Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
Bring In Take Out – Living Archive, Gliptoteka HAZU (Croatian Academy of Arts and Science), Zagreb, October 13-16, 2011
By Tihana Bertek
For the purpose of the conference entitled REDuction: Trans-Yugoslav Feminism and Female Heritage (October 13-16, 2011), Gliptoteka in Zagreb hosted the Bring In Take Out – Living Archive exhibition. It was organised by the Red Min(e)d Association, more specifically, its members and curators: Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec and Jelena Petrović. Red Min(e)d aims to build and make visible an open archive of feminist art, as well as raise awareness about the issue of female heritage and feminism in general regarding the post-Yugoslav territory. According to their own words, the curators see feminist art as an open space for experimentation and a means to fight against the calcified academic and legitimately institutionalised systems. The exhibition dealt with the unacknowledged part of women in the history of the Balkans, how they were systematically underestimated through selective memory and patriarchal concept of historiography.
The show is divided into several parts: artworks, video archives, a meet and greet area for visitors and artists, a reading area and digital data section. The main thread is politics of memory, production and translation of (female) knowledge. One of the principal objectives was to acknowledge the role of women from today’s perspective of many post-Yugoslav societies, creating potential strategies to deconstruct ‘the blind spots’ in collective memory and history. What stands out the most, is the attempt to read history, politics, national identity, art, etc. from the women’s perspective, whether it is criticism of the patriarchal practice and its consequences (Lina Dokuzović, Nika Autor), ‘digging out’ women’s contributions to culture and history (Ana Čigon), or an attempt at creating a specifically feminist language (Ana Baraga).
The most successful works involve using typically female techniques (stitching, sewing) – the ones that are imposed because they are appropriate for women – to criticise patriarchal ideology. With Bosnia and Herzegovina – sewing and stitching, artist Lana Čmajanin offers an opportunity for the viewer to make their own model of ideal BaH. The work consists of two panels: one has the sewing instructions and explanation of the territorial division into cantons, regions, counties and municipalities, while the other panel is a sewing pattern for the final piece. The viewer can combine entities and pick sizes according to personal preferences, national identity, ethnicity, religion and political affiliation. Sandra Dukić put on several works from her Advice cycle, referring to traditional methods of achieving marital bliss for housewives of Bosnia and Herzegovina, with naive, educational content (for instance: “Before you ride a mare, you have to pet her first “, or “A husband is reflected on a woman’s face, the wife is reflected on a man’s shirt”). Choosing collage on canvas to emphasize women’s accomplishments and with a likeable, almost infantile style and approach to figuration, the artist severely criticises misogynist ideology and construction of family relations. These works publicly bring forth the women issue not only within the system of art, but in a much broader context of transition and society.
The Bring In Take Out – Living Archive project can be viewed in the context of today’s wider feminist tendency to revise and criticise culture and history for systematically devaluating, repressing and deleting women’s contribution and creation. However, the curators’ insisting on notions such as interactive, participation, interdisciplinary, emancipation, trans- and post-Yugoslav, etc., reveal a specific trend which has been adopted that dominates the current scene, both among artists and theoreticians, adapting the entire project according to the fashionable interest of the West for the exotic Balkans and Eastern Europe in general. Furthermore, in one of her texts, Lina Dokuzović writes how encouraging various interdisciplinary programmes as new radical perspectives serves, in fact, to usurp and market existing practices. In terms of this exhibition’s concept, that means appropriating a model of (re)presentation established by Western art and its curators. Although feminist art is part of Western mainstream, the fight is merely beginning here. This is why the project of digging up, compiling and encouraging feminist (post-) Yugoslav art represents an important and noteworthy initiative.
Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
OSMI I SEDMI PUTNIK, Aleksandar Bjelogrlić, Citadela, Agora, Zrenjanin, 201
By: Dalibor Plečić
English version will be available soon.
Stjepan Gulin, Paz’te sad, paz’te sad (Meandarmedia, Zagreb, 2011.)
Authors: Ivana Ančić
Igor Marojević, Kroz glavu (Dosije, Beograd, 2012.)
Author: Dalibor Plečić
Damir Miloš, Pisa. Povratak (Meandarmedia, Zagreb, 2011.)
Author: Morena Livaković
POLITIČKE I DRUŠTVENE KONSTRUKCIJE IDENTITETA U VIDEO-PERFORMANSIMA NA BEOGRADSKOJ SCENI 1970-ih
Esej Vladimira Bjeličića
Esej u celini možete pročitati na portalu SEEcult.org
Esej Tihane Bertek
Od promatrača do sudionika
GALERIJA KAPELICA I POST-JUGOSLAVENSKI BODY ART (1995–2010)
Esej – Bojan Krištofić
Esej o radovima Šejle Kamerić, Maje Bajević i Nebojše Šerića Shobe
Piše: Slađana Golijanin
ESEJ – Razvaline socijalizma kao inspiracija za muzejske eksponate Mrđana Bajića i skulpturalne dosetke Ivana Fijolića
By: Milena Milojević
Piše: Nino Kovačić
Gostujuća izvedba šibenskog HNK, Pir malograđana, prema tekstu mladog Bertolda Brechta (napisan 1919.) izvedena je po sljedećoj formuli: na Danima satire u satiričkom kazalištu Kerempuh gledamo satiričan komad. Prema reakcijama publike, bila je uspješna, ali teško se oteti dojmu da je smijeh bio formulaično zagarantiran, jer bi takav instruirani moment humora trebao zauzdati spontani smijeh. Je li se možda radilo o “malograđanskom” humoru?
Glumice i to, KNAP, Zagreb, premijera 12.5.2012.
Piše: Nino Kovačić
Glumice i to, nova predstava u zagrebačkom KNAP-u, neobičan su kazališni ‘slučaj’. Naime, predstavu su, dramaturški i režijski osmislile te, naravno, glumački ostvarile četiri mlade glumice. U trenutačnoj opće-društvenoj, pa tako i kazališnoj situaciji, kojom prijete olovni pojmovi poput recesije, prekarijata i outsourcinga (nedavno su najavljena i otpuštanja “hladnopogonskih” glumaca), one su, kako piše u najavi “nezaposlene i pune entuzijazma, odlučile su preuzeti stvar u svoje ruke i napraviti hit!”. Očito sklone postdramskom pristupu izvedbi koji se, između ostalog, bazira na ekipnoj work-in-progress metodi, izvedbenoj anti-iluziji i autoreferencijalnosti, glumice/autorice su se “trgnule” i napravile parodiju o tome kako rade predstavu, po ironičnom ključu: kad ne ide pravljenje predstave treba napraviti predstavu o tome kako se ne može raditi predstava.
“Nije život biciklo”, Biljana Srbljanović, režija: Anselm Veber, Produkcija: Šaušpilhaus Bohum, Nemačka; Sterijino pozorje 2012, selekcija Nacionalne drame i pozorišta
By: Tamara Baračkov
English version will be available soon.
„Grebanje, ili kako se ubila moja baka“, Tanja Šljivar, režija: Selma Spahić, Bosansko narodno pozorište Zenica/Bitef teatar-Hartefakt (Beograd), premijera: 7. septembar 2012. (Zenica), 11. oktobar 2012. (Beograd)
By: Tamara Baračkov
English version will be available soon.
„Sluga dvaju gospodara“, Karlo Goldoni, režija: Boris Liješević, Grad teatar Budva/Srpsko narodno pozorište Novi Sad/Narodno pozorište „Toša Jovanović“ Zrenjanin, premijera: 27. jul 2012.
By: Tamara Baračkov
English version will be available soon.