Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
52nd October Salon | Time we met each other
October 20 – December 4, 2011, Museum of Yugoslavian History, Belgrade
By Ana Bogdanović
The October Salon is certainly one of the most important events of a scarcely populated exhhibition season for contemporary art in Belgrade and Serbia. The concept came about several years ago as an opportunity to present international artistic tendencies, whose topical limitations and selection of artwork are determined by a guest curator who is in turn delegated by the October Salon Council. The event marks a rare possibility for the domestic audience to get introduced to the latest contemporary output on the art scene, both locally and globally. Therefore, the organisers, as well as the curators, have big responsibility to carefully and professionally fulfill their obligations to the public and set up an exhibition that would allow the audience to interact, explore and contemplate the artistic interpretations of various contemporary aspects.
Miro Gavran: Kafka’s Friend (Mozaik knjiga, Zagreb, 2011)
By: Ivan Telebar
Max Brod sits in a small, stuffy office in Tel Aviv and goes through a new manuscript that came to his home address a few days ago. The sender is unknown, the only thing he can see is the name of the author under which is the title of the manuscript – Miro Gavran Kafka’s Friend. He has heard of this author, the literature circles talk of him as of the most translated Croatian writer and the only alive European dramatist to whom a whole festival has been dedicated to. He cared little for such epithets, he was more concerned about the text in front of him. He has read it several times and now he was just turning the pages and sometimes stopping on a chapter, searching for something more then black ink on a white paper.
The Russian Computer by Semezdin Mehmedinović (Fraktura, Zagreb, 2011)
By: Lamija Neimarlija
“The Russian Computer” by Semezdin Mehmedinović has a timeline from the end of August 1995 until August 1996 and it presents an unintentional diary of moving through Sarajevo – Prague – Zagreb – Phoenix – New York – Phoenix – Washington, DC. In the ‘’Introduction’’, which sets a certain frame for understanding the notes from the diary, where the author explains how this experience of leaving comes as a memory of events that he understood only later on. This story does not integrate reasoning from a (time) distance and consists of notes from periods of moving, without any interventions in the text by the author. Drafts, as starting points for newspaper texts, were made by cutting out the surplus from the manuscript that was a lot longer, because everything he wrote was in the same document (story drafts, songs, letters, magazine texts etc).
Lecture: Zoran Todorović’s Moving Images, Filmforum, Student’s Culture Centre (SKC), Belgrade, October 18, 2011
By: Ana Bogdanović
The relationship between contemporary art and its audience, if we exclude experts and a small circle of true connoisseurs, is a problematic field of interaction which often creates great misunderstandings. On the one hand, art knows that pursuing the self-referential path means abandoning various levels of accessibility regarding its broader audience. On the other hand, the public is often impatient, disinterested and not very keen to take on an artistic challenge without prejudice. One of the authors that addresses the audience directly, trying to bridge the gap between art and the world around us through provocation, is the Belgrade artist Zoran Todorović (1965). Presentation of his video works as part of the Student Culture Centre Filmforum programme in late October at the SKC’s Little Hall, was another opportunity to delve into the issue of the reception of Todorović’s work in his homeland. His opus is begrudgingly commented on and causes crude and negative response based on complete misunderstanding of his artistic endeavour.
Written by Tihana Bertek
Being a guest is a paradoxal position: it is a “state of temporariness” in which, although invited and treated with respect, we know we do not belong to, that we are always leaving; or, “I know that where I am right now is not permanent.” At the SC Gallery (Zagreb, October 14-29), Margareta Kern’s exhibition deals with precisely this issue. Entitled GUESTisculations, it represents the newest embodiment of the artist’s multidisciplinary project GUESTS that she has been running for several years now, covering the mass work migrations from SFRY to Germany during the 60’s and 70’s.
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.