- Beograd, Serbia
- Modernism, Contemporary History, Yugoslavia, Conceptual Art, Avant-Garde, Marxism, and 20 moreCold War and Culture, Eastern European Cinema, Art in the former Yugoslavia, Yugoslav Modernism, Contemporary Art, History and Cultural Politics of the former Yugoslavia and its successor states, Consumer Culture, Global Modernism, Cultural History, European History, Art History, Design, Photography, Serbian Politics, Eastern European Studies, Eastern European Modernist and Postmodernist Art, Yugoslavia (History), Lacanian psychoanalysis, History of Belgrade, and Curatingedit
Tekst predstavlja pokušaj da se rad Branka Vučićevića sagleda u kanonu istorije (ne)umetnosti.
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The title refers to the critical comment made in the early 1970s by the neo-constructvist artist Aleksandar Srnec, about the typology of erected monuments in the socialist Yugoslavia. Srnec claims that they were closer to the ancient... more
The title refers to the critical comment made in the early 1970s by the neo-constructvist artist Aleksandar Srnec, about the typology of erected monuments in the socialist Yugoslavia. Srnec claims that they were closer to the ancient Egyptian type of sculpture rather then to the artistic legacy of October revolution. The text offers an analysis of discursive approaches to Yugoslav socialist monumental sculpture from the time of their instalment to their current popularity.
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In January 1980, the leading daily newspaper in Belgrade, Politika, published a small announcement for the opening, on January 29 at 6 pm, of an exhibition at the Students’ Cultural Centre (SKC) by the artist Goran Đorđević, entitled... more
In January 1980, the leading daily newspaper in Belgrade, Politika, published a small announcement for the opening, on January 29 at 6 pm, of an exhibition at the Students’ Cultural Centre (SKC) by the artist Goran Đorđević, entitled Against Art. The gallery also distributed a small invitation card, while omitting the exhibition’s title. The artist later stipulated that the gallery had objected to the title and consequently removed it. Nevertheless, the invitation card (the only printed document accompanying the exhibition) still contained a short statement in Serbian and English declaring that:
“A work of art expresses, among other things, certain attitude toward art. The works shown at this exhibition are not works of art. They are only attitudes toward art. More precisely they are attitudes against art. I think it is high time to tear the powdered mask of freedom and humanism off art and reveal its proper face of faithful and humble servant.”
“A work of art expresses, among other things, certain attitude toward art. The works shown at this exhibition are not works of art. They are only attitudes toward art. More precisely they are attitudes against art. I think it is high time to tear the powdered mask of freedom and humanism off art and reveal its proper face of faithful and humble servant.”
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Tekst polazi od aktuelnih i sve popularnijih interesovanja za jugoslovensku spomeničku plastiku, a posebno od izložbe “Ka betonskoj/konkretnoj utopiji” u Muzeju moderne umetnosti u Njujorku koja je sprovela proces kanonizacije ovog... more
Tekst polazi od aktuelnih i sve popularnijih interesovanja za jugoslovensku spomeničku plastiku, a posebno od izložbe “Ka betonskoj/konkretnoj utopiji” u Muzeju moderne umetnosti u Njujorku koja je sprovela proces kanonizacije ovog nasleđa u korpusu modernističke arhitekture i umetnosti. U tekstu se problematizuje pitanje savremenog diskursa iz kog polazi ovakva kanonizacija, kao i sve veća popularna fascinacija, i predlaže se intervencija u kojoj će se ovo pitanje utemeljiti u istraživanju dinamičnih odnosa koja je tadašnja umetnička kritika uvodila prema ovom državnom projektu i prema načinima na koje se vodila debata kako oko njihove društvene i memorijalne uloge tako i oko umetničkog jezika koji je bio karakterističan za njihovu izgradnju. Iako se danas ovi spomenici tumače uglavnom ili kao izraz totalitarne ideologije ili kao izraz prosvećene modernističke kulturne politike, u tekstu se zastupa teza da njihova “kanonizacija” unutar istorije umetnosti nije moguća ukoliko se ne referira na kritičku dinamiku i argumentaciju neslaganja u poimanju spomeničke memorijalizacije ali i današnjeg određenja pojma i tipologije “socijalističkog kulturnog nasleđa”.
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The question of the contingent spectacularisation in the representation of any abject physical crime has been treated in many discussions since the 1960s about the political, ethical and aesthetic implications of such representations.... more
The question of the contingent spectacularisation in the representation of any abject physical crime has been treated in many discussions since the 1960s about the political, ethical and aesthetic implications of such representations. This continued to be the open issue with films depicting such events during the series of wars in the former Yugoslavia in the 1990s – particularly when one considers that in all former Yugoslav republics the culture of memory remains very undeveloped. Indeed, we may go as far as to say that the process of institutional amnesia and overall historical revisionism is well underway in the worst possible sense. Here, in focusing on the introduced issue of the relation between profilmic physical space and the representational space inside the screen, we will discuss the method employed in the film Depth 2 (2016) directed by Ognjen Glavonic – a recent documentary about a series of massacres of Albanian civilians in Kosovo in the spring of 1999.
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Grupa KÔD was formed in April 1970 and lasted for a little more than a year, during which time it left a strong mark on the artistic and political situation in the city of Novi Sad. Along with the Subotica-based group Bosch+Bosch, KÔD was... more
Grupa KÔD was formed in April 1970 and lasted for a little more than a year, during which time it left a strong mark on the artistic and political situation in the city of Novi Sad. Along with the Subotica-based group Bosch+Bosch, KÔD was the first artistic collective in Serbia whose activities involved happenings and performances, actions and interventions in public space, concrete poetry, and land art, in addition to which they participated in the editing and design of the student journal "Index" while also contributing to other cultural journals ("Polja" and "Új Symposion" in Novi Sad and "Student" in Belgrade). ...
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"He is laid up there below the apple tree. The corpse! His feet faultlessly reveal that he is dead - the feet are stiff, the socks are pulled up but they do not clasp his legs. The soil is ready but only the human voice will make it... more
"He is laid up there below the apple tree. The corpse! His feet faultlessly reveal that he is dead - the feet are stiff, the socks are pulled up but they do not clasp his legs. The soil is ready but only the human voice will make it exciting. We shall bury him secretly to prevent them to find and mutilate his corpse! And what for! They want to rip off the flesh that is already doomed, rotten, vanishing. The burial, here, and again, gains its full, ancient meaning.
And you don't know any more if you loved this man. What is in front of you now is lesser than a picture. Because it is not truthful, because there is no tomorrow of presence and comradeship.
Those whose memories are not affected by this obtrusive lifeless figure will cry in a much nicer way. Hey! One needs to cry in advance!"
This is how Koča Popović, the commander of the First Proletarian Division, the surrealist writer and poet, describes in his notebook the death of Filip Kljajić, the political commissar of the same division who died on July 5 1943 at the outskirts of Zvornik, following the famous breakthrough that the Division made during the battle of Sutjeska....
And you don't know any more if you loved this man. What is in front of you now is lesser than a picture. Because it is not truthful, because there is no tomorrow of presence and comradeship.
Those whose memories are not affected by this obtrusive lifeless figure will cry in a much nicer way. Hey! One needs to cry in advance!"
This is how Koča Popović, the commander of the First Proletarian Division, the surrealist writer and poet, describes in his notebook the death of Filip Kljajić, the political commissar of the same division who died on July 5 1943 at the outskirts of Zvornik, following the famous breakthrough that the Division made during the battle of Sutjeska....
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Transkript predavanja sa seminara "Humanistika u tranziciji", Kovačica, 2016.
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Paper presented at the Festival of Critical Culture - KRIK, Skopje, 2016
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In Todosijević’s performances it is not only that social relations are laid bare: the very act of artistic behaviour is devoid of any socially authorised role that is recognised as a »healthy or well-disposed« form of criticism.
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The text commissioned by Moderna Galerija, Ljubljana, for the publication "Osamdeseta: Slovenija in Jugoslavija skozi prizmo dogodkov, razstav in diskurzov"
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The main cultural symptom of " post-socialist " transition is the transition of social imagination – from the one driven by the enthusiastic formation of the new egalitarian society, which is culturalized by the idealisation of labour and... more
The main cultural symptom of " post-socialist " transition is the transition of social imagination – from the one driven by the enthusiastic formation of the new egalitarian society, which is culturalized by the idealisation of labour and forces of production, to imagination stemming from the hypothesis of easy-going affluence and demonstrative abundance for which the very figure of the worker, and labour as such, have become undesired ideological residues. This text is concerned with the cultural conditions of the fading figure of the worker, and of the ossification of working-class identity as ideological locus. The shift of imagination occurred at the very moment when utopian imagination faded and nostalgic imagination emerged. If we look at the early processes of post-socialist transition in the 1960s, the utopia of production reached its cultural crisis as it became ideologically ritualised and creatively stale. Mainly through cultural influences and mediated imaginaria, another, counter-utopian utopia of the possible became dominant as a form of social imagination. By returning to some examples from the very rich cinematographic production of socialist Yugoslavia, this text explores conditions of the cultural disavowal of the worker in circumstances of changing social imagination, but also argues for the emergence of modes of critical remembrance of Yugoslavia, those beyond narratives of " totalitarian discourse " , on the one side, and nostalgic narratives, on the other.
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Iako su pre dve godine gradske vlasti najavile potpuni zaokret u koncepciji najprestižnije izložbe savremene umetnosti u Beogradu, Oktobarskog salona, ovogodišnji Salon predstavlja kontinuitet sa njegovim internacionalnim formatom koji je... more
Iako su pre dve godine gradske vlasti najavile potpuni zaokret u koncepciji najprestižnije izložbe savremene umetnosti u Beogradu, Oktobarskog salona, ovogodišnji Salon predstavlja kontinuitet sa njegovim internacionalnim formatom koji je sada pretvoren u bijenalni - mada bez povećanja budžeta iako prošle godine Salon nije održan. Kakve su implikacije ovakvog kontinuiteta i kakav je značaj ovogodišnje izložbe koja za temu ima pojmove ljubavnog zanosa i ljubavnog zadovoljstva? Konačno, kakve su za lokalnu umetničku scenu posledice manjka specifičnog i relevantnog identiteta Salona unutar evropskog umetničkog konteksta?
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These films are dealing with the alternative chrono-geographies, with the maladjusted side of the ideological acceleration, its under-represented side...
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Apstrakt: Tekst predstavlja osvrt na izlagačku politiku kao i generalnu koncepciju MSU u periodu od 2001 do 2007, odnosno osvrt na četvrto zaokruženo razdoblje u istoriji ovog muzeja. Tekst donosi pre svega osnovne informacije o... more
Apstrakt: Tekst predstavlja osvrt na izlagačku politiku kao i generalnu koncepciju MSU u periodu od 2001 do 2007, odnosno osvrt na četvrto zaokruženo razdoblje u istoriji ovog muzeja. Tekst donosi pre svega osnovne informacije o izlagačkim aktivnostima u ovom periodu, opise pojedinih projekata i na osnovu ovoga donosi zaključke o glavnim koncepcijskim usmerenjima. Koncepciju u ovom periodu karakteriše dinamizacija i uvođenje savremenih standarda izlagačke prakse, kritička i teorijska kustoska praksa, internacionalizacija programa i promocija srpske savremene umetnosti u zemlji i inostranstvu, naglasak na edukativnom karakteru muzeja odnosno na " muzeju kao učionici " , unapređena izdavačka delatnost, podizanje kvaliteta rada sa publikom i vizuelne/grafičke komunikacije, održavanje i promocija jugoslovenskog karaktera kolekcije, povratak otuđenih muzejskih prostora pod njegovo okrilje, ali i kriza nastala prekidom projekta rekonstrukcije započete 2007. Ključne reči: Muzej savremene umetnosti Beograd, Savremena umetnost u Srbiji, Jugoslovenski umetnički prostor, Centar za savremenu umetnost Beograd, Kustoska praksa.
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When in 2011, more than twenty years after the ‘end of communism’, a monument to Heydar Aliyev was erected in the main park of central Belgrade, it became the first in the city to be dedicated to someone who could be identified as a... more
When in 2011, more than twenty years after the ‘end of
communism’, a monument to Heydar Aliyev was erected in the
main park of central Belgrade, it became the first in the city to
be dedicated to someone who could be identified as a ‘communist
dictator’. This bizarre occurrence (motivated by the economic
interests of the post-communist political elite) has drawn
attention to the neglected fact that a major sculptural monument
to the lifelong president of Yugoslavia (also frequently referred
to as a ‘communist dictator’) has never been erected in central
Belgrade, nor in Zagreb, nor for that matter in many other major
cities in the former Yugoslavia...
communism’, a monument to Heydar Aliyev was erected in the
main park of central Belgrade, it became the first in the city to
be dedicated to someone who could be identified as a ‘communist
dictator’. This bizarre occurrence (motivated by the economic
interests of the post-communist political elite) has drawn
attention to the neglected fact that a major sculptural monument
to the lifelong president of Yugoslavia (also frequently referred
to as a ‘communist dictator’) has never been erected in central
Belgrade, nor in Zagreb, nor for that matter in many other major
cities in the former Yugoslavia...
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The early work of Dušan Otašević constitutes a rare example of the influence of Anglo-American pop on an eastern European artist working under the conditions of 1960s socialism. In this paper Branislav Dimitrijević argues that Otašević... more
The early work of Dušan Otašević constitutes a rare example of the influence of Anglo-American pop on an eastern European artist working under the conditions of 1960s socialism. In this paper Branislav Dimitrijević argues that Otašević did not uncritically appropriate stylistic models imported from the West, but explored the specific and complex relationship between production and consumption under socialism.
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The visit of the Polish artist Andrzej Wroblewski (1927-1957) to Yugoslavia in 1956 is here taken as a case-stydy in the investigation of the cultural relations between Yugoslavia and Poland in the 1950s and, in general, of the modernist... more
The visit of the Polish artist Andrzej Wroblewski (1927-1957) to Yugoslavia in 1956 is here taken as a case-stydy in the investigation of the cultural relations between Yugoslavia and Poland in the 1950s and, in general, of the modernist cultural policy in these two socialist countries. It focuses on the last phase of the exquisite work of one of the leading artists in the Polish 20th century art, just before his premature death.
The final version of the text with reproduced images is published in: Avoiding Intermediary States - Andrzej Wroblewski (1927-1957), M. Ziolkowska, W. Grzybala, eds, Hatje Cantz, 2014. (http://www.hatjecantz.de/andrzej-wrblewski-5967-1.html)
The final version of the text with reproduced images is published in: Avoiding Intermediary States - Andrzej Wroblewski (1927-1957), M. Ziolkowska, W. Grzybala, eds, Hatje Cantz, 2014. (http://www.hatjecantz.de/andrzej-wrblewski-5967-1.html)
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On the project Warmth by Zoran Todorović, produced for the Venice Biennial, 2009.
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Text from 2007 on the work of the Romanian artist Matei Bejenaru. In relation to this more recent text on current situation of public space in Belgrade: http://pescanik.net/lepota-je-u-ocima-ministra-policije/
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This text is constructed as a brief illustrated survey of the most significant art events in Serbia in the second half of the 20th century. Some of these events helped shape the artistic ideologies of their time, while others influenced... more
This text is constructed as a brief illustrated survey of the most significant art events in Serbia in the second half of the 20th century. Some of these events helped shape the artistic ideologies of their time, while others influenced later art processes. As with any survey of this kind, there are drastic exclusions. The criteria used in selecting artists and events were designed to capture aspects of Serbian art that make it both distinctive for the local scene and relevant for the wider international context. With but two exceptions I have limited this text to events that took place in Serbia for the sole reason that other contributors to East Art Map will treat art practices in the other regions of the former Yugoslavia, which once constituted a unified political and artistic territory.
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Tekst napisan povodom prvog izdanja "internacionalnog" Oktobarskog salona, 2004
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This text on the film "Kad budem mrtav i beo" by Živojin Pavlović was originally published in Serbian as “Sufražetkinje, radodajke i lažne trudnice - reprezentacije žena u filmu Kad budem mrtav i beo”, in B. Dimitrijević, V. Džogović et... more
This text on the film "Kad budem mrtav i beo" by Živojin Pavlović was originally published in Serbian as “Sufražetkinje, radodajke i lažne trudnice - reprezentacije žena u filmu Kad budem mrtav i beo”, in B. Dimitrijević, V. Džogović et al., Kad budem mrtav i beo - film Živojina Pavlovića, Institut za film, Beograd 1997, str. 1-15.
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Text was published only in German as: “Mord, oder Glückliche Menschen – Kunst, Repräsentation, Politik und Vergessenheit im Serbien der neunziger Jahre” (with B. Andjelković), in Tom Holert (ed.), IMAGINEERING - Visuelle Kultur und... more
Text was published only in German as: “Mord, oder Glückliche Menschen – Kunst, Repräsentation, Politik und Vergessenheit im Serbien der neunziger Jahre” (with B. Andjelković), in Tom Holert (ed.), IMAGINEERING - Visuelle Kultur und Politik der Sichtbarkeit, Oktagon Verlag, Köln, 2000.
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Kratak tekst nastao po narudžbi nedeljnika Nedeljnik. Objavljen u broju od 8.5.2014.
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Tekst je nastao kao postscript za izložbu GUD LAJF, odnosno appendix na tekst: http://pescanik.net/2013/06/apsolutna-korupcija/
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Tekst napisan za katalog izložbe GUD LAJF - Fizičke naracije i prostorne imaginacije, Beograd, 2012.
Tekst je prenet i na Peščaniku:
http://pescanik.net/apsolutna-korupcija/
Tekst je prenet i na Peščaniku:
http://pescanik.net/apsolutna-korupcija/
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A review of:
Partisans in Yugoslavia: Literature, Film and Visual Culture, edited by Miranda Jakisa and Nikica Gilic, Bielefeld, Transcript Verlag, 2015
Partisans in Yugoslavia: Literature, Film and Visual Culture, edited by Miranda Jakisa and Nikica Gilic, Bielefeld, Transcript Verlag, 2015
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Prikaz knjige Dejana Sretenovića, Urnebesni kliker - Umetnost i politika beogradskog nadrealizma, Beograd, 2016.
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The book is devoted to the artistic methods of self-historicisation, archiving, and the creation of alternative institutional frameworks in the context of power and ideology structures dominating art in Communist Central and Eastern... more
The book is devoted to the artistic methods of self-historicisation, archiving, and the creation of alternative institutional frameworks in the context of power and ideology structures dominating art in Communist Central and Eastern Europe and subsequently during their transformation. Ten essays by Edit András, Ivana Bago, Hana Buddeus, Branislav Dimitrijević, Daniel Grúň, Mira Keratová, Emese Kürti, Alina Serban, Darko Šimičić, Jana Písaříková take the form of case studies that focus on neo-avant-garde, post-avant-garde, and contemporary art projects from Poland, Hungary, the former Yugoslavia, Romania, Czech Republic and Slovakia. Their common denominator is their development over long stretches of time, in many cases coinciding with the lifetimes of their creators. Trying to come to terms with the given conditions for artistic practise in each of these countries, artists like Peter Bartoš, Goran Đorđević, Györgi Galántai, Matej Gavula, Tomislav Gotovac, Zofia Kulik, Ana Lupaș, Lia Perjovschi, Milica Tomić, Petr Štembera, Jiří Valoch, Mona Vatamanu & Florin Tudor and others developed a link between artistic and community work, practices of collecting, sorting and distributing difficult to access or otherwise censored knowledge and information, establishing parallel institutional networks and founding active archives which today serve as inspiration, not only to galleries and museums, but also to contemporary artists, theoreticians, and organizers of art events.
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Kritički pregled umetničkih praksi u Srbiji devedesetih godina objavljen povodom istoimene izložbe u Muzeju savremene umetnosti u Beogradu 2005. Sadrži tekstove Branislave Anđelković, Branislava Dimitrijevića, Dejana Sretenovića,... more
Kritički pregled umetničkih praksi u Srbiji devedesetih godina objavljen povodom istoimene izložbe u Muzeju savremene umetnosti u Beogradu 2005. Sadrži tekstove Branislave Anđelković, Branislava Dimitrijevića, Dejana Sretenovića, Vladimira Tupanjca, Kristiana Lukića, hronologiju koju je priredila Aleksandra Mirčić, kao i razgovore sa umetnicima sa Kosova Mehmetom Behlulijem, Sokolom Beqirijem, Albertom Hetom i Erzenom Shkolollijem.
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Knjiga o ranim radovima Zorana Naskovskog. / The book on the early works of Zoran Naskovski.
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Monografska studija o 50 godina slikarstva Predraga Neškovića
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The catalogue of the site-specific intervention of the artist Nedko Solakov in the house of Legat Čolaković in Belgrade in 2006. With the permission of Nedko Solakov.
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SADRŽAJ PREDGOVOR PRVO POGLAVLJE TEORIJSKO-ISTORIJSKI OKVIR Ukratko o kritičkim teorijama potrošačkog društva Napomene o političkim i ekonomskim okolnostima u SFRJ Jugoslavija u kulturnom hladnom ratu DRUGO POGLAVLJE OD JERETIČKE PRIČE... more
SADRŽAJ
PREDGOVOR
PRVO POGLAVLJE
TEORIJSKO-ISTORIJSKI OKVIR
Ukratko o kritičkim teorijama potrošačkog društva
Napomene o političkim i ekonomskim okolnostima u SFRJ
Jugoslavija u kulturnom hladnom ratu
DRUGO POGLAVLJE
OD JERETIČKE PRIČE DO CRVENE BURŽOAZIJE:
POTROŠAČKA KULTURA I DRUŠTVENO RASLOJAVANJE
Slika o novoj klasi
Nelagoda svojinskih odnosa
Potrošnja i društveni slojevi
Kulturalizacija kontrakulture
TREĆE POGLAVLJE
OD UKUSA DO PENTHAUSA:
RODNA DIMENZIJA POTROŠAČKE TRANZICIJE
Kompenzacija i emancipacija
Studija Ukusa
Bazar domaće lepote
Penthausove mirovne trupe u doba nestašice
higijenskih uložaka
ČETVRTO POGLAVLJE
SOC-KONZUMERIZAM:
LJUBAV, MODA I PUSTI SNOVI
Slika naprednije svakodnevice
Nije mi toliko do bruke koliko do tržišta
Troking slobode
Naivni subjekt tranzicije
PETO POGLAVLJE
DRUŠTVENA IMAGINACIJA: OD MODERNE UTOPIJE
DO KONZUMERSKOG UTOPIZMA
Zapadna kapija komunizma
Od udarnika do gubitnika
Socijalizam današnji će proći
i nov savremeniji će doći
Ka nepostojećoj teoriji socijalističke potrošnje
REČ ZAHVALNOSTI
LITERATURA
PREDGOVOR
PRVO POGLAVLJE
TEORIJSKO-ISTORIJSKI OKVIR
Ukratko o kritičkim teorijama potrošačkog društva
Napomene o političkim i ekonomskim okolnostima u SFRJ
Jugoslavija u kulturnom hladnom ratu
DRUGO POGLAVLJE
OD JERETIČKE PRIČE DO CRVENE BURŽOAZIJE:
POTROŠAČKA KULTURA I DRUŠTVENO RASLOJAVANJE
Slika o novoj klasi
Nelagoda svojinskih odnosa
Potrošnja i društveni slojevi
Kulturalizacija kontrakulture
TREĆE POGLAVLJE
OD UKUSA DO PENTHAUSA:
RODNA DIMENZIJA POTROŠAČKE TRANZICIJE
Kompenzacija i emancipacija
Studija Ukusa
Bazar domaće lepote
Penthausove mirovne trupe u doba nestašice
higijenskih uložaka
ČETVRTO POGLAVLJE
SOC-KONZUMERIZAM:
LJUBAV, MODA I PUSTI SNOVI
Slika naprednije svakodnevice
Nije mi toliko do bruke koliko do tržišta
Troking slobode
Naivni subjekt tranzicije
PETO POGLAVLJE
DRUŠTVENA IMAGINACIJA: OD MODERNE UTOPIJE
DO KONZUMERSKOG UTOPIZMA
Zapadna kapija komunizma
Od udarnika do gubitnika
Socijalizam današnji će proći
i nov savremeniji će doći
Ka nepostojećoj teoriji socijalističke potrošnje
REČ ZAHVALNOSTI
LITERATURA