Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
Mirjana Novaković: Tito has Died (Laguna, Belgrade, 2011)
By: Lamija Neimarlija
The main character in Mirjana Novaković’s thriller ‘’Tito has Died’’ (Laguna, 2011) is a dissident alcoholic, a well know journalist of a newspaper Politika, during the previous regime and a marginalised reporter in today’s capitalist Serbia. The novel begins with our hero/storyteller’s unexpected conversation with a communist Nikola Babić, in which she finds out that one number of Politika from 1968, published a very unusual article, in which, the first capital letter of each paragraph reads ‘’Tito has Died’’. The text tells of a theatre play that will start on May 4 at 3.05 p.m. The death of Tito – the great event of the Yugoslavian history – is not the only mystery in this crime story. The tragic death of one of the most perspective members of the Democratic party, Saša Vrtača, is a mystery of a great importance to the Serbian authority and its nation.
Patriotic Supermarket, directed by Dino Mustafić, a Kulturanova Association (Novi Sad), Multimedia Centre (Prishtina) and Bitef Theatre (Belgrade) co-production
By: Vanja Nikolić
We will understand each other! We are talking! are the sentences that are being cried out, just like slogans, at the end of Patriotic Supermarket. Bearing in mind the play premiered during another round of important, but unsuccessful negotiations between Belgrade and Prishtina, Serbia and Kosovo, Serbian politicians and the European Union, it is obvious the meaning of these words comes across as extremely ironic. The only ones who are not talking to each other on a global level are the Albanians and the Serbs, constantly finding themselves in the crossfire.
David Albahari: The Checkpoint (Stubovi kulture, Belgrade, 2011)
By: Ivan Telebar
In his latest novel, The Checkpoint, David Albahari decided on a war topic set in an unusual and at the same time, purposeless story of the pointlessness of dying on the battlefield. In his attempt to shock, the author managed to achieve exactly the opposite. The one thing that will astonish the reader is the blurriness of the storytelling discourse with gaps that dominate the obvious plot and the hypothetical point of the text. The war is set as an unconditional situation, but the absurd that the author wanted to create poisoned his writing and left us with a bitter aftertaste.
Srđan Srdić: Espirando (Stubovi kulture, Beograd, 2011.)
By: Leda Sutlović
A relatively unknown writer to the wider Croatian reading public, Srđan Srdić, is the author of the appraised novel The Dead Field and the director of the Festival of Short Stories ‘’The Kikinda Short’’, and the novel Espirando, subtitled ‘’The Songs on Death’’, is his first book of stories. The title of the book, easily translated as breathing or exiling, gives an idea of the main topic, the moment of death. The title is also a term from classical music that describes a special way of interpretation, and the music itself, especially the one on the Mexican border, which helps us understand this mess, is one of the basics and sources of inspiration for the stories.
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.
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.