Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
Neo N.O.B. Ivan Fijolić, Lauba, May 1st – 26th, 2012
By: Bojan Krištofić
During the declarative commemoration of a few of the existing domestic antifascist holidays, the most influential media and government organs nearly never mention the following fact: in the whirlwind of war and conversion, 2965 monuments of the National Liberation War were ruthlessly ruined in Croatia, some manually, others by explosives, while the political will to appropriately punish the “unknown” vandals was never present then, in the early 1990s, and it mainly isn’t present today either. Only some of these monuments have been restored, and, among them, one of the undoubted masterpieces of domestic postwar sculpting – Augustincic’s amazing monument of Marshall Tito in his birth town of Kumrovec. This work of art, which was created in the short-lived phase of rigid Yugoslav socialist realism (from 1945 to 1949), which died down with the breaking of close relations with the USSR, has long since overcome the stylistic obstacles of statehood art, and it has maintained an undeniable aesthetic legitimacy. The infamous fate of the monument after the breakup of the former Yugoslavia is one of those tragic metaphors that symbolically sums up the essence of the breakup of Yugoslavia. When looking at this as a whole, in the past twenty years, all the antifascist monuments of various stylistic characteristics (from social realism to the modern abstract) have been regarded as disturbances by political nomenclatures, or, in best-case scenarios, as a necessary evil, as fossils of a buried time which is associated with riots, skirmishing, and outbursts of hate, and, sometimes, physical violence as well. Very few people, however, rarely uncompromisingly oppose violence against our valuable cultural heritage.
Radmila Smiljanić: The Well, directed by: Egon Savin, produced by: Cultural Institution ‘’Vuk Karadžić’’
By: Nikola Skočajić
Probably the most interesting part of The Well by Radmila Smiljanić, is that it speaks of nationalism from a female point of view and through a female character. In a Serbian village in post-war Bosnia, Miloš and Jasmina live with his mother. She has no other name than Mother, although in this play she would be better named Mother-in-law, and she is very unhappy that the young couple do not have children. When an offer to build water supply system comes to the village, which would mean selling some family land, other family issues surface. Topic of a mixed marriage between a Serb and a Muslim, in context of selling (Serbian) land, sets off various conflicts between the three main characters in the play. Formally, The Well is a conventionally structured dramatic text, but theme-wise, The Well does not offer anything new. Furthermore, Radmila Smiljanić’s play only reproduces a number of clichés.
Revolution Now&Forever, VN Gallery and SC Gallery, Zagreb, May 9th – 19th 2012
By: Milena Milojević
The word revolution seems to be a worn-out word – it has practically become banal due to its over-usage. It has become the prey of thriving consumerism and of the commercial industry, causing it to be neutralized to the point that it has become void of any subversive content. From the Arab Spring and student and workers’ protests, to the “Occupy Wall Street” protests and the economic crisis in Greece. The above-mentioned not only deny today’s atrophy of the idea of revolution, but they also emphasize the demand for a central change in the neoliberal capitalist movement which is, without a doubt, in a crisis itself.
The Third Belgrade, Belgrade
By: Bojan Krištofić
Big city suburbs in the post-socialist Balkans are deteriorated and messy which presents, along with all the flaws of unplanned urbanisation, a sort of an oasis 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 suburbs, 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 contemporary post-transition, capitalist, post-modern social context. They opened their own gallery, work and living space.
Memory Module of the 52nd International Theatre Festival MESS Sarajevo, Dejan Vekić, Danilo Krstanović, Zoran Kanlić: Reality of War, Contemporary Art Gallery Java, 7th April — 21st April, 2012
By: Slađana Golijanin
Memory Module is an off-programme of International Theatre Festival MESS that has been taking place for 16 years in Sarajevo. This project presents art that symbolises occupation of capital city of Bosnia and Herzegovina, from 1992 to 1995. During the past few years, this concept has extended to war experiences taking place today, like in Egypt or Syria, with emphasis on how to read and interpret these conflicts. Most importantly, it serves as a reminder of the past in order to face it on a psychological level through reconstruction, reading and interpretation.
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.