Treci Beograd 2012

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TREĆI BEOGRAD / THIRD BELGRADEAktivnosti i akcije / Activities and actions

2012

Edicija 3BGD knjiga 2

Beograd, 2013.

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SADRŽAJ / CONTENTS:

UVOD / INTROJelena Stojanović: O zajednici i zajedništvu (udruživanju?) / On cOmmunity and fellOwship (assOciatiOn?) 5Bojan Krištofić: kOlektivni san kOji pOstaje stvarnOst / cOllective dream that is BecOming real 7Anica Vučetić: O Čemu sanja treĆi BeOgrad? / what is third Belgrade dreaming Of? 11Selman Trtovac: lucidni san treĆeg BeOgrada / lucid dream Of third Belgrade 15

JA VOLIM I UMETNOST DRUGIH / I ALSO LOVE THE ART OF OTHERS Radoš Antonijević: ja vOlim i umetnOst drugih / i alsO lOve the art Of Others 17

VELIKI SAN / BIG DREAMRadoš Antonijević: izveštaj iz ČaČka / a repOrt frOm ČaČak 25

ILEGALNA VEČERA / ILLEGAL DINNERilegalna veČera / illegal dinner 33Veljko Pavlović: istine i laži / truths and lies 37

PREZENTACIJE / PRESENTATIONSAnica Vučetić: prezentacije i umrežavanje / presentatiOns and creating the netwOrks 41

IZLOŽBE U GALERIJI TREĆI BEOGRAD / EXHIBITIONS IN THIRD BELGRADE GALLERYana knežević 45 ginger society 49 Branislav nikolić 52 galerija rach 56wilfredo Benitez 57zoran kuzmanović 58marica radojčić prešić 62 jelena veljković 66

artists in residence 75

Selman Trtovac: umetnička strategija / artistic strategy 77

Članovi / members 83

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UVOD INTRO

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O zajednici i zajedništvu (udruživanju?).(U slavu TREĆEG BEOGRADA)

Jelena Stojanović

On community and fellowship (association?).(In praise of THIRD BELGRADE)

Jelena Stojanović

Kako predstaviti zajednicu koja ne počiva na esenci-jalizmu (‘naroda’, ‘nacije’, ‘sudbine’, ili bilo kakve, uopšteno govoreći, ‘humanosti’)? Kako predstaviti zajednicu?

Zajednicu koja nije jedinstvo osoba u jednom, u jednu stvar, ‘otadžbinu’ ili ‘vodju’. Zajednicu koja nije posledica (društvene, ekonomske, političke [naciona-lne]) proizvodnje i nije delo većeg, odavno postojećeg društvenog nacrta u koji je nužno uklopiti se i koji se uvek završava nasiljem društva ili pak, političkim tero-rom.

Mislimo na onu zajednicu koja počiva na razme-ni, razgovoru, delenju. [Za/jedno]. Zajednicu gde je ‘za’, operativno, kao izlaz iz teskobe ograničenog, omedjenog (jednog). Kao početnu ili ontološku društvenost: biti skupa, priklanjati se drugom, bez proizvoda, bez dela. [Posezanje za drugim]. Kao trag koji omogućava postojanje društvenog kao takvog. Kao novu mogućnost političkog. Jer iskustvo ili doga-djaj iskustva kao takvog ne postoji ako je bez drugoga, ako je ograničen na jednu osobu. Tačnije, ukoliko je svako iskustvo pre svega društveno u svojoj prirodi, ono nas takodje pre svega izlaže granicama onoga što smo (kao [samosvojna] osoba). Štaviše, zajednica kao zajedništvo raskrinkava identitet i zajednicu kao takvu i upravo zbog toga, otvara mogućnost za političko. Zajednica kao zajedništvo je pra-početni socius, koji uznemiruje bivstvovanje jednog kao trag zajednice, one prazajednice bez koje politika kao zajedništvo nije moguća.

Zatvaranje političkog u tzv. zapadnim ili neo-liberalnim demokratijama danas koje i mi živimo, je jednako onome što bi moglo da se nazove ‘mekim’ totalitarizmom današnjice. Iako se ne odlikuje dobro

How to present a community that is not based on es-sentialism of (‘people’, ‘nation’, ‘destiny’, or any other, generally speaking, ‘humanity’)? How to present the community?

The community which does not represent unit-ing of individuals into one, in one thing, ‘homeland’ or ‘leader’. The community that is not a result of (social, economic, political [national]) production and is not an act of a bigger, long-existing social concept into which it is necessary to fit and which always ends with vio-lence or even political terror.

We are talking about the community which is based on exchange, conversation, sharing.[For/one] The community where ‘for ’, is operational, as a way out of anxiety of the limited, bounded(one) .As an ini-tial or ontological sociality: being together, submitting to others, without a product, without an act. [Reaching for the other]. As a trace which enables the existence of society as such. As a new possibility of the politi-cal. Since experience or occurrence of the experience as such does not exist if it is nor shared with the oth-er, if it is limited to one person only. More precisely, if each experience is primarily social by its nature, it also exposes us to the boundaries of what we are (as [an independent] person). Moreover, the community as a fellowship exposes the identity and the community itself as such and exactly for this reason , it opens the possibility for the political. The community as a fellow-ship is the original socius, which disturbs the existence of the one as a trace of the community, the original community without which politics as a fellowship is not possible.

Closing the so-called political into the so called western or neo-liberal democracies of the today that

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poznatom ‘tajnom policijom’ ili pak ‘logorima smrti’, svakako jeste nastavak istorijskog totalitarizma. Ono što odlikuje oba je odsustvo mogućnosti različitosti, ne postojanje mogućnosti transcedentnog odnosno, odsustvo svakog oblika [zajedničke] borbe protiv vlas-ti. I u tom kontekstu zajednica koja istovremeno preis-pituje same [istorijske] osnove zajedništva, jeste jedini mogući oblik borbe. Ili pak jednostavno, jedini mogući preživljavanja danas.

Kao ‘kolektivni san’ ili pak mogućnost udruzivanja. Zajedno.

_____Korišćeni izvori:

Jean-Luc Nancy, La communauté désoeuvrée (Paris, 1983)Maurice Blanchot, La communauté inavouable (Paris, 1984)

The Big Sleep, 26 Memorijal Nadežde Petrović, Katalog (Čačak, 2012)

we live in, is equal to what might be called ‘soft’ to-talitarianism of today. Though it is not characterized by a well-known ‘secret police ’or ‘death camps’, it is surely a continuation of historical totalitarianism. What distinguishes these two is the lack of opportu-nity for diversity, the absence of the possibility for the transcendent or, the absence of any form of common fighting against the government. And it is in this con-text that the community which at the same time ques-tions the very (historical) fundamentals of fellowship, is the only form of fighting. Or the only possible form of survival nowadays.

As ‘a collective dream’ or a possibility of associa-tion. Together.

_____ Resources used:

Jean-Luc Nancy, La communauté désoeuvrée (Paris, 1983)Maurice Blanchot, La communauté inavouable (Paris, 1984)

The Big Sleep, 26 Nadežda Petrović Memorial, Catalogue (Čačak, 2012)

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Kolektivni san koji postaje stvarnost

Bojan Krištofić

Collective Dream That is Becoming Real

Bojan Krištofić

Predgrađa velikih, milijunskih gradova na post-socijalističkom Balkanu baš zbog svoje derutnosti i razbarušenosti predstavljaju, uza sve mane divljeg urbanog neplaniranja, svojevrsne oaze usporenog ritma u neskladu s užurbanom i zagušenom grads-kom središnjicom. Tamo gdje nestaju veliki stambeni blokovi, a brze prometnice već presijecaju spore i mutne rijeke, još uvijek je moguće sjesti i razmisliti; te daleko od halabuke i fanfara učiniti nešto suvislo za svoju užu okolinu, a time i za sebe – saviti gni-jezdo u punom smislu riječi. U proljeće prošle godine, na periferiji Beograda, ovu je priliku na svoj način is-koristila jedna neobična umjetnička zadruga, prema pojmu iz urbanističkog plana svoga grada nazvana Treći Beograd. Oni su na sjevernoj obali Dunava, na Pančevačkom putu bez kućnog broja, počeli stvarati svoj ‘mentalni i fizički prostor umetnosti’ i tražiti od-govor na pitanje o mogućnosti postojanja utopije u su-vremenom post-tranzicijskom, kapitalističkom, post-modernom društvenom kontekstu. Ukratko, otvorili su vlastiti galerijski, radni i boravišni prostor. Galerija je nastala na inicijativu osnivača zadru-ge Selmana i Seada Trtovca, koji su 2009. godine okupili bliske im umjetnike, te su prema nacrtima arhitekta Milorada Mladenovića krenuli u izgradnju modernističke zgrade, istodobno radikalno izdvojene iz ostatka riječnog pejzaža i nenametljive u svojoj skrive-nosti među egzotičnom vegetacijom toga područja. Premda zgrada zbog manjka financijskih sredstava još nije dovršena, galerijski prostor u prizemlju otvoren je 2011., čemu još treba pridodati kuhinju, te boravišne odaje za goste, knjižnicu i uredske prostorije na katu. Iako datum završetka radova još nije određen, oko Trećeg Beograda kreativnost već buja. Rad uložen u nastanak ovog projekta nipošto nije bio samo intu-itivan, niti je on nastao kao rezultat neke ishitrene reakcije na položaj umjetnosti sada i ovdje. Odgovore o

Big city suburbs in the post-socialist Balkans are de-teriorated and messy which presents, along with all the flaws of unplanned urbanisation, a sort of an oa-sis of slower rhythm opposite to rushed and loud city centres. Where huge blocks of buildings disappear and fast motorways run over slow and muddy rivers, it is still possible to sit down and think; to do something sensible for your community and for yourself, here far away from all the noise and fanfares – to make your own nest, quite literally. Last spring, in Belgrade’s sub-urbs, an unusual art association used this opportunity, which city’s urban planning calls the Third Belgrade. They chose the northern bank of Danube, Pančevački path, to create their own ‘’mental and physical space for art’’ and to discover possibility of utopia in contem-porary post-transition, capitalist, post-modern social context. They opened their own gallery, work and living space. The Gallery and the association were founded by Selman and Sead Trtovac, who gathered artists in 2009 and according to architect Milorad Mladenović’s blue-prints started to build modern buildings, radically extracted from the rest of the environment around the river but also unobtrusively hidden among exotic veg-etation of the area. The building is not yet finished due to a lack of funding, but the Gallery on the ground floor was opened in 2011, together with a kitchen, guest-rooms, a library and offices on the first floor. Although the final date on the building has not been determined, creativity around the Third Belgrade is already flour-ishing. Work invested into this project was not only intuitive, nor was it a result of a sudden reaction on the contemporary position of art. Reasons for these determined actions can be read in essays written by members of Third Belgrade, which they started to pub-lish soon after the association was founded. In their manifest (www.trecibeograd.com) and in

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razlozima odlučnog djelovanja nudi nam niz eseja koje su članovi Trećeg Beograda počeli objavljivati kratko po osnivanju svoje umjetničke zadruge. U svom manifestu objavljenom na web stranici www.trecibeograd.com i u zborniku Treći Beograd – osnivanje, aktivnosti, akcije 2009. – 2011. (Edici-ja 3BGD, Beograd 2012.), umjetnici svoju definiciju utopije ilustriraju riječima američkog filozofa Freder-icka Jamesona, prema kojem pojam znači ‘reprezen-taciju društvenih kontradiktornosti i pokušaj definicije enklave (socijalne diferencijacije) unutar društvenog prostora.’ Oslanjajući se na teorijske pristupe vodećih lica lijeve filozofije društva i umjetnosti druge polov-ice 20. stoljeća, od Herberta Marcusea i Michela Fou-caulta, do Michaela Hardta i Antonia Negrija, članovi Trećeg Beograda svoju umjetničku poziciju promatraju u kontekstu ‘otpora post-modernoj fragmentarnosti’, odnosno otpora razgranatom, prikrivenom sustavu moći i eksploatacije u suvremenom društvu, posebno u regiji post-jugoslavenskih zemalja, koje se mahom hrvaju s najgorim varijacijama takvog sustava na periferiji Zapada. Ipak, putnika namjernika u gustišu muljevite obale Dunava ne bi smio odbiti zahtjevni i razrađeni politički diskurs. Teorija služi umjetnicima kao poticajni i ohrabrujući argument, oruđe kojim se njihovo djelovanje smješta u odgovarajući kontekst i povijesni slijed, te povezuje s istomišljenicima na međunarodnoj razini. Veze Trećeg Beograda s ino-zemstvom već su počele davati plodove – na prim-jer, u suradnji sa švicarskim umjetnicima Valerianom Malyem i Klarom Schilliger, koji za vrijeme boravka u Beogradu za galeriju izrađuju monumentalnu skulp-turu u obliku đumbira (Monument Gingersociety Beo-grad), ilustrirajući model ne-hijerarhijskog povezivanja i širenja, imanentan Trećem Beogradu. Sam rad koji su umjetnici protekle godine izvodili u svojoj, ali i našoj galeriji posve je udaljen od jezičnih problema konceptualne prakse. U radovima je politička pozicija umjetnika i poetska rafiniranost njihovog pris-tupa izražena toplinom samog prostora, prisnošću sudjelovanja u zajednici, performansom shvaćenim prema Beuysovom ključu socijalne skulpture, odnosno kreativnosti koja podrazumijeva otvorenost, neposred-nost, znatiželju i odgovoran pristup zajednici. Nazivi performansa i instalacija Trećeg Beograda dovoljno govore o prirodi njihovih akcija – Kolektivni san 1 & 2, Toplo mesto ili Ručak na travi. U Kolektivnom snu članovi zadruge u prostoru galerije zajedno spavaju ili drijemaju pokriveni dekama; u Toplom mestu u galeriju su postavili niz starih kućnih peći na drva i pozvali posjetitelje – prijatelje i komšije – da dođu, ugriju se

their code Third Belgrade – Foundation, Activities, Ac-tions 2009 – 2011, (Publication 3BGD, Belgrade 2012), artists illustrate their definition of Utopia by quoting an American philosopher Frederick Jameson, who says that Utopia means ‘’a presentation of society’s contra-dictions and an attempt to define an enclave (social dif-ferentiations) within a social area’’. Relying on theories of mainly liberal social and art philosophers of the sec-ond half of the 20th century, Herbert Marcuse, Michel Foucault, Michael Hardt and Antonio Negri, members of Third Belgrade regard their artistic position in the context of ‘’resistance to post-modern fragmenta-tion’’, i.e. resisting the fragmentised, hidden system of power and exploitation in modern society, especially in region of post-Yugoslavian countries, that wrestle the worst variation of this system in Western suburbia. On the other hand, a traveller with good intentions that finds himself on the muddy banks of Danube should not be frightened by the demanding and detailed political discussion. Artists use theory as encouragement and argument, a tool that sets their work in its rightful context and place in history, connecting them to fellow artists in other countries. Third Belgrade’s connections with other counties have already given results – for in-stance, cooperation with Swiss artists Valerian Maly-em and Klara Schilliger, who are in Belgrade, creating a monumental sculpture for the Gallery, in a shape of a ginger (Monument Ginger-society Belgrade), illustrat-ing model of non-hierarchy connecting and spreading, immanent for Third Belgrade. The work presented by the artists during the last year in their, but also our Gallery, is far away from lin-gustic issues of conceptual practice. They express art-ists’ political positions and poetic refinement of their approach through warmth of the space, close coopera-tion within their community, by performance in style of Beuys’s key of social sculpture, i.e. creativity that in-cludes openness, directness, curiosity and responsible approach towards the community. Titles of Third Bel-grade’s performances and installations speak of their intentions – Collective Dream 1 & 2, A Warm Place or Lunch on the Grass. In Collective Dream members of association sleep in the Gallery or nap under blankets; in A Warm Place they set a number of old domestic wood burning stoves throughout the Gallery and invite visitors – friends and neighbours – to join them, get warm and hang out; in Lunch on the Grass artists took photographs of their summer meal in Gallery’s garden and presented it as a moment of a relaxed catharsis in the monotony of everyday life, as an opened collective exchange of emotions and experiences then and there.

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i druže se; u Ručku na travi umjetnici su fotografirali svoj ljetni obrok u dvorištu galerije i prikazali ga kao trenutak opuštene katarze u jednoličnoj svakodnevni-ci, kao nezatvorenu kolektivnu razmjenu emocija i iskustva upravo u to vrijeme i na tom mjestu. U suštini, većina zajedničkih umjetničkih akcija Trećeg Beograda i nisu drugo nego dokumenti procesa nastajanja ovog utopijskog projekta, te enklave koja se povezuje i s drugim sličnim prostorima na obali Dunava u okolici Beograda (muzej Macura, ITS-Z1 – Ritopek, Zemunski mali umetnički centar – ZMUC), tvoreći ono što se među upućenima sve češće naziva ‘dunavskom umetničkom rutom’. Riječ o malom nizu galerijskih i radnih prostora razbacanih od Novih Banovaca do Zemuna, nastalih isključivo zahvaljujući trudu i angažmanu entuzijasta, koji su željeli okoštalom sustavu izlaganja i problema-tiziranja suvremene umjetnosti (a posebno organizaciji zajedničkog rada umjetnika) pružiti jednu jasnu alter-nativu, neovisnu od nadležnih, korumpiranih državnih institucija. Za ilustraciju, beogradski muzej suvremene umjetnosti već se godinama renovira bez vidljivog da-tuma završetka radova, pa je jasno kako je nicanje ne-formalnih galerijskih prostora poput Trećeg Beograda i više nego dobrodošlo. Štoviše, kako smo vidjeli, i nije riječ o galeriji u užem smislu riječi, već o mjestu učenja, druženja i suradnje, čiji je cilj dostizanje i afirmacija nekih etičkih, pa i estetskih normi koje u suvremenom društvu, čini se, sve brže iščezavaju. Ovakva slobodar-ska okupljanja i akcije umjetnicima diljem cijele regije itekako mogu poslužiti kao značajno ohrabrenje, kao putokaz kamo umjetnost danas može krenuti kada rad u autističnoj samoizolaciji i predvidljivi načini ko-munikacije s publikom postanu opasni po život um-jetnosti. K tome, preobrazba zaboravljenih prostora na gradskim marginama, ili izgradnja novih u ruralnim područjima istinski je čin otpora prema centralizaciji kulturnih resursa, a povezivanje takvih malih enklava, kakvo se upravo događa na obali Dunava, društveni je angažman par excellence, prema onoj staroj maksimi Williama Blakea: ‘Moram stvoriti svoj sustav ili biti porobljen od strane drugog.’ Umjetnici Trećeg Beo-grada i njihovi prijatelji u onom su najvažnijem – u umjetničkom, kreativnom djelovanju – čvrsto odbili biti podložni.

Most of Third Belgrade’s art actions are documenta-tions of process of creating this Utopian project, this enclave that is connecting with other similar areas on the banks of Danube around Belgrade (museum Ma-cura, ITS-Z1 – Ritopek, Small Art Centre in Zemun – ZMUC), creating what some already know as ‘’Dan-ube’s art rute’’. These small galleries and art studios are scattered from Novi Banovci to Zemun, and they exist only thanks to work and enthusiasm of few indi-viduals who wanted to offer a clear alternative to the old system of exhibitions and discussing contemporary art (especially to help young artist), that is indepen-dent from superior, corrupted institutions of the State. For an example, Belgrade’s Museum of Contemporary Art has been under renovation for years and there is still no fixed date of its finalisation, which makes it clear that new, informal gallery spaces like Third Bel-grade are more than welcome. Third Belgrade is not only a gallery, but a place for learning, socialisation and cooperation, whose main aim is to affirm ethnic and aesthetic norms that seem to be disappearing from the modern society.These associations and actions can only serve as a good example for artists throughout the region and as guidelines what art can become if it stays inside autis-tic self-isolation and predictable communication with its public – it becomes dangerous for art itself. Fur-thermore, transformation of forgotten spaces in sub-urbia or building new ones in rural areas is a true act of resistance towards centralisation of cultural resources and connection of these small enclaves, as the ones on the banks of the Danube, is a social engagement par excellence, according to maxim by William Blake: ‘’I must create my own system or become enslaved by the existing one’’. Third Belgrade’s artists and their friends have firmly decided not to be enslaved in the most important part – their art and their creative work.

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O ČEMU SANJA TREĆI BEOGRAD?

Anica Vučetić

WHAT IS THIRD BELGRADE DREAMING OF?

Anica Vučetić

Odluka Trećeg Beograda da prva akcija, početkom feb-ruara 2011. godine, bude zajednički san nije slučajna. Galerija je bila skoro izgrađena, osmoro kolega je već 2010. započelo susretanja i planiranja budućeg de-lovanja. Pokušavali smo da nađemo odgovor – zašto smo se okupili i kuda smo krenuli? U situaciji, u kojoj još nismo osvojili svoj fizički prostor, učinilo nam se da bi to prvo približavanje i povezivanje saputnika koji se ne poznaju dovoljno moglo biti u nekom drugom pros-toru – mentalnom, psihičkom, energetskom. Tako smo, uz manje nedoumice i preispitivanja, odlučili da naša prva akcija bude „Kolektivni san“.

San sam po sebi predstavlja psihicki proces koji vodi snevača putem individuacije i samoostvarenja, sto zapravo može da znači “budjenje” individue. Pris-tajanje na spavanje u grupi podrazumeva ukazivanje poverenja ostalim učesnicima akcije. U stanju spav-anja smo nezaštićeni, nemamo potpunu kontrolu nad svojim reakcijama, prepuštamo se uticajima spolja, dopuštamo mešanje energija sa drugim spavačima. Deliti prostor sna sa grupom spavača je intimni čin, on znači - prepustiti se Drugome, otvoriti se za komuni-kaciju na podsvesnom nivou, povezati se. Taj čin je na neki način i ekskluzivan, u njemu nema posmatrača i publike, samo snimatelji koji su budni saučesnici. Ono što posle sna ostaje je dokument o događaju i eventu-alno sećanje na san.

U akciji “Kolektivnog sna” spavali smo u formi zvezde, glavama okrenutim prema centru. „Kolektivni san“ zabeležen je video i foto dokumentacijom. Bilo je nekih zanimljivih snova te noći, koji su ukazivali da smo na dobrom putu i najavljivali lepu perspektivu grupe. Pojedinačni utisci po buđenju tog jutra, a i narednih dana su bili dobri. Iskustvo zajedničkog sna nam je bilo pomalo neobično, ali svakako pozitivno. To je bila jedna kratka ekskurzija u nepoznato.

U nizu akcija koje su kasnije usledile otkrivali

At the beginning of February 2011, Third Belgrade decided on its first action – the collective dream. This decision was by no means an accidental one. The gal-lery was almost finished; eight colleagues had already started meeting and planning future actions in 2010. We were trying to find answers to the questions – why had we gathered and where were we going? Since we had not yet occupied physical space it occurred to us that the first gathering and bonding of the fellow-trav-ellers, who did not know one other well enough, could be in some other field – mental, psychical, energetic. That is how, with certain doubts and questioning, we decided to do the “Collective Dream“ as our first ac-tion.

A dream as such is a psychical process that can take the dreamer towards individualisation and self-accomplishment, which can, in fact, mean the “awak-ening“ of the individual. Accepting to dream in a group meant trusting the other participants in this project. While sleeping we are unprotected, we do not have full control of our reactions, we yield to external in-fluences, we allow our energy to blend with the other sleepers’ energies. Sharing the space with the group of sleepers is an intimate act and it means surrendering yourself to the Other, opening up for the communica-tion on a subconscious level and bonding. That act is, in a way, also exclusive – there are no spectators, no audience, just cameramen who are vigilant observers. What is left afterwards is a document of the event and a possible memory of the dream.

We slept in the form of a star, our heads turned towards the centre. “The Collective Dream“ was docu-mented in the form of a video and photographs. A couple of interesting dreams occurred that night which showed that we were on the right track and they her-alded good prospects for the group. Individual impres-sions upon awakening that morning, and in the follow-

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smo iznova i odigravali neke bazične životne situ-acije – sakupljali smo na obali Dunava drva za ogrev i zagrevali naš novi prostor ložeći Smederevce („Toplo mesto“, mart), zajedno pripremali hranu na tim istim šporetima („Ručak na travi“, jun). U oktobru 2011. je realizovana još jedna akcija zajedničkog sna, ovoga puta kao odgovor na radove moskovske grupe „Kole-ktivnoe dejstvo“, koja je tada izlagala u galeriji Trećeg Beograda.

I kao što “Kolektivnoe dejstvo“ uvodi učesnike svojih akcija u prazno polje, oslobođeno sadržaja, kao demonstraciono polje za aktere, prostor percepcije i polje refleksije za učesnike u njihovim eksperimentima putovanja, a koji služe za istraživanje svesti i introspe-kcije u stanju očekivanja događaja, tako Treći Beograd uvodi učesnike u naoko prazno polje sna, ispunjeno mnoštvom različitih individualnih nesvesnih sadržaja, koji takođe mogu poslužiti istraživanju svesti i intro-spekciji.

Naša poslednja akcija sanjanja desila se 8./9. sep-tembra 2012. godine na Gradskom trgu u Čačku, po-vodom Memorijala Nadežde Petrović, koji je imao za temu „Duboki san”. Taj naš novi “Veliki san” ukazuje na težnju ka ostvarenju jednog velikog, zajedničkog, možda planetarnog sna i preispitivanju mogućnosti njegove realizacije.

Da bi se revitalizovale vrednosti koje su deval-virane u vremenu krize i pada, da bi se preispitale, očistile i ponovo ugradile u neki novi sistem vrednosti po meri čoveka, neophodno je napraviti iskorak, pono-

ing days, were good. The experience of the collective dream was somewhat unusual for us but by all means positive. It was a short trip to the unknown.

In the series of actions that followed we rediscov-ered and re-enacted some basic life situations – we gathered firewood at the bank of the Danube and heat-ed our new premises by using old-fashioned stoves called Smederevac (“A Warm Place, March). Also, we cooked some food on those same stoves (“Breakfast on the Grass“, June). In October 2011 there was an-other project of a collective dream but this time it was organised in response to the work of the Moscow group (Kolektivnoe dejstvo) “Collective Actions“ which was holding an exhibition in the Third Belgrade Gallery at that time.

(Kolektivnoe dejstvo)“Collective Actions“ takes the participants in its performances into an empty field, liberated from the content, which serves as a demonstration field for the protagonists, the field of perception and reflection for the participants in their experimental voyages, and which serve for the ex-ploration of consciousness and introspection while expecting the events to happen. In a similar manner, Third Belgrade leads the participants into an appar-ently empty field of dreams, filled with the multitude of different individual unconscious contents, which can also serve the purpose of exploration of consciousness and introspection.

Our last action of dreaming occurred on 8/9th Sep-tember 2012 in the City Square of Cacak, on the occa-

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sion of Nadezda Petrovic Memorial, which had “Deep Dream“as its topic. That new “Big Dream“ of ours points to the aspiration towards making one big, per-haps a planetary dream come true and reconsidering the possibility of its realisation.

In order to revive the values that were devalued in the times of crisis and fall, in order to question them, purify them and reinstall them into a new system of values custom-made for “the little man“, it is neces-sary to step forward, re-establish some basic life func-tions and get the hold of the lost thread of existence. Our actions so far are not unusual, provocative, and critical – they are a reminder of a life that is slipping away and a life we are distancing ourselves from, or the others are doing it to us. The reality is already too distorted and disfigured for us to make it even more distorted and incomprehensible. In this day and age, “ordinary“ life is the most extraordinary.

When it seems to us that there are no more choices, that we do not control our lives completely, we start dreaming of the things that make the founda-tion of security and sustainability of life – a warm and safe place, preparing food, a warm bed and peaceful sleep, a structured community in which we create and develop ourselves.

Is that utopia – a dream of a society in which ev-ery individual has a possibility to realize and develop their potential, to give as much as they can and take as much as they need?

vo uspostaviti neke osnovne životne funkcije i uhvatiti izgubljenu nit egzistencije. Naše dosadašnje akcije nisu neobične, provokativne, kritične, one su podsećanje na život koji nam izmiče i od koga se udaljavamo, ili nas od njega udaljavaju. Stvarnost je dovoljno izvrnuta i izopačena, da bismo je činili još izvrnutijom i nera-zumljivijom. U sadašnjem vremenu i svetu najneobičniji postaje „običan“ život.

I kada nam se čini da nemamo više izbora, da ne kontrolišemo svoj život u potpunosti, počinjemo da sanjamo o onome što čini osnovu sigurnosti i održanja života – toplo i sigurno mesto, pripremanje hrane, top-lu postelju i miran san, uređenu zajednicu u okviru koje stvaramo i razvijamo se.

Da li je to utopija – san o društvu, u kome svaki pojedinac ima mogućnost da ostvari i razvija svoje po-tencijale, da da koliko može i dobije koliko mu je neo-phodno?

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LUCIDNI SAN TREĆEG BEOGRADA

Selman Trtovac

Lucidni, odnosno svesni san je san tokom kojeg osoba jasno poima činjenicu da se nalazi u stanju sna. To

sanjaru omogućava određenu ili potpunu kontrolu nad tokom sna, kao i posebno živopisne, „jače“ snove.

Wikipedia

LUCID DREAM OF THIRD BELGRADE

Selman Trtovac

Lucid or conscious dream is a dream during which a person understands clearly the fact that they are in

a dream. This allows the dreamer partial or complete control over the course of their dream, as well as

particularly vivid, “stronger dream“ Wikipedia

Umetnička akcija pod naslovom Veliki san/Big Dream izvedena početkom septembra 2012. godine na Grad-skom trgu u Čačku je za umetnike Trećeg Beograda događaj koji predstavlja pokušaj definisanja određenog autonomnog utopijskog prostora, mentalnog prostora, u smislu otpora postmodernoj dekadenciji koja je zah-vatila sve segmete života unutar poznokapitalističkog društva.

Poznato je da u nekim drevnim plemenima Aus-tralije i Mikronezije postoji praksa lucidnog sanjanja. U tim pleminama, čiji običaji i način života dopiru do samog detinjstva čovečanstva, nema kriminala, nasilja i mentalnih bolesti. Takvo društvo je primer utopije, odnosno mikroutopije!

Praksa lucidnog sna je, u prenesenom smislu, uvek događaj koji se razlikuje od svakodnevice. Ta svesno izazavana radikalna razlika u odnosu na uobičajeni tok stvari, predstavlja u ovom slučaju i artikulaciju umetničkog iskaza. Umetnici Trećeg Beograda su sves-ni činjenice da se nalaze u stanju sna, bez obzira da li spavaju ili su budni. Oni tako ispoljavaju svoj umetnički i ljudski stav.

Za umetnike 3.BGD-a se u jednom trenutku zajedničkog mišljenja postavilo pitanje šta jedan umetnik može, odnosno šta bi morao da radi! Šta umetnik pojedinac radi za druge? Posledično dolazi-mo do razloga za grupisanje, umrežavanje, stvaranje novih struktura na umetničkoj sceni, jednog novog ili drugačijeg mentalnog prostora u umetnosti, odnosno u kulturi uopšte. Važno pitanje u tom procesu mišljenja je kako da umetnik osvaji novi prostor, gde se taj pros-tor nalazi i koje su perspektive tog prostora! Problem novog mentalnog prostora nije moguće odvojiti od pi-tanja utopije, koje je, u suštini, egzistencijalno pitanje.

Artists‘ campaign entitled Big Dream was performed at the beginning of September 2012 at the town square in Čačak and for the artists of Third Belgrade it is an event attempting to define a certain autonomous uto-pian space, mental space, in terms of resistance to postmodern decadence that has captured all segments of life within the late capitalist society.

It is known that among some ancient tribes of Aus-tralia and Micronesia there is a practice of lucid dream-ing. Within those tribes, whose customs and the way of life reach the very childhood of humankind; there is no crime, no violence, nor mental illnesses. Such a society is an example of utopia or micro utopia!

The practice of lucid dream is always, in a meta-phorical sense, an event that is different from everyday life. That deliberately caused radical difference from the usual course of events, in this case represents an articulation of the artistic expression. Third Belgrade artists are aware of the fact that they are in the dream state regardless of whether they are awake or asleep. They also express their artistic and humane attitude

For the artists of Third Belgrade at one moment of joint thinking a question was raised: What can an artist do or what he could do? What can an individual do for the others? Consequently we come to the reason for clustering, networking, creating new structures on the artistic scene, a new or different mental space in art and culture in general. An important issue in this think-ing process is how an artist can capture new space, where that space is and what its perspectives are! The problem of a new mental space cannot be separated from the issue of utopia, which basically, is an exis-tential one.

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JA VOLIM I UMETNOST

DRUGIH

I ALSO LOVE THE ART OF OTHERS

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JA VOLIM I UMETNOST DRUGIH

Radoš Antonijević

I ALSO LOVE THE ART OF OTHERS

Radoš Antonijević

Izložba Treći Beograd / Ja volim i umetnost drugih, organizovana u Galeriji savremene umetnosti u Sme-derevu aprila 2012. predstavlja mešavinu umetičke akcije i događaja sa likovnom i konceptualnim rezul-tatom. U okviru ovog specifičnog projekta svaki umet-nik je osim svog ličnog rada izložio i rad umetnika po sopstvenom izboru. Treći Beograd se tako prikazao kao skup individualaca, u kome svaki pojedinac ima svoj zaseban umetnički žiivot, ali je i predstavio grupu kao složeni sistem odnosa koji zahvata mnogo veću socijalnu mrežu.

Mnogo interesatniji prostor za shvatanja ovog rada otvara se mogućnošću da jedan umetnik is-tovremeno bude viđen i kao umetnik i kao kustos. Kus-toska pozicija “onog koji bira” zapravo se iznedrila iz dišanovskog koncepta izbora kao stvaralačkog čina, samo što umetnik bira iz prostora svega postojećeg, a kustos iz prostora stvorene umetnosti. Zato se može reći da se ova izložba bavi i selekcionom politikom kao načinom umetničkog delovanja. Ovaj segment izložbe možemo nazvati pozivom za pronalaženje različitih rešenja koja će pomiriti ova dva neodvojiva segmenta umetnosti, kreaciju i prezentaciju.

Biranje je kreativni čin i ne treba da bude drugačije ni shvaćen, ali stvaralački čin mora u sebi da nosi i odgovornost čuvanja supstance umetnosti, a to je samo umetničko delo i njegov izvorni kontekst. U toku kreiranja ove izložbe postojala je jasna želja da se za-uzme kritički stav prema sveprisutnijoj fragmentaciji umetnosti kada umetničko delo biva smanjeno na nivo ilustracije ili vizuelne potpore određenom teorijskom diskursu. Zato je kao dodatni deo ovog projekta kreiran umetnički ugovor, koji povezuje rascepljenu prirodu umetničkog dela.

Popunjavajući formular ugovora i potpisujući ga, dva umetnika, dokumentuju proces razmene, odnosno pozajmice umetničkog dela u svrhu izlaganja. Osim

The exhibition Third Belgrade / I also love the art of others, was organised at the Gallery of Modern Art in Smederevo in April 2012 and it represents a mixture of action and events with the artistic and conceptual outcome. Within this specific project each artist, apart from his own work of art, exhibited a work of art by other artists, according to his own choice. Third Bel-grade thus presented itself as a group of individuals, where each individual has their own artistic life, but it also presented the group as a complex system of re-lationships which covers a much larger social network.

Much more interesting room for understanding this work is given by an opportunity that an artist can be seen as an artist and a curator at the same time. Curatorial position “of the one who chooses “actually originated from the Duchampian concept of a choice as a creative act, except that the artist selects from the area of all that exists, and the curator from the space of the created art. So it can be said that this exhibi-tion deals with the selection policy as a way of artistic activity. This segment of the exhibition can be named an invitation for discovering different solutions which would reconcile these two inseparable segments of art, creation and presentation

Selection is a creative act and should not be un-derstood otherwise, but a creative act must also bear in itself the responsibility to maintain the substance of art, and it is the very work of art and its original context. During the creation of this exhibition there was a clear desire to have a critical attitude towards more and more present fragmentation of art, when a work of art is being reduced to the level of illustration or visual support to a certain theoretical discourse. Therefore, as an additional part of this project an ar-tistic response that links the split nature of a work of art was created.

By filling out the form of a contract and signing

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toga oni iznose i direktan kontekst svog umetničkog rada jer svaki umetnik, svojom kratkom umetničkom izjavom, definiše njegovu kontekstualnu poziciju.

Razdvajanjem formalnih i značenjskih elemenata rada, nestaje njen magijski i slobodno možemo reći, lekoviti deo. Umetničko delo ne nastaje kao ilustracija nekog predstavljačkog nad - koncepta već u autor-skom i kreativnom konfliktu umetnika i stvarnosti. Ono je razrešenje konflikta, ili bar njegovo obznan-jivanje i to mu se ne sme oduzeti ako postoji želja da ono bude podsticaj doživljaja. Upravo je doživljaj kra-jnje ishodište umetničkog napora i on je svedočanstvo umetničke funkcije i mesto najdubljeg boravišta umet-nosti. Bez njega nema spoznaje i harmonije kao rezul-tata te spoznaje. Ako doživljaja nema, umetnost je suvi i neplodni prostor, lep u svom telu i dubok u svojoj mudrosti, ali besmislen.

Umetničkom konstrukcijom sa dva umetnika, dva umetnička rada i ugovorom koji ih povezuje umetnost se ponovo konstituiše i obnavlja svoju efikasnost. Delo se vraća u galerijski prostor i ponovo ima svoje telo, ali nosi i informacije konteksta dubinski ugrađenu ( ugovorom ) u tkivo samog rada. Odnos dva umet-nika i odnos dva dela otvaraju mogućnost za dalje doživljavanje rada jer se doživljaj formira u odnosu na drugo umetničko delo i još važnije, na drugog umet-nika kao posmatrača umetnosti. Umetnost nije više samo proizvod lične i nerazumljive mitologije, ona se konstituiše postojanjem umetnosti koja je prepozna-

it, two artists document the exchange process, or the process of borrowing a work of art for the purpose of exhibiting it. In addition, they also state the direct con-text of their work of art, since each artist, by giving a short artistic statement, defines its contextual posi-tion.

Separating the formal from the semantic elements of the work, its magic part disappears as well as its healing part. A work of art is not created as an illus-tration of a representational super-concept but the concept of copyright and creative conflict between the artist and reality. It is the solution of the conflict, or at least its announcement and it cannot be deprived of it if there is a wish that it becomes an incentive of an experience. And that experience exactly is the ultimate result of artistic efforts and a testimony to the artistic function and a place of the most profound residence of art. Without it there is no understanding and harmony as a result of these findings. If there is no experience, art is a dry and barren area, beautiful in its body and profound in its wisdom, but meaningless.

An artistic framework consisting of two artists, two works of art and a contract that binds them makes art re-constituted and its efficiency renewed. The work of art returns to the gallery and it has its body again, but it also carries the context information deeply im-bedded into the fabric of the work itself (by means of the contract) The relationship between two artists and the relation between two works open a possibility for

22

je. Ona nije više niti modernistička formalna igra, niti postmodernistička jezička konstrukcija,, već ponovo postaje entitet sa sopstvenom gravitacijom. Njena priroda prestaje da bude isključivo označiteljska ili es-tetska i postaje delotvorna jer deluje na posmatrača, a stvarajući doživljaj u posmatraču ona ga i menja.

Ako je taj neophodni drugi zapravo umetnik, koji bira, on postaje medijum za umnožavanje drugog. Posmatrač bi ovakvim postupkom postajao umetnik jer stvara metod i model konzumacije umetničkog rada. Umetničko delo se jednim svojim profilom stvara delovnjm umetnika, a drugim u odnosu na posmatrača, zato ova izložba, ovaj umetnički rad ili još bolje reći umetnički konstrukt Trećeg Beograda zaokružuje umetničko delo i ono ponovo postaje celovito. Nameće se utisak da je možda ishodište umetnosti u tome da svi posmatrači umetnosti postanu i umetnici. Ta umetnička pozicija je zapravo pozicija osvešćnog i od-govornog posmatrača, a u krajnjoj kosekvenci ona bi vodila ka drugačijem shvatanju umetnosti i drugačijem umetničkom obrazovanju.

U zaključku treba reći da razmenu umetnosti mogu da upotpune i relativne kategorije kakve su znanje, veština izrade ili uslovi visoke produkcije, ali jedina stvar koja obezbeđuje pouzdani transfer umetnosti je ljubav. Ona je taj lekoviti sastojak odnosa unutar umetnosti, pa ako želite da imate uticaj na umetnost morate da je volite, i obrnuto, ako je budete voleli ona će uticati na vas.

Umetnici koji su učestvovali u projektu: Anica Vučetić / Nina Todorović

Olivera Parlić / Predrag BlagojevićSelman Trtovac i Ranko Đanković / Milan Blanuša

Radoš Antonijević / Zoran TodorovićMarko Crnobrnja / Aleksandar Todorović

Milorad Mladenović / Marijela CvetićSanja Latinović / David Vampek ( David Wampach)

Ranko Đanković / Nemanja VišnjićVeljko Pavlović / Dejan Anđelković i Jelica Radovanović

Milena Milosavljević / Ilija Šoškić

KrAj

further experiencing of the work, since the experience is formed in relation to the other work of art, and more importantly, in relation to the other artist as an ob-server of art. Art is no longer just a product of personal and incomprehensible mythology; it is constituted by the existence of the art that identifies it. It is no lon-ger a modernistic formal play or a post- modernistic linguistic construction, but again it becomes an entity with its own gravity. Its nature ceases to be purely aesthetic or signifying and becomes effective because it influences the viewer, and creating the experience with the viewer it alters him as well.

If that needed other artist is actually the artist who selects, he becomes a medium for the multipli-cation of the other. With this procedure the observer would become an artist because he creates a method and a model of the consumption of a work of art. A work of art is with one of its profiles created by the performance of an artist, and with the other in relation to the observer, therefore this exhibition, this work of art or better to say an artistic construct of Third Bel-grade rounds off the work of art and it becomes com-plete again. One gets the impression that perhaps the result of art is in allowing all observers to become art-ists. Such artistic position is actually a position of a sensible and reliable viewer, and ultimately it would lead to a different understanding of art and a different artistic education.

In conclusion, it should be said that the exchange of art can also be complemented by relative categories such as knowledge, the skill of creating or production conditions, but the only thing that provides reliable transfer of art is love. It is that healing component of relationships within art, so if you wish to have an im-pact on art you have to love it and vice versa, if you love it, it will affect you.

Artists who participated in the project: Anica Vučetić / Nina Todorović

Olivera Parlić / Predrag BlagojevićSelman Trtovac and Ranko Đanković / Milan Blanuša

Radoš Antonijević / Zoran TodorovićMarko Crnobrnja / Aleksandar Todorović

Milorad Mladenović / Marijela CvetićSanja Latinović / David Vampek ( David Wampach )

Ranko Đanković / Nemanja Višnjić Veljko Pavlović / Dejan Anđelković

and Jelica RadovanovićMilena Milosavljević / Ilija Šoškić

THE END

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VELIKI SAN BIG DREAM

29

IZVEŠTAJ IZ ČAČKA / Kako je spavao i šta je sanjao Treći Beograd

Radoš Antonijević

A REPORT FROM ČAČAK / How Third Belgrade slept and what it dreamt

Radoš Antonijević

Na Memorijalu Nadežde Petrović u Čačku Umetnička grupa Treći Beograd se pojavila zahvaljući poverenju koje je dobila od selektora ovogodišnjeg saziva prof. dr. Jelene Stojanović.

Zašto spominjem poverenje? Zato što rad koji je trebalo napraviti u Čačku nije bio ni izbliza defini-san u trenutcima kada se izložba dogovarala. Osim vrlo grube veze između naziva dva starija rada grupe Zajednički san i Kolektivni san i tada radnog naziva izložbe Big Sleep druga veza nije postojala. Činjenica da se nazivi imali vezu sa spavanjem i eventualnim sanjanjem otvorila je prostor saradnje iako su na-mere selektora bile utemeljene u poziciji umetnosti situacionizma dok je Treći Beograd u ranijim radovima promišljao ideje kolektivizma u umetnosti i utopije kao vremenski i prostorno ograničene forme.

Ovo su ugrubo bile tačke polaska, a zatim je počeo period približavanja i sve jasnijeg definisanja rada.

Prva ideja od koje se krenulo podrazumevala je organizovanje događaja velikog grupnog spavanja na gradskom trgu i od toga se krenulo. Ideja je zamišljena kao širenje energije mikro utopije i njena ambicioznost je počivala na uspešno organizovanom događaju Toplo mesto. Uistinu ova ideja nije nikada koncepcijski ni napuštena, samo se razbila o hridi realnosti.

Ono što smo imali u Toplom mestu, a nismo sh-vatili kao srećni slučaj bile su dve okolnosti. Prva da je događaj održan u Beogradu u kome jedino i postoji umreženost umetnika, učesnici ovog događaja i bili su mahom umetnici ili ljudi iz sveta umetnosti. Druga okolnost je da su svi ti ljudi bili zainteresovani za Treći Beograd kao novi umetnički prostor u gradu.

U Čačku smo se susreli sa teškoćama neophodnog uključivanja velikog broja učesnika u događaj. Tehnički i materijalno bilo je jako teško organizovati smeštaj, hranu i prevoz zainteresovanih iz Beograda, a mi nismo odmah shvatili da je to ključno mesto ovog koncepta.

At Nadežda Petrović Memorial in Čačak, Artistic group Third Belgrade appeared thanks to the trust that it got from the selector of this year’s convocation, Jelena Stojanović, PhD.

Why do I mention trust? Because the work that was supposed to be done in Čačak was not a far cry from defined at the moments when the arrangements for the exhibition were being made. Apart from a very rough relationship between the names of two older works of the group Common Dream and Collective Dream and the working title from that time Big Sleep, there was no other connection. The fact that the titles had to do with sleeping and the possible dreaming opened the room for cooperation although the inten-tions of the selector had been based in the position of the art of situationalism while Third Belgrade had in its early works thought of the ideas of collectivism in art and utopia as a temporally and spatially restricted form.

These were roughly the starting points, and then the period of approaching and clearer defining of the work commenced.

The original idea implied organising an event with a large group sleeping in the town square and it was the starting point. The idea was conceived as spreading the energy of micro utopia and its ambition was based on the successfully organised event Warm Place. Indeed this has never been conceptually aban-doned; it just smashed against the rocks of reality.

What we had in the Warm place, and we didn’t understand as luck, were two circumstances. The first one was that the event was held in Belgrade, which is the only place where the networking of artists exists, and the participants of this event were mostly artists or people from the art world. The other circumstance is that all these people were interested in Third Belgrade as a new art space in the city.

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Mada je veliki broj ljudi na sajtu i fejsbuk nalogu poz-dravio akciju moglo se zaključiti da bi možda oni i uzeli učešće ako bi događaj bio u Beogradu. Ali oni nisu imali jasan motiv da nas prate do Čačka ( Čačak i Beograd su udaljeni jedan od drugog 130km). Dakle ovde je bio propust iz koga se može zaključiti da je nephodno uložiti veliku energiju u ovaj deo organizacije. Uveravanja organizatora Memorijala u Čačku možemo računati na mlađu publiku koju će oni animirati uljuljkala nas je još i više. Elem na dan akcije na mestu događaja pojavilo se sedam članova grupe Treći Beo-grad i Jovana Ivić i Jelena Drobnjaković prijateljice Sanje Latinović. Tokom noći spavačima se priključio i Danijel, kustos galerije Nadežde Petrović u Čačku. Svim ovim učesnicima ovom prilikom izražavam neizmernu zahvalnost jer se podržali rad Trećeg Beo-grad baš onda kad je to izgledalo kao čista utopija.

Pomenuti događaji nisu nevažni jer su oni ključno uticali na definisanje rada i u vizuelnom i u konceptu-alnom smislu.

Iako su stvari po nas krenule neplanirano loše ne može se reći da smo ih dočekali potpuno nespremni. U razgovorima u kojima smo se pripremali za rad predviđali smo i ovakav mogući scenario i zbog toga

In Čačak we encountered difficulties with the nec-essary inclusion of a big number of participants in the event. Technically and financially it was very difficult to arrange accommodation, food and transportation from Belgrade for all those who had expressed interest, and we had not realised at once that it was the key point of this concept. Although a great number of people sup-ported the action on the site and Facebook account, one could draw a conclusion that they might have par-ticipated in this event if it had taken place in Belgrade. But they did not have a clear incentive to follow us to Čačak (Čačak is at a distance of 130km from Belgrade). So there was a failure at this point, which would lead to a conclusion that it was necessary to put a lot of energy into this part of the organisation.

The assurances of the organisers of the Memorial in Čačak that we could count on the younger audi-ence, which they would animate, lulled us even more. Well, on the very day of the action at the scene of the event seven members of the group Third Belgrade ap-peared as well as Jovana Ivić and Jelena Drobnjaković, friends of Sanja Latinović. During the night the sleep-ers were also joined by Danijel, a curator of the Gallery of Nadežda Petrović in Čačak. I’ll use this opportunity

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smo razvijali elastičnu koncepciju u želji da uhvatimo neočekivano u događaju. Pošto je deo plana bio i da se objavi javni poziv1 zainteresovanoj javnosti da mogu

1javni pozivpozivaju se svi nezainteresovani da uzmu učešće u

umetničkoj akciji Veliki San umetničke grupe Treći Beograd u okviru memorijala nadežde petrović, u noći između 8. i 9.

septembra 2012. na glavnom gradskom trgu u Čačku.VELIKI SANVAS ZOVE

Za Veliki san vam ne treba talenatZa Veliki san ne morate da budete posebni

Veliki san ne nagrađuje ničimU Velikom snu se neće desiti ništa.

• Veliki san je zajedničko spavanje većeg broja dobrovoljnih učesnika. • Veliki san ima formu spektakla jer je tu pojavnost nemoguće izbeći. • Veliki san pokušava da se što više prbliži spektaklu da bi istražio prostore mogućih razlika.• Veliki san je istraživanje u polju kolektivnog umetničkog rada i prepuštanje kontrole nad radom da bi postao mesto željenih neočekivanosti.• Veliki san je mesto unutar mesta i događaj unutar događaja,• Veliki san je prostor različitih kolektivizama i različitih individu-alnosti (spavač u grupi istovremeno je i veoma sam i prepušta se zajednici).• Veliki san želi da dobije neutralnu sliku događaja i da bude mesto nevine estetike

napomena: Ova umetnička akcija će biti snimana u svrhu doku-

to express immense gratitude to all the participants, since they supported the work of Third Belgrade when it looked like pure utopia.

The above mentioned events are by no means in-significant for they had a key influence on defining the work in a visual and conceptual sense.

Although things started unexpectedly badly for us, it can’t be said that we faced them completely unpre-pared. In conversations during which we had been pre-paring we had also anticipated this possible scenario and that’s why we developed a flexible concept with a desire to catch the unexpected within the event. As it had also been a part of the plan to launch a public invitation1 to the interested public so that they could

1public invitationall those who are not interested are invited to take part

in the artistic action Big Dream of the artistic group Third Belgrade within the memorial of nadežda petrović,during

the night between 8th and 9th september 2012 in the main city square in Čačak.

Big dreamis inviting yOu

you don’t need any talent for Big Dreamyou don’t have to be special for Big DreamBig Dream does not award with anything

In Big Dream nothing will happen.• Big Dream is joint sleeping of a big number of participants.

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da se priključe našoj akciji, iskorištena je prilika da se u okviru teksta javnog poziva isproba nekoliko subver-zivnih metoda umetničkog delovanja u oviru medijskog klišea.

radni naziv rada Kolektivni san promenjen je u Ve-liki san (Big Dream). Ime rada nastalo preklapanjem naziva memorijala Big Sleep što je u srpskom prevodu intepretirano kao Dubok san i naziva poznatog rijaliti šoua Veliki Brat (Big Brother). Sve je vođeno tako da u se forma ovog događaja ispražnjenog od svakog spe-ktakla zapravo u medijskom okviriu prikaže upravo kao najava nekakvog imaginarnog spektakla jer mediji svo-jom formom to jedino i dopuštaju.

Osim naziva interesantno je da su proglasom poz-vani nezainteresovani, a ne zaiteresovani. Zapravo poziv nezainteresovanima je poziv svim ljudima u medi-jskom polju uticaja. Oni su zapravo nezainteresovani za realnost jer prate samo medijsku sliku događanja. U daljem tekstu demistifikuje se događaj jer se kaže da se neće dogoditi ništa i da niko od učesnika neće biti nagrađen ničim, čime ovaj javni poziv postaje čak stav ili manifest.

U svakom slučaju s ovako definisanim progla-som izvršena je priprema rada za njegovo čitanje kao moguće labaratorije za hvatanje neočekivanog u polju realnosti kako društvene tako i opšte vizuelne. U tako postavljenim parametrima nedolazak velikog broja učesnika iščitan je kao nemogućnost za plasman mi-kro utopije u širokom društvenom krugu. Tako mikro utopija uvek ostaje na margini društvenog spektakla kao posebnost, drugost, paralelnost.

Akcija je snimana sa više kamera i krajnji rezultat je bila petokanalna video instalacija.

1. Snimak spavača odozgo (Božje oko) je snimak koji događaj prikazuje iz ugla u kome svaki učesnik ima podjednak udeo u slici u kojoj se ništa nemože sakriti. Specifičnost je da je kadar obuhvatao samo spavače tako da se okolina ne vidi i nema konteksta mesta. To je slika mikro utopije, mesta koje ne postoji osim za one koji su u njemu i sami su deo tog mesta

2. Drugi snimak je panorama trga sa akcijom kao centralnim događajem, ali ipak samo jednim od bezbroj sadržaja koji su se dešavali te večeri u Čačku. Intere-mentovanja događaja, a snimljeni materijal biće iskorišten za izradu video i foto materijala koji će biti prezentovan u toku trajanja Memo-rijala. Svi učesnici mogu koristiti opremu za spavanje (vreće za spa-vanje, krevete, podmetače, ćebad itd.) sopstvenom nahođenju, ako je sami predhodno obezbede. Organizatori će obezbediti određenu količinu podmetača za ležanje. Svako od učesnika može da se priključi akciji i da iz nje izađe po sopstvenoj odluci, u svakom tre-nutku.

join our campaign, the opportunity was used, within the text of the public invitation, to try several subver-sive methods of artistic activity within the framework of this media cliché.

The working title Collective dream was changed into Big Dream. The name of the work originated by overlapping the memorial Big Sleep, which was inter-preted in the Serbian translation as Deep Dream, and the name of the famous reality show Big Brother. Ev-erything was carried out so that the form of this event devoid of each spectacle was shown within the media framework as an announcement of some imaginary show, since the media by their form allow only that.

Except for the title itself, it is interesting that the disinterested and not the interested ones were invited by the proclamation. Actually, the invitation to the dis-interested is aimed at all people in the field of media influence. They are really disinterested in the reality as they follow just the media picture of the events. Further in the text, the event is demystified because it is said that nothing will happen and none of the par-ticipants will be awarded with anything, which makes this public invitation turn into an attitude or even a manifesto.

In any case, with the proclamation defined in such a way, the work was prepared to be read as a possible laboratory for catching the unexpected in the field of reality, the social as well as the visual one. With the parameters set like this, the lack of arrival of a large number of participants was read out as a possibility for the placement of micro utopia within a wide social circle. Thus micro utopia still remains on the margins • Big Dream has a form of a spectacle as this phenomenon is impos-sible to avoid.• Big Dream tries to be as close to a spectacle as possible in order to explore the areas of possible differences.• Big Dream is a research in the field of collective artistic work and giving control over the work so that it can become a place of desired unexpectedness.• Big Dream is a place within a place and an event within an event.• Big Dream is an area of different collectivisms and different indi-vidualities (the sleeper in the group is at the same time rather alone and left to the community).• Big Dream wants to gain a neutral picture of an event and to be a place of innocent aesthetics.

note: This artistic attraction will be shot for the purpose of docu-menting the event and the recorded material will be used for making a video and photo material which will be presented during the me-morial. All participants can use sleeping equipment (sleeping bags, beds, head-rests, blankets etc.) at their own discretion, if they have previously provided it. The organisers will secure a certain quantity of head-rests for lying. Each participant can join the campaign and leave it if he chooses to do so, at any moment.

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santna je slika kada u toku večeri sa trga kreću auto-busi koji prevoze đačku ekskurziju. Ova ekskurzija se može čitati kao paralelna mikro utopija.

3. Treći snimak je trodimenzionalna slika jednog trenutka u toku večeri koja je napravljena od više sni-maka koji su spojeni u trodimenzionalnu panoramu i predstavlja zaleđeni trenutak i objavljuje nemogućnost čitanja realnosti van konteksta vremena, prolaznosti i privremenosti.

4. Četvrti snimak je zapravo kolaž od nekoliko snimaka dobijenih od MUP-a Srbije, sa sigurnos-nih kamera koje 24 čas prate događaje na trgu. Ovo je paradigmatično video svedočanstvo sveta koji je postao svet koji je stalno posmatran i u toj tačci se preklapaju Veliki Brat Džordža Orvela i Veliki brat ri-jaliti šoua, a mikro utopije se vide kao žrtve društva nadgledannosti. Intima se povlači i beži pod ćebad spavača, u njhove glave i snove koji ostaju jedino mes-to van sistema nadgledanja, nametanja i prisile.

5. Peti snimak je trejler za događaj Veliki san, napravljen u maniru reklama za film. On predstavlja kopču sa Javnim proglasom jer se igra oblicima medi-jske pojavnosti i ispražnjenosti od sadržaja.

KrAj

of social events as particularity, otherness, and paral-lelism.

The action was filmed with multiple cameras and the ultimate result was a five-channel video installa-tion.

1. The shot of the sleepers from above (God’s eye) is a recording of the event from such an angle that each participant has an equal share in the image in which nothing can be disguised. The specificity is that the shots captured only the sleepers so that the sur-roundings cannot be seen and there is no context of the place. That is a picture of the micro utopia, the place which does not exist, except for those that are in it and are a part of that place themselves.

2. The second shot is a panorama of the square with the action as its central event, but as only one of the numerous happenings that took place in Čačak that evening. An interesting image is the one when in the evening the buses left the square taking the chil-dren on excursion. This excursion can be viewed as a parallel micro utopia.

3. The third shot is a three-dimensional image of one moment during that evening which was made of multiple shots connected in a three-dimensional pan-orama and it is a frozen moment which announces the inability to read outside the context of time, transience and temporality.

4. The fourth shot is actually a montage of several images obtained from the Ministry of Internal Affairs of Serbia, with security cameras covering the happenings in the square for 24 hours. This is a paradigmatic video testimony of the world which had become the world constantly observed and at that point the Big Brother of George Orwell and the Big brother of the reality overlap, and the micro utopias are seen as the victims of the society of surveillance. The intimacy retreats and hides under the blankets of the sleepers, in their heads and dreams which remain the only places out of this system of monitoring, imposition and coercion.

5. The fifth shot is a trailer for the event Big Dream, made in the manner of commercials for a film. It is a link with the Public announcement because it plays with the forms of the media appearances and empti-ness of the content.

THE END

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ILEGALNA VEČERA ILLEGAL DINNER

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ILEGALNA VEČERA3BGD u Savamali 20.09.2012.Gosti: Volgfang Krauze, Silvija Lorenc & Co. i Goethe Gerilla

ILLEGAL DINNER3BGD at Savamala on 20.09.2012Guests: Volgfang Krauze, Silvia Lorenc & Co. and Goethe Gerilla

Umetnici Volfgang Krauze i Silvija Lorenc su nas poz-vali da učestvujemo u njihovom radu na 53. Oktobar-skom salonu u Beogradu koji se odvija pod naslovom Good Life - fizički narativi / prostorne imaginacije. Ideja je bila da naša umetnička grupa i/ili dodatno neki od umetnika iz grupe, reaguju na specifični prostor Sava-male unutar konceptualnog okvira umetničkog rada Volgfanga Krauzea, Silvije Lorenc i grupe umetnika iz Berlina pod naslovom Napolje. Predviđeno je da po-sledica te umetničke reakcije bude materijalizovana u vidu fotografije ili frejma iz video materijala, koji bi poslužili kao osnova za razglednicu.

Odlučili smo da reagujemo kao grupa, na velikodušan poziv umetnika iz Berlina, na način što ćemo ih pozvati da zajedno jedemo. Taj proces zajedničkog uzimanja hrane mi razumemo kao čin zbližavanja i gostoprimstva, sve to unutar pažljivo isplaniranog koncepcijskog i estetskog okvira. Zajednička večera je prvobitno trebala da se izvede ispod Brankovog mosta, ali usled nepremostivih pre-preka mesto izvođenja rada je promenjeno.

Ljudi su se u zakazano vreme okupili i seli oko trpeze, na stolu je bilo puno hrane raznih boja i formi. Tu situaciju smo poistovetili sa slikarskim postupkom, a rezultat sa slikom! Vizuelni rezultat je serija foto-grafija i video materijal. Iz te serije fotografija mi smo odabrali jednu!

Naslov Ilegalna večera je nastao spontano kao rad-ni naslov, skoro kroz šalu. Naknadnim promišljanjem došlo se do odluke da se taj naslov ostavi. U pitanju je diskurs u odnosu na naslov celokupnog Oktobarskog salona – Good Life. Mi smo naslov Good Life u kon-tektsu Srbije razumeli kao cinizam. Svako zna da u Sr-biji veliki broj ljudi bukvalno gladuje, da je kriza veoma duboka i da prožima sve društvene slojeve. Svako onaj koji ima mogućnost da se gosti za bogatom trpezom je poput nekog prestupnika, bez obzira da li se to dešava

Artists Volfgang Krauze and Silvia Lorenc invited us to participate in their work at 53th October Salon in Belgrade, which is held under the name Good Life – physical narratives / spatial imagination. The idea was that our artistic group and /or additionally some of the artists from the group, respond to a specific area of Sa-vamala within the conceptual framework of the artistic work of Volgfang Krauze, Silvia Lorenc and a group of artists from Berlin under the title Outside. It is antici-pated that the result of that artistic response is ma-terialized in the form of a photo or frame from video material, which would serve as a basis for a postcard.

We decided to react as a group, upon a generous invitation of artists from Berlin,in such a way that we will invite them to eat together. That process of taking the food jointly is understood by us as an act of bonding and hospitality, all that within carefully planned conceptual and aesthetic framework. The dinner had originally been supposed to be performed under Branko’s Bridge, but due to the insurmountable obstacles the place of the event was changed.

People gathered at the appointed time and sat around the dining table, which was full of food in dif-ferent colours and forms. That situation was identified with the painting technique, and the result was with the photograph! The visual result is a series of photos and video footage. Among that series of photographs we have chosen one!

The title Illegal dinner originated spontaneously as a working title, almost as a joke. Subsequent con-sideration brought about the decision to keep that ti-tle. It is a discourse in relation to the title of the overall October Salon – Good Life. We have understood the title Good Life as cynism within the context of Serbia. Everyone knows that in Serbia a big number of people are literally starving, that the crisis is very deep and it permeates all social strata. Anyone who has the op-

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ispod mosta ili u nekom oronulom prostoru. U pitanju je nešto prestupničko, nešto ilegalno. Naslov je upravo adekvatna reakcija, odnosno adekvatno paradoksalan, kao i naslov celog Oktobarskog salona - Good Life.

portunity to be a guest at the plentiful dining table is like an offender, whether it is under a bridge or in a rundown area.it is a matter of something delinquent , illegal. The title is exactly an appropriate response, of adequately paradoxical, as well as the title of the whole October Salon - Good Life.

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Polazeći od pretpostavke da se ništa nije desilo ako nije primećeno, a nakon zajedničkog rada “Večera u Sa-vamali” sa Silvijom Lorenc i Volfgangom Krauzeom u okviru Oktobarskog salona 2012, Trećem Beogradu su se spontano nametnule akcije koje se bave prisutnošću u medijima i oglašavanjem.

Lažni bilbordiOpis:Na društvenoj mreži Fejsbuk postavljena je serija fotografija bilborda na prostoru Savamale na kojima je umesto njihovog stvarnog sadržaja, fotomontažom ubačen materijal koji promoviše akcije Trećeg Beo-grada.

Većina komentara na ove fotografije je pozdravljala ak-cije sa bilborda ne primećujući “prevaru”, pa čak i onda kada su se sami komentatori nalazili na retuširanim fotografijama.

Razotkrivanje:Posle mesec dana na istom mestu na kojem je ob-javljena serija “Lažnih bilborda” postavljene su i originalne fotografije u paru sa fotomontažama, a sa pratećim tekstom:

“Savamala opustela bez Trećeg BeogradaN.N. lica poskidala bilborde Trećeg Beograda sa pros-tora Savamale.Treći Beograd ostao nevidljiv za domaću likovnu scenu.”

Nestajanje

Opis:Pitanje nevidljivosti i prisutnosti razmatra se i u akciji “Nestajanje” gde se nakon lažnog novinskog teksta

Istine i laži

Veljko Pavlović

Truths and lies

Veljko Pavlović

Starting from the premise “that nothing has happened unless noticed” and after the common work “Dinner in Savamala with Silvia Lorenz and Wolfgang Krause within the October Salon 2012, some actions dealing with being present in the media and advertising were imposed spontaneously to Third Belgrade.

Fake billboards Description:On the social network Facebook a series of billboard photographs were put showing the area of Savamala, where instead of their real content and using a photo-montage, some material was inserted aimed at pro-moting the actions of Third Belgrade.

Most of the comments to these photos acclaimed the actions from the advertisement, not noticing “the de-ception”, even when the commentators themselves were shown in retouched photographs.

Exposing:After a month, in the same place where a series of “Fake billboards” had been published, the original pho-tos paired with the photomontage were put, with the accompanying text:

“Savamala deserted without Third Belgrade

N.N. removed the billboards of Third Belgrade from the area of Savamala.Third Belgrade has become invisible for the home art scene”

Disappearance

Description:The issue of invisibility and presence remains even

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pojavljuje fotografija “Večera u Savamali” na kojoj su, namernim grubim retušom, izbrisani svi članovi Trećeg Beograda.

“Treće oko” se interesuje za fenomen “Trećeg Beo-grada”

“Poslednjih dana je uočena paranormalna aktivnost - sa fotografije “Večera u Savamali” na nepoznat način nestaju svi članovi Umetničke zadruge “Treći Beograd”. Kako je Treće oko ”časopis za granična područja nauke, misterije prošlosti i današnjih dana i fenomene za koje ne postoji racionalno objašnjenje”, ono se veoma zain-teresovalo za ovaj slučaj. Skeptici, ipak, tvrde da ovde nije u pitanju nikakva nat-prirodna pojava već da članovi Trećeg Beograda nisu ni učestvovali u svojoj akciji.”

in the action “Disappearance”, where after a false newspaper article the photo “Dinner in Savamala” ap-peared, in which, using a deliberately rough retouch all members of Third Belgrade had been deleted.

“Third eye” magazine has been interested in the phe-nomenon of “Third Belgrade”.

“A paranormal activity has been observed recently – from the photograph “Dinner in Savamala” all members of the Artists’ Cooperative “Third Belgrade” have dis-appeared in an unknown manner. Since Third Eye ”is a magazine for the border areas of science, the mysteries of the past and the present and phenomena for which there is no rational explanation”, this magazine has be-come rather interested in this case.However, the sceptics argue that this is no supernatu-ral phenomenon but no members of Third Belgrade par-ticipated in this action.

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PREZENTACIJE PRESENTATIONS

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PREZENTACIJE I UMREŽAVANJE

Anica Vučetić

PRESENTATIONS AND CREATING THE NETWORKS

Anica Vučetić

Jedna od važnijih aktivnosti Trećeg Beograda u izgrad-nji strategije delovanja je uključivanje u mrežu region-alnih i internacionalnih organizacija sličnog profila koje se bave umetnošću i kulturom, nalaženje najoptimalni-jih modusa funkcionisanja i delovanja jedne umetničke zadruge u datim lokalnim i globalnim ekonomskim i političkim uslovima i otvaranje prostora za promov-isanje lokalne umetničke scene Srbije izvan granica, kao i stvaranje povoljnijih uslova za rad umetnika un-utar scene.

U toku 2012. godine Treći Beograd je gostovao na SUPERMARKET-u – STOCKHOLM INDEPENDENT ART FAIR, Međunarodnom sajmu umetnosti koji vode umetnici, a posvećen je umetničkim galerijama i dru-gim umetničkim inicijativama. Cilj SUPERMARKETA jeste da obezbedi uvid u umetničke inicijative širom sveta i da stvori prilike za formiranje novih veza, kako na švedskoj tako i na međunarodnoj umetničkoj sceni. Treći Beograd je od 14. do 19. februara učestvovao na ovom sajmu sa radovima Toplo mesto, Kolektivni san i Ručak na travi i na taj način predstavio svoju umetničku poziciju.

Treći Beograd je predstavljen u izdanju Chinese Art Centr-a i u Sangaj “Institution for the Future”, koje je okupilo umetnike, kuratore i kulturne radnike oko pitanja - kako bi jedna institucija kulture trebalo da izgleda i funkcioniše u budućnosti, kakav bi trebalo da bude odnos umetnika i institucije, mogućnosti aktiv-izma, okvir delovanja institucije i odnos prema lokal-nom i internacionalnom kontekstu, uloga institucije u istraživanju i edukaciji? Knjiga sadrži crteže, kritičke tekstove, neformalnu korespondenciju, nađene tek-stove, hipotetičke predloge, intervjue i dijagramska istraživanja. Urednici: Biljana Ćirić and Sally Lai.Na grupnoj izložbi International Underground održanoj u Galeriji Piramid Sanat u Istambulu, u periodu od 18. okrobra do 26. novembra 2012. Treći Beograd se pred-

One of the most important activities of Third Belgrade in the research and development of its strategy is in-clusion in a network of regional and international or-ganisations with similar profiles that deal with art and culture. This means the expansion of contacts, finding the most optimal modes of functioning and operation of a cooperative such as this one in the current local and global economic and political conditions. Our goal is to create favourable conditions for the work of art-ists within Serbia and to open room for promoting the local art scene beyond the borders.During the year 2012 Third Belgrade was a guest at the SUPERMARKET – STOCKHOLM INDEPENDENT ART FAIR, international art fair led by artists, and dedicated to art galleries and other art initiatives. The goal of SUPERMARKET is to provide insight into the art ini-tiatives around the world and to create opportunities for formation of new connections, both on the Swed-ish and the international art scene. From 14th to 19th February Third Belgrade participated in this fair with its works Warm place, Collective dream and Lunch on grass and in this way presented its artistic position.Third Belgrade was presented in the publication of Chinese Art Centre from Shanghai “Institution for the Future”, which had brought together artists, cura-tors and cultural workers to discuss this issue – What should a cultural institution look like and how should it function in the future, what should the relation be-tween the artist and the institution be, the possibilities of activism, action framework of the institution and how it is linked to the local and international context, the role of the institution in research and education? The book contains drawings, critical texts, informal correspondence, hypotheticals proposals, interviews and diagram research. Edited by: Biljana Ciric and Sally La.At the group exhibition International Underground,

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stavio radom Ručak na travi, a na poziv kuratora Bed-rija Bajkama (Bedri Baykam).

Anica Vučetić je u Hagu (16. 11. – 20.12.), kao gost Wander-a i Naked-a, imala priliku da se upozna sa alternativnom umetničkom scenom Holandije i funk-cionisanjem artist-run-centara i galerija koje vode umetnici u Hagu, Amsterdamu i Roterdamu. Ideju Na-ked-a o promovisanju “glokalnog” razumevanja sveta umetnosti danas, globalnog razumevanja iz različitih lokalnih perspektiva, podržao je Wander Artist-in-residence koji poziva umetnike iz različitih zemalja da predstave svoje lokalne art scene i upoznaju se sa scenom Holandije, podstičući tako razmenu informaci-ja, znanja i stimulišući različite vrste umrežavanja. Anica je predstavila rad i aktivnosti Trećeg Beograda, 27. novembra u kafeu “Florencia“.

held at the Gallery Pyramid Sanat in Istanbul from 18th October to 26th November 2012,Third Belgrade par-ticipated with the work Lunch on grass, and upon the invitation of the curator Bedri Baykam.During her stay in the Hague (December 16th-Decem-ber 20th) Anica Vučetić was a guest of Wander and Na-ked, and she had the opportunity to become familiar with the alternative art scene of the Netherlands and functioning of the artist-run-centres and galleries run by artists in the Hague, Amsterdam and Rotterdam. The idea of Naked, artist-run organization from the Hague, about the promotion of “glocal” understanding of the world nowadays, global understanding viewed from different local perspectives, was supported by Wander Artist-in-residence, which invites artists from different countries to present their local art scene and get to know the scene of the Netherlands , thus en-couraging the exchange of information, knowledge and stimulating different types of networking. At the pre-sentation of Third Belgrade at the café “Florencia” on 27th November Anica showed her work and the activi-ties of the cooperative.

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DOGAĐAJI UGALERIJI

TREĆI BEOGRAD

EVENTS INTHIRD BELGRADEGALLERY

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ana knežević samostalna izložba

januar 2012

Love synapse

Simona Ognjanović

ana knežević solo exhibit ion

January 2012

Love synapse

Simona Ognjanović

Razumevanje, ili možda pre, slutnja i osećaj prostora, jedno je od fundamentalnih pitanja kako naučnog i filosofskog, tako i umetničkog diskursa. Štaviše, u umetnosti XX veka problem prostora će se pokazati kao izuzetno plodno područje različitih formalno-konceptulnih istraživanja, među kojima su najsug-estivnije i najsintetičnije forme nepobitno različiti oblici umetničkih instalacija i ambijentalne umet-nosti. Imajući u vidu opšta mesta takvih umetničkih praksi, svetlosno-zvučne instalacije Ane Knežević s jedne strane dele nepobitnu srodnost sa takozvanom pronaučnom tendencijom bliske neokonstruktivizmu, koja je primarno usmerena ka delovanju u graničnom polju koje sintetiše naučne, tehnološke i umetničke kategorije i sisteme. S druge strane, na jednoj formal-noj ravni, pročišćena, redukovana i uvek geometrijski svedena vizuelna sredstva, upućuju na slična rešenja po kojoj su prepoznatljive optičko-prostorne struk-ture minimalne umetnosti. Međutim, prostori koje uobličava Kneževićeva uvek i bez razlike nadilaze svaku doslovnost svoje pojavnosti, ne tvore nikad samodovoljne optičke senzacije niti pretenduju na vrednost tautološke strukture.

Autorka, moglo bi se reći, operiše na nekom rub-nom području između istraživanja i proizvođenja pro-stora unutar kojeg linija, svetlost, prostor i zvuk os-taju primarna vizuelna i umetnička sredstva. Međutim, kod Kneževićeve, ovi formalni elementi uvezuju se u neočekivane relacije i kao takvi formiraju otvoreno polje brojnih interpretacija. Jedna od mogućih mo-gla bi se nadovezati na Zedlmajrovu tezu o takoz-vanoj geometriji svetlosti. On naime ističe da tesne unutrašnje veze između svetlosti i jasnoće, koje pritom potkrepljuje navodima da su ova dva pojma u mnogim jezicima čak i sinonimi, neposredno impliciraju jednako nerazmrsive relacije između svetlosti i brojeva.1 Bro-

1 H. Zedlmajr, O svetlosti, Beograd, 2008, p. 45.

Understanding, or perhaps rather, a premonition and sense of space, are some of the fundamental issues, in both, scientific and philosophical, as well as artistic discourse. Moreover, in the art of the twentieth cen-tury, the problem of space will prove to be a very fertile area of different formal-conceptual research, among which the most suggestive and most synthetic forms are undeniably different forms of art installation and environmental art. Having in mind commonplaces of such art practices, the light-sound installation by Ana Knežević on the one hand shares undeniable propin-quity to the so-called pro-scientific tendency close to neo-constructivism, which is primarily focused on ac-tivities in a borderline area that synthesizes scientific, technological and artistic categories and systems. On the other hand, at a formal level, purified, reduced and always geometrically minimized visual aids point to similar solutions which are recognizable by the optical and spatial structure of minimal art. However, spaces that Knežević forms always invariably transcend any literal meaning of their physical appearance; they do not constitute a self-contained optical sensation nor do they strive to gain the value of tautological struc-ture.

The author, one might say, operates in a border area between research and producing space where line, light, sound and space remain the primary visual and artistic means. However, in Knežević’s work, these formal elements are bound into unexpected relations and as such they create an open field of numerous interpretations. One of possible interpretations could be added on Zedlmayer’s thesis of the so-called ge-ometry of light. He points out that the close internal relationships between light and clarity, which he fur-ther supports by saying that these two concepts which are even synonymous in many languages directly imply an equally inextricable relationship between light and

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jevi su zapravo, kako zaključuje, njeni direktni duhovni ekvivalenti.2 Zanimljivo je da Kneževićeva mrežom fluorescentnih lastiša osvetljenih ultraljubičastim svetlom, dakle jednom formom svetlosne materije3 projektovane u prostor, posredno opredmećuje sin-ergetsku vrednost upravo numeričkih odnosa koji definišu i artikulišu sveukupnost arhitektonskog - u ovom slučaju - galerijskog prostora Trećeg Beograda. Drugim rečima, ti parametri brojčanih suodnošavanja arhitektonskih elemenata polazni su referenti iz ko-jih umetnica, takoreći deduktivnom metodom, izvodi rubne i noseće tačke projektovanog svetlosnog di-jagrama.

Sveprožimajuća dijalektika ove prostorne kon-stelacije, zapravo svojevrsna dijaletika punog (sup-stancije svetlosti) i praznog4 (praznog, zamračenog prostora galerije koji ga podupire) sasvim se približava istočnjačkom5 razumevanju praznine kao forme6 koja je uvek delotvorna7 i koja, kao konstitutivna funkcija svega što jeste figurira po pravilu kao pozitivan i ak-tivan princip. Štaviše, ta dijalektika je u ovom radu Kneževićeve trostruka. Naime, prostornoj dijalektici punog i praznog odgovara istovrsna dijalektika u vre-menskim koordinatama unutar koje punoću demon-

2 Zedlmajr dalje dodaje da se to najbolje može razlučiti ako se osvrnemo na arhitekturu katedrale u Šartru, gde upravo snaga svetlosti s jedne strane i uravnoteženi brojčani odnosi oblika i masa s druge, doprinose tom osećaju jasnoće i reda. Ibid.

3 Gotova svaka epoha, prema Zedlmajrovim navodima, izumeva nove, njoj svojstvene, svetleće materije ili pribegava, kako kaže, specifičnom luminizovanju starih formi. Ibid. p. 48.

4 Dijalektika punog i praznog predstavlja jedan od fundamentalnih principa japanske i kineske tradicije koji prožima i definiše kako prostorne i vremeske relacije, tako i etičke, estetske, političke i životne kategorije. Đ. Paskvaloto, Estetika praznine, Beograd, 2007, pp. 17-29. 5 U svojoj studiji Void/In Art Mark Levi (Mark Levy) uvodi i prob-lematizuje distinkciju između sekularnog, i mahom nihilističkog razumevanja praznine odnosno praznog prostora u okvirima zapadne tradicije (setimo se samo fenomena horror vacui), i onog spiritualnog, meditativnog pristupa koje pripisuje istočnim kulturama i učenjima unutar kojih je praznina izvor i uslov svakog stvaranja. Na toj razlici Levi dalje razvija tezu prepoznajući i izdvojivši među evropskim i američkim umetnicima one kojima je sasvim bliska upravo istočna konceptualizacija, ali i one koji, mada ne poznaju temelje tih učenja, nedvomisleno pokazuju srodne ten-dencije. Takođe, Levi razdvaja autore koje prazninom operišu tek da bi postigli izvesne vizuelne, čak estetske efekte i one kojima su, na nekoj ravni, praznina i odnos prema njoj odredili i obojili umetnički put. Među tim umetnicima su se našli Ed Rajnhard, Kazimir Maljevič, Iv Klajn, Mark Rotko, Džon Kejdž, Mark Tobi, Aniš Kapur ali i mnoga druga značajna imena evropske i američke umetnosti XIX i XX veka.

6 Đ. Paskvaloto, op.cit, p. 65 7 Ibid. p. 18

numbers1. The numbers are actually, he concludes, its direct spiritual equivalents2. What is interesting is that Knežević, using a network of illuminated fluores-cent elastics lit by ultraviolet light, therefore using a form of light matter3 projected into space, indirectly embodies synergetic value of numerical relationships that define and articulate the totality of architectural - in this case - the gallery space of the Third Belgrade. In other words, these parameters of numerical correla-tions of architectural elements are the starting refer-ences from which the artist using, so to say, deductive method, outlines bordering lines and supporting points of the projected light diagram.

The all-imbuing dialectics of this spatial constel-lation, actually a sort of dialectics of the full (the sub-stance of light) and of the void4 (empty, dark space of the gallery that supports it) is quite close to the eastern5 understanding of emptiness as a form6 that is always effective7 , and which, as a constitutive func-tion of everything that is, acts as a rule in the form of a positive and active principle. Moreover, this dialec-tics is threefold in this work by Knežević. Namely, the

1 H. Zedlmayer, O svetlosti, Beograd, 2008, p. 45. 2 Further on, Zedlmayer adds that this can be best analyzed if we take a look at the architecture of the cathedral in Chartres, where the force of light on the one hand and the balanced numerical rela-tions of shapes and mass on the other contribute to the feeling of clarity and order. Ibid. 3 According to Zedlmayer, almost every epoch invents a new light matter, or they resort to a specific luminescence of old forms. Ibid. P. 48 4 Dialectics of full and empty is one of the fundamental principles of Japanese and Chinese traditions that imbues and defines both spatial and chronological relations as well as ethical, aesthetic, political, and life categories. G. Pasqualotto, Estetika praznine, Beograd, 2007, pp. 17-29. 5 In their study Void / In Art, Mark Levy introduces and discusses the distinction between secular and mostly nihilistic understand-ing of void or empty space within the Western tradition (think only of the phenomenon of horror vacui), and that spiritual, meditative approach, which is attributed to Eastern cultures and teachings whereupon the void is the source and condition of all creation. Levi furthermore develops a hypothesis on this difference, recognizing and singling out, among European and American artists, those who are quite close to the Eastern conceptualization, but also those who, although they are not introduced to the foundations of such teaching, unambiguously show similar trends. Also, Levi makes a distinction between authors who utilize emptiness simply to achieve certain visual, even aesthetic effects, and those for whom, at some level, emptiness determined and coloured their artistic path. Among these artists were Ed Reinhardt, Kazimir Malevich, Yves Klein, Mark Rothko, John Cage, Mark Tobey, Anish Kapoor and many other notable names of European and American art of the nineteenth and twentieth centuries. M.Levy, Void / In Art, Ojala, 2005. 6 G. Pasqualotto, op.cit, p. 65 7Ibid. p. 18

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strira zvuk, dok prazninu sugeriše tišina. Zvuk je, što je differentia specifica ove instalacije, delom organskog porekla i kao takav stoji u direktnoj relaciji sa punoćom spoljnjeg sveta kojeg od unutrašnjeg, ograđenog pro-stora galerije deli samo dugačak prozorski zid. I tu se krug zatvara. Ili pre, ponovo otpočinje nikad prekinuto kretanje. Punoća pojavnog i organskog oponira suges-tivnoj, aktivnoj praznini umetničkog polja koja kao da priziva sajedinstvo umetnosti i života, i poziva na dija-log ono konstruisano i živo.

Međutim, dominantnu geometrijsku struktuiranost instalacije i njenu neosporno konceptualnu prirodu i utemeljenost ne treba nikako nepažljivo apostrofi-rati kao logično ishodište jednog hladnog, racional-nog principa, principa koji je objedinjavao onu liniju moderne umetnosti koju je Filiberto Mena imenovao analitičkom. Brojevi, proporcije i razmere jednako kao i umom uvek nadziran proces nastajanja insta-lacije ovde su nedvosmisleno označitelji onoga što su neki teoretičari nazivali sublimnom geometrijom ili „geometrijom izrazito duhovnih svojstava“, koja ten-denciozno i silovito mobiliše psihološki, emocionalni aparat naslućujući8 „zakonitosti nekog višeg reda i najvišeg poretka kao temeljnih načela harmonije i ravnoteže idealnog univerzuma“9. Stoga ovaj princip nipošto nije strogo analitički već pre sintetički, i to sintetički u onom mondrijanovskom smislu: on ne pro-pozicionira i ne nameće, već otkriva ono što je, mada skriveno, već tu, a potom uravnotežava inheretne pro-pozicije i sile zadatog, zatečenog prostora. Od recipi-jenta se pak odlučno zahteva trajanje u toj harmoni-zovanoj i vrlo sugestivnoj mikro strukturi, iziskuje se osama u tom, jednom od mogućih prostora10 u kojem se narušava svaka predvidivost naučene percepcije i gde se nagoveštava i sluti prestabilirana harmonija nepreglednog mnoštva sa kojim smo jedno.

8 U kineskoj i japanskoj tradiciji se sugestija, aluzija i nagoveštaj ustanovljavaju kao primaran i značenjima bogat estetski princip, a sveprisutno je i uočljivo takoreći instinktivno izbegavanje neposred-nog prikazivanja. L. Binjon, Zmajev let, Esej o teoriji umetnosti i njenoj primeni u Kini i Japanu, Beograd 2005, p. 29. 9 J. Denegri, Spiritualna i sublimna geometrija Juraja Dobrovića, Zagreb, 2007. Preuzeto sa: http://www.avantgarde-museum.com/hr/museum/kolekcija/4530-JURAJ-DOBROVIC/text-3871-SPIRIT-UALNA-I-SUBLIMNA-GEOMETRIJA-JURJA-DOBROVICA 10 Prema navodima Ruđera Boškovića, predmet geometrije, ili matematike u širem smislu, jesu upravo mogući, irealni prostori koje jasno razlikuje od onog realnog, odnosno datog. S. Ristić, „Osnovi Boškovićeve dinamičke atomistike“, Gradac, br.180-181, Beograd, 2011, p. 43.

spatial dialectics of full and void befits the comparable dialectics in time coordinates within which the fullness is demonstrated by sound, while the void is manifest-ed through silence. The sound, which is the differentia specifica of this installation, has partly organic origin and as such is in direct relation with the fullness of the outside world divided from the inner, separate space of the gallery merely by a long glass wall. And the circle is closed. Or rather, the- never-stopped-motion com-mences again. The fullness of the phenomenal and the organic oppose the suggestive, active emptiness of the artistic field, which acts as if it is summoning a concord of art and life, and calls for a dialogue between con-structed and alive.

However, the dominant geometrical structuralism of the installation and its undeniable conceptual na-ture and basis should under no circumstances be reck-lessly highlighted as a logical source of a cold, rational principle, the principle that unites that line of modern art which Filiberto Menna called analytical. Numbers, proportions and scales, as well as the process of cre-ating an installation always supervised by mind, here are unambiguously the ones that mark what some theoreticians called sublime geometry or “geometry of distinctly spiritual qualities” that intentionally and violently mobilize psychological, emotional device sensing8 “the laws of some higher arrangement and the highest order, as the basic principles of the har-mony and balance of the ideal universe.”9 Therefore, this principle is by no means strictly analytical but rather synthetic, and at that, synthetic in a Mondrianic sense: it does not propose nor does it impose, but re-veals what is, although hidden, already there, and then balances the inherent propositions and powers of the given, current space. The recipient is in turn required to remain in this harmonized and very suggestive micro-structure. It is seclusion that is demanded in this, one of the possible spaces10 whereupon every predictabil-ity of the learned perception is undermined and where a prestable harmony is suspected of the endless mul-titude with which we are one.

8 In Chinese and Japanese tradition the suggestions, allusions and innuendo are established as the primary aesthetic principle, rich in meanings, and almost instictive avoidance of direct presentation is all-pervasive and noticeable.. L. Bignon, Zmajev let, Esej o teoriji umetnosti i njenoj primeni u Kini i Japanu, Beograd 2005, p. 29. 9 J. Denegri, Spiritualna i sublimna geometrija Juraja Dobrovića, Zagreb, 2007. 10 According to Rudjer Boskovic, the subject of geometry or mathematics in their wider sense are those possible unreal spaces which it clearly separates from the real, i.e. the given. S. Ristić, „Osnovi Boškovićeve dinamičke atomistike“, Gradac, No.180-181, Beograd, 2011, p. 43.

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gingersociety prezentacija i projekat

mart-april 2012

Đumbir – Monument GingerSociety Beograd

Klara Schilliger i Valerian Maly

gingersocietypresentation and project

March-April 2012

Đumbir – Monument GingerSociety Beograd

Klara Schilliger and Valerian Maly

Izgradnja - oblikovanje: sa izgradnjom đumbira kolo-salnih razmera je 2009. godine u Pekingu osnovano Đumbir društvo (Ginger Society), koje je aktivno i u Tunu (Švajcarska) od 2010. godine i u Tirani (Albanija) od 2011. godine – što zapravo predstavlja komplek-snu igru. Privremeni spomenik je posvećen đumbiru. Po botaničkoj definiciji đumbir je “rizom”, i predstav-lja metaforu za ne-hijararhijski objekt. Spomenici se obično podižu u slavu važnih ličnosti, katedrale su sagrađane u monumentalnim razmerama, tako se demonstrira moć. Spomenik - monumetnt (od latin-skog “monere”; da podseti; ljudski um) se definiše kao značajan ili važan memorijal velikih dimenzija, a naročito bi spomenik trebao trajno da sačuva sećanje na istorijski važne ličnosti ili događaje. I tako, mi smo spomen značaj đumbira, i oda počast svom uzvišenoj oporost!

Značaj: Krajem 70 i početkom 80-ih, čudno reči iz botanike iznenada pojavio u kontekstu umetnosti: rizomom. U svom čuvenom tekstu o rizoma, koji se pojavio kao uvod u svojoj knjizi “Mille Plateauk” (“Hil-jadu visoravni”) u 1976, Žil Delez i Feliks Gatari uka-zuju na karakteristike biljnih rhizomatic struktura kao alternativa za hijerarhijski naučno model drveta, jer za razliku od ovog drugog, oni su otvoreni za potenci-jalne promene u načinima razmišljanja kao, na primer, pomera perspektive u istraživanju i razumevanju. Crossovers i raskrsnice su favorizovani, kao i elemena-ta koji pripadaju mnogim nivoima organizovanja. Sa svom apelu otvoren način razmišljanja u multiplicities (“Make rizoma, a ne korena! Nemojte biti jedan ili više, biti multiplicities!”), Delez / Gatari formulisati kritički pristup strukturiranje normativnih koncepata, ideja i teorijskih principa.

Postojeće strukture i diskursi ne treba posmatrati kao statične i stabilna entiteta, umesto toga, prikaz bi trebalo da bude snažno usmerena ka istorijskih diskon-

Building – Shaping: With the construction of a colos-sal ginger, the GingerSociety - established 2009 in Beijing, then activ in Thun (Switzerland) in 2010 an in Tirana (Albania) in 2011 - is actually playing a com-plex game. A temporary monument is built for ginger, in its botanic definition as a „rhizome“, as a metaphor for a non-hierarchical object. Monuments are usually erected to exalt important personalities, cathedrals are built on a monumental scale, a claim to power is demonstrated. A monument (from the Latin „monere“; to remind; mens mind) is defined as a significant or im-portant memorial of large dimensions; in particular, a monument should permanently preserve the memory of historically important persons or events. And thus, we commemorate the importance of ginger, and pay homage to its sublime pungency!

Importance: Toward the end of the 70s and begin-ning of the 80s, a strange word from botany suddenly appeared in the context of art: the rhizome. In their famous text on the rhizome, which appeared as the in-troduction to their book „Mille Plateaux“ („A Thousand Plateaus“) in 1976, Gilles Deleuze and Felix Guattari point to the characteristics of rhizomatic plant struc-tures as an alternative to the hierarchical scientific model of the tree, because in contrast to the latter, they are open to potential changes in ways of think-ing as, for example, shifts of perspective in research and understanding. Crossovers and intersections are favored, as well as elements belonging to many levels of organization. With their appeal to an open way of thinking in multiplicities (“Make rhizomes, not roots! Don’t be one or many, be multiplicities!”), Deleuze/Guattari formulate a critical approach to structuring concepts, normative ideas and theoretical principles.

Existing structures and discourses should not be seen as static and stable entities, instead, a view should be more strongly directed toward historical dis-

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tinuiteta i nastaju i, iznad svega, ZAHTEVI ZA IZGrAD-NjU konstrukcija. Držanje rizoma đumbira u svojoj ruci, teško je zamisliti kako je rastao, sa izbočina sa svih strana, šta je gore ili dole, levo ili desno, teško je utvr-diti sa sigurnošću. Đumbir raste u svim pravcima, gde god da se nađe prostor i hranljive materije, čini široko razgranatu mrežu za skladištenje. Rhizomatic struk-ture su danas sveprisutna, vithVikipedia kao živo prim-er: iako je tačno da pojedine organizacione strukture biti kreiran u okviru ovog naučnog sveta, oni su ipak sahranjeni ponovo unutrašnjim vezama i linija veze.

Izgradnjom spomenika GingerSocieti Thun i Ti-rani, privremeni utopija je napravljen u okviru izložbe “Utopija i svakodnevni život” - ali uvek sa Vink.

Utopija - po svom izvornom značenju, ne-lokacija (od antičke Grčke “OU-” ne “i” topos “/” mesto “) - bio je dodeljen prostor u bivšoj trpezariji. Utopija je efikas-no shvata kao željama karakteriše činjenica da, iako to može biti razumljivo i, u mnogim slučajevima, poželjna, ona je, baš kao što u mnogim slučajevima, nije više održiv ili protiv preovlađujuće istorijsko-kulturnog leđa terenu. Kolosalna đumbir je monumentalna skulptura izgrađena od drvene letvice, žica i papira mache čiji stalnost leži u namerne prolaznosti, čiji oblik je previše složen da se zamisli i čija zapremina je previše obiman da se u potpunosti shvatiti.

Da biste testirali utopija, u ovom slučaju, znači radeći zajedno sa ljudima iz Beograda da izgradi skulp-turu, kolektivno oblikovanje, tokom tri nedelje, entitet koji je kao nehijerarhijska moguće.

continuities, ruptures and, above all, the construction requirements of structures. Holding a ginger rhizome in one’s hand, it is hard to imagine how it grew; with pro-trusions from all sides, what is up or down, left or right is hard to determine with any certainty. Ginger grows in all directions; wherever it finds space and nutrients, it forms a widely ramified storage network. Rhizomatic structures are ubiquitous today, withWikipedia as a vivid example: though it is true that certain organiza-tional structures can be created within this scientific world, these are nevertheless buried again by internal links and lines of connection.

By building the Monument GingerSociety Thun and Tirana, a temporary utopia was created within the ex-hibition “Utopia and Everyday Life” – but always with a wink.

The utopia – according to its original meaning, a non-location (from ancient Greek „où- “not” and „tó-pos“ / “place”) – was assigned a space in the former dining hall. Utopia is effectively understood as wishful thinking characterized by the fact that though it may be conceivable and, in many cases, desirable, it is, in just as many cases, not yet or no longer viable against the prevailing historical-cultural background. The co-lossal ginger is a monumental sculpture constructed out of wooden slats, wire and papier maché whose permanence lies in its intentional transience, whose shape is too complex to imagine and whose volume is too extensive to be wholly grasped.

To test utopias, in this case, also means working together with the people of Beograd to build a sculp-ture, collectively shaping, over the course of three weeks, an entity that is as non-hierarchical as pos-sible.

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Branislav nikolić prezentacija

maj 2012

OBLIK I BOJA – SVET BRANISLAVA NIKOLIĆA

Radoš Antonijević

Branislav nikolić presentation

May 2012

SHAPE AND COLOUR – - THE WORLD OF BRANISLAV NIKOLIĆ

Radoš Antonijević

Dok je galerija Treći Beograd bila u izgradnji, obilazio sam gradilište sa prijateljima iz istoimene umetničke grupe i pokušavao da kroz započete zidove shva-tim konačnu nameru arhitekte. Provlačeći se između skela i nabacanog materijala opazio sam jedan pred-met naslonjen na zid. U pitanju je bila stubolika forma prečnika oko 60 cm, visine oko 4m. Oblik ove forme gradile su uske daske različitih dužina i boja i u prvi mah sam pomislio da je to neki šalung (kalup) za liv-enje betonskih stubova. Nalazio sam se na gradilištu, a proporcije i materijal stuba upućivali su na takav zaključak. Daske su uglavnom poticale od recikliranih starih dovratnika, prozora i ormara, a bilo je tu i nekih novijih dasaka. Naime, šalung se ne pravi od previše solidnog materijala jer se uglavnom koristi samo je-danput. Kada se izlije betonski stub, kalup se rasklopi ili sasvim rasturi i baci, zato sam pomislio da su ma-jstori, štedeći materijal, rešili da iskoriste neke stare drvene elemente. To se inače često dešava u individu-alnoj gradnji. Ljudi se snalaze.

Međutim, nešto u tom predmetu – šalungu, nije bilo sasvim u redu. Na njegovoj površini su se videli tragovi svežih intervencija u boji, ali je najveći procenat obojenosti poticao od stare boje kojom su rasklopljeni predmeti bili ranije ofarbani. Pomislio sam, u šali, da graditelji Trećeg Beograda imaju izuzetan slikarski dar. I zaista, što sam pažljivije analizirao taj predmet slu-tio sam da sve to ne može biti slučajno. Usklađeni i izbalansirani odnosi bojenih površina, harmoničnost i izuzetna koloristička snaga na šalungu za livenje be-tonskog stuba usred gradilišta, morate priznati, kra-jnje je neobično. Pitao sam se da li građevinari znaju to da je zgrada koju zidaju buduća galerija, i da nije to u nekoj vezi? Sve je ukazivalo na to da se iza ovog uzbudljivog predmeta krije nešto neobično, zato sam nastavio istragu iz neposredne blizine.

Naoružan iskustvom nakon izgradnje sopstvene

While the Gallery Treći Beograd was still in construc-tion, I was visiting the construction site with the friends from the eponymous art group trying to understand, based on the walls that were just being built, the ul-timate intention of the architect. Walking between the scaffolding poles and the building material scattered around I noticed one object leaning against the wall. It was an object in a form of a pillar 60 centimeters in diameter and 4 meters high. This shape was made by narrow planks of different lengths and colours and at first I thought it was some kind of the form for cast-ing concrete pillars. I was on the construction site and the proportions and the material of the pillar implied such conclusion. The planks were mostly recycled old door-posts, windows and cupboards, and there were also some newer planks. Namely, the form for cast-ing is usually not made of too solid material because it is used only once. Once the concrete pillar is made, the form is dismantled or completely taken apart and thrown away, that is why I thought that the builders, saving material, decided to use some old wooden ele-ments. This is something that often happens in indi-vidual construction, people are usually resourceful. However, something in that object – the form, was not quite in order. On its surface, I could see the traces of fresh interventions in colours, but the biggest percent-age of colour came from the original colour of the ob-jects that were taken apart. I thought, jokingly, that the builders of the Treći Beograd have extraordinary gift for painting. And as I analyzed this object in detail I sensed that it could not all have been a coincidence. Synchronized and balanced relations of the painted surfaces, harmony and extraordinary coloristic force of the form for casting concrete pillar in the middle of the construction site, you must admit are extremely unusual. I was wondering – could it be that the builders knew that they were building future gallery and that it

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kuće i izrade nekoliko skulptura zakoračio sam bliže prema misterioznom predmetu. Spoljne letve su iznu-tra bile povezane kružnim diskovima na svakih metar visine (videlo se to na spojevima između dasaka). Unutrašnji prostor nije bio funkcionalan već je samo konstruktivno podržavao spoljašnju formu. Znači - ne radi se o kalupu. Nosivost same konstrukcije bila je vrlo ekonomično izbalansirana i mogla je da nosi samo samu sebe, tako da to nije mogao biti ni samostalni stub. “Šta je onda ovo”, pitao sam se? “Izgleda da je ipak među zidarima neki slikar, ovo je najpre trodi-menzionalna slika”, zaključio sam, dok su se glasovi mojih prijatelja približavali govoreći mi da su završili obilazak gradilišta. U tom trenutku neko iza mene je rekao: “Čini mi se da ti se dopala Branina skulptura”.

Srećni slučaj je hteo da se moj prvi susret sa radom Branislava Nikolića dogodi baš na gradilištu, u pros-toru galerije koja se upravo zidala. Kasnije sam saznao da je on slikar sa akademskim obrazovanjem koji se uporedo bavi i skulpturom. I da to radi odlično.

Na tom gradilištu je njegova skulptura bila privre-meno sklonjena, ali mi je to neobično okruženje bilo veo-ma značajno pri tumačenju njegovog rada. Trodimenzi-onalna slika suštinski znači da predmet ima dvostruku prirodu, da poseduje skulpturalnost, ali i da ne može biti sasvim shvaćen van konteksta slikarskog tretma-na. Kao skulptura taj kontroverzni objekat je zapravo ljuska čiji je zid izgrađen od dasaka. Unutrašnji prostor ne krije ništa što već nije nagovešteno u spoljašnjosti oblika, koji se svojom minimalnom jednostavnošću otkriva brzo i neposredno. Slika je površina koja nam ne dozvoljava fizički prodor po dubini. Ona ne mora biti ravna jer zaista ravna površ (bez zakrivljenja) postoji samo u euklidski shvaćenom prostoru. Sa takvom pro-pozicijom boja dobija legitimitet da vizuelnost objekta nosi sa istom odgovornošću kao i oblik. Slojevitost rada i njegova sočnost počinju onog trenutka kada shvatimo da se u prostoru debljine već pomenute ljuske otvara mogućnost doživljaja mesnatosti sveta. Ono što želim da opišem vrlo je slično lignji, mekušcu šupljeg oblika koji ima mesnati zid.

Na izložbi Beogradski stubovi u Domu omladine 2011. godine, Branislav je izložio pet takvih stubova. Koristio je materijal odbačenih predmeta, vrata i pro-zora, koje je nalazio u različitim delovima grada po ko-jima je i nazvao stubove (Banjički, Dorćolski, Novobeo-gradski...). U beloj galeriji pet stubolikih formi delovalo je ubedljivo, ali ipak drugačije. Nepostojanje enigme o njihovom poreklu direktnije mi je otvaralo put ka sh-vatanju skulptorsko-slikarskog konflikta koji je ovaj rad u sebi sadržao.

could all be somehow related? Everything was point-ing out that something unusual was hiding behind this object so I continued my investigation from up-close.

Equipped with experience from building my own house and constructing several sculptures I stepped closer to the mysterious object. Outside planks were connected with round discs at the distance of a meter in height (it was visible through the joints between the planks). Internal space was not functional; it was only constructively supporting the external shape. So - it was not a case of a casting form. Bearing capacity of the construction was very economically balanced and was able to bear only itself, so it could not have been an independent pillar. „What is it then? “, I wandered. It looked like there must have been a painter amongst builders, most likely this was a three-dimensional painting“, I concluded, while my friends were coming closer and their voices telling me that they had finished the tour of construction site were becoming audible. At that moment someone behind me said: „It seems you like Brana’s sculpture“.

As luck would have it, my first encounter with the work of Branislav Nikolić happened precisely on the construction site, on the location of the gallery that was to be constructed. Later on I found out that he was a painter, art academy graduate, who made sculptures as well. And did that very well.

His sculpture was temporarily stored on that con-struction site, but this unusual environment was very significant for my interpretation of his work. Three-dimensional painting essentially means that the object has dual nature, that it has sculpturality, but that it cannot be completely understood without the context of painterly treatment. As sculpture that controver-sial object is actually a shell whose walls are made of plank. Internal space hides nothing new that has not been already suggested in its external form, which is revealed quickly and directly thanks to its minimalist simplicity. Painting is a surface that does not allow physical penetration into its depth. It does not have to be flat, because flat surface (one without distortions) exists only in Euclidean space. With this assumption, the colour obtains the legitimacy to bear the visual-ity of the object with equal responsibility as it were a shape. The layering of this work and its juiciness start the moment we realise that in the space, the width of the already mentioned shell, the possibility opens up for experiencing the fleshiness of the world. What I want to describe is very similar to the squid, molusk with a hollow form encircled by a fleshy wall.

On the exhibition Beogradski stubovi (Belgrade Pil-

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Boja je u tom radu iskorišćena i kao materijal. Neka vremenom ispucala, izljuskana i oljuštena mesta po-kazuju slojeve višegodišnjeg farbanja. Sa svim tim slojevima lako sam tonuo u prošlost, a tako zapisana istorija imala je snagu da mi probudi emociju. Kao da se paleta svih mojih podstanarskih stanova preselila u Branislavove stubove. Odjednom su “progovorili” dovratnici iz malih stanova na kojima su urezivane crtice za svaki naš rođendan; sve do dana kada više nismo mogli da prođemo kroz ta vrata bez saginjanja. U mislima demontiram stubove i sastavljam ta vrata iz detinjstva kada je svet bio obojen.

Defunkcionalizacija u postupku dekonstrukcije je sasvim jasna, jer materijal ne hrli ka novoj funkciji već ostaje slobodan u prostoru za posmatranje. To je oslobođeno mesto gde dovratnik ponovo postaje obična drvena daska i pokazuje svoje meso i potencijal da se preobrati u nešto drugo. Kao da nam Branislav poručuje da su vrata nekada bila drvo i da stvari imaju potencijal da se preobraze. On ih ne preobražava do nove funkcije niti mu je bitna stara. Materijal demon-tiranih predmeta ostaje zaustavljen u jednostavnim minimalnim formama stubova koji služe samo da bi ih gledali. Oni su, na neki način akumulacija materijala i silosi boje.

Stubovi su zapravo nosači bojenih isečaka sveta koji nas okružuje. Kao da nam Branislav daje lekciju iz posmatranja sveta i pita da li znamo od čega su naprav-ljene stvari oko nas? On nas uveseljava harmoničnim bojenim odnosima, ali nas kritikuje i opominje da nam stvari izmiču i da mi o njima zapravo malo šta i znamo. Njegov rad je kritika potrošačkog društva koje samo kupuje i odbacuje bez svesti o posledicama, ali je i usk-lik života koji pronalazi put ka novoj radosti i lepoti sveta.

lars) in the Dom Omladine in 2011, Branislav exhibited five such pillars. He used materials of discarded object, doors, windows, found in different parts of town whose names became the names of the pillars (Pillar of Banji-ca, of Dorcol, of Novi Beograd...). In a white gallery five pillar like forms seemed very convincing, but different. The fact that there was no enigma of its origin, made it easier to understand the sculptural vs. painterly con-flict contained in this work.

The colour in this work was used also as material. Some spots cracked, chipped and peeled off over time showed signs of years long painting. With all these layers it was easy to dive into the past, and history written in that way had a force to wake up my emo-tions. As if the range of all the apartments of my sub-tenant’s days moved into Branislav’s pillars. Suddenly, the door-posts of these tiny apartments „spoke“, bringing memories of the lines carved into them for our birthdays; until one day we were not able to go through these doors without bending our head. In my mind I dismantled these pillars and put up again the doors of childhood when the world was still in colours.

Defunctionalization in the procedure of decon-struction is absolutely clear, because the material does not embrace a new function but remains free in space for observation. It is a free space, where a door-post becomes again an ordinary wooden plank and displays its meat and potential to transform into something else. As if Branislav were telling us that the door used to be a wood and that things had po-tential to transform into something else. He does not transform them to their new function, nor does he care about the old one. The material of dismantled objects remains arrested in simple minimal pillar forms whose only purpose is to be looked at. They are in a manner of speaking an accumulation of material and silos of colours.

The pillars are actually bearers of the coloured ex-tracts of the world surrounding us. As if Branislav were teaching us how to observe the world and asking us did we know what the things surrounding us were made of? He is amusing us with harmonic coloured relations, but is also criticising us and warning us that the things escape us and that we can only really know very little. His work is a criticism of consumer society which just buys and discards without thinking of consequences, but it is also a cry of life finding its way to new joy and beauty of the world.

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galerija rasch, kassel, nemačka

izložbajun 2012

Umetnici - učesnici izložbe:Yun NAMJEA Yun LeeSUNG Hern Lee

rasch gallery, kassel, germany

exhibit ionJune 2012

Participating artists:Yun NAMJEA Yun LeeSUNG Hern Lee

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wilfredo Benitezprezentacija

jun 2012

wilfredo Benitezpresentation

June 2012

Wilfredo Benitez, izvršni direktor Fondacije Ludwig sa Kube, boravio je u Beogradu od 18. do 24. juna kao gost Treceg Beograda. Za vreme svog boravka održao je 20. juna predavanje u Univerzitetskoj biblioteci Svetozar Markovic “Savremena kultura i društvo Kube kroz programe Ludwig Fondacije” i predestavio rad Fon-dacije, kao i umetnicku scenu Kube. razmatrane su i mogućnosti saradnje Treceg Beograda sa Fondacijom.

Wilfredo Benitez, executive director of the Ludwig Foundation from Cuba, stayed in Belgrade from 18th to 24th June as a guest of Third Belgrade. During his stay, on 20th June he held a lecture at the University ‘’Svetozar Markovic’’ under the title “Contemporary culture and society of Cuba through the programmes of the Ludwig Foundation” and he presented the work of the Foundation, as well as the artistic scene of Cuba and the possibilities of cooperation of Third Belgrade with the Foundation.

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zoran kuzmanovićsamostalna izložba

jun 2012

SKULPTURE (PORTRETI) ZORANA KUZMANOVIĆA U 3BGD-U

Selman Trtovac

zoran kuzmanović solo exhibit ion

June 2012

ZORAN KUZMANOVIC’S SCULPTURES (PORTRAITS) IN 3BGD

Selman Trtovac

Prvo što se pomisli kada se pomene umetnik Zoran Kuzmanović jesu livnica i livački postupak. To znači da je on u tesnoj vezi sa materijalom - metalom, odnosno sa različitim agregatnim stanjima metala i energijom koja je potrebna za transformacije materije.

Zato nije čudno što je njegov misaoni proces, a sa-mim tim umetnička pozicija i likovni jezik koji koristi, u tesnoj vezi sa metalom, livenjem, oblikom, volumenom i svim drugim elementima koje podrazumeva klasična skulptura.

Pre nekoliko nedelja jedan broj članova naše umetničke zadruge bio je u njegovom atelju u Jugovu i tada smo videli, prvi put, kako rad, koji je Kuzmanović predvideo za izložbu u prosotru 3BGD-a, izgleda u re-alnosti i shvatili da su zapravo u pitanju tri rada koji su uzajamno tesno povezani. Sva tri rada su refleksija na ljudski lik. Odmah je bilo jasno da je Kuzmanović došao u jedno novo polje umetničkog istraživanja. Vajarski, odnosno livački postupak je bio samo puko sredstvo u procesu artikulacije vizuelnog iskaza i pristupu ljud-skom obliku.

Ti radovi su ukazivali na tri bitna nova elementa u njegovoj umetničkoj poziciji: prvo, u pitanju su radovi proizašli iz jednog konceptualnog pristupa umetničkom mišljenju; drugo, pored materije i igre sa njom, važan element je napon koji on stvara u postavci tih radova; treće, ti radovi su sa predumišljajem vezani za određeni prostor, dakle, u pitanju je prostorna in-stalacija.

Zašto se može pomisliti da je u pitanju koncepci-jski pristup, iz prostog razloga jer je skulptura sastav-ljana od delova koji su pokretljivi, promenljivi i prila-godljivi. Iza toga je morao postojati, skoro se može reći, inženjerski i konstruktivistički proces mišljenja. Ljudski lik sa kojim se on već duže vreme suočava postaje samo metafora u procesu razvoja iskaza. Opi-sivanje, volumen, ispitavanje karaktera pa i forma su,

The first thing that comes to mind when one mentions the artist Zoran Kuzmanovic-Kuzma is a foundry and a casting process. This means that he is closely con-nected with the material – metal, i.e. different physi-cal conditions of metal and the energy necessary for transformations of matter.

It comes as no surprise then that his thought process, and therefore his artistic position and the language he uses, are closely bound up with metal, casting, form, volume, and other elements related to classical sculpture.

Several weeks ago a number of our art cooperative members visited his studio in Jugovo, on which occa-sion we saw, for the first time, what the work Kuzma had chosen for the 3BGD exhibition looked like in real-ity, and it was then that we realised that those were actually three works closely related. All three works were reflections on human countenance. It was im-mediately clear that Kuzma had entered a new field of artistic exploration. The sculpting, i.e. casting, process was merely a means for articulating visual expression and approaching the human shape.

These works pointed to three new important ele-ments in his artistic position: firstly, they stem from a conceptual approach to artistic thought; secondly, besides the matter and playing with it, an important element is the tension it creates in the installations; thirdly, these works are intentionally connected with a certain space, making it a spatial installation.The reason why we could talk about a conceptual ap-proach is simply that the sculpture is assembled from movable, changeable and adaptable parts. We could say that behind this there must have been an engineer-ing and constructionist thought process. The human countenance he has been dealing with for a long time becomes only a metaphor in the process of the devel-opment of expression. Depiction, volume, examination

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čini se, otišli u drugi plan.Tri skulpture, tri portreta-profila, čine jedan skoro

neodvojiv niz, moglo bi se čak reći da je u pitanju jedna instalacija koja se sastoji od tri dela. Prvi ljudski lik je zaokružena silueta, profil, odnosno samo „met-alna“ ivica ljudskog lika kroz koju se može proći kao kroz neku kapiju. Taj profil je namerno izbačen iz ba-lansa i ponovo vraćen kroz zategnute metalne sajle (linije) koje uz pomoć kontrategova na zidu, plafonu i stubu u obliku suza ili jedne najobičnije cigle, taj por-tret drže u novom balansu, ali ovog puta u kontekstu jedne snažne tenzije. Druga skulptura je isti taj profil ljudskog lika, sa dodatnim, iznenađujućim elementima (ispolirana mesingana usta i providna epoksidna usta) razapet u jednu liniju, jedan niz, između stuba i zida. Posmatrač vidi profil koji se odupire o dve površine, koji na taj način uzrokuje novi vid tenzije. Treća skulptura ili treći deo instalacije je portret - profil koji se jednom svojom stranom odupire od zida, a drugom od poda, a među njima je niz sajli-linija koje celi sklop dovode u treći tip napregnutosti.

Celokupna postavka se ne može gledati, niti čitati, kao skup pojedinačnih skulptura, već nas Kuzmanović, umetnički veoma vešto, primorava da sve posmatramo kao jednu celinu. Prostor između delova instalacije nije prazan prostor, već je u funkciji likovnog iskaza koji on koristi. Međuprostori, ritmovi, simetrije, logika i tenzije koji tu nastaju upućuju na visoku svesnost o značaju prostora u kome se izložba postavlja. Kuzmanović u tom konkretnom slučaju, pored ostalog, nama posmatračima demonstira i jedan arhitektonski proces mišljenja!

Na osnovu svih tih premisa trećebeograđani su na predlog Radoša Antonijevića umetnički reagovali. Očigledno je bilo da se Kuzmanovićev atelje-livnica nalazi na Dunavu, isto kao i galerija-utopija Treći Beograd. Na osnovu činjenice da su mesto na kome su radovi nastali i mesto na kome se rad izlaže pove-zani kroz najmoćniju reku Evrope, brzo se došlo do zaključka da je logično da se Kuzmanovićevi radovi prevezu brodom do galerije kroz jedno simboličko put-ovanje Dunavskom art rutom, da se to putovanje snimi, okom izabranog posmatrača Veljka Pavlovića. To put-ovanje i posledični video rad 3BGD-a je odgovor na je-dan veoma inteligentan i senzibalan impuls umetnika Zorana Kuzmanovića Kuzme.

Unapred pažljivo strateški isplanirano posma-tranje putovanja, u prenesnom smislu, postaje do-kument, slično kao i u slučaju izvođenja rada Kolek-tivni san 2, Umetničke zadruge Treći Beograd, koji je takođe bio svojevrsan umetnički odgovor na izložbu

of character, even the form, seem to have been moved to the background.

The three sculptures, three portraits-profiles, form one almost inseparable series. They could be said to form one installation which consists of three parts. The first human countenance is a rounded sil-houette, a profile, i.e. a “metal” edge of a human face which can be passed through as through a gate. This profile is intentionally thrown off balance and brought back again through tight metal cables (lines), which, helped by counterweights on the walls, the ceiling and the pillar in the shape of tears or a simple brick, keep the portrait in a new balance, this time in the context of a strong tension. The second sculpture is the same profile of a human face, with additional, surprising ele-ments (polished brassy mouth and transparent epox-idic mouth), stretched into a line between the pillar and the wall. The viewer sees the profile stretching be-tween two surfaces, thus causing a new tension. The third sculpture or the third part of the installation is a portrait – a profile stretching from the wall on one side, and from the floor on the other, a line of cables being between them, bringing the whole composition into a third type of tension.

The entire installation can neither be viewed nor read as a collection of separate sculptures. On the contrary, in an artistically skillful way, Kuzma makes us look at it all as a whole. The space between the segments of the installation is not empty. It functions as his artistic expression. Interspaces, rhythms, sym-metries, logic and tensions point to a high awareness of the importance of the exhibition space. In this case, among others, Kuzma shows to the viewers an archi-tectural thought process as well!

Based on all these premises, Third Belgrade re-acted artistically to rados Antonijevic’s proposal. Obviously, Kuzma’s studio-foundry is on the Danube as well as the utopian gallery of Third Belgrade. The place that the works originated from and the place of their exhibition being connected by the most powerful river of Europe, it was promptly decided to be logical to transport Kuzma’s works to the gallery by boat on a symbolic Danube art route, and to have it recorded by the chosen observer, Veljko Pavlovic. The journey and the 3BGD video are a response to a very intelligent and sensitive impulse of the artist Zoran Kuzmanovic Kuzma.Planned in advance, attentively and strategically, the observation of the journey, metaphorically speaking, becomes a document, similar to the one of perform-ing “The Collective Dream” by the Third Belgrade art

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ruske umetničke grupe Kolektivne akcije. Taj doku-ment, video materijal, posledica posmatranja jednog umetničkog dejstva, naknadnim radom izabranog posmatrača mutira u svojevrsan umetnički iskaz u ob-liku video rada.

Na taj način se zaokružuje trijalog, kroz delovanje i bez reči, između Kuzmanovića koji je tvorac umetničkog rada i izložbe, Umetničke zadruge Treći Beograd koja reaguje na impuls i deluje praveći povratnu spregu u odnosu na Kuzmanovića i posmatrača Veljka Pavlovića koji od tog dijaloga stvara treći element i kako sam kaže pravi novu stvarnost, jer ono što nije zabeleženo to i ne postoji.

cooperative, which was also a kind of artistic response to the exhibition of a Russian group called Collective Action. That document, the video material, the result of observing an artistic effect, is turned into an artistic expression in its own right, in the form of a video, by the chosen observer.

The trialogue is rounded off in this way, by action and without words, among Kuzma, who is the creator of the work of art and the exhibition, the Third Belgrade art cooperative, which responds to the impulse and re-acts by providing feedback on Kuzma, and the observer Veljko Pavlovic, who creates a third element out of the dialogue, thus making a new reality, in his own words, because what is not recorded does not exist.

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marica radojčić prešićsamostalna izložba

jun 2012

DIGITALNO-BIOLOŠKO

Marica Radojčić Prešić

marica radojčić prešićsolo exhibit ion

June 2012

DIGITAL-BIOLOGICAL

Marica Radojčić Prešić

Na izložbi GRANANjE u galeriji ULUS nedelju dana po-sle otvaranja postavila sam obaveštenje da su izloženi radovi (svi sem skulpture) generisani računarom (i na-vela spisak korišćenih softvera), budući da su posetioci mislila da se radi o fotografijama. To mi je smetalo, ne zato što ne volim fotografiju, naprotiv, već zato što nisam htela da ljudi budu u zabludi.

Sve su to bili digitalni radovi, algoritamski ge-nerisani. Kad se zaviri ispod površinskog bojenog sloja dolazi se do prave matematičke priče – do mreže linija smeštenih u koordinatnom sistemu. Svaka linija je određena tačkama, svaka tačka, po Dekartu, određena je trojkama brojeva. Potom se između tih tačaka – odrednica umeće dovoljan broj novih tačaka sve dok oko prestane da ih razlikuje i sve to vidi kao neprekidnu liniju. Te konstrukcije tačaka i linija su matematičke, tačnije algoritamske – efektivnim postupcima, korak po korak, pri čemu te korake može da izvodi i mašina – računar. Kad se završi konstrukcija mreže koja ima obrise željenog geometrijskog objekta onda se ona presvlači bojenim površinskim slojem, slično kao što bi se stvarna žičana mreža oblepljivala nekom hartijom ili tkaninom i potom bojila.

Reč dakle se o posebnoj vrsti digitalnih objekata koji su generisani algoritamski pomoću računara.Ali taj digitalni rezultat je tako uverljiv da sve na prvi pogled izgleda da je samo slika realnog sveta. To mi je pomalo smetalo te sam postavila uokvireni tekst kao objašnjenje. Podsvesno sam ipak bila zadovoljna, a tako se pretpostavljam oseća i svaki uspešan falsifika-tor kad uspe da načini tako dobar falsifikat koji je teško razlikovati od originala.

[Slično mi se desilo pre desetak godina sa pro-jektom povratak odlaska kad su i stručnjaci pover-ovali da su projekcije u ambijentu koji je predstavl-jao unutrašnjost mog stomaka (sa grčenjem creva i šikljanjem krvi) snimljeni tokom operacije.]

Each line is defined by points, each point, according to Descartes, is determined by triples of numbers. Further between the starting points new points are constructed, as many of them until the eye sees them as continuous line. These constructions of points and lines are mathematical, more precisely algorithmical - by means of effective procedures, step by step, where these steps can be performed by machine - computer. After the construction of mesh, shaped in the form of a wanted geometrical object, is done it should be mounted by colourised surface layer; similarly to the mounting of a metal wire shape with paper or tissue and painting it with oil or some other kind of paint.

Thus I work with special kind of digital objects generated algorithmically by means of computer. This digital result is so convincing that at the first sight all looks like a photo image of the real world. This both-ered me a little bit and that was a reason for displaying framed text as an explanation. Subconsciously, I was satisfied. That was I suppose the feeling similar to the satisfaction with a good forgery which is difficult to distinguish from the original.

[Something similar happened to me in occasion of my project RETURN OF DEPARTURE when even ex-perts believed that projections in the ambient repre-senting inner space of my stomach (with contractions of my intestines and blood pumping and spreading ev-erywhere) were recording during my operation.]Was the framed explanation really necessary as I thought in the first moment, is difference between digi-tal and biological so drastical that these two worlds have no touching points, and should they be strictly differentiated?

Those questions have intrigued me especially when I was coping with cancer, ten years ago. Thinking of and analyzing my illness: how and why it started to develop, how it culminated, how it started to weaken,

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Da li je uokvireno objašnjenje zaista bilo neophodno kao što mi se u prvi mah činilo, da li je razlika između digitalnog i biološkog toliko velika da se ta dva sveta uopšte ne dotiču i treba li ih striktno razlikovati? Ta su me pitanja mučila, naročito u doba kad sam se borila sa rakom, pre desetak godina. Razmišljajući i analizirajući sopstvenu bolest: kako i zašto se razvijala, kako je dostigla kulminaciju, kako je počela da jenjava, stekla sam snažan unutrašnji osećaj i uverenje da je ta bolest matematičke, tačnije algoritamske prirode. Naravno tako nešto nisam pominjala lekarima jer imam nega-tivno iskustvo sa matematičkim zaključcima o svojim bolestima. Ipak bila sam čvrsto uverena da je taj biološki proces koji karakteriše rak posve sličan nekom frak-talnom procesu, sa nekim beskonačnim matematičkim nagomilavanjem, dakle da to spada u one ideje koje su me i u matematici i u umetnosti posebno zanimale pa čak i opsedale: neobuzdana deoba ćelija koja ide u beskraj do potpunog kolapsa organizma i do smrti, do limesa (u ovom slučaju beskrajno velikog). Mnogo go-dina kasnije shvatila sam da sam bila u pravu. Čitajući novinske tekstove o supstanci DCA (dihloracetatu) za koju kažu da leči rak tako što podstiče mitohondrije da reaktiviraju proces apoptoze (to je ćelijski program za samouništenje koji je kod ćelija zahvaćenih tumorom prekinut). Bez tog programa tumori neobuzdano rastu jer njihove ćelije odbijaju da se ugase.

Eto, moje ubeđenje da je rak algoritamska priča dobilo je potvrdu u biološkim istraživanjima. Sve me to u mislima vodi dalje: da je svekolika biološka suština u stvari algoritamska, pa da dakle i nema razlike između digitalnog i biološkog. E, sad kakvi su to koji biološki algoritmi, i da li ih možemo saznati, teorijski zasnovati kako se to obično radi – matematički, to su sad već druga pitanja. Znatno složenija. Budući da ti algoritmi nisu naše ljudsko delo, biće veoma teško, a po mom ubeđenju i nemoguće, prodreti potpuno u nji-hovu suštinu. To već ne spada u domen nauke (tu će se mnogi naučnici na mene naljutiti), već u neke druge domene. Tu se zadire u pitanja Tvorca, jer kako uopšte možemo očekivati da nešto potpuno objasnimo ako ne znamo ništa o nastanku. To je kao čeprkanje po zrncima peska u traganju za istinom o celoj pustinji. Uostalom, to moje uverenje se zasniva i na jednom od najpoznati-jih matematičkih rezultata – Gedelovoj teoremi, prema kojoj prirodne brojeve nije moguće zasnovati kao teo-riju prvog reda, na onaj uobičajeni matematički način: aksiome, teoreme, dokazi. Za zasnivanje prirodnih brojeva neophodno je izaći „izvan“ njih, u neki moćniji matematički svet (teorije drugog reda, recimo).

Projekt DIGITALNI POHOD NA ŠUMU treba da bude

I had very strong inner feeling and deep belief that ill-ness was of mathematical, more precisely algorithmi-cal nature.

Of course I did not mention this to the doctors bearing in mind previous negative experiences with mathematical conclusions about other illnesses. Yet, I am convinced that biological process on which cancer is based is very similar to the fractal process – a kind of infinite mathematical accumulation; thus it belongs to the ideas in mathematics and as well as in art by which I have been particularly interested and even obsessed: division of cells impossible to control goes to infinity, up to collapse of the organism, up to death, up to limes (in this case infinitely large limes). Many years later I realised I was right. Reading texts about substance DCA (dichloroacetate) for which it is claimed to cure cancer in a way it supports mitochondria to reactivate the process of apoptosis (this is cell process for self-destruction which has been cancelled with cells cap-tured by cancer). Without this process tumours grow unconstrained because their cells reject to disappear.

So, my conviction cancer is algorithmical story was proved in biological researches. All of these lead me to conclusion: that whole biological essence is in fact algorithmical, so there is no difference between digital and biological. But what these biological algorithms are like, could we get knowledge of them, could they be theoretically founded – in a mathematical way as it is usually done, all of these are now questions of dif-ferent kind. Much more complex. As these algorithms are not created by humans, it is going to be very diffi-cult, and to my mind impossible to discover completely there essence. That does not belong to the domain of science (because of this claim a lot scientists will be angry with me) but to other sort of domains. In such researches we would go into the questions of Creator. Thus how could we expect to explain something com-pletely if we know nothing about how it was brought to existence? That would be like scratching through the sand grains in searching for the truth about the whole desert. This conviction of mine is based on the well-known mathematical result – Gödel theorem, by which it is impossible to make foundation of natural numbers as a theory of first order – which is typical mathemati-cal way: axioms, theorems, proofs. For their foundation it is necessary to “step out” of natural numbers into some more powerful mathematical world (theories of second other for example).

The project DIGITAL INVASION OF A FOREST in the Third Belgrade should be an example of symbiosis of digital and biological, abstract and real branching,

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primer simbioze digitalnog i biološkog, apstraktnog i realnog grananja, kako vizuelno tako i zvučno. Možda je ta simbioza samo pokušaj približavanja onih sloje-va realnosti koji nama i našim današnjim čulima nisu dostupni, pokušaj prodora u razgranatosti naše da-tosti, našeg bivstvovanja, našeg jastva koje su možda mnogo složenije i dalekosežnija od onoga nam pojm-ljivog i saznatljivog.

[Inspirisano razgovorom koji sam vodila sa Milicom Lapčević 14. juna 2012. na otvaranju moje izložbe u

Galeriji ULUS.]

both visually and audibly. Maybe this symbiosis is an attempt of approaching to those layers of real that to-day are not approachable to us and to our senses, at-tempt of penetration into ramification of our presence, of our existence, of our self, which are maybe more complex and far-reachable from what is understand-able and possible to get knowledge of.

[Inspired by the conversation that I had with Milica Lapčević on the Jun 14, 2012. at the opening of my

show in the Gallery ULUS.]

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jelena veljkovićkustoski projekat

oktobar 2012

Između realnog i realnosti (topografija privatnog/javnog prostora)

Jelena Veljković

jelena veljkovićcuratorial project

October 2012

Between the real and reality(topography of private /public space)

Jelena Veljković

“Lični i kulturni identitet su vezani za mesto; topo-analiza je ona analiza koja ispituje stvaranje ličnog

identiteta posredstvom mesta...geografsko iskustvo počinje na nekim konkretnim mestima, od kojih se

zahvata prostor drugih mesta, i stvaraju se pejzaži ili regioni ljudskog postojanja”

Christopher Tilley, Fenomenologija pejzaža

Izložba ima za cilj da u uslovima šire shvaćenog galeri-jskog prostora Trećeg Beograda okupi radove domaćih, regionalnih i internacionalnih umetnika i umetnica čiji je fokus u radu vezan za geografska iskustva, specifične mehanizme i strategije kojima bi se reinterpretirao, povratio, problematizovao ili pojačao jedinstveni kara-kter određenog prostora.

U uspostavljanju šireg okvira izložbe poslužila je Lefevrova (Henri Lefebvre) dijalektička teorija pro-stora1, koja se zasniva na analizi urbanih fenomena kroz uvođenje principa polarnosti. Prvi u nizu parova suprotnosti naveden je već u podnaslovu izložbe (privatno/javno) oko koga se radijalno pozicioniraju ostale bipolarne relacije: odnos između prirode i kul-ture, prirodnog i veštačkog okruženja; odnos između centra i periferije; korelacije stvarnosti i mogućnosti demokratskog delovanja; subjekta i objekta proma-tranja u oblasti prostornih odnosa i vizulenih navika; determinizma i slobode; strukture i funkcije; percepcije urbanih i prirodnih toponima na kolektivnom i individu-alnom nivou.

U konstelacijama nepovratnog menjanja karaktera, strukture gradova i prirodnih resursa kao primarnih mesta sigurnosti, komunikacije i zadovoljstva, pojam često pominjane „urbane krize“2 upućuje na predstavu o prostoru koja postaje sve složenija i zahtevnija. U tom pogledu problem prostora i njegovih mogućih vrednosti

1 Anri Lefevr, Urbana revolucija, Nolit, Beograd 1974 2 Mark Ože, Nemesta, Biblioteka XX vek, Beograd, 2005

“The personal and cultural identity are tied to a place; the topoanalysis is the analysis that examines the creation of personal identity by means of a place...

geographic experience begins in some specific areas, one of which covers the area of other places, and the

landscapes or regions of human existence are created” Christopher Tilley, Phenomenology of Landscapes

The aim of the exhibition, in the conditions of widely understood gallery space of Third Belgrade, is to bring together the works of local, regional and inter-national artists whose focus is on the work related to geographic experience, specific mechanisms and strategies by means of which the unique character of a particular space would be reinterpreted, restored, problematized or enhanced.

In establishing a broader framework of the exhibi-tion Lefebvre’s dialectical theory of space1 was used, which is based on the analysis of urban phenomena by introducing the principle of polarity. The first in a series of pairs of opposites has already been mentioned in the subtitle of the exhibition (private / public) around which the other bipolar relationships are positioned ra-dially: the relationship between the nature and culture, natural and artificial environments, the relationship between the center and the periphery, correlations of realities and possibilities of democratic action; subject and the object of observation in the field of spatial re-lations and visual habits, determinism and freedom, structure and function; perception of urban and natural toponyms at a collective and individual level.

In the constellation of irreversible alteration of characters, the structure of cities and natural resourc-es as the primary places of safety, communication and satisfaction, the term of frequently mentioned “urban

1 Anri Lefevr, Urbana revolucija, Nolit, Beograd 1974

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upućuje na jednu opštiju krizu: krizu predstave o savre-menosti. Postavlja se pitanje: Kako individua/grupa u situaciji raznih dnevnih pritisaka, kulturnih i neo-liber-alnih navika i rutina uspeva da kerira mesto koje je iz-van uticaja novog sistema ideologija, ekonomskih i so-cijalnih ograničenja? Sprovodeći istraživanje ove vrste umetnici i radnici u kulturi putem različitih strategija i medija izražavanja (slike, fotografije, instalacije, inter-vencije, dokumetarnog materijala, video rada) konsta-tovali su kapacitete i fleksibilnosti zatečenih sistema, kao i različite načine samoostvarivanja u okviru datog kulturnog miljea. Na način svojevrsne umetničke topo-analize u okviru izlozbe markirane su aktuelne pojave u kontekstu (s)nalaženja u privatno-javnom prostoru preko kinestetičkih relacija između posmatrača, mes-ta i okruženja. U prostoru između realnog i posebnih realnosti, posmatraču se na izložbi nudi mogućnost kretanja različitim rutama. Ovakva vrsta mogućnosti raslojavanja i dinamizacije pogleda, od posmatrača za uzvrat očekuje zauzimanje aktivne pozicije u procesu „izumevanja svakodnevice“3, kolektivnog i intimnog iskustva putem mentalne i prostorne rekapitulacije činioca odabranih mesta i narativa bilo u cipelama lju-bitelja umetnosti, turiste ili zalutalog gradskog šetača.

Okupirana fenomenom granica koje se mogu definisanisati putem geografskih, istorijskih, kul-turnih i političkih situacija vrlo često međusobno is-prepletanih, ali ne i nužno podudarnih, Raeda Saadeh participira video radom Vacuum čiji naziv refeririše na konkretan vid posla, ali i na samo stanje u pros-toru i vremenu. Radeći sizifovski posao, usisavajući pustinjski masiv od onog čega je satkan, Saadeh pokreće pitanje brisanja etničkih, rodnih i ličnh iden-titeta u kontekstu jednog određenog mesta i aktuel-nih društveno-političkih konstelacija. Monumentalno u svojoj pojavnosti, okrutno zemaljsko prostranstvo uvlači posmatrače u lične procese subjektivizacije, čime se destabilizuju granice specifičnog topografskog

3 Michel de Certeau, L’ Invention du quotidien, Pariz, Gallimard, 1990

crisis”2 refers to the notion of space, which is becom-ing more complex and demanding. In this respect, the problem of space and its possible values refers to a broader crisis: the crisis of a notion of contemporary times. The question is raised: How do an individual / group in various situations of daily pressures, cultural and neo-liberal habits and routines manage to create a place outside the influence of the ideology of the new system, economic and social constraints? By conduct-ing research of this type artists and those employed in the area of culture, by means of a variety of strategies and the media of expression (painting, photography, in-stallations, interventions, documentary material, vid-eo material) have noted the capacity and flexibility of the existing systems, as well as different ways for self-realization within the given cultural milieu. The current phenomena within the context of finding a private-public space through kinesthetic relationship between the viewer, place and environment have been marked in a kind of a special artistic topoanalysis within the exhibition. In the space between the real and specific reality, the viewer of the exhibition is offered a pos-sibility of moving along different routes. This kind of possible layering and dynamization of views in return expects from the observer to take an active position in the process of “inventing the everyday life”3, collective and intimate experience by means of mental and spa-tial summaries of the factors of selected places and narratives, either in the role of an art lover, tourist or a wandering city hiker.

Occupied by the phenomenon of limits that can be defined by means of geographical, historical, cultural and political situations, very often mutually inter-twined but not necessarily matching, Raeda Saadeh participates with the video Vacuum, whose name refers to a specific type of work, but also to the very state in the space and time. Doing a Sisyphean job, absorbing the desert massif of which it has been woven, Saadeh raises the issue of erasing the ethnic, gender and per-sonal identity within the context of a certain place and the current socio-political constellations. Monumental in its appearance, cruel earthly expanse draws viewers into the personal subjectivization processes, thereby destabilizing the border area of a specific topographic place in favour of the universal interpretation of in-finite human needs and the persistence in fighting for a better organized world. Raeda’s need, both as a woman and as an artist who comes from Palestine, is clearly outlined in an effort to establish symbolically 2 Mark Ože, Nemesta, Biblioteka XX vek, Beograd, 2005 3 Michel de Certeau, L’ Invention du quotidien, Pariz, Gallimard, 1990

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prostora u korist univerzalnog tumačenja beskonačne ljudske potrebe i istrajnosti volje u borbi za uređenijim svetom. Raedina potreba, i kao žene i kao umetnice koja dolazi iz Palestine nedvosmileno je programski potcrtana u naporu da simbolično uspostavi pravi poredak stvari, uprkos nemogućnost da se nešto postigne u potpunosti.

Umetnički radovi Hristine Ivanovske, Lie Lapithi i urbane akcije neformalne grupe Ministarstvo prostora reprezentuju modele rada čije je uporište leži u snazi pojedinca prilikom stvaranja kolektivne materijalne/mentalne geografije mesta.

Istraživački projekat Imenovanje mosta Nakije Ba-jram i Rose Plaveve, Hristine Ivanovske predstavlja primer umetničke prakse koja putem individualne inici-jative teži buđenju društvene refleksivnosti u trenutku početka procesa izgradnje novog nacionalnog i kul-turnog identiteta makedonske prestonice. Predlogom upućenim lokalnim vlastima grada Skoplja, Ivanovska ne samo da skreće pažnju na njegovu kulturnu memo-riju i stepen kolektivnog pamćenja, već i neostrašćeno podiže pitanje o nevidljivim političko-ideološkim pro-cesima i naslagama koji su fizički podelili grad na etničkom i kulturnom planu. Više nego jednoznačno, izborom imena dveju aktivistkinja i sugrađanki koje su se borile za svoja prava, umetnica u mostu vidi mogući prelazak s jednih prostora na druge; mesto na kojem pojedinci i pojedinke mogu videti sebe i druge, prostor kao neophodan preduslov za afirmisanje “javne slo-bode” različitih kulturnih, etničkih i rodnih identiteta.

S druge strane fokus rada Činija soli za Gandija, predstvalja skulptura u prostorno bliskom okruženju, izmešanih socijalnih razlika i simbolizovanih prostora demokratije i tolerancije. Kao takvi parkovi, za razliku od ulica, trgova i ostalih tranzitnih i tenzionih mesta, predstavljaju gradske oaze mira namenjene relaksaciji, okupljanju i komunikaciji. U tom smislu, pozicioniranje skulpture i njenog semantičkog polja u prostornom i kontekstualnom sklopu parka, programski biva usme-reno ka zajednici u procesu kolektivne identifikacije, koja jednako podrazumeva i pojedinačne odnose kakve svako ponaosob može uspostaviti prema istoj. Poziv Lie Lapithi, da svako ko „poseduje razlog ili protest“ ostavi činiju soli pored Gandijeve statue4 (kao i u još 69 gradova sveta), prelama se u diskursu revolucije koja leži u pojedincu. Zapravo, učinjena nam je mogućnost da u vidu simboličnog gesta, ocenjujemo zamisli o postizanju sreće, koju nam predlažu svi oni, koji u različitoj meri jesu odgovorni za naš prostor, naše

4 U vreme pisanja teksta bista Gandija, poklon Indijske ambasade nestala je iz Novobeogradskog parka.

a true state of things, despite the inability to achieve something completely.

The works of art by Kristina Ivanovska, Lia Lap-ithi and urban action of informal group The Ministry of space, represent a model of work whose strongpoint lies in the power of an individual when creating the col-lective material / mental geography of the place.

The research project Naming the bridge of Nakija Bairam and Rosa Plaveva, by Kristina Ivanovska, is an example of artistic practice which by means of an individual initiative tends to awaken the social reflex-ivity at the beginning of the process of building a new national and cultural identity of the Macedonian capi-tal. With a proposal submitted to the local authorities of the city of Skopje, Ivanovska not only draws atten-tion to its cultural memory and the degree of collective memory, but also raises the issue, dispassionately, about the invisible political and ideological processes and layers that have divided the city into the ethnic and cultural spheres. More than uniformly, by choosing the names of the two women activists and fellow citizens who fought for their rights, in this bridge the artist sees a potential for the transition from one sphere to anoth-er; The place where male and female individuals can see themselves and the others, space as a necessary pre-requisite for the affirmation of “public freedom “of different cultural, ethnic and gender identities.

On the other hand, the focus of the work A bowl of salt for Gandhi is a sculpture in spatially close en-vironment, of mixed social differences and symbolized areas of democracy and tolerance. Parks as such, un-like streets, squares and other places of transit and tension, represent urban oases of tranquility designed for relaxation, gathering and communication. In that sense, the positioning of the sculpture and its seman-tic field in the spatial and contextual framework of the park is directed towards the community in the process of collective identification, which equally involves the same kind of individual relationships which every in-dividual can establish. The invitation of Lia Lapiti to anyone who “has reason or protest” to leave a bowl of salt next to Gandhi’s statue4 (as in 69 other cities around the world), refracts in the discourse of the rev-olution that lies in the individual. In fact, we have been provided with an opportunity, in the form of a symbolic gesture, to evaluate ideas about achieving happiness, which has been suggested by all those who, in varying degrees, are responsible for our space, our time, our life. Lapithi calls for an active and responsible role of 4 The Gandhi statue, present from the Indian Embassy, has van-ished from the park in New Belgrade at the time of writing of this article.

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vreme, naš život. Lapithi poziva na aktivnu i odgovornu ulogu pojedinaca unutar različitih zajednica koje deli karakter određenog mesta.

Danas smo, međutim, svedoci nepostojanja ili nestajanja prostora, implozije koja je, paradokasalno, povezana sa procesom savremenog širenja grada, grada, koji po rečima Lefevra (Henri Lefebvre) i Har-vija (David Harvey) „pripada svima zajedno i svakom pojedincu ponaosob“5. U tom kontekstu rad neformale grupe Ministarstvo prostora dopunjuje umetničke modela rada i širim društvenim aktivizmom u diskursu aktuelnih prostornih politika. Njihova dosadašnja ak-tivnost predstavljenja je u vidu dokumetarnog materi-jala sakupljenog tokom niza inicijativa za iskorišćenje javnih prostora i njihovo stavljanje u namenu kulturne i umetničke produkcije: Ulična galerija (Bezistan), Ekspedicija Inex film i Bioskopi: Povratak otpisanih. Strategije kojima se oni vode, zasnivaju se na akciji i reakciji na aktuelne privredne, tržišno-komercijalne, političke i socijalne procese i obrasce, ali i na arhitektonsko-urbanističke situacije koje se pojavljuju u svakodnevnom životnom prostoru. Kroz aktivizam, agitaciju, gerilsko i institucionalno osvajanje, oni vode borbu za javni prostor, koja je po njihovim rečima „jednaka borbi za solidarnije društvo, tj. zajdenička borba za istu stvar“.

Složenosti i turbulencije koje nosi istorija grada poniklog na ušću dveju reka direktno su ispisane na urbanističkoj mapi grada Beograda. Staro gradsko jezgro - jug, mešavina balkansko-orijentalne arhitek-ture i gradske eklektike; proleterski zamah u izgrad-nji modernističkog Novog Beograda - zapad i aktuelna ekstenzija na novi prostor koji se definiše u odnosu na granice prostiranja prva dva „Treći Beograd“ - istok, pod znakom pitanja. S tim u vezi, četvoro umetnika, proizvelo je site specific radove koji se zasnivaju na paradigmi učešća i relacija i dijalogu sa fizičkim odlika-ma mesta, te paradoksima ubrzanih promena koje pune tkivo (ovog dela) grada, njegovim identitetom i aspi-racijama njegovih stanovnika. Radovi Saše Tkačenka, Slobodana Stošića, Irene Kelečević i Vesne Zarev po-nudili su direktan odgovor na svoje trećebeogradsko iskustvo.

Kalkulišući sa Rasponima zatečenih vertikalnih i horizontalnih arhitektonskih elemenata izložbenog prostora kroz autoreferentni sistem, Zareva interven-cijom reartikuliše moguće načine komunikacije unutar mesta. Popunjavanje negativnog volumena rasterom, gde su svi odnosi upisani u prostor i njegovo trajanje, uvodi u nove ritmične senzacije duž niti koje povezuju

5 David Harvey, The Right to the City, 2008

individuals within different communities and divided by the character of a certain area.

Nowadays, however, we are witnesses of non-existence or disappearance of space, an implosion, which is, paradoxically, associated with the process of the modern expansion of the city, the city, according to Lefebvre and Harvey “belongs to all of us together, and to every single individual”5. In this context, the work of the informal group The Ministry of space also comple-ments the artistic models of work by its broader social activism in the discourse of the current spatial policies. Their activity so far has been presented in the form of documentary material collected during a series of ini-tiatives aimed at the utilization of public areas and using them for the purpose of cultural and artistic pro-duction: The Street Gallery (Bezistan), Expedition Inex Film and the Cinemas: The return of the dismissed. The strategies, by which they are guided, are based on the action and reaction to the current economic, market-commercial, political and social processes and pat-terns, as well as the architectural and urban situations that occur in everyday living space. Through activism, agitation, guerrilla and institutional conquests, they are fighting for the public space, which in their words “is equal to the fight for a better united society, i.e. a common fighting for the same thing”.

The complexities and turbulence as a part of the history of a city, which originated at the confluence of two rivers, have been written directly on the zon-ing map of the City. The old city centre-the south, a mixture of Balkan and oriental architecture and urban eclecticism; proletarian momentum in building the modernist New Belgrade and the current extension to the new space, which is defined in relation to the boundaries of the first two, “Third Belgrade”-the east, questionable. In relation to this, four artists have pro-duced site-specific works that are based on the para-digm of participation and dialogue and relations with the physical characteristics of the place, and paradox-es of accelerated changes that fill the tissue of (this part) of the city, its identity and aspirations of its citi-zens. The works of Saša Tkačenko, Slobodan Stošic, Irena Kelečević and Vesna Zarev have offered a direct answer to their Third Belgrade experience.

Calculating with the Ranges of the existing vertical and horizontal architectural elements of the exhibition space by means of auto-referential system, Zareva uses an intervention to rearticulate possible ways of communication within the place. By filling the negative volume with a grid, where all relationships have been

5 David Harvey, The Right to the City, 2008

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umetnika-prostor-posmatrače. Zapravo, u slučaju Vesne Zarev izazov je (kako iskustveno) ostvariti kom-plementarnost između geometrijskog i antropološkog prostora u materijalnoj sferi mesta. U radovima Irene Kelečević umetnost je forma neposrednog iskustva stečenog kretanjem kroz različite prostore i pojedinačne prostorne situacije koje je umetnica (de)konstruisala. Budući da galerija Trećeg Beograda nije potpuno završena i da se nalazi u „crvenoj fazi“, je-dan deo prostora morao je biti nužno adaptiran (upa-kovan), kako bi se stvorili uslovi za postavku ostalih radova. U tom smislu, ekspanzivni linerani crteži in-verzno nadoknađuju izvornu arhitektonsku koncepciju prostora u kontekstu novonastale prostorne sheme (definisane kustoskom koncepcijom izložbe i izloženim radovima). Zapravo, izlažući sam galerijski prostor, reč je o intervenciji kojom umetnica predlaže prazan pros-tor kao objekat umetnosti. U vidu negativa koji se pro-jektuje u drugi deo galerije, umetnica testira periferni vid posmatrača.

Saša Tkačenko u okviru fasade objekta konstruše novi off-site projekat, nalik bočnim prostorijama (galerija), koje nude ono čega u izložbenom delu nema. Međutim, slučaj III Room, pored svetlosnog obeležja, otkriva paradoksalnu i nelogičnu prostornu situaciju: slobodnostojeću improvizaciju u obliku vrata i prozo-ra. Suočeni smo sa slikom u ogledalu čiji je sadržaj i prostorne i socijalne prirode: industrijska zona s one strane Dunava, spontano rečno rastinje raštrkano po vikend naselju i apsurdne navike stanovnika u zapose-danju prostora. Ovakvom slikom, ostajemo uvereni da nepromišljeni urbanizam i stihijska arhitektura pred-stavljaju napad na naš odnos prema svetu, i skloni smo da mislimo kako bi se kritičkim intervencijama, stvari mogle popraviti.

Za razliku od mesta koja se lako mogu definisati (ili pozicionirati) u geografskom ili društvenom smis-

entered into the space and its duration, she introduces the new rhythmic sensations along the threads that connect the artist-space-observer. Actually, in the case of Vesna Zarev (experientially) it is a challenge to achieve complementarity between the geometric and the anthropologic space in the material sphere of the place. In the works of Irena Kelečević art is a form of direct experience gained by moving through differ-ent areas and individual spatial situations that the artist has (de)constructed. Since the gallery of Third Belgrade has not been fully completed and is in the “red phase”, a part of the space had to be necessarily adapted (packed), so as to create conditions for dis-playing other work of art .In this sense, the expansive linear drawings inversely make up for the original ar-chitectural conception of space in the context of the emerging spatial schemes (defined by the curatorial concept of the exhibition and the exhibited works). Ac-tually, by exposing the gallery space itself, it is the in-tervention by means of which the artist suggests that empty space as an object of art. In the form of a nega-tive, which is projected to another part of the gallery, the artist tests peripheral vision of the observers.

Saša Tkačenko within the façade of the object constructs new off-site project, resembling the side rooms (gallery), offering what is not to be found in any part in the exhibition premises. However, the case of Room III, in addition to characteristics of the light, reveals a paradoxical and illogical spatial situation: free-improvisation in the form of doors and windows. We are confronted with the image in the mirror the content of which is of both spatial and social nature: an industrial zone on the other side of the Danube, the river vegetation spontaneously scattered across the weekend settlement and absurd habits of people when occupying the space. With such images, we remain confident that reckless urbanism and uncontrolled ar-chitecture are an attack on our relation with the world, and we tend to think that by a critical intervention, things might be improved

Unlike the places that are easy to define (or posi-tion) in geographical or social sense, the attempt to observe the features of the area, based on its imma-nent elements, outside the automatic and accustomed view, opens a new field of elastic reality. As such, the work from the cycle of photographs Night landscapes, by Ivan Petrović, is inspired by specific dark atmo-sphere of rural communities, whose physical visibil-ity under the influence of artificial lighting becomes the displaced setting of electrical lighting. Almost imaginary within the pictures, the field of light bulbs

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lu, pokušaj opažanja karaktera prostora na osnovu njegovih imanentnih elemenata, izvan automatskog i naviknutog pogleda otvara polje novih elastičnih realnosti. Kao takav, rad iz ciklusa fotografija Noćni pejzaži, Ivana Petrovića, inspirisan specifičnom noćnom atmosferom ruralnih sredina, čija fizička vidlji-vost pod uticajem veštačkog osvetljenja prerasta u izmešteni ambijent električne rasvete. Gotovo imagi-narane u okviru slike, oblasti sijalice i oblasti mraka opažamo u svoj njihovoj neobičnosti i nepoznatosti, „sledeći logiku“6 pogleda za šta profano viđenje ver-uje da nepostoji. Po navodima Merlo-Ponti (Maurice Merleau-Ponty) u Fenomenologiji percepcije, ovakvi delokalizovani artefakti (fotografije sela iz centralne i istočne Srbije) “u kojima mi možemo da učestvujemo preko iskustva slike, vraćaju nas prvobitnoj potpu-nosti, jedinstvu sa svetom i neposrednosti koju smo doživljavali kao deca”7

Na suprotnoj liniji funcioniše umetnička praksa Slobodana Stošića koja se bazira na konceptualnim procedurama i specifičnim prostornim programima tihe pojavnosti. Sadržaji njegovih opservacija potiču iz polja širih društvenih sfera, često referišući na proiz-vodnju odnosa, pozicija, konvencija i mehanizama koji se generišu unutar zadatog fizičkog prostora. Stošićeva intervencija u vidu barjere (crne zavese) na prozorskom delu galerije, simbolički evocira prostor (iza) „nepomičnih“, malograđanskih navika i odnosa kojima se ukida mogućnost sagledavanja i rasvetl-javanje Uzrok-a: “stvari”, “realne slike” i “mentalne slike”. Stoga, ukoliko distinkciju prenesemo na ravan odnosa koji se formiraju na relaciji između privatnog i javnog i njihove međusobne zavisnosti, bićemo na putu razumevanja intencije umetnika - da proces pozitivne transformacije nije moguć kroz pasivnost pogleda ili kontemplativni čin posmatranja, on zahteva određenu formu otvorenog kolektivog dijaloga i transparentnih društvenih odnosa.

Video selekcija VIDEO IN PROGRESS 2: CITY PER-SPECTIVES umetničke grupe Kolektiva predstavlja pet video radova iz šest različitih gradova (Ljubljana, Njujork, Moskva, Gorica, Nova Gorica i Grac), deve-toro slovenačkih umetnika mlađe i srednje generacije. „Zajedničku karakteristiku odabranih video radova predstavlja konceptualno istraživanje specifičnosti savremenog društva i pojedinaca u razumevanju ur-bane gradske stvarnosti. U tri video rada, EU-phoria Anje Medved, New Mocsow York, Jasne Hribernik i 6 Mauricie Merleau-Ponty, Eye and Mind. Iz Galen A. Johanson, The Merleau-Ponty Aeshetic Reader, st. 88 7 Maurice Merleau-Ponty, Fenomenologija percepcije, IP „Veselin Masleša“, Sarajevo.

and dark areas are perceived in all their strangeness and obscurity, “following the logic”6 of the vision, for which profane vision believes doesn’t exist. According to the citations of Merleau-Ponty taken from his Phe-nomenology of Perception, these delocalized artifacts (photographs of the villages in the central and eastern Serbia), “in which we can participate via a picture ex-perience, take us back to the original completeness, unity with the world and immediacy that we used to experience as children”7

On the opposite line artistic practice of Slobodan Stošić, which is based on the conceptual procedures and specific special programs of silent appearance, is functioning. The contents of his observations come from the fields of larger social spheres, often referring to the production relations, positions, conventions and mechanisms which are generated within the given physical space Stošić’s intervention in the form of a barrier (black curtain)on the window part of the gallery, evokes symbolically the space (behind ) the “fixed”, petty bourgeoisie habits and relationships which serve to abolish the possibility of analysis and clarification of the Cause of “a thing”, “real picture” and “mental image “. Therefore, if a distinction is passed on to the level of relationships that are formed between the pri-vate and the public and their interdependencies, we’ll be on the way to understand the intentions of the art-ist - the process of positive transformation is not pos-sible by remaining passive or having a contemplative act of observation, it requires some form of an open collective dialogue and transparent social relations.

Video selection VIDEO IN PROGRESS 2: CITY PER-SPECTIVES by the artistic group Kolektiva is a group of five videos from six different cities (Ljubljana, New York, Moscow, Gorica, Nova Gorica and Graz),by nine Slovenian artists of the young and middle genera-tion. “The common characteristic of the selected video works is a conceptual research of the particularities of contemporary society and individuals in understanding the reality of the urban city. In three videos, the EU-phoria by Anja Medved, New Moscow York by Jasna Hribernik and Zmag Lenardič, A special place in the city- Graz by Vesna Bukovec, Lada Cerar, Metka Zupanič this is expressed in the form of intimate mem-ories of the past that constantly interact with tectonic social changes of the present.8 Video works Why are

6 Mauricie Merleau-Ponty, Eye and Mind. Iz Galen A. Johanson, The Merleau-Ponty Aeshetic Reader, p. 88 7 Maurice Merleau-Ponty, Fenomenologija percepcije, IP „Veselin Masleša“, Sarajevo. 8 Iz teksta Metka Zupanič, Vesna Bukovec, Ljubljana, 2008/2009

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Zmaga Lenardiča, Posebno mesto u gradu - Grac, Vesne Bukovec, Lade Cerar, Metke Zupanič ovo je izraženo u formi intimnih memorija iz prošlosti koje se stalno prepliću sa tektonskim društvenim promenama iz sadašnjosti.”8 Video radovi Zašto su slovenačke kuće takve kakve jesu Polonce Lovšin i Idealni dom Tanje Lažetić i Dejan Habichta bave aktuelnom arhi-tektonskom praksom i pokušajem definisanja pojma idealnog doma. Svi video radovi poseduju sličnu po-laznu tačku, ali svaki ponaosob razvija specifične nara-tive i vizuelne poetike uz korišćenje različitih formalnih pristupa (plastelinska animacija u stop motion tehnici, interviju, dokumetaristika, video asamlaž).

Subliminalna porodična arhitektura Mladena Bundala, predstavlja dugoročno, više-medijsko istraživanje na polju proučavanja vizuelne organizacije stambene politike proširenih porodica, stabilnosti njihove vertikale i kvaliteta svakodnevnih komuni-kacioni odnosa u (lokalnom) demografskom kontek-stu Balkana. Dekonstrkciju ovakvog vida porodičnog stanovanja, umetnik vrši putem simboličkih (crtež) i materijalnih manifestacija (fotografija i instalacije pro-totipa kuće sa okućnicom). Razvijanjem metoda koji su na graničnoj liniji istraživanja između „umetnosti, psihologije, antropologije, socijalnog konstruktiv-izma i biopolitike“ Bundalo iznosi još uvek aktuelnu balkansku graditeljsku praksu nasleđenih ili namet-nutih društvenih okvira, gde se aspekti „jeftinog i intenzivnog građenja“9 svode isključivo na osnovne biološke potrebe. Potiskujući formativnu ulogu doma

i njegovu bazičnu psihološku funkciju, intimni pros-tor se lišava njegove unutrašnje poetske dimenzije, a njegova okolina obezvređuju. Egzistencijalna iskustva informatora sa svim njihovim razlozima za nastanak „specifične“-uobičajene tipologije porodične arhi-8 Iz teksta Metka Zupanič, Vesna Bukovec, Ljubljana, 2008/2009 9 Bernardo Bernardi, Stan bliske budućnosti, Porodica i domaćinstvo 1960.

Slovenian home as they are by Polonca Lovšin and Ideal home by Tanja Lažetić and Dejan Habichta deal with current practice and an attempt to define the con-cept of the ideal home. All videos have a similar start-ing point, but each of them develops specific narrative and visual poetry using different formal approaches (plasticine animation in the stop motion technique, in-terview, documentaries, video assemblages).

Subliminal family architecture by Mladen Bundalo is a long-term, multi-media research in the field of studying the visual organization of the housing policy of extended families, the stability of their vertical and the quality of everyday communication relationships in the (local) demographic context of the Balkans. The artist has made a deconstruction of this kind of family housing via symbolic (drawing) and material manifes-tations (pictures and facilities of a prototype home-stead). By developing methods that are on the border-line research among “art, psychology, anthropology, social constructivism and biopolitics” Bundalo shows still relevant Balkan architectural practice of inher-ited or imposed social framework, where the aspects of “cheap and intensive construction9 are exclusively confined to the basic biological need. Suppressing the formative role of home and its basic psychological function, the intimate space is deprived of its inner po-etic dimension and it surroundings is underestimated. The existential experience of informants with all their reasons for the emergence of “specific” common ty-pology of family architecture, which relies on regular communication (road) zones, define a picture of a so-cial climate. In times of limited economic opportunities and social prosperity, this practice stops acting only in the sphere of private and personal.

A part of the work Surrealism of simplicity by Dušica Dražić and pictures from the series Blank time by Žolt Kovač bring us the activities by which the po-sition of the individual in the micro and macro space is mapped, from which a dialogue is established and de-veloped between the individual and the environment. As a common starting point in fixing the basic views of opposite directions a basic necessity in establish-ing a sense of security and identity was taken. Kovač’s pictures can be taken as “topoanalysis of a place”10 in the days of home space, tightly compressed between their four walls into a conventional geometric hole filled with leisure, the compressed time of intimate life, paintings, furniture and habits of the household mem-9 Bernardo Bernardi, Stan bliske budućnosti, Porodica i domaćinstvo 1960. 10 Gaston Bachelard, Poetic of space, Beacon Press, Boston, 1969

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tekture, koja se redovno oslanja na komunikacione (putne) zone, definišu sliku jednog socijalnog podne-blja. U vremenima ograničenih ekonomskih mogućnosti i društvenog prosperiteta, ova praksa prestaje da de-luje samo u sferi privatnog i ličnog.

Deo rada Nadrealnost jednostavnosti Dušice Dražić i slike iz ciklusa Prazno vreme Žolta Kovača donose nam aktivnosti kojima se mapira položaj po-jedinca u mikro i makro prostoru sa kojih se dalje us-postavlja i gradi dijalog između individue i okruženja. Kao zajednički imenitelj u fiksiranju istih polazišta su-protnih smerova uzeta je bazična potreba u uspostav-ljanju osećaja sigurnosti i identiteta. Kovačeve slike se mogu uzeti kao „topoanaliza mesta“10 u danima kućnog prostora, čvrsto sabijenog među svoja četiri zida u konvencionalnu geometrijsku rupu popunjenu dokolicom, kompresovanim vremenom intimnog života, slikama, nameštajem i spletom navika ukućana, dok Dušičin eskapizam vodi u nepoznato i neočekivano, u „pojaseve irealnosti“11 Vajmara i potragu za urbanim skloništima i utočištima. Putem narativnosti medija knjige (jedan od tri segmenta celokupnog rada: perfor-mans, knjiga i fotografija) otkrivaju se misli, strahovi i iskustva nastala tokom višednevnog obitavanja na različitim lokacijama na otvorenom. U vidu dnevničkih zapisa Dražićeva dekodira tranzitne prostore „iregu-larnosti, fleksibilnosti i intuicije“. Napuštajući polje udobnosti, ona markira doživljaje ambivalentnosti, i potencijale na liniji međusobnih odnosa grada i njegov-ih stanovnika. Na ovaj način Dražićeva i Kovač sustiču se na polarnim istraživanjima identititeta mesta-nemesta i opšteg konteksta vremena u kome živimo, kroz pristup prostoru razvijen na pojmovima promene i fluidnosti nasuprot strukture i stabilnosti.Instalacija Bobe Stojadinović dinamizovanjem reči „DO“ zapravo „OD“ može se uzeti kako generator uspostavljanja varijabilnih relacija unutar različitih polazišta i strategija pozvanih umetnika i umetnica. Dinamična igra reči proteže se Od rada Do rada: od privatnog do javnog, od unutrašnjeg do spoljašnjeg, od individualnog do kolektivnog, od sigurnosti do straha, od uzroka do posledice, od memorije do kon-strukcije, od zatečenog stanja do mogućnosti ma-lih akcija i gerilskih delovanja; zahvatajući svakim novim krugom fizički prostor galerije i intimni prostor posmatrača, anticipirajući prostore daljih implikacija i protivurečnosti na putu od realnog do realnosti (između planiranog, proklamovanog i ostvarenog).10 Gaston Bachelard, Poetic of space, Beacon Press, Boston, 1969 11 Termin koji je uveo Peter Handke, a koji se odnose na su-protnost zavičajnoj stvarnosti i osobenosti mesta,

bers, while Dušica’s escapism leads to the unknown and unexpected, into the “belts of unreality”11 of Wei-mar and the pursuit of urban shelters and sanctuaries. By means of the narrative character of the book as a medium (one of the three segments of the entire work: performance, book and photograph) thoughts, fears and experiences, developed during several days of res-idence in different locations in the open, are revealed. In the form of diary entries Dražić decodes the transit areas of “irregularity, flexibility and intuition.” Leav-ing the field of comfort, she marks the experiences of ambivalence and potentials in line of mutual relation-ships of the city and its inhabitants. In this way Dražić and Kovač converge on the topic of polar research of identity place-non-place of the general context of the age in which we live, using an approach based on the concepts of space and fluidity versus structure and stability.

The installation of Boba Stojadinović by dinamis-ing the word “TO” actually the word “FROM” can be taken as a generator of establishing variable relation-ships within different starting points and strategies of the invited artists. Dynamic wordplay extends FROM work TO work: from private to public, from interior to exterior, from individual to collective, from safety to fear, from cause to consequence, from memory to the construction, from the present situation to the pos-sibility of small actions and guerrilla activities , cap-turing with each new round the physical space of the gallery and an intimate space of the observer, antici-pating the areas of further implications and contradic-tions on the way from the real to reality (between the planned, proclaimed and realized).

11 The term introduced by Peter Handke, relating to the opposite nature of native reality and characteristics of place

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artists in residenceoktobar 2012

artists in residence October 2012

Ursula Kiesling je rođena 1968, studirala na Univerz-itetu u Beču komunikologiju i politikologiju, doktorirala na odseku za istoriju kulture.Boravila je u Beogradu tokom meseca oktobra 2012. kao gost Trećeg Beograda u okviru pilot projekta Art-ist-in-residence u saradnji sa Ministarstvom kulture Štajerske, Grac, Austrija.

Ursula Kiesling was born in 1968, studied at the Uni-versity of Vienna political science and communication science, PhD in the Department of History of Culture.She was in Belgrade during the month of October 2012. as a guest of Third Belgrade in the frame of Artist-in-Residence pilot project in collaboration with the Minis-try of Culture of Styria, Graz, Austria.

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Umetnička strategija Izvod iz doktorskog umetničkog projekta

Selman Trtovac

Artistic Strategy Excerpts from the PhD art project

Selman Trtovac

razmišljanje o strategiji u umetnosti zasniva se na tezi da se njeni elementi mogu definisati kao oso-beno, individulano planiranje, individualna odluka o načinu kako stići do istine u umetnosti. Da bi se do te metafore istine stiglo, neophodno je unapred promis-liti o mogućnostima koje su umetniku pojedincu na raspolaganju u određenom vremenu. Nije dovoljno biti zanatski vešt, niti raditi samo iz „stomaka“, stihijski; neophodno je napraviti sopstveni misaoni sklop, sop-stvenu umetničku strategiju!

Pojam umetničke strategije može se razumeti, dakle, kao jedna osobena, personalna konstrukcija. Ali spoj personalnog i strateškog je, reklo bi se, sam po sebi paradoksalan. Umetnost naprosto ne trpi re-cepte, ali ona, takođe, ne trpi ni proizvoljnost. Ovde se razmatra samo jedna mogućnost u mnoštvu drugih mogućnosti. Ipak, ta mogućnost za samog umetnika postaje nužnost onog trenutka kada poprimi strateške razmere.

Ukratko se može reći da umetnik koji želi da se bavi vizuelnom umetnošću, koji želi da razvija određene likovne forme, pored urođenih predispozicija i stečenog znanja, koji se podrazumevaju i koji, sami po sebi, više nisu dovoljni, mora biti svestan komplek-snosti odnosa i sveta u kome živi. Mora biti svestan značenja i mesta umetnika u društvu u aktuelnom vre-menu. Usled kompleksnih društvenih i političkih proc-esa, globalnih i lokalnih, to nimalo nije lako. Estetske mogućnosti likovnog jezika su skoro neograničene, postoji mnoštvo različitih gledanja na umetnost, istor-iju umetnosti, filozofiju umetnosti, pa je spoznaja istine kroz vizuelnu umetnost teža nego ikad pre.

Umetniku se nameće potreba da planira i raz-vija dve paralelne strategije umetničkog delovanja: strategiju mišljenja ili unutrašnju strategiju i strate-giju ponašanja ili spoljašnju strategiju. Obe strategije su vrlo kompleksni zadaci koji se u slučaju promene

Reflecting on the strategy in art is based on a thesis that its elements can be defined as specific, individual planning, and individual decision about how to get to the truth in art. In order to reach this metaphor, it is necessary to think in advance about the possibili-ties that are available to an individual artist at cer-tain times. It’s not enough to be a skilled craftsman or work only at random; it is necessary to make your own mind-set, your own artistic strategy.

The concept of artistic strategy can be under-stood, therefore, as a distinctive, personal design. But the combination of personal and strategic, one could say, is paradoxical in itself. Art simply does not toler-ate recipes but it does not allow for any arbitrariness, either. Here only one option in a multitude of other op-tions is considered. However, that possibility becomes a necessity for the artist once it has reached the stra-tegic extent.

In short, one can say that an artist who wants to deal with visual art, who wishes to develop certain forms of art, in addition to the inherent predisposi-tions and the acquired knowledge, which are implied by themselves and which are not sufficient any longer, must be aware of the complexity of the relationships and the world in which he lives. He must be aware of the meaning and the position of the artist in the soci-ety at the current time. Due to the complex social and political processes, of global and local character, this is not easy at all. The aesthetic possibilities of visual language are almost limitless, there are numerous dif-ferent views on art, history, philosophy of art, so that the comprehension of truth through visual art is more difficult than ever before.

The artist is faced with the need to plan and de-velop two parallel strategies of artistic activity: the strategy of opinion, or internal strategy, and the strat-egy of behaviour, or external strategy. Both strategies

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are highly complex tasks, which in the case the cir-cumstances have changed, have to be altered quickly, synchronized, for which there is no recipe or a math-ematical algorithm. The strategies are conditioned by the character and aptitudes of each individual artist but also by the external circumstances.

A particularly important part of an artistic research project refers to the self-reflection process related to building a model of artistic utopia such as Third Bel-grade, as a practical realization of spontaneously de-veloped collective strategy of a group of artists, which at the same time has also been shaped by the dialogue of the participants.

Here it was not a question of any recipe for new type of art that had been found suitable beforehand or undisputed. Such a recipe does not exist in art and it has never existed. There are just different pathways to reach certain truths in art. The possibilities of mis-conceptions and erroneous estimates are very high. The artist is moving all the time, in the figurative sense of the word, along the edge of the chasm. Everything the artist builds is related to the painstaking process which requires enormous energy and time, there is no guarantee that the artist will find what he has been looking for. Work and energy, the artist has been put-ting efforts into, can easily turn out to have been futile and meaningless because in art there is nothing tan-gible, clear, exact…

In October 2012 Selman Trtovac defended a PhD proj-ect at the Faculty of Fine Arts in Belgrade with the title Artistic Strategy, a special part of which was dedicated to the activities of the artistic group Third Belgrade.

okolnosti moraju brzo menjati, usklađivati, za koje ne postoji recept ili neki matematički algoritam. Strategi-je su uslovljene kako karakterom i sklonostima svakog umetnika ponaosob tako i spoljašnjim okolnostima.

Posebno važan deo umetničkog istraživačkog postupka odnosi se na proces samorefleksije vezan za izgradnju modela umetničke utopije Treći Beograd, kao praktične realizacije spontano razvijane kolektivne strategije grupe umetnika, koja je istovremeno bila ob-likovana i dijalogom aktera.

Ovde nije bio u pitanju nikakav unapred podoban ili neprikosnoveni recept za novu umetnost. Takav re-cept u umetnosti ne postiji i nikada nije ni postojao. Postoje samo različiti putevi da se do određene istine u umetnosti dođe. Mogućnosti zablude i pogrešne pro-cene su veoma velike. Umetnik se sve vreme kreće, u prenesenom smislu reči, po ivici provalije. Sve što umetnik gradi je vezano za mukotrpan proces koji zahteva ogoromnu energiju i vreme, ne postoji garan-cija da će umetnik naći to za čime traga. Rad i energija koju umetnik ulaže na putu umetnosti se mogu lako ispostaviti kao uzaludni i besmisleni jer u umetnosti ne postoji ništa opipljivo, jasno, egzaktno...

Selman Trtovac je oktobra 2012. godina odbranio umetnički doktorski projekat na FLU u Beogradu sa te-mom Umetnička strategija, u kome je poseban deo bio posvećen radu umetničke grupe Treći Beograd.

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Članovi Members

Selman Trtovac [email protected]

Anica Vučetić [email protected]

Olivera Parlić [email protected]

Radoš Antonijević [email protected]

Sanja Latinović [email protected]

Ranko Đanković [email protected]

Marina Marković [email protected]

Veljko Pavlović [email protected]

Milorad Mladenović [email protected]

Aktivni član grupe do maja 2012. Active member until May 2012.

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IMPRESSUM Izdavač / Publisher:NUA Treći Beograd www.trecibeograd.com

Za izdavača / For publisher:Selman Trtovac

Urednici / Editors:Radoš AntonijevićSanja Latinović

Tekstovi / Texts:Jelena Stojanović Bojan Krištofić Anica VučetićSelman TrtovacRadoš Antonijević Veljko Pavlović Simona Ognjanović Klara Schilliger&Valerian Maly Marica Radojčić Prešić Jelena Veljković

Fotografije / Photos:Veljko PavlovićTreći BeogradNebojša Vasić - Vaske Nina Todorović

Prevod na englski / Translation in English:Ana Cicvarić Jelena Mitrović

Likovni urednik / Design&layout:Nina Todorović

Štampa / Printing: Standard 2

Tiraž / Circulation:500

Sponzori / Sponsors: Ministarstvo kulture republike Srbije, Gradski sekretarijat za kulturu, HGP

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 7:061.2(497.11)”2012” 7.038.53(497.11)”2012” TREĆI Beograd : akcije i aktivnosti 2012 = Third Belgrade : activities and actiones 2012 / [tekstovi, texts Jelena Stojanović ... [et al.] ; urednici, editors Radoš Antonijević, Sanja Latinović ; fotografije, photos Veljko Pavlović, Nebojša Vasić, Nina Todorović ; prevod na engleski Ana Cicvarić, Jelena Mitrović]. - Beograd : Nezavisna umetnička asocijacija Treći Beograd, 2013 (Beograd : Standard 2). - 83 str. : ilustr. ; 24 cm. - (#Edicija #3BGD ; #knj. #2) Uporedo srp. tekst i engl. prevod. - Tekst štampan dvostubačno. - Tiraž 500. - Članovi 3BGD: str. 83. - Napomene i bibliografske reference uz tekst. ISBN 978-86-915315-3-9 1. Уп. ств. насл. a) Независна уметничка асоцијација Трећи Београд (Београд) - 2012 COBISS.Sr-ID 197774348

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Treci Beograd 2012

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