SOMEBODY ELSE'S SPACES – "DOES A MAN LIVE FROM WITHIN TO WITHOUT OR FROM WITHOUT TO WITHIN?"

Vladimir Rankovi} Tu|i prostori – „@ivi li ~ovek od iznutra ka spolja ili od spolja ka iznutra?“ Muzika: Nikola Cvetkovi} Vladimir Rankovic Somebody Else's Spaces – "Does a Man Live From Within to Without or From Without to Within?"

Music: Nikola Cvetkovic

Galerija Doma omladine Beograda 2 – 14. oktobar 2007. godine Belgrade Youth Cultural Centre Gallery October 2nd – 14th 2007

Ireni To Irena

Ivan Manojlovi} TI SI ONO [TO SLIKA[* Rad Tu|i prostori – „@ivi li ~ovek od iznutra ka spolja ili od spolja ka iznutra?“ Vladimira Rankovi}a je jedan od radova ovog umetnika, koji uklju~uje instalacije, fotografije, skulpture i digitalne medije. Vladimir Rankovi} u svojim delima, konstantno probijaju}i granice umetni~kih medija, pomera i na momente bri{e onu jasnu crtu koja deli umetnost od `ivota. Umetnost Rankovi}a, koja je pred nama, istra`uje oblasti identiteta i predstavljanja. U konceptualnom smislu Tu|e prostore mo`emo posmatrati kao niz portreta, koji umesto lika portretisanog predstavljaju njegovo okru`enje.

Portret je va`no polje umetni~kog delovanja, jo{ od renesanse na ovamo. U po~eku je bio rezervisan za vladaju}u elitu, i imao je za cilj da poka`e svu mo} i bogatstvo tih vlastodr`aca. Pojava gra|anskog portreta opisuje ~lanove ekonomske i intelektualne elite jednog dru{tva. Nastanak i razvoj fotografije, u drugoj polovini XIX veka, }e u~initi posedovanje sopstvenog portreta pristupa~nim {irokim masama. Predstavljaju}i ih u svom `ivotnom i radnom okru`enju, na ovim portretima se naro~ito obra}ala pa`nja na one elemente tog okru`enja, koji ukazuju na socijalni, verski ili ekonomski status portretisanog. Zahvaljuju}i tom okru`enju koje se uo~ava na portretima, generi{u se odre|eni zaklju~ci o portretisanim li~nostima. Unutra{nji izgled njihovih stanova, kafana, omiljenih mesta za izlazak, to jest svih onih prostora svakodnevnice

* Reklmani slogan korporacije Sony

portretisanog, name}u sliku o „unutra{njim“, mentalnim prostorima.

Ukoliko se iz ovakvih portreta apstrahuje samo taj „spolja{nji“ prostor, bez fizi~ke predstave portretisanog, pribli`e}e se ideji rada Tu|i prostori. Namera umetnika je da prikazom unutra{njosti neposrednog okru`enja portretisanog otkrije psiholo{ku unutra{njost, koja stvara i razlikuje individualne identitete. Od velikog je zna~aja {to ove predstave „spolja{njosti“ izra|uju sami portretisani, ~ime Rankovi} zamagljuje granicu koju stvara odnos portret/autoportret.

Ovim radom, Rankovi} razbija jo{ jedan stereotip. To je romanti~arsko poimanje umetnika, kao neshva}enog usamljenika, koji u pitomoj prirodi ili polutami ateljea, dokazuje svoj talenat. Osim {to je autor i idejni tvorac dela, Rankovi} uzima jo{ jednu ulogu. Kao reditelj, orkestrator, svoju ideju realizuje kroz iskaze drugih o sopstvenoj li~nosti. Upravo zato rad deluje kao pozornica sa~injena od niza scenskih prostora. Ovi prostori su mesta `ivotnih predstava, ~iji je tok uvek druga~iji, jer i sam posmatra~ ima aktivnu ulogu. Na taj na~in posmatra~ „upoznaje“ portretisanog. Kroz ovu, otvorenu formu rad Vladimira Rankovi}a izmi~e okvirima konteksta u okviru kojih nastaje. Ovakva bezvremenost, u odnosu na dana{nju umetni~ku produkciju, deluje, pre svega, osve`avaju}e.

Ivan Manojlovic YOU ARE WHAT YOU SHOOT*

The work by Vladimir Rankovic called Somebody Else's Spaces – "Does a Man Live From Within to Without or from Without to Within?" is one of this artist's works, that includes installations, photographs, sculptures and digital media. In his works, Vladimir Rankovic shifts and at times erases that clear line that separates art from life, constantly breaking through boundaries of artistic media.

The art of Rankovic, which is now before us, ponders the riddle of identity and presentation. In the conceptual sense, we may regard Somebody Else's Spaces as a sequence of portraits, which do not show faces as much as settings.

Portrait has been an important field of artistic effort, ever since Renaissance. At first it was a privilege of the ruling elite, with a purpose to underline all the wealth and glory of those who wielded power. Portraits of citizens emerged to show members of the economic and intellectual elite of a society. With introduction and development of photography, in the second half of the Nineteenth Century, the masses could also afford their personal portraits. At the very center of attention were those elements of the portraits' background, that revealed the social, religious and financial status of the subjects, shown in their everyday life and at work. Thanks to these backgrounds on the portraits, one can reach certain conclusions about the owners of these countenances. The interior of their apartments, cafes, favorite leisure spots

*

A slogan of the Sony corporation

and all the other places that marked the daily life of those portrayed, imposes an image of inner mental spaces.

If one considers just this external space, without the actual visage, one will inevitably come closer to the idea behind Somebody Else's Spaces. In this way the artists intends to disclose the psychological interior that creates and differentiates between individual identities, by means of displaying the interior of the portrait's setting. The fact that the portrayed themselves point toward these images of exterior is of great importance, because it is in this way that Rankovic blurs the line that separates portrait from self-portrait.

Rankovic defies another stereotype with this work. It is the romantic perception of an artist as a misunderstood loner, who proves his talent in the refuge of quite nature or his lugubrious studio. Apart from being the author of his work, Rankovic undertakes another role, of a director, a conductor, who fulfills his idea through statements the others made on themselves. That is exactly why this works looks like a stage made of a series of backdrops. It is within these places that life takes place, always with a different course, for the observer too plays an active part, getting to know the portrayed. Through such an open form, this work by Vladimir Rankovic eludes the context in which it was made. Such timelessness, when compared to contemporary art production, appears to be, before all, refreshing.

Vladimir Rankovi}, ro|en 1973. godine u Kragujevcu.

Diplomirao na Fakultetu primenjenih umetnosti u Beogradu, odsek Primenjena grafika, atelje Grafika i knjiga, u klasi profesorke Milice Vu~kovi}. Radi na Filolo{ko-umetni~kom fakultetu u Kragujevcu.

Vladimir Rankovic, born in 1973 in Kragujevac. Graduated from the Faculty of Applied Arts in Belgrade in the class of professor Milica Vuckovic at the Department of Graphic Art. Works at the Faculty of Philology and Arts in Kragujevac.

Adresa: Kragujevac (34000), Lepeni~ki bulevar 3/27 Telefon: 034/361592 | Mobilni telefon: 064/2318819 E-mail: irjena@sbb.co.yu

Address: Kragujevac, Serbia; Lepenicki bulevar 3/27 Tel: +381/34/361592 | Mob. tel: +381/64/2318819

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Dom omladine Beograda Makedonska 22 dobinfo@domomladine.org www.domomladine.org

Belgrade Youth Cultural Centre Belgrade (11000), Serbia; Makedonska 22 dobinfo@domomladine.org www.domomladine.org

Za izdava~a: Milan Lu~i}, direktor Urednik: Ratko [uti} Savet Galerije: Dobrica Biseni} Dragana Ili} Ka`i} Vladimir Peri} Prevod na engleski: Milo{ Arsi} [tampa: Spektar 7, Kragujevac Izdanje: 618 (2007)

Authorised: Milan Lucic, General manager Editor: Ratko Sutic Gallery Council: Dobrica Bisenic Dragana Ilic Kazic Vladimir Peric Translation: Milos Arsic Printed by: Spektar 7, Kragujevac Edition: 618 (2007)

Tehni~ka pomo} pri realizaciji rada: Aleksandar Krstovi} Goran \uri}

Technical support: Aleksandar Krstovic Goran Djuric