FRAGMENTI | FRAGMENTS by Vladimir Rankovic

Vladimir Rankovi}

FRAGMENTI FRAGMENTS

Vladimir Rankovi}

FRAGMENTI / FRAGMENTS

Galerija Narodnog muzeja Kragujevac / Gallery of National Museum Kragujevac Galerija SKC, Beograd // SKC Gallery, Belgrade 19–27. februar 2015. godine // February 19–27, 2015

Neveni â&#x20AC;&#x201C; prvi Fragmenti prona|eni su u i{~ekivanju da bude ro|ena, poslednji Fragment njen je prvi To Nevena â&#x20AC;&#x201C; first Fragments were found while anticipating her birth, the last fragment being her first

FRAGMENTI Irena Kne`evi}

Ne de{ava se ~esto da umetnik sa sigurno{}u zna ta~an trenutak po~etka rada na umetni~kom projektu. Prilago|avaju}i svoj intimni prostor predstoje}oj velikoj, ìvotnoj promeni, Vladimir Rankovi} je, 7. decembra 2012. godine, u 10:40 ~asova, sasvim slu~ajno na{ao komad tapeta, godinama skriven te{kim komadom name{taja. Bri`ljivo skinut sa zida, taj komad otkrio je jo{ jedan sloj dekorisanja, povla~e}i sa sobom lan~anu reakciju se}anja i emocionalne povezanosti umetnika sa prostorom u kom je proveo najve}i deo svog ìvota. Usledilo je traganje za delovima pro{lih vremena i njihovo nalaènje kao ostataka fotelja, kreveta, posteljine, posu|a… Svaki komad pri~ao je pri~u, li~nu, lirsku, na trenutke setnu, pri~u o dragim bi}ima koja su obeleìla i koja obeleàvaju umetnikovo postojanje. Vladimir Rankovi} je svoje umetni~ko istraìvanje posvetio odnosu subjekta i prostora. Prostor, privatni/javni, stalni/privremeni, uti~e na subjekt i menja ga. Subjekt gradi i razara, menja prostor u kojem boravi, prilago|ava ga sebi. Interakcija sa prostorom okupira umetnika i odre|uje njegovo delovanje koje se ispoljava kroz vizuelne bele{ke, fotografije, delimi~ne rekonstrukcije… Najvi{i nivo autenti~nosti u odnosu subjekt – prostor, Rankovi} nudi posmatra~u upravo svojim Fragmentima. Delimi~no ili

potpuno zapu{teni, odba~eni, Fragmenti, ~uvaju i reflektuju njegova se}anja, pruàju presek vremenskih intervala pro{losti. On ih ne ulep{ava, ne popravlja, on ih izme{ta, konzervira i predstavlja. Njihov broj je ograni~en uspehom traganja, njihov izgled je zate~en, odre|en zaslugom drugih, a Rankovi} ovde „ni{ta ne stvara“, ve} je tu da, kako sam veruje, „posloì, prikaè i ukaè na postoje}e, da ne{to uobli~i i eventualno ga reformuli{e“.1 Posmatra~ moè prepoznati mustru, cvetove na posteljini, moè se prisetiti istog takvog tanjira kojim se u jednom trenutku sluìo, jer svako vreme ima svoju uniformnost, ali kada se Fragmenti istrgnu iz prvobitnog konteksta i oboje uspomenama, sanjarenjima i nostalgijom, oni dobijaju novu ulogu – postaju dnevni~ki zapisi, posrednici izme|u pro{losti i sada{njosti, ~uvari se}anja… Blisko Ba{larovoj misli i zapitanosti „moè li se kroz uspomene na sve ku}e u kojima smo nalazili uto~i{te […] izdvojiti intimna i konkretna su{tina koja bi bila opravdanje neobi~nog valera svih na{ih slika za{ti}ene intimnosti?“,2 izlo`bom Fragmenti, Vladimir Rankovi} nudi poetiku prostora, svog prostora, evociraju}i posmatra~eva uspavana/probu|ena se}anja, na neke sopstvene biv{e/sada{nje prostore.

1 Anet Mesa`e, Re~ za re~, 2006. 2 Gaston Ba{lar, Poetika prostora, 1958.

FRAGMENTS Irena Kne`evi}

It is not often the case that an artist can pinpoint with certainty the exact moment in which an artistic project commenced. It was on December 7 in 10:40 am that, by pure chance, while refurnishing his personal space to suit the forthcoming, great life-changing event,Vladimir Rankovi} stumbled upon a piece of wallpaper, eclipsed for years by a heavy piece of furniture. After being carefully taken down from the wall, the piece revealed yet another layer of decoration that set off a chain reaction of memories and emotional connectedness between the artist and the space in which he has spent the greatest part of his life. What followed was a search for fragments of times past, which were indeed found in the form of residue of armchairs, beds, linen, dishes… Each piece had a personal, lyrical and at times wistful story to tell about the loved ones who once marked the existence of the artist and who still do so. Vladimir Rankovi} has dedicated his artistic research to subject – space relationships. This space, both public and private, permanent and temporary, influences the subject and alters him. The subject builds and destroys, reworks the space he inhabits, tailors it to suit his own needs. The artist is immersed in his interaction with space which in turn determines his actions and manifests itself in the form of visual notes, photographs, partial reconstructions… It is precisely through his Fragments that Vladimir Rankovi} offers the highest degree of authenticity in a subject – space relations-

hip to a viewer. Partially or completely neglected and abandoned, these Fragments preserve and mirror his memories; they offer a cross-section of episodes from the past. He neither embellishes nor restores them; instead he conserves, dislocates and exhibits these fragments. Their numbers are limited by success of the search; their appearance is exactly the same as when first found, defined by and credited to someone else; Rankovi} ''doesn't create something'' in this case, but instead, as he himself believes, he is here ''to sort through, to show, to point out what already exists, to put it into form and sometimes reformulate it''.1 The viewer may recognize the design, the flowery linen, might recall to mind the same plate that he himself once used, since each time has its uniformity, but once Fragments are removed from the original context and colored by memories, dreams and nostalgia, they are assigned a new role – they become diary entries, mediators between the present and the past, guardians of memories… Along the lines of Bachelard's notion and query of ''whether we can transcend our memories of all the houses in which we have found shelter […], whether we can isolate an intimate, concrete essence that would be a justification of the uncommon value of all of our images of protected intimacy?'',2 in his exhibition Fragments, Vladimir Rankovi} offers a poetics of space, his own space, thus sparking the viewer's dormant/alert memories of some on his own former/current spaces.

1 Annette Messager, Word for Word, 2006 2 Gaston Bachelard, The Poetics of Space, 1958

Najstarije, maglovito se}anje (sredina sedamdesetih) Kragujevac, Borisa Kidri~a 2/33, soliter B

The Oldest, Vaguest Memory (Mid-seventies) Kragujevac, Borisa Kidri~a 2/33, high-rise B

Postojao je krevet sa koga se pru`ao pogled na prostranstva kuhinje, i, uz krevet, tri fotelje.

There was a bed which commanded a view of the vast expenses of the kitchen, and next to the bed, three armchairs.

Ono {to nas je do~ekalo (1977. godina) Kragujevac, Bulevar Oktobarske revolucije 22/27

What We Found (1977) Kragujevac, Bulevar Oktobarske revolucije 22/27

Novi stan ~inio se gotovo zastra{uju}e prostran, svetao i ~ist. Velika soba izgledala je potpuno isto kao i velike sobe u preostalih 69 stanova u soliteru. I potpuno isto kao 70 velikih soba u susednom, soliteru broj 24, u koji su se stanari uselili nekoliko godina ranije.

The new flat seemed frighteningly spacious, bright and clean. The big room looked completely identical to other big rooms of the remaining 69 flats in the high-rise. And it was completely identical to 70 big rooms of the neighboring high-rise number 24, where tenants had moved in a few years earlier.

D`in koji ljulja drvo i deli}i bajki, od cvetova (od sredine osamdesetih do 2004. godine) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

A Giant Shaking a Tree and Flowery Fragments of Fairy Tales (From mid-eighties until 2004) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

Vremenom, neka ranije neka kasnije, velike sobe po~ele su da dobijaju novi izgled i da gube uniformnost. Baba Vinka odabrala je tamne tapete na kojima su se, uz obilatu pomo} ma{te, a deci ma{te ne manjka, skrivali junaci mnogih pri~a. Promena se dogodila u vreme koje je bilo sre}no, ili je bar izgledalo da je tako. Slede}a je morala da sa~eka dvadesetak godina, do novog vremena u kojem se javila nada da }e sve biti dobro.

In time, these big rooms started to shed their uniformity and to acquire new looks, some sooner and some later. Hidden within the dark wallpapers that grandma Vinka had chosen were heroes of countless tales, placed there by imagination, of which children are never in short supply. This change occurred at a time which was merry, or at least it appeared as such. The next one would have to wait for another twenty years and another time marked by a hope that all would be well.

Posteljina za crtanje cve}a (kraj sedamdesetih i po~etak osamdesetih) Kragujevac, Bulevar Oktobarske revolucije 22/27 i Bulevar Oktobarske revolucije 3/27

Bed Linen used for Copying Flowers (Late seventies and early eighties) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27

Krevet je, u vreme pred spavanje, postajao ~itav svet, a cvetna mustra ~inila se beskrajno raznolikom. Mada su jarke boje cvetova veoma brzo izbledele i posteljina postala stara, ipak je ispunila svoju svrhu â&#x20AC;&#x201C; dete je uspevalo da nacrta cvet nalik bilo kojem sa nje.

Right before bedtime, the bed would turn into a whole new world, and a flower design seemed endlessly manifold. Even though the bright colors of the flowers soon faded away and linen itself was worn out, it served its purpose nevertheless â&#x20AC;&#x201C; the child managed to draw any flower seen on it.

Novi, daleki dom (od 2001. godine) Nik{i}, Crna Gora, Voja Samard`i}a Crnog 12

A New, Distant Home (Since 2001) Nik{i}, Montenegro, Voja Samard`i}a Crnog 12

Ku}a u Nik{i}u je, uprkos mnogim neobi~nostima, od prvoga trenutka u njoj â&#x20AC;&#x201C; postala dom.

In spite of its many peculiarities, the house in Nik{i} became a home from the very first moment.

Vladimir Rankovi} ro|en je u Kragujevcu 1973. godine. Diplomirao je na Fakultetu primenjenih umetnosti u Beogradu, odsek Primenjena grafika, atelje Grafika i knjiga. Student je doktorskih interdisciplinarnih studija Teorija umetnosti i medija na Univerzitetu umetnosti u Beogradu. Docent je za oblast Grafika i grafi~ke tehnike na Filolo{ko-umetni~kom fakultetu u Kragujevcu. U svom umetni~kom radu bavi se odnosom subjekta i prostora. Samostalne izlo`be (izbor) „Rekonstrukcije“, grafike – ambijentalna instalacija, Galerija Narodnog muzeja, Kragujevac, 2014. „‘Wrap Your Troubles in Dreams’“, slike, Centar za kulturu, Galerija „Ilija [obaji}“, Nik{i}, Crna Gora, 2011. „Bauljanje“ (Predrag Lojanica: „Vaskrsnu}e telo“, slike / Vladimir Rankovi}: „Presek“, instalacija), Umetni~ki centar Univerzitetske biblioteke „Svetozar Markovi}“, Beograd, 2009. „Gosti – reprodukcije nepostoje}ih slika“, grafike, Likovni salon Kulturnog centra, Novi Sad, 2008. „Tu|i prostori – ‘@ivi li ~ovek od iznutra ka spolja ili od spolja ka iznutra?’“, instalacija, Galerija Doma omladine, Beograd, 2007. „Tu|i prostori – 12 | 12“, ambijentalna instalacija, Galerija Studentskog kulturnog centra, Kragujevac 2007. „Me|uprostor“ (Rado{ Antonijevi}: „[ator De~ani M1“, instalacija / Vladimir Rankovi}: „Kreveti Balkana“, instalacija), Me|unarodni festival „PatosOFFiranje“, Galerija Centra za kulturu, Smederevo, 2007. „Prostori“, crte`i, Moderna galerija Narodnog muzeja, Kragujevac, 2006. „Fragmenti“, katalog 1 Najstarije, maglovito se}anje (sredina sedamdesetih) Kragujevac, Borisa Kidri~a 2/33, soliter B 2 Zmajski vladar jezera Dungting (od sredine sedamdesetih) Kragujevac, Borisa Kidri~a 2/33, soliter B; Bulevar Oktobarske revolucije 22/27; Bulevar Oktobarske revolucije 3/27 i Lepeni~ki bulevar 3/27 3 Ono {to nas je do~ekalo (1977. godina) Kragujevac, Bulevar Oktobarske revolucije 22/27 4 D`in koji ljulja drvo i deli}i bajki, od cvetova (od sredine osamdesetih do 2004. godine) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

5 Novi ~lan porodice i njen krevet (1978. godina) Kragujevac, Bulevar Oktobarske revolucije 22/27 6 Mala soba, de~ja soba… (kraj sedamdesetih i po~etak osamdesetih) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 7 Posteljina za crtanje cve}a (kraj sedamdesetih i po~etak osamdesetih) Kragujevac, Bulevar Oktobarske revolucije 22/27 i Bulevar Oktobarske revolucije 3/27 8 Tajno skrovi{te (kraj sedamdesetih i po~etak osamdesetih) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 9 Krevet (sredina osamdesetih, devedesete i prvih nekoliko godina dvehiljaditih) Kragujevac, Bulevar Oktobarske revolucije 3/27 ili Ulica Mar{ala Tita 5/II-15, a zatim Bulevar Oktobarske revolucije 3/27 i Lepeni~ki bulevar 3/27 10 No}na mena`erija (kraj sedamdesetih i po~etak osamdesetih) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 11 Babina i dedina soba (od sredine osamdesetih do 2004. godine) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27 12 Dedin belo-plavi jastuk (osamdesete, do 1987. godine) Vin~a, kod Topole 13 Novi, daleki dom (od 2001. godine) Nik{i}, Crna Gora, Voja Samard`i}a Crnog 12 14 Putovanja (od 2004. godine) Kragujevac, Lepeni~ki bulevar 3/27 15 Poslednji fragment (2012. i po~etak 2013. godine) Kragujevac, Lepeni~ki bulevar 3/27 E-mail: vladimir.rankovic@kg.ac.rs 10

Vladimir Rankovi} was born in Kragujevac, Serbia, in 1973. He graduated from the Faculty of Applied Arts, University of Arts in Belgrade, Serbia, Department of Graphic Art, Group for Printmaking and Book Design. He is a PhD student in interdisciplinary studies of Theory of Arts and Media at the University of Arts in Belgrade. He is Assistant Professor at the Faculty of Philology and Arts, University of Kragujevac, for the specialized field of Printmaking and print techniques. His art revolves around subject – space relationships. Solo exhibitions (selection) "Reconstructions", prints – ambiental installation, Gallery of National Museum, Kragujevac, Serbia, 2014 "'Wrap Your Troubles in Dreams'", paintings, Cultural Centre, "Ilija [obaji}" Gallery, Nik{i}, Montenegro, 2011 "Crawling" (Predrag Lojanica: "The Body Will Resurrect", paintings / Vladimir Rankovi}: "Intersection", installation), Art Center of University Library “Svetozar Markovi}”, Belgrade, Serbia, 2009 "Guests – Reproductions of Nonexistent Paintings", prints, Plastic Art Salon of the Cultural Centre, Novi Sad, Serbia, 2008 "Somebody Else's Spaces – 'Does a Man Live From Within to Without or From Without to Within?'", installation, Youth Cultural Centre Gallery, Belgrade, Serbia, 2007 "Somebody Else's Spaces – 12 | 12", ambiental installation, Students Cultural Centre Gallery, Kragujevac, Serbia, 2007 "Interspace" (Rado{ Antonijevi}: "Tent De~ani M1", installation / Vladimir Rankovi}: "The Balkan Beds", installation), International Multimedia Festival "PatosOFFiranje", Cultural Centre Gallery, Smederevo, Serbia, 2007 "Spaces", drawings, Modern Gallery of National Museum, Kragujevac, Serbia, 2006 "Fragments", catalogue 1 The Oldest, Vaguest Memory (Mid-seventies) Kragujevac, Borisa Kidri~a 2/33, high-rise B 2 A Dragon King of the Donting Lake (From the mid-seventies onward) Kragujevac, Borisa Kidri~a 2/33, high-rise B; Bulevar Oktobarske revolucije 22/27; Bulevar Oktobarske revolucije 3/27 and Lepeni~ki bulevar 3/27 3 What We Found (1977) Kragujevac, Bulevar Oktobarske revolucije 22/27 11

4 A Giant Shaking a Tree and Flowery Fragments of Fairy Tales (From mid-eighties until 2004) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27 5 New Family Member and Her Bed (1978) Kragujevac, Bulevar Oktobarske revolucije 22/27 6 Little Room, Children's Room… (Late seventies and early eighties) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 7 Bed Linen used for Copying Flowers (Late seventies and early eighties) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 8 A Secret Hiding Place Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 9 The Bed (Mid-eighties, the nineties and first few years after 2000) Kragujevac, Bulevar Oktobarske revolucije 3/27 or Mar{ala Tita 5/II-15, and then Bulevar Oktobarske revolucije 3/27 and Lepeni~ki bulevar 3/27 10 Night Menagerie (Late seventies and early eighties) Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske revolucije 3/27 11 Grandpa's and Grandma's Room (From mid-eighties until 2004) Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27 12 Grandpa's white-blue Pillow (The eighties, up till 1987) Vin~a, near Topola (Serbia) 13 A New, Distant Home (Since 2001) Nik{i} (Montenegro), Voja Samard`i}a Crnog 12 14 Travelling (Since 2004) Kragujevac, Lepeni~ki bulevar 3/27 15 The Last Fragment (2012 and early 2013) Kragujevac, Lepeni~ki bulevar 3/27 E-mail: vladimir.rankovic@kg.ac.rs

Vladimir Rankovi} FRAGMENTI // FRAGMENTS

Studentski kulturni centar, Beograd // Student Cultural Centre, Belgrade Galerija SKC // SKC Gallery Urednik programa Galerije SKC // SKC Gallery Program Manager An|elija Stanojevi} Prevod // Translaton Milo{ Arsi} Fotografije // Photographs Predrag Cile Mihajlovi} Vladimir Rankovi} Likovno-grafi~ko oblikovanje kataloga // Design of the catalogue Vladimir Rankovi} [tampa // Printed by Spektar 7, Kragujevac Tira` // Circulation 150

Izlo`bu je pomogao Filolo{ko-umetni~ki fakultet, Kragujevac. The exhibition is supported by the Faculty of Philology and Arts, Kragujevac.