Le Cube iz Pariza. Izložba na otvorenom u javnom prostoru grada podrazumeva postavljanje interaktivnih instalacija koje se nalaze u, za ovu priliku, posebno dizajniranom i konstruisanom urbanom multimedijalnom nameštaju. Predstavljeni su radovi savremenih francuskih umetnika koji deluju na polju digitalne umetnosti i novih medija (Ketrin Ikam i Luj Fleri, Mišel Žafrnu, Vinsent Levi, Pier Bonđovani, Žozef Rabij, Tjeri Kodui, Floron Aziosmanof, Du Ženjun, Mari-Elen Trami i Mišel Bret). Ovi radovi na jedinstven način uključuju publiku u interakciju sa virtuelnim karakterima koji se pokreću i reaguju na posmatrača. Na taj način ovi karakteri postaju novi stanovnici ili posetioci grada... Centar Le Cube je prvi prostor posvećen samo digitalnoj umetnosti. Misija Centra je da informiše i edukuje publiku o upotrebi informacionih i komunikacijskih tehnologija na polju umetnosti i kulture. Daleko od viđenja digitalne tehnologije, kao kraja po sebi, Le Cube želi da pokaže da je ona sredstvo za sticanje znanja i kulture, sredstvo za ekspresiju i kreaciju. 51

www.ccf.org.rs/srp | www.lesiteducube.com

IZLOŽBA EXHIBITION

LANA VASILJEVIĆ – SUBJEKTIVNO

„…koristeći samo jezik advertajzinga krećem ka novoj dimenziji u kojoj ne postoje nikakve eksplicitne poruke i koja nema agresiju preporuke. Postoji samo subjektivno prepoznavanje u određenim okolnostima u kojem su nastali novi znaci koji govore o identitetu, želji, socijalnom okruženju … Nastavljajući rad na projektu Signposts, zapocetom u Beču 2002. godine, proučavam neposrednu vezu između slike i reči … Radovi su realizovani u formi kružnih lajt boksova unutar kojih su fotografije ljudi, mesta, predmeta, događaja, situacija. Slike su povezane rečima koje ih na poseban nacin tumače. Posmatrač, isto kao i autor, merilo je svega prikazanog. Pošto ne postoje univerzalne istine, te je svaka projekcija subjektivna, tako ne postoji tačna formula po kojoj se slika i reč prepoznaju. Postoji atmosfera/ ambijent koji se u spontanom stvaralačkom procesu pojavljuje i daje objektu punoću i potencijal drugačijeg čitanja.” Lana Vasiljević (1973, Beograd) Studirala na Fakultetu likovnih umetnosti u Beogradu, odsek vajarstva, gde je diplomirala 1996 godine. Dve godine kasnije magistrirala je na istom Fakultetu. Art direktor za UNHCR / UNDP / UN / UNHCR, od 2003. godine.

“… by using only the language of advertising I am moving towards a new dimension in which there are no explicit messages and which holds no aggression of recommendations. There is only a subjective recognition in certain circumstances in which there are new signs which depict identity, desire, social surroundings, absence … Continuing the work on the Signposts project, commenced in Vienna in 2002, I am studying the direct relationship between the images and the words, trying to find an “ideal” combination where they would explain and identify each other … The works are realized through a form of circular light boxes inside of which photographs of people, places, objects, events and situations are placed. They are connected with words, which give them certain significance. The observer as well as the author are a measure for all exhibited. Since there are no universal truths and every projection is subjective, there is no single formula by which the image and word are recognized. There is an atmosphere/ ambiance, which appears in a spontaneous creative process and gives the object its fullness and potential for a varied perception.” Lana Vasiljevic (1973, Belgrade), graduated sculpture at the Faculty of Fine Arts, 1996, where she got MA degree two years later. Since 2003 she works as an Art director for UNHCR / UNDP / UN / UNHCR. 53

www.lanavasiljevic.com

IZLOŽBA EXHIBITION

ZORAN VELIMANOVIĆ -KOLEKCIJA KOSTIJU IZLOŽBA EXHIBITION

…Bones, skin, hair, feathers, metal, fabric, plants, insects, roots, dirt … All that was once discarded and left to decay… Cemeteries of the nature or of the human activities … What was no longer needed by anyone, again has a meaning; joined as it never was, or never could have been joined, now has a new opportunity. Androgynous masses made of decomposed remains, reshuffled organs and added limbs… anatomy as a symbiosis of everything that existed… Hanks of unneeded things, very much alive… Collection – junk yard, where the remains of the former lives are stored; lying next to each other, with time they gather and connect, merge into new forms, improved versions of what they used to be individually. Anyway, everything is a combination of everything, sooner or later; disintegrated tissue, made the ground on which we walk. The bones are, in fact, the ground beneath your feet …

… Kosti, koža, kosa, perje, metal, tkanine, biljke, insekti, korenje, zemlja… Sve ono što je jednom odbaceno i ostavljeno da propadne… Groblja prirode ili covekove aktivnosti… Ono što više nikome ne treba, ponovo ima smisao; spojeno kako nikada nije niti je moglo da bude, ima novu priliku. Androgine mase koje cine ostaci raspadnutog, ispremeštanih organa i dodatih udova… Anatomija kao simbioza svega što je postojalo… Klupka nepotrebnih stvari, vrlo živa… Kolekcija – otpad, u kojoj se skladište ostaci bivših života; ležeci jedni pored drugih, vremenom se prikupljaju i povezuju, stapaju u nove oblike, unaprdj enije od onoga što su nekad ponaosob bili. Ionako je sve kombinacija svega, pre ili kasnije; tkiva koja su se raspala su napravila tlo po kome hodamo. Kosti su, ustvari, zemlja pod nogama…

PETAR MIRKOVIĆ I ALEKSANDRIJA AJDUKOVIĆ - HENKEL ART AWARD

Artists: Petar Mirkovic and Aleksandrija Ajdukovic International Art Award and a special Youth Artist Prize, which Henkel CEE grants every year, was given in 2005 to artists from Serbia. International Art Award (granted by Henkel CEE, based in Vienna), was granted last year for the domain of contemporary drawing, to Petar Mirković from Serbia. The jury selected him out of 290 applicants from 12 countries. Henkel Youth Artist’s Prize for the KulturKontakt Artists-in-Residence program Austria, was also awarded to an artist from Serbia - Aleksandrija Ajdukovic, a photographer. Henkel Art Award was established as a contribution to the process of integration of the Central Eastern European region and better cultural understanding across Europe. Petar Mirkovic was born in 1978 in Novi Sad. In 2002 he graduated at the Academy of Arts in Novi Sad. Aleksandrija Ajdukovic was born in Osijek in 1975. She graduated at the BK Academy of Arts and did her postgraduate studies at the University of Arts in Belgrade, department of multimedia.

Izlagači: Petar Mirković / Aleksandrija Ajduković Međunarodna nagrada iz umetnosti, kao i specijalna nagrada za mlade umetnike, koju svake godine dodeljuje Henkel CEE, za 2005. godinu, pripala je umetnicima iz Srbije. Nagrada za umetnike koju dodeljuje Henkel za Centralnu i Istočnu Evropu (Henkel CEE), sa sedištem u Beču, prošle godine je dodeljena oblasti savremenog crteža, i to Petru Mirkoviću iz Srbije. Žiri je laureata izabrao između 290 radova koje su priložili umetnici iz 12 zemalja. Nagrada za mladog umetnika za učesnike Artists-in-Residence programa KulturKontakt Austrije dodeljena je Aleksandriji Ajduković, takođe iz Srbije. Henkel Art.Award. ustanovljena je kako bi skrenula pažnju na kulturu regiona Centralne i Istočne Evrope, kao i sa ciljem da promoviše proces evropske integracije. Petar Mirković je rođen 1978. u Novom Sadu. Godine 2002, diplomirao je na Akademiji umetnosti u Novom Sadu. Aleksandrija Ajduković je rođena u Osijeku, 1975. godine. Diplomirala je na Akademiji umetnosti BK u Beogradu. Postdiplomske interdisciplinarne studije imala je na Univerzitetu umetnosti u Beogradu, smer – višemedijska umetnost. 57

www.henkel-cee.com

IZLOŽBA EXHIBITION

MARKO STOJANOVIĆ - ART FOOD – EAT ART

„Umetnik može jesti bilo šta. Međutim, čovek koji iole drži do sebe i svog poznavanja likovne umetnosti mora posetiti moj restoran. Pred vama se, na tanjiru, nalaze dela dvadesetog veka, radovi vrlo poznatih i izvesno veoma popularnih slikara. Naručujete ih po imenu autora, bez ikakvog predznanja o onome što će se pred vas izneti. Popularizacija visoke umetnosti preko stomaka. U supermarketu začine biram kao pigmente. Kurkuma kao Polokova žuta, pirinač i kavijar kao slojevite bela i crna, za Vula kremovi. Ako na temperi piše da nije otrovna, onda se i hranom može slikati. Iste su i površine: belo platno ili porcelan, svejedno. Medijum slikanja hranom je, konačno, superiorniji od pigmenta. Ključ je u tome što on potire razliku između duhovne i fizičke hrane. Da li je ovo više ona prva ili druga, nemoguće je utvrditi. Početni, inspirativni primeri su tu, dalje nastavite sami. Priključite se pokretu umetničke hrane – jedite umetnost!” Marko Stojanović Marko Stojanović (1982) je studirao i diplomirao (2006) grafički dizajn na Akademiji umetnosti u Novom Sadu. Više godina je prisutan na umetničkoj sceni radovima/projektima kao što su: 1.05.1982, Hajduk Veljko vs Hamlet, Art Food, Po Marku, Belaji...

“An artist can eat anything. However, a man who has even the slightest interest in preserving a high opinion of himself and his knowledge of fine art, must visit my restaurant. There are, on the plate before you, the 20th century masterpieces, works by famous and very popular artists. You order by the artist’s name, without knowing what exactly you’ll be served. Popularization of high art through stomach… At the supermarket, I choose the spices as pigments. Turmeric as Pollock’s yellow, rice and caviar as layered white and black, creams for Wool. On tempera there’s a statement – not poisonous – so then, we can paint with food too. Same with surfaces – white canvas or porcelain, it doesn’t matter. Method of painting with food is in fact, superior to pigment. It wipes the line between the soul food and actual food. Is it more of one than the other, is impossible to determine. Initial, inspirational examples are here, the rest is up to you. Join the movement of art food – Eat Art!!” by Marko Stojanovic Marko Stojanovic (1982) graduated (2006) graphic design at the Academy of Arts in Novi Sad. He is present at the art scene for several years now, his distinguished works/projects are: 1.05.1982, Hajduk Veljko vs Hamlet, Art Food, Po Marku, Belaji... 59

www.markostojanovic.com

IZLOŽBA EXHIBITION

JELENA KOŠTICA – WARNING FRAGILE IZLOŽBA EXHIBITION

Zagađenje vazduha, smog, odnos prema prirodnim bogatstvima, neobnavljanje prirode uz stalnu eksplotaciju njenih resursa, dovodi do degradacije i rušenja okoline i kvaliteta života, a sve to u korist ekonomskog prosperiteta. Niti industrijalizacija, niti tehnološka revolucija, kao takve, ne mogu biti optužene za postojeće ekološko stanje. I jedno i drugo je potrebno društvu da bi se kretalo ka prosperitetu i omogućilo bolji život, ali se i jedno i drugo moraju koristiti na pravi način kako ne bi izazvali ni ekološku, ali ni socijalnu krizu. „Umetnost ne samo da može da opomene one koji zanemaruju prirodu već i da dâ rešenja za očuvanje iste. Verujem da umetnost može da prepozna i pruži rešenja vezana za životnu sredinu. Procesi u umetnosti uključuju uticaj promena u sebi, a te promene su izazvane ljudskom reakcijom i odlukom. Moj cilj je da se, gledajući ovaj projekat, čovek približi prirodi i da se u njemu razvije svest o ponašanju prema okruženju u kojem živi.“ Jelena Koštica Jelena Koštica (24) diplomirala je na fakultetu Middlesex University London u Atini, odsek slikarstvo - BA of Fine Arts and Technology. Trenutno je na postdiplomskim studijama na istom fakultetu – MA of Arts in Design.

The air pollution, the threat for the renewable resources as well as the exhaustion of unrenewable resources worldwide and more generally the degradation of environment and the quality of life, have rendered evident the ecological repercussions of economic growth. Neither the industrial society nor the technology should be accused for the current ecological situation. The technology is socially neutral and we need to use it for the right thing in order to overcome the ecological crisis as well as the social crisis. Not only can art remind those who neglect the nature about the consequences of their actions, but it can also offer solutions for the preservation of nature. I believe that art can help us recognize and create solutions for the environmental problems. The process of creating art usually requires the making of changes. These changes are caused by the human action and decision making. My aim is to put the person closer to the nature and to try to develop the consciousness about how human behaviour affects the environment. Jelena Kostica Jelena Koštica (24) graduated at the Middlesex Faculty at London University in Athens, Depatment for Fine Arts – where she got her BA of Fine Arts and Technology. She is currently a postgraduate student at the same Faculty – studying for MA of Arts in Design. 61

ŽELJKA MOMIROV – IZLOŽBA INSTALACIJA I CRTEŽA IZLOŽBA EXHIBITION

Exhibition consists of 7 groups – drawings of objects made in technique plotter printing on the transparent folios. Each group has a variable dimensions due to possibility of optical view displacement, which gives three-dimensional drawing in definite sequence. Using potential of polyuretan magnifying glasses utilization, spatial drawings obtain their interior double space and coordinate with the space in which are located, giving the possibility to research on the relation of optical elements – optical view, what is cardinal concept of exhibition. Synthesis between spatial installations and objects (in this case – luminous billboard) is video creation (composed of 4 elements) which is specific for himself and exists for his own purpose (separately by sound and drawing), but, in one, it implies the unique entity.

Izložba se sastoji od sedam grupacija – crteža objekata rađenih u tehnici ploter štampe na providnim folijama. Svaka grupacija ima promenljive dimenzije zbog mogućnosti pomeranja vidnog polja koje u određenom nizu daje trodimenzionalni crtež. Koristeći mogućnost upotrebe poliuretanskih lupa, prostorni crteži dobijaju svoj unutarnji dupli prostor i kordiniraju sa prostorom u kojem se nalaze, te daju mogućnost istraživanja na relaciji optički elementi - vidno polje, što je u biti i osnovni koncept izložbe. Sintezu između prostornih instalacija i objekata (u ovom slučaju svetlećih reklama) čini video rad (sastoji se od 4 elementa) koji su svojstveni sami po sebi i egzistiraju sami za sebe (pojedinačno zvukom i slikom), ali ujedno obuhvataju jedinstvenu celinu. Željka Momirov (1962) završila je vajarstvo na FPU u Beogradu i postdiplomske studije na istom fakultetu. Član je ULUS-a i ULUPUDS-a. Predavala je na Akademiji umetnosti u Prištini i na Akademiji lepih umetnosti u Beogradu. Živi i stvara u Beogradu.

Željka Momirov (1962) graduated in 1987 at BFA University of Fine Arts, Belgrade, Yugoslavia - Department of Sculpture, with an emphasis in site specific sculpture and in 1992 at MFA University of Fine Arts, Belgrade, Yugoslavia. She is a member of Association of Fine Artists of Serbia / ULUS, member of Association of Fine Artist of Applied Art and Design of Serbia / ULUPUDS. Željka lives and works in Belgrade. 63

JOHNNY RACKOWITZCH – DRILLER TRILLER IZLOŽBA I PERFORMANS EXHIBITION AND PERFORMANCE

Johnny Rackowitzch: UR BAROCO SHIZOMANIA / TRANSFORMANCE Retro perspektivno / 25 godina body art-a u beskonačnim transformansama Fotografije: Bojana Rajević Video rad „Who is fuckin’ Johnny”: Liki Antonović i Kristina Drašković Zvuk: Adamović agencija za izradu Mega cunamija Total O3ONE video instalacija: Nada Pleskonjić Nenad Džoni Racković (1967, Beograd) studirao je Fakultet dramskih umetnosti u Beogradu. Poznat je beogradski multimedijalni umetnik i performer. Sarađivao je sa Radiom B92 od 1990. do 1998. godine, kao urednik i voditelj kultne emisije „Ritam srca”. Od 1995. do 1998. godine bio je stalni saradnik časopisa Beorama.

Johnny Rackowitzch: UR BAROCO SHIZOMANIA / TRANSFORMANCE Retro perspective / 25 years of body art in endless transformances Photographs: Bojana Rajevic Video work “Who is fuckin’ Johnny”: Liki Antonovic and Kristina Draskovic Audio: Adamovic agency for creation of a Mega Tsunami Total O3ONE video installation: Nada Pleskonjic Nenad Johnny Rackowitzch (1967, Belgrade) studied at the Faculty of Dramatic Arts in Belgrade. He is a celebrated multimedia artist and performer. He cooperated with the B92 Radio from 1990 until 1998 as an editor and a broadcaster of a cult programme “Rhythm of the Heart”. From 1995 until 1998 he was a columnist for Beorama magazine.

TATJANA MILOŠEVIĆ – GLOW DIET / MANJI SJAJ IZLOŽBA EXHIBITION

“Stiče se utisak da u Tatjaninom likovnom izražavanju dominira crtež/kontura i figuracija koja nas smešta u svet animiranih filmova. Na prvi pogled njeni motivi su iz sveta priča za decu, sa predstavama devojčica, igračaka, malih psića, medvedića, leptira, veverica…

“In Tatiana’s art there is an impression of drawing/contour and figure dominance that set us in a world of cartoons. At the first sight her motives are looking like they are from the children’s bedtime stories, with the notions of little girls, toys, puppies, teddy bears, butterflies, squirrels…

Na drugi pogled, shvatamo da se radi o surovom i bezočnom svetu odraslih, u kojem se, kontinuirano rušene i urušene iluzije, očitavaju umorom, suzama, omčama o vratu ili vezanim, sputanim udovima…

Soon, we realize that there is about cruel and impudent world of adults where the continuously destructed and betrayed illusions are reflected in fatigue, tears, tied extremities. Hearts, strawberries, cherries are interlaced with a threatening and “wicked” pets turned in their opposites. Through the striking caricatures, expressively, by the sweet-painful principle, Tatjana Milosevic introduce us the world of real certainty that is everything but the rose-colored and innocent“.

Srculenca, jagodice, trešnjice, isprepletane su sa pretećim i “zločestim” četvortonožnim ljubimcima koji se pretvaraju u svoju suprotnost. Karikaturalno i upečatljivo, ekspresivno po principu slatko-bolno,Tatjana Milošević nas uvodi u svet realne izvesnosti koji nimalo nije ružičast ni nevin.”

Ivona Rajacic Barandovski Ivona Rajačić Barandovski

MILETA PRODANOVIĆ – BRANDOPOLIS IZLOŽBA EXHIBITION

Osnovna tema izložbe „Brandopolis” je pozicija brenda, znaka, marke, kao i konzumacije u širem smislu, u savremenom društvu obeleženom globalizacijom i otporom prema istoj. Serija „Brandopolis” sastoji se od dve grupe radova, prvu predstavljaju radovi na papiru (akvareli izvedeni u tradicionalnom maniru) koji kombinuju, kao citate, poznate predstave gradova sa starih slika (renesansnih, vizantijskih, islamskih minijatura) sa logoima poznatih kompanija i proizvoda. Ova serija, sa edicijom digitalnih radova, predstavljena je u O3ONE-u. Komplementarna grupa radova, serija fotografija koje ispituju prisutnost određenog znaka, simbola, brenda „Beli Anđeo” sa freske iz XIII veka iz manastira Mileševe, u srpskom društvu i aktuelnom urbanom pejzažu, bila je izložena, simultano sa izložbom u O3ONE-u, u galeriji SKC-a. Obe izložbe uključivale su i video radove na istoj konceptualnoj osnovi. Mileta Prodanović (Beograd, 1959) je diplomirao na Fakultetu likovnih umetnosti u Beogradu, 1983. godine. Magistrirao je na istom fakultetu, 1985. godine. Boravio je kao postdiplomac na Royal College of Arts u Londonu (1988-89). Radi kao docent na Univerzitetu umetnosti u Beogradu – Fakultet likovnih umetnosti.

Main topic of this exhibition is a position of a brand, a logo or a trade mark as well as consumerism in a wider sense, in a modern society marked with the globalization and resistance to it. „Brandopolis” set consists of two groups of works - first one is made of works on paper (traditionally painted watercolours) which combine- in a manner of citations - famous images of cities taken from old paintings (renaissance, Byzantine, Islamic miniatures) with the logos of well-known companies and products. This set, along with an edition of digital works, was shown in O3ONE. Complementary group of works - a set of photographs which explore the presence of the logo or a symbol of “White Angel”- XIII century fresco from the Mileseva monastery, which became a brand in a present-day Serbian society, was shown in the SKC gallery. Mileta Prodanovic (Belgrade, 1959), graduated at the Faculty of Fine Arts in Belgrade, in 1983 where he also got his MA degree in 1985. In 1988-89 he was a post-graduate student at the Royal College of Arts in London. He works as a lecturer at Belgrade University of Art – at the Faculty of Fine Arts.

YOUNA KOUSAGIUGUISU – MR. TOMORROW FROM JAPAN

“ Zbog mnogo stvari kojima se bavim, ne mogu da zamislim svoju budućnost. Ipak, mogu savršeno da zamislim budućnost sledeće nedelje. Samo za nedelju dana od danas, auto bez guma će leteti i trčati. Verujem da će se za nedelju dana dva robota zaljubiti. Verujem, verujem u svoju budućnost. Zovem se Gospodin Sutra, i dolazim iz Japana, trčeći“.

“Having too many things to handle, I cannot imagine my future. Yet I can perfectly imagine the future a week after. Just a week after today, a car without tires will run and fly. I believe just a week after today, two robots will fall in love. I believe, I believe my future. My name is “Mr.Tomorrow” came from Japan by running”.

Youna Kousagiuguisu, rođen 1967. u Kobu. Jedanaest samostalnih i deset grupnih izložbi. Dobitnik nekoliko nagrada, 1995. i 1996. godine objavio je dve publikacije.

Youna Kousagiuguisu was born in Kobe, 1967. He had eleventh solo and ten group exhibitions. Won several awards, in 1995 and 1996 published two publications.

http://members2.jcom.home.ne.jp/younakousagiuguisu/index.html

IZLOŽBA EXHIBITION

SUZANA VUKSANOVIĆ – UPDATE: SOPSTVENI (ŽENSKI) LIK IZLOŽBA EXHIBITION

Umetnice: Ljubica Čvorić & Marina Tomić, Olga Ungar, Zorica Čolić, Ratka Lugumerski, Ksenija Kovačević & Milena Nena Popov, Željka Jović, Maja Rakočević Cvijanov, Ivana Đukić, Monika Sigeti, Jelena B. Kovačević, Dragana Žikić, Jelena Janev. Izložba predstavlja izbor iz produkcije od 2000. godine do danas, umetnica mlađe generacije u i iz Vojvodine, a namera, ambicija i plan izložbe je da se pozabavi prezentacijom i interpretacijom recentne umetničke prakse koja na različite načine tretira problem rodnih stereotipa i bavi se njihovom reprodukcijom i dekonstrukcijom. Pojedinačni pristupi svake od pozvanih umetnica, i stilski i filozofski su različiti, ali imaju jednu zajedničku karakteristiku odnosno težnju za prelaskom istorijskih i kulturalnih granica, predispozicija i predubeđenja. Njihove re/prezentacije sebe utemeljene su u autorski kreativnim i (samo)svesnim ženskim subjektima. Kroz sliku sebe/predstavu sebe, pomoću autobiografskog, kvazi-autobiografskog, subjektivnog i simboličkog pristupa i forme, umetnice zastupljene na izložbi UPDATE: sopstveni (ženski) lik sprovode kritičke intervencije u različitim društvenim i kulturalnim prostorima gde se ženski identitet/ identitet žene, s jedne strane, negira, provocira, (zlo)upotrebljava, ali i potencira, ističe i veliča, sa (neke) druge strane. Izložba je realizovana u koprodukciji sa Muzejom savremene umetnosti Vojvodine u Novom Sadu.

Artists: Ljubica Čvorić & Marina Tomić, Olga Ungar, Zorica Čolić, Ratka Lugumerski, Ksenija Kovačević & Milena Nena Popov, Željka Jović, Maja Rakočević Cvijanov, Ivana Đukić, Monika Sigeti, Jelena B. Kovačević, Dragana Žikić, Jelena Janev. This exhibition is a selection of works from production since the year 2000 to the present day, of female artists in and from Vojvodina. The purpose, plan and the goal of the exhibition is to deal with the presentation and interpretation of the recent art tendencies which in different ways treats the problem of gender stereotypes and works on their reproduction and deconstruction. The approach of each artist is different in style and philosophically, however, they have one thing in common – they strive to overcome historical and cultural boundaries, predispositions and preconceptions. Their (re)presentations of themselves are founded on creative and (self)aware female subjects. Through the image of self /self presentation, with elements of autobiographical, quasiautobiographical, subjective and a symbolic approach and form, the artists participating in the UPDATE: my own (female) self are making critical interventions in various social and cultural environments in which female identities/ /identity of a woman, on one hand negates, provokes, (miss) treats, and on another, accentuates, points out and glorifies. Exhibition is realized in co-production with the Museum of contemporary art of Vojvodina, Novi Sad.

EUGEN BORKOVSKY – BIJELA IZLOŽBA / FRAKTALI IZLOŽBA EXHIBITION

Serijom radova u okviru BIJELE IZLOŽBE autor nastavlja kontinuirano da ispituje poetiku prostora. Svodeći svoj izraz na crno-bele likovne elemente, pri čemu koristi artefakte preuzete iz prirode (grane drveta) u kombinaciji sa industrijskim mrežama kao pozadinom, Borkovsky jedan ekološki estetiziran element uvodi u asocijativnu digitalizaciju. Mreže koristi kao dvodimenzionalni prostor- “ekran”, a dodatnim svetlom dobija senke, kojima materijalne elemente iz prvog plana dematerijalizuje, svodi ih u fluidnu dvodimenzionalnu sliku! Suština Eugenove poetike smeštena je u međuprostor, od trodimenzionalne grane do rasterske senke. Ovom izložbom se pokazuje prefinjen senzibilitet sa mogućnošću mnogostukog angažovanog isčitavanja. Eugen Borkovsky Vodopivec rođen je u Opatiji. Likovnu umetnosti završio je u Rijeci. Ima status samostalnog umetnika (skulptor i likovni kritičar). Bavi se savremenom likovnom praksom i likovnom kritikom, grafičkim i web dizajnom i heraldikom. Dobitnik je nekoliko nagrada i priznanja. Radovi mu se nalaze u mnogim javnim i privatnim prostorima. Od 1999. godine vodi Gradsku galeriju Fonticus Grožnjan. Priredio je preko 60 samostalnih i više od stotinu grupnih izložbi u zemlji i inostranstvu.

With the series of works at WHITE EXHIBITION author continues to research the poetry of space. The artist is choosing to reduce his expression to the black-white elements, he uses artefacts taken from the nature (tree branches), combines them with industrial mesh as a background, thus bringing one ecologically aestheticized element into an associative digitalization. He uses mesh as a two-dimensional space – a “screen”, which displays shadows when lit, where material elements from the front become immaterialised and reduced to a fluid, two-dimensional image! The essence of Eugen’s poetic is situated in the space between, from the three-dimensional branch to the raster shadow. This exhibition presents his refined sensibility and offers manifold possibilities for an engaged viewing. Eugen Borkovsky Vodopivec was born in Opatija. He studied Fine Arts in Rijeka. He is a freelance artist (sculptor and art critic). He is engaged in contemporary art practice, art reviewing, graphic and web design and heraldic. He is a recipient of numerous awards and acclamations. His works are gracing various private and public spaces. Since 1999 he is the curator of the City Gallery Fonticus in Grožnjan. He had more than 60 one-man exhibitions and was a part of over a hundred of group exhibitions in Croatia and abroad.

IVA KOVAČ – REKREACIJA IZLOŽBA EXHIBITION

Izložba Rekreacija okuplja medijski raznorodne radove, nastale tokom zadnjih godina studija, koji se kritički bave kontekstom obrazovanja i obrascima koji se kroz njega usvajaju. Autorka istovremeno performira i preispituje performativno; pojedinih umjetničkih radova, obrazovnog sistema i tekstova. Poljubac (2005/08) je direktna, ne-inscenirana intervencija u tuđi performans, izvedena s ciljem naglašavanja važnosti konteksta nastanka umetničkog rada. (Re)produkcija [2008.] je performans koji koristeći galerijski prostor relativizira stavove o biološkim uslovljenostima produkcije i reprodukcije. Rekreacija (2008/10), rad po kojem izložba kao celina dobija ime, pokušaj je usloznjavanja odnosa subjekta i objekta, slikarstva i performansa, reflektirajući ove odnose u svetlu radova Yves Kleina, Vanesse Beecroft i Piera Manzonija. Izložba Ive Kovač predstavlja umetničke intervencije u proizvodnju i distribuciju umetnosti kao oblik kontekstualizacije umetničke prakse. IVA KOVAČ (rođena 1983) diplomirala je slikarstvo na Akademiji likovnih umetnosti u Zagrebu (2008) gde od nezavisne komisije prima nagradu za najbolji diplomski rad. Za vreme studija provodi semestar na Indiana University of Pennsylvania (2005), stažira na Peggy Guggenheim internship programu u Veneciji (2007/08) te pohađa radionicu Dana Perjovschog na Summer Academy Salzburg (2008). Nakon studija završava eksperimentalnu radionicu Kustoska platforma (2008/09) dok trenutno radi na kustoskom programu “Svet umetnosti” pri ljubljanskom SCCA. Sa radom “(Re)produkcija” učestvuje na 28. Grafičkom bienalu u Ljubljani (2009). Na SAP 2009 rezidencijalnom programu u Republici Koreji (2009) s Elvisom Krstulovićem priređuje seriju predavanja te objavljuje internet stranicu i novine “Art & Market”, koji predstavlja na 2. Moskovskom bienalu mladih. Izlaže na mnogim grupnim i nekoliko samostalnih izložbi. Radi kao kustos PM Galerije u Zagrebu. Objavljuje u različitim kulturnim časopisima i portalima.

Exhibition “Recreation” brings together divers media works, created during last years of studies, which is critically concerned with context of education and forms that are adopted through educational system. The author at the same time represents and examines the represented; certain art works, educational system and texts. The Kiss (2005/08) is direct, non - staged intervention in some else’s performance, conducted with the aim of highlighting the importance of the context in the birth of the art work. (Re)production is a performance which uses gallery space and introduces the positions on biological production and reproduction. The name that exhibition holds is from the piece “Recreation” (2008/10), and it is an attempt of complicating the relation between subject and the object, painting and performance, reflecting these relations in the light of work of Yves Klein, Vanessa Beecroft and Pier Manzoni. Iva Kovac’s exhibition represents artistic intervention in production and distribution of art as a form of contextualization of art praxis. Iva Kovac (born in 1983) graduated painting in Academy of Fine Arts in Zagreb (2008) where from she received from an independent the prize for the best undergraduate thesis. During the studies she spends a semester in Indiana University of Pennsylvania (2005), an intern at the Peggy Guggenheim internship program in Venice (2007/08) and attends a workshop of Dana Perjovsci on Summer Academy of Salzburg. After her studies she finished an experimental workshop “Curatorial Platform” (2008/09), and she is currently working on a curatorial program “The World of Art” in Ljubljana. With the work “(Re)production” she participated on the 28th Graphic Biennial in Ljubljana (2009). On SAP 2009 residency in Korea (2009) with Elvis Krstulovic she organizes series of lectures and publishes the website and magazine “Art & Market” which she represented on the 2. Moscow Young People Biennale. She exhibited in many group and several solo exhibitions. She works as a curator in PM Gallery in Zagreb. She published her works in various cultural magazines and portals.

CIHIHIRO ITO - I DRAW WHAT IS THERE IZLOŽBA EXHIBITION

Umetnik Cihihiro Ito stvara dvodimenzionalne radove na temu “Kada izrazim ono što je oko nas, bojim linijama”. Jednog dana našao je kamelije blizu svog ateljea. Razumeo je šta su one. Ali kada su stajale veoma blizu njega, nije mogao da ih shvati po svojim obrascima. Izgledale su poput nečeg šarenog i apstraktnog. Zašto je to nerešivo upotrebom linije? Postoje neki razlozi. On je želeo da razume materijal, crtež linijama i dodir. Autor smatra da crtež povezuju linije u stilu tradicionalnog orijentalnog načina, kao što to čine četkom umetnici u Indiji i mastilom “Ukinoe”, japanski majstori umetničke forme. On pasionirano stvara svoju umetnost crtajući linije poput slikanja slike.

Artist Cihihiro Ito creates two-dimensional works on the theme “When I express what is around us, I paint by lines.” One day he found a camellia near his studio. He understood what it was. But when he was standing very close to camellia, he could not understand it’s form. It looked like something colorful and abstract. Why is this phenomena insoluble by using the line? There are some reasons. He wanted to understand the material, simple line drawing and touch. The author believes that drawing connects lines in the style of traditional oriental way, as do the brush artists in India and Japanese masters of artistic forms by using “Ukinoe” ink. He passionately creates his art by drawing lines like he is painting on canvas.

Za ovu samostalnu izložbu koristio je motive cveća i povrća.

He used the motifs of flowers and vegetables for this solo exhibition.

I draw what is there I draw what is there Cihihiro Ito likovnim izrazom pokušava da oslika materijal koji povezuje čovekov unutrašnji prostor sa spoljašnjim svetom. Japanski umetnik smatra da nas život štiti od ništavila i za njega je strah od življenja neosnovana ideja. 79

Through his painting Cihihiro Ito tries to express and manifest the material that links a person’s inner space with the outside world. The Japanese author believes that life protects us from nothingness and for him fear of living is absurd.

SELI YUKI – POKUŠAVAM DA PREBROJIM PREOSTALA ZRNA PESKA NA NOKTU IZLOŽBA EXHIBITION

As a result of long and successful cooperation with japanese artists through the Japan Yugo Art project, O3ONE hosted another photo exhibition that is coming from Japan. Seli Yuki will present series of photographs taken without any intermediate objects standing between his camera and the scenery. The sand on the nail has a symbolic and holy meaning for the author.

U duhu višegodišnje saradnje sa japanskim umetnicima kroz Japan Yugo Art projekat, O3ONE je ugostio još jednu izložbu fotografija koja nam dolazi iz Japana. Seli Yuki će predstaviti seriju fotografija koju je napravio bez posrednika između kamere i prirode. Za njega pesak na noktu ima simboličan i sveti značaj. „Kada fotografišem, razmišljam, predugo sam zagledan. Zatim me zapljusne talas uspomena, plutajućih uspomena.“

“When I am taking photographs, I am thinking, I am staring too long. Then I get splashed by the wave of memories, floating memories.”

Seli Yuki je rođen 1969. godine u Japanu. Diplomirao je 1992. godine na Design Laboratory of Kuwasawa, a u godinama koje su sledile je počeo da se bavi fotografijom. Od 2001. godine stalno posećuje Srbiju, inspirisan narodom. Učestvovao je u mnogim grupnim izložbama, a izlagao je i samostalno.

Seli Yuki was born in 1969, Fukuoka Japan. Graduated in 1992 at the Design Laboratory of Kuwasawa and in the years that followed started working as a photographer. Since the year 2001 he is constantly visiting Serbia, and is inspired by the people. He participated in numerous group and was an author of several solo exhibitions.

ALEKSANDAR DIMITRIJEVIĆ – REKONSTRUKCIJA IGRE 3 IZLOŽBA EXHIBITION

Artefakti – Rekonstrukcija igre 3

Artifacts – Reconstruction of the Game 3

Aleksandar Dimitrijević se ne bavi grafologijom ali je kao vizuelni umetnik privučen snagom izraza beleški. U svom radu on koristi estetske kvalitete papirića sa rezultatima odigranih partija različitih društvenih igara kao i inspiraciju koju oni nude za dalji razvoj likovnih elemenata. Radovi koji na osnovu njih nastaju su ekspresivni, energetski napunjeni i istovremeno formalno stabilni. Ono što ih vodi dalje od dopadljivog je Dimitrijevićeva fascinacija fenomenom znakovnih zabeleški igara kao tragova ličnih i socijalnih relacija. Prisutnost tih odnosa i svih nivoa na kojima se oni reflektuju daje sadržinsku punoću predstavama koje stvara a njihovo iščitavanje uključuje sva moguća tumačenja simbolike igre.

Aleksandar Dimitrijević does not deal with graphology but, however, as a visual artist he is attracted by the expression value of notes. In his work he uses aesthetic qualities of hand-written sheets of paper with results of various social games as well as inspiration they provide for further development of their visual elements. What leads his work further from just being appealing is Dimitrijević’s fascination with the phenomenon of personal and social relations which are integrated in symbol-based records of games. The presence of these relations and all levels they reflect upon, provides richness of content of created images and their reading includes all the possible interpretations of symbolism of game. Within exhibitions Artifacts – Reconstruction of the Game Dimitrijević for the first time makes visible solid construction of his artistic explorations, previously only hinted in seemingly light images on his canvases. By displaying ”artifacts“ and the ”reconstruction of the game“ Dimitrijević enters a new phase of his artistic development.

Na izložbama Artefakti – Rekonstrukcija igre Dimitrijević po prvi put čini vidljivom solidnu konstrukciju svojih umetničkih istraživanja koja se samo naslućivala u prividno rasterećenim predstavama na njegovim platnima. Otkrivanjem „artefakata“ i „rekonstrukcijom igre“ Dimitrijević je ušao u novu fazu razvoja svog stvaralaštva. 83

KREŠIMIR DOBREV - U PROJEKCIJI DRUGE DIMENZIJE IZLOŽBA EXHIBITION

Pictures that I paint do not fit successfully in our everyday living conditions. They are not meant to be significant, on a sentimental level, to the architectural design of an apartment. The art spaces worldwide have long been thoroughly oversaturated by the presence of painting, which reminds me of overmedication of the body with antibiotics which no longer have the healing effect.

Slike koje slikam, uspešno se ne uklapaju u naše svakodnevne uslove života. Nisu namenjene da budu sentimentalno znacajne za arhitekturni prostor stana. Svetski art-prostori su odavno prezasiceni prisustvom upravo slika, što me podseca na onu prezasicenost tela antibioticima koji više ne deluju lekovito. Upravo u tom trenutku izobilja ja nalazim da slika ne predstavlja klasican oblik likovne umetnosti. Ja njeno znacenje i mesto shvatam onako, kako ga je shvatao Dejvid Hokni. Danas se pitam nije li jedan od osnovnih zadataka savremenog slikarstva da bude konkurentno sa ”know-how“ tehnologijama? Da li savremeni intelekt ima potrebu da opšti sa anahronim oblicima stvarnosti?

Exactly at that moment of it abundance I realize that painting does not represent a classical form of fine arts. I see its significance and its place in the same way as David Hockney saw it. I wonder, today, if one of main tasks of contemporary art isn’t to be competitive with the “know -how “ technologies? Does a contemporary intellect need to communicate with anachronistic forms of reality?

SLOBODAN TRAJNOVIĆ - BALKANSKA RAPSODIJA IZLOŽBA EXHIBITION

In the time of political, financial and environmental uncertainties, our dedication to positive disposition towards nature is of utmost importance. Within that context, we find a field of creative energy resisting the everyday grind, building simultaneously a niche not only for itself and its development, but for other segments vital to the well being of contemporary society.

U vreme političkih, finansijskih i klimatskih neizvesnosti od vitalne je važnosti naša privrženost pozitivnom odnosu prema svojoj okolini. U tom kontekstu u umetnosti nalazimo polje kreativne energije koje se odupire svakodnevnim nanosima života, gradeći istovremeno prostor ne samo za sebe i lični razvoj već i za druge oblasti od vitalnog značaja za dobrobit savremenog društva. Izložba „Balkanska rapsodija“ je zbir multimedijalnih radova koji se razvijaju u metafori o podelama ljudi na Balkanu, o njihovim strastima i nedoumicama, o njihovim nadama i neizvesnostima, o njihovom zajedništvu i konstantnoj sumnji u iskrenost onog drugog. U tako kompleksnom psihološkom i sociološkom preseku vrlo je neizvesno u kom pravcu treba krenuti ka razotkrivanju mogućeg vizuelnog identiteta. Sagledavanje ličnog kodeksa je preduslov za razumevanje daljeg toka analize. Nakon toga možemo postaviti pitanje o društvenom kodeksu? Očigledno je da govorimo o istoj stvari ali imamo, vrlo često oprečno razumevanje istog. Od velike je važnosti kako jedno društvo čuva i održava vrednosti jedinke? Interesantno je, takođe govoriti o segmentima društva

Exhibition “Balkan rhapsody” is a collection of multimedia works, developed within the metaphore about divisions between the peoples of the Balkans, about their passions and perplexities, their hopes and uncertainties, about their sense of community and constant doubting of the sincerity of others. In such a complex psychological and social millieu it is very uncertain which direction is right to discover the probable visual identity.

PRAVAC SILA IZLOŽBA EXHIBITION

Ova izložba predstavlja 18. umetnika I njihova dela nastala u “umetničkoj labaratoriji” Artoll u Nemačkoj. Artoll je specijalizovana umetnička institucija sa ateljeima, unutar komleksa psihijatriskih klinika na periferiji grada Kleve gde je živeo I radio Džozef Bojs (Joseph Beuys,1921.-1986.) jedan od najharizmatičnijih nemačkih umetnika XX veka. Naziv kolonije “Directional Forces 2014” (“Usmeravajuće moći 2014”), pozajmljen je od istoimenog dela Džosefa Bojsa. To delo je predstavljeno prvi put na izložbi: Pravci energija ka novom drustvu – Richtkräfte (Directions of Energies to a New Society – Richtkräfte) u Institutu za savremenu umetnost u Londonu (30. oktobar – 24. novembar, 1974. god.). Ovo delo je sacinjeno od 100 crnih tabli ispisanih belom kredom I kao takve predstavljaju dokumenta sačuvana sa njegovih predavanja. Pored tabli, na izložbi su bila predstavljena I tri stafelaja, stap za hodanje i fotografije projektovane na zidu. Za vreme izložbe Bojs je vodio I dijalog sa publikom na temu: “Umetnost u društvu – društvo u umetnosti”. Kasnije, taj isti rad je predstavljen u galeriji Rene Blok I Ronald Feldman Fine Arts u Njujorku (april – maj 1975.) potom, na 37.-mom Bijenalu u Veniciji (jul – oktobar 1976.) da bi na kraju završio svoj ciklus u formi instalacije u Nacionalnoj galeriji u Berlinu.

This exhibition presents 18 artists and their works which were created in the “art lab” Artoll in Germany. Artoll is specialized art institution with studios within the complex psychiatric clinic on the outskirts of the city of Kleve, where lived and worked Joseph Beuys (Joseph Beuys, 1921 in 1986.)One of the most charismatic German artists of the twentieth century. Name of Colony “Directional Forces 2014” (“directing power 2014”), borrowed from the same part by Joseph Beuys. This work was presented for the first time at the exhibition: Trends of energy towards a new society - Richtkräfte (Directions of Energies to a New Society - Richtkräfte) at the Institute of Contemporary Arts in London (October 30-November 24, 1974.). This work is made up of 100 black white chalk blackboard written and as such represent a document saved with his lectures. In addition to the board, the exhibition presented three easel, walking sticks and photos projected on the wall. During the exhibition Beuys water and dialogue with the audience on “Art in society - a society in the arts.” Later, the same work is featured in the gallery René Block and Ronald Feldman Fine Arts in New York (April-May 1975), then, at the 37th Biennale in-my Veniciji (July - October 1976) and in the end finished its cycle form of an installation at the National Gallery in Berlin. 89

SRBOLJUB TRAVANOV - INVERZIVNA KONSTRUKCIJA IZLOŽBA EXHIBITION

Nakon što je 1975. diplomirao na Fakultetu dramskih umetnosti u Beogradu, Srba Travanov imao je veoma zanimljivu biografiju. Pored osnovnog umetničkog poziva, ostvario se i u drugim sferama života… Bavio se i gimnastikom, aikidom, živeo je u Njujorku, Parizu i Švajcarskoj… Učesnik je desetina izložbi u zemlji i svetu.

Do we need counter culture? Does it exist only through extremists, politically incorrect groups? What is left from our legendary heritage from 70-ties and 80-ties and rock and roll ideals? Has spontaneity of joining forces in order to create disappeared? When has resistance stopped being danger to the system? Has urban culture child a.k.a. counter culture became endangered by non urbanites? Is there a connection between counter culture and snobbism? Has democracy chased counter culture away or is it that the ones who exchanged leather jacket for suits simply retired?

BOSILJ – MANGELOS IZLOŽBA EXHIBITION

U godini u kojoj je njujorška publika videla njihove radove na samostalnim izložbama, O3ONE je nastojao da se i Beograd bolje upozna sa fenomenom oca i sina, Ilije Bašičevića Bosilja i Dimitrija Bašičevića Mangelosa. Paralele između dvojice autora predstavljene su putem video instalacije. Dela Dimitrija Bašičevića, koja je stvarao pod pseudonimom Mangelos, tokom 90tih godina su izlagana u Zapadnoj Evropi i Americi. Carnegie International, renomirana svetska manifestacija savremene umetnosti posvećuje Mangelosu samostalnu izložbu (www.cmoa.org/international). Musee national d’Art moderne – centre Georges Pompidou, Pariz, kupuje 22 Mangelosova dela, čime ga pozicionira u deo svetske konceptualne umetnosti. Najzad, 2006. g., Museum of Modern Art, Njujork, kupuje Energy (Energija) iz 1978. i Manifest de la Relation iz 1977-78. (www.moma.org). Ilija Bašičević Bosilj (1895, Šid) jedan je od najznačajnijih art brut umetnika. Međunarodno priznanje je stekao 1960tih i 1970tih godina pod pseudonimom Ilija Bosilj. Dela su mu zastupljena u privatnim kolekcijama svetski poznatih ličnosti (Maks Bil, porodica Rokfeler, Sofija Loren i Karlo Ponti). Kustos izložbe, Nebojša Milenković, održao je i predavanje „Fenomen Ilija Bosilj – Mangelos”.

O3one presented to Belgrade public the phenomenon of the father and son – Ilija Basicevic Bosilj and Dimitrije Basicevic Mangelos in the same year New York had seen their one man shows. Parallels between these two artists were presented through video installation. Dimitrije Basicevic Mangelos’s paintings were exhibited in Western Europe and the USA all throughout the 90’s. Carnegie International, well known institution to all in modern art world, dedicated to Mangelos a one-man exhibition (www.cmoa.org/international). Musee National d’Art Moderne – Centre Georges Pompidou, Paris, bought 22 Mangelos’s paintings, which positioned him at the very top of the conceptual art world. In 2006, Museum of Modern Art, New York, bought his painting “Energy” from 1978 and his painting “Manifest de la Relation” from 1977-78 (www.moma.org). Ilija Basicevic Bosilj (1895, Sid), is one of the most important art brute artists. He won his international acclaim in the 60’s and the 70’s, when he worked under the pseudonym of Ilija Bosilj. His paintings can be found in the private collections of celebrities such as Max Bill, the Rockefeller family collection, Sofia Loren and Carlo Ponti’s collection etc. Nebojsa Milenkovic, the curator of this exhibition, gave a lecture on the subject: “The phenomenon of Ilija Bosilj-Mangelos”. 93

EMERIK FEJEŠ – FANTASTIKA IZLOŽBA EXHIBITION

Emerik Feješ (1904–1969) jedan je od vodećih slikara gradskih pejzaža u naivnoj umetnosti svog vremena. Iako izrastao iz tradicije naivnog slikarstva koje je uglavnom vezano za fantastiku i ekspresivno u sadržaju i stilu, Feješ, svedenim sredstvima, kreira potpuno savremen urbani pejzaž. Njegove tempere, gvaševi, crteži i skice nalaze se u kolekcijama muzeja Šarlote Zander (Bonighajm – Nemačka), Galeriji Susi Bruner (Cirih – Švajcarska) i Galeriji Elke i Vernera Cimera (Dizeldorf – Nemačka). Njegove crtačke i slikarske vizije gradova, gradskih trgova i pročelja fasada odaju neposrednost urbanog duha koji u svom izrazu ostaje vezan za tradiciju naivnog slikarstva, ali je reinterpretira u novom kodu. U okviru tradicije naivnog likovnog stvaralaštva u Srbiji, Emerik Feješ zauzima poseban položaj. Srećna okolnost je bila ta što su istaknuti akademski umetnici, poput Tabakovića i Mamuzića, u njemu prepoznali nešto više od tradicionalnog slikara naivca, i prikazali ga kao bliskog poetikama velikana evropskog slikarstva (Klea i Kandinskog) pružajući mu tokom cele njegove karijere bezrezervnu podršku. Izložba je deo projekta kojim su Jugoslovenska galerija umetničkih dela i O3ONE, u saradnji sa Muzejom naivne umetnosti iz Jagodine, avgusta 2005. godine, predstavili Beogradu vrhunska dela izvornog srpskog naivnog slikarstva.

Emerik Fejes (1904–1969) is one of the leading painters of urban landscapes in naïve art of his period. Although coming out of the tradition of naïve art that is mostly connected to the fantasy and expressive in subject and style, Fejes has created modern urban landscapes. His temperas, gouaches, drawings and sketches have, therefore, become part of the collections such as the one of Museum Charlotte Zander (Bonnigheim , Germany), Susi Brunner Gallery (Zurich, Switzerland), Gallery Elke und Werner Zimmer (Dusseldorf , Germany) etc. His drawings and paintings of towns, squares and facades reveals an urban spirit but his artistic expression stays connected with the tradition of naïve painting. His position in the tradition of naïve art in Serbia is quite special. Throughout his career he was supported by our prominent academic artists Tabakovic and Mamuzic who recognized in Fejes’s work sensitivity of an outstanding modern artists like Klee and Kandinsky. The exhibition was a part of the project organized by the Yugoslav Gallery of Artworks and O3ONE in a cooperation with the Museum of Naïve Art from Jagodina, which in August 2005, presented to the Belgrade audience some of the best paintings from the authentic Serbian naïve art collection. 95

MARGARETA JELIĆ – PAMETNE NEPOSLUŠNE DEVOJKE

Oslanjajući se na psihoanalitičku teoriju (Frojd i Lakan) i imajući u vidu rad umetnice Meri Keli (Marry Kelly), ovim svojim projektom autorka želi da ukaže na period preedipovske vezanosti za majku, bitan period u životu svake žene. Rad se strukturalno i u prostoru realizuje u tri segmenta, koje čine: projektovani video rad „Iza pozornice”; interaktivna knjiga, na čijim stranicama se prikazuju video radovi autorke; rad u kojem audio zapisi u interakciji sa publikom kontrolišu sliku i fotografije. Svi ovi radovi predstavljaju jedan projekat i njihov odnos po sadržaju, mediju i dimenziji stvara atmosferu instalacije u kojoj posmatrač nije pasivan, već se kretanjem od jednog rada do drugog, okretanjem stranica knjige, stavljanjem i skidanjem slušalica, navodi da učestvuje i bude aktivan kao u nekoj prodavnici ili na mini sajmu. Margareta Jelić (1967, Beograd) diplomirala je slikarstvo na Fakultetu primenjenih umetnosti, 1992. godine, u Beogradu. Godine 2003. upisuje Interdisciplinarne magistarske studije na Univerzitetu umetnosti u Beogradu, grupu za višemedijsku umetnost. Ovo je njena magistarska izložba.

Based upon a theory of psychoanalysis (Freud and Lacan) and taking into account the work of an artist Mary Kelly on the same subject, Margareta Jelic is focused on the period of pre-Oedipal attachment to a mother, an important period in the life of every woman. Structurally and spacially , the work is realized in three segments which are: projection of a video „Behind the stage“, an interactive book, which shows other video works by the author and the work in which audio recordings in an interactive process with the audience control the image and photographs. All these works constitute one project, communication between them - by content, media and dimension, creates an atmosphere of the installation in which the viewer is not just a passive spectator instead, by moving from one work to the other, by turning the pages of the book, by putting on and taking off the headphones, the audience is encouraged to participate, to become active as in a store or at a mini-fair. Margareta Jelic (1967, Beolgrade), graduated at the Belgrade Faculty of Applied Arts in 1992. In 2003, she started Interdisciplinary postgraduate studies at the Faculty of Arts in Belgrade, department for Multimedia arts. This is her MA exhibition. 97

www.margaretajelic.com

IZLOŽBA EXHIBITION

DRAGAN ZDRAVKOVIĆ – SPAZIO PER L’ARTE

Dragan Zdravković nije bio oficijelni učesnik Venecijanskog bijenala, 51. po redu; nije ga odabrao nacionalni selektor, niti ga je pozvao glavni kustos ili organizator neke od brojnih pratećih manifestacija. On je nenajavljeno, na gerilski način, upao u vrlo gusto mapiranu teritoriju prezentacije i promocije oficijelnih umetničkih praksi i privremeno prisvojio onoliki njen deo koliki zaprema sopstvenim telom. ’Prostor za umetnost’ se u okviru te akcije pojavio u vidu natpisa na majici, pokazivanoj otvaranjem kaputa, što parodira čin egzibicionizma i određuje umetnost ne kao institucionalni proizvod već kao objekat prefinjenih strasti.

Dragan Zdravkovic was not officialy a participant at the 51st Biennale in Venice, he was not a chosen artist at the national level, neither was he invited to take part by a curator or a coordinator of some of the many following programs. Like a true guerilla, unexpected, he enterd the densely mapped teritory for presentations and promotions of official art practices and temporarily appropriated a space the size of his own body. “The space for Art” as a slogan, appeared on his t-shirt, which was shown to the public by his unbuttoning his coat, which parodied an act of exhibitionism and defined art not as an institutional product but rather an object of refined passion.

Dragan Zdravković (Beograd, 1969) diplomirao je na Akademiji lepih umetnosti u Beogradu, 1994, i magistrirao, na istom fakultetu, 1999. godine. Profesor je slikarstva na Akademiji lepih umetnosti u Beogradu.

Dragan Zdravković (Belgrade, 1969) graduated at the Faculty of Fine Arts in Belgrade, acquired his MA degree at the same Faculty in 1999. He is a professor of fine art at the Academy of Fine Arts in Belgrade.

http://www.draganzdravkovic.com/

IZLOŽBA EXHIBITION

DUŠICA PEJIĆ I PROF. DR. MIŠKO ŠUVAKOVIĆ - INTERTEKSTUALNA INTERVENCIJA U PROSTORU IZLOŽBA EXHIBITION

Interakcija autora projekta Dušice Pejić i učesnika projekta prof. dr. Miška Šuvakovića predstavlja svojevrsnu komunikaciju koja se bavi igrom vizuelnog i verbalnog teksta. Projekat istražuje proces unošenja teksta teoretičara umetnosti u prostor galerije u kojoj se izlaže kao deo veće umetničke celine. Šta se dešava kada jedan tekst postane komponenta umetničkog dela? Da li se teorijski tekst u novom kontekstu transformiše u umetničko delo? Da li je teorija okvir u kome se događa umetnost, ili umetnost određuje teoriju? Da li ispisana rečenica gubi svoje naizgled stabilno značenje kada je izložena kao deo umetničkog projekta u galeriji? Pojam intertekstualnosti, koji je šire postao poznat zahvaljujući Juliji Kristevoj, koristi se da označi mnogostruke načine na koje je bilo koji tekst sačinjen od drugih tekstova, tako što predstavlja ponavljanje ili transformaciju prethodnih tekstova, ili neizbežno participira u sveopštoj arhivi konvencija i procedura koje konstituišu diskurse koji nam prethode i u okviru kojih smo rođeni. Po Kristevoj, svaki tekst je “intertekst”- mesto intersekcije nebrojenih drugih tekstova, zbog čega svaki tekst postoji samo kroz relacije prema drugim tekstovima. doc. Milan Radovanović

Interaction of the project’s autor Dušica Pejić and Phd. Miško Šuvaković, assistant of the project, represents a communication which deals with the visual and verbal text play. The project deals with bringing the text of the art theorists into the gallery where it becomes a part of the art work. The participats of this project do this intervention on the gallery walls. Dušica Pejić (1976) graduated on the Art Academy in Novi Sad, painting department. She finished postgraduate studies in Belgrade, Faculty of Fine Arts.

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VLADISLAV ŠĆEPANOVIĆ - ŠTA RADI VLADISLAV ŠĆEPANOVIĆ? IZLOŽBA EXHIBITION

“Šta radi Vladislav Šćepanović?” naziv je izložbe istoimenog umetnika koji je od juna 2013. na čelu Muzeja savremene umetnosti u Beogradu. Svečano otvaranje izložbe je 8. maja u 19 časova u galeriji „O3one“. Izložba traje do 18. maja. Kako kaže Nikola Šuica, Šćepanović nam u svojim delima nudi „kanone čulnih gubljenja u opuštajućim teretima svakodnevice… Odabrane slike otud isijavaju pasaže svojih težišta, predmetnih sastojaka i lako prepoznatljivih učesnika. Veštački materijal kao i veštački načinjeno zadovoljstvo, uobličuju paradoksalni pretres naših ubeđenja. Kinder etiketa postaje garantovana granica osetljivosti, ranjivosti… Vladislav Šćepanović uokviruje u štafelajskoj slici medijsku, ekransku i, opšte uzev, prostornu aglomeraciju novih individua i nove prirode“. Vladislav Šćepanović je rođen u Nikšiću 1971. Fakultetu likovnih umjetnosti završio je na Cetinju a postdiplomske studije na Fakultetu primenjenih umetnosti u Beogradu. Doktorirao je u oblasti teorije umetnosti i medija, na Interdisciplinarnim doktorskim studijama Univerziteta umetnosti u Beogradu 2009. te ne čudi njegov pristup i obrada svakodnevnih tema.

“What Vladislav Scepanovic do?” Is the name of the eponymous exhibition of artists from June 2013 at the head of the Museum of Contemporary Art in Belgrade. The opening ceremony on May 8 at 19 pm in the gallery “O3one”. According to Nikola Suica, Scepanovic in his writings offer us “canons of sensory loss in relaxing burdens of everyday life ... A collection of images from there radiate the passage of its center of gravity, the underlying components and easily recognizable participants. Artificial materials as well as artificially made satisfaction, encapsulate the paradoxical search our beliefs. Kinder label becomes guaranteed limits of sensitivity, vulnerability ... Vladislav Scepanovic is picture framing the media, on-screen and, in general, the spatial agglomeration of new individual and a new nature. “ Vladislav Scepanovic was born in Niksic in 1971 graduated from the Faculty of Fine Arts in Cetinje and postgraduate studies at the Faculty of Applied Arts in Belgrade. He received his PhD in Art Theory and Media, Interdisciplinary doctoral studies at the University of Arts in Belgrade in 2009, and no wonder his approach to the treatment of everyday topics. Working as an Associate Professor of Drawing and Painting at the FAA in Beogradu.Izlagao in 26 solo exhibitions and many group exhibitions at home and abroad. 103

VALERI CAKALOV I STEFAN BOŠKOV - TRANSFORMACIJA PAMĆENJA IZLOŽBA EXHIBITION

Prosledjivanje i istrazivanje transformacije licnog vizuelnog koda i nase interpretacije je deo koncepcije ovog projekta „Transformacija pamcenja“. Pamcenje je pojam za proslost, a ne za buducnost. Svaki kontakt materija nanosi i ostavlja tragove koji se prenose u vremenu i prostoru. Pamcenje cuva slike, misli i emocionalna prezivljavanja. Citanje i interpretacija tih vremenskih zapisa sa razlicitih informacijskih nosaca otkriva odnos znak-vreme-pamcenje. Projekat stimulise traženja u svetu culnih percepcija, stvarajuci licni umetnicki svet. Putem komunikacije u umetnosti mi trazimo i otkrivamo vizuelne transformacije pamcenja. Zapis stanja duse koji kroz promenu kriterijuma stimulise trazenja u stvaralackom socijumu. Izgradjivanje vizuelne sredine ukljucuje razlicite forme umetnosti, grafiku, slikarstvo, objekte, video art i druge...

Transferring research and transformation of personal visual code, and our interpretation is part of the concept of the “transformation of memory.” Memory is the term for the past, not the future. Each contact materials applied and leave traces that are transmitted in time and space. Memory holds the images, thoughts and emotional survival. Reading and interpretation of these time records with different information boom reveals the relation-sign time-memory. The project stimulated the search in the world of sensory perception, creating personal art world. Through communication arts we look and discover the visual transformation of memory. Record condition of the soul that by changing the criteria Author stimulate the creative socium. Building up the visual environment includes various forms of art, graphics, paintings, objects, video art and other ...

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VLADIMIR VLAHOVIĆ - SIMFONIJE GUSTAVA MAHLERA U SLIKAMA IZLOŽBA EXHIBITION

U traganju za opštom harmonijom, nastojim da likovnim sredstvima izrazim prožimanje dimenzija prostora i vremena, boje i zvuka, slikarstva i muzike. Slike nastaju transponovanjem emotivnog naboja odredjenog muzičkog dela slobodnim nabacivanjem boje na platno, sa efektom stihije koja stvara elementarno biće slike. Kasnijim intervencima zasnovanim na refleksiji toga šta se dogodilo na platnu dolazim do slike po sebi. Slike su nužno apstraktne, jer je i muzika u svojoj suštini takva. Ako se u izloženim slikama prepoznaje simfonijska muzika Gustava Mahlera, to bi značilo da muzički akordi odzvanjaju kao damari slike.

In searching for a general harmony, I try to express my artistic means intertwining dimensions of time and space, color and sound, painting and music. Images are formed by transposing the emotional charge a certain piece of music free piling paint on the canvas, with the effect of the elements that will create a basic image. Subsequent intervention based on the reflection of what happened on the canvas comes to the image itself. Images are necessarily abstract, because the music in its essence is such. If the displayed image recognizes the symphonic music of Gustav Mahler, it would mean that musical chords resonate as pulses of the pictures.

Vladimir Vlahovic zivi i radi u Beogradu. Radio u klasi profesora Grigorija Samojlova i docenta Fedje Soretica na Arhitektonskom fakultetu u Beogradu. Clan ULUSA-a od 1995. godine. Vise puta samostalno izlagao i ucestvovao je na mnogim kolektivnim izlozbama.

Vladimir Vlahovic lives and works in Belgrade. Worked with Professor Gregory Samojlova and Fedja Soretić assistant professor at Faculty of Architecture in Belgrade. Member of ULUS since 1995. More solo exhibitions and participated in numerous group exhibitions.

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VANA PRELEVIĆ - RECIKLIRANJE SAVESTI IZLOŽBA EXHIBITION

Postavka u beogradskoj galeriji O3ON objediniće radove Ivanke Vane Prelević iz njenih ciklusa: Paralaktički pejzaži (2004), Paralaktički pejzaži (2008) Ogledanje sjenki (2009) i Zastave (2010).

The exhibition at the Belgrade O3ON gallery is bringing together the works of Ivanka Vana Prelevic from her series: Paralactic Landscapes (2004), Paralactic Landscapes (2008), Shadow Reflection (2009) and Flags (2010).

Zajednička nit ovih ciklusa jeste vizuelni izraz zasnovan na likovnoj kultivisanosti i konceptu otvorene i izrazite ekološkosocijalne angažovanosti.

The common idea of these series is the visual expression based on artistic refinement and the concept of open and outstanding environmental and social commitment.

Radovi Ivanke Vane Prelević izloženi u okviru projekta Recikliranje s(a)vjesti predstavljaju zaokret u odnosu na njene pređašnje preokupacije, ali i zadržavaju deo likovnog senzibiliteta prisutnog u njenim ranijim, više intimističkim radovima. Kroz niz objekata umetnica gradi diskurs o veoma aktuelnoj temi, odnosu prema ekologiji, čime ulazi u sferu društveno angažovane umetnosti. Za razliku od mnogih umetnika koji su potpuno zaokupljeni davanjem komentara o društvenim okolnostima, Vana Prelević ne podređuje estetsku funkciju dela društvenom angažmanu. U radovima su vidljivi uticaji iskustava stečenih kroz bavljenje primenjenom umetnošću i scenografijom.

The works of Ivanka Vana Prelevic, exhibited as part of the project Recycling Conscience (Consciousness), represent a turning point compared to her previous preoccupations but they also keep a part of the artistic sensibility present in her earlier, more intimate works. Through a series of objects the artist builds up a discourse on a highly current issue – the relation to ecology – by means of which she enters the sphere of socially engaged art. Unlike other artists who are completely absorbed by commenting on social circumstances, Vana Prelevic does not subordinate the work’s aesthetic function to social engagement. These works show effects of experiences acquired through her being engaged in applied arts and stage design. 109

TAMARA I MARKO VUKŠA - OSEĆAM JAPAN IZLOŽBA EXHIBITION

‘Osećam Japan’ nije bila zadata tema izložbe. Umetnici, svako u svom mediju i sferi interesovanja, već godinama prožimaju duhovnost, pročišćenost, jednostavnost Istoka u svom radu. Tako je nastala ova izložba koja je mali omaž Japanu, posvećena našim japanskim prijateljima.

‘I feel Japan’ was not a specified theme of the exhibition. Artists, each in his own sphere and media interest for years permeate spirituality, purity, simplicity of East in their work. This resulted in the exhibition, which is a small tribute to Japan, dedicated to our Japanese friends.

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DUĹ AN VRGA - KATAPLAZMA IZLOĹ˝BA EXHIBITION

Prisutni su radovi sa apstraktnim i polu-apstraktnim kompozicijama izvedeni iz snimaka veoma obicnih pseudoarhitektonskih motiva, kao sto su naslagane prazne kutije od povrca na ulici (Madrid).

Present works with abstract and semi-abstract compositions derived from snapshots of very ordinary pseudo-architectural motifs, such as the empty piled boxes of vegetables on the street (Madrid).

Koristeci fotografiju kao polaznu tacku razvijam likovni jezik koristeci teksture sa snaznim bojama isecene tamnim formama. Tanki slojevi boja u kombinaciji sa grafickim predstavama na povrsini, uoblicavaju priblizavanje figuri.

Using photography as a starting point, I develop a visual language using textures with bold colours cutted by the dark forms. Layers of very thin paint in combination with graphical images on the surface, shape the approach to a figurative image. The contemplation of my works is changing with renewed energy, opening themselves to the viewer as a kind of visual sublime experience. However, at the same time, I want my works to be reduced and direct in their parameters. Choosing simple topics, I want to move the level of abstraction from his photographic source to its furthest point(to the end point).

Sam pogled na sliku se menja sa nekom novom energijom, otvarajuci se prema gledaocu kao vrsta uzvisenog iskustva. Medjutim, istovremeno, zelim da radovi budu svedeni i direktni u svojim parametrima. Birajuci teme koje su jednostavne zelim da se nivo apstrakcije krece od njegovog fotografskog izvora do njene krajnje tacke.

Rich layered these works suggest different chromatic and textural trends, and their mutual interaction. By combining the process of surprise and discovery, this exhibition wants to convey a multilayered illusions that play with our senses.

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FROM GB WITH LOVE ZLOŽBA EXHIBITION

Nije mi namera da ovde donosim vrednosne sudove o estetici bilo koje vrste, a posebno o estetici ruševina. Niti nameravam da analiziram današnje stanje umetnosti ili da gradim tenziju između (verbalnog) teksta i (vizuelnih) dela prikazanih na ovoj izložbi. Ali sve ovo što sam rekao ne znači da se rukovodim željom za stvaranjem celovitosti kao povoljnijeg stanja u umetnosti i društvu. Ovde, zapravo, želim da izbegnem svaki diskurs koji „ruševine“ dovodi u vezu s negativnošću, da pokušam da definišem „svoje termine“, kao što je rekao Robert Ginzberg1 kada je govorio o ruševinama, i da izbegnem prikazivanje „ruševine“ kao neželjenog nasledstva za koje saznamo tek onda kad je već prekasno da ga se odreknemo. Više volim da prikažem ruševine na takav način da ih ne vidimo kao mesto za ostatke, kao pretekle delove nečeg što je jednom pretendovalo na stanje celovitosti. Umesto toga radije bih prikazao ruševine kao tlo bogato uspomenama i otvoreno za nove mogućnosti. Metaforički rečeno želim da uporedim ruševine sa žarom koji održava toplotu i spreman je da se rasplamsa čim neko prinese materijal koji može da stvori energiju…

It is not my intention here to bring judgment on the aesthetics of any kind, especially the aesthetics of ruins. Nor intend to analyze the present state of the art, or to build tension between (verbal) text and (visual) works presented in this exhibition. But everything I said does not mean that I lead with a desire to create wholeness as favorable condition in art and society. Here, in fact, I want to avoid all discourse that “ruins” associate with negativity, try to define “their terms”, as said Robert Ginzberg when he spoke about the ruins, and to avoid the display of “ruins” as an unwanted inheritance for which we know only when it was too late to give up. I prefer to show the ruins in such a way that they do not see it as a place for the remains, as overtaken parts of something that had once aspired to a state of wholeness. Instead I’d rather display the ruins of a soil rich in memories and open to new possibilities. Metaphorically speaking I want to compare the ruins with a zeal that maintains heat and is ready to be kindled when someone offered material that can create energy ...

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GRENZSTADT 2006

Recoil Performance Group u okviru svog projekta GRENZSTADT, i 2006. godine, izvela je medijski performans koji je direktnim audiovizuelnim linkom spojio O3ONE u Beogradu i klub Culture Box u Kopenhagenu. Svake večeri posle performansa, uživo, putem Internet striminga, nastupali su i DJ-evi iz kluba Culture Box u Kopenhagenu (TOM COLLINS, NED FLANDERS, MORTEN KAMPER (SIMPLICITY), MHM ONE (KILL YOUR TELLY), BJARKE (TECH-NOLOGY), QUIKSTEP I WAQAR, DANIEL KAARILL (ZERRBILD)). Deo programa je i video rad Rastka Lazića „Fragments”. Održana je i radionica na temu „Internet kao sredstvo za kolaboraciju” na kojoj su objašnjene tehnike kojima su se autori služili u ostvarivanju projekta GRENZSTADT. Grupa Recoil bavi se generativnim umetničkim formama u okviru kojih kombinuje performans i digitalne medije, ispitujući odnos digitalnih tehnologija i ljudskog tela, našeg iskustva i realnosti. U saradnji sa srpskim umetnicima, projekat GRENZSTADT spaja fizički udaljene prostore i pravi korak napred u ispitivanju prirode performansa i realtime umetnosti. Beograd (O3one) / Igrač: Dragana Bulut / Kompozitor i izvođač: Rastko Lazić / Kamera/video montaža: Srđan Radmilović Kopenhagen (Culture Box) / Koreograf i igrač: Tina Tarpgaard / Kompozitor i izvođač: Pelle Skovmand / Kamera/video montaža: Saša Mačkić

Recoil Performance Group, working within the GRENZSTADT project, performed in O3ONE in 2006 as well. Hybrid media performance where dancers, musicians and video artist use cutting edge digital technology via an audio-video stream established on the Internet. O3ONE in Belgrade and club a Culture Box from Copenhagen were linked together. Every evening, following the performance, live over the Internet (“streaming”) DJ’s from the Culture Box from Copenhagen performed (Tom Collins, Ned Flanders, Morten Kamper (Simplicity), MHM ONE (KILL YOUR TELLY), Bjarke (TECH-NOLOGY), QUIKSTEP I WAQAR, DANIEL KAARILL (ZERRBILD)) Video work “Fragments” by Rastko Lazic constituted a part of the programme. Part of the programme was also workshop “Internet as a tool of collaboration” during which techniques that authors used in the creation of GRENZSTADT project were explained to the audience. Recoil group is practising generative art forms by combining performance and digital media, researching the relationship between digital technologies and human body, our experience and reality. In a collaboration with Serbian artists, project Grenzstadt connects physically distant places and makes a step forward in the research of the nature of performance and real time art. Belgrade (O3ONE) / Dancer: Dragana Bulut / Sound and VJ performance: Rastko Lazic / Camera/video operator: Srdan Radmilovic Copenhagen (Culture Box) / Coreographer and dancer: Tina Tarpgaard Sond and VJ performance: Pelle Skovmand / Camera/video operator: Sasa Mackic 117

www.recoil-performance.org/productions/grenzstadt

IZLOŽBA EXHIBITION

ALEKSANDAR ZOGRAF – OLOVKA I IGLA / PENCIL & NEEDLE

Comics by Aleksandar Zograf (Sasa Rakezic) were published in magazines NON and Ritam in mid-eighties. During the 90s, he turned to international scene, mostly the USA where he contributed to the Weirdo magazine (editor-Robert Crumb), The Comics Journal, Zero Zero, Rare Bit Fiends, Buzzard... One of the most important independent American publishing houses, Fantagraphics Books, produced several collections of his comics, which was followed by editions in the U.K., Italy, Spain, Germany, France (L’Association), and two titles in Serbia (“The Ocean of surprises” and “ The Moon and the Blazing Heart”). From 2003 Zograf’s comics are regularly published in the Belgrade weekly Vreme, and a collection of these comics called “Tusta i tma” – recently came out as the first comics edition published by the biggest Croatian publishing house VBZ. His commitment to independent comic books and self-published comic books is unfading. His designs are also being printed on t-shirts. For the last few years, work of Zograf’s wife - Gordana Basta, is being shown at his exhibitions. She occasionally writes scripts for his comic books, and creates embroideries according to his drawings – so called “kuvarice” (archaic name given to these embroideries which were used to decorate kitchens).

Aleksandar Zograf (Saša Rakezić) objavljivao je sredinom osamdesetih stripove u časopisima NON i Ritam. Tokom devedesetih, postaje aktivan na inostranoj sceni – u Americi sarađuje sa časopisima Weirdo (urednik: Robert Kramb), The Comics Journal, Zero Zero, Rare Bit Fiends, Buzzard... Jedna od najznačajnijih američkih nezavisnih izdavačkih kuća, Fantagraphics Books, objavila je nekoliko Zografovih kolekcija stripova, nakon čega su usledila i izdanja u Velikoj Britaniji, Italiji, Španiji, Nemačkoj, Francuskoj ( za izdavača L’Association) i dva naslova u Srbiji („Okean iznenađenja” i „Mesec i ognjeno srce”). Počev od 2003, stripovi Aleksandra Zografa redovno izlaze u beogradskom nedeljniku Vreme, a nedavno se kolekcija ovih stripova - „Tušta i tma” - pojavila kao prvo strip izdanje u katalogu najvećeg hrvatskog izdavača VBZ. Ostao je veran objavljivanju samostalnih publikacija i fanzina, a prema njegovim crtežima, kreirane su i majice. Na izložbama poslednjih godina, Zograf uključuje i radove svoje supruge, Gordane Baste, koja povremeno piše scenarija za njegove stripove i kreira vezove prema Zografovim crtežima - „kuvarice” (kako su nekada nazivani ovi primeri kuhinjske uradi-sam umetnosti). 119

http://www.aleksandarzograf.com/

IZLOŽBA EXHIBITION

SUMMER ART LINK IZLOŽBA EXHIBITION

Izložba: Sloboda izražavanja – cenzura i autocenzura Cenzurisane karikature, od Pjera do Koraksa Retka je prilika da se na jednom mestu nađu i pogledaju cenzurisane karikature više autora, iz dužeg vremenskog perioda, a upravo je to ovom izložbom bilo omogućeno publici O3ONE-a. U okviru izložbe, održan je i okrugli sto, na uvek, i danas specifično, aktuelnu temu: „Sloboda izražavanja: cenzura i autocenzura”. U razgovoru su učestvovali karikaturisti i novinari: Jugoslav Vlahović, Tošo Borković, Slobodan Kljaković i drugi.

Exhibition: Freedom of speech – censorship and self-censorship Censored caricatures, From Pier to Korax A rare opportunity to see censored caricatures by several authors created over a long period of time, all at one place, in O3ONE gallery. Round table discussion on the ever-popular subject of “Freedom of speech, censorship and self-censorship” was organized during the exhibition. Journalists and caricaturists Jugoslav Vlahovic, Toso Borkovic, Slobodan Kljakovic and others, took part in the discussion.

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NENAD VUKMIROVIĆ VUK - ŠTA SE DEŠAVA DOK TELEFONIRAM IZLOŽBA EXHIBITION

This collection of drawings is called “What Happens When I’m On the Phone”. “Why?” For a simple reason. When you think about it, almost everyone who happened to have a pen in his or her hand while on the phone, scribbles something totally unconsciously. In most of the cases, results are some geometrical shapes and patterns or uncontrolled “jungle” of lines. For me that (also for psychologists) presents a very interesting phenomenon, because it has a direct connection with our subconscious. That “uncharted territory” in our brains always fascinated me, especially since I discovered in my youth what Breton wrote about “psychological automatism”. Nenad Vukmirovic-Vuk (1963, Belgrade) graduated at the Faculty of Applied Arts in Belgrade in 1991. He had his short comics published as a 17 year old in the youth magazines. Together with the Stanisic brothers, he created esoteric-surreal-insane comic series “1000 gods of Fatherlandia”. Since 1991 he lives in Amsterdam. During the 90’s he took part in several anti-war projects (books as compilations of comics by international authors). Currently, most of his clients are Internet companies for which he does illustration and visualisation.

Ova kolekcija crteža ima zajednicko ime „Šta se desava dok telefoniram”. Zašto? „Kada razmislite, skoro svako kome se zatekne olovka u ruci dok telefonira, žvrlja potpuno nesvesno po papiru. U većini slučajeva rezultat toga su geometrijske šare ili splet slobodno izvučenih linija. To je za mene, a i za psihologe, vrlo zanimljiv fenomen, jer ima direktne veze sa podsvešću čoveka. Ta prilično neispitana prašuma u našim mozgovima me je uvek fascinirala, naročito otkako sam u mladosti otkrio Bretonova pisanija o ‘psihičkom automatizmu’.” Nenad Vukmirović Vuk (1963, Beograd) završio je Fakultet primenjenih umetnosti u Beogradu, 1991. Već sa 17 godina počeo je da objavljuje kratke stripove u tadašnjim omladinskim glasilima. Sa braćom Stanišić stvara ezoterično-nadrealno-sumanuti strip-serijal „1000 bogova Domovinije”. Odlazi iz zemlje (1991) i nastanjuje se u Amsterdamu. Devedesetih učestvuje u nekoliko antiratnih projekata (knjige sa stripovima autora iz celog sveta). Sada se najviše bavi ilustracijama i vizuelizacijama za potrebe raznih Internet kompanija. 123

ARTNETLAB – SOCIETY FOR CONNECTING ART AND SCIENCE

Artists: Tilen Zbona, Vanja Mervic, Gorazd Krnc, Narvika Bovcon, Barak Reiser & Ales Vaupotic / Curator: Marko Stamenkovic ALGORITHMS OF INCLUSION is an exhibition of four new media art projects from the recent production by the organization ArtNetLab from Ljubljana (Slovenia). Data Dune (Narvika Bovcon, Barak Reiser, Ales Vaupotic, coding Igor Lautar), Wordless (Vanja Mervic, coding Kristijan Pugelj, Josip Varga, Primoz Skrjanc, Luka Prasnikar, Tjasa Horvat, Jelena Anastasov), Archaios Xene (Gorazd Krnc, coding Urban Puhar and Jernej Zupanc) and Sinking (Tilen Zbona, coding Stefan Furlan, Uros Jurglic) are four artistic experiments in the field of research of spatial attributes in the light of techno-reality experience. ArtNetLab is independent production format for new media art in Slovenia, founded in 2003, active since 2000. ArtNetLab is a space for experimentation which connects art and science, with the focus on the presentation of tecno-performances through interactive means, projects inside the network for development - open source art and interactive internet art video projects. ArtNetLab enables young artists to develop their projects by using the latest information technologies. ArtNetLab is collaborating with the International festival of computer Arts from Maribor (IFCA) since 2000.

Umetnici: Tilen Zbona, Vanja Mervić, Goražd Krnc, Narvika Bovcon, Barak Rajzer & Ales Vaupotić / Kustos: Marko Stamenković „Algoritmi uključivanja” je izložba četiri novomedijska projekta iz skorije produkcije organizacije ArtNetLab iz Ljubljan. Data Dune (Narvika Bovcon, Barak Rajzer, Ales Vaupotić, coding Igor Lautar), Wordless (Vanja Mervić, coding Kristijan Pugelj, Josip Varga, Primož Skrjanc, Luka Prasnikar, Tjasa Horvat, Jelena Anastasov), Archaios Xene (Goražd Krnc, coding Urban Puhar i Jernej Zupanc) i Sinking (Tilen Zbona, coding Stefan Furlan, Uroš Jurglić) su četiri umetnička eksperimenta u polju istraživanja prostornih atributa iskustva tehno-realnosti. ArtNetLab je autonoman produkcioni format za intermedijalnu umetnost u Sloveniji, osnovan 2003, a aktivan još od 2000. ArtNetLab je prostor za eksperiment koji povezuje umetnost i nauku, sa fokusom na predstavljanju tehnoperformansa putem interaktivnih sredstava, projekata u okviru razvojne mreže open source umetnosti i interaktivnih art-internet video projekata. ArtNetLab pruža mogućnost mladim umetnicima da razviju svoje projekte koristeći najnovije informacione tehnologije. ArtNetLab od 2000. sarađuje sa Međunarodnim festivalom kompjuterske umetnosti - International Festival of Computer Arts (IFCA) u Mariboru. 125

http://black.fri.uni-lj.si/eng/index.htm

IZLOŽBA EXHIBITION

VLADIMIR BOJIĆ - YUGO IZLOŽBA EXHIBITION

Automobil „jugo” kupljen je kao rešenje 1973.od italijanske fabrike automobila Fijat. „Jugo” je odbačeni Fijatov model iz iste godine. Prilagođavanjem uslovima i alatima fabrike automobila „Zastava” počinje da se proizvodi u formi koju ima i danas. Proizvodnja automobila pod nazivom „jugo” jasno govori o odnosu proizvođača prema tržištu, kao i zahtevima samog tržišta. Ne samo da „jugo” predstavlja simulaciju „fijata” već ga možemo posmatrati i kao simulaciju automobila u odnosu na savremene proizvođače. Zbog toga što je automobil danas sa svojim funkcijama, daleko od svog „praistorijskog“ rođaka „juga”. Možda je apsurd toliko veliki da je on ono izvorno što automobil jeste, a njegov savremeni rođak, sa gomilom funkcija, u stvari simulacija. Projekat se zasniva na ideji suprotstavljanja društvenoj stvarnosti, putem simulacije automobila. „Jugo” od papira u prirodnoj velicini, napravljen po sistemu kartonske ambalaže, postavljen je na ulicu (neplaćeni parking; zona zabranjena za zaustavljanje i parkiranje) i snimljen video kamerom. Vladimir Bojić (1979, Beograd) završio je Umetničku akademiju u Novom Sadu i Akademiju lepih umetnosti u Firenci. Trenutno radi kao saradnik na scenografiji u Pozorištu na Terazijama.

Yugo, Fiat’s rejected car model, was bought by Zastava in 1973. After necessary adjustments to conditions and tools available in Zastava, Yugo got the look that it still has now. Production of Fiat’s car under the name of Yugo, clearly shows the sentiment of the manufacturer towards the market as well as indicating market demand of the time. Yugo does not only represent a simulation of Fiat, we can view it as a simulation of a car in comparison to a modern car manufacture. Because, modern car with its “smart” functions is so very advanced from its prehistoric relative Yugo. The distance between them is so absurd that it borders on the fact that, perhaps, Yugo might be a true car, whereas its futuristic relative with millions of functions, is in fact, a simulation. The project is based on the idea of confronting what is perceived as reality, through a simulation of an automobile. Yugo, in its natural size, made of paper, just like a cardboard packaging, positioned on the street (unpaid parking, parking and loading exclusion zone) and recorded with a camera. Vladimir Bojic (1979, Belgrade), graduated at the Academy of Arts in Novi Sad and at the Accademia di Belle Arti in Florence. Currently works as an associate set designer in Terazije theater. 127

KATRIN LOK – SVET USLUGA / SERVICE WORLD

„Service World” (Svet usluga), projekat Katrin Lok nemačke umetnice koja živi i radi u Londonu, deo je šireg istraživanja o reprezentaciji bogatstva u različitim kulturama. Istraživanje, u saradnji sa fotografom Timom Bradertonom, zalazi u problematiku komercijalnih auto-perionica kao područja specifične svakodnevne prakse, putem serije fotografija o složenim društvenim okolnostima ovih poslovnih prostora i njihovim značenjima. Tri kulturno različita prostora - Rio de Žaneiro & Sao Paolo (Brazil), Berlin (Nemačka) i London (Velika Britanija) - njihove sličnosti i razlike, i specifičnosti uslova u auto-perionicama svakog od ovih gradova, čine polazište globalno orijentisanog istraživanja koje je tokom 2007. nastavljeno u Beogradu (Srbija) i Damasku (Sirija). Projekat Service World bio je predstavljen u Brandenburgischer Kunstverein, Potsdam (2006). Katrin Lok (32) studirala je na Chelsea College of Art and Design u Londonu i na Hochschule der Künste u Berlinu. Pored vizuelne, bavi se radijskom i tekstualnom produkcijom. Polaznica je PhD programa na Metropolitan University of Leeds u Lidsu (Velika Britanija).

The project “Service World” by Katrin Lock, a German artist, based in London, UK, is a part of a larger study on representation of wealth in different cultures. In collaboration with the photographer Tim Brotherton, the study looks into a specific everyday practice - commercial carwash - through a photo series about the complex social environments of carwashes and their implications. The series takes place at three culturally different places and examines its similarities and differences. The study started by looking into carwash places in Brazil (Rio de Janeiro and Sao Paolo), Berlin and London and will be continued with trips to Belgrade and Damascus. The project “Service World” was exhibited at Brandenburgischer Kunstverein, Potsdam (2006). Katrin Lock (32) studied at the Chelsea College of Art and Design in London and the Hochschule der Künste in Berlin. Besides the visual production, she also does radio and textual production. She is attending PhD programme at the Metropolitan University in Leeds. (Great Britain)

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IZLOŽBA EXHIBITION

SNEŽANA GOLUBOVIĆ - TOP 40 – U RILNAMA ŽIVOTA IZLOŽBA EXHIBITION

Kolekcija objekata i fotografija inspirisanih autorkinom ljubavlju prema muzici „Ima lepog u saznanju da muzika može biti neodvojivi deo nekih biografija. Snežana Golubović priznaje da se priče iz njenog života nalaze u rilnama odabranih ploča, ispričane su u nečijim pesmama i nižu se u ritmu muzike. Dok se njoj ne dogode. Top 40 je autobiografska ispovest o 40 godina odrastanja i sazrevanja uz rok muziku i kulturu, u kojoj posebno mesto zauzimaju godine detinjstva i mladosti u Beogradu. A svaka dobra autobiografija je i priča o drugima.” Peca Popović

Collection of objects and photographs inspired by the author’s love for music / “There is something beautiful in the realization that music can be an inseparable part of some people’s biographies. Snezana Golubovic admits that the stories of her life are inside certain records, are already told in someone’s songs and follow one another in the rhythm of music. Until they actually happen to her. Top 40 is an autobiographical confession about forty years of growing up and maturing with the rock music and culture, where years of childhood and youth spent in Belgrade have a special place. And every good biography is also a story about others”. Peca Popovic Snežana Golubovic (1965, Belgrade) grew up alongside the Belgrade alternative scene, she studied drama, wrote about music and film and was an author of the radio and TV programs. In 1992, she moved to Germany where she has worked independently as an actress performer in professional productions directed by renowns such as Alexander Brill, Dirk Hauser, Angie Hiesl, Saskia Boddeke and Peter Greenaway. Since 2004, she has been a member of the Independent Performance Group (I.P.G.), which was founded and directed by Marina Abramovic. Her most recent work – installation-performance “LOVE STEPS” was shown for the first time within the I.P.G. Project “Erotic Body” this June at the Biennale in Venice.

Snežana Golubović (1965, Beograd) odrasla je uz beogradsku alternativnu scenu, studirala dramaturgiju… pisala o muzici i filmu i kreirala autorske emisije za radio i televiziju. Od 1992. godine živi u Nemačkoj. Kao slobodni umetnik / performer sarađivala je, između ostalih, sa Aleksandrom Brilom, Dirkom Hauzerom, Endži Hizl, Saskijom Bodeke i Piterom Grinevejom. Od 2004. godine član je Nezavisne performans grupe (IPG – Independent Performance Group) koju je osnovala i vodi Marina Abramović. Svoj najnoviji rad, performans-instalaciju „LOVE STEPS“ premijerno je prikazala ovoga meseca u okviru IPG projekta „Erotic Body“ na Bijenalu u Veneciji. 131

VELJKO ZEJAK – NUCLEUS IZLOŽBA EXHIBITION

The latest works by an artist Veljko Zejak are indicative of some basic tendencies in contemporary practice of young authors of his generation. That is to say, position of artists is leaning towards the natural and sociological phenomenon, and final product is not an isolated object, but flexible structure that constantly changes. His work “Nucleus” was created as a result of a research process undertaken by the author. He studied the rapport between optics as a scientific field and a work of art, in fact the impact of natural sources (light, water) on a character of an art object and its manifestation… Interaction between the objects, nature, the material from which the object is made of and light, creates independently from artist’s will, creates a new, invisible form of artwork. In this case, artwork induces interaction, and space becomes its integral part… Sculptural approach is transferred from the object to its surroundings, which points to the author’s intention to redesign different spaces by setting his works in the gallery and in public spaces.” Milica Pekić Conev Veljko Zejak (1980, Postojna) graduated at the Faculty of Fine Arts in Belgrade in 2005. He is a freelance artist.

„Najnovija serija radova umetnika Veljka Zejaka ukazuje na nekoliko bitnih tendencija u savremenoj praksi autora mlade generacije. Naime, pozicija umetnika je sve više okrenuta prema prirodnim i društvenim fenomenima, a finalni proizvod više nije izolovan objekat koji postoji sam po sebi, vec fleksibilna struktura koja se neprekidno menja. Rad Nucleus nastao je kao rezultat istraživackog procesa autora u kojem se istraživanje bazira na ispitivanju odnosa optike kao nauke i umetničkog dela, odnosno ispitivanju mogućnosti manipulacije i uticaja izvora iz prirode (svetlost, voda) na prirodu umetničkog objekta. Međusobno delovanje objekta, prirode materijala od kojih je objekat izveden i svetlosti kreira, nezavisno od volje umetnika, novu vidljivu formu umetničkog rada. U ovom slučaju umetnički objekat indukuje interakciju, čiji sastavni deo postaje i prostor… Skulptorski pristup prenosi se sa materijalnog objekta na njegovo okruženje, na šta ukazuje namera autora da preoblikuje različite prostore postavljajući radove i u galerijski i u javni prostor.” Milica Pekić Conev Veljko Zejak (1980, Postojna) diplomirao je na Fakultetu likovnih umetnosti u Beogradu, 2005. godine. Ima status slobodnog umetnika. 133

NIKA OBLAK & PRIMOŽ NOVAK - TIMSKI RAD 6 IZLOŽBA EXHIBITION

The exhibition has been organized in collaboration with Gallery Alkatraz, and sponsored by The Municipality of Ljubljana and Ministry of Culture of Republic Slovenia.

Izložba je organizovana u saradnji sa Galerijom Alkatraz, a sponzorisana od strane Opštine Ljubljana i Ministarstva kulture Republike Slovenije. 135

www.oblak-novak.org

Nika Oblak’s & Primož Novak’s solo exhibition Teamwork 6 presents a series of photos “We Did This and That” and video installation “The Box”. In a series of photos “We Did This and That” Nika Oblak & Primož Novak are restaging absurd Guinness World Records, which are based on uncommon ideas. It is a strategy of gaining attention with spectacular and entertaining stunts, which can serve as an analogue to obsession with success and fame in contemporary media driven society. Video installation “The Box” refers to detachment, the possibility to exist outside prevailing systems. It is influenced by the constant exposure to mass communication media messages and inability to avoid its effects. Nika Oblak & Primož Novak’s attempt to escape from the box is a reference to an escape from an all encompassing media world as well as an escape from the white cube.

Teamwork 6 autora Nike Oblak i Primoža Novaka sastoji se od serije fotografija We Did This and That i video instalacije The Box. U seriji fotografija We Did This and That, Nika Oblak & Primož Novak insceniraju apsurdne rekorde koji su ušli u Guiness–ovu Knjigu Rekorda, a nastali su kao rezultat veoma neuobičajenih ideja. To je strategija kojom se privlači pažnja sa spektakularnim i zabavnim poduhvatima, što može da posluži kao analogija obsesiji ka uspehu i slavi koja vlada u današnjem društvu, u kojem su mediji glavna pokretačka snaga. Video instalacija The Box se odnosi na otuđenost, na mogućnost postojanja vanvećinskog sistema vrednosti koje je pod konstantnim uticajem masovnih medija, i o nemogućnosti da se izbegnu efekti poruka koje šalju u etar. Pokušaji Nike Oblak & Primoža Novaka da iskorače “van zadatog kruga” je referentno bekstvu od medijima opsednutog sveta i bekstvu od ispraznih rituala svakodnevice.

GORDANA KALJALOVIĆ I ĐORĐE ODANOVIĆ - MESEC I PROMENA IZLOŽBA EXHIBITION

„The Moon and change“ is mutual project of Gordana Kaljalovic and Djordje Odanovic. The project deals with the Moon and change, searching for the subtle forms of Moon activity as the starting point for visual transposition. Permanent change, which is the basically principle of the living and life cycles is the major idea permeating this work. The work consists of several units -group of works which constitute separate entities, yet in substantial relation. Inconstant Moon, diptych, digital print on metal plates. On the left side of the diptych is a seascape, ranging from the realistic to the ominous and the metaphysically atmospheric. The deep darkness of the night sky and sea symbolize the dark wilderness and unpredictability of nature in general. On the right side of the diptych the night sky and sea escape are treated freely. Free forms suggest movement and transformation.

Projekat Mesec i promena je zajednički rad dva autora Gordane Kaljalović i Đorđa Odanovića. Fokusira se na neke od suptilnih formi Mesečeve aktivnosti kao polazišta vizuelnih transformacija: večito vraćanje svom početnom obliku, beskonačna periodičnost, obnova, preobražaj i rast, biološki ritam, prolaženje kroz mene, nestajanje i nastajanje, u vezi je sa vodama, kišom, vegetacijom, plodnošću, praiskonskim vodama, svim sto je nepostojano prolazno: noć, vlaga, san, podsvest; menja svoj izgled, evocira smrt i uskrsnuće, asocira na tajnovito, dvostruko, na privid. Projekt je multimedijalnog karaktera. Obuhvata digitalne fotografije na metalnim pločama, video radove i skulpture. Motiv velike vodene površine /mora / i mračnog neba, koje iza zastora oblaka skriva Mesec, predstavljen je na diptisima Nepostojani Mesec /digitalni printovi na metal.pločama/. Autentičan snimak morskog pejzaža noću postavljen je nasuprot varijacije na istu temu, gde se definisane forme gube, rastvaraju i zamenjuju ih tragovi svetla i valeri tame. Tu se dovršeni oblici rastaču, a nerazvijeni emaniraju.

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ZORAN ŽIVKOVIĆ – ISTOČNI DOPRINOS IZLOŽBA EXHIBITION

The Contribution of the East exhibition is dedicated to the post-transitional profile of the East European countries, or the countries of the ex-Communist Block. The changes that happened in these societies in the period after the crash of the Socialist Block up until now, created their new identities; the exhibition is the illustration of these changes.

Izložba Contribution of the East je jedna posttranzicijska slika istočne Evrope, odnosno zemalja bivšeg komunističkog bloka. Promenama koje su se desile ustanovljen je novi identitet tih društava i izložba je delimično svedočanstvo o tom izmenjenom identitetu. Postavljanjem portreta i inicijala porno zvezda iz zemalja istočne Evrope na njihovim nacionalnim zastavama autor nije želeo da iznosi etički komentar u vezi njih samih ili pornografije uopšte, već da iskoristi jednu jednostavnu ilustraciju tranzicionih promena. Pornografija je industrija koja u sebi najbolje sublimira globalni kapitalistički sistem, snagu i moć medija i profita, ali i koja je odličan svedok vremena u kom živimo. U tom smislu, pornografija danas se pretvorila u organizovan i uređen sistem, koji funkcioniše po teoretskim načelima korporativnog kapitalizma i moglo bi se reći da je simbol, metafora globalnog kapitalizma danas.

By exhibiting the portraits, names and initials of the porn stars from the Eastern European countries on their national flags, author did not wish to express an ethical comment or belief regarding themselves or the pornography in general, but to use the development of the Eastern European pornography as a picturesque story about the transition and the new significance of the Eastern European region.

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MILOŠ ĐORĐEVIĆ – DISLOKACIJA IZLOŽBA EXHIBITION

Savremena praksa utemeljena na tradicionalnim vrednostima Okosnica projekata je razmatranje o grafičkom mediju kao formi umesto sredstva izražavanja. Težnja ka autonomiji samog medija, a upravo kroz novu procenu vrednosti istog. Grafika može biti legitimno i autentično autorsko delo koje ima mogućnost identičnog ponavljanja, što se odnosi na karakteristiku medija, a ne dela nužno. Shodno tome autor generiše otisak oslobođen od faseta, margina, klasične signature, on se potpuno sjedinjuje sa podlogom koja gubi ulogu nemog nosača otiska i postaje aktivan element. Otisak više nije puki (s)likovni prikaz. Biva rasterećen piktoralnog elementa sve do površine, konkretne plohe, što ustvari i jeste. Startna pozicija u radu je ekspanzija kroz koju se u daljem razvoju prožimaju makro i mikro aspekti. Miloš Đorđević rođen je 1978. godine u Ćupriji. Diplomirao na Akademiji Likovnih umetnosti u Prištini, a magistrirao na Fakultetu likovnih umetnosti u Beogradu. Član je ULUS-a od 2005. godine. Imao je sedam samostalnih izložbi. Učestvovao je na preko 70 nacionalnih i međunarodnih grupnih izložbi, bijenala i trijenala (Makedonija, Rumunija, Mađarska, Slovenija, Italija, Portugalija, Španija, Češka, Poljska, Belgija, Kanada, SAD, Meksiko, Urugvaj). Nagrađivan je više puta.

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Contemporary practice founded on traditional values This project represents the idea of the media itself as a form, instead of mean of expression. Pursuit for autonomy of media achieved trough the new evaluation of it. Author deems that printmaking can be a legitimate and authentic work of art which has an ability to identically repeat itself and which is the characteristic of the media, not the work itself. Therefore he generates print liberated from facets, margins, classic signatures, print eventually completely united with the ground which loses the role of silent print carrier, and becomes an active element. The print is not a bare pictorial display anymore. It gets disburdened of the pictorial element all the way to the surface, the plate, which actually is the print. Starting point of this work was expansion within further developed macro and micro aspects. Milos Djordjevic (1978) was born in Cuprija. Graduated at Academy of Art in Pristina and postgraduates on Faculty of Art in Belgrade. He is member of ULUS (Union of Fine Artists of Serbia) since 2005. Have had seven solo exhibitions. Participated in over 70 national and international group exhibitions, biennial and triennial (Romania, Macedonia, Montenegro, Slovenia, Italy, Spain, Portugal, Belgium, Finland, Poland, Czech Republic, Argentina, Mexico, USA, Canada). He was rewarded several times.

JELENA MILO – AIR IZLOŽBA EXHIBITION

Exhibition presents a simulation of the state of water and air in the future. This interactive spatial installation is based on data, forecasts and calculations created by various experts in domain of climate changes. As a direct answer to the very name of the place where exhibition is taking place, „ozone“, Jelena Milo is presenting a project which deals with many aspects of fear of ecological catastrophe, pollution and disappearance of clean air.

Izložba predstavlja simulaciju stanja voda i vazduha u budućnosti. Prostorna instalacija interaktivnog karaktera zasniva se na podacima, predviđanjima i modelima različitih stručnjaka za klimatske promene. Kao direktnu repliku na sam naziv izlagačkog prostora i objašnjenje značenja i konteksta upotrebe reči „ozon“, Jelena Milo je prikazuje projekat koji se bavi raznim aspektima straha od ekološke katastrofe, zagađenja i nestanka čistog vazduha. Projekat je konceptualan i odvija se u tri segmenta koji se predstavljaju u formi videa, fotografije i preuzetih i produciranih objekata. Instalacija izložbe je prostorno specifična, sa inovativnim načinima kombinovanja različitih medijskih formata i prostornih aranžmana i veoma je bliska prostornim iskustvima i navikama obične publike. Jelena Milo rođena 1979. u Beogradu. Završila studije Kunstakademie Duesseldorf u Nemačkoj, 2004. godine, klasa prof. Magdalene Jetelove. Nagrade Platz Open Oktobar - Galerie Out In, Toronto, Kanada i Platz suf dem Peek & Cloppenburg Konkurs für Junge Kuenstler, Diseldorf, Nemačka. Imala pet samostalnih izložbi i učestvovala u više od dvadeset grupnih izložbi.

The project is conceptual and it consists of three segments presented in forms of video, photographs and objects which are reproduced from the original ones. The installation itself is space sensitive, with innovative ways of combining various media formats and interior arrangements. Jelena Milo was born in 1979 in Belgrade. She graduated at Kunstakademie in Duesseldorf, Germany, in 2004, in the class of prof. Magdalene Jetelova. Awards - Platz Open Oktobar - Galerie Out In, Toronto, Kanada and Platz suf dem Peek & Cloppenburg Konkurs für Junge Kuenstler, Duseldorf, Germany. She had five solo exhibitions and took part in more than twenty group exhibitions. 143

MILICA RAKIĆ – IZVEŠTAJ IZLOŽBA EXHIBITION

With a delicate sense of humor Milica Rakic creates her own archive of reports, pictures that evolve on crossing of reality and fiction.

Sa delikatnim smislom za humor Milica Rakić stvara sopstvenu arhivu izveštaja, slika koje evoluiraju na preseku realnosti i fikcije. Umetnica se koristi principom čistoće moderne estetike: preovlađujuća bela, crvena i crna, sa izvorima u minimalizmu i geometriskoj apstrakciji, ali u detaljima posmatrači doživljavaju kontradiktorne aspekte njene kreacije.

Artist uses the principle of purity underlying modern aesthetics: prevailing white, red and black, with sources in minimalism and geometric abstraction, but it is in the details that observers experience the contradictory aspects of her creations.

Milica Rakić (SFRJ, 1972) Meni je lako, ja sam zvezda Diplomirala na VŠLPU i ALU u Beogradu. Izlagala na brojnim izložbama širom sveta (Transmediale 08 u Berlinu; Kansk Video Festival u Rusiji; Treće Bijenale u Pekingu; Carrefour2, Srpski kulturni centar, Pariz; Artconcept festival, Lenjingrad....). Dobitnica nagrade Zlatna igla ULUS-a. U svom radu ispituje način na koji jezik i kultura oblikuju lični identitet. Živi i radi u Beogradu.

Milica Rakic (SFRJ, 1972) It is easy for me, I’m the Star. BA in graphic arts, Academy of Fine Arts in Belgrade. Participated in numerous exhibitions, solo shows and festivals world wide (Transmediale 08 in Berlin; Kansk Video Festival in Moscow; 3rd Beijing International Art Biennale; Carrefour2, Centre Culturel de Serbie, Paris; Artconcept festival, Art Centre, Saint-Petersburg, Russia....). Awarded with Golden pin for Graphic Art of ULUS. In her work, she explores the way language and culture shapes our personal identity. Lives and works in Belgrade.

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VEKIĆ & CVETKOVIĆ – NA TRAGU SVETLOSTI IZLOŽBA EXHIBITION

Spatial installations, by their synergy form a unique ambient in space. Visitors are entering into the world of blinks and lights made of semi-transparent spatial structures. Materials such as CD’s, vinyl, plastic, synthetic wool, ... with their reflections in movement use the light as shaping element and create their own unreal space. Lines of uniform CD’s created by Zlatko Cvetkovic form both geometrical and amorphous structures, which are not completely fixed, but have freedom of movement. Together with biomorphic structures created by Leonora Vekic, they highlight the timeless and spaceless endlessness. Installations absorb the strength of the light and the light in them becomes from the light of material radiance.

Izložba predstavlja svetlosno-prostorne instalacije dva autora, Leonore Vekić i Zlatka Cvetkovića, koje svojim sadejstvom formiraju jedinsveni prostorni ambijent. Posetilac ulazi u jedan svetlosno-treperavi svet satkan od polutransparentnih prostornih struktura. Materijali, kao što su kompakt diskovi, polivinil, pvc, sintetička vuna... svojom refleksijom u pokretu koriste svetlost kao element oblikovanja i sačinjavaju sopstveni irealni prostor. Ređanjem uniformnih nizova CD-ova Zlatko Cvetković fomira i geometrijske i amorfne strukture koje nisu apsolutno fiksirane već imaju i slobodu pokreta. Zajedno sa biomorfnim strukturama Leonore Vekić, instalacije naglašavaju vremensko prostorni beskraj, apsorbuju prostornu svetlosnu snagu, a svetlost u njima potiče od svetlosti zračenja materijala.

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FUMIO MATSUI – BREATH IZLOŽBA EXHIBITION

The themes of this exhibition are relationship between man and nature and the interaction that people from big cities have with their natural surroundings. The author based this exhibition on the research of the relationship between man and ecosystem with a special accent on tropical forests which are being destroyed with the development of civilization.

Odnos čoveka prema prirodi, i interakcija ljudi iz velikih gradova sa prirodnim okruženjem tema su ove izložbe. Autor je koncipirao izložbu na istraživanju odnosa čoveka i ekosistema, prevashodno čovekovog pristupa zelenilu, sa akcentom na tropskim šumama koje su uništene razvojem civilizacije. Fumio Matsui rođen je u gradu Toyama, u Japanu. Diplomirao je na Tama umetničkom Univerzitetu, 1997. godine. Živi i radi u Tokiju. Bavi se grafičkim i web dizajnom, a u svom radu fokusiran je odnos čoveka i ekosistema. Njegova najveća ostvarenja uključuju osmišljavanje i produkciju vizuala i proizvoda za Ecotest, kompaniju koja sprovodi testiranje vode, dioksina i drugih supstanci; vizualizaciju strategije konzervacije prirodnog okruženja za japanski ogranak Conservation International, međunarodnu NVO; u okviru JT International planiranje ključnih poruka u advertajzingu za A.F.F, izložbu koja je održana na ulicama Srbije.

Fumio Matsui was born in Toyama, Japan. Graduated from Tama Art University in 1997. Lives and works in Tokyo. Has been involved in the planning and production of graphic design and WEB projects focusing on the relationship between people and ecosystem, and how people living in cities interact with the natural environment. His main achievements include the planning and production of visuals and products for Ecotest, a company that conducts environmental testing for water, dioxins and other substances; visualization of the environmental conservation strategy for the Japanese branch of Conservation International, an international environmental NGO; and the planning at the commission of JT International, of the key message advertising for the A.F.F, an exhibition held on the streets of the Republic of Serbia. 149

O-JUN – JEDNOM OLOVKOM

„JEDNOM OLOVKOM... Uneo sam neke osećaje u reči tog značenja na japanskom, ali kažu da to vama ne može da se prenese literalnim prevodom. Prevod sa jednog jezika na bilo koji drugi, ne može da prenese osećaj. Zato je jezik samo u našem vlasništvu... Osećaj koji ja želim da prenesem je sledeći: Pre svega, preda mnom je parče papira. Uzimam olovku levom rukom i povlačim liniju, ili ispisujem tačku na papiru. Nešto će sigurno proisteći iz tog malog koraka. Reči zahtevaju „mesto“, „vreme“ čak i „susret“. Kažu da „JEDNOM OLOVKOM“ zvuči lepo. Ja želim da čujem kada vi to izgovorite. I, da li možete vi da izgovorite ove japanske reči: “IPPON NO ENPITSU KARA”? Kako vam se čini njihov zvuk? Reči iz mog jezika koje dolaze sa vaših usana meni zvuče kao i sve drugo sa čim se prvi put susrećem. Zar vam se ne dešava da potpuno nepoznati zvuci uzdrmaju vaše uši, uznemiravaju srce i na kraju vam celo telo zvoni kao zvono u katedrali? Najmanji ili najkraći potez u crtanju raskalašno je predviđanje koje visi između mog i vašeg jezika“. O-JUN rođen je 1956. godine u Tokiju. 1982. diplomirao na Fakultetu lepih umetnosti na Nacionalnom Umetničkom Univerzitetu u Tokiju, gde danas radi kao profesor. Imao je tridesetak samostalnih izložbi. Neki O-JUN-ovi radovi nalaze se u javnim kolekcijama Nacionalnog Muzeja u Osaki i Muzeja Haus Kasuya u Kanagawi.

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„JEDNOM OLOVKOM... I put some feeling into the Japanese equivalent of the words, but they say the feeling cannot be conveyed to you by literal translation. Literal translation from one language to Serbian, English, Swahili or whatever, cannot convey nuance of the feeling. That is why language is our own possession... The feeling which I want to convey here is: First of all, there is a piece of paper in front of me. I will take a pencil in my left hand and draw a line or write a dot on the paper. Something will surely start from this smallest or shortest unit. The words entail “place”, “time” and even “encounter.” They say “JEDNOM OLOVKOM“ has a beautiful sound. Some subtle nuance or thought might underlie the words. I do want to hear the words in your voice. And, could you pronounce these Japanese words: “IPPON NO ENPITSU KARA”. How do you hear the sound of the words? The sound of the words of my language fell out of your lips sounds like all first-times to me. Does it not occur to you that the complete unfamiliar sound shakes your earlobes, disturbs your heart and at last rings our whole bodies like a bell in a cathedral? The smallest or the shortest unit of one drawing is a swinging foresight hanged between the language of my country and that of yours. O-JUN was born in Tokio in 1956. Graduated at the Faculty of Fine Arts in Tokyo National University of Arts in 1982, where he works as a professor. He has had about 30 solo exhibitions. His works are in public collections in The National Museum of Art, Osaka and in Museum Haus Kasuya, Kanagawa.

http://mizuma-art.co.jp/artist/0060/index_e.php

IZLOŽBA EXHIBITION

DRAGAN VOJVODIĆ – TATTOOED ROOM IZLOŽBA EXHIBITION

Projekat “Tattooed room” izdvaja i analizira fenomen tetoviranja kao estetski medij kroz koji se promovišu ekstremističke ideologije upletene u svakodnevicu. Skinhed grupacija, koju autor postavlja u središte analize, ljudsku kožu, njenu intimnost, nedodirljivost i suverenost, pretvara u politički prostor i poprište sukoba estetika i politika svakidašnjeg života. Da bi prikazao svakodnevnu infiltraciju fašističkog diskursa u prostor neutralnosti građanskog života, autor prenosi dizajn tetovaže u enterijer sobe, koja, kao prividno izolovan i zaštićen prostor, postaje pozornica na kojoj se prepliću udobnost intimnog života i destrukcija koja njime postepeno ovladava. Dizajn koji na prvi pogled ima umirujuću estetsku funkciju postaje otvorena pretnja, a skrivena funkcija lepog kao poslednje maske smrti postaje očigledna, kada u sobi uočimo poreklo i karakter slika koje nas okružuju. Dragan Vojvodić rođen u Kuli 1965. godine (Vojvodina, Srbija). Likovnu akademiju upisuje u Sarajevu, a diplomira na novosadskoj Akademiji umetnosti, na odseku za slikarstvo, u klasi prof. Jovana Rakidžića. Izlaže od 1996. godine. Radovi su mu zastupljeni u više kolekcija u zemlji i inostranstvu (Portugal, Island, Finska, Grčka, Rusija, Hrvatska, Bosna i Hercegovina, Srbija). Član je SULUV-a i ULUS-a.

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The project Tattooed Room examines tattooing as an aesthetic medium of which extremist ideologies are a part. The subjects of analysis, skinhead groups, have turned human skin, its intimacy, sanctity and sovereignty, into an arena of political discourse and a battlefield where esthetics and politics clash. In order to show how much fascist ideology is attempting to integrate itself into an urban setting, the artist has literally brought tattoos into a room. The isolated and protected space becomes a stage where everyday comforts and the forces threatening to destroy them live under one roof. The design, which at first glance is esthetically calming, becomes obviously belligerent, and the hidden function of beauty as death’s final mask becomes apparent as we become aware of the origins and character of the images surrounding us. In the second part of this project (Tattoo dilemma), the artist transforms the aggressive and threatening statement Skinheads until true death into Artist until true death using his own skin as a medium. Changing the subject of a skinhead declaration into an oath to creativity, the artist contrasts intimate spaces (room and human skin) with dissemination of fascist ideology into everyday life. Dragan Vojvodić was born in Kula in 1965 (Vojvodina, Serbia). He commenced his studies at Fine Arts Academy in Sarajevo, and graduated at Fine Arts Academy in Novi Sad, in a class of professor Jovan Rakidžić. He continuously exhibits since 1996. His works are part of numerous collections in the country and abroad (Portugal, Iceland, Finland, Greece, Russia, Croatia, Bosnia and Herzegovina, Serbia). He is a member of SULUV and ULUS.

LINMAY KOMINE – POVRŠINA IZLOŽBA EXHIBITION

Novi radovi savremenog japanskog umetnika inspirisani su Srbijom, koju pamti po freskama i pojanju, što upoređuje sa japanskim tradicionalnim crtežima i muzikom. Poseta Srbiji potstakla ga je da razmisli o svojim radovim, kako ih vidi i šta mu znače. Iako su na oko ravni, značenje im daje dubinu - poput vode, u kojoj se ispod mirne površine, komeša život. “Stojim na obali Mreškanje vode polako prestaje Površina liči na staklo Posmatram vodu Iz dubine se pomalja ruševno zdanje Opčinjen sam njegovom lepotom i veličanstvenošću Sve postaje ruševina, proces propadanja je prirodni zakon Posmatram površinu vode Vidim ceo nebeski svod” Površina. Linmay Komine Linmay Komine rođen je 1958. godine u Fukushima, Japan. Diplomirao je na Tama Art University 1984. godine. Član je: Japan Artist Association, International Association, NGO u saradnji sa UNESCO, NPO Japan Yugo art project. Imao je oko dvadeset samostalnih izložbi u Japanu. Preko trideset grupnih izložbi. U Srbiji se predstavio tri puta: “IWANO PROJECT”, Muzej 25. maj, Beograd, 2008; “IWANO PROJECT”, Muzej Vojvodine, Novi Sad, 2007; “NEW YEAR CARDS BY JAPANESE ARTISTS”, Sokobanja, 2006; “TRAGOM PAJE JOVANOVIĆA”, Kulturni centar, Vršac, 2006, „Internacionalni umetnički festival zastava“, Novi Sad, 2005.

Contemporary Japanese artist presents works inspired by Serbia. His impressions of Serbia are those of frescos and chanting which remind him of traditional Japanese drawings and music. His visit to Serbia inspired him to think deeper about his own art, how he sees his artworks and what they mean to him. Even though they are appear flat, their meaning gives them depth, just like the water, where under the surface, a whole life stirs. “I stand ashore The ripples softly fade The surface becomes glassy I gaze into the water And the ancient ruins appear I am fascinated by their beauty and majesty Ruin is a beautiful process, a natural law I looked at the surface again The sky is there, within.” The Surface. Linmay Komine / Translation – Aleksandra Kovac Linmay Komine was born in 1958 in Fukushima, Japan. Graduated at Tama Art University in 1984. Member of: Japan Artist Association, International Association, NGO in official relation with UNESCO, NPO Japan Yugo art project. He has about twenty solo exhibitions in Japan. Over thirty group exhibitions. He exhibited in Serbia for three times: “IWANO PROJECT”, Museum of 25th May, Belgrade, 2008; “IWANO PROJECT”, Museum of Vojvodina, Novi Sad, 2007; “NEW YEAR CARDS BY JAPANESE ARTISTS”, Sokobanja, 2006; “TRAGOM PAJE JOVANOVIĆA”, Cultural centre, Vrsac, 2006, “INTERNATIONAL ARTISTIC 155 FLAG FESTIVAL”, Novi Sad, Serbia, 2005.

IIGOR ŠTROMAJER I BRANE ZORMAN -ABALLETTIKKA INTERNETTIKKA

Ballettikka Internettika: BEO Guerrillikka i ilegalni kancelarijski internet baletski performans Autori: Igor Štromajer i Brane Zorman (u saradnji sa Davideom Grasijem) / Kustoskinja: dr Ana Vujanović Izložba (originalni dokumenti i gerilski artefakti, akcijske pripreme za pojedinačne faze, video i internet dokumentacija) prezentuje multimedijske i internet umetničke radove (performanse i akcije) koje je Virtuelna baza Intima realizovala pod nazivom Ballettikka Internettikka (2001-2005) u Ljubljani, Moskvi (Baljšoj teatar), Milanu (Skala)... i u Beogradu. Ballettikka Internettikka je jedan od najuspešnijih projekata Virtuelne baze Intima, i predstavljen je u uglednim galerijama, muzejima i festivalima po celom svetu. Igor Štromajer (Ljubljana, 1967) diplomirao je na Akademiji za pozorište, radio, film i televiziju u Ljubljani, i intimni je mobilni komunikator, multimedijalni umetnik. Njegovi radovi su deo stalnih zbirki uglednih muzeja. Od 1996. vodi Virtue lnu bazu Intima – institut savremene umetnosti (www.intima.org). Brane Zorman (Ljubljana, 1962) samostalni umetnik, komponovao je i producirao više od 30 pozorišnih i plesnih predstava, filmskih, video, internet projekata i zvučnih instalacija. Producirao je prvi, u Sloveniji, muzički CD (1992) i prvo muzičko DTS okruženje za pozorišnu predstavu (2001). Vodeći je autor projekta BeitThroN. - pionira tehnoelektronik-dens scene u Sloveniji.

Ballettikka Internettika: BEO Guerrillikka guerilla office Internet ballet performance / Authors: Igor Stromajer and Brane Zorman (in collaboration with Davide Grassi) / Curator: Dr Ana Vujanovic Exhibition (original documents and guerilla artefacts, preparations for action and their separate stages, video and Internet documentation) presents multimedia and Internet artworks (performances and actions) in organization of Intima Virtual Base under the name of Ballettikka Internettikka (2001-2005) performed in Ljubljana, Moscow (Bolshoi theater), Milano (La Scala)... and at Belgrade’s National Theatre. Ballettikka Internettikka is one of the most successfull projects by the Intima Virtual Base and it was presented in many reputable galleries, museums and festivals all around the world. / Igor Stromajer (Ljubljana, 1967), graduated at the Theatre, Radio Film and Television Academy in Ljubljana, he is an intimate mobile communicator and multimedia artist. Many of his works are a part of established museums collections. Since 1996 he is the director of the Virtual Base Intima at the Contemporary Art Institute. / Brane Zorman (Ljubljana, 1962), freelance artist, composed and produced more than 30 theatre and dance performances, films, video, Internet projects and sound installations. He produced the very first CD soundtrack in Slovenia (1992) and first DTS surround encoded soundtrack for a theatre performance in Slovenia (2001). He is the master-mind behind the project BeitThroN, pioneers and creators of techno-electronic-dance scene in Slovenia. 157

www.intima.org/bi/

IZLOŽBA EXHIBITION

PROJEKAT 6 – UPUTSTVO ZA PRIBLIŽAVANJE IZLOŽBA EXHIBITION

Grupa mladih hrvatskih umetnika okupljena pod nazivom Projekat 6 već nekoliko godina istrajava na međusobnom razgovoru i zajedničkim akcijama. Kao polazišna tačka za ovaj projekat autorima je poslužilo potencijalno hrvatsko pristupanje Evropskoj uniji, pregovori, niz merila i uputstava koji moraju da budu ispunjeni. Zanima ih proces, koji je često i prvenstveno formiran u obliku uputstava državnoj upravi, sa svim komplikacijima do kojih dolazi. Autore zanima kompleksnost procesa u kojima uputstva igraju ključnu ulogu u komunikaciji na svim nivoima. Samim tim, tema sa sociološkim konotacijama učinila se posebno izazovnom za posebnu umetničku interpretaciju. Osim umetničkih vrednosti pojedinačnih razmišljanja, projekat u celini nosi dodatnu energiju proizišlu iz međusobne interakcije. Projekat 6 je oformljen 2006. godine, okupljanjem mladih umetnika u eksperiment koji ima za cilj da istraži vezu između tematike, medija i pojedinaca. Kroz stalne susrete autori ispituju sopstvene stavove i polazišta u radu, na način da se svaki autor poziva na rad drugog autora, ali je i sam predmet reference. Projekat 6 čine: Tea Hatadi, Zdravko Horvat, Igor Juran, Martina Miholić, Maja Rožman i Karla Šuler. 159

A group of young croatian artists gathered within the Project 6, for several years continues to persue mutual dialog and joint actions. As the point of departure for this project they used Croatian admission to the European Union, their ensuing negotiations, and strings of measures and directions that need to be fulfilled by both parties for that admission to take place. The authors are interested in that process which is often, and primarily, structured in the form of directions for a state legislature to follow. They are interested in the complexity of a process in which directions play the key role in communication on all levels. Except for artistic values coming out of their personal reflections, this project in its entirety carries additional zest coming out of their mutual interaction. Project 6 was founded in the year 2006, when young Croatian artists started an experiment in order to inquire the connections between the theme, media and individual personalities. Through constant meetings the authors are discussing and questioning their own opinions, judgments and attitudes towards art. Each author is expressing himself/herself by referring to the works of another author, thus becoming the subject of someone’s reference as well. The artists of Project 6 are Tea Hatadi, Zdravko Horvat, Igor Juran, Martina Miholic, Maja Rozman i Karla Suler.

TANJA ĐORĐEVIĆ – INSTANT PLEASURE IZLOŽBA EXHIBITION

Projekat “Instant Pleasure” istražuje vezu između arhitekture i virtuelnog sveta. Način na koji se danas ljudi socijalizuju bitno se razlikuje od načina na koji se to odvijalo pre 20 godina. Skoro 24% ukupnog svetskog stanovništva provodi svoje slobodno vreme online. Kroz avatare žive svoj drugi život u različitim virtuelnim svetovima, chat sobama, kupuju, komuniciraju i druže se preko Interneta. Kako ljudi danas provode svoje slobodno vreme i način na koji će ga provoditi u budućnosti ima će veliki uticaj na arhitekturu. Ako broj ljudi koji se socijalizuju u virtuelnom svetu nastavi da raste da li arhitekte treba da se zabrinu na koji će se način te promene odraziti na arhitekturu i na sve ono što o njoj znaju. Koja će biti uloga arhitekata u tom novom svetu? Tatjana Đorđević je rođena u Beogradu 1980. godine, gde je 2004. godine diplomirala na Fakultetu primenjenih umetnosti na odseku unutrašnja arhitektura i dizajn nameštaja. Magistrirala je 2010. godine na Akademiji Arhitekture u Amsterdamu. U periodu od 2005-2009 radila je u Amsterdamu za više arhitektonskih biroa. Dobitnica je nekoliko nagrada iz oblasti dizajna: 1997. godine drugo mesto na konkursu Sigraf; 2003. godine finalista Simpovog konkursa; 2004. godine drugo mesto na konkursu Linea; 2007. godine finalista je Henkel art award; 2008. godine finalista Stedelijk museum konkursa u Amsterdamu. Učestvovala je na mnogobrojnim grupnim izložbama u Beogradu, Beču, Amsterdamu među kojima su Ghost Project na Belgrade design week-u, izložbe u galerijama ULUS-a, Henkel art award u Beču, itd. Imala je tri samostalne izložbe među kojima je izložba u Domu Omladine Beograd 2004. godine. Radovi su joj objavljeni u više domaćih i inostranih magazina. 2009. godine osnovala je studio koji se bavi dizajnom i arhitekturom. Trenutno živi i radi u Amsterdamu. 161

„Instant Pleasure“ is an architectural project showcasing the design of a building inspired by the virtual world. The building is located in Shanghai, China and is constructed as a prototype for a new architectural typology. With a daily traffic of 400.000 people this enormous building offers space for „surfing“ through the fantasies of other people, much like the World Wide Web. Through the design of a single building, its concept and typology issues of morality, freedom, influence of internet and virtual worlds on architecture and the role of the architect in this new world order are raised. This project explores what can be learned by observing the virtual world, and how to apply that knowledge in architecture. Born in Belgrade in 1980. Tatjana Đorđević graduated from the Faculty of Applied Arts in 2004. (interior architecture and furniture design section). She got her master’s degree in 2010. at the Academy of Architecture in Amsterdam. Since 2005 - 2009 she worked in Amsterdam for several architectural bureaus. She has won several awards in the field of design: 1997. second place at Sigraf open competition; 2003. finalist in Simpo’s competition; 2004. second place at Linea competition; 2007. finalist of the Henkel art award; 2008. finalist of the Stedelijk museum competition in Amsterdam. She has participated in many group exhibitions in Belgrade, Vienna, Amsterdam amongst which are the “Ghost Project” at Belgrade design week, exhibits in ULUS’s galleries, Henkel art award in Vienna, etc. Tatjana has had three solo exhibitions amongst which is the exhibition in Dom Omladine, Belgrade 2004. Her work has been published in local and foreign magazines. In 2009. she founded a studio that works on design and architecture. Currently, she lives and works in Amsterdam.

TIJANA LUKOVIĆ – BIORAZGRADIVOST MISLI IZLOŽBA EXHIBITION

People show considerable lack of awareness about their own survival by doing, dealing with economy and thus produced cultural limits. People become the worst enemies to themselves Without prejudice to the balance of natural elements, which grossly distorts the relationship directly with the quality of life and existential values. The task of consciousness is to restore balance, otherwise it will fill the ominous doubt on its “programming” to self-destruct. This is a topic which deals with Tijana Luković, her project is composed of elements višemediskih interesting way to explore the reaction of a man living space, points to the interconnectedness and the current value system is put under severe criticism. The artistic content of Tijana divided into separate units; whiteness, signs, posts, living world, which eventually incorporates the title “Biodegradation of thought.” Time it builds additional value, terminological procedure raises the question of meaning, and in some way to direct its artistic elements in the direction of the new procedure biodegradability.

Čovek delanjem, ekonomijom i proizvedenim kulturnim okvirom pokazuje zabrinjavajuće odsustvo svesti o sopstvenom opstanku. Ne dovodeći ravnotežu prirodnih elemenata, koje grubo narušava, u direknu vezu sa kvalitetom života i egzistencijalnim vrednostima, on postaje sebi najveći neprijatelj. Zadatak svesti jeste da povrati ravnotežu, u suprotnom će se ispuniti zlokobne sumnje o njenom “programiranju” na samouništenje. Ovo je tema kojom se Tijana Luković bavi, njen projekat sastavljen od višemediskih elemenata na zanimljivim način istražuje reakciju čoveka na životni prostor, ukazuje na međupovezanosti i sadašnji sistem vrednosti stavlja pod ozbiljnu kritiku. Likovni sadržaj Tijana deli u zasebne celine; belina, tragovi, poruka, živi svet, koje na kraju objedinjuje naslovom “Biorazgradivost misli”. Time ona gradi dodatnu vrednost, terminološkim postupkom otvara pitanje značenja, i na izvestan način usmerava svoje likovne elemente u pravcu novog postupka biorazgradivosti.

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RAFAEL KONSUEGRA – PTICE SLOBODE IZLOŽBA EXHIBITION

“Sve moje skulpture su inspirisane kretanjem i balansom” Izložba velikog američkog umetnika, vajara i slikara kubanskog porekla Rafaela Konsuegre održana je uz podršku projekta „Beograd2020“ i Centra za kulturu Mladenovac. Rafael Konsuegra je vajar koji iznenađuje sve svojom jedinstvenom vizijom i sposobnošću da udahne život u metal, a insiraciju dobija iz svega sto ga okružuje, svetovnog i duhovnog. Njegove skulpture su u rasponu od malih radova do monumentalnih spomenika umetnosti. Tokom 2006. godine, na poziv Centra za kulturu Mladenovac, Konsuegra je bio gost dvadesete jubilarne likovne kolonije i tom prilikom je kako svojim delima tako i kreativnošću, energijom i ogromnom harizmom koju poseduje impresionirao prisutne. Svoje radove izlaže 35 godina širom sveta sa puno uspeha. U O3ONE-u je bilo izloženo sedam slika i deset skulptura ovog renomiranog umetnika koji je i ambasador kulture u Majamiju. Konsuegrine skulpture će biti izložene i na Olimpijskim igrama u Londonu 2012. godine. Rafael Konsuegra je rođen u Havani, Kuba, 1941. godine Tražeći egzil sa Kube, on je napustio ostrvo 1960. godine i nastanio se u Majamiju na Floridi, gde je započeo svoje studije umetnosti. Kao student, dva puta je bio dobitnik stipendije Cintas Fellowship od Međunarodnog instituta za obrazovanje u Njujorku. Nakon što je magistrirao na Akademiji likovnih umetnosti Univerziteta u Majamiju, predavao je skulpturu i dizajn na koledžu sedam godina. Želeći da se potpuno posveti umetnosti, odrekao se profesure i preselio se u Evropu, gde je izlagao širom Francuske, Španije, Danske i Švajcarske. Posle osam godina u Evropi, vratio se u Sjedinjene Države, gde je otvorio stalni studio u Majamiju. 165

“All of my sculptures are inspired by movement and balance.” Exhibition of the great American artist, sculptor and painter of the Cuban origin Rafael Consuegra was opened on the 22nd of August in O3ONE Gallery. This ehxibition was supported by the „Belgrade 2020“project and The Cultural Centre of the town of Mladenovac. Rafael Consuegra is a sculptor who surprises others with his unique vision, insight, and ability to breathe life into metal. He gets inspiration from everything that surrounds him, the mundane and the spiritual. His sculptures range in size from small-scale work to monumental public art commissions. In the year 2006, called by the Cultural Centre of Mladenovac, Consuegra was a guest of the 20th Art colony and on that ocassion, he impressed the visitors with his works and his charizmatic personality. He ehxibited his works all around the world with great success over the last 35 years. O3ONE exhibition held seven paintings and ten sculptures of this renowned artist who is Ambassador of Culture in Miami. Consuegra’s sculptures will be seen as a part of the Olympic Exhibition in London 2012.

JELENA ILIĆ – IGRALIŠTE IZLOŽBA EXHIBITION

A series of photographs named ”The Playground“ was created during the years 2005 and 2006 from the author’s 17th floor flat. The picturesque quality of the playground attracted her attention, so for the period of two years she observed all the changes of various periods of a day and a year and made about a thousand photos.

Serija digitalnih fotografija pod nazivom Igralište nastala je tokom 2005. i 2006. godine iz autorkinog stana, sa sedamnaestog sprata zgrade. Likovnost igrališta je ono što je autorku prvenstveno privuklo, te je tokom te dve godine pratila promene na igralištu u različitim periodima dana i godine, i napravila oko 1000 fotografija.

”A view down onto the playground and the lawn with two trees caught my painter’s eye. Lines, spaces, rhythm, contrast… As if I was painting with a camera. By taking photographs I got interested in the variations caused by the part of the day, the changing seasons, the rain and the snow… changeability of the space that seemingly never changes… I kept record of the sometimes drastic and at other times barely visible differences. Since my family, my children, keep me permanently at home it was of utmost importance to me to witness these changes in an ordinary, seemingly never changing life.“

„Pogled na dole, dečije igralište i livada sa dva drveta, privuklo mi je pažnju, najpre čisto likovno. Linije, površine, ritam, kontrasti… Kao da crtam kroz objektiv. Fotografišući, počele su da me privlače i te promene nastale u različito doba dana, različito godišnje doba, dok pada kiša, sneg... Promene u uvek istom prostoru. Promene tu, gde se naizgled, ništa ne menja… Vodila sam dnevnik hvatajući nekad drastične, nekad jedva vidljive razlike. Pošto najviše vremena provodim u kući, jer imam porodicu, decu, bilo mi je veoma važno da pratim te promene u običnom, naizged uvek istom životu“.

Born on 1973, in Zemun. Graduated on FLU (University of Fine Arts) in Belgrade on 2003, section Painting. She got Master degree at the same University. Member of ULUS (Fine Artist Assotiation of Serbia) since 2004.

Rođena 1973. godine u Zemunu. Diplomirala na FLU u Beogradu 2003. godine, na odseku za slikarstvo. Magistrirala na istom fakultetu. Član ULUS-a od 2004. godine. 167

ĐORĐE STOJANOVIĆ – NEDOSLEDNOSTI IZLOŽBA EXHIBITION

Workshop „Inconsistencies“ was held in O3ONE Gallery and students of the Faculty of Architecture took part in this workshop supported by the Architecture studio 4of7. The workshop is the third and final part of the research project which examines the phenomenon of material transformation. The intended work method was using the available materials and simple techniques. Jar rubbers will be used as a constructive components for complex spatial structures. The capability of rubber materials to strech and to compress by the influence of external forces and afterwards to come back to its original state, is to be exploited as a method of construction. Elasticity, variability within the range of reversible deformation of materials, will be the central characteristic of the prototype. The process of construction will be documented and open for the visitor of the O3ONE Gallery.

U periodu od 10. do 22. oktobra u O3ONE-u se održala radionica pod nazivom „Nedoslednosti“ u kojoj su učestvovali studenti Arhitektonskog fakulteta u Beogradu i arhitektonski studio 4od7. Radionica je treći i završni deo naučno-istraživačkog projekta koji je započet pre dvanaest meseci u cilju ispitivanja fenomena materijalne transformacije. Predviđeni metod rada oslanja se na upotrebu dostupnih materijala i jednostavnih tehnika. Gumice, svima poznate iz svakodnevnog života, ovde će biti upotrebljene kao konstruktivne komponente za izradu složene prostorne strukture. Sposobnost gumenih materijala da se istežu ili komprimuju prema uticaju spoljašnjih sila, a zatim vraćaju u prvobitno stanje, biće eksploatisana kroz metod konstrukcije. Elastičnost, promenljivost u okviru reverzibilnog raspona deformacije materijala, će tako postati centralna karakteristika predviđenog prototipa. Proces konstrukcije je bio dokumentovan i otvoren za posetioce O3ONE-a.

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BOGDAN PAVLOVIĆ – PLAYTIME IZLOŽBA EXHIBITION

Multimedijalni projekat Playtime, umetnika Bogdana Pavlovića, prikazan je beogradskoj publici od 4. do 10. aprila 2012. Minimalne, crno-bele , grafike predstave koje nam Pavlović predlaže situiraju se na samoj granici dokumentarnog i umetničkog. Fotografske disekcije događaja u formalnom su srodstvu sa Mejbridžovim anatomskim foto-studijama ljudi u pokretu dok su u konceptualnom smislu bliske pristupima Džozefa Bojsa ili pak Iv Klajna zasnovanim na konstantnoj interakciji socijalnog i estetskog. Sižei koje umetnik obrađuje: igra čuvara jedne od najuticajnijih galerija savremene umetnosti – (Gagosian Gallery) i psa britanske slikarke Elizabet Pejton prilikom postavke njene izložbe, seansa šišanja pri kojoj sam umetnik sebe fotografiše, otvaranje izložbe poznatog japanskog dizajnera Tokudžin Jošioke su pretekst za novo, vizuelno iščitavanje onoga sto podrazumevamo pod terminom svakodnevni život. Takva pozicija poduprta je prenamenom umetničkog prostora u frizerski salon. Životna stvarnost, na jedan duhovit način, svojstven i istoimenom filmu Playtime, francuskog režisera Žak Tatija, osvaja galerijski prostor. Oslobođen kompleksa preterane ozbiljnosti ili naracije kojim je dobar deo savremene umetnosti opterećen, projekat Bogdana Pavlovića nudi specifičnu vrstu intelektualne i vizuelne svežine, svežine u kojoj su kako umetnost tako i realnost koju živimo samo jedna velika igra.

Multimedia project PLAYTIME by artist Bogdan Pavlović is going to be shown at the O3one gallery from 4th until 9th April 2012. Minimalist, black and white graphic shows that Pavlović is suggesting are situated on the very edge between the documentary and the artistic. Photographic dissections of events are formally related to Maybridge’s anatomical photo-studies of people in motion whilst conceptually they are close to Joseph Boyce’s or Yves Klein’s approach, based on constant interactions between the social and the aesthetics. The topics which the artist was working on are : custodian of one of the most influential galleries of contemporary art– (The Gagosian Gallery) playing with the dog belonging to the British painter Elisabeth Peyton while her exhibition was being put up, a haircut session during which the artist was photographing himself, and an opening of the exhibition by famous Japanese designer Tokujin Yoshioka are all a pretext for the new, visual “reading” of what we consider to be an “everyday life”. Such a position is supported by altering the art space into a hair salon. The reality, in a funny way which also defines the movie of the same name -PLAYTIME by the French director Jacques Tati, conquers the gallery. Liberated from the complex of being too serious and the narrative which burdens a great deal of contemporary art, this project by Bogdan Pavlović offers a specific type of intellectual and visual sparkle whereby art as well as reality, are perceived as just one great play. 171

DAVIDE GRASSI / DemoKino IZLOŽBA EXHIBITION

DemoKino – A Virtual Biopolitical Agora An Anti-entertainment Interactive Movie - DemoKino is a virtual biopolitical parliament which through topical film provides the audience (voters) with the opportunity to decide on issues which are, paradoxically, becoming the essence of modern politics: the questions of life. Eight short movies which portray an anonymous young man in everyday-life situations, presented to the audience in a form of “parliamentary bills”. The protagonist considers contemporary ethical dilemmas such as abortion, cloning, euthanasia, and therapeutic cloning, carefully pondering the “pros and cons” of each addressed topic in a specific room in his apartment. At the end of each short movie, viewers vote for or against the issue at hand, with the majority of the votes determining through which door in the apartment the protagonist will enter after that… DemoKino is a virtual parliament which clearly shows that politics come before the law. This project was recently commended as the most politically aware production in the field of media-art in eastern Europe. Davide Grassi lives and works in Ljubljana, Slovenia. His work has strong social connotations and is created by a combination of media. He is an author of numerous video works, performances, installations, documentaries and projects from the domain of new media. He is running Aksioma – The Institute for Contemporary Arts, a non-profit cultural institution based in Ljubljana, Slovenia.

DemoKino – Virtuelna biopolitička tribina Antizabavni interaktivni film - DemoKino je virtuelni biopolitički parlament, koji, kroz filmska sredstva, omogućava publici (glasačima) da odlučuju o pitanjima koja, paradoksalno, predstavljaju ključ moderne politike: pitanja života. Osam kratkih filmova, koji opisuju anonimnog mladog čoveka u svakodnevnom životu, predstavljeni su publici kao parlamentarni listići. Protagonista se suočava sa savremenim etičkim dilemama kao što su abortus, kloniranje, eutanazija i terapeutsko kloniranje, pažljivo promišljajući argumente za i protiv na svaku navedenu temu, u specifičnoj sobi svog stana. Na kraju svakog filma, publika glasa za i protiv aktuelne teme i većina glasova određuje kroz koja vrata akter filma prolazi dalje… DemoKino je virtuelni parlament koji jasno pokazuje kako politika stoji ispred zakona. Ovaj projekat je nedavno istaknut kao politički najsvesnija produkcija na polju medijske umetnosti u zemljama Istočne Evrope. Davide Grasi živi i radi u Ljubljani, Slovenija. Njegov umetnički rad odlikuje se jakim socijalnim konotacijama i intermedijskim pristupom. Autor je brojnih video radova, performansa, instalacija, dokumentarnih projekata i radova iz domena novih medija. Vodi Aksioma – Institut za savremenu umetnost u Ljubljani.

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JEAN BAPTISTE SAUVAGE

Francuski umetnik Žan Batist Sovaž predstavio se beogradskoj publici serijom fotografija, printova i video radova realizovanih u poslednje dve godine. Sovažov rad se uglavnom bazira na site-specific intervencijama, koje su kasnije predmet njegovih fotografija. Njegov analitički pristup prostornoj situaciji, koju katkad zatiče a katkad traži, odlikuje svojstveno preispitivanje karaktera ulaska u taj prostor, bilo da se radi o vizuelnom ili fizičkom ulasku; ti ulasci se dele na „agresije” i „klizanje”, dok prostori koje posećuje mogu biti „zaštićeni”, „konfrontirajući”, „otvoreni” itd. Žan Batist Sovaž živi u Sent Etjenu u Francuskoj, gde osim profesionalne prakse obavlja i posao profesora sito štampe na Ecole des Beaux Arts et Design. Umetnička selekcija: Mihael Milunović Francuski kulturni centar, Beograd Francuski kulturni centar, Podgorica Narodni muzej Crne Gore

French artist Jean Baptiste Sauvage presented his work to Belgrade public with a collection of photographs, prints and video works realized during the past two years. His work is mostly based on site-specific interventions which subsequently become the subject of his photographs. His analytical approach to spatial situation he finds himself in and at other times he looks for, reflects his unique review of the character of entry into that particular space, whether it is visual or physical entry, those entries are divided into “aggressive” and “gliding”, while places that he visits could be “protected” or “confrontational”, “open”, etc. Jean Baptiste Sauvage lives in St. Etienne in France, he also teaches screen-printing at Ecole des Beaux Arts et Design. Art selection: Mihael Milunović French Cultural Centre Belgrade French Cultural Centre Podgorica National museum of Monte Negro

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www.jb-sauvage.com

IZLOŽBA EXHIBITION

RA-HOOR-KHUIT CHROMOSOMES – EMPTY SPACE FOR CYBER WISDOM PERFORMANS PERFORMANCE

„Ra-Hoor-Khuit je bice koje na nivou hromozoma predstavlja svaku inovaciju ili modifikaciju onoga sto se arhetipski nalazi u čoveku. Sačinjeno je od onoga sto je naučeno, zapisano kao data na hard disku, ali istovremeno se menja kada u sistem uđe virus koji brišući podatke, prazninu definiše kao novi podatak. U kontekstu nove tehnologije i sagledavanja bića, kao takvog, formira se mogućnost da taj prazan cyber prostor postane denotacija mudrosti ili pak potencijal za stvaranje bio-tehnološkog poretka. Novi mediji pružaju mogućnost da zaboravite na sebe, kao tradicionalno shvaćeno sopstvo, ukoliko sami ne postanete novi medij koji se samoprocesira, autizam postaje ogromna mogućnost za sterilnu komunikaciju koja se individualizuje kroz novostečenu mudrost praznine cyber prostora. ”

“Ra-Hoor-Khuit is a being which on the chromosome level represents every innovation or modification of what is archetypical in a man. It is made of what is learned, stored like data on a hard disc, but at the same time it changes whenever the system is infected by a virus which, deleting the data, defines empty space as new data. In the context of this new technology and surveying the being as it is, a new possibility appears – this empty cyber space can become denotation of wisdom, or even potential for creation of bio-technological order. New media give you the possibility to forget about yourself as traditionally regarded self, unless you yourself become a new medium which is self-processing, autism becomes a huge possibility for sterile communication which is individualized through newly acquired wisdom of the cyber space emptiness.”

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DEZ.ORG – ZOOM TO FIT

U saradnji sa Dez.org ( grupom mladih umetnika koji deluju na polju novih medija) i Mreže za slobodan softver, održano je niz predavanja i radionica: Projekcija filma Revolution OS i diskusija o filmu / Radionica: Osnova i koncepcija GNU/Linuxa / Predavanje: Primena slobodnog softvera / Radionica: Kancelarija i internet / Predavanje: Slobodni formati i protokoli za komunikaciju / Radionica: Multimedija na GNU/Linuxu / Specijalni gost: Ričard Stolman (Richard Stallman) – Free Software Foundation / Fest: učesnici projekta bili su u mogućnosti da donesu svoje računare u prostorije i da uz pomoć predavača i asistenata instaliraju GNU/Linux na svoj računa. GNU projekat je pokrenuo, 1983. godine, Ričard Stolman. Nepunu godinu nakon osnivanja GNU projekta nastala je Fondacija za slobodan softver koja predstavlja pravno-finansijsku podršku GNU pokretu. Slobodu koja vlada u računarskom svetu sve više primenjuju ljudi iz različitih sfera društvenog života. Sve više ljudi svoje umetničke radove objavljuje pod slobodnim licencama i u slobodnim formatima... Oslobađanje iz korporativno-represivne sredine je nemimovna pojava koja je započeta u IT svetu i trebalo bi da dovede do stvaranja slobodnog društva.

Several lectures and workshops were organized in cooperation between Dez.org (group of young new media artists) and Free software network: Showing of a film Revolution OS and discussion about the film / Workshop: Basis and a concept of GNU/ Linux / Lecture: Use of free software / Workshop: An office and the Internet / Lecture: Free formats and communication protocols Workshops: Multimedia on GNU / Linux / Special guest: Richard Stallman - Free Software Foundation Fest: participants were allowed to bring their own computers and to install GNU/Linux with the help of the lecturer and his assistant. GNU project was initiated by Richard Stallman in1983. Less than a year after GNU was created, a Free Software Foundation was founded as a means of legal and financial support to the project. Freedom in the world of computing is now being enjoyed by people from all spheres of life. More and more people are uploading and publicizing their artwork under free licence and in free formats. Freedom from the repressive corporate environment is inevitable occurrence which was initiated in the IT world and should lead to a creation of a free society. 179

IZLOŽBA EXHIBITION

TURBO SUTRA IZLOŽBA EXHIBITION

Turbo sutra je projekat, kolektiv, stil nastao spontano u jesen 2006. godine. Čine ga četiri individualca sličnog senzibiliteta koji dele isti stav prema umetnosti i stvaranju. Zalažu se za autorski i istraživački rad pokušavajući da izbrišu granicu između dizajna i umetnosti. O antielitističkom stavu u umetnosti govore kroz print, web i ostale medije, pri čemu je bitan momenat jeftina i što veća reprodukcija radova. Svedenost i čistina izraza suprotstavljaju se mestu i društvu u kome su stvoreni radovi. Likovnost i grafizam je u prvom planu. Nedefinsani i asocijativni oblici, linije i površine koji prodiru jedni u druge, kao i predmeti istrgnuti iz svakodnevnog konteksta,opisuju trenutna emotivna stanja i odražavaju prizore iz redizajnirane podsvesti. Uočavaju se elementi savremene popularne kulture koji u ovom slučaju služe kao platforma za dodir sa sutrašnjicom. Inspirisani prošlošću, a zanemarujući sadašnjost, nastaju radovi koji su namenjeni budućnosti. Koketiranje sa stilovima, elementima iz naših i tuđih kultura i njihovo stavljanje u drugi kontekst, kreiranje novih ambijenata sa apstraktnim sadržajima - nude otvorena i individualna tumačenja i namene. Njihovi radovi zapažaju, komentarišu i konstatuju sopstvena, ali i društvena stanja. Oni nastaju kao fizička potreba, kao terapija i pre svega radi uživanja.

Turbo tomorrow is a project, collective, style, spontaneously created in fall, 2006. It encompasses four individuals of the similar sensibility who share the same attitude towards art and creation. Doing their best in their author’s and research work they try to erase the barrier between design and art. They talk about anti-elitist stance through print, web and other media, where important moment is cheap and greater reproduction of works. Simplicity and clarity of expression contradict the place and society in which the works were created. Undefined and reminding shapes, lines and surfaces which penetrate one another, as well as objects ripped from everyday context, describe current emotional states and reflect sights from redesigned sub consciousness. One can notice the elements of contemporary culture which in this case serve as platform for touch with tomorrow. Inspired by past, and neglecting presence, the works are created that are intended for the future. Flirting with styles, elements from our and foreign cultures and putting them in another context, creating new environment with abstract contents - all these offer open and individual interpretations and purposes. Their works notice, give comments and establish their own but social states too. They arise as physical need, as therapy and before all for pleasure. 181

ANTIDEPRESIV IZLOŽBA EXHIBITION

What is your way of fighting depression, isolation, despair, sadness, melancholy? Group of Computer art & design students at Academy of Arts BK, through their photographs, video works and installations are searching for new and interesting ways for fighting depression. These works don’t function just on the level of recording a moment that has passed, performance that took place, but rather position audience in special situation, promising fun and good times, if not whole day dose of antidepressant.

Kako se danas borite protiv depresije, otuđenosti, učmalosti, tuge, zapuštenosti? Grupa studenata Kompjuterske umetnosti i dizajna, Akademije umetnosti BK kroz svoje fotografije, video radove i instalacije traže nov i interesantan način za borbu protiv depresije. Ovi radovi ne funkcionišu samo na nivou zapisa nekog trenutka koji je prošao, performansa koji se dogodio, već publiku postavljaju u specijalnu situaciju, obećavajući sigurno dobar provod, ako ne i celodnevnu dozu antidepresiva.

Introduction into Antidepressant, video Antidepressant, video Depressant - What is your problem (?), video installation Over 7 seas & 7 mountains, on-line game Teufelskreis, animation

Uvod u antidepresiv, video rad Antidepresiv, video rad Depresiv (Na šta se žalite?), video instalacija Over 7 seas & 7 mountains, on-line igra Teufelskreis, animacija

Artists: Deana Petrović, Boris Stanić, Filip Ćetković, Roman Igličar, Jana Matić, Aleksandra Jovanić

Umetnici: Deana Petrović, Boris Stanić, Filip Ćetković, Roman Igličar, Jana Matić, Aleksandra Jovanić

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IVES MAES / ANTVERPEN (BELGIJA) – RECYCLABLE REFUGEE CAMP IZLOŽBA EXHIBITION

Kustos: Marko Stamenković Godine 2003. Ives Maes započinje rad na projektu pod nazivom „Recyclable Refugee Camp” (Reciklirajuci izbeglički kamp). Projekat predstavlja ironičan predlog konstruisanja biodegradirajuće stambene jedinice. Sastoji se od organske strukture u funkciji skloništa, toaleta i vodovoda, koja je sagrađena u skladu sa zvaničnim predlozima svetske organizacije UNHCR Projektom se, umesto ponude validnog rešenja važnih pitanja, preispituje etički imperativ intervencionizma umetnosti u savremenom svetu. Reciklirajući izbeglički kamp je ironičan pokušaj stvaranja apsolutno etički korektnog umetničkog dela.

Curator: Marko Stamenkovic In 2003 Ives Maes started working on the “Recyclable Refugee Camp” project which, is an ironic proposal for a biodegradable living unit. It consists of organic structures serving as shelters, latrines and fountains that are built in conformity with the regulations of the U.N.H.C.R. But rather than being a worthy solution for the grave matters, it tackles the ethical imperative that encourages art to intervene in the world. “Recyclable Refugee Camp” is an ironic attempt to make a 100% ethically correct work of art. Ives Maes (1976, Hasselt) is a visual artist that works and lives in Antwerp, Belgium. He studied Sculpture at the Royal Academy in Gent, Belgium and a postgraduate programme at HISK, Antwerp. www.ivesmaes.com

Ives Maes (1976, Haselt) vizuelni je umetnik koji živi i radi u Antverpenu, Belgija. Studirao je skulpturu na Kraljevskoj akademiji u Gentu, a postdiplomske studije je završio na Institutu HISK u Antverpenu.

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CINEMA SUITCASE – ANTIEKONOMIJA ŽIVOTA

Putujuća video instalacija Kustos: Marko Stamenković Nakon predstavljanja u Hrvatskoj, Makedoniji, Mađarskoj... putujući medijski projekat pod nazivom ANTI-EKONOMIJA ŽIVOTA (DIS-ECONOMY OF LIFE) filmskog kolektiva Cinema Suitcase iz Amsterdama predstavljen je i u O3ONE-u (Video instalacija „Nothing is Missing”, autorski projekat Mieke Bal, „Colony”, „Mille et un jours”, „Access Denied”) „ANTI-EKONOMIJA ZIVOTA” bavi se estetskom dimenzijom društvenog iskustva migracije i predstavlja segmente videoprodukcije filmskog kolektiva Cinema Suitcase iz Amsterdama (Holandija). Cinema Suitcase je internacionalni kolektiv filmskih autora sa sedištem u Amsterdamu, koji rade na projektima eksperimentalnih i socijalnih dokumentaraca. Grupu čine: Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward, Michelle Williams. Dolazeći iz raznih područja vizuelne umetnosti, oni istražuju samonaraciju protagonista svojih filmova, kroz fokus na intimnosti sa karakterom. Produkciju kolektiva Cinema Suitcase vodi Mieke Bal, članica Holandske kraljevske akademije nauka i umetnosti, jedna od najznačajnijih živih teoretičarki kulture.

Exhibition / Travelling Video Installation Curator: Marko Stamenković Following a set of exhibitions and film projections held in Croatia, Macedonia, Hungary the travelling media project entitled DISECONOMY OF LIFE (by an international film collective Cinema Suitcase from Amsterdam) is presented in O3ONE. The 4-screen video installation Nothing is Missing by Mieke Bal, “Colony”, “Mille et un jours”, “Access Denied”. The Exhibition “DIS-ECONOMY OF LIFE” deals with the aesthetic dimensions of social experience of migration and presents three segments of video-production by the documentary film collective Cinema Suitcase from Amsterdam (The Netherlands). Cinema Suitcase is an international group of filmmakers pursuing projects of experimental social documentary. Coming from a diversity of fields in the visual arts, they seek to facilitate the self-narration of their subjects, always encountered on the basis of a great intimacy, rather than constructing their stories for them. This approach enhances the performative quality of filmmaking as a collective process. The group consists of (in alphabetic order): Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward, Michelle Williams. 187

www.cinemasuitcase.com

IZLOŽBA EXHIBITION

SATELLITE NIGHT FEVER IZLOŽBA EXHIBITION

„Put oko sveta ne počinje i ne završava se kod kuće. Negde između nalazi se planeta kao prozor u svet. 365 megabajta sa softverom oko sveta.” U filmu Koyaanisqatsi Godfrey Reggio-a (1982) konflikt civilizacije i tehnologije, sa jedne strane, i prirode, sa druge strane, predstavljen je bogatim uzastopnim ređanjem slika. Konflikt, zahvaljujući sekvencama slika, ritmu montaže i posebno muzici Filipa Glasa, generiše tenziju koja na kraju vodi do skoro apokaliptičnog sloma. „Satellite Night Fever” je inspirisan ovakvim formalnim modelom i metodom usvojenim od Reggio-a u procesu kreiranja dijalektike između slika, što otvara polje za proizvodnju osećaja. „Satelitte Night Fever” je višekanalna video instalacija, proizvedena u septembru 2006. i prvi put predstavljena u Multimedijalnom centru Kibla u Mariboru u okviru događaja WJS u produkciji Intime, Aksiome i Kible.

“Traveling around the world does not start and does not end at home. In between there is a planet which is a window into the world. In 365 megabytes with software around the world”. In the movie Koyaanisqatsi by Godfrey Reggio (1982) the conflict between the civilization and technology, on one side, and the nature on the other side, is represented by a rich succession of images. This conflict, thanks to the sequence of images, the rhythm of editing, but especially the power of Philip Glass’ music, generate tension that leads to an almost apocalyptic clash at the end of the movie. Satellite Night Fever is inspired by this formal model and method of creating dialectic between the images, which awakes the feelings of listeners. But in this work the dichotomy civilization/technology vs. nature is overtaken in order to face what seems to be the more actual core of the issue: the relation between the civilization and new technologies. Satellite Night Fever is a multi-channel video installation produced in September 2006 and presented for the first time at MMC Kibla in Maribor, Slovenia as a part of the event WJS produced by Intima, Aksioma and Kibla. 189

PRIVATNI PLESAČI / PRIVATE DANCERS

Umetnici: Vlado Alonso (Pariz) I Big Houp / Mikloš Erhart i Dominik Hislop (Budimpešta/Berlin) I Cicero Egli (Ženeva) I Julija Klaring & Nils Olger (Beč) I Andreja Kulunčić (Zagreb) I molleindustria (Milano) I Radna žena / Aleksandra Jovanić, Natalija Kalabić, Aleksandra Zdravković (Beograd/Moskva/Beograd) I REINIGUNGSGESELLSCHAFT / Martin Keil & Henrik Majer (Drezden) I Kurt Rislavi (Brisel) I Si Šreder (Dablin) I Andreas Zikman (Berlin) Kustos: Marko Stamenković

Artists: Vlado Alonso (Paris) I Big Hope / Miklos Erhardt & Dominic Hislop (Budapest/Berlin) I Cicero Egli (Geneva) I Julia Klaring & Nils Olger (Vienna) I Andreja Kulunčić (Zagreb) I molleindustria (Milan) I Radna Žena / Aleksandra Jovanić, Natalija Kalabić, Aleksandra Zdravković (Beograd/Moscow/Beograd) I REINIGUNGSGESELLSCHAFT / Martin Keil & Henrik Mayer (Dresden) I Kurt Ryslavy (Brussels) I Si Schroeder (Dublin) I Andreas Siekmann (Berlin) Curator: Marko Stamenkovic The exhibition opens up the issue of Labour, while the current problematic revolving around the new work conditions, as well as the impact of transformed work concepts on a general value system and social psychology, are being observed from and within the perspective of an omnipresent neoliberal order. Immaterial labour, flexibility, transience and insecurity pertaining to all forms of job engagement today, (un) employment, work ethics, new forms of organization, social security, alternative models, economic migrations, global movements etc, figurate among all sorts of issues put into question (at the level of this displaying “sample”, in various visual and discursive formats: video, music, photography, drawing, installation, computer game, publications, public discussion) in the projects of contemporary artists/groups coming from Berlin, Budapest, Paris, Vienna, Dresden, Brussels, Zagreb, Geneva, Dublin, Milan, Moscow and Belgrade. The exhibition aims at pointing out the necessity of rethinking the socio economic effects of transition in the conditions determined by the privatization process of a formerly state owned property, and consequently, by the transformation of work practices, as well as of the value-parameters in everyday life.

Izložba otvara pitanje rada (Labour), aktuelne problematike novih radnih uslova i uticaja izmenjenih radnih koncepata na opšti sistem vrednosti i društvenu psihologiju u okolnostima neoliberalnog poretka. Nematerijalni rad, fleksibilnost, privremenost i neizvesnost oblika rada… samo su neke od tema koje se, na nivou izložbenog „uzorka”, u različitim formatima (video, muzika, fotografija, crtež, instalacija, kompjuterska igra, publikacija, razgovor) tretiraju u projektima zastupljenih savremenih umetnika/grupa. Izložbom se nastoji ukazati na neophodnost promišljanja socijalno-ekonomskih efekata tranzicije u uslovima koje određuje privatizacija društvene svojine i, posledično, transformacija radnih praksi, ali i vrednosnih kriterijuma prakse svakodnevnog života.

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http://reroute.c3.hu/bighope | www.andreja.org | www.molleindustria.org | www.reinigungsgesellschaft.de | www.ryslavy.com

IZLOŽBA EXHIBITION

DEVICE_ART 2.006

Device_art je izložba projekata zasnovanih na preseku tehnologije i umetnosti. Radovi uključuju robote, mehanizme bazirane na analognoj ili digitalnoj tehnologiji, radove s obeležjem interaktivnosti, uopšteno koncepte utemeljene na kreativnoj upotrebi novih ili starih medija. Reč je o istraživačkom projektu, čija je početna premisa bila prezentovati i promovisati slovenačke i hrvatske umetnike koji kreativno promišljaju tehnologiju. Izložba, koja je u Zagrebu održana u novembru 2004, sastojala se od radova 15 slovenačkih i hrvatskih autora koji su odabrani na konkursu ili pozvani da učestvuju na izložbi. U svom sledećem izdanju izložba je upotpunjena umetnicima iz Srbije i Crne Gore, te novim radovima s područja Slovenije i Hrvatske. Na taj način dobijen je uvid u recentnu umetničku produkciju nastalu na preseku tehnologije i nauke u regiji. Izložbu prati katalog sa tekstovima kustosa i reprodukcijama izloženih radova. Umetnici: Tomislav Brajnović, Vuk Ćosić, David Grasi, Lina Kovačević, Dubravko Kuhta, Ivan Marušić Klif, Tomaž Pip, Borut Savski, Sašo Sedlaček, Berislav Šimičić, Marijan Vejvoda, Silvio Vujičić, Branko Zupan, Borbe Robota, Mladen Hrvanović, Dragan Rajšić i Zoran Dimovski

Device-art is an exhibition of projects created at the intersection of technology and art. It includes robots, mechanisms based on analogue and digital technologies, interactive mechanisms, generally, concepts intended for creative use of both “old” and new media. It is a research project, initiated with a premise to present and promote artists from Slovenia and Croatia with creative approach to technology. Exhibition was first shown in Zagreb in November 2004, it consisted of 15 works by Slovenian and Croatian artists chosen in a competition or invited to take part. Following exhibition was complemented by the artists from Serbia and Montenegro, and new works by the artists from Slovenia and Croatia. As a result, it was possible to show recent art production of our region which was created at the intersection of art and technology. The exhibition was complemented with a catalogue with a list of the exhibits and texts by the curators. Artists: Tomislav Brajnovic, Vuk Cosic, Davide Grassi, Lina Kovacevic, Dubravko Kuhta, Ivan Marusic Klif, Tomaz Pipp, Borut Savski, Saso Sedlacek, Berislav Simicic, Marijan Vejvoda, Silvio Vujicic, Branko Zupan, Borbe Robota, Mladen Hrvanovic, Dragan Rajsic and Zoran Dimovski 193

www.kontejner.org/device-art-main-english

IZLOŽBA EXHIBITION

DISLOKACIJE – UTOPIJSKI PROSTOR / DISLOCATIONS – UTOPIAN SPACE IZLOŽBA EXHIBITION

Izložba „Dislokacije: utopijski prostor(i)”, istoričara umetnosti Maide Gruden i Mare Prohaske, predstavila je radove u različitim medijima od performansa do slika. U okviru prvog dela, izlagali su: Branislav Jakić, Aleksandar Jestrović Jamesdin, Maja Josifović, Vladimir Protić, Predrag Terzić i Isidora Fićović. Na otvaranju je Era Milivojević izveo pripremu za performans. U okviru drugog dela, izlagali su: Arion Aslani, Branka Kuzmanović, Saša Marković Mikrob, Era Milivojević, Milena Putnik, Dimitrije Tadić i Nina Todorović. Na otvaranju, Era Milivojević je izveo performans. Drugi deo izložbe propraćen je i tribinom na kojoj su gosti izložili svoja viđenja problema utopije... Izložba je zamišljena kao polje za razmenu mišljenja na temu postojanja utopijskih prostora, potencijala utopijske misli i, uopšte, spremnosti da se utopijski promišlja unutar savremene srpske umetničke scene. Koncept izložbe za uporište uzima pojam utopije kao mogućnosti da se zamisli drugačija stvarnost ili projektuje bitno različita budućnost. Intencija kustosa je da poveže umetnike različitih generacija i senzibiliteta kako bi se istražio potencijal umetnosti u ostvarivanju pojedinačnih i kolektivnih utopija unutar društva u kojem živimo.

Exhibition “Dislocations – Utopian Space(s), organized by art historians Maida Gruden and Mara Prohaska, consisted of two parts and presented works created in diverse media – from performances to paintings. First part of the exhibition consisted of works by the following artists: Branislav Jakic, Aleksandar Jestrovic Jamesdin, Maja Josifovic, Vladimir Protic, Predrag Terzic and Isidora Ficovic. At the opening of the exhibition, Era Milivojevic performed a “performance rehearsal”. Second part of the exhibition presented works by: Arion Asllani, Branka Kuzmanovic, Sasa Markovic Mikrob, Era Milivojevic, Milena Putnik, Dimitrije Tadić and Nina Todorovic. At the opening of the second part of the exhibition, Era Milivojevic made a live performance. The second part of the exhibition was be followed by a round-table discussion where participants expressed their view on utopia today... This exhibition was envisaged as an open discussion and exchange of ideas on the topic of existence of utopian spaces, potentials of utopian thought and readiness to accept utopian way of thinking in general, within modern Serbian art scene. Basis of this concept lies in the possibility of accepting the term of utopia as a potential reality, or a projection of a different reality. Curator’s intention was to make a connection between the artists belonging to different generations and of different sensibilities, in order to research the potential that art has in the realization of individual and collective utopias within our society. 195

GRENZSTADT PERFORMANS PERORMANCE

Kopenhagen – Beograd Putem direktnog audio i video linka, muzičari, igrači i publika kreirali su audio-vizuelni performans kojim su premošćeni 1330 km i 5 granica između dva grada. Projekat je realizovala grupa umetnika iz Beograda, u saradnji sa Recoil performans grupom iz Kopenhagena, Danska. Grenzstadt je proizvod saradnje Junge Hunde festivala u Kopenhagenu (Danska), festivala elektronske muzike Dis-patch (www.dis-patch.com) i O3ONE-a, Beograd (www.o3one.rs). Kopenhagen Koreograf i balerina: Tina Tarpgard Muzika: Pele Skovmand Kamera: Džonatan Somer Beograd (O3ONE) Balerina: Dragana Bulut Muzika: Rastko Lazić Kamera: Srđan Radmilović

Copenhagen – Belgrade Via a live audio/video link, musicians, dancers and audience created an audio-visual performance bridging the 1330 kilometers and 5 borders between the two cities. This project was realized in collaboration between a group of artists from Belgrade and Recoil performance group from Copenhagen, Denmark. Grenzstadt is a product of cooperation between Junge Hunde festival in Copenhagen (Denmark), Festival of Electronic Music Dis-patch (www.dis-patch.com) and O3ONE, Belgrade (www. o3one.rs).

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ROB MYERS – HOWTO

Rob Majers pripada pokretima za slobodni softver i slobodnu kulturu. On neposredno nadograđuje rad drugih i svoj rad slobodno pruža drugima za dalje nadograđivanje. Sav njegov umetnički rad na ponudi je pod licencom Creative Commons, a softver koji radi dostupan je pod GNU General Public License. „Paintr” („slikr” u slobodnom prevodu), koji se po prvi put demonstrira u O3ONE-u, program je koji koristi boje i fotografije sa Interneta da bi kreirao apstraktnu umetnost za slobodnu upotrebu od strane drugih umetnika i običnih ljudi. „Draw-something” („nacrtaj-nešto”, u slobodnom prevodu) takođe kreira originalnu umetnost, i to putem korišćenja veoma jednostavnih pravila, u svrhu razumevanja kako umetnici crtaju. Robov softver pokazuje takođe način na koji on stvara elektronske slike. Izvori tako različiti kao sto je to umetnost visokog modernizma, simulacije nuklearnog rata, posteri za koncerte i smajliji sa Interneta remiksovani su da bi stvorili slike sveta oko nas i skrivenih odnosa u njegovom okrilju.

Rob Myers is a member of the Free Culture and Free Software movement. His work builds directly on the work of others and is freely available for others to build on in turn. All his art is available under a Creative Commons license, and all his software is available under the GNU General Public License. “Paintr”, shown for the first time at O3ONE, is a programme that uses colours and photographs from the Internet to create abstract art that is free for other artists to use. “Draw-something” also creates original art, but it does so according to simple rules as part of an attempt to understand the process of drawing. Rob’s software mirrors the way he makes the electronic images. Sources as diverse as high modernist art, nuclear war simulations, concert posters and Internet “smileys” are remixed to create the images of the world around us and the hidden relationships within it.

199

http://robmyers.org/

IZLOŽBA EXHIBITION

PINK TWINS – REFRACT

Braća, Vesa i Juha Vehvilainen, finski duo, rade od 1997. godine. Semplovali su svakodnevne scene, rastavljajući ih u piksele, a onda ih opet kombinovali u haotične i eksplozivne spojeve. Koristeći program Framestein, koji su sami programirali i razvili, postigli su utisak slike koja je iz real-time-a transformisana u jedinstvenu digitalnu promenljivu projekciju snažnih slika, gde je originalni input teško prepoznatljiv. Činjenica da koriste uobičajene imidže, nije toliko bitna, budući da finalna projekcija ima malo sličnosti sa početnom informacijom. Scratchy, fuzzy, noisy, tajanstveni i uvijeni ritmovi kombinovani su sa slikom u mozaični tok koji primamo ne samo vizuelno već svim svojim čulima. Nastup Pink Twins-a na Refract festivalu omogućili su ambasada Finske u Beogradu i Fondacija Frame.

Brothers Vesa and Juha Vehvilainen, duo from Finland, are performing since 1997. They sampled everyday scenes, dissected them into pixels, then combined them again into chaotic and explosive combinations. Using the Framestein program which they developed, they managed to project a picture which is transformed from real-time into a unique digital variable projection of very strong images for which the original input is really hard to define. The fact that they are just using everyday images is not that significant, baring in mind that the final projection has very little resemblance to the initial information. Scratchy, fuzzy, noisy, mysterious and muffled rhythms combined with pictures to create a mosaical flow which we receive not only visually but with all of our senses. This performance by Pink Twins was organized in a cooperation with the Embassy of Finland in Belgrade and the Frame Foundation. 201

www.pinktwins.com/newsarchive.html

PERFORMANS PERFORMANCE

MLADEN HRVANOVIĆ – NEGATIVE SPACE PERFORMANS PERFORMANCE

Rad Mladena Hrvanovića može se identifikovati sa procesom istraživanja čiji je osnovni fokus prostor kao kategorija. Sam proces jasno je određen etapama istraživanja, od nalazišta preko laboratorijske analize, interakcije i rezultata. Bilo da tretira pitanja životnog prostora i njegove budućnosti u postindustrijskom dobu ili uticaj i prirodu virtuelnih svetova savremenog informacijskog društva, Mladen Hrvanović razmišlja u okvirima univerzalnih kategorija, ispitije civilizaciju kroz umetničko delovanje a ne umetničku reprezentaciju, koristeći pri tom stare dobro utemeljene principe umetničke veštine i zanata.

Mladen Hrvanovic’s work can be identified with a research process that focuses on space as a category. The process is clearly defined by research stages beginning with the site itself, through laboratory analysis, interaction and results. Whether he is questioning the nature of the environment and its future in post-industrial age or exploring the influence and character of virtual worlds of the contemporary information society, Mladen Hrvanovic thinks inside the universal categories, examines civilization through artistic action and not artistic representation, using the old, well-founded principles of artistic skill and craftsmanship.

Mladen Hrvanović (1977, Beograd) živi i radi u Beogradu (Srbija). Diplomirao je na Fakultetu likovnih umetnosti Univerziteta u Beogradu, odsek slikarstva, kao i eksperimentalni odsek za proširene medije, 2006. godine.

Mladen Hrvanovic (1977, Belgrade) lives and works in Belgrade, Serbia. He graduated at the Faculty of Arts in Belgrade, Fine Arts department, and the department for experimental interdisciplinary media, in 2006.

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DEVICE_ART

Device_art je izložba projekata zasnovanih na preseku tehnologije i umetnosti. Radovi uključuju robote, mehanizme bazirane na analognoj ili digitalnoj tehnologiji, radove sa obeležjem interaktivnosti, uopšteno koncepte utemeljene na kreativnoj upotrebi novih ili starih medija. Radi se o istraživačkom projektu, čija je početna premisa bila prezentacija i promovisanje slovenačkih i hrvatskih umetnika koji kreativno promišljaju tehnologiju. Izložba, koja je u Zagrebu održana u novembru 2004, sastojala se od radova 15 slovenačkih i hrvatskih autora koji su odabrani na konkursu ili pozvani da učestvuju na izložbi. U svom sledećem izdanju izložba je upotpunjena umetnicima iz Srbije i Crne Gore, te novim radovima sa područja Slovenije i Hrvatske. Na taj način dobijen je uvid u recentnu umetničku produkciju nastalu na preseku tehnologije i nauke u regiji. Izložbu prati katalog sa tekstovima kustosa i reprodukcijama izloženih radova. / Umetnici: Tomislav Brajnović, Vuk Ćosić, David Grasi, Lina Kovačević, Dubravko Kuhta, Ivan Marušić Klif, Tomaž Pip, Borut Savski, Sašo Sedlaček, Berislav Šimičić, Marijan Vejvoda, Silvio Vujičić, Branko Zupan, Borbe Robota, Mladen Hrvanović, Dragan Rajšić i Zoran Dimovski.

Device_art is an exhibition of projects created at the intersection of technology and art. It includes robots, mechanisms based on analogue and digital technologies, interactive mechanisms, generally, concepts intended for creative use of both “old” and new media. It is a research project, initiated with a premise to present and promote artists from Slovenia and Croatia who have creative approach to technology. Exhibition was first shown in Zagreb in November 2004 and it consisted of 15 works by Slovenian and Croatian artists chosen in a competition or invited to take part. Following exhibition was complemented by artists from Serbia and Montenegro, and new works by artists from Slovenia and Croatia. As a result, it was possible to show recent art production of our region which was created at the intersection of art and technology. The exhibition was complemented with a catalogue that included a list of the exhibits and texts by the curators. Artists: Tomislav Brajnovic, Vuk Cosic, Davide Grassi, Lina Kovacevic, Dubravko Kuhta, Ivan Marusic Klif, Tomaz Pipp, Borut Savski, Saso Sedlacek, Berislav Simicic, Marijan Vejvoda, Silvio Vujicic, Branko Zupan, Borbe Robota, Mladen Hrvanovic, Dragan Rajsic and Zoran Dimovski. 205

www.kontejner.org/device-art-main-english

IZLOŽBA EXHIBITION

ANDREJ VASILJEVIĆ - MAONEY

Mao Ce Tung je nesumnjivo jedno od najpoznatijih lica savremene Kine, simbol i dobro poznat lik širom planete. Malo je verovatno da bilo koji kineski državljanin, ali i neko iz ostatka sveta ne propozna njegovu pojavu. Međutim, barem kada je sama Kina u pitanju, pored istorijske literature i popularne kulture, Maovo lice uvek je prisutno u svakodnevnom životu. Svaki Kinez videće Predsednika barem jednom dnevno, a mnogima će se ova prilika pružiti na desetine puta. Naravno, radi se o novcu. Kinesku Juan, takođe poznat kao Renminbi (Narodni Novac) ukrašen je licem prvog Predsednika Narodne Republike Kine na svakom apoenu, od 1 do 100. Na ovaj način, njegov nadasve poznat lik prevazišao je svoje istorijsko nasleđe, stupivši tako u svakodnevicu kao simbol bogatstva. Pogledajmo zato bolje u lice koje stotinama miliona ljudi promiče pred očima svakog dana. Šta možemo primetiti i kako to utiče na svet estetike? “Maoney “ je tu da istraži.

Mao Zedong is undoubtedly one of modern China’s most famous faces, symbols and a well-known figure around the world. Virtually no Chinese citizen and very few people elsewhere would have a hard time recognizing him. However, as far as China is concerned, besides history books and popular culture, the face of Mao is ever present in one’s daily life – every Chinese will see The Chairman at least once a day, and many would have this opportunity dozens and dozens of times. Naturally, we are talking about currency or money. Chinese Yuan, also known as Renminbi, is decorated with the face of PRCs first Chairman on every denomination, from 1 to 100. As such, his famous appearance has surpassed it’s historical heirdom and stepped into a common daily routine as a token of wealth. So, let’s take a closer look into the face that hundreds of millions have their eyes on day by day. What can we see and how does it reflect onto the world of art and esthetics? “Maoney” is here to explore.

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www.kontejner.org/device-art-main-english

IZLOŽBA EXHIBITION

VUK VIDOR – EKV REWIND IZLOŽBA EXHIBITION

Koncept izložbe: Vuk Vidor

Exhibition concept by: Vuk Vidor

Izložba EKV Rewind rekonstruiše kulturnu klimu 80-tih, koristeći se simbolima i vizuelnim identitetom grupe EKV. Izložba objedinjuje radove umetnika koji su učestvovali u kreiranju tadašnje umetničke scene, a svojim radom bili neposredno vezani za stvaralaštvo EKV. Ispitivanjem povezanosti likovne i muzičke scene, izložba teži da ukaže na tadašnje umetničke strategije zajedničke svim akterima generacije i da otvori mogućnost za proučavanje uticaja i procesa nastajanja urbane kulture Beograda.

Exhibition EKV Rewind is a reconstruction of the cultural climate in the 80’s delivered by the use of symbols and visual identity of the banda EKV. It includes works of numerous artists which took part in creation of the art scene of the time and were directly involved in the work of EKV. By researching the connection between art and music scene, this exhibition aspires to present artistic strategies of the time, equal to all artists of the generation and to enable study of the influences and processes of creation of Belgrade’s urban culture.

Autori: Vuk Veličković, Aleksandar Kujučev, Nebojša Babić, Goranka Matić, Dušan Gerzić, Slavimir Stojanović, Boris i Tucko, Stanislav Šarp, Marko Nastić, Vesna Pavlović, Marko Velk, Miladin Jeličić, Vladimir Perić Talent, Milorad Glušica

Authors: Vuk Velickovic, Aleksandar Kujucev, Nebojsa Babic, Goranka Matic, Dusan Gerzic, Slavimir Stojanovic, Boris i Tucko, Stanislav Sarp, Marko Nastic, Vesna Pavlovic, Marko Velk, Miladin Jelicic, Vladimir Peric Talent, Milorad Glusica

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RAŠA TODOSIJEVIĆ – MALI DNEVNIK III IZLOŽBA EXHIBITION

Izložba slika i predmeta iz autorovog dnevnika predstavlja uvod u projekat koji će se realizovati u oktobru mesecu. ....stav Raše Todosijevića u poslednjih trideset godina po mnogo čemu je najlegitimnija reakcija na položaj umetnika u Jugoslaviji. Tamo gde je umetnost marginalizovana, gde vlast nonšalantno upotrebljava avangardu da bi branila svoje tobože progresivne boje uporedo sa ostalim, slobodnim narodima, umetniku od integriteta ne preostaje ništa drugo nego da cinično pokazuje šipak sistemu i onima koji ga sprovode. Već krajem šezdesetih Todosijević se upoznaje sa najprogresivnijim svetskim strujanjima. Tokom sedamdesetih bavi se performansima – imitira Hitlerov glas i izvodi druge, namerno provokativne predstave. Čak i sada njegov je cilj da detronizuje i potkopava. U društvu gde finansijske motivacije ne postoje, gde je vrednost umetničkog dela, ma kako ono samo po sebi bilo „lepo“, ništavna, umetnik sebi može dati više slobode nego na Zapadu. Mentalitet i pristup ovog umetnika najbolje se iskazuje u delima ”Gott liebt die Serben“. On to piše na najsvetijem simbolu Judaizma, na Menori uradjenoj od čelika. Antisemitizam, holokaust, nadrealizam, sve to zapravo služi kao proziran i šaljiv izgovor za delo koje se u krajnjoj konsekvenci ogleda u Dadaizmu. Napokon, Todosijevićeva Menora je u delekom srodstvu sa Magritovom Ceci n’est pas une pipe ili pak sa R Muttovim pisoarom. Za razliku od avangarde dvadesetih godina u Parizu, reakcija Jugoslovena na beznadežnu društvenu situaciju je legitimna pa čak i dirljiva... Andrew Gibbon Williams, Edinburg 1990

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The exhibition of paintings and objects from the author’s journal is an introduction to the project to be realised in October. ....the attitude of Raša Todosijević in the past thirty years is, in many aspects, the most legitimate reaction to an artist’s position in Yugoslavia. Where art gets to be marginalised, where the authorities use the avant-garde to defend their own, supposedly progressive colours along with the other, free peoples, the artist of integrity is left with nothing but to cynically show his fist to the system and those who keep it going. By the late sixties, Todosijević has already met the most progressive world tendencies. In the seventies he is into performance art – imitating the voice of Hitler’s and performing other, intentionally provocative shows. His goal is still, today even, to dethrone and mine. In a society without financial motivation, where the value of a work of art, no matter how pretty it may be, is close to nothing, an artist can give more freedom to himself than in the West. The mentality and attitude of this artist best shines through his works Gott liebt die Serben. He writes it on the holiest symbol of Judaism, a Menorah made of steel. Anti-Semitism, holocaust, surrealism, it’s all a transparent and funny excuse for a work of art mirroring Dadaism. In the end, the Menorah of Todosijevic’s is a distant cousin of Magritte’s Ceci n’est pas une pipe or Mutt’s urinal. As opposed to the avant-garde of the twenties in Paris, the reaction of the Yugoslav people to the hopeless social situation is legitimate, even moving... Andrew Gibbon Williams, Edinburgh 1990

DIS SOLUTION

... susreti zvučnog i vizuelnog u savremenoj francuskoj umetnosti Sesil Babiol (Cécile Babiole) / Arno Fabr (Arno Fabre) / Mede Fortine (Maider Fortuné) / Žoakim Montesui (Joachim Montessuis) Kustosi: An Rokinji (Anne Roquigny) / Vladimir Tupanjac Izložba tretira pitanja kreativih aspekata novih i digitalnih tehnologija, njihovog produciranja i konzumiranja, i kritičkog rasuđivanja o njihovom prisustvu u okruženju. Sesil Babiol izvrće mehanizam ideološke aproprijacije novih tehnologija. Arno Fabr dekonstruiše princip kombinovanja digitalnih uzoraka, dozvoljavajući kapljicama vode da kreiraju zvučni ambijent. Mede Fortine i Žoakim Montesui pokazuju različite modele interakcije video prizora sa zvučnom podlogom, od performansa prepričanog kroz minimalistički video do demonstracije rada sa softverom za sinhronizovanje više izvora slike i zvuka... Cécile Babiole - \O3ONE\ „Ne zadržavajte se, nema šta da se vidi”, 2001 / Arno Fabre - \O3ONE\ „Kompozicija za tri radija”, 2003 / Maider Fortuné - \O3ONE\ „Ja, igre”, 2001 / Joachim Montessuis - \SKC\ „Eros je eros je eros”, 2004 / Organizacija: Nana Radenković / Tehnička podrška: Miloš Lužajić / Produkcija: AFAA, Dis-patch 2004, O3ONE, SKC

… sounds meet visuals in contemporary French art Cécile Babiole / Arno Fabre / Maider Fortuné / Joachim Montessuis / Curators: Anne Roquigny and Vladimir Tupanjac Exhibition is dealing with creative aspects of new and digital technologies, producing and consuming them, and the way their presence influences us. Cécile Babiole puts upside down the mechanism of ideological appropriation of new technologies. Arno Fabre deconstructs a principle of combining digital samples, allowing water drops to create a sound ambience. Maider Fortuné and Joachim Montessuis are showing different modes of interaction of video images with sound samples, from performance presented on a minimalist video work, to demonstration of the work with software for synchronisation of multiple sources of image and sound. Cécile Babiole - \O3ONE\ “move along now, there’s nothing to see”, 2001 / Arno Fabre - \O3ONE\ “Composition for three radios”, 2003 / Maider Fortuné - \O3ONE\ “I, games”, 2001 / Joachim Montessuis - \SKC\ “Eros is eros is eros”, 2004 / Organization: Nana Radenkovic / Technical support: Milos Luzajic Production: AFAA, Dis-patch 2004, O3ONE, SKC 213

www.babiole.net | http://arnofabre.free.fr/en/index.html | www.autopoiese.org

IZLOŽBA EXHIBITION

LONDON VIDEO ART FESTIVAL – BLOWING UP IZLOŽBA EXHIBITION

Kustosi za Beograd: Leona Dodig i Aleksandra Zdravković Blowing Up je osnovala grupa londonskih umetnika 1999. godine, kao profesionalni okvir za prikazivanje radova renomiranih i mlađih video umetnika i filmskih autora. Predstavljanjem različitih kreativnih i nezavisnih filmova i video radova, Blowing Up pruža podršku umetnicima i omogućuje im kontakt sa publikom. Prikazujući neobične kratke forme, Blowing Up stvara programe inovativnih i eklektričnih radova savremenih umetnika i filmskih autora. Od osnivanja, Blowing Up održava projekcije video umetnosti u zgradama od lokalnog i istorijskog značaja u Londonu. Domaćin je i godišnjeg Klerkenvelskog festivala filma i videa. Takođe se bavi obrazovnim i društveno-korisnim programima sa ciljem da inspiriše lokalni filmski potencijal; organizuje filmske i video kurseve i radionice za obrazovne i lokalne grupe radi njihove saradnje sa profesionalnim autorima, na polju kratkih i dokumentarnih filmova. Blowing Up, koji nastoji da poveća i razvije razumevanje i učešće publike u nezavisnoj video produkciji i filmu, 2004. godine održao je projekciju radova i u Institutu Vitni u Njujorku.

Belgrade Curators: Leona Dodig and Aleksandra Zdravković Blowing Up was founded in 1999 by a group of London-based artists. It provides a professional showcase for emerging and established video artists and film makers to present their work. By presenting diverse, creative and independent films and videos, Blowing Up provides a support platform for artists and filmmakers to showcase their work to a diverse audience. By screening unusual shorts, Blowing Up creates programs of inspired and eclectic work from contemporary artists and film makers. Since 1999, Blowing Up has held video art screening events in venues of local and historical interest in London. It now also hosts the annual Clerkenwell Film and Video Festival. It also works with education and community groups to inspire film making potential in the neighbourhood, conducts film and video education training and workshops for educational and community groups, who would not normally have access and opportunities to work with professional film makers to produce challenging short films and documentaries from their perspective. Blowing Up aims to increase and develop audience understanding and participation of independent video and film. In 2004, Blowing Up screened selected works at the Whitney Institute, New York. 215

ZBIGNIEW KARKOWSKI – ARTIST-TALK KONCERT CONCERT

Artist-talk – Zbignjev Karkovski / Helmut Šefer – Austrija

Artist-talk – Zbigniew Karkowski/Helmut Shaefer – Austria

Početkom oktobra 2004, u Beogradu i Zagrebu gostovao je jedan od najpoznatijih umetnika noise-elektronike Zbignjev Karkovski, što je značilo prvu regionalnu saradnju u domenu predstavljanja elektronske muzike ovog tipa.

At the beginning of October 2004, one of the most popular artists of noise-electronica, Zbigniew Karkowski, performed in Belgrade and Zagreb, which also announced the beginning of the regional cooperation in the domain of electronic music performance.

Zbignjev Karkovski (1958, Krakov, Poljska) završio je studije kompozicije i estetike moderne muzike u Švedskoj, dok je kompjutersku muziku usavršavao u Engleskoj i Holandiji. Karkovski je umetnik koji, (svojim istraživanjem odnosa akustičkog i digitalnog zvuka), pomera granice muzičkog medija. Povod za njegove improvizacije najčešće je zvuk snimljen u prirodi, u nekoj određenoj zgradi, prostoru... Ovaj sirovi zvučni materijal postaje začetak uzbudljivog, živog zvuka.

Zbigniew Karkowski (1958, Krakow, Poland) graduated composition and aesthetics of modern music in Sweden, and went on to post-graduate studies in computer generated music in England and Holland. Karkowski is pushing the boundaries in music with his research of the correlation between acoustic and digital sound. His improvisations are triggered by a sound recorded in nature, in a certain building or space...This raw sound material becomes an instigation of something exciting, of a living sound.

Organizacija: CHINCHA (Beograd) – projekat „Kompozitori u prvom licu”, MAMA (Zagreb), O3ONE (Beograd).

Organization: CHINCHA (Belgrade) – project “Composers in person”, MAMA (Zagreb), O3ONE (Belgrade) 217

TRIBINE

• ZA SRBIJU

Mi živimo u epohi koju karakteriše kontaminacija svih kategorija, zamenjivanje jedne oblasti drugom, čak neka vrsta konfuzije žanrova, u zemlji u kojoj političko nije više u politici nego zagađuje sva ostala područja, ekonomiju, nauku, umetnost, sport. Kada je sve politika, onda više ništa nije politika, i otuda odsustvo vere da se nešto može učiniti, odsustvo nade da vredi pokušavati, odustajanje od bilo kakvog angažmana kojim bi se preuzela odgovornost za sopstvenu sudbinu. Pred nedvosmislenom dominacijom populističkog trenda, koji se najpre manifestuje u podsticanju ideologije banalnosti kao opšteg dobra, prosvećena Srbija, inače skrajnuta na margine naše stvarnosti, izgleda da uprkos zloduhu tranzicije brani svoju čast, entuzijastički radeći na sopstvenim umetničkim i kulturnim projektima, i time ukazujući na bezvrednost pomenutog suparničkog koncepta. Istrajavajući na tezi da je Srbija nepopravljivo podeljena na dve odvojene stvarnosti, jednu evropsku, kultivisanu, uljudnu i civilizovanu, i drugu, primitivnu, populističku i neprosvećenu, jednom reči balkansku, brojni kulturni poslenici, isto kao i neki politički čelnici, u najboljoj nameri da otvore pitanje moderne i odgovorne kulturne politike, skloni su posezanju za inkvizitorskom strategijom, predlažući neku vrstu nasilnog ukidanja mafijaško-turboporno-folk kodova koji su tokom više od jedne decenije gradili medijsku i kulturnu scenu Srbije. Najbolji način, međutim, da se izvrši simbolički i stvarni upad u vladajuću paradigmu predstavlja strategija takozvane „kulturne gerile”, kojom se, umesto kritike i „otkrivanja hladne vode”, domaćoj javnosti nudi zaista kvalitetan, pozitivan, drugačiji, jednom rečju „proaktivan” koncept. A upravo to je učinio Nebojša Babić, nudeći Beogradu i Srbiji raznovrstan, bogat i promišljen program O3ONE-a. Mimo svake obavezujuće državne apanaže, mimo oslanjanja na praksu doniranja koju država inače obezbeđuje za svoje institucije, Nebojša Babić je sa O3ONE-om pokrenuo jedan sasvim novi model angažovanja u kulturi. Očito shvatajući kulturu ne kao deklarativni projekt državne politike već kao individualni čin odgovornosti umetnika i kulturnih stvaralaca, u svetu koji je razbaštinjen svih velikih vrednosnih sistema, Nebojša Babić je nedvosmisleno pokazao kako se ličnim angažovanjem, kreativnim idejama i ulaganjem u budućnost lični entuzijazam pretvara u svojevrsni kulturni presedan. Umesto da deklarativno otvori verbalizovani front i time još jednom ispali pucanj u prazno, O3ONE je, tokom tri godine postojanja, na promišljen i nepretenciozan način predstavio brojne umetnike i organizovao različita predavanja, tribine i seminare iz oblasti umetnosti, savremenog dizajna i arhitekture, uspostavlja-

jući se kao neka vrsta privatnog i alternativnog Kulturnog Centra Grada. Omogućavajući jedan novi i vaninstitucionalni komunikativni prostor, O3ONE je svojim projektima profilisao kulturni „kontraudar”, na najbolji način demonstrirajući domaćoj javnosti da paralelno sa estetikom vašarskog spektakla, porno kodova i „grandioznih” budalaština, postoji univerzum u kojem se spontano, nepretenciozno i duhovito razmenjuju poruke. Kao svojevrsna paradigma gerilske intervencije u vladajućem kulturnom monolitu, O3ONE je postao kulturni fenomen par excellence, predstavljajući jedan od najboljih načina da se publika, umesto pasivnih posmatrača, učini akterima, da se stvarno mobiliše, i time komunikacija u kulturi učini interaktivnom. Jer, kulturna gerila nema potrebe ništa da objašnjava, još manje da kudi. Njen posao je da ponudi stvarnu alternativu. dr Zorica Tomić kulturolog

FOR SERBIA

We live in an epoch which is characterised by the contamination of all categories, by changing one field with another, almost a kind of confusion of genres, in a country in which politics is not about politics any longer, but spoils all the other fields of life, economy, science, art, sports. When politics is everything, then nothing is politics any more, and that is the reason for the absence of faith that something could be done, the absence of faith that it is worth trying, that giving up any engagement by which responsibility for one’s own destiny could be taken up. With definite domination of populistic trend, which is in the first place manifested by the support of banal ideology as general good, the enlighted Serbia, in other respects being moved towards the borders of our reality, seems to be defending its honour despite the evil spirit of transition, enthusiastically working on its own artistic and cultural projects, indicating the worthlessness of the stated rival concept. Insisting on the thesis that Serbia is incorrigibly divided into two separate realities - one European, cultivated, decent and civilized, and another, primitive, populistic and unenlighted, in a word - Balkanic, numerous cultural delegates just as some political leaders, having the best possible intention to set the question of modern and responsible cultural policy, are inclined to resort to inquisition strategy, recommending some kind of forceful abolition of mafia-turbo-porn-folk codes that have, during more than a decade, built media and cultural scene of Serbia. However, the best way to perform symbolic and real interruption into the ruling paradigm, is the strategy of so-called “cultural guerrilla”, which, instead of criticism and “cold water inventing”, offers to the domestic public a quality, positive, different, in a word ”proactive“ concept. And that is exactly what Nebojsa Babic did, offering to Belgrade and Serbia a diverse, exuberant and thoughtful programme of O3ONE. Without any government’s obligatory appanage, without leaning on the donation practise that the state otherwise provides for its institutions, Nebojsa Babic, with O3ONE, set out a completely new model of engagement in culture. Obviously regarding culture not as a declarative project of state policy, but as an individual act of responsibility of artists and culture creators, in the world which is deprived of all great value systems, Nebojsa Babic has explicitly shown how to, by personal engagement, by creative ideas and investing into future, turn one’s own enthusiasm into a certain cultural precedent. Instead of declaratively opening a verbalized front and by doing that, to shoot another shot in vain, O3ONE has, during the three years of its existence, in a thoughtful and unpretentious way, presented numerous artists and organized various lectures,

workshops and seminars in the fields of art, modern design and architecture, establishing itself as a kind of private and alternative Cultural City Centre. Providing a new and non-institutional communicative space, O3ONE, with its projects, profiled a cultural ”counterattack”, demonstrating to the domestic public in the best possible way that, on a par with the aestetics of fair spectacle, porn codes and ”magnificent” nonsense, there is a universe in which the messages are exchanged spontaneously, unpretentiously and in a witty way. As a certain guerrilla intervention paradigm in a ruling cultural monolite, O3ONE became a cultural phenomenon par excellence, being one of the best ways to turn the audience into participants instead of the passive spectators, to really mobilize it, and by doing that to make communication in culture interactive. That is because cultural guerrilla has no need to explain anything, let alone to criticise. Its job is to offer a real alternative. Zorica Tomić, PhD (Culturology)

KATHERINE CARL – THE FLIPSIDE

Predstavljanje izložbe „Flipside”, održane 12. 11. 2004 – 8. 01. 2005 u Galeriji Artists Space, 38 Greene Street, Njujork / Umetnici: Cristian Alexa, Association Apsolutno, Art Attack, Maja Bajević, Emese Benczur, Cabinet Magazine, Danica Dakić, Milena Dopitova, Vadim Fishkin, Jaroslaw Flicinski, Tomislav Gotovac, Pravdoliub Ivanov, Joan Jonas, Kai Kaljo, Charles Krafft, Pawel Kruk, Julia Kunin, Yuri Leiderman, Antoni Maznevski, Audrius Novickas, Odili Donald Odita, Tony Oursler, Anthony and Katya Pemberton, Dan Perjovschi, Igor Savchenko, Tomo Savić-Gecan, Stephen Shanabrook, Škart, Sandra Sterle, Audrius Stonys, Eric Triantafillou i Csilla Kosa, Aleksandar Zograf. / Kurator izložbe: Ketrin Karl / Izložba „Flipside” predstavlja radove umetnika iz postsocijalističkih zemalja Centralne Evrope i njihovih kolega iz SAD koji su učestvovali u programu kulturne razmene ArtsLink Awards. „Flipside” istrazuje postutopijsku umetničku praksu između komunističkog perioda i perioda integracije mnogih centralnoevropskih zemalja u Evropsku uniju. / Povodom izložbe, u Njujorku je održan i simpozijum pod istim nazivom, na kojem je učestvovao i dr Miško Šuvaković iz Beograda..

Katherine Carl presented “Flipside” exhibition, organized in Artists Space Gallery, 38 Greene Street, New York, from November 12th until January 8th / Artists: Cristian Alexa, Association Apsolutno, Art Attack, Maja Bajevic, Emese Benczur, Cabinet Magazine, Danica Dakic, Milena Dopitová, Vadim Fishkin, Jarosaw Fliciski, Tomislav Gotovac, Pravdoljub Ivanov, Joan Jonas, Kai Kaljo, Charles Krafft, Pawel Kruk, Julia Kunin, Yuri Leiderman, Antoni Maznevski, Audrius Novickas, Odili Donald Odita, Tony Oursler, Anthony and Katya Pemberton, Dan Perjovschi, Igor Savchenko, Tomo Savic-Gecan, Stephen Shanabrook, skart, Sandra Sterle, Audrius Stonys, Eric Triantafillou and Csilla Kosa, Aleksandar Zograf / Curator : Katherine Carl / Exhibition “Flipside” presents works by artists from post-socialist countries of Central Europe and their colleagues from the USA who took part in the programme of cultural exchange ArtsLink Awards. / “Flipside” explores post-utopian art practices from the period in between the communist era and the period of integration of many Central European countries into the EU. / At the same time and under the same title, a symposium was organized in New York, where Dr. Misko Suvakovic took part. 223

Izložba: Adrenalin – Dizajn i aktivizam u Srbiji / Grafička agitacija u Srbiji / februar 2005. Povodom objavljivanja drugog toma knjige „Grafička agitacija” autorke Liz Makvistoun (Liz McQuiston) koji ispituje ulogu i položaj grafičkog materijala korišćenog u svrhe političke propagande, predstavljena je izložba originalnih artefakata iz naše sredine, koji su u toj knjizi objavljeni. U razgovoru, pod nazivom „Dizajn i aktivizam u Srbiji 1990-ih”, održanom tim povodom, učestvovali su Milena Dragićević Šešić, profesor Univerziteta umetnosti, Liz Makvistoun, Veran Matić, glavni i odgovorni urednik RTV B92, Ana Miljanić, reditelj, i Borut Vild, grafički dizajner. Liz Makvistoun je održala i predavanje; tom prilikom, govorila je o svojoj knjizi „Graphic Agitation 2: Social and Political Graphics in the Digital Age” (Phaidon, 2004) kao i o promeni u taktikama otpora i pojavi novih strategija aktivizma u digitalnom dobu. Liz Makvistoun se bavi grafičkim dizajnom više od dvadeset godina. Profesor je na londonskom Royal College of Art. Izložba je realizovana u saradnji sa Yustat-om i Građanskim inicijativama.

Exhibition: Adrenalin - Design and activism in Serbia / Graphic Agitation in Serbia / February 2005 The exhibition is linked to the printing of the second volume of the book “Graphic Agitation: Social & Political Graphics in the Digital Age”, by author Liz McQuiston, which investigates the role and the position of graphic materials in a political propaganda. Original artefacts from Serbia which were also published in the book were presented at the exhibition. In a panel discussion named “Design and Activism in Serbia in 1990’s”, which was organized on this occasion, Milena Dragicevic Sesic, (professor at Faculty of Arts), Liz McQuiston, Veran Matic, Editor in Chief of RTV B92, Ana Miljanic, (film director), and Borut Vild, graphic designer, took part. Liz McQuiston gave a lecture during which she spoke about her book “Graphic Agitation 2: Social and Political Graphics in the Digital Age” (Phaidon, 2004) and about changes in the tactics of resistance and new activism strategies in the digital age.

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www.yustat.org | www.gradjanske.org/page/home/sr.html

ADRENALIN – DESIGN & ACTIVISM IN SERBIA

DEZ.ORG – ZOOM TO FIT

FUGUE [www.fugueart.com] is a result of collaboration between artists, composers of new music and computer scientists. It is a long-term project that represents a new approach to communication with audience and a way to convey complex scientific ideas. Starting point of the project is the possibility of virtual reality and sound to provide interactive audio-visual interface to the dynamic of one multifaceted system such as the artificial immune system. Besides generating the utmost effect in interaction between the viewer and the artwork, this technology facilitates the possibility to control and research specific audio-visual elements. FUGUE demonstrates the aptitude to move forward in the field of socially responsible work, through partnership between the art-system and the science system. Gordana Novakovic is the first Artist-in-Residence at the UCL - University College London, at the department of Computer Sciences. She graduated at the department of Fine arts at the University of Art, in Belgrade 1969-1974. She belongs to the generation of pioneers in electronic art in Serbia and has more than twenty years of experience in media projects such as INFONOISE. (www.infonoise.net). She won several British awards for the project FUGUE.

FUGUE [www.fugueart.com] je rezultat saradnje između umetnika, kompozitora nove muzike i kompjuterskih naučnika: dugoročan projekat koji predstavlja nov način komuniciranja sa publikom i prenošenja složenih naučnih ideja. Projekat polazi od mogućnosti virtuelne realnosti i zvuka da obezbede interaktivan audiovizuelni interfejs dinamici jednog složenog sistema kakav je veštački imunološki sitem (artificial immune system). Osim proizvodnje efekta maksimalnog uključenja posmatrača i interakcije sa umetničkim delom, ova tehnologija nudi mogućnost kontrolisanja i ispitivanja specifičnih audio-vizuelnih elemenata. FUGA demonstrira način kojim je, kroz saradnju sistema umetnosti i naučnog sistema, moguće pomerati granice društvenoodgovornog rada... Gordana Novaković je prva umetnica sa profesionalnim boravkom [Artist-in-Residence] na Odseku za kompjuterske nauke pri Univerzitetskom koledžu u Londonu (UCL - University College London]. Slikarka po obrazovanju [Univerzitet umetnosti u Beogradu, 1969-1974) ona pripada pionirskoj generaciji elektronskih umetnika u Srbiji i ima više od dvadeset godina iskustva u bavljenju medijskim projektima kao što je INFONOISE. (www.infonoise.net). Za projekat FUGUE dobila je nekoliko britanskih nagrada. 229

www.fugueart.com

UMETNOST & NAUKA – FUGA (FUGUE)

KAUČ / SOFA

Discovering the 21st Century 150 years of anniversary of Sigmund Freud homage - work in progress Project “Kauč/Sofa” homage to Dr. Sigmund Freud, was first presented to the public in the summer of 2006 at SKC, and after at the music festival EXIT then in O3ONE art space from the 1st to the 7th August. Project “Sofa” is a multimedia/ambience installation in which a sofa – an important object and a symbolic element of psycho-analysis. “Sofa” went on a tour around Serbia, as a symbolic homage to Dr. Freud and to theoretical and practical psychoanalysis and the role it had in the cultural and intellectual history of the 20th century. Artists, groups and associations had a chance to participate at the in/out performances at the O3ONE. Interaction between the sofa and the audience, passers by and other people was essential in the creation of the new work which later became a part of the final exhibition called “The unconscious – Serbia on the sofa – homage to Dr. Freud”. Project was complemented with the showing of the movie “Inconsientes” (unconscious) Director: Joaquin Oristrell, Spain, 2004. Script: Joaquin Oristrell, Teresa De Pelegri, Dominic Harari.

Otkrivanje 21. veka 150. godina od rođenja Sigmunda Frojda homage - work in progress Projekat „Kauč/Sofa”, omaž dr Sigmundu Frojdu, leta 2006, bio je izložen najpre pred publikom SKC, potom na muzičkom festivalu Exit ‘06 i od 1. do 7. avgusta u O3ONE art space-u. Projekat SOFA je multimedijalna ambijentalna instalacija sofe/kauča, rekvizita koji je u psihoanalizi jedan od ključnih i simboličkih elemenata. „Sofa” je bila na nekoj vrsti „turneje” po Srbiji, kao simbolički omaž dr Frojdu, teoriji i praksi psihoanalize i njenoj ulozi u kulturnoj i intelektulnoj istoriji XX veka. Umetnici, grupe i asocijacije imali su priliku da učestvuju na in/out performansima u O3ONE-u. Interakcija sofe i publike, prolaznika, građana, u žiži je novonastalih radova, ostvarenih u različitim medijima, koji su kasnije ušli u izbor za finalnu izložbu sa temom „Nesvesno – Srbija na sofi – omaž dr Frojdu”. Projekat su upotpunile projekcije filma NESVESNO, (Inconsientes). Reditelj: Žoakin Oristrel, Španija,2004. Scenario: Žoakin Oristrel, Teresa De Pelegri, Dominik Harari. 231

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Autori: Ana Adamović i Milica Pekić Conev Projekat „Das ist Kunst” realizovan je kao istraživanje na temu kulturne klime u Srbiji. Tragajući za prirodom savremene umetnosti autorke su razgovarale sa osamdeset i jednom osobom od kojih je svaka dala svoj odgovor na pitanje „Šta je za Vas umetnost?”. Odgovore prate fotografije učesnika koji su zamoljeni da se fotografišu sa objektom koji poseduju a smatraju ga umetničkim delom. Ovako postavljen zahtev interpretiran je na različite načine od strane svakog učesnika. Autorke su razgovarale sa umetnicima, ostalim akterima umetničkog sistema (galeristima, predstavnicima organizacija i institucija, profesorima, kustosima, kritičarima, kulturnim radnicima, kreatorima kulturne politike) i stanovnicima Srbije iz osam gradova, različitih uzrasta i profesija. Rezultat istraživanja predstavlja publikacija sa odgovorima i fotografijama svih učesnika projekta. Promociju publikacije pratila je izložba fotografija.

Authors: Ana Adamovic & Milica Pekic Conev Project “Das ist Kunst” has been realized in the framework of a research oriented analysis of the cultural climate in Serbia. Searching for the nature of contemporary art, the authors were having discussions with 81 person, each of them providing their answer to the very same question respectively: “What does art mean to you?”. These answers have been accompanied by the photographs of participants whereas all of them had been photographed while presenting a single object of their possession considered to be a work of art, according to each and everyone’s respective taste and choice. The authors were talking to artists, and other protagonists of the art system (gallery managers, representatives of organizations and institutions, professors, curators, critics, cultural producers, cultural policy creators) and also, to the citizens of Serbia coming from eight cities, being of different ages and of different professions. The publication consisting of their answers and photographs is the result of the research, and it will be promoted at the exhibition. 233

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DAS IST KUNST

ACCESS LOCAL

Predavanje: Tine Birkel: „Is Anybody Listening? - Art as an Always Already Public Affaire” Prezentacija / Strategic Thinking Workshop: „How to work together, when we want to work together but we have never (yet) worked together?” Grupa Local Access (Accès Local) osnovana je 1998. u Parizu, sa namerom da razvija nove kolaborativne forme između umetnika i subjekata izvan domena umetnosti. Naziv grupe odnosi se na značaj „lokalnog” i značaj „pristupa, dostupnosti” u savremenim društvima. Pristup je ovde shvaćen kao nova forma vlasništva koja se razvija u poznom kapitalizmu, i koja zahteva suočavanje sa lokalnim pozicijama. Acces Local predlaže eksperimentalne situacije i okruženja (simulaciju) koja dozvoljavaju eksperimentisanje na polju kolaborativnih procesa. Tine Birkel, rođena u Danskoj, živi u Parizu od 1982. Filozofkinja, prevodilac, kritičarka umetnosti i novinarka nezavisnog danskog časopisa Information. Predaje filozofiju i psihoanalizu na Narodnom univerzitetu u Kopenhagenu. Filip Meres, umetnik, inženjer, PhD kandidat na Univerzitetu u Utrehtu (Holandija), osnivač francuske umetničke grupe Local Access.

Lecture: Tine Byrckel : “Is Anybody Listening? - Art as an Always Already Public Affair” Presentation / Strategic Thinking Workshop:“How to work together, when we want to work together but we have never (yet) worked together?” Group Local Access (Accès Local) was founded in 1998 in Paris, with an intention to develop new collaborative forms between artists and subjects outside the domain of art. The name of the group refers to the importance of “local” and the importance of “access, accessibility” in modern society. The approach is understood as a new form of ownership, which developed in the late capitalism and involves confronting local positions. Acces Local suggests experimental situations and environment (simulation) which allows experimentation in the field of collaborative processes. Tine Birckel, born in Denmark, lives in Paris since1982. Philosopher, translator, art critic and journalist for the independent Danish magazine Information. She teaches philosophy and psychoanalysis at the National University in Copenhagen. Philippe Mairesse, artist, engineer, PhD candidate at the University in Utrecht (Holland), founder of the French art group Local Access. 235

ARTIST HOUSE – ARCHITEL

ArtistHouse is an art project by Bryan Davies and Laura Quarmby that aims create and show expansive contemporary artworks. By relating art to other realms of society such as business, education and popular culture they aim to make more relevant and engaging works: “Art is perhaps one of the few places where ”surplus” activities and thoughts are tolerated and the likelihood of them being accepted exists. We want to use this possibility to help imagine things and systems in society in a different manner. As well as simply communicating these ideas through exhibition, we are creating an expanded art that functions in a more active manner.”(Davies & Quarmby) The Architel publication presents an essay and artwork by Artist House. It has been developed from dialogues with nine companies during their project entitled Cultural Trade (October 2004), an installation and research process that investigated art’s relationship to business. Curator: Marko Stamenkovic (art-e-conomy) Beograd European Cultural Foundation (ECF) – Amsterdam

Artist House je umetnička grupa / projekat koji vode Brajan Dejvis (Bryan Davies) i Lora Kvarmbi (Laura Quarmby) sa idejom kreiranja i predstavljanja „ekspanzivnih” dela savremene umetnosti. Dovođenjem umetnosti u vezu sa ostalim područjima društva (biznisom, edukacijom, popularnom kulturom...) postavili su za cilj stvaranje relevantnijih i angažovanijih radova. „Umetnost je jedno od retkih područja u kojem je „višak” aktivnosti i misli tolerisan i gde je prihvaćena mogućnost njegove podrške. Mi želimo da iskoristimo ove mogućnosti kako bismo doprineli zamišljanju stvari i sistema u društvu na drugačiji način. Baš kao što ove ideje jednostavno prenosimo izložbenom komunikacijom, stvaramo i proširenu umetnost koja funkcioniše na jedan mnogo aktivniji način.” (Davies & Quarmby) Publikacija „Architel” sadrži esej i umetnički rad grupe „Artist House”, a nastala je na osnovu dijaloga uspostavljenih sa predstavnicima devet kompanija tokom rada na projektu „Cultural Trade” (oktobar 2004). Zamisao projekta sastojala se u kreiranju instalacije i istraživačkog procesa kojim je analiziran odnos između umetnosti i biznisa. Kustos: Marko Stamenković (art-e-conomy) Beograd European Cultural Foundation (ECF) – Amsterdam 237

DEMOCRATIC INNOVATION

Presentation of “Democratic Innovation” organization and project THE BOX SOCIETY Kent Hansen (Copenhagen / Denmark) Kent Hansen is an artist and a scholar from Copenhagen. He is the leader of the organization “Democratic Innovation” whose aim is to establish critical dialogue between diverse artistic and aesthetic strategies within the world of art and outside it. Democratic Innovation communicates with structures of other organizations and institutions, including corporate businesses. Art projects of this type have the potential to criticize and transform, for the benefit of those working on the realization of democratic programs – in the corporate world and in society in general. The Box Society is a democratic community in the making. The project aims to point out and research democratic possibilities of art work in domains of development and production. The goal is to create the ultimate “ballot box” in the process of collective creative design, work and revision, together with young individuals (aged from 17 to 25, but not as a must) also with institutions, schools, and/or groups. Curator: Marko Stamenković (art-e-conomy)

Prezentacija organizacije „Democratic Innovation” i projekta THE BOX SOCIETY Kent Hansen (Kopenhagen / Danska) Kent Hansen je umetnik i teoretičar iz Kopenhagena. Vodi umetničku organizaciju „Democratic Innovation” čiji je cilj uspostavljanje kritičkog dijaloga između različitih umetničkih i estetskih strategija u okviru sveta umetnosti, ali i izvan njega. Democratic Innovation komunicira sa strukturama drugih organizacija i institucija, uključujući i korporativni biznis. Ideja se sastoji u tome da umetnički projekti ove vrste imaju potencijal koji doprinosi kritici i transformaciji, u korist zaposlenih koji su angažovani na realizaciji demokratskih programa - u korporativnom svetu, kao i u društvu generalno. The Box Society je demokratska zajednica u izgradnji. Projekat nastoji da istakne i istraži demokratske mogućnosti umetničkog rada u domenima razvoja i produkcije. Cilj je kreiranje konačne „glasačke kutije” postupkom kolektivnog kreativnog dizajna, rada i proučavanja, zajedno sa mlađim pojedincima (između 17 i 25 godina, ali ne isključivo tih godina) kao i sa institucijama, školama i/ili grupama. Kustos: Marko Stamenković (art-e-conomy) 239

TOMA TASOVAC – TRANSPOETIKA

A dictionary is among other things a narrative about the epoch in which it is written: a slice of time that aims in vain to be timeless, enduring, eternal. That’s why every dictionary is also a historical record: As a diary of those who compiled it, it reflects their wishes, doubts, successes and disappointments. A dictionary is also, for better or worse, a political matter: a manifest, an ideological tool and a field of conflict. Albeit temporary, always defeatable and only quasi-authoritative, a dictionary intimates the unattainability of perfection and completion. At the same time, it expresses our fundamental need for structure and borders. A dictionary is an attempt at outlining the space of language, grasping the ungraspable and identifying the extent of our speculative world. It is a family album of every literate culture. Transpoetika is an attempt at non-institutional awakening of Serbian lexicography from its dogmatic slumber: a contemporary online dictionary and an initiative for publishing annotated literary texts for foreign students and heritage speakers of Serbian. Toma Tasovac has a BA summa cum laude in Slavic Languages and Literatures from Harvard. and Ph.D. on Russian ornamental prose at Princeton University. Has won several prizes including the American Association for the Advancement of Slavic Studies (AAASS) Award for the best essay of the year (Tsvetaeva’s Space(s) of Non-Encounter, 2000). Lives in Berlin.

Svaki rečnik je zapis o razdoblju u kome nastaje: isečak jednog vremena koji teži ali ne uspeva da bude nadvremenski, vanvremenski, večan. Zato je svaki rečnik, između ostalog, i istorijsko svedočanstvo: dnevnik onih koji su ga sastavljali, odraz njihovih želja i sumnji, uspeha i razočaranja. Rečnik je, neizbežno, i političko štivo, manifest, oruđe ideologije i polje sukoba. Prolazan, oboriv i iluzorno autoritaran, rečnik je ipak oličenje svesti o nemogućnosti savršenstva i potpunosti, ali u isto vreme i izraz potrebe za strukturom i granicama. Rečnik je pokušaj ocrtavanja jezika, opipavanja nedodirljivog, sagledavanja našeg misaonog sveta i porodični album svake pismene kulture. Transpoetika je pokušaj vaninstitucionalnog buđenja srpske leksikografije iz njenog dogmatskog dremeža: savremeni onlajn rečnik i inicijativa za izdavanje anotiranih dela srpske književnosti za studente koji uče srpski kao strani ili nasleđeni jezik. Autor: Toma Tasovac. Diplomirao slavistiku summa cum laude na Harvardu. Doktorirao komparativnu književnost o ruskoj ornamentalnoj prozi na Prinstonu. Dobitnik je brojnih nagrada, uključujući nagradu Američke asocijacije za unapređenje slavističkih studija za najbolji esej u 2000. godini („Prostori (ne)susretanja Marine Cvetajeve”). Živi u Berlinu. 241

MEĐUNARODNA LETNJA AKADEMIJA: (BEZ)GRANIČNI IDENTITETI

Lecture, as part of the International Summer Academy (Un) Limited Identities, by professor Milena Dragićević Šešić on „Overlapping identities - new master narratives of Serbian hybrid identities - artistic challenges“, followed by the presentation on “Crossing Borders: Development of Different Artistic Strategies” of the artist Tanja Ostojić. The Academy is aimed at inciting societal dialogue and scrutiny on complex process of the Serbia’s contemporary identity formation and its repositioning on European and world cultural market. In this context the lecture of professor Dragićević Šešić and the presentation of the artist Tanja Ostojić will show some possible understandings and perceptions of diverse Serbian identity and analysis of the role of different socio-cultural categories in its formation.

Predavanje, u okviru međunarodne letnje akademije (Bez) granični identiteti, profesorke Milene Dragićević Šešić na temu „Overlapping identities - new master narratives of Serbian hybrid identities - artistic challenges“ i prezentacija umetnice Tanje Ostojić “Crossing Borders: Development of Different Artistic Strategies” (17-19h). Akademija je posvećena temi savremenog identiteta Srbije, ključnim faktorima u njegovom formiranju i načinima njegove interpretacije i komuniciranja. U datom kontekstu predavanje profesorke Dragićević Šešić i prezentacija umetnice Tanje Ostojić predstavljaju neke od mogućih tumačenja i percepcija mnogolikog identiteta Srbije, kao i uloge različitih socio-kulturnih kategorija u njegovom formiranju. Međunarodnu letnju akademiju, kao deo projekta SERBIE MOBILE_Između dva stajališta, realizuje Kulturklammer - Centar za kulturne interakcije pod pokroviteljstvom Ministarstva za dijasporu Republike Srbije i u saradnji sa brojnim partnerima.

International Summer Academy, as part of the project SERBIE MOBILE_Between two stands, is realized by the Kulturklammer – Center for cultural interactions under the patronage of the Ministry for Diaspora of the Republic Serbia and in partnership with many different partners.

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MONOGRAFIJA ZENIT 1921-1926

Razgovor povodom objavljivanja monografije Zenit 1921-1926 autorki Vidosave Golubović i Irine Subotić i fototipskog izdanja svih brojeva jugoslovenskog avangardnog časopisa Zenit. Učesnici razgovora: Radonja Leposavić, Nebojša Milenković i Stevan Vuković Moderator: Zoran Erić Monografija ZENIT 1921–1926 obuhvata studije o književnoj i vizuelnoj kulturi Zenita, kompletan letopis časopisa, biografije svih saradnika, bibliografiju, popis literature o Zenitu i zenitizmu, kao i dragocenu vebografiju. Knjiga je štampana u punom koloru na 530 strana i opremljena je ilustracijama iz časopisa, kao i fotografijama aktera tog doba. Neke od fotografija objavljene su prvi put. Avangardni umetnik Ljubomir Micić pokrenuo je časopis Zenit februara 1921. u Zagrebu. Nakon tri godine, redakcija Zenita je premeštena u Beograd, gde nastavlja sa radom sve do decembra 1926, kada je objavljen poslednji, 43. i zabranjeni broj ovog časopisa. Zenit je kao i svi avangardni časopisi toga doba osporavao «zatečene strukture nacionalnih kultura i njihovih mitova», zalažući se za nove forme i novu umetnost, pa samim tim i za novi tip evropejstva, kakvo je Micić video u međunarodnom krugu evropske avangarde.

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Talk related to the monographic publication titled Zenit 19211926 authored by Vidosava Golubović i Irina Subotić, and the fascimile edition of all the issues of the avant-garde magazine Zenit. Participants in the talk: Radonja Leposavić, Nebojša Milenković and Stevan Vuković Moderator: Zoran Erić The monograph Zenit 1921-1926 includes studies about literary and visual culture of the Zenit, the complete chronicles of the periodical, biographies of all the contributors, a bibliography, a list of literature on Zenit and zenithism, as well as a valuable webography. The book was printed in full color, on 530 pages, and equipped with illustrations from the magazine, as well as with photographs of contemporary celebrities. Some of the photographs appear for the first time. The avant-garde artist Ljubomir Micić started this periodical in February 1921 in Zagreb. Three years later, the redaction of Zenit was moved to Belgrade, where it continued working until December 1926, when the last, 43rd and suppressed number of the periodical was published. Zenit, as all avant-garde magazines of the period, rejected the „existing structures of national cultures and their myths“, pleading for new forms and a new art, and therefore for a new type of Europeanism, which Micić saw in the international circle of the European avant-garde.

VIOLETA VOJVODIĆ-BALAŽ & EDUARD BALAŽ – HOOPUP

HoopUp je umetničko-edukativna platforma fokusirana na simboličku komunikaciju i društveni aspekt umetničke poruke. Zasnovana je na originalnoj didaktičkoj metodologiji umetničke grupe Urtica koja spaja koncepte vezane za klasične umetničke discipline sa informacionokomunikacionim tehnologijama, rad u virtuelnom prostoru (Internet) i u fizičkom okruženju. HoopUp je baziran na radioničkom radu uz korišćenje http://hoopup.net saradničke web alatke koja omogućava skeniranje društvenog okruženja umetničkim sredstvima, komunikaciju učesnika u projektu (tokom trajanja i posle), kao i prezentaciju ostvarenih umetničkih produkata širokoj publici. HoopUp je prevashodno namenjen mlađoj populaciji (dizajn, likovna umetnost, arhitektura, studije kulture) i stručnoj javnosti zainteresovanoj za edukaciju i komunikaciju u virtuelnom okruženju. Rezultati radioničkog rada u galeriji O3ONE, kao i dosadašnji edukativno/istaživački rad umetničke grupe Urtica će biti prikazani u vidu izložbe. HoopUp počinje pitanjem: “Kada bi mogao nešto da promeniš u svom okruženju, šta bi to bilo? Sve, nešto, ništa?” Uključi se, pošalji svoju poruku Svetu! Urtica je osnovana 1999. godine kao umetnička grupa specijalizovana za razvoj transdisciplinarnih projekata koji preklapaju umetnost, edukaciju i tehnologiju. Umetnički radovi Urtice produkovani su u formi internet aplikacija, prostornih instalacija, umetničko-mas-medijskih kampanja i edukativnih programa. Umetnički rad Urtice je nagrađen UNESCO Digital Arts Award na Institute of Advanced Media Arts and Sciences u Japanu 2003. godine, i prikazan na brojnim internacionalnim izložbama i festivalima. Urtica se Beogradskoj publici predstavila na samostalnoj izložbi održanoj u Salonu Muzeja savremene umetnosti u toku 2010. godine, i instalacijom Value Quest Bourse http://valuequest.info na nedavno održanom 52. Oktobarskom salonu. Detaljna dokumentacija o projektima grupe Urtica dostupna je na http://urtica.org.

The HoopUp art-educational platform is focused on symbolic communication and socio-cultural aspect/impact of the artistic message. It is based on Urtica’s original didactic methodology that bridges traditional artistic disciplines with ICT, and interweaves work in virtual and physical environment. This unique art experiment is designed in a form of workshop and art-educational Internet tool http://hoopup.net that opens a space for the creation of different authors where they can reflect on current social transformations and issues they consider important personally. It aims to foster social responsibility, to enhance creativity via artistic production, and to build space for international collaboration and professional improvement of young people and researchers active in the field of art and culture. The results of workshop held in O3ONE, as well as previous educational-research work of Urtica, will be exhibited in O3ONE gallery. The HoopUp starts with a question: “If you could change something, what would it be? Everything, anything, nothing?” Join in, send your message to the world!... Urtica specializes in the development of transdisciplinary projects that merge art, media, social science, and education. The group was founded in 1999 by Violeta Vojvodić and Eduard Balaž. Urtica’s production ranges from Internet based artworks and media actions to art objects and installations. Special focus is put on educational projects such as workshops and web applications. Urtica was awarded the UNESCO Digital Arts Award at Institute of Advanced Media Arts and Sciences in Japan (2003), and participated at numerous international festivals and exhibitions. Urtica’s previous art project Value Quest Bourse was presented in Belgrade as a solo exhibition at the Salon of the Museum of Contemporary Art in 2010, and as an installation http://valuequest.info at the 52nd October Salon in 2011. Detailed portfolio and CV of Urtica is available at http://urtica.org. 247

BINA

Exhibitions Annual Awards for Architecture and Architectural and Urban Planning Competitions, are the permanent program segments of the Belgrade International Architecture Week. These two exhibitions are included in one. The first presents the annual award for architecture awarded by various institutions for the realized objects. The second gives us insight into the winning tender projects.

Izložbe Godišnje nagrade za arhitekturu i Arhitektonsko urbanistički konkursi, su stalni programski segment Beogradske internacionalne nedelje arhitekture. To su dve izložbe u jednoj. Prva prikazuje godišnje nagrade za arhitekturu koje dodeljuje više institucija za realizovane objekte. Druga nam pruža uvid u nagrađene konkursne projekte. U rasponu od i d e j n o g – arhitekture na papiru, do p o j a v n o g – arhitekture u prostoru, ova izložba pruža relevantan retrospektivni pregled događaja na srpskoj arhitektonskoj sceni u periodu između dve Beogradske internacionalne nedelje arhitekture – BINA.

Ranging from conceptual – architecture on paper, to the phenomenal – architecture in space, this exhibition provides a retrospective review of relevant events in the Serbian architectural scene between two Belgrade International Architecture Week – BINA events.

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KUSTOSIRANJE #08

- Definisanje pojma kustos, kroz profesionalno iskustvo. Kustoski izazovi u radu na projektu Kontejner, spoj umetnosti, nauke i tehnologije, stanje u umetnosti i kulturi u Hrvatskoj. Gošda: Sunčica Ostoid, nezavisna kustoskinja, Biro suvremene umjetničke prakse KONTEJNER, Zagreb.

- Defining the term curator through professional experience. Challenging a curator during his work on the Kontejner project. Mixture of art, science and technology; art and culture scene in Croatia. Guest: Sunčica Ostoid, freelance curator, Biro of Contemporary Art Practice KONTEJNER, Zagreb.

- I Radionica, bazirana na evaluaciji projekta Monument Ginger Society u galeriji Treći Beograd. Nakon posete (12.04.2012) galeriji i rada u toku- izgradnje spomenika đumbiru, učesnici su dobili zadatak da popune Evaluacionu tabelu, čime su u prilici da argumentovano ocene projekat, po različitim segmentima.

- I Workshop based on evaluating the project Monument Ginger Society at the gallery Treci Beograd. After the visit to the gallery (April 12th 2012) and working in the construction of the ginger monument, the participants were tasked to fill in the evaluation chart, thus being in the position to grade the project through various segments.

- II Rezultati selekcije učesnika projekta izložbe, formiranje grupe.

- II Results of the selection of exhibition participants, group forming.

Oni koji nisu prisustvovali dosadašnjim izdanjima Kustosiranja i nisu posetili izložbu su, takođe, dobrodošli da učestvuju u programu.

Those who had attended the previous Curating events and did not see the exhibition are, also welcome to participate in the program.

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BELEF NA KALIŠU 2012

Povodom predstavljanja programa Belefa na Kališu, u okviru Belef festivala, u galeriji O3one je održana konferencija za novinare.

In order to present the program of Belef at Kalemegdan, within the Belef festival, a press conference was organized at the O3one Gallery.

Ovaj program je jedan od ukupno 14 koji su se odvijali pod okriljem Belefa 2012, pod sloganom “Festival festivala”. Manifestaciju su najavili: Vladimir Veljković, pr menadžer Belefa, Neda Kurjački, pr menadžer Beogradske kulturne mreže, Jelena Kiš, Recan fond, Zoran Popović – direktor festivala 7 veličanstvenih, Tatijana Rapp – pr menadžer Beogradske nedelje dizajna, bend Divanhana, koji nastupa u okviru Ring Ring festivala, Dejan Cukić, Neverne bebe, Negativ i Flamingosi.

This program is one of 14 in total under the umbrella of Belef 2012, with the headline “Festival of the Festival”. The event was announced by: Vladimir Veljković – PR Manager of Belef, Neda Kurjački – PR Manager of Belgrade Cultural Network, Jelena Kiš – Recan Fund, Zoran Popović – Magnificent 7 Festival Director, Tatijana Rapp – PR Manager of Belgrade Design Week, band Divanhana – performing within the Ring Ring festival, Dejan Cukić, Neverne bebe, Negativ and Flamingosi.

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STANKOVIĆ / STOJANOVIĆ - KNJIGA UTISAKA

„…knjiga utisaka o životu oko nas i o životu u nama. Ona ne zapoveda i ne propoveda, ne postavlja konačna pitanja i ne daje konačne odgovore, ona se blagonaklono osmehuje i našim vrlinama i našim manama. Napisana je i nacrtana za one koji šetaju mimo sveta, za one dovoljno hrabre da se plaše i dovoljno iskrene da priznaju da nisu ni savršeni ni završeni…”

“... A book of impressions of life around us and life in us. It does not command it does not preach, does not ask ultimate questions and does not give definitive answers, she graciously smiles and our virtues and our faults. It was written and drawn for those who walk by the world, for those brave enough to be afraid and honest enough to admit they are not perfect or finished ... “

255

BINA

Neka prvo bude zabeležen netipičan nastanak ove izložbe kao i njen put do matične adrese – BINA 2014. Galerija O3ONE, Beograd. Izložba je, naime, pripremljena u Beogradu a realizovana u Nišu, oktobra 2013. godine. Inicirali su je i realizovali Građevinsko-arhitektonski fakultet Univerziteta u Nišu i Društvo arhitekata Niša. Izložbom su otvoreni Dani arhitekture Niša, 15. oktobra 2013. godine. U februaru 2014, izložba je po pozivu Društva vranjskih arhitekata, održana u Vranju, u okviru Devetog arhienala. Nakon majske izložbe u Beogradu slede, takođe po pozivu, gostovanja u Zrenjaninu, Novom Sadu, Valjevu… Izložba tako postaje „putujuća“, svojevrsna Arhitektonska turneja. Stalni programski segment Bine su izložbe i predavanja arhitekata – autora, ostvarenja koja su zavredela godišnje nagrade za arhitekturu. (Nagrade objavljuje i BINA u Katalogu u rubrici Između dve Bine.) Nagrade za Vrtić Plava ptica: Nagrada Grada Beograda za arhitekturu i urbanizam, Nagrada UAS-a za najbolje arhitektonsko ostvarenje u 2011. godini i Nagrada Salona arhitekture u Beogradu, sve dodeljene u 2012. godini, kvalifikovale su autore za izložbu i predavanje na Bini.

Let the untypical emergence of this exhibition be firstly explained, as well as its path to its main address – BINA 2014. O3ON Gallery, Belgrade. Namely, the exhibition was prepared in Belgrade and realized in Nis in October 2013. It was initiated and organized by the Faculty of Civil Engineering and Architecture, University of Nis, and the Association of Architects of Nis. The exhibition which was opened on 15 October 2103 marked the beginning of the Days of Architecture in Nis. In February 2014, the exhibition was held in Vranje within the 9th Arhienale at the invitation of the Association of Architects of Vranje. Following the May Exhibition in Belgrade, the exhibition was, at the invitation, held in Zrenjanin, Novi Sad, Valjevo, etc. The exhibition has become a “travelling exhibition”, a specific “Architectural tour”. The permanent program segment of the BINA includes exhibitions and lectures delivered by architects – authors of architectural works deserving of the annual architecture awards. (Award winners are also published in BINA catalogue in the section Between two BINAs

257

TEDx BELGRADE

U duhu ideja vrednih širenja, TEDx je program lokalnih samostalno organizovanih događaja koji spajaju ljude kako bi zajedno osetili atmosferu TED-a. Na TEDx događajima snimci predavanja sa TED-a i lokalni predavači zajedno podstiču lokalnu zajednicu na diskusiju i povezivanje. Ovi lokalni, samostalno organizovani događaji nose brend TEDx, gde x označava nezavisno organizovani TED događaj. TED konferencija daje globalne smernice za TEDx programe, ali individualni TEDx događaji su samostalno organizovani (pri čemu podležu izvesnim pravilima i regulativama).

In sense of ideas worth spreading, TEDx is a programme consisted of locally independent events linking people in order to feel real TED atmosphere. Lectures involved in TEDx conference and locally engaged lecturers together stimulate local community to discuss and connect. These self-organized events, carrying TED’s brend, where x means independently organized TED event. TED conference gives global guidelines for TED programme selection (subject to the certain rules and regulations). TEDxLive broadcasts enable TED’s fans worldwide to experience TED conference atmosphere.

TEDxLive je dodatak TEDx programa koje je TED aktivirao 2010. godine. Ovi TEDx događaji su organizovani video prenosi TRD konferencija. TEDxLive prenosi omogućavaju fanovima TED-a širom sveta da osete atmosferu sa TED konferencije. Ovi događaji mogu biti samo prenosi, ali mogu uključivati i lokalne govornike.

259

DESIGN

NATAŠA ŠARIĆ & THIERRY GUITARD – EXPECTORE ZONE

Izložba modne kreatorke Nataše Šarić i francuskog strip autora Tijeri Gitara (Thierry Guitard) / Kustosi: Milena Grabačić i Milica Pekić Conev / Kreirajući lik Expectore-a, hendikepiranog super heroja, Tijeri Gitar reaguje na stereotipe koji se svakodnevno proizvode za masovnu zabavu. Iako koriste različite medije izražavanja – strip i dizajn – Šarić i Gitar osnovnu inspiraciju nalaze u kritici pop kulture. Klasičan narativ o superheroju, proizveden pre svega za adolescentnu mušku publiku, Gitar vidi kao manifestaciju ambivalentnog odnosa između reda i zakona, kao i jedan od toposa zapadnog društva. Slično kanonskoj priči o tradicionalnom super-heroju, modna industrija koja potencira ideal savršene ženske lepote predmet je rada Šarićeve. U okviru projekta „Expectore Zone”, koji u vidu pratećeg programa Beogradskog Fashion Week-a ima formu direktne intervencije, Nataša Šarić ispituje granice verbalnovizuelne naracije, a principe fiksirane slike prenosi u domen tekstila i dizajna. Ovaj rad i izložba omogućeni su ljubaznošću Tijeri Gitara, i zahvaljujući višegodišnjoj razmeni i saradnji između ovog autora i beogradske kreatorke Nataše Šarić. / Nataša Šarić (1968, Podgorica) po obrazovanju je diplomirani ekonomista, a po pozivu je modni dizajner i ima iza sebe brojne zapažene projekte. Tijeri Gitar (1966), francuski illustrator i strip autor, poznat je po svom fanzinu „the Octopus”, kao i ilustracijama za Libération, Rock & Folk, Marie Claire i Politis.

Exhibition by fashion designer Natasa Saric and Thierry Guitard, comic book author. / Curators: Milena Grabacic and Milica Pekic Conev / With the creation of the character of Expectore, a handicapped superhero, Thierry Guitard reacts to stereotypes regularly produced for mass entertainment. Although Saric and Guitard use different languages and media, in this case - comics and fashion design, they both draw their inspiration from pop culture. Thierry Guitard interprets a classical superhero narrative primarily intended for adolescent male audience, as a manifestation of an ambivalent relationship between law and order in broader context of western type of modernism. Fashion industry, largely focused on the ideal of female beauty, in a manner similar to the canonical story of a traditional superhero, is the subject of Natasa Saric’s contribution to the exhibition. Under the title Expectore zone, planned as a supporting programme to the Belgrade Fashion Week, exhibition has a form of direct intervention, where Natasa Saric explores the boundaries of verbal and visual narrative, and transforms the principles of a latched picture into domains of textile and design. This happening and exhibition were possible thanks to the kindness of Thierry Guitard, and thanks to the many years of excellent cooperation between these two artists. Natasa Saric (1968, Podgorica), graduated at the Faculty of Economics, but her true vocation is fashion design and she has realized many distinguished projects. Thierry Guitard (1966), French illustrator and comic book author, famous for his book “the Octopus” and illustrations for the Libération, Rock & Folk, Marie Claire and Politis. 263

www.thierryguitard.net

IZLOŽBA EXHIBITION

ORIS – IDEJA

Izložba naslovnih stranica i štampanih materijala časopisa „Oris” „Oris ideja” je izložba originalnih crteža i skica svetski poznatih arhitekata čiji su radovi ili intervjui objavljeni u časopisu za arhitekturu „Oris” (Zagreb/Ljubljana). Ova izuzetna zbirka izlagana je u Sloveniji, Hrvatskoj, Italiji i Austriji. „Skica je, uz projekat, najočitije umetničko izražavanje arhitekte. Da bi prikazao svoju ideju on se koristi raznim tehnikama crteža, kolaža, akvarela i kompjuterskih prikaza... Izložbu ’Oris ideja’ posvećujemo svim idejama koje nikad nisu doživjele svoju realizaciju, već su ostale samo slika na papiru u potrazi za svojom trodimenzijom” – kazali su, ovim povodom, Andrija Rusan i Ante Nikša Bilić, urednici časopisa „Oris”. Za vreme trajanja izložbe, O3ONE je organizovao i razgovor na temu: „Kako napraviti časopis za arhitekturu?” U organizaciji izložbe, pored „Orisa”, O3ONE-a i Muzeja savremene umetnosti, gde su bili izloženi originalni crteži svetskih arhitekata iz zbirke časopisa za arhitekturu i kulturu „Oris”, učestvovali su i ambasade Republika Hrvatske i Slovenije, Ministarstvo kulture Republike Srbije, Kancelarija glavnog arhitekte grada Beograda i Arhitektonski fakultet u Beogradu.

Oris magazine cover pages and articles „Oris Idea“ is an exhibition of original drawings and sketches by renowned architects whose work and interviews were published in a specialized magazine for architecture „Oris” (Zagreb/Ljubljana). This amazing collection was previously exhibited in Slovenia, Croatia, Italy and Austria. “Along with the project, a sketch is the most obvious artistic expression of an architect. In order to present an idea, an architect would use various techniques of drawing, collage, watercolour or computer-generated imaging. We dedicate „Oris Idea“exhibition to all those ideas which were never realized, which remained just drawings on paper in search of their 3D existence”- Andrija Rusan and Ante Niksa Bilic, the editors of “Oris” have said. O3ONE organized a discussion on the subject: “How to create a magazine for architecture?” Beside „Oris”, O3ONE and the Museum of Contemporary Art, where original works by famous architects published in „Oris” were exhibited, Embassies of the Republics of Slovenia and Croatia took part as well as the Ministry of Culture of the Republic of Serbia, Office of the City of Belgrade Principal Architect, and the Belgrade Faculty of Architecture. 265

www.oris.hr

IZLOŽBA EXHIBITION

PUBLIKUM KALENDAR

Pitanjem „Gde može selo biti?” pozabavila se i rumunsko-američka umetnica Andrea Dežo prilikom izrade „Publikumovog” kalendara za 2006. godinu. Promocija kalendara bila je u Pozorištu na Terazijama, a deo projekta pod nazivom „Priče iz Srbije” predstavljala je izložba u O3ONE-u. U Publikumovom kalendaru koji je dizajnirala Andrea Dežo, ljute papričice i evergrinovi domaće usmene tradicije maštovito su preoblikovani, a za ovaj poduhvat autorka je preduzela putovanje u mašti, a ne boravak u Srbiji. Inače, fascinantni svet ove autorke predstavlja spoj moderne tehnologije i tradicionalne tehnike oslikavanja temperama, ali i rada u staroj tehnici kao što je vez. Postavka izložbe u O3ONE-u, pored originalnih radova iz „Publikumovog” kalendara 2006, obuhvata i radove Andree Dežo iz unikatnih, posebno ručno oslikanih knjiga, ilustracije i dizajnerska rešenja. Autorka je održala i predavanje o samom procesu rada na kalendaru. Andrea Dežo, dizajnerka, ilustrator i pisac, redovni je profesor u Parsons školi za dizajn, u okviru magistarskog programa za dizajn i tehnologiju, i umetnica koju zastupa „Džek Tilton” galerija u Njujorku.

In the process of creating a Publikum calendar for 2006, American artist of Romanian origin, Andrea Dezsö, found an inspiration in a question “Where can a village be?”. Promotion of the calendar took place at the Terazije Theatre , and a part of the project called “Tales of Serbia” was in fact an exhibition at O3ONE gallery. In the Publikum calendar designed by Andrea Deszo, chilli peppers and evergreens of the Serbian spoken tradition are ingeniously re-shaped. For this project, author travelled not through actual country but purely on the wings of her imagination. Fascinating world of this artist is based on the conjunction of modern technology and traditional painting techniques but also on old crafts such as embroidery. The exhibition at O3ONE consists of the original works which went into the calendar, and her unique, hand-painted books, illustrations and designs. Andrea Deszo lectured on the process of the work on the calendar. Andrea Dezsö, artist, illustrator and a writer, is a professor at Parsons School of Design, class at MA program for design and technology, and her work is presented by „Jack Tilton” gallery in New York. 267

www.andreadezso.com | www.publikumcalendar.com

IZLOŽBA EXHIBITION

KARLSSONWILKER – SERBIA REMIXED

Od fajlova kreiranih tokom prvog boravka u Srbiji, u leto 2004. godine, umetnici su uradili seriju od dvadeset plakata koji povezuju prve utiske vezane za našu zemlju, uz novi osvrt. Pored radova iz serije Remix Srbija, na izložbi je prikazana i selekcija radova ovog studija za kompanije kao što su MTV, PUMA, Warner Bros, Captol Records i dr. Izložba je organizovana u saradnji sa Balkankult fondacijom i projektom Design Serbia (SEDP, USAID) Tema radionice: „Grad Njujork, dizajn scena u Njujorku, dizajn u Njujorku u odnosu na dizajn u Beogradu” Karlssonwilker inc. je dizajn studio na Menhetnu, čiji su osnivači Islanđanin Hjalti Karlson i Nemac Jan Vilker. Dizajneri Jan i Hjalti predstavljaju primer „novog načina razmišljanja u dizajnu”, a njihova knjiga „TELLMEWHY”, u izdanju Princeton Architectural Pres-a iz 2003, neobični je istorijat brzog uspeha studija i postala je bestseler u stručnim krugovima koji prate moderne vizuelne komunikacije. Hjalti i Jan su predavači u Školi vizuelne umetnosti u Njujorku.

From the files created during their stay in Serbia in summer 2004 these two atyists did a aseries of twenty posters which round-up their impressions of our country, with new retrospection. Alongside their work from Remix Serbia series, viewers were able to see a selection of commissioned works from their studio for clients such as MTV, PUMA, Warner Bros, Capitol Records etc.. The exhibition was organized in cooperation Balkankult foundation and project Design Serbia (SEDP, USAID). Workshop: “NYC, design in NY, design in NY in comparison to design in Belgrade” Karlssonwilker inc. is a design studio based in Manhattan, founded by Hjalti Karlsson from Iceland and Jan Wilkern from Germany. Jan and Hjalti design team, represent an example of “new-wave design “, their book “TELLMEWHY”, published by Princeton Architectural Press in 2003, is a curious story of their fast success and it became a bestseller in professional circles which follow the trends in contemporary visual communication. Hjalti and Jan are lecturers at the School of Visual Arts in New York. 269

kontakt: www.karlssonwilker.com

IZLOŽBA EXHIBITION

SAVREMENI DIZAJN ISLANDA / CONTEMPORARY DESIGN OF ISLAND

Tradicija dizajna izuzetno se razvila u središtu Atlantskog okeana, hiljadu kilometara daleko od ostalih država. Island - zemlja legendi i kontrasta, ogromnih vodopada, izvora tople vode i silovitih vulkana - daje život, ali ga u isto vreme ugrožava. Ovi nesvakidašnji predeli su izvor inspiracije mnogim islandskim dizajnerima i primenjenim umetnicima, koji u svom radu, na moderan i dinamičan način, koriste najrazličitije materijale: svilu, vunu, metal, plastiku, kožu lososa i drugih vrsta ribe, svinjsku i kravlju bešiku, sušeno povrće i dr. Rezultat je obično izuzetna umetnička ekspresija predmeta koji su istovremeno dizajnirani i za svakodnevnu upotrebu. Na izložbi organizovanoj u saradnji sa Fondacijom Balkankult, u okviru manifestacije Dani kulture Islanda u Srbiji, beogradska publika bila je u prilici da vidi radove deset umetnica asocijacije Kirsaberjatred (odevne predmete, nakit, upotrebne predmete). Izložbu je otvorila jedna od autorki sa Islanda Arndis Johandotir, koja je održala i radionicu o dizajnu na Islandu.

Iceland, a land of the legends and contrast, magnificent waterfalls, hot springs and volcanoes which give life but also endanger it – became a source of inspiration to many artists and designers from that country. Great array of materials are being used in production of contemporary Icelandic design - silk, wool, metal, plastic, and some unusual ones like salmon and other fish skin, pig and cow bladder, dried vegetables etc. As a result of this open approach to art and design, very imaginative and expressive everyday-use products are being created. At the exhibition which was organized in cooperation with the Balkankult Foundation and constituted a part of the manifestation Days of Icelandic Culture in Serbia, Belgrade public was able to see the works by ten artists belonging to the Kirsaberjatred Association (design of clothing, jewellery, everyday-use objects). The exhibition was formally opened by Arndis Johandotir, one of the artists whose work was exhibited, she also lead the workshop on the subject of design in Iceland. 271

www.balkankult.org

IZLOŽBA EXHIBITION

VLADAN SRDIĆ – COMMONICATIONS IZLOŽBA EXHIBITION

Koncept COMMONICATIONS projekta zasniva se na mono–višeslojnim grafičkim porukama, kao ironičnoj antitezi manipulativnoj prirodi i demagogiji savemenog društva. Ekscentričnim spojem advertajzinga, vizuelne subverzivnosti, ironije, kritičkog humora i asocijativno-psihološkim poigravanjem simbolima komunikacije, COMMONICATIONS su posvećeni otkrivanju nekih od istina: Gde uzgajati atomske pečurke? / Kolika je komercijalna vrednost individualnosti? / Šta bih danas mogao obući? / Uticaj superheroja na svakodnevni život. / T-errorism - globalno protiv lokalnog. / Dekoracija mozga - kurs za početnike. Projekat spaja dizajn i aktivizam, kao krajnji proizvod nudi provokaciju specifičnog senzibiliteta, i predstavlja svež pristup vizuelnim komunikacijama sa izrazitim edukativnim značajem i angažmanom u okviru eksponirane globalno-individualne problematike. Vladan Srdić (Beograd, 1972) dizajner i grafički umetnik, živi i radi u Ljubljani. Po završetku Fakulteta primenjenih umetnosti radio je kao art i kreativni direktor u advertajzing agencijama Saatchi & Saatchi (Beograd, Ljubljana), Young & Rubicam (Ljubljana) i po projektu, za klijente iz Nemačke, Kanade, Slovenije, Srbije, Ujedinjenih Arapskih Emirata... Od 2003. vodi kreativni butik THESIGN.

The concept of “Commonications” project is based on monomultiple graphic messages as an ironic antithesis to manipulative mature and demagogy of modern society. Eccentric conjunction of advertising, visual subversion, irony, parody and playful comprehension of symbols of communication, “Commonications” are dedicated to resolve some of the “truths”: Where to grow atomic mushrooms? / What is the commercial value of individuality? / What should I wear today? / Influence of superheroes on everyday life. / T-errorism global versus local. A short guide to brain decoration. Project connects design and activism as a final product which provokes specific sensibility and represents a fresh approach to visual communication with a very clear educational content and meaning within the global vs. individual topic. Vladan Srdic (Belgrade 1972), graphic designer and artist, lives and works in Ljubljana. After graduation at the Faculty of Applied Arts, he worked as an art and creative director in marketing agencies Saatchi & Saatchi (Belgrade, Ljubljana), Young & Rubicam (Ljubljana) and by project, for clients from Germany, Canada, Slovenia, Serbia, UAE… From 2003 he is leading a creative boutique THESIGN. 273

Milan Janić & O3ONE – HOME SWEET HOME IZLOŽBA EXHIBITION

Everyone needs a home... even the homeless. The homeless were always around and always will be, so the project “Home Sweet Home” does not deal with the utopian ideas of solving the issue, rather it concerns itself with the rapport we have towards the issue and the homeless, and towards all of those who can’t relate to a feeling of “home”. Project HOME SWEET HOME as a design and communication initiative has two main goals: - to supply the homeless with temporary shelters made of cardboard - to raise awareness of the general public about the problems faced by the homeless In cooperation with O3ONE, the project HOME SWEET HOME moves from the field of visual provocation, it becomes a creative and realistic action undertaken for the benefit of those forgotten by the system and the society. In that sense, the focus was mainly on the children who spend good part of their childhood placed in children’s homes and shelters, and to whom the funds collected at the exhibition, will be donated. 275

www.home-sweet-home.org

Svakome je potrebna kuća... čak i beskućnicima. A beskućnika ima oduvek i uvek će ih i biti, pa se projekat “Home Sweet Home” ne bavi utopijskim idejama rešavanja ovog civilizaciskog problema, već odnosom prema njemu i glavnim akterima beskućnicima, kao i svima onima kojima osećaj doma nije svakodnevan. HOME SWEET HOME projekat, kao dizajn i komunikaciona inicijativa, ima za cilj: - da obezbedi beskućnicima kartonska skloništa napravljena od kartonskih kutija - da privremena kartonska skloništa iskoristi kao oglasni prostor za jasnu poruku da NIKO ne treba da živi u kartonskim kućama - da u opštem smislu podstakne senzibilizaciju na problem svih onih ljudi kojima osećaj doma nije svakodnevan. U saradnji sa O3ONE-om projekat “Home Sweet Home” pomera se iz polja vizuelne provokacije na socijalnu problematiku savremenog društva, i napreduje ka kreativnoj i realnoj akciji od koje korist imaju oni koje sam sistem i društvo sve češče zaborave. U tom smislu svoju pažnju usmerio je na decu koja veći deo svog detinjstva provode po domovima, prihvatalištima i svratištima, i koje će pomoći prikupljanjem sredstava tokom izložbe.

VI BIJENALE SCENSKOG DIZAJNA IZLOŽBA EXHIBITION

Izložba studenata katedre za scenografiju Fakulteta primenjenih umetnosti, pod mentorskim vođstvom istaknutih scenografa Todora Lalickog, Geroslava Zarića i Jasne Dragović Akcenat Bijenala je na novim tehnologijama u izvođačkim umetnostima, jer nakon rekonstrukcije većeg broja pozorišta u Srbiji, sledi rad na obučavanju zaposlenih za kreativne i tehničke izazove koje pružaju nove digitalne tehnologije i konvergencija tradicionalne scenografije sa elektronskim medijima. Stoga je i program Bijenala usmeren ka mladim dizajnerima i tehničarima na kojima je da iznesu ovu tehnološku novinu na našim pozornicama. Tako je veoma prirodna saradnja koju O3ONE ostvaruje sa Muzejom primenjene umetnosti, kao nosiocem projekta. Predavanja: „40 godina tehničke produkcije Bitefa“, Todor Lalicki (tehnički direktor/scenograf) i Mile Radulović (tehnički direktor) „Načini korišćenja tehnologije u pozorištu“, Arpad Šiling, pozorišni reditelj /Mađarska/, „Nove tehnologije u Srbiji via Užice“, Andrea Pačoto, pozorišni reditelj (Italija) i Mia David-Zarić, arhitekta i scenograf (Srbija), „Tehnička produkcija kompleksnog scenskog događaja – studija slučaja: EXIT festival“, Ivan Milivojev, menadžer, Momčilo Berar i Zoran Matić, tehnički producenti.

Exhibition by the students from the Faculty of Applied Arts, Department of Scenography, mentored by distinguished scenographers Todor Lalicki, Geroslav Zaric and Jasna Dragovic The emphasis of this year’s Biennial is on new technologies in the performing arts. After the reconstruction of a large number of theatres in Serbia, followed a task of educating theatre staff to be proficient in creative and technical challenges imposed by the new digital technologies and convergence of the traditional set design with electronic media. Consequently, the programme of this year’s Biennial is mostly “educative” and targets young designers and technicians who will be carrying out this technological “revolution” on our theatre stages. This exhibition was organized in a cooperation between the Museum of Applied Arts and O3one. Lectures: 40 years of technical production of Bitef by Todor Lalicki, technical director/scenographer and Mile Radulovic, technical director Technology in Theatre by Árpád Schilling, theatre director from Hungary, New Technology in Serbia via Uzice by Andrea Paciotto, theatre director from Italy and Mia David-Zaric, architect/stage designer from Serbia, Technical production of a complex stage event - Case Study: EXIT festival in Novi Sad by Ivan Milivojev, producer and Momcilo Berar and Zoran Matic, technical managers. 277

PROTOARCHITECTURE IZLOŽBA EXHIBITION

Autor: Nataša Bajc Izložba je deo istraživanja kompjuterski simuliranog procesa morfogeneze, koji formu razvija koristeći matematičke modele bioloških sistema generisanja. Ona predstavlja deo opusa koji se zasniva na novom gledanju na autorstvo, kroz saradnju sa računarskim programima pri razvijanju novih ontologija za moguće svetove. Predavanje u sklopu izložbe baziralo se na razmatranju uticaja savremenih tehnoloških dostignuća, kako računarstva, tako i genetskog inženjerstva i matematičkih modela na arhitekturu i sisteme stvaranja formi. Nataša Bajc, istraživač i predavač arhitekture sa interesom za rule based computational sisteme, jedan je od osnivača Instituta za genetsku arhitekturu (Institute for Genetic Architecture) pri Univerzitetu Kolumbija u Njujorku. Diplomirala je na Arhitektonskom fakultetu u Beogradu 1995. i ima Master of Architecture diplomu sa Južnokalifornijskog instituta za arhitekturu (SCI-Arc). Predavala je na Južnokalifornijskom institutu za arhitekturu i Kalifornijskom državnom politehničkom univerzitetu (Cal Poly Pomona) i bila gostujući recenzent na mnogim drugim školama. Živi u Santa Moniki, u Kaliforniji.

Author: Natasa Bajc Exhibition represents exploration of the computer simulated morphogenesis, using mathematical models for biological formal generation. It presents samples of the body of work that occupies new space of authorship, in collaboration with computational algorithms in an unfolding ontology for the potential worlds. Lecture within the exhibition will be focusing on the influence of the new technological achievements, computation as well as research in bioengineering and mathematics and their repercussions on architecture and formal systems. Natasha Bajc is a researcher and lecturer of architecture with the interest in the rule based computational systems. She is a principal of Code Design Studio and a founding member of the Institute for Genetic Architecture at the Columbia University. Ms.Bajc graduated from the University of Belgrade Faculty of Architecture in 1995 and holds a Master of Architecture from Southern California Institute of architecture in Los Angeles, Ca. Natasa has taught at Sci-Arc, Cal Poly Pomona and has been a guest reviewer in many other schools. She is currently based in Santa Monica, Ca. 279

DÖGG DESIGN

Dögg Gudmundsdottir više je okrenuta nadrealnom svetu formi, gde iskorišćava ili se poigrava geometrijskim i organskim oblicima. Poigravanje sa formama može biti različito, a većina radova ove nordijske umetnice je i multifunkcionalna. Dögg Gudmundsdottir (1970, Rejkjavik, Island) studirala je industrijski dizajn na Istituto Europeo de Design u Milanu (1992 – 1996) a zatim na Danskoj dizajn školi u Kopenhagenu (1996 – 1998). Njeni radovi su izlagani i publikovani širom Evrope i SAD. U svom studiju u Kopenhagenu bavi se industrijskim dizajnom, umetničkim instalacijama, grafičkim dizajnom. Radila je za mnoge kompanije medu koijima su: B-Sweden, Ligne-Roset, Finn Frogne, Elimenti i Christofle.

Dögg Gudmundsdottir is leaning towards the surreal world of forms where she uses or plays with geometric and organic shapes. Playing with forms differs and most of her work is multifunctional. Dögg Gudmundsdottir (1970, Reykjavik, Iceland) studied industrial design at the Istituto Europeo di Design in Milan (1992 – 1996) and then in Denmark at the Design School in Copenhagen (1996 – 1998). Her works have been exhibited in Europe and the USA. In her studio in Copenhagen, she does mostly industrial design, art installations and graphic design. Her clients include companies such as B-Sweden, Ligne-Roset, Finn Frogne, Elimenti and Christofle.

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www.doggdesign.com | www.belgradedesignweek.com

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ZORA MOJSILOVIĆ – PUTOVANJE IZLOŽBA EXHIBITION

„Putovanje” je priča inspirisana boravkom u Čileu, a ispričana putem odevnih predmeta. Kolekcija nije predstavljena na uobičajen način, već kroz bajkoliku instalaciju.

“JOURNEY” is a story, inspired by a trip to Chile, told through the items of clothing. The collection was presented as a dream like site-specific installation.

Zora Mojsilović je filmski i pozorišni kostimograf. Bavi se i modnim dizajnom unikatne odeće. Docent je na Fakultetu primenjenih umetnosti na katedri za kostim, savremeno odevanje (1998). Autor je kostima za preko 70 pozorišnih predstava, za mnoge od njih dobila je prestižne nagrade, a kreirala je i kostime za sedam igranih filmova, između ostalih: „Život je čudo” Emira Kustirice, „Guča” Dušana Milića, „Bure baruta” Gorana Paskaljevića.

Zora Mojsilovic is a film and theater costume designer. She also designs unique clothing items. She is a senior lecturer at the Faculty of Applied Arts, costume department, contemporary clothing (1998). She is an author of the coustumes for more than 70 theatre plays, for many of them she received prestigious awards. She also designed costumes for 7 feature films, among those a film by Emir Kusturica “Život je čudo”, “Guča” by Dusan Milic, “Bure baruta” by Goran Paskaljevic.

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DIZAJNERSKA REPUBLIKA / DESIGNERS’ REPUBLIC RADIONICA WORKSHOP

Da bi se održala ravnoteža sa veoma zapaženom konferencijom change koja je isključivo bila posvećena domaćoj i regionalnoj kreativnosti, O3ONE i Mixer osmislili su trodnevnu radionicu pod nazivom „Dizajnerska republika” koja je predstavila okosnicu prve polovine Beogradske nedelje dizajna, kako za dizajnere, tako i za poslovne predstavnike. Program je zamišljen kao platforma za razmenu ideja i iskustava, prezentacije pojedinačnih projekata, kako mladih srpskih dizajnera koji žive/studiraju/rade u inostranstvu, tako i kreativnih pojedinaca i studija iz Srbije. Izbor tema i predavača pokrio je širok spektar aktuelnih problema i pitanja. Kroz niz Q&A sesija i panela, učesnici radionice su imali priliku da iznesu mišljenje o lokalnim urbanim, arhitektonskim, društvenim i poslovnim temama, da uporede iskustva, kao i da predlože rešenja za pitanja koja se danas tiču Beograda, Srbije i Balkana.

In order to strike a balance with the high profile Change conference, dedicated to domestic and regional creativity only, Mixer and O3ONE gallery have created a three-day workshop programme named “Designers’ Republic” which will become the hub of the first half of the BDW, both for the designers and the business representatives. The program is conceived as a platform for the exchange of ideas and experiences, presentations of individual projects, both by young Serbian designers living / studying / working abroad, and creative individuals and studios based in Serbia. The choice of topics and lecturers covered a broad spectrum of current problems and issues. Through a series of Q&A sessions and panel discussions, the workshop attendees had an opportunity to evaluate local urban, architectural, social and business topics, compare experiences, as well as to suggest directions as for the resolution of issues that affect Belgrade, Serbia and the Balkan today. 285

NONOBJECT

NONOBJECT dizajn filozofija predstavlja potpuno drugačiji pristup dizajnu i kreiranju proizvoda i potpuno nov doživljaj upotrebnih objekata u budućnosti. To je ideja istraživanja budućnosti iskustva potrošača kroz dizajn i uvođenja novog načina razmišljanja. Ovaj ekskluzivni projekat u O3ONE-u je, uz pomoc desetak nonobjekata (printovi i video) predstavio NONOBJECT Book, knjigu koja će kreirati novi žanr, „Design fiction“. Ponuđen je nov način razmišljanja o dizajnu, koji spaja prostor između nas i objekata, nudi odgovore na pitanja šta je objekat, zašto želimo ono što želimo, i ima nameru da oslobodi maštu od ograničenja potreba, ekonomičnosti, tehnologije, pragmatičnosti... Branko Lukic je osnivač NONOBJECT-a, bio je vodeći industrijski dizajner u dva najveća dizajn studija, FROGDESIGN i IDEO, gde je vodio projekte za klijente kao sto su: Nike, Adidas, Samsung, Intel, Motorola, SAP, HP, Pepsi, Starbucks, Ford, Steelcase, Details, Herman Miller, Nestle... Novi projekat, NONOBJECT, fokusiran je na iznenađujuća iskustva i proizvode kada je dizajn u pitanju: od kompjutera, elektronskih proizvoda, ambalaže... do brendiranja i veb doživljaja. Tim NONOBJECT-a je kreirao i dizajnom pomogao srpske brendove - dizajn VODA-VODA, Next (sve boce), Gorki list, Vertikal Vodka (abNormal – prva boca na svetu bez grla), Or likere, V vodka, itd.

NONOBJECT design philosophy represents a very new approach to design and product making and completely different outlook on the everyday-use objects in the future. It is an initiative to investigate future experiences of consumers through design and introduction of new ways of thinking. This unique project, presented in O3ONE with a dozen of non-obejcts ( prints and video) was also a presentation of the NONOBJECT Book which is going to facilitate creation of the new genre, the “Design fiction“. The book proposes a different way of thinking about design, design which connects the space between us and the objects, gives answers to questions such as – what is an object, why do we want what we want, and intends to free the imagination from limitations of necessities, of being economical, of technology, of being pragmatic… Branko Lukic is the founder of NONOBJECT, he was a leading industrial designer in 2 major design studios, FROGDESIGN and IDEO, where his clients were, among others: Nike, Adidas, Samsung, Intel, Motorola, SAP, HP, Pepsi, Starbucks, Ford, Steelcase, Details, Herman Miller, Nestle… His new project, NONOBJECT, centres on surprising experiences and products when design is concerned: from computers to electronic gadgets, packaging … to branding and web experiences. NONOBJECT team created and improved with the new design Serbian brands such as: VODA-VODA (design), Next (all bottles), Gorki list, Vertikal Vodka (abNormal – first ever bottle without a neck), OR liqueurs, V vodka, etc. 287

www.nonobject.com | www.nonobjectbook.com

IZLOŽBA EXHIBITION

NORDIC SUMMER – IVANAhelsinki

Nordic Summer – Art from the Top of Europe Izložba IVANAhelsinki finske modne dizajnerke Paole Suhonen deo je Nordic Summer programa. Paola je glavni dizajner i osnivač kompanije IVANAhelsinki a radi i kao freelance dizajner. U svojim radovima, kombinuje jasan i čist skandinavski dizajn sa slovenskim stilom. Izvrsni printovi i delikatni detalji su njen zaštitni znak. IVANAhelsinki predstavlja savremeni finski dizajn sa primesom tradicionalnog slovenskog uticaja, novi pravac nazvan je Fennofolk. IVANAhelsinki je više umetnost i dizajn nego što je moda. IVANAhelsinki je privatna kompanija sa proizvodnjom u Finskoj, skoncentrisana na sam concept i dizajn proizvoda. To je ekskluzivni odevni i home accessory brend. Njihova odeća zrači pozitivnom melanholijom i nadom u sutra, izviđačkim duhom, domaćom atmosferom i uspomenama iz detinjstva. Ručno izrađeni detalji, sofisticirani girlish look i maštoviti printovi idu ruku pod ruku u IVANAhelsinki avangardnim kolekcijama.

Nordic Summer – Art from the Top of Europe Exhibition IVANAhelsinki by the Finnish fashion designer Paola Suhonen is a part of the Nordic Summer program. Paola is the head designer and the founder of IVANAhelsinki company and she works as a freelance designer. She combines simple and clean-cut Scandinavian design with the Slavic style. Wonderful prints and delicate details are her trademark. IVANAhelsinki is a representative of the new course in contemporary Finnish design called Fennofolk which is in fact modern Scandinavian design enriched with details from traditional Slavic folklore. IVANAhelsinki is more about art and design than it is about fashion. It is a private company, products are manufactured in Finland, and the accent is on the concept and design of products, which are mostly exclusive garments and home accessories. The collection is radiating positive melancholy and optimism, pioneering spirit, warm atmosphere and childhood memories. Handmade details, sophisticated girlish looks, and imaginative prints go hand-in-hand in IVANAhelsinki’s avantgarde collections. 289

www.ivanahelsinki.com

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MILAN SIMIĆ – TRAGOVI PO VODI IZLOŽBA EXHIBITION

Izložba prikazuje kako elektroluminescencija, do skora korišćena u elektronici i aparatima vrhunske tehnologije, može iluminirati domove, a da se proces reciklaže silikona, nedavno patentiran, može primeniti u našim kupatilima – odmah. Elektroluminescenciju i reciklažu silikona možemo dovesti u međusobni odnos na do sada neiskorisćen način.

This exhibition illustrates how electroluminescence, until recently used only in very advanced technology, can illuminate homes and I would like to show how recently patented silicone recycling procedure may be exploited in bathrooms – right away. Electroluminescence and silicone recycling can correlate in a very innovative manner.

MIL AN’S DESIGN

Milan Simić, futuristički dizajner rodom iz Beograda, stoji iza Mil An’s Design studija u Parizu. Domen njegovog umetničkog delovanja proteže se od pejzažne arhitekture do pozorišnih rekvizita. Zbog sposobnosti transformacije svakodnevnih materijala u objekte koji zbunjuju našu percepciju, Simića je najbliže odrediti kao iluzionistu. Fantastični aspekt Simićeve magije su predmeti koji su u isto vreme i upotrebni i zabavni. Kako sam autor kaže: „Trudim se da dobro poznate materijale obradim na čudan, neočekivan način ne bi li im barem na trenutak udahnuo neprepoznatljivost“.

Milan Simić is the Belgrade born, futuristic designer behind Mil an’s Design, his Paris based studio. His artistic training spans a unique continuum from landscape architecture to theatre design. Simić might better be referred to as an illusionist for his ability to transform everyday materials into perception altering objects. A fantastic aspect of Simić’s magic is that these pieces are as functional as they are fun. In Simić’s words ”I try to give strange and marvellous qualities to well known materials so as to make them, if only for an instant, unrecognisable“.

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Teodor Teddy Liho – MEX & CO.

Pre skoro dve godine Teddy Liho (41) je započeo samostalan umetnički projekat pod nazivom MEX & CO. Danas se projekat pretvorio u pravi „brend“ umetničkih događaja i prezentacija umetnika koji su na odrđen način u vezi sa savremenim meksičkim načinom života. Tokom izložbe u O3ONE-u Teodor Liho će publici predstaviti uticaj i trag koji je boravak i kontakt sa pre-hispanskim kulturnim nasleđem i savremenim životom u Meksiku ostavio na umetnike sa Balkana, sa Evropskim obrazovanjem i nasleđem. Specijalni gost projekta MEX & CO, Eric Olivares (37), daje interesantne paralele. On je umetnik koji je rođen i školovan u Meksiku, dok poslednjih nekoliko godina živi u Evropi (Nemačka i Španija). Eric Olivares je savremeni umetnik koji svoju kreativnost izražava kroz različite medije: predstaviće svoje radove (printove) iz oblasti grafičkog dizajna, kao i radove iz oblasti novih medija. Navedeni projekti nastali su u ”cocina grafica“ (grafička kuhinja) – to je „brend“ Erikovog umetničkog studija. Umetnicu su približno iste generacije, stvaraju u skoro istom profilu – grafički dizajn i novi mediji. Predstaviće i projekte svojih studenata, a prezentacijom u O3ONE-u žele da ohrabre i izvrše uticaj na, kako sami umetnici navode, mlađu „i-Pod generaciju“ i „vizuelnu urbanu kulturu“.

Mex&Co. started almost two years ago as a personal artistic project of Teddy Liho (41). Today it has turned into a ”brand“ of art events/ presentations of artists, related in some way with the contemporary landscape of the Mexican lifestyle. This week in O3one Art Space, Theodor Liho presents the reflections on the artist with Balkan/European background, of more than two months stay and contact with Pre-Hispanic cultural heritage and today’s Mexican life.The special guest of the Mex&Co. week in O3one Art Space, Eric Olivares (37), offers interesting parallels. He is an artist born and educated in Mexico with a European residence for the past several years (Germany and Spain). Eric Olivares is a contemporary artist with more than one field of creativity: Graphic Design activities presented a selection of posters and some of his brand new media shows will be demonstrated. All of these projects are prepared with the best taste in the cocina grafica (Graphic Kitchen) – the ”brand“ of Eric’s artistic workshop. Both artists are from the same generation, working in almost the same profile – Graphic Design and New Media forms. They will present as well some of their students’ projects. With this presentation they want to friendly wink to and encourage the younger ”i-Pod generation“ visual urban culture… 293

www.theeggs-studio.com | www.cocinagrafica.com

IZLOŽBA EXHIBITION

AIGA 365 - GODIŠNJA IZLOŽBA DIZAJNA U BEOGRADU IZLOŽBA EXHIBITION

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NIKOLA DŽAFO – PAZI, UMETNOST NE UJEDA! IZLOŽBA EXHIBITION

Nikola Džafo’s exhibition offers the idea that art can be experienced with touch and other senses. It is not only designed for blind people and those who have reduced vision, but also for the perfectly healthy persons who cannot see because of the limited scope of their souls. Objects and paintings are for touching and are made out of fur, feathers, scales and hair, and Braille alphabet is also used to complete the artwork. The visitors are required to exhibit the objects „with touch and without hesitation“. The aim of this project is manifold: tolerance and dialog, imroving the quality of life for those with dissabilities and also co-existence.

Izložba Nikole Džafa nudi ideju da se umetnost doživljava dodirom i drugim čulima. Namenjena je slepim, slabovidim i slepim kod očiju. Objekti i slike su za dodirivanje, načinjeni od krzna, perja, krljušti, kose, a koristi se i Brajevo pismo. Od posetilaca se zahteva da eksponate „istražuju dodirom, bez ustručavanja“. Cilj ovog projekta je višestruk: tolerancija i dijalog, poboljšanje kvaliteta života osoba s hendikepom, suživot. Rođen 1950. godine u Novom Sadu. Diplomirao je i magistrirao na Fakultetu likovnih umetnosti u Beogradu. Član je Udruženja likovnih umetnika Srbije i Vojvodine. Od 1990. pasivizira bavljenje slikarstvom i maksimalno je aktivan u borbi za društvene vrednosti i umetnički dignitet. Idejni tvorac i pokretač grupe LED ART (1993), s kojom kreira i realizuje više od trideset projekata. Suosnivač je Centra za kulturnu dekontaminaciju u Beogradu (1995) i Multimedijalnog centra “Led art” u Novom Sadu (2000). Živi i radi u Petrovaradinu.

Nikola Džafo was born in 1950. in Novi Sad. He got his BA in painting at the Faculty of Visual Arts in Belgrade in 1978, and a MA at the same faculty in 1981. Džafo is a member of the Association of Visual Artists of Serbia and Vojvodina. In 1990. he started the struggle for social values and art dignity. Džafo is a creator and initiator of the group LED ART (1993), and also cofounder of the Centre for Cultural Decontamination in Belgrade (1995). Džafo lives and works in Petrovaradin, Novi Sad. 297

ALEKSANDRA STRATIMIROVIĆ – SUNNY DAY IZLOŽBA EXHIBITION

299

OD-DO ARHITEKTI – REDESIGN YOUR MIND 3

Redesign your mind 3 is a continuance of the project dedicated to the affirmation of sustainable approach in design. Exhibited works at Redesign your mind 3 exhibition present the possible answers to the needs not presently met by the existing functional solutions; … how certain conventional object’s functions could be improved and reinvented; … how to meet the needs of those not belonging to the majority or point out the real needs; … how to use the new / old materials in efficiency and clever way. Through their design concepts twelve invited authors enounce their approach to the production and consumption in contemporary ecological crisis and present their design solutions weather it be produced / recycled manually or industrially, but sustainable in ecological and economic sense. Redesign your mind 3 are: Gaetano di Gregorio / Venecija /, Sestres / Beograd /, Kako Ko / Beograd /, Jovana Bogdanovic / Milano /, Zhang Lei / Milano /, Miho / Beograd /, Tanja Todorovic / New York /, Ana Kras / Beograd /, Antipod studio / Beograd /, Jovan Topalovic / Beograd /, Synthesizer / London /, California Polytechnic University / San Luis Obispo /.

Redesign your mind 3 je nastavak projekta posvećenog afirmisanju teme održivog pristupa u dizajnu. Izloženi radovi u okviru izložbe Redesign your mind 3 pokušavaju da odgovore na potrebe koje nisu zadovoljene postojećim funkcionalnim rešenjima; … da unaprede ili preispitaju neke od funkcija konvencionalnih upotrebnih predmeta; … da odgovore na potrebe onih koji ne pripadaju većini i ukažu na realne potrebe; …da na efikasan i duhovit način upotrebe nove / stare materijale. Dvanaest okupljenih autora kroz svoje dizajn koncepte iskazuju stavove prema proizvodnji i potrošnji u savremenoj ekološkoj krizi, i prezentuju moguća rešenja koja mogu biti proizvedena / reciklirana u ručnoj ili industrijskoj proizvodnji, i biti ekološki i ekonomski opravdana. Redesign your mind 3 su: Gaetano di Gregorio / Venecija /, Sestres / Beograd /, Kako Ko / Beograd /, Jovana Bogdanović / Milano /, Zhang Lei / Milano/, Miho / Beograd /, Tanja Todorović / New York /, Ana Kras / Beograd /, Antipod studio / Beograd /, Jovan Topalović / Beograd/, Synthesizer / London /, California Polytechnic University / San Luis Obispo /. 301

od-do arhitekti / www.od-do.com /

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YOUNG SERBIAN DESIGNERS IZLOŽBA EXHIBITION

Young Serbian Designers is the first strategic promotion of a new Serbian design scene, initiated by cultural organization Mikser and the Serbia Investment and Export Promotion Agency SIEPA, which will be presented for the second time at the festival of talents Salone Satellite, in the world’s largest furniture fair in Milan.

Young Serbian Designers je prva strateška promocija nove srpske dizajn scene, inicirana od strane kulturne organizacije Mikser i Agencije za strana ulaganja i promociju izvoza SIEPA, koja se predstavlja po drugi put na smotri talenata Salone Satellite u okviru najvećeg svetskog sajma nameštaja u Milanu. Mikserov stručni žiri, kojim predsedava renomirani svetski dizajner Konstantin Grčić, na konkursu Young Serbian Designers izabrao je šest dizajnera: Anu Kraš, Branka Nikolića, Đorđa Čukanovića, Jovana Topalovića, Jovanu Bogdanović i Miljanu Nikolić. Izabrani mladi srpski dizajneri u aprilu ove godine će predstavljati Srbiju na najvećoj međunarodnoj smotri talenata, sa dvanaest izuzetnih projekata.

Mikser’s panel of judges, chaired by the internationally renowned designer Konstantin Grčić, made a selection of six designers at competition Young Serbian Designers: Ana Kraš, Branko Nikolić, Đorđe Čukanović, Jovan Topalović, Jovana Bogdanović and Miljana Nikolić. The chosen Young Serbian designers will represent Serbia at the international gathering of the new talents, where they will present outstanding 12 projects.

Milanski sajam nameštaja izabran je kao lokacija za predstavljanje srpskog dizajnerskog talenta, zato što se smatra najposećenijom internacionalnom manifestacijom iz oblasti industrijskog dizajna, dizajna upotrebnih predmeta, industrije nameštaja, rasvete i enterijerske opreme.

Milano Furniture Fair was chosen as the best location to present Serbian design talent, because it is considered to be the most popular international manifestation dedicated to industrial design, applied design, furniture design, lighting and interior decoration.

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STUDIO UDRUŽENJA MLADIH DIZAJNERA (FISE/SYDA) IZLOŽBA EXHIBITION

Young Designers Association Studio from Hungary (FISE/SYDA) presents a wide selection of contemporary Hungarian design, consisting of small pieces of furniture, glass and ceramics. Modern design in Hungary is in its character quite traditional. It deals with design on quite a theoretical and philosophical level, and it relies mostly on craftsmanship and creating of hand-made items. For the past twenty years a lot of research went into the revival of Hungarian design and its incorporation into the international design scene in entirely new circumstances. Great experience and a large number of young professionals have brought the end to the stagnation and hesitation so that today, Hungarian design is considered to be a major participant at the international design scene, on both the institutional and the practical levels.

Studio Udruženja Mladih Dizajnera Mađarske (FISE/SYDA) prikazuje širi izbor modernog mađarskog dizajna, u vidu manjih komada nameštaja, stakla i keramike. Moderni mađarski dizajn je po svemu dosta tradicionalan. Bavi se dizajnom na prilično teoretskoj i filozofskoj ravni, i oslanja se uglavnom na zanatske tehnike i ručnu izradu. Poslednjih dvadeset godina se mogu sumirati kao istraživanje mogućnosti povratka na svetsku scenu dizajna u potpuno novim okolnostima. Bogato iskustvo i veliki broj mladih stručnjaka su doprineli da mađarski dizajn ostavi iza sebe period oklevanja i da se danas smatra aktivnim i značajnim učesnikom na dizajn sceni kako u domenu delovanja tako i na institucionalnom nivou. SYDA radi u domenu dizajna više od 27 godina. Glavno polje delovanja je pružanje podrške mladim profesionalcima na početku karijere u vidu omogućavanja korišćenja Galerije udruženja, koja im je na raspolaganju tokom cele godine, kao i pružanja odgovarajuće marketinške podrške za organizaciju i promociju izložbi. Galerija se nalazi u blizini mađarskog Parlamenta.

SYDA works in domain of design for more than 27 years. Its main goal is to give support to young designers at the start of their careers which it does by letting them use the studio’s gallery throughout the year as well as giving them marketing support for organization and promotion of exhibitions. The gallery is situated in the vicinity of the Hungarian Parliament. 305

YOUNG BALKAN DESIGNERS IZLOŽBA EXHIBITION

YOUNG BALKAN DESIGNERS is an annual regional design competition open for all designers under age 35, initiated by cultural organization MIKSER with the aim of providing the platform for discovering and nourishing young talents in the Balkan region, while contributing to restoration of regional networks and cooperation. The Jury presided by renown international designer Konstantin Grcic has selected eleven projects out of 391 entries by young architects and industrial designers. Fourteen selected authors coming from 5 countries: Bosnia and Herzegovina, Bulgaria, Croatia, Greece and Serbia, who will represent the region’s creative potential at the most prestigious International furniture fair in Milan in mid-April and then in late May at the Mikser festival 2011 in Belgrade, the largest regional platform for creativity and innovation. After its debut in Milan and the regional premiere in Belgrade at the Mikser festival, “Young Balkan Designers” selection sets off to a European tour that will connect Belgrade with other regional cultural hubs, such as Sofia, Zagreb, Skopje, Ljubljana, Vienna, etc.

“Young Balkan Designers” je regionalni konkurs otvoren za sve dizajnere mlađe od 35 godina, iniciran od strane kulturne organizacije MIKSER kao logičan nastavak projekta Young Serbian Designers, sa ciljem formiranja platforme za otkrivanje i razvoj mladih talenata na Balkanu i obnovi regionalnih mreža i saradnje. Žiri kojim predsedava renomirani međunarodni dizajner Konstantin Grčić odabrao je jedanaest projekata od skoro 400 prispelih radova mladih arhitekata i industrijskih dizajnera iz regiona. Četrnaest autora koji dolaze iz 5 zemalja: Bosne i Hercegovine, Bugarske, Hrvatske, Grčke i Srbije, će predstavljati kreativni potencijal regiona na najprestižnijem međunarodnom Sajmu nameštaja u Milanu sredinom aprila, a zatim u maju mesecu na Mikser festivalu 2011 u Beogradu, najvećoj regionalnoj smotri kreativnosti i inovacije. Nakon debija u Milanu i regionalne premijere u Beogradu na Mikser festivalu, selekcija “Mladih dizajnera Balkana” kreće na evropsku turneju koja će povezati Beograd sa ostalim kulturnim prestonicama kao što su Sofija, Zagreb, Skoplje, Ljubljana, Beč.

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DESIGNERS LOVE JAPAN IZLOŽBA EXHIBITION

U želji da se skrene pažnja na događaje koji su zadesili Japan, i dâ skromni doprinos narodu Japana, na dizajn web portalu Designed.rs je 16. marta raspisan konkurs “PLAKAT ZA JAPAN”, na koji se odazvalo 170 autora, i pristiglo oko 200 radova.

Wishing to draw attention to the natural disaster which happened in Japan, and to give a modest contribution to the people of Japan, web site Designed.rs announced a competition “POSTER FOR JAPAN”. 200 works were received from 170 authors.

Izložba je organizovana u saradnji Designed.rs, galerijom O3ONE i Crvenim Krstom Srbije.

The exhibition was organized in cooperation with Designed.rs, O3ONE Gallery and Red Cross of Serbia.

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DESIGNED.RS – LEISURE WITH PLEASURE IZLOŽBA EXHIBITION

With the exhibition “Leisure With Pleasure” the design portal Designed.rs represents the works of the 10 authors, young graphic designers. They are selected from the Designed.rs/High5 collection, and with their work they tried to respond on the topic “Leisure - Creative exploration”.

Izložbom „Leisure with Pleasure“, dizajn portal Designed.rs predstavlja radove 10 autora, mladih grafičkih dizajnera koji su izabrani iz Designed.rs/High5 selekcije, a koji su radovima pokušali da odgovore na temu „Dokolica - Kreativno istraživanje“ Deset autora, deset radova, deset različitih izraza i pristupa temi. Svako u svom senzibilitetu, u tehnici koja mu najviše leži, istraživali su, igrali se i stvarali. Autori su: Manja Lekić, Ivana Petrović, Vanja Seferović, Hristina Papadopulos, Jovana Bogdanović, Predrag Marković, Milenko Stevanović, Vuk Palibrk, Miloš Rajković, Branko Bobić.

Ten authors, ten works, ten different expressions and approaches to the subject. Each in its own sensibility, in technique they chose, they explored, played and created.

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BINA 2011 – GODIŠNJA NAGRADA IZLOŽBA EXHIBITION

Kustos: Darko Marušić Dizajn izložbe: Milica Maksimović i Aleksa Bijelović, petokraka ©BINA – Beogradska internacionalna nedelja arhitekture

Annual Architecture Awards and Architectural and Urban Planning Contests in Serbia for the period: May 2010 - May 2011 5 - 15 May 2011.

Izložba je posvećena nagrađenim radovima u domenu arhitektonskog i urbanističkog stvaralaštva u Srbiji tokom perioda između dve BINA manifestacije. Posetiocima je pružena prilika da u okvirima izložbe sagledaju najznačanija arhitektonska dela kroz dodeljene godišnje nagrade i nagrađena konkursna rešenja. Izložbu čine dve celine: Godišnje nagrade za arhitekturu u Srbiji i Arhitektonski i urbanistički konkursi u organizaciji Društva arhitekata Beograda.

Curator: Darko Marušić Exhibition designers: Milica Maksimović i Aleksa Bijelović, petokraka ©BINA - Belgrade International Week of Architecture The exhibition is dedicated to the rewarded works in the scope of architecture and urban planning in Serbia during the in between period of the two BINA manifestations. Visitors will have the opportunity to see the most important architecture works through given annual awards and awarded contest solutions. The exhibition consists of: Annual Awards for Architecture in Serbia and Architecture and Urban Planning Contests in organization of The Architects Society in Belgrade.

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NEMANJA DRAGOJLOVIĆ – WHATEVER KEEEPS YOU MOVING FWD IZLOŽBA EXHIBITION

Šta vas pokreće? Šta vas inspiriše? Šta vas ujutru podiže iz kreveta i pomaže vam da pregurate dan? Male stvari koje nam puno znače. Predmeti iz mašte. Nesvakidašnje kombinacije. Konteksti van konteksta. Gutljaj optimizma. Telefon za slušanje. Kofer pun dobrog raspoloženja.

What makes you move? What inspires you? What lifts you in the morning and helps you to get through the day? Little things that mean a lot to you. The imaginary objects. Unusual combinations. Context out of context. The sip of optimism. Phone to listen to. Suitcase full of good mood.

Serija plakata kroz šaljive ilustracije obrađuje jednostavne i svakidašnje teme koje nam se čine nevažnim, a zapravo su inspiracija za velike ideje.

The series of posters through humoristic illustrations processes simple and everyday topics which may seem irrelevant, but in fact they are the inspiration for the great ideas.

Autor, Nemanja Dragojlović, rođen je 1983. godine. Diplomirao je grafički dizajn. Dobitnik je više domaćih i međunarodnih nagrada iz oblasti dizajna i ilustracije. Radi u advertajzingu.

Author, Nemanja Dragojlović is born in the year of 1983. He graduated graphic design. He won numerous national and international prizes in design and illustration. He works in advertising.

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DUŠAN VOJNOV - BRD IZLOŽBA EXHIBITION

Svoj život, ova mala ptica je završla pri samom rođenju. Odbačena je kao neuspešno rešenje logotipa, ali kasnije vaskrsava u formi stripskog lika na internet blogu od sredine 2011. godine. Publika koja prati strip lagano se povećava, jer je strip nastao kao autorov lični projekat bez ikakvih većih namera. Takođe, specifičan humor je još jedan razlog zašto ovaj strip ima malu, odabranu publiku. Življenje se drastično ubrzava, medijski smo zatrpavani uglavnom ružnim slikama, kao da se niko ne bavi dobrim vestima koje motivišu i obogaćuju duh. Svet je prepun gluposti i apsurda, pa prkosi logici samim svojim postojanjem i tada sve postaje crni humor i izrugivanje. A takvo loše okruženje ostavlja frustracije, traume i napetost kao idealnu podlogu za stvaranje psihičkih problema. Ovakav svet je nepresušan izvor inspiracije, pa su ponekad situacije i razgovori iz realnog života samo pretočeni u strip skoro bez ikakvih izmena. Strip BRD je duhovit prikaz egomaničnog ponašanja i psihičkog propadanja jedne male ptice. Mesto s koga BRD posmatra svet i reaguje na njega, je visoko iznad svega i to je jedino mesto odakle je moguće sagledati suštinu. To je pogled iz ptičije perspektive.

Its life, this little bird finished at its birth. Rejected as a failed logo solution, but later is resurrected in the form of comic character on internet blog from mid-2011. The crowd that follows the comic increases, because the comic was created as the author’s personal project without any major intention. Also, specific humour is another reason why this comic has a small, selected audience. Living is speeding dramatically, we are generally crowded by the media with ugly images, as if nobody deals with the good news that motivate and enrich the spirit. The world is full of stupidity and absurdity and defies logic by its very existence, and then everything becomes black humour and mockery. And such bad environment leaves frustration, trauma and tension as the ideal platform to create psychological problems. Such a world is an endless source of inspiration, and sometimes situations and conversations in real life, are only transferred to the comic with almost no changes. Comic BRD is a funny show of egomaniacal behaviour and mental deterioration of a small bird. Place from which BRD is watching the world and reacts to it, is high above it all and this is the only place where it is possible to perceive the essence. It’s a bird’s eye view. 317

VESNA PEJOVIĆ - KOLEKTIV ZARAZNO IZLOŽBA EXHIBITION

Naš plan je usmeren ka osobama u stanju potrebe, a da bi bili uspešni moramo da zadovoljimo potrebe korisnika, dakle, umesto pokušaja da se korisnici, u ovom slučaju porodice dece sa invaliditetom uklope u nefleksibilne obrasce pružanja usluga i zaposlenja, potrebno je da se usluge i zaposlenje baziraju tako da odogovore stvarnim potrebama i mogućnostima korisnika.

Our plan is geared towards people in need, and to be successful we need to satisfy the needs of users, so instead of attempting to satisfy users, in this case, the families of children with disabilities fit into rigid patterns of service delivery and employment, it is necessary to service and employment based so to responses to the real needs and capabilities of users.

Mišljenja smo da je kreativna industrija i održivi dizajn, idealna za uvezivanje sa socijalnim preduzetništvom, fleksibilna je, zasnovana na kreativnosti, i naravno postoji profitabilnost tj. samoodrživost, te je moguće rešavati i finansijsku i psiholšku krizu u kojoj se većina porodica dece sa invaliditetom nalazi, a takoĊe se postavlja pozitivan pravac za rešavanje problema drugih target grupa i osoba u stanju potrebe.

We believe that the creative industries and sustainable design, ideal for connecting with social entrepreneurship, is flexible, based on creativity, and of course there is the profitability of that. Sustainability and it is possible to solve the financial crisis and psychology where the majority of families of children with disabilities is, and also to set a positive direction for troubleshooting other target groups and individuals in need.

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NATAŠA ŠARIĆ - PLANETA 3 1 2 IZLOŽBA EXHIBITION

Kravate Nataše Šarić su jedinstvena pojava. Složenije su jer je autor radio na istraživanju I eksperimentisanju te se umetnička strana kravate prikazuje u drugačijem svetlu, ali ne gubi na tačnosti. Igra linija, aplikacija, pridodati elementi simboličkog značenja su sastojci sazdani u ovu formu I govore o razmišljanju autora o misiji mode, samog umetnika I umetnosti generalno. Kravate su trodimenzionalne, na izgled stilizovane okvirom geometrijskog manira, kombinovane od različitog materijala koji budi stvaralačku interakciju. Dublji simbolički nivo posreduje viziju beskrajne virtuelne realnosti, maste i inteligencije, istovremeno se baveći fenomenom kravate kroz okvir geometrijske ideje, arhitekture i organskih elemenata u percepciji prostora. Sam čin vezivanja čvora simbolično otkriva iracionalni postupak, procedure, znak vrline mere, discipline. Sve to cini ovaj objekat komplementarnim. Nataša Saric se posvetila proučavanju kravate I njene simbolike na sebi svojstven način ostavljajući dubok autorski pečat.

Ties of Natasa Saric are a unique phenomenon. They are complex because the author worked on the research and experimentation, and the arts side of the tie is shown in a different light, but does not lose its accuracy. Play of the lines, application; add elements of symbolic meanings ingredients are created in this form and talk about the thinking of the writer of a mission of the fashione, the artist and art in general. Ties are three-dimensional, the set of stylized geometric framework manners, combined from different materials that awakens the creative interaction. Deeper symbolic level mediates vision of endless virtual reality, imagination and intelligence, while addressing the phenomenon of the tie through the framework of geometrical ideas, architectural and organic elements in the perception of space. The action of tying the knot symbolically reveals the irrational process, procedures, virtues character measures, discipline. All this makes this building complementary. Natasa Saric is devoted to the study of ties and its symbolism in her own way, leaving a profound author’s signature.

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TIJANA GOLUBOVIĆ - METRO BEOGRAD IZLOŽBA EXHIBITION

Master rad Tijane Golubović predstavlja vizuelni identitet Metroa u Beogradu koji se sastoji od realizacije logotipa, putokaza, plakata… Ceo projekat je osmišljen tako da bude jednostavan, linearan, brz i funkcionalan za korišćenje kao što je i sam metro. Budući da metro u Beogradu ne postoji, putanje su bazirane na osnovu jedne od mapa koje su poslednje projektovane. Samim tim što je projekat imaginaran Tijani daje još veću slobodu u korišćenju boja i smišljanju specijalnih prostorija u sklopu podzemne železnice koje ona naziva ,,sobe”. Te sobe su namenjene svima i služe kao prostor za okupljanje, druženje, sviranje, oslikavanje grafita, vožnju skejtborda, igranje video igrica… Tijana Golubović je rođena 1989. godine u Novom Sadu. Osnovne akademske studije završila je na Akademiji lepih umetnosti u Milanu (NABA Nuova Accademia di Belle Arti), na odseku za Graphic Design and Art Direction, mentor Danilo Seregni. Master studije završava u Beogradu na Novoj akademiji, smer za grafički dizajn, kod mentora Slavimira Stojanovića. Tokom pohađanja osnovnih akademskih studija Tijana je radila u nekoliko italijanskih firmi u kojima se bavila realizacijom idejnih rešenja za ambalažu, dizajn kataloga i prezentacija.

Exhibition Opening September 11th at 19 pm Master work Tijana Golubovic presented the visual identity of Metro in Belgrade, which consists of the realization of logos, road signs, posters ... The whole project is designed to be simple, linear, fast and functional to use as metro is. Since the metro is not existing in Belgrade, the paths are based on one of the maps that have been recently designed. Therefore as the imaginary project provides Tijani even greater freedom in the use of color and devising special room within the subway which she calls,, room. “These rooms are designed for everyone and serve as a place for gathering, socializing, playing, painting graffiti, skateboard, play video games ... Tijana Golubovic was born in 1989 in Novi Sad. Undergraduate studies at the Academy of Fine Arts in Milan (NABA Nuova Accademia di Belle Arti), Department of Graphic Design and Art Direction, mentor Danilo Seregni. Master studies at the Belgrade in the New Academy, majoring in graphic design, with a mentor Slavimira Stojanovic. During attending undergraduate studies Tijana has worked in several Italian companies in which they dealt with the implementation of design solutions for packaging, catalog design and presentation. 323

FOTO

OGLEDALO / MIRROR

Fotografska sekcija ULUPUDS-a prvi put se predstavila široj javnosti selektovanom tematskom izložbom. Tematski, izložba se vezuje za pojam savremenog pejzaža i sliku prirode zemlje u kojoj živimo. Značajna je inicijativa i uloga samih članova udruženja (Aleksandra Kelića i Zorana Milovanovića), kao i projekta O3ONE, koji su pokrenuli i koordinisali realizaciju ove izložbe od samog početka, što ukazuje na moguće nove strategije i način delovanja. Radovi Tomislava Peterneka, Dragoljuba Zamurovića, Goranke Matić, Branislava Strugara, Imrea Saboa, Aleksandra Antića, Dragoslava Mirkovića, Predraga Mihajlovića, Miodraga Miladinovića, Vladana Milisavljevića, Dušana Jovanovića i Aleksandra Radoša, okupljeni na jednom mestu, pružili su uvid u deo aktuelne i relevantne fotografske scene u Srbiji. U pratećem programu izložbe, Aleksandar Radoš, fotograf, održao je predavanje pod nazivom „Fotografija i muzika”; Zoran Blažina, grafički dizajner, publici je predstavio svoje viđenje fotografije i dizajna; o fotografiji i štampi govorio je Imre Sabo, fotoreporter, o fotografiji i prirodi Branislav Strugar, fotograf, a elektronsku prezentaciju radova imao je fotograf Aleksandar Antić.

For the first time ever, photo section of ULUPUDS will present to a wider audience, the works of its members, through the selected and thematically defined exhibition. This exhibition explores the character of contemporary landscape and the nature of our country. The role of the members of photo section (Aleksandar Kelic, Zoran Milovanovic, as well as the project O3ONE) who initiated and coordinated the realization of the exhibition form the very beginning, is important and points to the possible new strategies and possible actions. The photographs of Tomislav Peternek, Dragoljub Zamurovic, Goranka Matic, Branislav Strugar, Imre Szabo, Aleksandar Antic, Dragoslav Mirkovic, Predrag Mihajlovic, Miodrag Miladinovic, Vladan Milisavljevic, Dusan Jovanovic and Aleksandar Rados assembled for the exhibition, gave an overview on the works of an author who make energetic and relevant part of the photo scene in Serbia. In the follow-up programme of the exhibition, Aleksandar Rados, photographer, gave a reading titled “Photography and music”, Zoran Blazina, graphic designer, presented his views on photography and design, Imre Szabo, photo reporter, talked about photography and the press, Branislav Strugar, photographer, talked about photography and nature and Aleksandar Antic had a digital presentation of his work. 327

kontakt: www.ulupuds.rs/index1.php

IZLOŽBA EXHIBITION

MICHAEL TEAGUE – IN THE WAKE OF PORTUGUESE NAVIGATORS IZLOŽBA EXHIBITION

„Da je još sveta, stigli bi’ i tamo” Kamoin, „Lusijada”, VII, 14. „I današnje vreme je obeleženo značajnim otkrićima udaljenih prostora, ali treba zapamtiti... i da su mnoge generacije dale velike ljude koji su krotili misterije nepoznatog za naredna pokoljenja.” Majkl Tig Ambasada Republike Portugala, povodom nacionalnog Dana Portugala, organizovala je izložbu fotografija britanskog novinara i fotografa Majkla Tiga. Njegovo interesovanje za Portugal i Portugalce počelo je pre više od trideset godina kada je, po završetku studija na Oksfordu, otišao u Angolu. Posle toga krenuo je tragom legendarnog putovanja na kojem je Vasko da Gama otkrio pomorski put za Indiju. Na fotografijama je zabeleženo portugalsko prisustvo od Brazila do Japana. Na svojim putovanjima prešao je više od 100.000 milja i proputovao trideset zemalja. Beograd je, ovom prilikom, posetila i gospođa Lurdes Simois da Karvaljo iz Kabineta za međunarodne odnose Ministarsva za kulturu Portugala, koja je priredila javno vođenje kroz izložbu. Kako ova kolekcija broji više od 100 fotografija, tokom trajanja izložbe, postavka je bila četiri puta promenjena.

If there was any more land to reach, we would have… Camois, Lusiadi, VII, 14 “Present day is also marked with important discoveries, but we should bare in mind…that many generations gave great men who tamed mysteries of the unknown for the future generations…” Michael Teague The Embassy of the Republic of Portugal, in honour of the National Day of Portugal, organized an exhibition of photographs by the British author Michael Teague. His interest in Portugal and the Portuguese started more than 30 years ago, when upon his graduation at Oxford he went to Angola. After that, he went on a trail of the legendary Portuguese explorer Vasco De Gamma, which he made on his route when he discovered naval passage to India. Portuguese presence from Brazil to Japan was recorded in Teague’s photographs. He travelled more than 100.000 miles and crossed 30 countries. Mrs. Lourdes Simois de Carvalho from the Cabinet of International Affairs from the Portuguese Ministry of Culture hosted the exhibition. As this collection numbers over 100 photographs, setup was altered four times during the course of the exhibition. 329

JOHAN LUNDBERG – JOŠ JEDAN DAN ŽIVOTA IZLOŽBA EXHIBITION

„Godine 2003. sa romsko-engleskim rečnikom u ruci, uputio sam se na Balkansko poluostrvo sa zadatkom da fotografišem živote Roma… Lutao sam od jednog naselja do drugog, zadržavao se neko vreme, odlazio pa se ponovo vraćao. Gledali smo dane kako dolaze i odlaze, fotografisao ih, moje dane i njihove. Okruženi mističnom izmaglicom, Romi ne ostavljaju nikog ravnodušnim. Posmatraju ih kao egzotične i fascinantne, predrasude su različite. Moja želja je da na fotografijama vidite, pre bilo čega drugog, ljudska bića: vaše sestre i vašu braću, vaše majke i vaše očeve, vaše ćerke i vaše sinove. I naravno, sebe – vrlo lako ste to mogli biti vi. I ne bi vam se dopao način na koji se većina ophodi prema vama. Ne bi vas impresioniralo kako ‘vaša država’ ne brine o vama. Bili biste duboko razočarani zato što su vam mogućnosti za zapošljavanje tako ograničene. Pitali biste se zbog čega se osnovna ljudska prava ne odnose i na vas. Ove fotografije govore o onome što sam video za vreme mojih putovanja – Još jedan dan u životu”. Johan Lundberg, Olaf Palme Internacionalni Centar

“In 2003, a Romani-English dictionary in hand, I set out to the Balkan peninsula with the assignment to photograph the lives of the Roma people. I wandered from one community to another, stayed for a while, left and then returned. We saw days come and go, and I photographed them, my days and theirs. Surrounded by an air of mystery, the Roma people leave nobody untouched. They are looked upon as fascinating and exotic, the prejudices are sundry. My wish is that what you shall see in my photographs, before anything else, are human beings: your sisters and brothers, mothers and fathers, daughters and sons. And of course, yourself—it could very well have been you. And you would not have liked the way the majority population treated you. You would not have been impressed by how “your country” does not stand up for you. You would have been gravely disappointed with that your job opportunities are so limited. You would have wondered why the basic human rights does not apply to you. These pictures tells the story of what I saw during my travels — Another day of life”. Johan Lundberg, Olaf Palme International Centre 331

PETER MARLOW – BEGINNINGS PREDAVANJE I RADIONICA LECTURE AND WORKSHOP

Poznati fotograf agencije Magnum, Piter Marlou, održao je predavanje na temu „Beginnings“, kao i jednodnevnu radionicu za fotografe na velikoformatnom štampaču. Piter Marlou (1952), Britanac, počeo je sedamdesetih godina prošlog veka svoj profesionalni rad u agenciji Sigma. Portfolio, koji je napravio snimajući za Sigmu, obezbedio mu je 1980. godine pristup u Magnum. Ključnu ulogu u njegovom profesionalnom stvaralaštvu imali su Liverpul i Amsterdam i snimanje ljudi i situacija. 1991. na poziv ogranka francuske vlade u Somaliji fotografiše u Amijenu. To mu je omogućilo da radi na srednjem formatu, što predstavlja okosnicu njegovog rada. Njegov estetski pristup se promenio samo utoliko, što je počeo da pravi fotografije u boji, a u svim ostalim aspektima zadržao je isti pristup. Boja nevažnih stvari postala je centralni deo fotografija, isto kao što su njihov oblik i obeležje bili na njegovim crno-belim fotografijama. Marlou sada fotografiše u Japanu, SAD-u i Evropi podjednako kao i kod kuće. Njegovo delo je zaokruženo: počeo je kao međunarodni fotožurnalista, ali se vratio kući da poništi prošlost, upozna svoju rodnu zemlju i otkrije novu poeziju. Nakon što ju je pronašao, nosi je sa sobom na nova putovanja

Magnum agency’s acclaimed photographer, Peter Marlow, gave a lecture on the subject “Beginnings“, and a one day workshop for photographers working with large format printer. Peter Marlow (1952), British, began his professional career during the 70’s in Sygma agency. Portfolio that he created while working for Sygma was his ticket to Magnum agency where he moved in 1980. His most acclaimed work was made in Liverpool and Amsterdam, where he took shots of people and situations. In 1991 at the invitation by the branch of the French government in Somalia he photographed in Amiens. That gave him a chance to work in medium format, which became the core of his work. His aesthetic approach changed in as much that he began to take colour photographs, but retained all other specific qualities. The colour of unimportant things became the centre of his photographs, just as their shape and marking was on his black and white photographs. Marlow works in Japan, USA and Europe as much as in Britain. He made a full circle: started off as a photo journalist, but came home to start afresh, to get to know his country and discover new sensibility. After he did manage to find it, he takes it with him wherever he goes. 333

MY LIFE IN THE BUSH OF MEMORIES IZLOŽBA EXHIBITION

Izložba fotografija i slajdova pod nazivom „My Life in the Bush of Memories” anonimnog autora iz Beograda jeste izložba o prošlom vremenu i mogućnosti „ulaženja” u fotografije. To su ponekad filmski kadrovi koji nas svojom atmosferom i nepopunjenošću uvlače unutra. U svakom slučaju, ono što je jedan beogradski arhitekta beležio, prevazilazi privatno i zalazi u sferu umetnosti i metafizike.

Exhibition of photographs and slides “My Life in the Bush of Memories” by an anonymous author from Belgrade, is an exhibition about the past and the possibility to “enter” the photographs. Sometimes, it is a freeze-frame which draws us in with its desolate atmosphere. In any case, this material, which was taken by an architect from Belgrade, transcends the private and enters the sphere of art and metaphysics. .

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IVANA BREZOVAC – KUBA IZLOŽBA EXHIBITION

Fotografije sa Kube nastale su 2001. godine i predstavljaju neku vrstu vizuelnog dnevnika, koji odražava najsnažnije utiske sa putovanja, kada je za tri nedelje pređeno 3000 km, odnosno zapadna polovina kubanskog ostrva. Upotreba intenzivnog kolora i mnoštva detalja jeste pokušaj da se dočara lepota, energija i jedinstvenost ove zemlje i njenih stanovnika. Ivana Brezovac (1971, Novi Sad) magistrirala je fotografiju na Fakultetu za film i televiziju - FAMU u Pragu (1999). Urednik je časopisa REFOTO posvećenog kulturi fotografije. U svom radu pretežno se bavi pejzažom i dokumentarnom fotografijom.

The photos from Cuba were taken in 2001, and represent a kind of visual diary reflecting the most powerful impressions of her travel across the west coast of Cuba – 3000 km in total, during the course of three weeks. Her attempt to approach the beauty, energy and distinctiveness of this country and its inhabitants, was achieved by color intensity and multitude of details. Ivana Brezovac (1971, Novi Sad). got her Master degree in photography at the Faculty of Film and Television – FAMU, in Prague in 1999. She is the editor of REFOTO magazine, dedicated to the culture of photography. Main subject of her work are landscapes and individual documentary photography.

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NENAD MARJANOVIĆ – EGO IZLOŽBA EXHIBITION

Nenad Marjanović is a master of atmosphere. He is also an artist with a delicate sense of nuance whose sophisticated aesthetics approach the glamour of fashion photography. This however is only means to an end; his aesthetics are charged with meaning. Image after image - silent sequence combines in order to form a visual drama – a drama with no storyline, for he does not narrate but conjures, through subtle gradation of form and content, the atmosphere of moral and ethical downfall. The artist however does not address social issues directly. He is not a critic of society but is simply part of it. He captures its essence from a safe distance thereby resisting temptation. It is, after all, about his ego as well.

Nenad Marjanović je gospodar atmosfere. On je takođe umetnik sa delikatnim osećajem za nijansu čija sofisticirana estetika dostiže glamur modne fotografije. To je međutim samo put ka kraju; njegova estetika je puna značenja. Slika za slikom – tihi niz, sjedinjuje se kako bi se formirala vizuelna drama – drama koja nema liniju priče, zato što on ne priča nego stvara, kroz suptilnu gradaciju forme i sadržaja, atmosferu moralnog i etičkog pada. Umetnik se međutim ne obraća direktno društvu. On nije kritičar društva, već je samo njegov član. On hvata esenciju sa bezbedne razdaljine odolevajući izazovima. Ovo je, takođe i o njegovom egu.

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ULUPUDS – EKSPERIMENT IZLOŽBA EXHIBITION

Experiment in the widest sense of the word, as a personal step forward of an author, was a guiding idea for this group exhibition titled Experiment, set up by members of the photo section of the Serbian Association of Fine art, Applied Art and Design Artists. Participating authors are presented with works which were created in author’s search for the innovation with a result different from the work that preceded it. Exhibition Experiment was preceded by the exhibition of the same name and organized by this section a decade ago, shown in Singidunum gallery in Belgrade.

Eksperimentalno u najširem smislu te reči, kao lični iskorak autora, idejna je nit grupne izložbe pod nazivom Eksperiment, članova sekcije likovnih umetnika fotografije ULUPUDS-a (Udruženja likovnih umetnika primenjenih umetnosti i dizajna Srbije). Zastupljeni autori predstavljaju se radovima koji su nastali u kreativnom nemiru i težnji ka novom, odnosno drugačijem umetničkom rezultatu u odnosu na prethodeće. Izložbi pod nazivom Eksperiment prethodila je istoimena izložba ove sekcije, održana pre punih deset godina, u Galeriji Singidunum u Beogradu.

Authors: members of the photo section of the Serbian Association of Fine art, Applied Art and Design Artists: Branislav Strugar, Danilo Cvetanovic, Djordje Odanovic, Dragana Djorovic, Zoran Dzeferovic Dzef, Goran Malic, Igor Mandic, Imre Szabo, Jelena Vemic, Jelena Vucetic, Ljubinko Kozul, Ljubisa Tesic, Mario Bralic, Milan Zivkovic, Mirko Lovric, Miroslav Jeremic, Miroslav Zaklan, Nebojsa Babic, Nenad Marjanovic, Petar Kujundzic, Sonja Zugic, Verko Ignjatovic, Zeljko Sinobad, Zoran Jovanovic Macak, Zoran Milovanovic, Aleksandar Kujucev, Dusan Ilic, Aca Antic, Ivana Masnikovic Antic, Rade Milisavljevic

Autori: sekcija likovnih umetnika fotografije ULUPUDS-a: Branislav Strugar, Danilo Cvetanović, Đorđe Odanović, Dragana Đorović, Zoran Džeferović Džef, Goran Malić, Igor Mandić, Imre Szabo, Jelena Vemić, Jelena Vučetić, Ljubinko Kožul, Ljubiša Tešić, Mario Bralić, Milan Živković, Mirko Lovrić, Miroslav Jeremić, Miroslav Zaklan, Nebojša Babić, Nenad Marjanović, Petar Kujundžić, Sonja Žugić, Verko Ignjatović, Željko Sinobad, Zoran Jovanović Mačak, Zoran Milovanović, Aleksandar Kujučev, Dušan Ilić, Aca Antić, Ivana Masniković Antić, Rade Milisavljević 341

SVI RAZLIČITI – SVI RAVNOPRAVNI IZLOŽBA EXHIBITION

Exhibition „All Different – All Equal“, within the Council of Europe youth campaign having the same title, represents collection of visions that young people in Serbia have about world they live in, diversity that this world carries in itself and values reflected through all the differences. Campaign „All Different – All Equal“ was initiated by Council of Europe and launched in june 2006 in almost all member states. It is based on striving for respect and affirmation of all human rights and freedoms. Campaign in Serbia is being realized with support from the Ministry of Youth and Sports. By doing this photo exhibition idea is to intend to motivate young people to take active part in the life of their community, to give creative contribution to the respect of human rights and freedoms in Serbia, so as to empower the dialogue about appreciating diversity as one of crucial values in the lives of all of us.

Izložba “Svi različiti – svi ravnopravni“, u okviru istoimene omladinske kampanje Saveta Evrope, predstavlja skup vizija mladih ljudi u Srbiji o svetu u kome živimo, različitostima koje on sa sobom nosi i bogatstvu koje se kroz ove različitosti reflektuje. Kampanja “Svi različiti – svi ravnopravni“ pokrenuta je juna 2006. godine na inicijativu Saveta Evrope u skoro svim njegovim zemljama članicama i temelji se na zalaganju za poštovanje i afirmaciju svih ljudskih prava i sloboda. Kampanja u Srbiji se realizuje pod pokroviteljstvom Ministarstva omladine i sporta. Ideja je da motivišu mladi da se aktivno uključe u život svoje zajednice, da daju kreativan doprinos poštovanju ljudskih prava i sloboda u Srbiji i da se podstakne dijalog o vrednovanju različitosti, kao o jednoj od ključnih vrednosti u životima svih nas.

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IVANA TOMANOVIĆ - KRATKA PRIČA O... STRAHU IZLOŽBA EXHIBITION

Serija fotografija pod nazivom „Kratka priča o… strahu“ bavi se jednim od najsnažnijih osećanja u životu svih nas, a to je strah. On ima svoje brojne pojavne oblike i manifestacije, a odlikuje ga kontradiktornost. S jedne strane strah nas nagoni na preživljavanje, tera nas da idemo dalje i prelazimo prepreke. S druge strane strah nas parališe. Usled straha ostajemo zakočeni, zamrznuti, paralizovani u sopstvenom životu nemoćni da skinemo tu tanku, skoro providnu opnu koja obavija nas i sva naša delovanja. Ta opna je čvrsta i teško probojna, baš kao i paukova mreža koja neoprezne uvlači u svoje smrtonosno klupko u kom ih čeka lagana ali sigurna smrt.

The series of photographs entitled “A short story about fear ...” deals with one of the strongest feelings in life for all of us, and that is fear. It has its many manifestations and events, and is characterized by contradiction. On the one hand, fear drives us to survive, forcing us to move on and move obstacles. On the other hand, fear paralyzes us. Due to the fear we remain stalled, frozen, paralyzed in our own lives are powerless to remove the thin, almost transparent membrane that surrounds us and all of our actions. This membrane is tough and hard penetrating, like a spider web that draws the unwary into its deadly tangle in which they put a light but sure death.

Za razliku od straha koji se javlja usled neposredne opasnosti, ovaj strah obitava u našem podsvesnom nivou i naš je tihi pratilac, većinom tokom celog života. Ipak, neki uspevaju da čvrstu, okamenjenu formu straha transformišu u fluidnu masu koja poput krvotoka teče našim telom ali dopušta da se slobodno krećemo, menjamo i razvijamo. Poput vode u kojoj lebdimo i prepuštamo joj se strah poprima oblike kakve mu sami dajemo.

Unlike fear, which occurs due to the imminent danger, the fear resides in our subconscious level, and our silent companion, mostly throughout life. However, some manage to strong, ossified form of fear transformed into a fluid mass that flows like blood flow through our body, but allows it to move freely, change and develop. Like the water in which float and indulge her fear takes the form of what we give ourselves to him.

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BENOIT PIERRE – JUST SIGHTSEEING

„Želim da, krećući se sa ovim Rotirajućim sistemom (Dispositif circulaire) zabeležim one delove stvarnosti koji nas okružuju, ali nam istovremeno i izmiču. Skromno govoreći, pokušavam da gledam i osluškujem a da ne analiziram, da razumem, a da ne komentarišem, da otvorim mnoštvo prozora oko sebe. U početku delimično se stavljajući u veoma aktuelni položaj „običnog turiste“, ja odlazim i vraćam se s jednog mesta na drugo. Tako se upravo na Trgu svetog Marka u Veneciji, na Trokaderu u Parizu ili pak na drugom kraju sveta, na železničkoj stanici u Matsinžoniju na Madagaskaru, ja odlučno vraćam toj kružnoj praksi: gledati oko sebe, imati vremena, trošiti vreme, postati dostupan, pustiti da stvari dođu nama mesto da ih sami uzmemo, biti prožet svetom oko sebe i pokušati da ga shvatimo umesto da o njemu sudimo, možda i da u njemu učestvujemo i zatim pustimo da nas iznenadi nešto neočekivano, nalik na delić koji se izdvaja iz običnog ali koji najzad biva prepoznat kao nešto što može da nas dotakne.“ Benoa Pjer živi i radi u Beogradu. Studirao je grafiku i arhitekturu, a od 1999. radi na svom umetničkom istraživanju prožimajući video, fotografiju i crtež. Od 2002. do 2007. predavao je na Akademiji lepih umetnosti na Reinionu kada je i upoznao koreografa i nekadašnjeg igrača za DV8, Erika Langea (Éric Languet) kao i pesnika Kristijana Jalmu (Christian Jalma), i zajedno sa njima radio eksperimentalni projekat pod nazivom « quelquessignesduprésent » („nekolikonaznakasadasnjosti“), a zatim i osnovao transdisciplinarno udruženje ”Traverse 974“.

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“Here, by moving inside this circular device, I wish to record the realities that surround us and are beyond our grasp. Modestly, I try to look and listen without analyzing, to understand without making any comments, to open up a multitude of windows around me. It is by assuming the very contemporary posture of a “tourist” that I move back and forth from one place to another. It is at the Piazza San Marco in Venice, the Trocadero in Paris, the Kalemegdan in Belgrade or, at the other end of the world, a few steps away from Mahatsinjony Railway Station in Madagascar, that I decide to return obstinately to this circular practice: to look around me, to take time, to waste time, to make myself available, to let things appear instead of grabbing them, to become impregnated with them and to try to understand rather than judge, perchance to participate and also to let something unexpected surprise me, a sort of fragment, emerging from the ordinary, whose emotional potential is recognized at last.” Benoit Pierre lives and works in Belgrade. He trained as a graphic designer and architect and since 1999, he is involved in research in the visual arts that circulates between video, photography and drawing. He was a Professor at the École des Beaux-Arts de La Réunion (La Réunion Arts School ) from 2002-2007, when he met choreographer and ex-DV8 dancer Eric Languet and poet Christian Jalma with whom he led the experimental project “quelquessignesduprésent” then set up the interdisciplinary non-for profit organization “Traverse 974”.

http://www.traverse974.net

IZLOŽBA EXHIBITION

GRUPA FOTOGRAFA – RASKRSNICE IZLOŽBA EXHIBITION

„Predstavljamo se kao neformalna grupa mladih fotografa koje je povezalo isto iskustvo i ideja. Sada već više godina kao aktivni komercijalni i reportažni fotografi, nosimo iskustvo svih gradskih dešavanja. Upozanati smo sa strukturom grada, svim njegovim slojevima, sa javnim i privatnim, vidljivim i nevidljivim, kulturom i subkulturama. Upućeni na angažmane, prizore i hronike Beograda primetili smo da se fenomen grada, kao živog bića i jedne kolektivne energije, odrazio na naš lični izraz i stvaralaštvo. Primetili smo da svi kroz svoje lično traganje i ostvarivanje, kroz fotografiju, nosimo upisano savremeno gradsko iskustvo. Postavilo se pitanje: šta je to izazovno, ozareno i zavodljivo što se dešava u fenomenu Beograda, u rasponu od prenaseljenih ekstatičnosti, do energija nevidljivih dramatizacija? Šta je to u atmosferi i duhu grada, a tiče se njegovih tema, situacija, života i noćnog života, strukture i infrastrukture, što utiče na naš lični izraz? Kakva je hemija koja se provlači kroz ličnu poetiku i sadržaj svakog od nas? Odgovor je glasio: u slojevima dokumentarnosti leže svi slojevi realnog i imaginarnog, simboličkog i stvarnog, kolektivnog i ličnog.“ Sanja Knežević, Mirjana Ristić-Damjanović i Marko Risović 349

”We are presenting ourselves as an informal group of authors, connected by the same experience and the same idea. Our background as experienced commercial photographers and reporters brings with it certain knowledge of the city. We are familiar with its structure, its many layers, with public or individual aspects of the city, with visible and invisible layers, with the culture and the subculture. Following up stories, scenes and Belgrade chronicles, we were in a position to notice the phenomenon of the city as a living entity and that collective energy it contains influenced our work and creativity. We became aware of the fact that through our personal exploration and insight, through photography, we are expressing the deeply engraved experience of the city. A question was posed: what challenging, bright and seductive thing is going on in the phenomenon that is Belgrade, ranging from the overcrowded ecstatic sensations, down to the invisible dramatization energy? What is it in the atmosphere and the spirit of the city that touches the important subjects, situations, the life and the nightlife, the structure and the infrastructure, what is it that influences our personal expression? What is the chemistry that runs through our own poetic expressions and definitions? The answer was found in the many layers of the documentary painted with the reality and imagination alike, in the symbolic and the existent, in the collective and in the individual.“ Sanja Knežević, Mirjana Ristić-Damjanović i Marko Risović

JANKO RADOJEVIĆ – ŽIVOT ISPOD ZEMLJE IZLOŽBA EXHIBITION

Materijal na izložbi pokušao je da prenese kompleksnost mreže tokijske gradske železnice, njen ambijent i autentičnost korisnika, prostora i sistema koji omogućava da taj “veliki grad” funkcioniše. Mrežu tokijske gradske železnice čine 882 stanice koje su povezane sa 121 linijom i dnevno prevezu 20 miliona ljudi. Ovaj ektremni broj ukazuje na veličinu grada kao i na vreme koje stanovnici provedu u sistemu javnog prevoza. Efikasnost japanskog društva pretvorila je stanice i transportne čvorove u mikro centre koji su se razvili do te mere da korisnik na putu od posla do kuće ne mora da napušta mrežu da bi završio svakodnevne privatne obaveze. Pozdemni prolazi postali su prostor u kome se održavaju koncerti, otvaraju knjižare, saloni za lepotu, restorani, barovi, montažne pijace, obućari. Javna funkcija grada sve se više udaljava od nivoa ulice i otvorenog prostora i uvlači u kontrolisani pristup gde je moguće regulisati klimu, osvetljenje, zvuk… Opna ovog fenomena odavno je prerasla površine postojećih tunela te se počela širiti i nad zemljom, ali uvek održavajući direktnu vezu sa saobraćajnim tokovima. Da li je tokijski slučaj neizbežan primer koji će i ostale metropole pratiti, uzimajući u obzir i klimatske promene i imperativ koji se stavlja, efikasnost i brzinu u savremenom svetu. Janko Radojević je diplomirao na Arhitektonskom fakultetu u Beogradu. Nakon sticanja iskustva u renomiranim japanskim arhitektonskim biroima, poput studija Shigeru Bana, magistrirao je na odseku za arhitekturu na Tokijskom univerzitetu. Danas radi kao arhitekta u birou Sadar+Vuga u Ljubljani.

Material at the exhibition try to convey the complexity of the city rail network in Tokyo, its ambience, the authenticity of its users; it tells the story of the space and the system which allows this megalopolis to function. Tokyo city rail network consists of 882 stations interconnected by 121 rail-lines which transport 20 million people on daily basis. This staggering number explains the enormous size of the city and also tells of the time its inhabitants spend using the public transport. The efficiency of the Japanese society transformed the stations into micro centres developed so that commuters do not need to leave the system in order to fulfil their private daily tasks. The underground passageways became the places where concerts are held, bookshops and beauty parlours are available, as well as bars, restaurants, markets and cobblers. Public function of the city is being relocated from the street level to the underground space where lighting, heating and sound is easier to control… The boundaries of this phenomenon have with time overgrown the existing network of tunnels and moved back above ground, however, they always remained directly connected to traffic routes. Is Tokyo’s case an example which other mega-cities will have to follow, bearing in mind climate changes and above all – the efficiency and the speed of life today. Janko Radojevic graduated at the Faculty of Architecture in Belgrade. He worked at renowned Japanese architecture studios, such as Shigeru Ban Studio, he got his master’s degree at the Architecture Department of Tokyo University. Currently, he works as an architect for 351 Sadar+Vuga studio in Ljubljana.

TANJUG – FOTOGRAFIJE SA MARGINE IZLOŽBA EXHIBITION

Foto arhiva novinske agencije Tanjug sadrži oko 3.5 miliona negativa i jedna je od najbogatijih arhiva agencijske fotografije u Evropi. Tanjug je baštinio i arhive svojih prethodnika: novinske agencije Avala, koja je postojala između dva svetska rata i Presbiroa, od pre Prvog svetskog rata, tako da arhiva ima i fotografije od 1912. godine. Foto arhiva Tanjuga sadrži veliki broj fotografija sa izložbi, koncerata, iz ateljea slikara, detaljno praćenje života verskih zajednica, i to od ranih pedesetih godina prošlog veka. Tragajući za fotografijama za jednu izložbu, nađene su i vrlo neobične fotografije za jednu novinsku agenciju u socijalističkoj zemlji, naročito za 1955. godinu, kada je društvo još bilo daleko od potpunog odbacivanja socijalističkog realizma, i negovalo sliku vrednog udarnika. Ovaj crno-beli svet fotografije u prvim godinama jugoslovenskog socijalizma, još uvek u senci Staljinovih brkova, ipak nije bio crno-beli kada su u pitanju estetička shvatanja Tanjugovih fotografa, svedočeći da je sloboda novinarstva sloboda koju svako sam osvaja, za sebe i za druge. Fotografije nisu manje slobodne od onih koje je u isto vreme objavljivao američki “Playboy” i kvalitetom nimalo ne zaostaju, te su neobično svedočanstvo da opšta mesta ne opstaju kada je u pitanju bilo koje pažljivije razmatranje ma kog istorijskog perioda.

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Photo archive of the Tanjug News Agency holds about 3.5 million of negatives and it is one of the richest photo archives in Europe. Tanjug also inherited archives of its predecessors: Avala News Agency which existed between two World Wars and Press Biro News Agency, which was active before First World War. Concerning these facts, Tanjug archive holds certain photos that date from the year 1912. Photo archive of the Tanjug News Agency consists of large number of photos from the exhibitions, concerts, painter’s studios, photos from divers religious communities, and all of them are from the fifties. In search for the right photos for this exhibition, some very unusual ones were found considering that Yugoslavia was a socialistic country, and especially for the year 1955, when Yugoslav society was far from rejecting socialist realism. This black and white photography world in the first years of the Yugoslav socialism is still in the shadow of the Stalin’s mustaches, but still, it wasn’t that black and white considering the view of the Tanjug’s photographers. The freedom of the press everyone should gain for themselves. The photographs aren’t less free than the ones in the American “Playboy” and they are the same in quality. The photographs represent one unusual testimony that there are no common places in carefully observing parts of history.

„MOJ NAČIN“ – SAVSKI VENAC ZA SEĆANJE IZLOŽBA EXHIBITION

Photo exhibition: „Savski venac for Memory“ Course students „My Way“

Fotografija je dokument! Dokumentuje vreme, trenutak, materijal, karakter, atmosferu, geografsku širinu, boju svetla i emocije. Validan dokument na sudu, važan istorijski zapis. Suočavanje i sagledavanje slike iz fotografskog ugla može pokrenuti nove vizure vremena i okruženja u kom se odigrava naš život.

Photography is a document! It documents time, moments, material, character, atmosphere, latitude, the color of light and emotions. It is a valid document at court and an important historical record. Confronting and understanding a picture from the photographer’s point of view can initiate a new perspective of time and environment where our lives take place.

Ova izložba je deo ideje da se pokrenu mladi sa opštine Savski venac da istažuju svoju okolinu, sredinu u kojoj žive, da detektuju probleme, i ponude rešenje istih, da se unaprede pozitivne strane društva. Problemi su rešivi, dobre stari mogu da se unaprede, ali ih je potrebno prepoznati, analizirati i rešiti. Desetak polaznika sa opštine Savski venac, uzrasta 15 do 20 godina pohađali su kurs fotografije od osam časova, koji su vodili stručnjaci iz te oblasti. Polaznici su dokumentovali fotografijom prizore na opštini Savski Venac i tako nam omogućili da životni prostor posmatramo kroz njihov amaterski objektiv.

This exhibition is a part of the idea to motivate young people of the Municipality of Savski venac to explore their neighborhood, to detect problems, and give the solutions, to make our society better. Problems are solvable, good thing can upgrade, but it is necessary to identify, analyze and solve them. Ten participants from the Municipality Savski venac, aged 15 to 20 years attended a course of eight classes led by the experts in that area. Students documented the sights of the Municipality of Savski venac and thus made possible for us to observe our own living space through their amateur lens. 355

SIMON ZEC – SEARCHING IN VAIN IZLOŽBA EXHIBITION

U multimedijalnoj instalaciji Simon Zec kreira mračan, izolovan prostor, gde nam je ponuđen individualni izbor: pratiti svetlost ili ostati u tami i postati Svetlost.

In this multimedia installation Simon Zec creates a dark, isolated space where we are offered an individual choice: to follow the light, or to stay in the darkness and become the Light.

Searchin in Vain kontrastira konvencionalne simbole svetlosti i tame, donoseći promenu njihovih suština. Komfor svetlosti je zamenjen sveprožimajućom tamom, koja postaje arena konflikta za samospoznaju. Umesto potrage za spoljašnjim prosvetljenjem, možemo ga pronaći u sebi, ostajući u sopstvenom mračnom prostoru.

Searching in Vain contrasts the conventional symbols of light and dark, bringing about a shift in their essence. The comfort of the light is replaced by an engulfing darkness, which becomes a conflict arena for self-realisation. Instead of searching for external enlightenment, we can find it from within by staying in our own dark space.

Ovaj individualni izbor je ostvaren kroz metaforičnu spiritualnu platformu. Mračne i mistične fotografije stvaraju hodnik koji dovodi gledaoca do oltara - video rada koji postavlja večno pitanje: da li nam je potrebna veštačka svetlost? Simbolična upotreba LED lampi donosi promenu u gledaočevoj percepciji, dozvoljavajući mu da kontroliše tamu, time ultimativno shvatajući svoj unutrašnji potencijal.

This individual choice is facilitated using a metaphoric spiritual platform. The eerie photographs create a hallway leading the viewer to the Altar, a video piece, which sets the eternal question: do we need the fabricated light? The symbolical use of LED headlamps brings about a change in the perception of the viewer, allowing them to control the darkness, thus ultimately realising their inner potential.

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TANJUG – KROZ SAVREMENU UMETNOST SEDAMDESETIH IZLOŽBA EXHIBITION

Drugu godinu za redom u saradnji sa Tanjugom, O3ONE vam otkriva fotografije jedne od najbogatijih agencijskih fotoarhiva u Evropi. Tanjug je baštinio i arhive svojih prethodnika - novinske agencije Avala koja je postojala između dva svetska rata i Pres biroa koji je postojao pre Prvog svetskog rata. Zahvaljujući tome, najstarija fotografija u Tanjugovoj arhivi datira iz 1912. godine. Fotoarhiva novinske agencije Tanjug sadrži oko 3,5 miliona negativa. Postavku čini oko 30 crno-belih fotografija na kojima su tanjugovi fotoreporteri Anton Vaš, Bogdan Bradvarović, Branko Obradović, Živorad Vučić i Vladimir Dobričić zabeležili neke od najznačajnijih izložbi koje su gostovale u prestonici. Beograd sedamdesetih. Avangarda tadašnje Jugoslavije. Grad koji je posle studentskih protesta i seksualne revolucije otvoren za nove tendencije u likovnoj umetnosti. Uporedo sa svetskim trendovima, eksperimentiše sa instalacijama, performansom, konceptualnom umetnošću. Beograđani su, kao i “zapadnjaci” mogli da vide reprezentativna dela savremenog dizajna Velike Britanije, Mongolije, savremene mađarske umetnosti, persijske umetnosti, američke keramike i tapiserija, umetnosti u Vašingtonu. 359

Second year in a row, in cooperation with Tanjug, O3ONE reveals photos of one of the Europe’s most valuable photo archives. Tanjug holds the archives of its predecessors – newspapers agency Avala which existed between two World Wars and of the Pres Biro, which existed before First World War. Considering these facts the oldest photo in Tanjug photo archive dates from the year 1912. Photo archive of the Tanjug News Agency holds up to 3.5 million negatives. The exhibition consists of 30 black and white photos of the most important exhibitions that were hosted in the capital of the former Yugoslavia, taken by the photographers: Anton Vaš, Bogdan Bradvarović, Branko Obradović, Živorad Vučić and Vladimir Dobričić. Belgrade in the seventies. Avant-garde of Yugoslavia. After the students’ protests and the sexual revolution, the city was open for new tendencies in fine arts. Experimental installations, performances and conceptual art exhibitions were held as a part of the world trends. Citizens of Belgrade could see, as well as their fellow man from the Western countries, the representative works of the contemporary design from Great Britain, Mongolia, Hungarian contemporary art, Persian art, ceramics and tapestry of the United States and arts from Washington.

LIFE BALANCE – MEĐUNARODNA IZLOŽBA FOTOGRAFIJA IZLOŽBA EXHIBITION

Life Balance is an international exhibition of photographs under the patronage of FIAP (International Federation of Photographic Art) and FSS (Photo Association of Serbia) in the organization of the association Art Balance.

Life Balance je međunarodna izložba fotografija pod patronatima FIAP (International Federation of Photographic Art) i FSS (Foto saveza Srbije), u organizaciji udruženja Art Balance. Na konkurs za izložbu Life Balance se odazvalo ukupno 273 autora iz 51 zemlje.

273 authors from many countries responded on the open call for the exhibition Life Balance.

Konkurs je obuhvatao 4 teme: • Svakodnevni život • Portret • Umetnički akt • Slobodna tema

Competition included four themes: • Everyday life • Portrait • Artistic act • Open theme

Ukupno je pristiglo 3411 fotografija za 4 teme, a za izložbu je primljeno ukupno 922 fotografije.

3411 photographs were gathered on this contest, and exhibition will show 922 photographs.

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MAGAZIN STATUS - LJUDI OTVORENIH OČIJU IZLOŽBA EXHIBITION

This year for the 10th time Status Magazine organized a prestige open call for the photography of the year „Eyes wide open“ intended for newspaper photographers. The jury that consisted of photo editors from the Belgrade media, chose 39 photographs (more than 600 was received by 40 authors), as well as the 15 coverage that will be presented in the O3ONE Art Space. The winner of the first prize is Marko Đurica (Blic) for the photography from the coverage “No pasaran“, the second place was taken by Nemanja Jovanović (Novog magazina) for the photography from the coverage “Ratko Mladić”, and the winner of the third prize is Emil Vaš (Beta) for the photography „Race in wedding dresses“.

Ove godine je deseti put da magazin Status organizuje prestižni konkurs za fotografiju godine “Ljudi otvorenih očiju“ namenjenog novinskim fotografima. I ove godine, žiri sastavljen od urednika fotografije beogradskih redakcija, je odabrao 39 fotografija (od preko 600 pristiglih i od više od 40 autora), kao i 15 reportaža koje će se prikazivati u elektronskoj formi. Prvu nagradu je osvojio Marko Đurica iz Blica za fotografiju iz reportaže „No pasaran“, drugu Nemanja Jovanović iz „Novog magazina“ za fotografiju iz reportaže „Ratko Mladić“, dok je Emil Vaš iz agencije Beta osvojio treću nagradu za fotografiju „Trka u venčanicama“.

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CANON - POČETAK IZLOŽBA EXHIBITION

Povodom završetka prvog foto konkursa koji je organizovan na Facebook stranici Canon Srbija, Canon će u galeriji O3ONE predstaviti izložbu fotografija na temu „Početak“.

After organizing the first open call for photography on Facebook page Canon Srbija, Canon will present an exhibition of photographs in the O3ONE Gallery.

Fotografije predstavljaju izraz različitih autora na zadatu temu. Nakon više od mesec dana trajanja konkursa i preko 200 prijavljenih fotografija, u utorak ćemo imati priliku da nagradimo najuspešnije. Prva nagrada je Canon PowerShot D10, druga nagrada je vikend za dve osobe na Zlatiboru, treća nagrada je dan u profesionalnom foto studiju sa fotomodelom, a četvrta nagrada je Canon foto štampač CP800.

Photographs are the expressions of various artists on the given subject. More than 200 photographs were received during the open call, and the winners will be awarded at the opening of the exhibition. First prize is Canon PowerShot D10, the second prize is a weekend for two persons on Zlatibor mountain, the third is a photo session with the model in the professional photo studio, and the fourth prize is Canon photo printer CP800.

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ŽIVORAD VUČIĆ - SVEDOK VREMENA IZLOŽBA EXHIBITION

Retrospektivna izložba legendarnog fotoreportera Tanjuga Živorada Žike Vučića održaće se u galeriji “O3one” od 19-30. marta, a svečano otvaranje je u utorak, 19. marta u 19h. Vučić je pratio tadašnjeg predsednika Socijalističke Federativne Republike Jugoslavije (SFRJ) Josipa Broza Tita 27 godina i ostao je upamćen kao fotoreporter koji je bio akreditovan u njegovom Kabinetu. Međutim, on je svojim objektivom beležio i društvene, socijalne, kulturne, sportske događaje… Na postavci pod nazivom “Živorad Vučić – svedok vremena” biće predstavljen samo mali deo onoga što je on zabeležio oštrim okom i svojim objektivom. Pored čuvene Sofije Loren, na fotografijama Tanjugovog fotoreportera nalaze se Karlo Ponte, Mira Sanjina, Mira Stupica, Fidel Kastro, Josip Broz Tito, Jovanka Broz, Luj Armstrong, Če Gevara, Leonid Brežnjev i drugi. Na izložbi će biti prikazan i Vučićev portret Tita, koji se nakon smrti Josipa Broza našao u svim novinama, autobusima, fotografija koju su građani tadašnje SFRJ nosili u rukama, kačili u radnjama oplakujući smrt predsednika.

A retrospective exhibition of the legendary Tanjug photojournalist Živorada Žike Vucic will be held at the gallery “O3one” from 1930. March and officially open on Tuesday, March 19 at 19h. Vucic followed then-president of the Socialist Federal Republic of Yugoslavia (SFRY) Josip Broz Tito for 27 years and is remembered as a photojournalist who was accredited in his Cabinet. However, he recorded through his lens also community, social, cultural and sports events ... At the exhibition titled “Živorad Vucic - witness of the time” will be represented only a small part of what he recorded with his sharp eye and his lens. In addition to the famous Sophia Loren, on the photographs of the Tanjug photographer are Carlo Ponte, Mira Sanjina, Mira Stupica, Fidel Castro, Josip Broz Tito, Jovanka Broz, Louis Armstrong, Che Guevara, Leonid Brezhnev and others. The exhibition will show Vučićev portrait of Tito, who was in all the newspapers and also on the buses after the death of Josip Broz Tito, photograph that citizens of the former Yugoslavia carried in their hands, hung in stores mourning the death of the president.

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ANDY TOWNED - BELGRADE STREETS IZLOŽBA EXHIBITION

Još od septembra 2011. godine Andy beleži život i dušu Beograda kroz niz fotografija objavljenih na njegovom blogubelgradestreets.com. On voli da beleži mesta, ljude, trenutke i snimi uticaj određenog vremena ili emocija. Njegov blog, belgradestreets.com, je mesto gde okuplja svoju doživotnu strast za fotografijom, pisanjem i komunikacijom.

Since September 2011, Andy recorded the life and soul of Belgrade through a series of photos published on his blogbelgradestreets.com. He likes to record places, people, and moments and capture the impact of a particular time or emotion. His blog belgradestreets.com, is the place where he brings together his lifelong passion for photography, writing and communication. It’s attracted viewers from over 100 countries across the world and has a regular following of 1,200 readers. Andy has been living and working here in Belgrade, as a Consultant, since February 2011 and, as he explores belgradestreets, he learned much about this amazing city, the people who live and work here, about himself, and about life. When he set out on this journey Andy’s original goal was to capture belgradestreets with a series of weekly photographs, street by street. Soon enough, belgradestreets took on a life of its own and his photographs and words became a journal, a place where he shares his thoughts and feelings as he explores our city, getting to know its people and what they mean to him.

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ALEKSANDRA DULIĆ I KENNETH NEWBY - RED, STRAST, NASTANAK / ORDER, PASSION, BECOMING IZLOŽBA EXHIBITION

Ova izložba spaja dve ključne ideje: pojam kulturološkog mozaika i ekološkog zdravlja—obe kroz slike raznovrsnosti. Ovo se postiže proširenjem metafore kulturološkog mozaika— ideja koja definiše kanadski identitet—sa komplementarnim ekološkim karakteristikama: složenost, raznovrsnost i ravnoteža. Istovermeno kompozicija takovog mozaika može nam pomoći da sagledamo današnje probleme našeg prirodnog okruženja i ekologije ne samo kao probleme nauke i tehnologije nego kao osnovnu socijalnu, kulturnu i duhovnu problematiku. Temeljni stav ove ideje je da ekološko raznovrsni svet zahteva odgovarajuće raznolike metafore koje treba da se okrenu od kros-kulturnog okvira prema sklopu koji uključuje ekološku zajednicu. Ovo zahteva traganje za načinima na koji se oslikava takva proširena zajednica i poziva na postavljanje ekološkog zdravlja u srž kulturološke realnosti.

This exhibit bridges two key ideas: that of cultural mosaic and ecological health — both images of diversity. This is done with a view to expanding the metaphor of a cultural mosaic — a defining characteristic of Canadian identity — with complementary ecological characteristics of complexity and variety in balance. At the same time the composition of such a mosaic may help us view environmental challenges as not simply problems of science and technology but as core social, cultural and spiritual concerns. The underlying premise is that an ecologically diverse world requires correspondingly diverse metaphors that shift from a cross-cultural framework to one inclusive of ecological communities. An image of an expanded Canadian mosaic is expressed through the composition of dynamic images of multiplicity in a merging of human and Nature

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RAJKO KARIŠIĆ - ŠAPAT KOLJA IZLOŽBA EXHIBITION

Do sada imao blizu 50 samostalnih izložbi u zemlji i inostranstvu (Beograd 1998, 2003, 2008, 2011, Kotor 2005, Pale 2007, Novi Sad, Vrbas, Kula, Kikinda, Sirogojno, Petrovac na Mlavi, Negotin, Zaječar, Niš 2010, Čigota – Zlatibor 2003, 2011, Moskva (Rusija) 2010. (u okviru VIII Međunarodnog bijenala fotografije), Novi Bečej 2011, Kuća Đure Jakšića u Beogradu 2011, Đevđelija (Makedonija) 2011, Kavadarci (Makedonija) 2012, Sankt Peterburg (Rusija) 2012, Loznica 2012, Đevđelija 2013, Aleksandorvac Župski 2013, Vrbas, Novi Bečej 2013. i na preko sto kolektivnih izložbi u zemlji i inostranstvu: Kanada, Austrija, Španija, Rumunija, Mađarska, Crna Gora, Makedonija, Republika Srpska i dr. Nosilac je visokog zvanja Kandidat majstor fotografije Foto saveza SCG.

Until now had nearly 50 solo exhibitions at home and abroad (Belgrade, 1998, 2003, 2008, 2011, 2005 Kotor, Pale 2007, Novi Sad, Vrbas, Kula, Kikinda, Sirogojno, Petrovac, Negotin, Zajecar, Nis 2010, Čigota - Zlatibor 2003, 2011, Moscow (Russia), 2010 (within the VIII International Biennial of photography), Novalja 2011, House Duro Jaksic in Belgrade in 2011, Gevgelija (Macedonia) 2011, Kavadarci (Macedonia) 2012, St. Petersburg (Russia) 2012 Loznica 2012, Gevgelija 2013 Aleksandorvac Župski 2013, Vrbas, Novalja 2013 and more than a hundred group exhibitions at home and abroad: Canada, Austria, Spain, Romania, Hungary, Montenegro, Macedonia, Republic of Serbian et al. He has a high title of Candidate Master of Photo Association of Serbia and Montenegro.

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SAŠA SEKORANJA - NOIR FESTIVAL ZLOŽBA EXHIBITION

Izložba noir fotografija ‘Double Identity’ Saše Šekoranje ekskluzivno snimljena za Noir Festival, nakon premijernog predstavljanja u zagrebačkom Muzeju arhitekture, gostovanja na Sarajevo Film Festivalu i Dubrovačkim letnjim igrama, zatvara svoju turneju u Beogradu odakle je produkcijski započela. Izložba fotografija ‘Double Identity’ je svojevrsni remake scena iz kultnih noir filmova. Međutim, ovaj put u ulogama nezaboravnih noir filmskih likova i zvezda zlatnog holivudskog doba, ispred objektiva poznatog hrvatskog umetnika Saše Šekoranje, zasjale su brojne poznate glumačke regionalne zvezde – Hrvatske, Bosne i Hercegovine, Srbije

Exhibition noir photos ‘Double Identity’ Sasha Šekoranja exclusively recorded for Noir Festival after the premiere of the Zagreb Museum of Architecture, guest appearances at the Sarajevo Film Festival and Dubrovnik Summer Festival closes its tour in Belgrade, where the production began. Exhibition Double Identity ‘is a kind of remake of a scene from the cult noir films. However, this time in the roles of the memorable noir film characters and stars of the golden age of Hollywood, in front of the lens of the famous Croatian artist Sasa Šekoranja, flashed a number of well-known actors of regional stars Croatia, Bosnia and Herzegovina, Serbia

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SLAVENKA SLAVINEC - SLOVENIJA U NAMA ZLOŽBA EXHIBITION

Provesti dane, sate, pa čak i trenutke sa konjima Lipicanerima, privilegija je, i čast koju ću ceniti dok sam živa. Ispunili su me radošću i samopouzdanjem. Kada sam pravila ove fotografije osetila sam poplavu osećaja pripadnosti i ljubavi prema mojoj zemlji. Sva ta osećanja me ispunjavaju srećom u idiličnoj sredini, koja je daleko mirnija nego onih dana kada smo zahtevali svoju nezavisnost. Ovim fotografijama nastojala sam da ilustrujem svoje životno iskustvo u istraživanju kreacije, fotografije, životinja i prirode.

ITo spend days, hours, even moments with the Lipizzaner stallions is a privilege and an honor which I will cherish all my life. They filled me with joy and confidence and when I created these photographs I felt a rush of belonging, pride and patriotism for my country. All of this with the good fortune of having a setting that was far more peaceful than the days we demanded our sovereignty. In these photos I strove to illustrate my life’s experience of love towards creation, photography, animals and nature. This project has demanded all of my expertise in communication, international promotion, marketing and artistic production. I would really like to thank all of you who believed in me and supported me on this journey.

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MAJA ILIĆ - NO PRICE NO TAG IZLOŽBA EXHIBITION

Maja Ilic se odlucila da naslov izložbe njenih ratnih fotografija glasi „NO PRICE TAG“, jer je time želela da fokus usmeri ka pitanju da li se zaista sve može prodavati i kupiti, i koja je stvarna cena ljudskog života – te izuzetno stabilne i kurentne monete na svetskoj berzi, gde je rat jedna od najunosnijih trgovinskih i ekonomskih grana. Posmatrajuci njene fotografije izdvojene iz namenskog, odnosno, novinsko-agencijskog, kao i dnevno-politickog i ideološkog konteksta, stekla sam uverenje da u njihovom galerijskom predstavljanju i sagledavanju žižnu tacku pogleda treba izmestiti sa te prve linije „vizuelnog fronta“, na nešto udaljeniju poziciju. Uz obavezu da se ne zanemare neosporna ekskluzivnost i autenticnost zabeleženog, takvom se alteracijom mesta posmatranja uocavaju u prvom gledanju prenebregnuti detalji, i dosežu skriveniji, skrajnuti i dublji slojevi prizora.

Maja Ilic decided that the title of her exhibition of war photographs will be “NO PRICE TAG”, because whit this she wanted to direct the focus to the question of whether really everything can be sold and bought, and what is the real price of a human life - this extremely stable and competitive currency on the world market, where the war is one of the most lucrative trade and economic sectors. Looking at her photos extracted from a dedicated, newspaper - agency, as well as the daily political and ideological context, I gained the confidence that in their gallery representation and perception of the focal point of views should be relocated to the front lines “of the visual front,” to something more distant position . With the obligation not to ignore undeniable exclusivity and authenticity of recorded, such an alteration of the observations noted in the first viewing overlook details, and reaching more hidden, pushed aside the deeper layers of the scene.

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NOVI DIRIŽABL - DRUGAČIJI STAV IZLOŽBA EXHIBITION

U prikazanoj seriji fotografija autori se poigravaju stereotipnim predstavama o trudnoći prikazujući trudnicu u tipično muškom, grubom i sirovom kontekstu; poigravaju se sa politikama predstavljanja ženske telesnosti pre svega time što izabiraju da trudno, upadljivo preoblikovano i transformisano žensko telo izmeste iz sfere privatnosti i zaštićenosti i udobno ga smeste u javni, naglašeno muški kontekst i prikažu kao aktivno, sposobno da deluje i proizvodi i na drugačije načine osim da bude prezaštićeni kontejner budućeg života čime u stvari pokušavaju da izbegnu da trudno telo svedu i redukuju na čisto prokreativnu funkciju. Na taj način, trudnica se svrsishodno lišava onog nazovi prirodnog i hrabro stupa u područje društvenog naglašavajući svoju potrebu za slobodom i preuzimanjem jedne drugačije vrste odgovornosti prema vlastitom telu i detetu koje nosi. Autori hoće da nas podstaknu da prigrlimo svoju transformaciju i radosno napravimo jedan korak više.

The photos on display are a representation of a game the authors played with the stereotypical notions about pregnancy, by placing a pregnant woman in a typically male, rough and raw context; they are playing around with the policies of representation of the feminine physicality primarily by chosing to move a pregnant, strikingly preformed and transformed woman’s body from a sphere of privacy and protection, placing it into a public, dominantly male context, thus presenting it as active, capable of doing and contributing in a manner different than merely as an overprotected container of a future life. It is, mainly, an attempt to avoid the reduction of a pregnant body to a solely procreative function. Thus, a pregnant woman is purposelly stripped from what is, allegedly, natural, bravely stepping into the social area, emphasising her need for freedom and a different kind of responsibility towards her own body and the child she’s carrying. The authors want to encourage us to embrace our own transformation and joyfully take an extra step.

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NENAD MARJANOVIĆ - MAGIJSKI PREOBRAŽAJ IZLOŽBA EXHIBITION

Svi znamo da su snovi crno-beli. I da su najlepši filmovi isto takvi. Baš kao i najelegantniji ženski kostimi, rendgenski snimci, portreti na dokumentima, najlepše renesansne grafike i drvorezi, arlekinsko odelo, originalna templarska zastava i boja Malteških vitezova, figure na kariranom ratnom polju šahovske table, astrološki i metereološki simboli, Escherovi trodimenzionalni antigravitacijski lavirinti, jedna od dve ratne ruže u britanskom stogodišnjem ratu (ona dinastije York), Yin i Yang, piratska zastava sa lobanjom i ukrštenim kostima, barjak i omiljena kombinacija boja svih anarhista i zaverenika, monaške odežde, ulične grafitne oznake za „pobunu“ i „mir među ljudima“, svi dokumentarni snimci istorijskih događaja, dresovi nekoliko najvećih svetskih fudbalskih klubova, dve od četiri „sakralne boje“ Navaho indijanaca i plemena Apača, sva film-noir remek dela, raskošno noćno nebo, svetlo na kraju tunela, svaka knjiga na svetu (uvek sa crnim slovima na beloj podlozi)...

We all know that dreams are black and white. And the most beautiful movies are such. Just like the most elegant women’s suits, x-rays, portraits of the documents, the most beautiful Renaissance prints and woodcuts, arleskino suit, the original Templar flag and the colors of the Knights of Malta, the figures on the battlefield checkered chessboard, Astrological and Meteorological symbols, three-dimensional Escher antigravity labyrinths, one of two war rose in the British one hundred year war (the York dynasty), Yin and Yang, pirate flag with a skull and crossbones, the flag and the favorite color combination of all anarchists and conspirators, monastic vestments, street graphite markings for “rebellion” and “peace among people “, all the documentary footage of historical events, jerseys from the greatest football teams, two of the four” sacred colors “Navaho Indians and tribes of Apaches, all film-noir masterpiece, lavishly night sky, the light at the end of the tunnel, each book in the world (always with black letters on white background)...

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SENJA VILD - PRVI KRUG IZLOŽBA EXHIBITION

Ove fotografije snimala sam skoro svakodnevno poslednjih godinu i po dana.

These photos I shot almost every day over one and a half year. Background, color and texture are very important; they speak about the character or the current preoccupation with the person in the photograph. On many are my parent, I know them ... I know their weak points, we recognize eachothers in the little things ... a lot of what is needed to create images.

Pozadine, boje i teksture su veoma važne, one govore o karakteru ili trenutnoj preokupaciji osobe na fotografiji. Na mnogima su moji rodtelji, najbolje ih poznajem… znam im slabe tačke, prepoznajemo se u sitnicama… mnogo toga što je potrebno da bi se napravila fotografija.

This is the beginning of my story, the first round, and I’ll talk I hope, for many years.

Ovo je početak moje priče, prvi krug, a pričaću je nadam se, još mnogo godina.

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V.I.P.

• Srpski Tardis

Moj omiljeni esej je “Pohvala nedoslednosti” od Lešeka Kolakovskog. Mislim da bi svaka generacije morala da se upozna sa njim. U zemlji u kojoj su nedoslednost i proizvoljnost deo opšteusvojenog stereotipa o originalnosti koja je važnija od svega drugoga, čitanje ovog eseja bi možda doprinelo shvatanju onoga što smo izgubili: osećanje slobode koja počiva na postojanju zajedničkih pravila i normi. Nedoslednost koja je kreativna, koja ne izoluje i ne zatvara već uspostavlja nove veze i otvara nove vidike, nedoslednost koja se suprotstavlja sebičnosti, nasilju i surovosti, slepoj rutini i otuđenosti, to je nešto što bi upravo trebalo da bude suština doslednosti. Da bismo stigli do one tačke kada se sloboda, kao i pristojnost, doživljavaju kao deo normalnog, svakodnevnog života, morali bismo se naučiti određenoj vrsti vernosti. Reč je o jednoj sasvim profanoj vernosti koja deluje kao idealizam. U pitanju su: veština, profesija i radoznalost.

Sada se ponovo vraćamo na Kolakovskog i njegovoj nedoslednosti. Ta nedoslednost nije anarhija i haos već suprotstavljanje onoj vrsti pogubne doslednosti u koju su nas kroz istoriju uterivali: države, stranke, crkve, obrazovanje, kultura... Kolakovski primećuje da bismo, da smo bili dosledni u ratovima koji su se vodili na ovim, evropskim prostorima, svi bili mrtvi jer nijedna strana ne bi prihvatila kapitulaciju. Da smo bili dosledni Zemlja bi i dalje bila ravna ploča. A društvo bi i dalje bilo podeljeno na vlasnike i robove. Naravno, postoje i neke posebne situacije koje ograničavaju nedoslednost: “Elementarne situacije su one u kojima zamire taktika, to jest ljudske situacije prema kojima naš moralni odnos ostaje nepromenjen, bez obzira na okolnosti u kojima se te situacije ostvaruju. Ako čovek umire od gladi, a mogu da mu dam da jede, onda ne postoji nikakav skup okolnosti, u kojima bi bilo ispravno reći: “taktički je bolje dopustiti da umre”; ili, ako ne mogu da mu pomognem, da kažem: “taktički je bolje prećutati njegovu smrt izazvanu glađu”. Elementarne situacije su evidentne ratne agresije, genocid, torture, iživljavanje nad bespomoćnima. U elementarnim situacijama vrednosti nedoslednosti prestaju da igraju ulogu.” (Lešek Kolakovski: Pohvala nedoslednosti, prevela Biserka Rajčić)

O tome bih sada želo da razmišljamo dok obeležavamo deset godina od početka rada galerije “O3one”. Da se odmah razumemo: nije u pitanju samo prostor i ono što se u tom prostoru odigravalo, mnogo više je u pitanju jedno potpuno drukčije, novo gledanje na ideje, stvari i vrednosti. U pitanju je ceo jedan pokret koji se pokrenuo uz malu pomoć “O3one-a” širom ovog dela Evrope i sveta. “O3one” je od samog početka bio poput telefonske govornice doktora Hua, poznatije kao Tardis. Tardis može da nas teleportuje gde poželimo, ne samo kroz prostor nego, što je još važnije, i kroz vreme. Naša potreba da skačemo kroz vreme nesumnjivo je dobri delom posledica onoga što nam se dešavalo devedesetih, neka vrsta odbrambenog mehanizma. Stanje izolovanosti i usamljenosti ne može se izbrisati jednim potezom prsta ili svečanom objavom. Tardis u sebi krije mnoge tajne preobraženja i transformacija. Spolja gledana, mala telefonska govornica, u unutrašnjosti se otvara kao ogromni prostor prepun raznih predmeta i projekcija.

Zašto pominjem ove: “elementarne situacije”? Iz jednostavnog razloga jer smo ih ne tako davno i sami iskusili. I zbog toga što postoji snažna tendencija da ih jednostavno izbrišemo iz sećanja. No, i bez rata i bez torture, mi se svakog dana suočavamo sa situacijama u kojima moramo da se opredelimo i angažujemo. Svet onih kojima je potrebna pomoć i podrška nije daleko hiljadama kilometara. Romi koji su izloženi napadima i diskriminaciji, osobe sa posebnim potrebama, deca koja se zlostavljaju, ljudi koji su obeleženi svojim bolestima, sve su to “elementarne situacije”.

“O3one”, u neposrednoj blizini svetovne moći (predsednik Republike, Gradska skupština i Parlament, nekadašnji Stari i Novi dvor) kao da samim svojim položajem izaziva uzbudljive i neobične događaje. Ko zna šta se u njemu odigrava u gluvo doba noći. Veliki izlog može mnogo toga da sakrije. Mnogo više nego što se to može zamisliti. Između ostalog tu su i procesi transmutacije kojima se umesto da se olovo pretvara u zlato proizvode neke neobične veze između muzike, ekologije i društvene teorije. Iz “O3one-a” su kretale veze sa udaljenim gradovima i zemljama, pravile zajedničke radionice, iskušavale nove tehnologije, pravili prototipovi i planovi za nova putovanja i otkrića. Da nije bilo “O3one-a” ne znam gde bi se sve to odigravalo. Takozvane državne institucije kulture sputane su svojim programima, upravnim odborima, spiskovima poželjnih i nepoželjnih saradnika, najzad samim budžetom, da bi mogle da ponude nešto poput onoga što je sve vreme radio “O3one”.

“O3one” nije čekao na takve situacije, on ih je tražio i išao im u susret. Iz svoga Tardisa uskakao je iz jedne u drugu situaciju otvarajući prostor za nešto što mi se čini fundamentalnim prostor za autentični dizajnerski aktivizam. Istovremeno, “O3one” je stalno nedosledan temi, formi i formatu. Uspeo je da poveže klasično i moderno ne samo u umetnosti nego i u društvenoj teoriji. Posebno značajno mesto u ovoj nedoslednosti predstavlja povezivanje umetnosti i privrede, ono što često nailazi na nerazumevanje i među umetnicima i među privrednicima. Gustina događaja koji su ispunili programe “O3one-a” za poslednjih deset godina je tolika da je nemoguće izdvojiti ih na ovom mestu kao najznačajnije. Njihova raznolikost i raznovrsnost je tolika da je najbolje pročitati spisak na kraju knjige. Već sam spisak oblasti i tema deluje fascinantno: arhitektura, sport, gastronomija, vizuelne umetnosti, muzika, fotografija, mediji, medicina, moda, ekologija, obrazovanje, 388

istorija, komunikologija, novi mediji, digitalna umetnost, sećanje, nauka, muzeologija... Dizajn i komunikacije su prisutni u najvećem broju oblasti. A onda su tu i manifestacije i kampanje: B-link, Belef, Škola bez nasilja, Beogradski maraton... Bio je zaista potreban jedan Tardis da bi se sve ovo ostvarilo. U zemlji gde se tako lako zaboravlja i troši dobra kulturna tradicija “O3one” predstavlja pravo čudo. “O3one” je mesto gde možemo ponovo da pronađemo ono što smo u međuvremenu izgubili: mogućnosti da komuniciramo sa celim svetom, da uživamo u različitim veštinama, ali i da održimo solidarnosti i dobrote kao sastavni deo svoga bića. I da završim sa Kolakovskim, mislim da bi se doktor Hu sasvim složio: “Tolike pohvale nedoslednosti. Ostatak se ne da iskazati. Ostatak treba uraditi.” Velimir Ćurgus Kazimir

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• Srpski Tardis

My favourite essay is “In Praise of Inconsistency” by Leszek Kolakowski. I think that every generation should familiarize itself with it. In a country where inconsistency and arbitrariness are parts of generally accepted stereotype of originality, which has become more important than anything else, reading this essay might contribute to understanding what it is that we have lost: the feeling of freedom based on the existence of common rules and norms. Inconsistency which is creative, which does not isolate and does not confine but rather makes new connections and opens new horizons, inconsistency which opposes selfishness, violence and cruelty, blind routine and alienation is something that should represent the very essence of consistency.

by their programmes, boards of directors, lists of desirable and undesirable collaborators, and finally by the budget itself, in order to offer anything like what O3one has been doing all this time. Now we go back again to Kolakowski and his inconsistency. That inconsistency is not anarchy and chaos but rather opposition to that fatal consistency that we were pushed into through history by the state, parties, church, education, culture... Kolakowski remarks that if we had been consistent in the wars fought here, and in Europe, we would have all been dead because neither side would have accepted to capitulate. Had we been consistent, the Earth would have remained flat. And the society would still have been divided into owners and slaves. Naturally, there are also special situations which limit inconsistency:

In order to reach the point where freedom, as well as decency, are seen as parts of normal, everyday life, we would need to learn a certain type of loyalty. It is a very profane loyalty that looks like idealism. We are talking about: skill, vocation and curiosity.

“Elementary situations are those in which all tactic ceases. These are human situations we always see in the same moral light regardless of the circumstances in which they occur. If a man is starving, and I can give him some food, then there are no circumstances in which it would be justified to say: “tactically it is better to let him die”; or, if I cannot help him, to say: “tactically it is better keep silent about this death caused by starvation”. Elementary situations are evident war aggressions, genocide, torture, mistreatment of the defenseless. In elementary situations the values of inconsistency no longer play a part.” (Leszek Kolakowski: In Praise of Inconsistency)

I would like us to think about that now when we are celebrating ten years of the O3one Gallery. Let me be clear: it is not just the space and what went on in that space, it is much more – a whole different, new perspective of ideas, things and values. It is a whole movement that was initiated with a little help from O3one throughout this part of Europe and the world. From the very beginning O3one was like a Doctor Who’s phone box, better known as Tardis. Tardis can teleport us wherever we want, not just in space, but more importantly, through time. Our need to jump through time is undoubtedly in larger part the consequence of what was happening to us in the nineties, some sort of defense mechanism. State of isolation and loneliness cannot be erased by a single sweep or with a formal declaration. Tardis conceals inside many secrets of metamorphosis and transformation. Seen from the outside it is a little phone box but on the inside it opens to an enormous space filled with various objects and projections.

Why am I mentioning these “elementary situations”? For a very simple reason –we have experienced them ourselves not such a long time ago. And because there is a strong tendency to simply erase them from memory. But, even without war and without torture, we face everyday situations where we have to take side and involve ourselves. The world of those who need assistance and support is not thousands of miles away. The Roma exposed to attacks and discrimination, persons with disability, abused children, people stigmatized by their illness, all these are “elementary situations”.

O3one, in the very neighbourhood of secular power (President of the Republic, City Hall and Parliament, once the Old and New Palace) seems to provoke exciting and unusual events simply by its location. Who knows what happens in there in the dead of the night. A large window can conceal so much. Much more than can be imagined. Among other things there we also have the processes of transmutation which, instead of turning lead into gold, produce unusual connections between music, ecology and social theory. The connections with faraway cities and countries were made from O3one, collective workshops were created there, new technologies were challenged, fresh prototypes and plans for new journeys and discoveries were devised. If there had been no O3one I don’t know where all that would have taken place. So-called state cultural institutions are constrained

O3one did not wait for such situations, O3one searched for them and met them half way. From its Tardis it jumped from one situation to the other opening the space for something I believe is fundamental – place for authentic designers activism. At the same time O3one is constantly inconsistent when it comes to subject, form or format. It managed to link classical and modern not only in art but also in social theory. Particularly important place in this inconsistency is connection of art and economy, something that is often misunderstood by both artists and business people. Plethora of events that have filled the programmes of O3one-a in the last ten years was such that it is impossible to make a selection here of the most important ones. Their diversity and multiformity is such that it is best to 390

read the list at the end of the book. The list of domains and topics is fascinating: architecture, sport, gastronomy, visual arts, music, photography, medicine, fashion, ecology, education, history, communicology, new media, digital art, memory, science, museology... Design and communications are present in most domains. And then there are events and campaigns: B-link, Belef, School without violence, Belgrade Marathon... We really needed a Tardis for all this to happen. In a country where people easily forget and where good cultural tradition is being wasted O3one is a real miracle. O3one is a place where we can find what we have lost in the meantime: opportunity to communicate with the entire world, to enjoy in various skills, but also to maintain solidarity and goodness as an intrinsic part of our being. And to conclude with Kolakowski, I believe Doctor Who would agree: â&#x20AC;&#x153;So many praises of inconsistency. The rest cannot be expressed. The rest needs yet to be done.â&#x20AC;? Velimir Ä&#x2020;urgus Kazimir

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R.E.M.

R.E.M, posle 25 godina postojanja, i dalje aktivno vrši ogroman uticaj na formiranje novih generacija. Kroz izbor muzičkih spotova, intervjua, koncerata i vizuelnog materijala koji prati njihov rad, izložba je ukazala na osnovne životne i umetničke stavove članova grupe, kao i na njihov odnos prema savremenom svetu i vremenu u kojem živimo. Između ostalog, publika je imala priliku da se upozna sa ekskluzivnim materijalima vezanim za rad grupe, koji do tada nisu bili prezentovani široj javnosti. Poseban aspekt izložbe činio je materijal koji je O3ONE sakupio od lokalnih fanova, a koji je posvedočio kultnost ovog benda na našim prostorima. Izložba je nastala zahvaljujući saradnji između Komune, O3ONE-a i Mascom-a.

After 25 years of existence, R.E.M. still actively influence the way new generations develop. Exhibition consisted of a selection of music videos, interviews, concerts and visual material which portrayed their work and their views on life and art as well as their attitudes toward the modern world and the time we live in. Furthermore, audience had a chance to see exclusive, previously unreleased material related to R.E.M.’s work. Special feature of the exhibition was material brought in by the local fans, which clearly illustrated the cult status the band enjoys in this part of the world. R.E.M. exhibition was realized in a cooperation between Komuna, O3ONE and Mascom.

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www.komuna.com | www.mascom.rs/index.php

IZLOŽBA EXHIBITION

RUNDEK – CARGO ASPEKTI

Kao prateći program koncertnog nastupa Rundek Cargo Orkestra u Sava centru, 2. aprila 2005. godine u O3ONE-u je bila priređena multimedijalna izložba koja je rasvetlila manje poznate kreativne aspekte rada ovog sastava, koji ima za članove i eksperimentalne vizuelne i audio umetnike. Rundek Cargo Orkestar nastao je na tragovima istraživanja muzičkih tradicija Balkana, Centralne Evrope i Mediterana, i njihovom ukrštanju sa regeom, južnoameričkim ritmovima i savremenom elektronskom muzikom, u građenju specifičnih hibridnih muzičkih tvorevina. One u isto vreme imaju pop karakter i ostavljaju znatan prostor improvizaciji i igri, u spletu sa formalnim muzičkim eksperimentima. „Rundek. Cargo Aspekti” demonstrira načine na koje se principi eksperimenta u muzici prenose u šire polje kulture, i rezultiraju zvučnim i vizuelnim instalacijama i specifičnim imidžom grupe koja u velikoj meri probija standardne okvire muzičke i, uopšte, kulturne industrije. Izložba je pružila svojevrstan zvučni ambijent u koji su bili ukomponovani video eseji, fotografije, digitalni slajdovi i printovi, koji dokumentuju rad grupe, kao i želje i vizije njenih članova. Autori radova: Vedran Peternel, Nedžad Ajkic, Biljana Tutorov, Nebojša Babić, Darko Rundek...

As a follow-up programme to a concert in Sava centar by Rundek Cargo Orchestra on 2nd April 2005, O3ONE organized a multimedia exhibition which shed a light on the less known creative aspects of the work by a group whose members are also interested in experimental visual and audio art. Music of Rundek Cargo Orchestra is based on the research of traditions of the Balkan region, Central Europe and the Mediterranean, and their fusion with reggae, south-American rhythms and contemporary electronic music which all together creates a very particular musical hybrid. At the same time, they have a pop character and leave plenty of space for improvisation and dance, entwined with formal musical experiments. Exhibition “Rundek Cargo Aspects” demonstrates how to transfer the principles of experimentation in music into wider cultural context, resulting in audio and visual installations and a specific image of the group which continually raises the standard of musical and cultural practices. The exhibition provided a specific audio background which was interweaved with video essays, photographs, digital slides and prints, which documented the work of the group as well as their aspirations and visions. Authors: Vedran Peternel, Nedzad Ajkic, Biljana Tutorov, Nebojsa Babic, Darko Rundek... 395

www.darko-rundek.com

IZLOŽBA EXHIBITION

ZUBIN MEHTA

Povodom nastupa čuvenog dirigenta Zubina Mehte u Zadužbini Ilije M. Kolarca (26. i 27. novembra) u okviru ciklusa Beogradske filharmonije „Omaž Hansu Svarovskom”, BF i O3ONE su organizovali izložbu posvećenu nastupima i delu Zubina Mehte. U postavci su se našle fotografije autora Nebojše Babića, kao i one iz arhiva Beogradske filharmonije. Na otvaranju izložbe, direktor Filharmonije Ivan Tasovac obavestio je prisutne da je Zubin Mehta priložio 30 000 dolara u fond za nabavku instrumenata Beogradske filharmonije, koji od tada nosi njegovo ime.

On the occasion of the performance by the famous conductor Zubin Mehta at the Ilija Kolarac Hall (26th and 27th November), which was a part of Belgrade Philharmonic’s “Homage to Hans Swarowski”, an exhibition dedicated to the work and life of this amazing personality was organized in cooperation between O3ONE and BF. Photographs by author Nebojsa Babic and photographs from the archives of BF were exhibited in the gallery. Ivan Tasovac, director of the BF, announced at the opening of the exhibition, that Zubin Mehta donated $30 000 to the BF fund intended for purchase of new instruments, and that the fund was be named after the conductor. Zubin Mehta (1936) a son and a student of a famous Indian violinist and composer Mehlia Mehta, studied in Vienna at H. Swarowski’s, and perfected his art at C. Cecchio and A. Gallieri in Siena then in Tanglewood. His career took off in 1958. when he won at the competition in Liverpool. He is a director of orchestras in Montreal and Los Angeles, and he is conducting Israeli Philharmonic.

Zubin Mehta (1936), sin i učenik indijskog dirigenta i violiniste Mehlia Mehte, studirao je u Beču kod H. Svarovskog, a usavršavao se kod K. Čekija i A. Galijerija u Sieni pa u Tanglevudu. Karijeru započinje 1958. godine, nakon pobede na takmičenju u Liverpulu. Direktor je okrestara u Montrealu i Los Anđelesu, a vodi i Izraelsku filharmoniju.

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www.zubinmehta.net

IZLOŽBA EXHIBITION

STEP OUT! IZLOŽBA EXHIBITION

Beogradski maraton d.o.o. tradicionalno nagrađuje autore najuspešnijih fotografija i tekstova posvećenih svim manifestacijama koje organizuje. To je slučaj i sa 19. Beogradskim Banca Intesa maratonom. Konkurs je raspisan za tri kategorije radova: 1. Najbolja fotografija sa 19. Beogradskog Banca Intesa maratona. 2. Najbolja objavljena novinska fotografija sa 19. Beogradskog Banca Intesa maratona. 3. Najbolji autorski tekst / prilog sa 19. Beogradskog Banca Intesa maratona. Specijalni žiri organizatora ocenio je prispele radove i o rezultatima izbora obavestiće učesnike i javnost.na izložbi u O3ONE,. Organizatori Konkursa: Beogradski maraton, REFOTO časopis, Orange studio i O3ONE.

Belgrade Marathon Ltd, traditionally awards the authors of the best photographs and articles written on the subject of the manifestations organized by the company. Such was the case with the 19th Belgrade Banca Intesa Marathon. The competition was open for three categories of works: 1. Best photograph of the 19th Belgrade Banca Intesa Marathon 2. Best photograph published in the press of the 19th Belgrade Banca Intesa Marathon 3. Best article/reportage from the 19th Belgrade Banca Intesa Marathon Special panel of judges have appraised all submitted works. Results of the competition shall be announced at the exhibition organized at O3one space. Organizers of the competition: Belgrade Marathon, REFOTO magazine, Orange studio and O3ONE.

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MI SMO TA EKIPA

Pred Evropsko prvenstvo u vaterpolu, održano od 1. do 10. septembra u Beogradu, Muzej sporta, u saradnji sa Vaterpolo savezom SCG, priredio je izložbu „Mi smo ta ekipa”. Izložba je predstavila istorijat vaterpola u Srbiji, kao najtrofejnijeg sporta na našim prostorima, putem fotografija, eksponata, filmova vezanih za najznačajnije uspehe, arhivske građe i dokumentacije, eksponata – lopti… Autor izložbe: Marija Stojić / Organizator izlozbe: Snežana Milojković / Koordinator izložbe: Doc. dr Darko Mitrović / Organizacija: Muzej sporta (Fakultet sporta i fizičkog vaspitanja - Beograd) Muzej sporta Fakulteta sporta i fizičkog vaspitanja čuva preko 70.000 vrednih eksponata, počevši od najstarijeg eksponata – koštane klizaljke iz doba neolita. Muzejska zbirka počela je da se formira još 1947. godine, a od 1979. pretvorena je u muzej i smeštena u podrumske prostorije fakulteta. Usled nefunkcionalnosti prostora, Muzej jedno vreme nije radio, a 2005. godine ponovo je počeo sa radom. Izložbe Muzeja sporta su samo uvod u kampanju „Obnova Muzeja sporta“, čiji je cilj dobijanje adekvatnog muzejskog prostora, kao i uključivanje poznatih sportista u rad muzeja.

Before the European Water Polo Championship which took place in Belgrade from the 1st to the 10th September, the Museum of Sport in cooperation with the Water polo Association of Serbia and Montenegro prepared the exhibition “We are the Team”. The history of water polo, the sport in which our country excelled and got most trophies for, was presented through photographs, exhibit clips from the memorable games, archive materials and various documents, exhibits such as balls from the games… Author: Marija Stojic / Producer: Snezana Milojkovic / Coordinator: Doc. Dr Darko Mitrovic The Museum of Sport at the Faculty of Sport and Physical Education has a collection of more than 70.000 valuable exhibits, the oldest one being a pair of ice skates made of bone, from the Neolithic period. The collection was initially started in 1947 and from 1979 it became a Museum which was situated in the cellar of the Faculty. As the space was inappropriate, Museum did not open again until 2005. Exhibitions organized by the Museum of Sport are just an introduction to the campaign “The restoration of the Museum of Sport”, which aims to facilitate the acquisition of the appropriate space for the museum and to involve famous sports personalities into the work of the Museum. 401

www.dif.bg.ac.rs

IZLOŽBA EXHIBITION

XX BELGRADE FASHION WEEK – RELOAD

Izložba „Reload” je retrospektiva svih dosadašnjih Beogradskih nedelja mode, kroz video radove koji obuhvataju brojne revije od prvog do dvadesetog FW, reklamne spotove, fotografije sa revija, raznovrsne štampane materijale: kataloge, biltene. Povodom proslave jubileja, gosti O3ONE-a imali su priliku da saznaju imena svih učesnika od I do XX FW, kao i razne zanimljive podatke iz njegovog istorijata. „Reload” je predstavio modele dobitnika BazArt nagrada za najboljeg kreatora i najbolju reviju: Dode Komad, Nataše Šaric, Bate Spasojevića, Borisa Nikolića, Ive Stefanović i JSP - Jelene i Svetlane Proković. Održano je i predavanje Mari Luiz Pumaju, pariske modne ikone, vlasnice lanca Maria Luisa i začetnice multi brend šopova i Didijea Grumbaša, predsednika Francuske komore za modu.

Exhibition Reload is a retrospective of all former Belgrade Fashion Week events, presented through video works showing catwalk events from the very 1st to the 20th FW, TV commercials, catwalk photographs, various print materials, catalogues, newsletters...In honour of the anniversary, guests at O3ONE had a chance to hear all the names of the participants of FW 1-20, and many other interesting details from the past events. Reload presented winning models of BazArT fashion designer contest, also the winning fashion shows by - Doda Komad, Natasa Saric, Bata Spasojevic, Boris Nikolic, Iva Stefanovic and JSP - Jelena and Svetlana Prokovic. Marie Louise Poumaillou, Parisian fashion icon and the owner of Maria Luisa stores and the inventor of multi brand stores and Didier Grumbach, president of the French Chamber of Fashion, were guests at the panel discussion.

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www.belgradefashionweek.com

IZLOŽBA EXHIBITION

NJEN PRIJATELJ / BREAST FRIEND

Joint project by the Katarina Rebraca Charity Foundation, photographer Nebojsa Babic and company “Roche” “Breast friend” is an exhibition of photographs of the celebrities with their best friends who have had a breast cancer treatment. Support for the project came from many well known personalities–Verica Rakocevic, Zdravko Colic, Dragana Cosic, Maja Nikolic, Natasa Markovic, Sonja Kolacaric, Bojana Stefanovic, Ivan Tasovac, Tijana Dapcevic, Anabela, Bojana Lekic, Jova Radovanovic and many others. “Breast friend” is primarily an educational campaign dedicated to women who suffered from breast cancer and to those who stood by them during the most difficult times, facing the illness and searching for the best treatment. “Breast friend” is a part of the global campaign “Breast Friends” sponsored by the Pharmaceutical company “Roche”. Main goal of the campaign is to identify the necessity of early diagnosis of breast cancer, also, if the presence of cancer is established, the necessity to face it, to learn about it, and accordingly, receive adequate and the best possible treatment available. Celebrities and inspiring personalities such as Jerry Hall, Goran Visnjic, Rosanna Arquette, Rosemary Moritz and many others, participated in this project in order to advise in a dignified and optimistic manner about the importance of education in the fight against breast cancer.

Projekat Dobrotvornog fonda Katarine Rebrača, fotografa Nebojše Babića i kompanije „Roche”(Roš) „Njen prijatelj” je izložba fotografija poznatih ličnosti i njihovih prijateljica koje su se lečile od raka dojke. Podršku projektu dale su brojne ličnosti iz našeg javnog života – Verica Rakočević, Zdravko Čolić, Dragana Ćosić, Maja Nikolić, Nataša Marković, Sonja Kolačarić, Bojana Stefanović, Ivan Tasovac, Tijana Dapčević, Anabela, Bojana Lekić, Duška Jovanić, Jova Radovanović i mnogi drugi. „Njen prijatelj” je zapravo edukativna kampanja posvećena svim ženama koje su imale rak dojke i onima koji su bili uz njih u najtežim trenucima, kad treba upoznati bolest i pronaći pravi put ka izlečenju. „Njen prijatelj” je deo globalne kampanje „Breast Friends” koju podržava farmaceutska kompanija „Roche” i čiji je osnovni cilj da se ukaže na neophodnost ranog otkrivanja raka dojke, ali i potrebe da se, ukoliko bolest već postoji, suočimo sa njom, upoznamo bolest, vrstu tumora, kako bi se primenila adekvatna terapija . Poznate i inspirativne ličnosti, kao što su Džeri Hol, Goran Višnjić, Rosana Arkvit, Rozmeri Moric i mnogi drugi, priključili su se ovom projektu kako bi na dostojanstven i optimističan način ukazale na značaj borbe protiv raka dojke.

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www.roche.com | www.babic.cc

IZLOŽBA EXHIBITION

Učenici O.Š. Dr Dragan Hecog – MOJ VIRTUELNI SVET IZLOŽBA EXHIBITION

Moj virtuelni svet rezultat je kreativnog rada nastavnika, učitelja defektologa i učenika osnovne škole Dr Dragan Hercog. Tokom rada na zadatku Moj virtuelni svet insistiralo se na ličnom iskustvu dece, njihovim asocijacijama, potrebama i reakcijama u odnosu na svet savremene tehnologije. Došlo se do zaključka da nove generacije naraštaja veoma uspešno prožimaju svoju slobodu korišćenja savremene tehnologije sa svojim idejama. Njihov interes za simbiozu umetnosti i tehnologije postoji, a kvalitet i raznolikost radova dokaz su spremnosti i potrebe za istraživanjem mogućnosti koje pruža svet kompjutera.

My Virtual World is a result of creative work of teachers, defectologists and students of the Primary School Dr Dragan Hercog. During the time that was spent on the assignment it was insisted on the personal experience of children, their associations, needs and reactions in connections to world of contemporary technology. A conclusion was made that new generations very successfully integrate their freedom of using new technologies with their own ideas. They have an interest in the union of art and technology, quality and differences of the works are the proof of readiness and need for investigating possibilities that computer world makes possible.

Daliborka Pešić - Profesor likovne kulture u školi

Daliborka Pešić - Art teacher in the school

Osnovnu školu za decu sa specijalnim zdravstvenim problemima osnovala je Skupština grada Beograda 1. septembra 1969. godine. Škola tada preuzima rukovođenje svim odeljenjima koja su postojala u beogradskim bolnicama, a za decu sa težim telesnim smetnjama organizuje se nastava u njihovim domovima. Od 1971. godine škola nosi ime Dr Dragan Hecog, po lekaru koji je na poziv Međunarodnog crvenog krsta otišao u Afriku da pomaže ranjenima, a posebno deci, gde je poginuo 1968. godine. Posmrtno je odlikovan najvećim priznanjem Međunarodnog crvenog krsta – Medaljom Anri Dinana. Škola je i danas jedina te vrste u Republici Srbiji. Zbog specifičnog načina rada, svog značaja i ostvarenih rezultata škola je dobitnik Dositejeve nagrade.

The Primary School for children with special needs was founded by the Belgrade Assembly on 1. September 1969. The school takes over handling all hospital wards, and for the children with more complicated illnesses organizes school activities at their own homes. Since 1971 school’s name is Dr. Dragan Hercog, medical doctor who was called by the International Red Cross to help the wounded in Africa, especially children, where he was killed in 1968. After his death he was recognized with the biggest award by the International Red Cross medal Anri Dinan. School is exclusively the only school of this type in the Republic of Serbia. Because of specific way of work, its significance and achieved results, the school received Dositej’s award.

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BELGRADE DANCE SCREEN IZLOŽBA EXHIBITION

The ultimate link between the dance and film, is known from the time when the film art was born. In our times, the video art and complete computer revolution, makes virtual picture becoming perfect model to create new expression and possibilities. Focused on common development of dance, film and video art, Belgrade Dance Screen is a new manifestation, of informative and attractive concept. During the three festival days, it will present the selection of the famous Swedish Dance Screen from Stockholm, with the participation of film makers and choreographers, who will lead this dynamic video dance adventure. The selection of video works of the festival Danca em Foco from Sao Paulo, will present the current state in dance in North America. Permanent video exhibition, during the whole manifestation, is composed of work of most prestigious choreographers of XXI century.

Povezanost igre i filma datira još od samog rođenja sedme umetnosti. U našem vremenu nastanak video umetnosti i opšta komjuterska revolucija, učinili su da virtuelna slika postane savršen oblik za uspostavljanje novih izražajnih mogućnosti. Usmerena ka zajedničkom razvoju plesne, filmske i video umetnosti,Belgrade Dance Screen je manifestacija, informativnog i atraktivnog sadržaja. U toku tri festivalska dana prikazani su video radovi sa manifestacije Swedish Dance Screen iz Stokholma, uz prisustvo eminentnih švedskih koreografa i filmskih stvaralaca u ulozi vodiča kroz dinamičnu filmsko-plesnu avanturu. Selekcija plesnih video radova festivala Danca em Foco iz Sao Paola, prikazuje presek plesnih dešavanja u Južnoj Americi. Stalnu postavku čine značajna ostvarenja najpoznatijih koreografa XXI veka.

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20 godina B92 IZLOŽBA EXHIBITION

Nekada alternativna omladinska lokalna radio stanica u Beogradu, danas najslušanija radio stanica u Srbiji - Radio B92 slavi 20. rođendan. Ovim povodom O3ONE i Radio B92 predstavljaju izložbu radio prijemnika, od tranzistora do digitalnih uređaja, i podsećaju na ključne trenutke B92 istorije - džinglovi, fotografije, slogani.

Once an alternative local youth radio station from Belgrade, and today, the most popular radio station in Serbia - Radio B92 is celebrating its 20th birthday. On this occasion, O3ONE and Radio B92 are presenting an exhibition of wireless and transistor radios, modern digital devices, and other reminders for the public of the key moments in B92’s history - popular jingles, photographs, catchphrases…

Sa idejom da se i „vidi“ sa svojim slušaocima ekipa radija B92 emituje program iz O3ONE-a, a posetioci mogu da učestvuju u akciji SVI VAS GLEDAJU postavljanjem svojih fotografija u galeriji. Saznajte kako je B92 postao radio koji slušate, gledate, čitate, dodirujete... radio koji živi.

With an idea that they should also “meet” their listeners, the crew of the B92 radio broadcasts the program live from the O3ONE space and the visitors are able to take part in EVERYONE IS WATCHING YOU action, if they bring their photos in and put them up at O3ONE. Find out how B92 became a radio which everyone listens to, which you also like to watch, read, feel... a radio that lives.

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THE NO SMOKING ORCHESTRA – DESET GODINA BENDA IZLOŽBA EXHIBITION

Kroz izložbu predstavljen je desetogodišnji rad benda The No Smoking Orchestra, a tim povodom je i predstavljena foto monografija Dragana Teodorovića „Emir Kusturica & The No Smoking Orchestra“

The exhibition presented a ten years long work of the band The No Smoking Orchestra, and during that event it will be also represented photo monography „Emir Kusturica & The No Smoking Orchestra“ by Dragan Teodorović.

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ZELENO ZVONO – NEDELJA NOVOG OPTIMIZMA IZLOŽBA EXHIBITION

Povodom jubilarne godine kako zrenjaninskog „Zelenog zvona“, tako i „Novog optimizma“, održana je „Nedelja Novog optimizma“. Izložba predstavlja foto-priču o dvadesetogodišnjici renomiranog „Zelenog zvona“, projekte inicirane od strane ove organizacije, među kojima su „Novi optimizam“, „Vojvodina Recommended“, „Market kulture“, a prikazana je i izložba fotografija „Žene na selu“, regionalne inicijative „Vojvođanka“ iz Novog Sada.

On the occasion of the jubilee year of the organization “Green Bell” from Zrenjanin, and of the project “New Optimism”,“The Week of the New Optimism” is held. Exhibition represented one photo story about twenty years long work of the renowned “Green Bell”, project initiated by this organization, including “New Optimism”, “Vojvodina Recommended”, “Market of Culture”. Also presented photo exhibition “Women in Rural Areas”, of regional initiative “Vojvodjanka” from Novi Sad.

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LIKOVNA RADIONICA POHVALA RUCI – USPON IZLOŽBA EXHIBITION

„Praise to hand“ Art workshop is a place where persons with the L. Down syndrome use various artistic techniques to present and open up the world of their emotions. Authors of the workshop – artists from Belgrade, intend to support and enhnace their creativity. All programmes carried out in the workshop aim to help the workshop members in the process of social inclusion, and above all, to help them build up their self-respect and confidence. Besides that, by mastering various art techniques, persons attending the workshop further develop their mobilityskills, which are a very important factor in improvement of the quality of their lives in general.

Likovna radionica „Pohvala ruci“ okuplja osobe se L. Down sindromom i pomaže im da putem likovnih tehnika otvore i izraze svoj emotivni svet. Autori radionice – umetnici iz Beograda, nastoje da na taj način podstaknu njihovu kreativnost. Svi programi koji se u radionici sprovode rezultat su nastojanja da se njeni članovi uključe u društvene tokove, pre svega kroz izgradnju njihovog samopoštovanja i samopouzdanja. Osim toga, upotrebom raznovrsnih likovnih tehnika, polaznici dodatno razvijaju svoje motoričke sposobnosti, što je veoma važno za unapređenje kvaliteta njihovog života. „Pohvala ruci“ ima jedanaest polaznika, a savladali su tehnike akvarela, pastela, akrilika, crtanja tušem i perom, kao i oblikovanje predmeta od gline i tkanje na malim ručnim razbojima uz upotrebu najrazličitijih materijala.

Currently „Praise to hand“ consists of eleven members who have mastered techniques such as watercolour, pastel, acrylic, drawing with pen and ink, as well as sculpting with clay and weaving on small hand-looms using different types of materials.

Autori radionice su Katarina Ljubinković Zorkić, slikar i Bogdan Jovanović, slikar-grafičar.

Authors of workshop are: Katarina Ljubinkovic Zorkic, painter and Bogdan Jovanovic, painter-graphic.

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(NE)DOKUČIVO POREKLO INSPIRACIJE SAVREMENOG MODNOG DELOVANJA IZLOŽBA EXHIBITION

Bilo da modu posmatramo kao opšti fenomen ili kreativno delovanje talentovanog pojedinca, u oba slučaja možemo diskutovati o spoljašnjim uticajima na subjektovo lično. Veoma je važno utvrditi poreklo običaja u odevanju, jer je to zanimljiv i bitan pokazatelj kulturne razmene i asimilacija, deskripcija vremenskog i prostornog kretanja jednog naroda ili stvaraoca kroz sopstvenu ili evoluciju šireg okruženja. Zbog toga su u okviru izložbe koja se u biti bavila idejom razmene i uticaja koji su delovali i deluju na oblikovanje mode i modne scene Srbije, bili prikazani i delovi raznovrsnih projekata koji upućiju na ovu temu. Kroz fotografije, projekcije i eksponate prezentovaćemo fragmente projekata: • Happy family - Dejane Vučićević, koji ima za cilj da prikaže odevanje kao deo estetske stvarnosti trenutka i stilske promene kao proizvod promena društva i obratno; • kroz fragmente projekta Zubun će biti objašnjeno kako etno nasleđe postaje inspiracija modnom stvaralaštvu u ovom slučaju timu Beo Design Collective koji čine Jelena i Svetlana Proković, Tamara Radivojević i Evica Milovanov Penezić • Takođe, biće prikazani i pojedinačni modeli različitih samostalnih savremenih autora sa Beogradskog Fashion Week-a koje će prikazati nesumnjivu vezu prošlosti koja učestvuje u izgradnji savremene modne scene – Doda Komad, Slobodan Mihajlović, Verica Rakočević, Nataša Šarić, sestre Stevančević, Ana Ljubinković, Ivana Pilja, Ljuba Sikimić i modni brend Ivko.

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If we see fashion as a general phenomenon or as a creative practise of a talented individual, both ways we can discuss about external effect on subject’s self. It is very important to determine the origin of clothing, because that is a substantial indicator of culture exhange and assimilation, description of temporal and spacial movement of people or creator through the evolution of the environment. That is the reason why visitors saw parts of different projects during the exhibition. These projects will be presented through photographs and slide shows: • Happy Family – Dejana Vučićević. The goal of this project is to show clothing as a part of aesthetic reality of the moment and style change as a product of society’s change and vice versa. • Fragments of project Zubon will explain how ethno heritage became inspiration to fashion creativity. This project is the work of Beo Design Collective: Jelena and Svetlana Proković, Tamara Radivojević and Evica Milovanov Penezić. • Individual models of the diverse independent contemporary artists from Belgrade Fashion Week will also show the liaison between the past that participates in construction of contemporary fashion scene – Doda Komad, Slobodan Mihajlović, Verica Rakočević, Nataša Šarić, sisters Stevančević, Ana Ljubinković, Ivana Pilja, Ljuba Sikimić and fashion brand Ivko.

MR. NADA SEFEROVIĆ – ZADRŽANI POGLEDI - ANDRIĆ, SVET SLIKE I PRIJATELJI IZLOŽBA EXHIBITION

U okviru manifestacije „Laureatu u čast - 50 godina od dodele Nobelove nagrade za književnost Ivi Andriću“, u galeriji O3ONE će se održati izložba autorke Nade Seferović. Kroz likovna dela umetnika koja je Andrić tokom života čuvao u svom domu, a koja mi danas čuvamo u njegovom Spomenmuzeju, dela kako umetnika koji su ostavili dubok trag u razvoju umetnosti dvadesetog veka na prostoru nekadašnje Jugoslavije - kao što su Stojan Aralica, Sreten Stojanović, Ignjat Job, Milenko Šerban, Milo Milunović, Petar Lubarda, Liza Križanić, Kosta Hakman, Nikola Graovac, Nedeljko Gvozdenović, Zuko Džumhur ili Peđa Milosavljević, da nabrojimo samo neke – tako i onih manje poznatih, ali Andriću dragocenih saputnika, onih koje je veoma cenio, pruža se pogled na privatni svet njegovog prijateljstvovanja sa umetnicima koji su stvarali svet slike. U tom intimnom krugu savremenika postepeno se razvijalo njegovo osećanje i poimanje vizuelne umetnosti koje možemo pratiti, bilo jasno iskazano ili vešto preodeveno, bilo kao zaokružene celine ili samo u fragmentima, kroz celokupan tok njegovog pisanog stvaralaštva.

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In the scope of the manifestation: “Honoring the laureate – 50 years since Ivo Andrić received the Nobel prize for literature”, O3ONE Gallery will present the exhibition curated and authored by ms. Nada Seferović. The third segment is the exhibition Retained Sights – Andrić, the World of Images and Friends. The works of art kept by Ivo Andrić in his home and presently held by the Memorial Museum dedicated to him, some of which were made either by those artists who left a lasting imprint on the development of 20th century art in the former Yugoslavia – like Stojan Aralica, Sreten Stojanović, Božidar Jakac, Ignjat Job, Milenko Šerban, Milo Milunović, Petar Lubarda, Liza Križanić, Kosta Hakman, Nikola Graovac, Nedeljko Gvozdenović, Zuko Džumhur or Peđa Milosavljević, just to mention some of them – or by those less known who were nevertheless precious companions to the writer and whom he deeply respected, open a view towards his private world of companionship with artists who created the world of images. It was in this intimate circle of contemporaries that he gradually developed the sense and the idea of visual arts that can be traced back throughout his literary work either clearly expressed or masterly disguised, either fully shaped or in fragments.

BITEF DENS KOMPANIJA – SVE JE U IGRI IZLOŽBA EXHIBITION

Izbor radova fotografa Bitef tetara za ovu izložbu predstavljao mi je veliko zadovoljstvo. Lepo je imati posao u kome baratate sa talentima, inspiracijom i veštinom raznovrsnih umetnika – koreografa, kostimografa, igrača, i u ovom slučaju, naravno fotografa.

Selecting the photographic works for this exhibition was a big pleasure for me. It is pleasant to work in a position where you handle talents, inspiration and skills of various artists – choreographers, costume designers, dancers and in this case of course – the photographers. I am certain that the photographs in this exhibition will show tremendous talent of young photographers - Jelena Janković, Milan Radovanović and Sonja Žugić, but also point to inventiveness and richness of ideas of the choreographers Guy Weizeman, Snježana Abramović, Isidora Stanišić, Edward Clug... Furthermore, these photographs are a good opportunity to observe environment behind the stage, the strength of expression and inventiveness of the dancers of the Bitef Dance Company, caught in the particular moment through the eye of the camera.

Sigurna sam da će fotografije prezentovane na ovoj izložbi u najboljem svetlu predstaviti rad mladih fotografa - Jelene Janković, Milana Radovanovića i Sonje Žugić, ali i nagovestiti inventivnost i bogatstvo ideja koreografa Gaja Vajcmana, Snježane Abramović, Isidore Stanišić, Edvarda Kluga... Takođe, ove fotografije su lepa prilika da se i van scene sagleda snaga izraza i inventivnost igrača Bitef dens kompanije, zastalih, ili na tren zaustavljenih u oku kamere. Jelena Kajgo, direktorka Bitef teatra

Jelena Kajgo, Director, Bitef Theatre

Zahvaljujemo se galeriji O3ONE, Ministarstvu kulture Republike Srbije i restoranu Madera.

We are grateful to O3ONE Gallery, Ministry for culture of the Republic of Serbia and the restaurant Madera. 423

8. AUTORSKI KONKURS ZA ARHITEKTURU KOMPANIJE „NOVOSTI“ IZLOŽBA EXHIBITION

With this author contest, company “Novosti” continues the tradition of the well - known “Borba Award”. Borba’s contest is under auspices of the company “Novosti” since 2003 and the works that are awarded are the best student and professional work in architecture. This is one of the famous contests in the scope of architecture in the region, four decades old. The contest singles out the best in local production and it fights the battle for affirmation of the modern vocabulary in construction. The award for the best student work in the past year is one of the most important awards in this category.

Autorskim konkursom “Novosti” za arhitekturu nastavlja se tradicija priznate “Borbine nagrade”. Nekada čuveni, Borbin konkurs od 2003. godine pod okriljem je “Novosti”, a na njemu se nagrađuju najbolji studentski i profesionalni radovi iz oblasti arhitekture. Ovo je jedan od najpoznatijih konkursa arhitekture na našim prostorima, star više od četiri decenije. Konkurs izdvaja najkvalitetnije u domaćoj produkciji i uporno se bori za afirmaciju savremenog rečnika u graditeljstvu. Nagrada za najbolje izvedeno i studentsko delo u protekloj godini, jedna je od ovih najvažnijih priznanja u kategoriji arhitekture, na ovim prostorima.

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PARADA – FILM SRĐANA DRAGOJEVIĆA PRESS CONFERENCE

Parada je film koji na tragi-komičan način priča priču o konstantnoj bitci između dva sveta u današnjem srpskom društvu, podeljenom između tradicionalističke, homofobne većine i liberalne manjine. U galeriji O3one je održana konferencija za štampu povodom izlaska filma na DVD formatu.

The Parade, in a tragicomic way, tells the story about ongoing battle between two worlds in contemporary post-war Serbian society – the traditional, oppressive, homophobic majority and a liberal, modern and open-minded minority. Press conference announcing the DVD release of the film was organized at the O3one Gallery.

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POHVALA RUCI – KOMUNIKACIJA IZLOŽBA EXHIBITION

For the last 12 years, at the art workshop “Prize the Hand”, the persons with Down syndrome can express their emotional world through art creation. Educators from the workshop, the artists from Belgrade, interact with the attendants, giving their best to “fire start” their creativity and stimulate them to include themselves in the society’s everyday activities more successfully. The building of the self respect and confidence makes a big part in the improvement of quality of their lives. Using the vessel of the art creation, the participants develop their preserved capacities and supplement them with newly obtained skills and knowledge. The workshop educators are: - Katarina Ljubinkovic- Zorkic, painter - Bogdan Jovanovic, painter and graphic artist Contributors are: - Goran Bogdanovic, psychologist - Petar Zorkic, sociologist

U Likovnoj radionici „Pohvala ruci“, već dvanaest godina osobe sa Down sindromom izražavaju svoj emotivni svet kroz likovno stvaralaštvo. Autori i edukatori u radionici, likovni umetnici iz Beograda, trude se da u interaktivnom odnosu sa polaznicima Likovne radionice podstaknu izražavanje njihove kreativnosti i uključivanje u redovne društvene tokove. Izgradnja samopoštovanja i samopouzdanja su veoma važni za poboljšanje kvaliteta njihovog života. Polaznici kroz kreativnost razvijaju svoje sačuvane kapacitete i dopunjuju ih novostečenim veštinama i znanjem. Edukatori u radionici, likovni umetnici, Katarina Ljubinković Zorkić slikar, i Bogdan Jovanović slikar i grafičar, kao i saradnici Goran Bogdanović psiholog i Petar Zorkić sociolog, za svoj trud dobijaju nagradu kroz kreacije polaznika: Nebojše Brkića, Slađane Filipović, Vladimira Rikanovića, Sandre Pavlović, Mlađana Golubovića, Marije Čikić, Dušana Cesarevića, Nikole Jovanovića, Zorice Dragičević i Damjana Diklića.

The biggest award for their effort is undoubtedly the warm feeling they get by looking at their student’s art creations.

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UNICEF – ŠKOLA BEZ NASILJA EVENT

6.juna u galeriji O3one nacionalna ambasadorka UNICEF-a u Srbiji Ana Ivanović susrela se sa učenicima 10 Beogradskih osnovnih i srednjih škola koje primenjuju UNICEF program “Skola bez nasila “.

At 6.th of june in O3one gallery UNICEF national ambasador in Serbia Ana Ivanovic meets pupils from10 Belgrade primary and secondary schools who are implementing the “ school without Violence “UNICEF programme

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MEĐEDI ZLOŽBA EXHIBITION

Ski, tenis i golf klub Međedi je nastao davne 1975 godine, a danas broji 60ak članova, koji se sem posla bave se i sportom i vole da putuju. Najbolji skijaš kluba je Zvonimir Đukic Đule iz Van Goga, teniser Neven Boškovic, a golfer Frano Lasić. Klub se bavi organizovanjem egzotičnih i avanturističkih putovanja za svoje članove, vođeni idejom uživanja i stupanja u kontakt sa dalekim kulturama.

Ski, tennis and golf club Medjedi was born in 1975, and has around sixty members who love to travel and are into sports. The best skier is Zvonimir Djukic Djule from the band Van Gogh, tennis player Neven Boskovic and golfer Frano Lasic. The club organizes exotic travels for its members, driven by the idea of hedonism and getting in touch with other cultures.

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LJUDI OTVORENIH OČIJU - MAGAZIN STATUS ZLOŽBA EXHIBITION

This year for the 10th time Status Magazine organized a prestige open call for the photography of the year „Eyes wide open“ intended for newspaper photographers. The jury that consisted of photo editors from the Belgrade media, chose 39 photographs (more than 600 was received by 40 authors), as well as the 15 coverage that will be presented in the O3ONE Art Space.<!– more–> The winner of the first prize is Marko Đurica (Blic) for the photography from the coverage “No pasaran“, the second place was taken by Nemanja Jovanović (Novog magazina) for the photography from the coverage “Ratko Mladić”, and the winner of the third prize is Emil Vaš (Beta) for the photography „Race in wedding dresses“.

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DANI KINE - GODINA ZMAJA ZLOŽBA EXHIBITION

Kao i svake godine, u Srbiji se proslavljaju dve nove godine, prema dva različita kalendara. Kinezi takođe proslavljaju dve nove godine, s tim što drugi kalendar koji koriste prati lunarne promene. Dva događaja “U susret godini Zmije” kojima smo obeležili doček kineske nove godine organizovani su od strane Ambasade NR Kine u Beogradu, Instituta Konfucije, Ćigong saveza Srbije uz svesrdnu podršku galerije O3one, Novobeogradske kulturne mreže i Opštine Novi Beograd. Prvi događaj je održan u utorak, 5. februara 2013.u galeriji O3one uz otvaranje izložbe koja je imala tri segmenta-kaligrafije kineskog zodijaka, reprodukcije rezanog papira sa motivima zmije i fotografije moderne Kine. Događaju je ispred Ambasade prisustvovao savetnik za kulturu gospodin Sju Hong. Izložbu je otvorio Nebojša Babić ispred galerije O3one i najavio saradnju sa Institutom Konfucije i Ćigong savezom Srbije na polju promocije različitih aspekata kineske tradicionalne ali i moderne kulture. Profesor Radosav Pušić, direktor Instituta Konfucije je govorio o simbolici Zmije u kineskoj kulturi dok je Saša Balanesković, predsednik Ćigong saveza Srbije, govorio o Zmiji u borilačkim veštinama Kine 437

Every year, Serbia celebrates two New Years according to two different calendars. The Chinese also celebrate two New Years, but their calendar is based on lunar changes. Two events, named: “Welcoming the year of the Snake”, which celebrated the Chinese New Year, were organized by the Embassy of the People’s Republic of China in Belgrade, the Confucius Institute, Qigong Association of Serbia with the full support of the O3one gallery, Novi Beograd Cultural Network and the municipality of Novi Beograd. The first event was organized on Tuesday February 5th 2013 in O3one Gallery. It was an exhibition opening arranged in three segments - calligraphy of the Chinese zodiac, reproductions of cut-out paper snakes and images of modern China. Mr. Xu Hong, the cultural adviser of the China Embassy, attended the opening. The exhibition was opened by Mr. Nebojsa Babic on behalf of the O3one gallery. He announced the cooperation of the O3one gallery with the Confucius Institute and Qigong Association of Serbia for the promotion of various aspects of Chinese traditional and modern culture. Professor Radoslav Pusic, director of the Confucius Institute, spoke about the symbolism of the Snake in Chinese culture while Mr. Sasa Balaneskovic, president of the Qigong Association of Serbia, spoke of the significance of the Snake in Chinese martial arts.

MIRJANA BOBIĆ MOJSILOVIĆ - NOVI LJUBAVNI NEREDI ZLOŽBA EXHIBITION

Pejzaži Mirjane Bobić Mojsilović, nastali u periodu 2012. i 2013. iako izgledaju kao potpuno nova faza u njenom slikarstvu, zapravo su samo nastavak slikanja zagrcnutosti sveta pred smehom, suzama i melanholijom koja se ranije razlivala po licima njenih junaka, smeštenih na plažama i dokovima, junaka koji su uvek „uhvaćeni“ u skoro fotografskom kadru. Ako su njeni raniji portreti izgledali kao pejzaži, sada njeni pejzaži izgledaju kao portreti. Mesto, šuma, terasa, vidikovac, sada imaju karakter osobe – duhovito, melanholično, snovidljivo poput ljudi kojih nema na slikama, a koji su tu negde, u moru, u kući, izvan kadra u kome postoji samo fantazmagorični Novi ljubavni nered. Sada su ljudi nestali sa njenih slika, (jer se baš u tom trenutku, negde, izvan kadra slike, ljube, vode ljubav, teše, ili spremaju za gozbu), Mirjana Bobić Mojsilović prikazuje njihove pejzaže, njihova mesta života, sieste, njihova dremanja i njihove hedonizme. Ono što je na njenim ranijim slikama bila „scenografija“ stola za kojim sede njeni likovi sa razmazanom šminkom, sada postaje predložak za pejzaž.

Landscapes made by Mirjana Bobic Mojsilović made during 2012 and 2013, although they look like a completely new phase in her work, in fact is just a continuation of painting the world before choking with laughter, tears and melancholy that was previously spilled on the faces of her characters, placed on the beaches and docks, heroes who are “caught up” in almost photographic frame. If her earlier portraits looked like landscapes, now its landscapes look like portraits. Place, forest, terrace, gazebo, you have a person’s character - witty, melancholic, whimsical like people who are not in the pictures, but who are somewhere in the sea, at home, out of the frame in which there is only a mirage. New love disorder. Now people are missing from her paintings, (because at that very moment, they are somewhere outside of the frame, kissing, making love, comforting, or preparing for the feast), Mirjana Bobic Mojsilović showing their landscapes, their places of life, siesta, their naps and their hedonism.

439

GRUBB STORIES ZLOŽBA EXHIBITION

GRUBB fondacija vas sa velikom zodovoljstvom poziva na promociju knjige “GRUBB Stories” u nedelju, 20. oktobra u 18h, galerija O3one na Andrićevom vencu. Ovo je prva knjiga koju je napisala i ilustrovala grupa mladih Roma, prva u nizu antologija radova naših mladih pisaca. GRUBB fondacija ima za cilj obrazovanje mladih Roma, kroz umetničke i edukativne programe u tri centra: Beograd, Niš i Novi Sad. Spajanjem savremene urbane i romske tradicionalne muzike nastao je GRUBB Musical koji je doživeo međunarodni uspeh. www.grubmusic.com U nastavnim centrima GRUBB-a iskreno i duboko verujemo da je rušenje granica između obrazovanja, umetnosti, zabave i rada pokretačka snaga društvene integracije. „Talenat dolazi iz vere u to što se radi“ rekao je jedan polaznik našeg centra, a danas je on jedan od naših muzičkih nastavnika.

GRUBB foundation invite you with great pleasure for the promotion of the book “GRUBB Stories” on Sunday, October 20th at 18h, gallery O3one in Andrićev venac. This is the first book wrote and illustrated by a group of young Roma, the first in a series of anthologies of the works of our young writers. GRUBB foundation aims to educate young Roma through artistic and educational programs at three centers: Belgrade, Nis and Novi Sad. Merging of modern urban and traditional Roma music was created GRUBB Musical that has seen international success. www.grubmusic.com In teaching centers GRUBB a sincere and deeply believe that break down the boundaries between education, the arts, entertainment and work is the driving force of social integration. “Talent comes from faith in what you are doing,” said one participant of our center, and today he is one of our music teachers.

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ALAIN KUNDYCKI - THIS IS NOT AN ARTIST ZLOŽBA EXHIBITION

Po profesiji i svojim ličnim životnim izborom Alan Kundicki, rođen 1948. godine, je diplomata koji se prilično kasno i sasvim slučajno oprobao u slikarstvu, svojoj velikoj pasiji. Kao detetu mu je rečeno da je vest u crtanju olovkom ali je olovku ispustio iz ruku još u dvanaestoj godini da bi joj se povremeno vraćao pre nego što bi je opet brzo napustio na duži vremenski period. Pa ipak slikarstvo je čekalo negde pritajeno u njemu. Čak i pre nego što je počeo da slika, gde god je bio, u svojoj rodnoj Belgiji ili u zemljama koje je posećivao ili u kojima je bio na službi, pa i danas u Srbiji, uvek je bio fasciniran estetikom prirodnih lepota i pejzaža koje je čovek stvorio svojim rukama. 1988. godine dok je bio na službi u Meksiku, zemlji neverovatnih prizora, prvi put se usudio da se oproba na platnu. Od samog početka stare građevine i prirodni krajolici su bili, i ostali, njegove omiljene teme koje se na njegovim slikama nalaze jedna kraj druge. Njegov cilj je da pokuša da uhvati i ponovo stvori lepotu koju nalazi u stvarnom svetu kako bi barem deo nje videli i u njemu uživali oni koji posmatraju njegove slike. Veliki Džon Konstabl je bio majstor u tome. Čak i obična fotografija njegovog pejzaža Vajvenhou parka koju je Alan video u jednoj knjizi je ostavila takav utisak na njega da je osetio da prosto mora da pokuša da ga naslika.

By profession and by choice Alain Kundycki, born 1948, is a career diplomat who came rather late and by chance to a great passion of his, painting. As a child he was told he was good with the drawing pencil but the pencil dropped out of his hand when he was 12 only to come back occasionally before being quickly put back to rest for lengthy periods of time. However the painter in him was in the waiting. Even before he started painting, wherever he has been, in his native Belgium or in the countries he has visited or been posted to and nowadays Serbia he has always been fascinated by the esthetics of natural beauty and manmade landscapes. It was in 1988 while posted in Mexico, a country of spectacular scenery, that he ventured for the first time on the canvas. From the onset old buildings and natural landscapes were, and remain, his favourite subjects that go side by side in his paintings. His aim is to attempt to capture, to recreate the beauty that is in the real world so that at least some of it can be seen and hopefully enjoyed by those who look at the paintings. The great John Constable was a master at this. A mere photograph of his landscape Wivenhoe Park which Alain saw in a book made such an impression on him that he felt compelled to attempt to paint it himself. b 443

LAIBACH IZLOŽBA EXHIBITION

Laibach su paralelno su radili na vizuelnoj umetnosti i muzici, od 1980 i imali svoj prvi koncert, dve godine kasnije, u Ljubljani, a zatim Zagrebu i Beogradu. Nastupi u javnosti i medijima su obeleženi provokacijama i skandalima. Ubrzo šire svoje delovanje i van granica tadašnje Jugoslavije. 1984 počinju da deluju u okviru umetničko-estetskog pokreta, neformalne organizacije Neue slowenische kunst (NSK), zajedno sa slikarskom grupom Irwin, Scipion teatar Našice i kasnije pridruženim Noordnung, Studia novog kolektivizma i ostalih koji su priključivani, u zavisnosti od potreba NSK.

Since 1980 Laibach have worked in parallel both visual art and music. Two years later they had very first concert in Ljubljana, than Zagreb and Belgrade. Their public appearances were provoking and shocking. Very soon they began to spread their influence out of ex Yugoslavia. In 1984 Laibach started to act within art-esthetic movement, informal organization Neue slowenische kunst (NSK), together with group of painters Irwin, Scipion teatar Nasice, and later with Noordnung, also Studia novog Kolektivizma and others who were involved depends of NSk needs.

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B LINK

B-link

Blink. Istorija nije više ono što je bila pre pet, deset i više godina… istorija je prošla nedelja. Treptaj. U Eri ubrzanja niko nema vremena. Speed-dating. Sve se dešava prebrzo. Odluke se donose brzo. Ili si u igri ili nisi. Nema više dugog analiziranja, niti beskrajnog teoretisanja. Svi već imamo previše informacija. Information overloaded society. Ili znaš ili ne znaš. Ili osećaš nešto ili ne. Instant reakcija. Spontani odgovori. Trenutna rešenja. Intuicija, high-pressure, snap judgment, the power of thinking without thinking. Everything you know is wrong. Ispeci pa reci više ne vredi. Learn how to feel ‘the feelings guts’. Tri sekunde su sasvim dovoljne. Podsvesno ti znaš i pre nego što izgovoriš. Brzo misliš. Dok trepneš. Znaš.

iz susedstva. Raspravljalo se i o pitanju autorstva i originalnosti u vremenu digitalne produkcije i zvezda internet neba. U okviru radionice interaktivnih komunikacija, bilo je reči i o novim umetničkim formama izražavanja kroz povezivanje tehnologije i fizičkog sveta, a govorilo se i o blogovima kao novom vidu društvene mreže... Muzički deo festivala SOUNDESIGN realizovan je kroz streaminge, Live act-ove, DJ i VJ session-e u saradnji s eminentnim domaćim i stranim izvođačima. Odabrani gosti iz inostranstva – Marcell, Vedran Gulin, Bruce Sterling, Joshua Beck, Gosse De Kort, Stefano Marchi i Enrico Frison – obogatili su program festivala svojim iskustvima i ukazali na razvoj ovih oblasti u internacionalnom kontekstu. Takmičarski deo festivala imao je za cilj da uključi što veći broj profesionalaca i amatera koji su aktivni i deluju u okviru različitih formi novih komunikacionih tehnologija i da ukaže na lokalni potencijal i podstakne njegov dalji razvoj. Ovaj deo festivala bio je podeljen u dve profesionalne takmičarske kategorije: veb produkcija (projekti na internetu u oblasti umetnosti, biznisa i my space) i kratka digitalna forma (radovi na zadatu temu „upload/ download“). U takmičenju su učestvovali samo domaći radovi rađeni za domaće naručioce, nastali u poslednje dve godine. U amaterskoj kategoriji birana je najbolja fotografija s mobilnog telefona, na temu „That’s me“.

B-link festival novih komunikacija bavi se globalnim fenomenima novih tehnologija, kakav je njihov sociološki uticaj i društveni značaj u Eri Ubrzanog Tempa i Novih tehnoloških pomagala koji prevazilaze lokalne okvire i uobičajenu podelu na polove, privredne grane, umetničke pravce... Umetnost i biznis ovde, više nego i na jednom polju, cirkulišu zajedno. Umetnost u sprezi s tehnologijom je za našu sredinu još uvek nepoznata grana, iako su poslednjih desetak godina postojale tendencije da se kroz edukaciju makar pokrene nova, medijski sveža umetnost. Hardver bez softvera ne znači ništa, to je samo „skupina metala” koja nema upotrebnu vrednost – zajedno dobijaju pravo značenje.

B-link festival prevazilazi lokalne okvire i ima ambiciju da postane reprezentativni festival novih komunikacija u regionu tako što promoviše autore, projekte i ideje koje korespondiraju s aktuelnom svetskom scenom. B-link pokušava da uspostavi direktnu komunikaciju s autorima, projektima i idejama van granica naše zemlje, jer u svetu Interneta i globalne Mreže granice i ne postoje. B-link nas povezuje sa svetom mnogo lakše nego bilo koja delegacija i pri tom ima jedinstvenu poruku – da sve to možete da uradite sami. Time postajete društveno odgovorni građani, ne samo grada Beograda, nego čitavog sveta.

B-LINK 01 U periodu od 15. do 22. aprila 2007. godine, realizovan je internacionalni festival B-LINK 01 – BEOGRADSKI FESTIVAL NOVIH KOMUNIKACIJA. Program festivala obuhvatio je najznačajnija dostignuća iz domena novih komunikacija u Srbiji i u svetu. Nakon prošlogodišnjeg pilot izdanja festivala, kreativni tim BLINK-a ove godine je uneo novine u program, čiji je revijalni deo pokazao veću raznovrsnost, dok je kao najveća novina istaknut takmičarski deo programa. Struktura revijalnog dela festivala formirana je u okviru četiri celine: BUSINESS, NUTOOL, CREATIVE i SOUNDESIGN, koje su predstavljene kroz diskusije s publikom, prezentacije, instalacije, predavanja domaćih i stranih stručnjaka, interaktivne radionice. BUSINESS programska celina realizovana je kroz niz poslovnih prezentacija, predavanja i tribina na temu poslovne primene Interneta i novih tehnologija. Predstavljeni su projekti koji su doprineli unapređenju poslovanja i komunikacije u Srbiji. U NUTOOL programskoj celini bili su predstavljeni novi alati (hardware, software) koji nam omogućuju kvalitetniju i efikasniju komunikaciju. Osnovni cilj CREATIVE dela programa (creative web, screen culture, interactive world, peer production and sharing, I’m the author) bilo je predstavljanje projekata u kojima je kreativnost primenjena na nov i uspešan način. Diskutovalo se o iskustvima izrade veb sajta u Srbiji, zahtevima klijenata i o iskustvu zemalja 448

B-link

Blink. History is not what it used to be 5 or 10 years ago…these days, even last week is history. A blink. In the Era of acceleration, no one has got any time. Speed-dating. Everything happens all too fast. Snap decisions. You’re either in or you’re out. No time to analyze, no endless speculation. We’re already flooded with information. Information overload. You do know or you don’t know. You do feel or you simply don’t. Instant reaction. Spontaneous answers. Direct solutions. Intuition, high-pressure, impulsive judgment, the power of thinking without thinking. Everything you know is wrong. Think before you act is no more. Learn how to feel ‘the feelings guts’. Three seconds are about right. Subconsciously, you already know - before you say it out loud. You’re a quick thinker. You know. Before you blink. B-link New Communications festival is researching global phenomenon of new technologies, their social impact and significance in the Era of Accelerated Pace and innovative hi-tech devices which surpass local borders and the usual gender divide, economics, various trends in art. Art and business here, more than in any other field, circulate together. Synthesis of art and technology is still an unfamiliar field in our environment, even though there were tendencies during the last decade to educate people and set in motion new and remarkable media art. Hardware without the software is meaningless, just a mass of scrap-metal. Together, they have real meaning.

I’m the author) was to present projects in which creativity was implemented in a new, successful way. Web site constructions in Serbia, different requirements by clients, various experiences from the neighbouring countries were some of the topics discussed. Another topic was Author and originality in the era of digital production and Stars in the Internet sky. Within the interactive communication workshop, interesting topic was the emergence of new art form through connection of technology and the physical world; also, there were talks on the subject of blogs – as a new form of social interaction... Part of the festival dedicated to music - SOUNDESIGN was presented through streaming performances, live acts, DJ and VJ sessions, in cooperation with renowned domestic and international artists. Eminent international guests – Marcell, Vedran Gulin, Bruce Sterling, Joshua Beck, Gosse De Kort, Stefano Marchi and Enrico Frison – enriched the programme of the festival with their experience and presented the development in this field in international context. Competition part of the festival aimed to involve as many professionals and amateurs which actively take part in development of various forms of new communications technologies and also, to show local potential, and improve its progress. This part of the festival consisted of two professional competition categories – web production (Internet projects in domain of business, art and my space) and short digital form (projects on the subject “upload/download”). Only domestic authors commissioned by domestic companies within the last two years were able to take part in the competition. In the amateur category, best photograph on the subject “That’s me”, taken with a mobile phone camera was chosen. B-link festival goes beyond local borders with an ambition to become a leading festival of New Communications in the region, by promoting authors, projects and ideas that correspond to modern international standards. B-link is communicating with authors directly; projects and ideas are not limited by frontiers, for there are no frontiers in the world of global web and Internet. B-link connects us with the world effortlessly, with a single message - you can do it all - all by yourself. And by doing it, you are becoming a socially conscientious citizen of not only Belgrade, but also the world itself.

B-LINK 01 festival BELGRADE INTERNATIONAL FESTIVAL OF NEW COMMUNICATIONS, was held from 15th – 22nd April 2007. Programme of the festival included presentations of some of the most important developments in the domain of New communications in Serbia and worldwide. After last year’s pilot-run of the festival, B-LINK creative team made some innovative additions in the programme’s informative part, and made the competitive part of the programme this year even more challenging and interesting than it was last year. Structure of the informative part of the festival consisted of four integral parts: BUSINESS, NUTOOL, CREATIVE and SOUNDESIGN, they were presented through debates with the audience, presentations, installations, lectures by domestic and experts from abroad, interactive workshops. BUSINESS part of the programme was realized through several business presentations, lectures and debates on the subject of implementation of Internet and New technologies for business purposes. Projects that improved business and communication in Serbia were presented. NUTOOL programme presented new tools (hardware, software) that enable us to have better, more efficient communication. The goal of the CREATIVE part of the programme (creative web, screen culture, interactive world, peer production and sharing, 449

PC MUZEJ / PC MUSEUM

Redakcija časopisa PC pokrenula je akciju „PC muzej” sakupljanja i izlaganja eksponata koji su obeležili razvoj računara, računarske industrije i informacionih tehnologija na našim prostorima u proteklih nekoliko decenija. Akcijom „Stvarajmo PC muzej” prikupljeno je više od 100 eksponata, kao što su 30 godina stari, jos uvek u upotrebi, hardveri, mnogobrojni softveri, prvi modeli notebook-a, a celokupna kolekcija je po završetku izložbe, donirana Muzeju nauke i tehnike u Beogradu. Osim eksponata, projekat „PC muzej” podrazumevao je i niz multimedijalnih sadržaja, kojima je u O3ONE-u oživljen duh vremena prvih elektronskih uređaja. Eksperti iz ovih oblasti su na predavanjima upotpunili sliku o razvoju i mogućnostima računarske industrije, govoreći, između ostalog, o starim generacijama računara kroz prisećanje na argumente diskusija: za Spectrum ili Commodore? Na predavanjima je bilo reči i o komunikaciji pre Interneta, korišćenju računarskih komunikacija kao jedinog slobodnog izvora informacija, počecima računarske animacije, kompjuterskim igrama…

The editorial staff of PC magazine initiated the action „PC Museum“ – collecting and showing exhibits that best illustrate the development of computers and computer and IT industry in our region during the past few decades. During the action “Let’s create a PC Museum” more than 100 exhibits were collected, such as a 30 years old, but still in working order, hardware, software, first models of the notebook computers… When the exhibition was over, the entire collection was donated to the Museum of Science and Technology in Belgrade. Beside the exhibits, project “PC Museum” included several multimedia happenings which helped recreate the period of first electronic mechanisms in the O3ONE space. IT experts gave readings, among other topics, on the subject of old generations of computers, reminiscing about old arguments and discussions – Spectrum or Commodore? Other topics of the readings included: communication before the Internet, computer communication as the only free source of information, early days of computer animation, computer games, etc. 451

www.pcpress.rs/pcmuzej

IZLOŽBA EXHIBITION

IGOR ĆORIĆ – 5 GODINA NA INTERNETU (2003-2007) IZLOŽBA EXHIBITION

Predstavljanje animiranih filmova, printova i muzičkih spotova Igora Ćorića. Za samo pet godina, ovaj plodan animator i ilustrator, nesporne darovitosti, sigurne ruke, izraženog intelekta, temperamenta i osećajnosti, prešao je put od čisto umetničkih filmova eksperimentalne forme do strukture prave filmske priče (intimističke, horor, socio-psihološke…). Od kratkih crno-belih filmova, redukovanih likovnih i zvučnih sredstava, do zahtevnih orkestracija vizuelnog i audio materijala, iznenađujuće slobodnog izraza. Linija, volumen, pokret, boja, zvuk, ritam, tekst, dramski zaplet i pauza – sva sredstva, vrednosti i postupci (poput inverzije uloga) u službi su estetski i idejno kompaktnih celina, koje sugestivno deluju kako na posmatračeva čula tako i na njegovu svest. Emancipacija ljupkosti, ideala nevinosti, nežnost, ljubav, odanost, čestitost, pozitivne vibracije, naspram i iznad sirovosti, kriminala, grubosti, mržnje, dvoličnosti, gramzivosti, letargije… Sve ono što savremeni čovek podnosi - otuđenost, fizičko i mentalno nasilje, pritisak ličnih i kolektivnih ambicija, globalno zagrevanje, tehnicizam… - teme su ovih filmova sa autorskim stavom, ironijom, ali i intencijom konstruktivnog mišljenja i delanja za dobro civilizacije. Igor Ćorić rođen je 1978. u Strazburu (Strasbourg), Francuskoj. Školovao se u Beogradu, gde je 2002. diplomirao slikarstvo na Fakultetu likovnih umetnosti u Beogradu, gde je završio i postdiplomske studije crteža.

Presentation of Igor Ćorić’s work within O3ONE project included the series of animated films, prints and spots. In just 5 years period (2003-2007) independent animation author Igor Ćorić has, with his craftsmanship, intellect, temper and emotions, made a path from creating purely artistic and experimental films to a structured film storytelling. The success of his films comes from all the aspects of his creations, but mostly from his sincere and intimate engagement for the ”common“ man. All that contemporary man endures: alienation, physical and mental violence, pressure of personal and collective ambitions, global warming, technicizm… - is the theme of these films, together with author’s opinion and irony impregnated with constructive thought and creative force for the good of the civilization. Internet has opened the author’s eye for the world of animation and has evolved into his playground: the place to present his work, interact with his audience, and again, to influence his future work. Furthermost, through intelligent messages widely spread via internet, these work’s direct influence undisturbed, unlike parents, school or media influences, teach us how to be better. Igor Ćorić, born 1978, Strasbourg, France. After five year studies he graduated painting on the Faculty of Fine Arts in Belgrade in 2002, where he got Master degree. 453

DIGITALNA AGENDA EVENT

Uprava za Digitalnu agendu promovisala vodič za laku i bezbednu kupovinu preko Interneta. Vodič kroz kupovinu preko Interneta je potpuno besplatan za preuzimanje i kupcima daje informacije o tome kako da budu bezbedni prilikom kupovine na Internetu, da provere kredibilitet prodavca, na šta da obrate pažnju pre i posle kupovine, na koje načine mogu bezbedno plaćati u Internet prodavnicama i kako mogu da ostvare svoja potrošačka prava.

Promotion of the book “eShopping” was organized on March 20th 2012 at the O3one Gallery. Directorate for Digital Agenda promoted the guide for easy and safe shopping transactions via Internet. The guide for eShopping can be downloaded free of charge and provides customers with the information on security when purchasing via Internet, how to verify the credibility of the vendor, what points to keep in mind before and after the transaction, in which ways one can safely e-shop and how they can achieve their customer rights.

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Blink@BELEF - GAMING / 2012 / FESTIVAL

Belef je kao festival moderne umetnosti u punoj meri usmeren na korišćenje savremenih tehnologija. Njihova upotreba, ali i zloupotreba u savremenoj industriji igara tema je festivala Blink na Belefu.

As a festival of modern art Belef is focused on the use of modern technologies. The topic of the Blink festival at Belef was the use and abuse of modern technology in the contemporary gaming industry.

Sve brojnije studije koje se sprovode na univerzitetima pokazuju da gejming poboljšava kreativnost, proces odlučivanja i percepciju. Specifične koristi su širokog opsega, od bolje koordinacije ruka-oko kod hirurga do promena u vidu koje pojačavaju sposobnost noćne vožnje. Video igre menjaju naš mozak i navike, ali su sa sobom donele i novi oblik zavisnosti.

Large number of university studies show that gaming improves creativity, decision-making and perception. Specific benefits are wide-ranging: a surgeon can develop better hand-eye coordination, and the eyes can perform better enhancing the ability of night driving. Video games are changing our brains and habits, but they bring with them a new form of addiction.

Program Blink festivala dao je odgovor na pitanje li je odvikavanje od video-igrica moguće ili je jedino rešenje čista apstinencija i istakao da istraživači tek treba da stvore obrazovni softver, koji će biti jednako zanimljiv kao akcione igre.

The Blink festival provided the answer to the question whether it is possible to quit playing video games or the only solution is complete abstinence. Blink pointed out that researchers have yet to create educational software that will be just as interesting as the action games.

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LAZAR BOŠKOVIĆ - TESLINA VIZIJA INTENETA ZLOŽBA EXHIBITION

Nikola Tesla je u svom projektu „Svetski sistem“ iz 1900. godine, govoreci ondašnjim tehnickim recnikom, opisao u 12 tacaka ono što se danas zove bežicni Internet, mobilna telefonija i GPS. Potom je 1908. to konkretnije opisao casopisu “Wireless Telegraphy & Telephony”, u clanku “The Future of the Wireless Art”. NJegovo kasnije predvidanje buducnosti komunikacija iz 1909. za “New York Times”, koje je preneo casopis “Popular Mechanics” u clanku “Wireless of the future”, neki proizvodaci mobilnih telefona poslednjih par godina koriste kao Teslinu viziju pojave pametnih mobilnih uredaja. Ipak, kada se sveobuhvatnije sagleda šta je Tesla pisao i govorio pocetkom 20. veka, zakljucak je da njegove reci više govore o tehnologiji današnjice koja objedinjuje sve aspekte komunikacije i prenosa informacija, a to je upravo Internet, bez obzira na konkretni uredaj putem koga se to odvija. Ideja izložbe „Teslina vizija Interneta“ je da pokaže na koji nacin je sve što je Tesla pomenuo, svakom današnjem korisniku Interneta dostupno – bilo putem racunara, bilo preko mobilnog telefona. To je postignuto uporednom infografikom Teslinih vizionarskih reci i starih fotografija tehnike iz Teslinog vremena – na jednoj strani, a na drugoj strani opisom informaciono-komunikacionih tehnologija današnjice ciju okosnicu cini upravo Internet. Autor projekta „Teslina vizija Interneta“ je Lazar Boškovic, multimedijalni stvaralac iz Beograda, a projekat pored izložbe zasada obuhvata i internet sajt, sa istoimenom adresom na oba nacionalna internet domena, na kome su infografika, korisni linkovi i drugi materijali na ovu temu. Za jesen je planirana i engleska verzija projekta, kao i druge aktivnosti (okrugli sto, projekcije filmova o Tesli…). Dizajn izložbe delo je Dušana Vojnova, iz “Orange” studija. 459

Nikola Tesla in his project “World System” in 1900, speaking in technical vocabulary of that time, described in 12 points what is now called the wireless Internet, mobile phones and GPS. Then, in 1908, he more precisely described to the magazine “Wireless Telegraphy & Telephony”, in the article “The Future of the Wireless Art”. His later prediction of the future of communications in 1909. for the “New York Times”, quoted by the magazine “Popular Mechanics” in the article “Wireless of the future”, some manufacturers of mobile phones last couple of years use as Tesla’s vision of emergence of smart mobile devices. However, a more comprehensive view of what Tesla wrote and spoke about at the beginning of the 20th century is that his words speak more about the technology of today, which integrates all aspects of communication and information transfer - what Internet actually is, regardless of the device that is used. The idea of the exhibition “Tesla’s vision of the Internet” is to show in what way is all that Tesla had mentioned, available today to the average internet user - either by using a computer or a mobile phone. This was achieved by installing comparative infographics of Tesla’s visionary words and old photographs of technology from Tesla’s time - on one side, and on the other side the description of information and communication technologies of today whose main feature is, in fact, the Internet. The author of the project “Tesla’s vision of the Internet,” Lazar Boskovic, is a multimedia creator from Belgrade. In addition to the exhibition the project includes a website with the address of the same name in both national internet domains, where you could find infographics, useful links and other materials on this subject. For the fall, an English version of the project is planned, as well as other activities (round table, movies about Tesla ...). The design of the exhibition is the work of Dusan Vojnov, from Orange Studio.

GOOGLE AKADEMIJA ZLOŽBA EXHIBITION

Google Akademija je u saradnji sa O3one galerijom organizovala predavanja za Google AdWords oglašivačku platformu.

Google Academy in cooperation with O3one Gallery organized lectures for Google AdWords advertising platform.

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VOJA ANTONIĆ - ČAROLIJA SVETLEĆE TAČKE ZLOŽBA EXHIBITION

Naravno, postoje stvari o kojima ne razmišljamo dok se sa njima ne sretnemo. Jedna od takvih je i Konvejeva “Igra života”. Prvi put sam za nju čuo od Voje Antonića dok mi je pokazivao i objašnjavao princip kako rade njegove svetlosne čarolije. Pre 43 godine Džon Horton Konvej je razvio algoritam koji je mogao da simulira neku vrstu života. Osnovna pravila održanja takvog virtuelnog života kao da su bila preuzeta iz evolucije. Da bi se život održao potrebno je da ne bude manje od dve žive jedinke u vašem susedstvu. (Poželjno je da budu dva ili tri suseda.) Ukoliko broj živih suseda bude veći od tri ubrzo neće biti života zbog prenaseljenosti. A da i mrtvi mogu da ožive omogućiće tri nezavisna života. (To se naziva reprodukcija.) Samo ovo poslednje pravilo odbija da se pokori zakonima evolucije, mada sugerišu opštu povezanost života i smrti.

Of course, there are things you do not think about until we meet with them. One of them is the Conway “Game of Life”. The first time I heard about her from Voje Antonića as he showed and explained me the principle of magic light. 43 years ago, John Horton Conway developed an algorithm that is able to simulate some kind of life. The basic rules of maintaining such a virtual life as if they were taken from evolution. In order to maintain life you need at least two individuals living in your neighborhood. (It is desirable to be two or three neighbors.) If the number of live neighbors is greater than three soon there will be no life because of overcrowding. And if the dead can come alive they will allow three independent life. (This is called reproduction.) Just this last rule refuses to obey the laws of evolution, but suggest a general correlation of life and death.

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KAMPANJE

O3one ZLOŽBA EXHIBITION

O3ONE je u nekoliko navrata predstavio seriju bilborda, koji su, uklopljeni sa modernim dizajnom, privukli pažnju građana Srbije, ostavljajući prostora ljudima da ih tumače na više načina. Kampanje je, na inicijativu O3ONE-a, realizovao tim agencije Orange Studio u saradnji sa Alma Quattro-m i DPC-om. Naši sugrađani su mogli videti bilborde, kako na ulicama Beograda, tako i širom Srbije.

On several occasions, O3ONE presented a series of billboards of contemporary design which attracted the attention of the public giving them a chance to interpret the messages their own way. The campaigns have been realized, on the initiative O3ONE gallery, by Orange Studio team in cooperation with Alma Quattro and DPC. Our citizens could see those billboards in Belgrade and all across the country.

Vođeni idejom da bilbordi koje viđamo na našim ulicama ne moraju uvek da budu u službi materijalne koristi, želeli smo da bilbordima damo novu dimenziju. O3one bilbordi su imali zadatak da ulepšaju grad, neguju humor, izmame osmeh, ali pre svega da motivišu posmatrače da se kroz šalu prisete narodnih mudrosti i da drugačijim pogledom na život nađu lakše odgovore na mnoge zagonetke, ideje i pitanja kojima se stalno vraćamo.

Led by the idea that billboards we see on the streets don’t have to advertise commercial messages exclusively, we wanted to give billboards a new dimension. O3ONE billboards were meant to make the city streets look nicer, nurture a sense of humour and bring out the smiles, but most of all, motivate the onlookers to remember the proverbs and words of wisdom and through fresh look on life find easier answers to riddles, ideas and questions we always return to.

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2004 / O3ONE IZLOŽBE I DOGAĐAJI 3. oktobar / OTVARANJE O3ONE PROJEKTA 6 - 16. Oktobar / Sound Meets Visual in Contemporary French Art Exhibition 18 - 24. oktobar / Expectore Zone / Nataša Šaric & Thierry Guitard 26 - 30. oktobar / Blowing Up / London Video Art Festival 2. novembar / Karim Rashid 5 - 17. novembar / Straight No Chaser / London Jazz Magazine Exhibition 19. novembar / Prezentacija TkH časopisa 24. novembar - 08. decembar / Che Exhibition / Mihael Milunović 1. decembar / Sculptures / Miki Perić 15. decembar / Group “Let’s…..” / Edukacioni dečiji TV program 22. decembar 2004. - 5. januar 2005. / EKV REWIND / Vuk Vidor 23. decembar / Darkwood dub / Promocija novog albuma 2005 / O3ONE IZLOŽBE I DOGAĐAJI 17 - 21. januar / R.E.M. / Presentation 27. januar - 15. februar / Dorijan Kolundžija 15. – 16. februar / Trough my eyes / NURDOR 18. februar / Design and activism in Serbia 19. februar / Visual Communication and Social-Political Agitation / Liz McQuiston 17. – 28. februar / Adrenalin – Design and Activism in Serbia 5. – 12. mart / fotografska izložba Ogledalo / foto sekcija ULPUDUS-a 10. mart / Photography and Print / Szabo Imre 11. mart / Works / Aleksandra Antić 14. mart / Work of JOE DAVIS / Massachusetts Institute of Technology 17. mart / “The dream about passion” / predstavljanje knjige San o strasti – metod glumačke igre Li Strazberga, FDU 29. mart - 3. april / Cargo Aspekti / Rundek 5. – 17. april / Device Art / grupna ižlozba 9 - 24. maj / In the Wake of Portuguese Navigatiors / Michael Teague 11. maj / Refract Pink Twins 25. maj / _LOB / Aleksandra Zdravković 31. maj / Negative Space / Mladen Hrvanović 18 - 26. jun / Previously Unreleased / Uros Đurić 27 - 30. jun / Moja Srbija / Jacqueline Haener 1 - 10. jul / Good by Saša / (Aleksandar Saša Đorđević – život na basket terenu) UNICEF 27. jul - 8. avgust / Rob Myers 9. – 22. avgust / Emerik Fejes 23. avgust – 2. septembar / “Commonications” / Vladan Srdić 3.- 4.septembar / Samsungov multimedijalni svet 13. septembar / Nagradni konkurs za dizajn Visa kartice 5 - 18. septembar / Pametne neposlušne devojke / Margareta Jelić 19. i 20. septembar / Wrooom: Evolucija 21 septembar / Međunarodni dan mira 21. – 23. septembar / “Fotografske radionice za mlade na jugu Srbije” 24 - 27. septembar / Most umetnosti (Art bridge) / Mirjana Marković 25. septembar / Discovering Senses 28 – 29. septembar / Radost Evrope 3. oktobar / Godinu dana O3ONE galerije 5 - 9. oktobar / Dodirni, Touch it / FormArt 9 - 13. oktobar / Ballettikka Internettikka 2001-2005 15. oktobar / “I love you [rev.eng]” / Franciska Nori 16. oktobar / Otvaranje Designer’s Lounge-a 17 - 19. oktobar / Oreoli / Ana Rajković 22 - 26. oktobar / Fashion week / Gordana Perenčević 7 - 13. novembra / “Rock ‘n’ roll – hall of fame” / David Vartabedijan 15 - 25. novembar / Publikum Kalendar 2006 / Priče o Srbiji 28. novembar - 3. decembar / Oris / Ideja 25. – 28. novembar / Zubin Mehta 28. novembar / Kako napraviti časopis za arhitekturu 5 - 10. decembar / Spazio Per L’Arte / Dragan Zdravković 11. decembar / Guardian Talk – imagine art after 15. decembar / Turn Guide & Info – UNDP 16. decembar / Prezentacija knjige Marina Gržinić: Avangarda i politika 17 – 25. decembar / „Precious memories” / Zoran Naskovski 25. decembar / Promocija novogodišnjeg dvobroja STATUS-a 26. decembar 2005. – 15. januar 2006. / “Dislokacije – Utopijski prostor(i)” Spektaklu - Umetnici: Mika Rottenberg, Aida Ruilova, John Dooley, Randy Moore, Jenny Perlin, Nebojsa Seric – Shoba. 26 - 30. jun 2006. PC Muzej

3 - 7. jul 2006. Beogradski maraton 8 – 11 jul 2006, Sloboda izražavanja – cenzura i autocenzura , Izlozba cezurisanih , od Pjera do Koraksa 12. jul 2006. 25. rođendan kompanije Logitech (event) 13 - 22. jul 2006. Centar Le Cube 1059 24 - 29. jul 2006. 1509 Marta Jovanović 31. jul 2006. 5th International Art Camp Kosjerić (event) 5. avgust 2006.Art | Basel | Geneva Cris Faria & Lukas Mettler (event) 1 - 7. avgust 2006 Kauč/sofa Popkult – Beograd 10 - 16. avgust 2006. Dobra vest / Good News student Parsons School of Design ( New York ) Ji Lee, Fuel Digital, Luba Lukova, Paul Sahre, Jessica Yu, Inksurge, Slavimir Stojanović, Miloš Ilić, Vladan Srdić,Vlada Milojević Vlatron.Autori projekta i kuratori izložbe: Nada Rajičić & Michael Josefowicz (Njujork). 18. avgust 2006. ARTPOOL Budapest Peter Fuchs (event) 21 – 26. avgust 2006. MI SMO TA EKIPA :: izložba MUZEJ SPORTA / Beograd 30. avgust - 4. septembar 2006. Grey worldwide Dizajn competition 9. septembar 2006. allsopp&weir London, UK (event) 09.septembar.2006 Elena Filipovic :: Njujork (SAD) / Brisel (Belgija) :: Kustoski seminar Radionica :: The Ends of the White Cube 10.09.2006 >>> 18.00 Predavanje ::What is to be done with the (form of the) art exhibition? 16. septembar Ars Electronica Festival 2006 Peter Fuchs (event) 20. septembar 2006. Network magazine (event) 25 - 30. septembar 2006. VI Bijenale scenskog dizajna 6. oktobar 2006 Fenomen Ilija Bosilj – Mangelos 9. oktobar 2006.Promocija časopisa BookMarker (event) 11 - 19. oktobar 2006 Device_art 2.006 21.oktobar 2006 HTMlles Festival : EXPORT 2 [06] ( Event) 21. oktobar 2006. Projekcija filma Fantom operatera (event) 20 - 30. oktobar 2006. Henkel Art.Award 2005 Međunarodna nagrada iz umetnosti, kao i specijalna nagrada za mlade umetnike, koju svake godine dodeljuje Henkel CEE, za 2005. godinu je pripala umetnicima iz Srbije. Henkel Art.Award. 2005 dodeljena je Petru Mirkoviću.Nagrade za mlade umetnike Artists-in-Residence dodeljena je Aleksandriji AjdukovićNagrada za umetnike koju dodeljuje Henkel za centralnu i istočnu Evropu (Henkel CEE), sa sedištem u Beču, prošle godine je dodeljena oblasti savremenog crteža, i to Petru Mirkoviću iz Srbije. Žiri je laureata izabrao između 290 radova koje su priložili umetnici iz 12 zemalja.Nagrada za mladog umetnika za učesnike Artists-in-Residence programa KulturKontakt Austrije dodeljena je Aleksandriji Ajduković, takođe iz Srbije. Henkel Art.Award. ustanovljena je kako bi skrenula pažnju na kulturu regiona centralne i istočne Evrope, kao i sa ciljem da promoviše proces evropske integracije. Petar Mirković i Aleksandrija Ajduković izlagaće svoje radove u O3ONE od 20. do 30. oktobra 2006. Petar Mirković rođen je 1978. u Novom Sadu. Godine 2002. je diplomirao na Akademiji lepih umetnosti u Novom Sadu. Do sada je izlagao u Parizu, Tokiju, Beču i Beogradu. 1 - 12. novembar 2006. Subjective Lana Vasiljević 13 - 19. novembar 2006. Reload, XX Beogradski Fashion Week 21 – 30. novembar . Another Day of Life Johan Lundberg , Fotografski dokumentarni projekat Romi u Zapadnom Balkanu 28 novembar 2006. Promocija dečije knjige o MOCART-u (event) 4. decembar 2006. Dragoljub Zamurović – fotomonografije 2006. (Event) 5. decembar 2006. Promocija novog albuma KONTRABANDE (event) 8 - 10. decembar 2006. Srpska kurton liga 2006/2007. U okviru kampanje Omladine JAZAS-a izlozba 110 karikatura predstavljenih u albumu „Srpska kurton liga 2006/2007“. 11.decembar 2006. Mobilizacija građanske Srbije (event) 12. decembar 2006 Kampanja za ukidanje vize (event) 14.decembar 2006. Kalendar Andrejević (event) 15.decembar 2006. www.virtualfairsebia.com (event) od 15. do 30. decembra 2006. Dečije novogodišnje čestitke (event) 16 - 24. decembar 2006. Das ist Kunst Kiosk – Ana Adamovic i Milica Pekic Conev 25 - 28. decembar 2006. Protoarchitecture Nataša Bajc 26.decembar 2006. Belgrade Witty Map (event) 29. dec. 2006. – 7. jan. 2007. A life less glamorous Internacionalna grupna izlozba

2006 / O3ONE IZLOŽBE I DOGAĐAJI 11 – 19. oktobar / Device_art 2.006 20 – 28. januar / “Karlssonwilker” / Remix Srbija 21. oktobar / HTMlles Festival : EXPORT 2 [06] 27. januar / Promocija novog spota Ane Stanić 21. oktobar / Projekcija filma Fantom operatera 30.januar / Upoznajmo Evropsku uniju. Pridružimo se! 20 – 30. oktobar / Henkel Art Award 2005 31. januar – 10. februar / Olovka i igla / Aleksandar Zograf i Gordana Bast 1 – 12. novembar / Subjective / Lana Vasiljević 9.februar / The city of cool 13 – 19. novembar / Reload / XX Beogradski Fashion Week 11. februar / An Education in Illustration / Lawrence Zeegen 21 – 30. novembar / Another Day of Life / Johan Lundberg / Fotografski 18. i 19. februar / Art of Communication dokumentarni projekat Romi u Zapadnom Balkanu 13 – 20. februar / Konkurs Brzina / časopis ReFOTO 28. novembar / Promocija dečije knjige o MOCART-u 20 – 26. februar / “Maxi na papiru i u objektivu” 4. decembar / Fotomonografije 2006 / Dragoljub Zamurović 2. mart / “Ra-Hoor-Khuit Chromosomes – Empty Space For Cyber Wisdom” 5. decembar / Promocija novog albuma KONTRABANDE 4. mart / “Le Troisieme Paradis” 8 – 10. Decembar / Srpska kurton liga 2006/2007. / Izložba 110 karikatura 6 – 12. mart / “Zoom To Fit” / DEZ.ORG / Omladina JAZAS-a 13 – 25. mart / “Brendopolis” / Mileta Prodanović 11. decembar / Mobilizacija građanske Srbije 27. mart - 2. april / Savremeni Dizajn Islanda 12. decembar / Kampanja za ukidanje vize 3 – 9. april / B-LINK / Beogradski festival novih komunkacija 14. decembar / Kalendar Andrejević 11. april / Investirajte u Srbiju / SIEPA 15. decembar / www.virtualfairsebia.com 13 – 19. april / Jean Baptiste Sauvage 15. – 30. decembar / Dečije novogodišnje čestitke 17. april / Umetnost & Nauka / Gordana Novaković 16 – 24. decembar / Das ist Kunst Kiosk / Ana Adamović i Milica Pekić 18. april / Cisco Systems Conev 19 – 22. april / “less gold, more stones” / 10 years of trans:east *brand 25 – 28. decembar / Protoarchitecture / Nataša Bajc architects 26. decembar / Belgrade Witty Map 21 – 25. april / Start, Jump, Winner! / Carl Lewis 29. decembar 2006 – 7. januar 2007. / A life less glamorous / 25. april – 2. maj / Step Out! / Mihael Milunović Internacionalna grupna izlozba / Kustos: Marko Stamenkovic (Beograd) 3 – 13. maj / REZERVNA PLANETA / Talent Factory / Vladimir Peric – Pera Talenat 2007 / O3ONE IZLOŽBE I DOGAĐAJI 19. maj / Artetargent BARDIAUX & TOUSSAINT 9 – 11. januar / Efektno – od početka do kraja / REFOTO 15 – 20. maj / EVROPA U ŠKOLI / likovni i literarni konkurs Evropski pokret 26 – 31. januar / ARTFOOD – EAT ART / Marko Stojanovic u Srbiji / Ministarstvo prosvete i sporta Republike Srbije / Delegacija 1 – 7. februar / Pozadina Misli / Jelena Milovanović Evropske komisije u Srbiji i Crnoj Gori / Friedrich Ebert Stiftung / AG DERETA 16. februar / Promocija knjige „Zašto baš ja?“ / Gordana Zalad / Procredit Banka 12 – 17. februar / Izložba fotografija “NJEN PRIJATELJ” 22. maj / Prezentacija multimedijalnog CD-a Milutin Bojić 19 – 24. februar / Private Dancers / grupna izložba / Kustos: Marko 23. maj / Osnivačka skupština SALD Stamenković 26. maj / Kontakt / Umetnička kolekcija Erste Bank Grupe 26. februar - 03. mart / Šta se dešava dok telefoniram / Nenad Vukmirović29 – 31. maj / FUD / yearOne Vuk 1 – 6. jun / …any doubts? / …da li je sve jasno? / Marija Simeunović 28. februar / Promocija Radija Index 7. jun / DemoKino – Virtual Biopolitical Agora / Davide Grassi 5 – 9. mart / izložba fotografija / Magazin Status 10. jun / Arts + Business Partnerships / Alice Sachs Zimet 6. mart / “Beginnings” / Peter Marlow 14. jun / U zvucima gradova / konferencija za štampu 10. mart / Satellite Night Fever / Davide Grassi 15. jun / Pametna kuća 15 – 18. mart / Algoritmi uključivanja / ArtNetLab – Ljubljana 18. jun / Art Booking / Jasmina Holbus 19 – 24. mart / Color De Luxe / B92 21. jun / Njujorška umetnička scena 2005–2006 / Jovana Stokić 26 – 31. mart / Folie – Luda ljubav / Tamara Miodragović i Ana Rodić 22. jun / Visual Impact 2 – 6. april / My life in the bush of memories / fotografije i slajdovi 23. jun / Nordijski kuvar anonimnog autora iz Beograda 19 – 25. jun / (New York Kao) Open Market - Pojedinac u Globalnom 3 – 6. april / ACCES LOCAL, Pariz (Francuska) / predavanje, konferencija Spektaklu / Mika Rottenberg / Aida Ruilova / John Dooley / Randy Moore / 10 – 14. april / FLOS LOVE LIFE LIGHT + CASA DELLA LUCE / izložba lampi Jenny Perlin / Nebojša Šeric – Shoba. 15 – 22. april / B-link / Beogradski festival novih komunikacija 26 – 30. jun / PC Muzej 23 - 28. april / Izložba cipela / grupna izložba 24 umetnika 3 – 7. jul / Beogradski maraton 24. april / ARTISTHOUSE Group / Brajan Dejvis (Bryan Davies) i Lora 8 – 11. jul / Sloboda izražavanja – cenzura i autocenzura / Izložba Kvarmbi (Laura Quarmby) cenzurisanih , od Pjera do Koraksa 28. april / Democratic Innovation & The Box Society / Kent Hansen 12. jul / 25. rođendan kompanije Logitech (Kopenhagen / Danska) 13 – 22. jul / Centar Le Cube 1059 30. april – 5. maj / Trentuak sreće / Aleksandar Kujučev 24 – 29. jul / 1509 / Marta Jovanović 7 – 9. maj / O3one & Cultural Front & BDW / radionica “Dizajnerska 31. jul / 5th International Art Camp Kosjerić republika” 5. avgust / Art | Basel | Geneva / Cris Faria & Lukas Mettler 7 – 12. maj / Nordijska umetnička scena / DÖGG DESIGN KUBAart-e1 - 7. avgust / Kauč/sofa / Popkult – Beograd conomy 2007 10 – 16. avgust / Dobra vest / Good News / grupna izložba / Autori projekta 14. maj / Culture Rocks The City “Aktivno gradjanstvo – Lokalne kulture i kuratori izložbe: Nada Rajičić & Michael Josefowicz (Njujork). – Evropska politika” / konferencija / projekcija dokumentarnog filma / 18. avgust / ARTPOOL Budapest / Peter Fuchs prezentacija knjige 21 – 26. avgust / MI SMO TA EKIPA / izložba MUZEJ SPORTA / Beograd 15 – 18. maj / izložba fotografija / Ivana Brezovac 30. avgust – 4. septembar / Grey Worldwide / Design competition 19. maj / Contrasted Working Worlds / Noć muzeja 9. septembar / allsopp&weir London, UK 24. maj / Disillusion: Izmedju umetnickog dela i igracke (Umetnost i 9. septembar / Kustoski seminar / Radionica The Ends of the White Cube / ekonomija, analiza jednog modela) / David Maroto / prezentacija Elena Filipović, Njujork (SAD) / Brisel (Belgija) 21 – 27. maj / Hotel O3ONE: Putovanje / Zora Mojsilović Popović 10. septembar / What is to be done with the (form of the) art exhibition? / 29. maj – 2. jun / multimedijalna izlozba: YUGO / Vladimir Bojić Predavanje 4. – 9. jun / Warning Fragile! / Jelena Koštica 16. septembar / Ars Electronica Festival 2006 / Peter Fuchs 11 – 14. jun / Svet usluga / Katrin Lock & Tim Brotherton 20. septembar / Network magazine 25 – 30. septembar / VI Bijenale scenskog dizajna 6. oktobar / Fenomen Ilija Bosilj – Mangelos 469 9. oktobar / Promocija časopisa BookMarker

15. – 21. Jun / FUD 1+1 / Fakultet za Umetnost i dizajn, Megatrend univerzitet i dekan Miloš Šobajić 26. jun / Summer Of Art / Jovana Stokić 25. – 30. jun / TOP 40 – u rilnama života / Snežana Golubović 2 – 6. jul / “City Concentration – Building on the Roof in Vienna” / arhitekta Heinz Lutter 3 - 7. jul / Beogradski maraton / Foto Konkurs / REFOTO časopis, Orange studio i O3ONE. 9 – 15. jul / NONOBJECT / Branko Lukić 16 – 21. jul / “Anti-ekonomija života” / Cinema Suitcase 23 – 29. jul / Najnovije slike (ulja na platnu) / Mileta Poštić 30. jul – 4. avgust / izložba fotografija / studenti FPU u Beogradu 6 – 11. avgust / LENTIKULAR FPU LOGOTEXT / izložba radova studenata FPU 13 – 18 . avgust / Recyclable Refugee Camp / Ives Maes 15. avgust / Teike Asselbergs / ORGACOM 20. avgust – 01. septembar / NUCLEUS / Veljko Zejak 3 – 8. septembar / Nordic Summer – Art from the Top of Europe / IVANAhelsinki 6. septembar / Taj mali bioskop u našim glavama / Amarkord 10 – 12. septembar / Tri večeri sa Free Cinema Seven 6 - 16. septembar / GRENZSTADT / Recoil Performance Group 14 – 22. septembar /Anđeli XXI veka / Zoran Velimanović 24 - 30. septembar / ad&d:DV – prvih 15 godina / Dejan Vukelić 1 - 6. oktobar / E – nimacija / Igor Ćoric 11. oktobar / Telefonski imenik / Kirila Fe / promocija knjige 08 – 13. oktobar / SPAZIO PER L’ARTE II / Dragan Zdravković 15 – 27. oktobar / New Dandy / Predrag Peđa Nešković 27. oktobar / Interdisciplinarno / Jelena Martinović Marta, Ljiljana Rogač, Dragana Rusalić / multimedijalni dogadjaj 29. oktobar - 6. novembar / Trenutak asimetričnog ćutanja / Saša Pančić 13. novembar / Future Shorts / najveća mreža kratkog filma 8 – 17. november / MEX & CO. / Teodor Teddy Liho 19 - 25. novembar / Tragovi po vodi / Milan Simić 20. novembar / Početak evropske turneje / Sybase Developer Network 27. novembar – 5. decembar / izložba i modna revija / Slavna Martinović 17 – 20. decembar / kalendar O3ONE-a i Raiffeisen banke za 2008. godinu 23. novembar / Dizajniranje reciklažnim materijalom / predavanje 23. novembar / promocija knjige: „Dozvolite da se odjavimo“ / Zoran Panović 24. novembar / promocija knjige: “Volim brend, živim za brend” / Dejan Šapić 1. decembar / Erotika u animaciji / projekcija filma 5. decembar / Modna revija Vintidz Melanholija / Slavna Martinović 7. i 8. decembar / Međunarodno bijenale proširenih medija 9. decembar / LENONDAN / Koncert Rastka Ćirića i prijatelja 13. decembar / eksluzivna premijera trejlera njujorškog dela filma “Tamo i ovde” 15. decembar / FUTURE SHORTS / projekcije kratkih filmova 17. - 20. decembar / kalendar O3ONE-a i Raiffeisen banke za 2008. godinu 24. – 30. decembar / izložba: Moj virtuelni svet / radovi učenika osnovne škole Dr Dragan Hercog 2008 / 03ONE IZLOŽBE I DOGAĐAJI 10 – 12. januar / Projekat CONA / Irena Pivka & Brane Zorman 17. januar / retrospektiva pedesetogodišnjeg rada Mirka Lovrića 23. januar / prezentacija Epson proizvoda 24 – 26. januar / radovi izabrani na konkursu časopisa REFOTO 14 – 23. januar / Eksperiment / ULUPUDS 28. januar – 1. februar / Ljudi otvorenih očiju / Magazin Status 4 – 9. februar / Generative Warp 5. februar / James Nachtawey, Photosynth, Edward Burtynsky 11 - 20. februar / izložba fotografija: Igralište / Jelena Ilić 23. februar / Politecnico di Milano u Beogradu 25. februar – 1. mart / Izložba najbolje sportske fotografije u 2007. godini 27. februar / Ruke na zemlji / Sećanje na Eleonoru Bruk 10 – 19. mart / Turbo sutra 20 – 29. mart / Antidepresiv 31. mart – 6. april / Nagrada za arhitekturu kompanije Novosti 7 – 14. april / „Podeli i ti svoj trenutak“ / MTS

15 - 19. april / Radni naslov:! / Đorđe Bobić 21 – 24. april / O3 zona – Drveće govori 6 – 10. maj / White House Project / Đorđe Joksimović 12 – 13. maj / izložba “Drvo života” 14 – 15. maj / SUMA XENIANA…dodaj crnu čipku / Milena Stojićević 17 – 24. maj / izložba instalacija i crteža / Željka Momirov 26 – 31. maj / Pokušaj razrešenja krize grada putem ispisivanja intimne mape / Milica Vojvodić 2 – 4. jun / Srbija na EXPO 2010: Vizija za budućnost / SIEPA 5 – 7. jun / “Svi različiti – svi ravnopravni“ / izložba fotografija 9 – 18. jun / Dobroselica – Selo koje nestaje / Marko Stamatović 27. jun – 5. jul / Nedelja arhitekture: Projekat Ajburg / Mirjana Milanović 19 - 26. jun / 50 godina prenosa električne energije 21 - 26. jul / Grad / Danica Dana Marinković 17 – 19. jul / Being… – Lična strategija fikcionalizacije / Zorica Šormaz 7 – 15. jul / Transfers / Yaniv Waissa 29. jul – 5. avgust / AIGA 365 / godišnja izložba dizajna u Beogradu 7 – 16. avgust / konceptualna istorija umetnosti / Era Milivojević 21 – 27. avgust / Sedam glasova u isto vreme 29. avgust – 6. septembar / Timski rad 6 / Nika Oblak i Primož Novak 8 – 13. septembar / New collection of whichever / Dragan Đorđević 15 – 20. septembar / Guarana / izložba stripova 18. septembar/ prezentacija „Svetlosni identitet Beograda“ 22 – 30. septembar / Redesign your mind 2 8 – 10. oktobar / Belgrade Dance 13 – 15. oktobar / Petokanalna video instalacija: Youtopia / Isidora Ilić 14. oktobar / biZbuZZ IT / press konferencija 12. oktobar / ScreenDIS-PATCH predstavlja: Tuned City Festival 18. i 19. oktobar / DIS-PATCH vam predstavlja: OUTSIDE / IN + TALKIN’ ANALOGUE 20 – 29. oktobar / Mesec i promena / Gordana Kaljalović i Đorđe Odanović 3. – 12. novembar / Sunny day / Aleksandra Stratimirovic 11. novembar / Monografija Zenit 1921-1929 14. novembar / izložba fotografija / Silvia Vulićević Ilić 17 – 22. novembar / izložba mladih modnih kreatora / Daniel Palillo i Rickard Lindquist 25 – 29. novembar / ACT Responsible – Izložba koja te menja iznutra 1 – 8. decembar / Istočni doprinos / Zoran Živković 10. decembar / Praksa na delu / Epson i ReFoto konkurs 12. decembar / PESNIČENJE 02 / Veče aktivne poezije (pesme za čitanje i pevanje) 15 – 20. decembar / KALENDAR 09 Raiffaisen banka 22. decembar / Power struggle: Meeting Global Energy Challenges in the Balkans 23. decembar / Promocija kalendara Raiffeisen banke za 2010. godinu 26. decembar 2008 – 10. januar 2009. / Homework / Futro kreativna agencija 2009 / O3ONE IZLOŽBE I DOGAĐAJI 26. decembar 2008 – 10. januar 2009. / Homework / Futro kreativna agencija 12 – 26. januar / GLOW DIET – MANJI SJAJ / Tatjana Milošević 22. januar / izvlačenje nagrada / Guarana 26 – 31 januar / Poredjenja – izložba za produženo iskustvo / Vladimir Avramov 3. februar / “Take your Light” / Lightology u saradnji sa Fabbian-om i Novolux-om 4 – 7 februar / konkurs za fotografiju godine magazina STATUS 9 – 21. februar / MP_exp_17 KAPITAL / mp_art ( Maja Buđarov i Predrag Šiđanin) 20. februar / Politecnico di Milano u Beogradu 22 – 24. februar / izložba slika: IGRA / Milena Stojanović 2 – 14. mart / Slike uspeha / Miodrag Krkobabić 16 – 22. mart / WORK IN PROGRESS… YOUNG SERBIAN DESIGNERS 25. mart / Nepristajanje/Nonacceptance / Olivera Miloš Todorović 23. mart – 4. april / Dislokacija / Miloš Đorđević 6 – 11. april / 6. autorski konkurs za arhitekturu “Novosti” 2008 13 – 22. april / Access to All , izložba radova studenata arhitektonskog fakulteta

11. maj / YOUNG SERBIAN DESIGNERS & MIKSER DESIGN EXPO 12. maj / Moda ili maskenbal – EXIT 08 / Tanja Beljinski 13 - 23. maj / Veliki grad ne bi bio veliki bez… / B92 20godina 24 - 29. maj / NA TRAGU SVETLOSTI / Leonora Vekić i Zlatko Cvetković 26. maj – 6. jun / NONOBJECT Design Fiction / Part II / Branko Lukić 9 – 20. jun / AIR / Jelena Milo 22 – 25. jun / Život se živi – trenuci se pamte… / LIPA 26. jun – 4. jul / RE _ focus / Ludovika Molo i Jahen Kenc 7 – 18. jul / IZVEŠTAJ / Milica Rakić 20 – 29. jul / SERBIA@EXPO2010 / SIEPA & O3ONE 6 – 18. avgust / Just Sightseeing / Benoa Pjer (Benoit Pierre) 20 – 26. avgust / Lična oznaka, Ornamentalna skarifikacija lica / Sonja Simić-Townsend 27 – 29. avgust / “Knjiga kroz fotografiju” / izložba fotografija Geopoetika 2 – 19. septembar / MALI DNEVNIK III / Raša Todosijević 22 – 30. septembar / BALKAN DIARY / Reinhard Doubrawa 1 – 4. oktobar / B-LINK 2009 // VIRTUAL EVOLUTION 9 – 20. oktobar / NA TRAGU SVETLOSTI / Leonora Vekić i Zlatko Cvetković 22. oktobar – 4. novembar / CRVENI / Uroš Đurić 6 – 7. novembar / Delta Humanitarni Fond 9 – 14. novembar / BREATH / Fumio Matsui 16 — 21. novembar / Mr. Tomorrow from Japan / Youna Kousagiuguisu 23 – 28. novembar / Jednom olovkom / O-Jun 30. novembar – 05. decembar / treći juniorov fotografski konkurs / National Geographic Junior 9 – 19. decembar / REDESIGN YOUR MIND 3 / grupna izložba 18. decembar / PROMOCIJA DVD-a filma “Tamo i ovde” 21 – 26. decembar / Dinosaurusi viđeni očima dece / likovni konkurs Raiffeisen banke 28 – 31. decembar / izložba fotografija: SRPSKI FOTOGRAFI / STAV

10. avgust / performans Anđeo ljubavi / autori Violeta Kroker i Lora Orlović 17 – 24. avgust / izložba iz O3one kolekcije / grupa autora 1 – 14. septembar / izložba Zašto ići negde? / grupa autora slikarskog odseka Savana koledža 06. septembar / prezentacija projekta Probe / autor Blažo Kovačević 20. septembar – 03. oktobar / izložba Život ispod zemlje / autor Janko Radojević 05 – 16. oktobar / izložba Rođena dvehiljadite / autor Boris Stajkovac 18 – 23. oktobar / izložba Svetlost / autor Predrag Popara 25 – 31. oktobar / izložba Moja arhitektura / autor Goran Vojvodić 01 - 06. novembar / izložba Green Balance / grupa autora 09 – 20. novembar / izložba Pazi, umetnost ne ujeda! / autor Nikola Džafo 23. novembar – 04. decembar / izložba Uputstvo za približavanje, projekat6 / grupa autora 26. novembar / događaj Pecha Kucha Night Belgrade 7 2. decembar / promocija edicije Lideri društvene odgovornosti / Business Info Group 7 – 15. decembar / izložba Fotografije sa margine / Tanjug 23. i 24. decembar / izložba Interakcija u prostoru / autor Dušica Pajić 2011 / O3ONE IZLOŽBE I DOGAĐAJI 10 – 15. januar / izložba fotografija “Savski venac za sećanje” / Polaznici kursa “Moj način” 17 – 22. januar / “Normalna komunikacija – sećanje ne boli” / izložba fotografija magazina STATUS 24 – 29. januar / “Redizajn – stvaramo nove brendove” / Agencija za strana ulaganja u promociju izvoza (SIEPA) 8 – 19. februar / izložba “Instant Pleasure” / Tanja Đorđević 21 – 26. februar / Deset godina benda No Smoking Orchestra 28. februar – 12. mart / izložba “Rekreacija” / Iva Kovač 14 – 18. mart / Nedelja novog optimizma / Zeleno zvono 22 – 31. mart / kolektivna izložba Young Balkan Designers 1 – 8. april / 8. autorski Konkurs za arhitekturu kompanije Novosti 11 – 19. april / “Ostaci života – neupadljivi prikazi” / Ivan Šuković 3 – 4. maj / “Fashionable Peko-chan, Our Fantastic Idol” / Shinobu Machida, Japan 12 – 28. maj / “Whatever keeps zou moving forward…” / Nemanja Dragojlović 30. maj – 4. jun / izložba radova Likovne radionice “Pohvala ruci” 9. april / izložba “Designers Love Japan” 26 – 30. april / Leisure with Pleasure / dizajn portal Designed.rs 5 – 14. maj / Godišnje nagradae za arhitekturu i Arhitektonski I urbanistički konkursi u Srbiji //BINA za period maj 2010 – maj 2011. godine 16 – 21. maj / Projekat kompanije Roche i Fakulteta primenjene umetnosti / “Nauka u službi zdravlja” 7 – 18. jun / izložba “Biorazgradivost misli” / Tijana Luković 20 – 24. jun / “Slike” / Tadija Janičić 24 – 2. jul / kolektivna izložba “Zelena t(e)rasa” / PUPA 4 – 9. jul / “Sistematizacija” / Deset godina System Comics-a 11 – 23. jul / izložba “Searching in Vain” / Simon Zec, Australija 25. jul – 6. avgust / Morfogeneza / Slavica Mrin 8 – 20. avgust / “Moja religija” / Kosta Kulundžić, Francuska 22 – 27. avgust / “Ptice slobode” / Rafael Konsuegra, Kuba 29. avgust – 1. septembar / “Slagalice” / PrimArt 2 – 10. septembar / ilustracije / Međedi 13 – 24. septembar / izložba “Skriveni kodovi” / Miodrag Krkobabić 26. septembar – 1. oktobar / “(Ne)dokučivo poreklo inspiracije savremenog modnog delovanja” / u okviru konferencije ICOM / Komitet za kostim 10 – 22. oktobar / izložba “Nedoslednosti” / Đorđe Stojanović 24 – 29. oktobar / “Kroz savremenu umetnost sedamdesetih” / Tanjug 25. oktobar – 5 novembar / Beogradska nezavisna kultura 31. oktobar – 5. novembar / “Pokušavam da prebrojim preostala zrna peska na noktu” / Seli Yuki 7 – 12. novembar / “Uvećanje” / Spasoje Krunić 14 – 19. novembar / B-link 21 – 26. novembar / “Life Balance” / međunarodna izložba fotografija 28. novembar – 5. decembar / Hor i orkestar za vanredne situacije – pištanje na salonu 6. i 7. decembar / izložba “15X”/ grupna izložba fotografija studenata master studija Digitalne umetnosti i novih medija

2010 / O3ONE IZLOŽBE I DOGAĐAJI 28. decembar – 9. Januar / izložba fotografija Srpski fotografi / STAV 12 – 14 januar / izložba Re-dizajn, stvaramo nove brendove / SIEPA 15. januar / događaj Podsticanje razvoja elektronskog sadrzaja... / CRI 18 – 23. januar / izložba Raskrsnice / grupa autora Sanja Kneževicć Marko Risović i Mirjana Ristić Damjanović 1 – 6. februar / izložba Duhovi / autor Mane Šakić 8. februar – performans Igra / autor Maša Đuričić 10. februar / dodela nagrada Srećno drvo / Nacionalna Geografija Junior 17 – 27. februar / izložba Tattooed room / autor Dragan Vojvodić 20. februar / promocija Politecnico di Milano u Beogradu 2 – 10. mart. / 4do7 Arhitektura / arhitektonski studio 4do7 11 – 16. mart / izložba U retrovizoru / autor Saša Radović 18 – 24. mart / izložba Young Serbian Designers / grupa autora 25 – 31. mart / 44. autorski konkurs kompanije Novosti 08 – 10. april / izložba Antigena 3d / autor Marijana Markoska 12. april / izložba i promocija Dar ljubavi 13 – 15. april / izložba Heatware / autor Marija Popivoda 14. april / promocija multimedijalne knjige SMS iz Srbije, autor Snežana Milojković 16. i 17. april / izložba fotografija Manhattan from Brooklyn by Delc / autor Milan Delčić 19 – 22. april - projekat Home Sweet Home / autor Milan Janić i O3one 26. april – 6. maj / izložba multimedijalnog konkursa Plavo putovanje 30. april / nastup grupe Xanax 5. maj / nastup DJ Straw &DJ Hamush / Digital Harmony 7 – 15. maj / V BINA / arhitektura Bauhausa 14. maj / predavanje Bauhaus i Beograd 15. maj / emitovanje predavanja arh. Ranka Radovića / Noć muzeja 18 – 29. maj / izložba Blow Up-Karnevalizacija / autor Marija Đurić 25 – 29. maj / O3one@Mikser2010 / Žitomlin, Dorćol 1 – 12. jun / izložba radova Studio udruženja mladih dizajnera (FISE-SYDA) 1. jun / predavanje Pecha Kucha Night Belgrade 6 14 – 22. jun / Hemofarm kroz vreme 24. jun – 7. jul / izložba Update: sopstveni (ženski) lik / grupna izložba 25. jun / predstavljanje Web servisa / Plakatt.com 09 – 21. jul / izložba White Exhibition – fraktali / autor Eugen Borkovski 19. jul / video prenos performansa Shoot me! Marte Jovanović 3 – 14. avgust / izložba Površina / autor Linmay Komine 471

2012 / O3ONE IZLOŽBE I DOGAĐAJI 15. januar / godišnja izložba fotografija magazina Status 16 – 21. januar / izložba Rastakanje / autori Borjan Grujić i Nenad Aćimović 14. februar / Integracije 27. februar – 3. mart / BITEF 5 - 17. mart / izložba i radionica HoopUp / autori Violeta Popovic Balas i Edvard Balas 19 – 24. mart / projekat UrbanLab Beograd 20/20 20. mart / događaj Digitalna agenda 21. mart / događaj TedEx 24. mart i 27. april / politički performans / autor Ana Milanović 26 – 31. mart / 46. autorski konkurs arhitekture kompanije Novosti 4 – 9. april / izložba PlayTime / autor Bogdan Pavlović 12 – 22. april / izložba libanskih mozaika 23 – 28. april / arhitektura BINA 30. april – 5. maj / izložba skulpture Čovek u savremenom svetu / autor Dragan Radenović 04. maj / aukcija Nezaboravak / autor Mića Trnavac 17. maj / konferencija za štampu / braća Teofilović 07 – 19. maj / Noć muzeja 21 – 25. maj / grupna izložba mladih BUgzzz 26. maj / Kustosiranje 26 – 30. maj / izložba projekta Pohvala ruci 31. maj – 9. jun / izložba Jos jedan prozor u bazenu / autor Milorad Đokić 6. jun / događaj Unicef “ Škola bez nasilja / teniserka Ana Ivanović 6. jun / NVO CRTA / promocija sajta “ Otvoreni Parlament” 20. jun / događaj Dani Dunava / Svi na Adu Huju 11 – 20. jun / izložba Aleksandra Dimitrijevića 20. jun / događaj GREEN 21 – 23. jun / BLINK 26. jun / Press BELEF 26. jun – 8. jul / Utisci i otisci, 25. godina JAT-a / autor Milan Melka 09 – 13. jul / izložba Teslina vizija internet / autor Lazar Bošković 14 – 20. avgust / izložba Peđa Damjanović 23 – 31. avgust / izložba REcikliranje SaVesti / autor Ivanka Vana Prelević 31. avgust – 2. septembar / izložba Međedi 3 – 15. septembar / izložba U projekciji druge dimenzije / autor Krašimir Dobrev 17 – 30. septembar / izložba Balkanska rapsodija / autor Slobodan Trajković 30. septembar – 3. oktobar / izložba Gimares / Parobrod 04 - 13. oktobar / izložba Slovenija u nama / autor Alenka Slavinec 10. oktobar / performans Pisma Ivi Andricu / autor Snežana Golubović 15 – 27. oktobar / izložba Kolekcija kostiju / autor Zoran Velimanović 27. oktobar – 1. novembar / BLINK FreshWesh 1 – 3. novembar / izložba Smešne ljubavi / autor Peter Ciuha 2. novembar / događaj Film in Srbija 5 – 14. novembar / izložba Synthetization / autor Vladimir Kovač 15. novembar – 1. decembar / izložba Naga Maja i kosovka devojka / autor Peđa Nešković 29. i 30. novembar / naučni skup arhitekture / autor prof. Ružica Bogdanović 03 - 15. decembar / izložba Kataplazma / autor Dušan Vrga 16. decembar / dobrotvorna aukcija poslastičara Bitka za bebe 17 – 29. decembar / izložba Interaktivna skulptura / autor Nikola Macura 2013 / O3ONE IZLOŽBE I DOGAĐAJI 14. januar – 27. januar / Ljudi otvorenih očiju / dodela nagrada magazina Status 28. januar – 3. februar / Sportska fotografija 4. februar / Ekotopija 5. februar – 11. februar / Dani Kine / Godina Zmije 12. februar – 10. mart / Dušan Vojnov BRD 23. februar / performans Miona Deler “ Suruma Eyes” 11. mart – 17. mart / Svi mozgovi na jednom mestu / izložba mikrografija 19. mart – 30. mart / Živorad Vučić – svedok vremena 1. april - 5. april / Deveti autorski konkurs za arhitekturu kompanije Novosti 3. april / Dodela nagrada Ekotopija 6. april / izložba SILKSKRIN u galeriji O3one! 9. april – 20. april / Osećam Japan – Feeling Japan / Tamara i Marko Vukša 22. april – 6. maj / nelagodnost u kulturi / grupna izložba Jane Stojaković

7. maj – 15. maj / Belgrade Street / Andy Towned 16. maj – 17. maj / UNDP 18. maj / Pisac u izlogu / Noć muzeja 22. maj – 29. maj / Noir Festival / Saša Šekoranja 4. jun – 17. jun - Internacionalna izložba Prijatelji Srba / Dragan Đorđević 13. jun / Crta 18. jun – 28. jun / Kolektivno zaRazno / Vesna Pejović 29. jun – 30. jun / SkyLanders / igrice 4. jul - 19. jul / Red, Strast, Nastanak – Order, Passion, Becoming, Aleksandra Dulić i Kenneth Newby 2. jul / Google akademija 16. jul – 17. jul / UNDP 22. jul – 24. jul / izložba fotografija JKP Gradske pijace 25. jul – 15. avgust / XChange / Mihael Milunović 19. jul – 2. septembar / Šapat kolja / Rajko Karišić 2. septembar – 7. septembar / Čarolija svetleće tačke / Voja Antonić 10. septembar – 21. septembar / Novi ljubavni nereid / Mirjana Bobić Mojsilović 19. septembar / UNDP 24. septembar – 28. septembar / No Price Tag / Maja Ilić 30. septembar – 2. oktobar / Guarana strip 04. oktobar – 19. oktobar / Čudnovati stripovi / Aleksa Gajić 17. oktobar / Bassilichi, bankomati 20. oktobar / GRUBB Stories / Roma NGO 21. oktobar – 22. oktobar - Istorija bezbednosti telekomunikacija, od dimnih signala do internet / Lazar Bošković i RNIDS 24. oktobar – 2. Novembar / Planeta 3 1 2 / Nataša Šarić 4. novembar – 16. Novembar / 1. Sateni / Vlasta Mikić Volkano 18. novembar - 28. Novembar / “ This is not an artist” Alain Kundycki / ambasador Belgije 22. novembar / Executive Group 29. novembar / Centar za promocije nauke / Dubravka Vejnović 2. decembar – 16. Decembar / “From GB with love” / TrajkovicCo 14 – 18. decembar / “Knjiga utisaka” / Slavoljub Stanković i Slavimir Stojanović 18 – 20. decembra / izložba fotografija “ DOHA - moje putovanje ka otkriću “ /Jelena Dubajić i Ivan Čolakov 21 – 26. decembar / “Da li me vidis?” / Centar za inkluziju osoba sa invaliditetom 27. decembar – 13. Januar 2014. / izložba “Drugačiji stav” / foto studio “Novi dirižabl i Marija Jovanović 2014 / O3ONE IZLOŽBE I DOGAĐAJI 27. decembar – 13. Januar 2014. / izložba “Drugačiji stav” / foto studio “Novi dirižabl i Marija Jovanović 28. januar – 2. februar / Nedelja borbe protiv duvanskog dima / izložba likovnog konkursa učenika srednjih škola 3 – 17. februara / izložba fotografija Magijski preobražaj fotografskih prizora / autor Nenad Marijanović 4. februar / petogodišnjica fonda Ekotopija i dodela Zelene zvezde 10. i 11. februar / trening Zašto kultura 18 – 25. februar / izložba fotografija Prvi krug / autor Senja Vild 26. februar – 7. mart / Adristorical Lands 13. mart – 18. mart / Zewa 20. mart / Orbit 24 – 26. mart / Gradske pijace 27. mart. – 9. april / KonstrukcijaX / Srba Travanov 10. april – 23. april / Pravac sile / Trajković 24. april – 3. maj / Vodič kroz građansku neposlušnost / Marko Javošević 05. maj – 17. maj / Šta radi Vladislav Šćepanović / Vladislav Šćepanović 19. maj – 27. maj / izložba grupe Laibach 28. maj – 3. jun / BINA / arh. Milenija i Darko Marušić 04. jun – 14. jun / Transformacija pamćenja / Valeri Čakalov i Stefan Boškov 16. jun – 17. jun / Naslovne stranice iz dana u dan 18. jun - 2. jul / Simfonije Gustava Malera u slikama Vladimira Vlahovića 26. jun / Guarana / pres konferencija za konkurs NoSleepChallenge 13. jul – 14. jul / Retrospektivna izložba arhitektonskih dela Ksenije Bulatović / autor Ksenija Bulatović 15. jul – 19. jul / izložba slika “Pogledi” / autor Đerđ Eres 21. jul – 4. avgust / izložba radova “O funkcionalnosti ili kako nešto radi?” /

4. avgust – 10. avgust - izložba fotografija “Kratka priča o...strahu” / autor Ivana Tomanović 11. avgust – 17. avgust / izložba “Maoney” / autor Andrej Vasiljević 18. avgust – 28. avgust / Grupna izložba fotografija “In Your Eyes” / autori Srđan Sladaković, Nenad Vilimanović i Mlađan Sladaković 29. avgust – 31. avgust / izložba / Međedi 1. septembar – 11. septembar / izložba “Relacija” / studenti Univerziteta umetnosti u Beogradu 11. septembar – 18. septembar / master izložba “ Metro” / Tijana Golubović 18. septembar – 25.septembar / izložba fotografija Go(l)d Bless America / Maja Ilić

473

HVALA/ THANX:

ŽUĆA. MILENA. STEVAN. MILICA. VELJKO. AGNETA. MILENA. POP. KATARINA. OGI. PEĐA. BANJA. MIRA. ČIKA. VESNA. TAMARA. SLAĐA. ALEKSANDRA G. MILAN. DARKO. JELENA. ANA. LJUBA. MIKI. RASTKO. DORIJAN. MANJA. JESSY. BOJANA. NANA. DEJAN. DANIJELA. LAZAR. DEJAN P. BOBAN. MIRA & MAJA. AKI & VLADA. ČALIJA. ŽIGON. BLIC. GLORIJA. MILOŠ. MILENA. VUKAN. MIKI-POP. JUTARNJI RTS. INTERTRIO. HP. CINEVOICE. EPSON. NEŠA & DULE. VULE. DUŠKO KNEŽEVIĆ. ŠOMI & MARKO. CUCA & LEPI ĐOLE. SPAJIĆ. SI&SI. VANA. ŽIKA. ANDRIJA. ALEKSANDRA.PALAVESTRA. ERCEGOVAC. GORICA. UROŠ. BRANKA. TARA. TATA. MAMA. FILIP. CECA. KATARINA. MARKO & SONJA. ORANGE STUDIO. UNDP. UNICEF. BEOGRADSKI MARATON. PECA POPOVIĆ. MIRKO ILIĆ. MILOŠ. PEĐA. LEONA. MIRA & SLAVICA. RACKOWITZCH. TATAREVIĆ. TANJA. IVANA. RAMBO AMADEUS. APPLE. MACOLA. USAID. BELGRADE DESIGN WEEK. AMBASADA KUBE. AMBASADA PORTUGALA. AMBASADA FRANCUSKE. AMBASADA NEMAČKE. AMBASADA HOLANDIJE. SVIMA KOJI SU SVOJIM UČEŠĆEM I INTERESOVANJEM DOPRINELI DA O3ONE POSTANE TO ŠTO JESTE - HVALA VAM ZA TO ŠTO STE NAPRAVILI! O3ONE JE VAŠ RAD, ON JE DEO SLIKE NAŠEG BELOG GRADA.

U NASTAJANJU I RADU O3ONE-A POMOGAO JE VELIKI BROJ LJUDI, NEVLADINIH ORGANIZACIJA, USTANOVA, INSTITUCIJA I KOMPANIJA. ZBOG VELIKE KOLIČINE INFORMACIJA PRISUTNIH U OVOJ KNJIZI, KAO I KRATKOG ROKA ZA NJENU REALIZACIJU, MOŽDA SMO PROPUSTILI DA POMENEMO NEKA VAŽNA IMENA...

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Impresum Izdavač/ Publisher: O3one www.o3one.rs Menadžer projekta O3one/ O3one Project Manager: Nebojša Babić Glavni i odgovorni urednik/ Editor In Chief: Ljubica Jelisavac-Katić Pomoćnik urednika/ Assistant Editor: Jelena Kanački Konsultant/ Consultant: Saša Pančić Realizacija projekta/ Production: Orange Studio Dizajn/ Graphic Design: Marko Vajagić Priprema za štampu/ Prepress: Ivan Biliskov, Dušan Vojnov, Ivana Stojanac, Marko Vajagić Vođa projekta/ Project Manager: Sonja Delibašić Obrada fotografija/ Photo Post Production: Aleksandra Čvarković i Jovana Stojadinović Prevodilac/ Translation: Violeta Milovanović Lektori/ Text Editing: Hanna Gadomski i Marija Grujić Fotografije/ Photography: Nebojša Babić, Milan Radovanović, Branko Starčević, Marko Todorović, Simon Zec, Darko Radulović Štampa/ Print: Vizartis Tiraž/ Circulation: 500 Beograd/ Belgrade 2012

“IZ SVAKE NADE KOJU GAJIMO PO JEDNA ZVEZDA NIKNE I ODMIČE NEDOSTIŽNA PRED NAMA” Vasko Popa