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Art Body Art Aktivnost1 2020web
Art Body Art Aktivnost1 2020web
The introductory event of the Art Body Art project - The exhibition features young authors, August 2020
Program novih umetničkih praksi Udruženja / New Artistic Practices of the Association Programme
Savez udruženja likovnih umetnika Vojvodine, Srbija / The Union of Associations of Fine Artists of Vojvodina, Serbia
Projekat Art Body Art The Art Body Art Project
Relacije tela The Body Relations
Projekat ART BODY ART je koncipiran da kroz multimedijal- The ART BODY ART project is conceptualised to explore,
ne umetničke jezike istražuje, podstiče i razvija umetničke encourage and develop artistic practices focusing on the
prakse koje se bave fenomenom pokreta, kroz SULUV oznaku phenomenon of movement through multimedia artistic vo-
i program Novih umetničkih praksi SMIC. pokretna forma. cabulary, under the SULUV mark and the programme of New
Artistic Practices SMIC. motion form.
Izložba predstavlja prvu aktivnost - uvodni događaj projekta
The exhibition is the first activity – the introductory event of
Art Body Art. Na izložbi su predstavljeni autori mlađe gene-
the Art Body Art project. The exhibition features young au-
racije, studenti, čiji radovi odgovaraju na temu Art Body Art thors, students, whose works cover the topic of the Art Body
projekta: Relacije tela (telo kao pokretna forma). Art project: The Body Relations (the body as a motion form).
Tema Relacije tela, predstavlјa tematsku aktivnost u okviru The Body Relations topic is a thematic activity under the ART
projekta ART BODY ART. Koncept tela (priroda, metamorfoza, BODY ART project. The concept of the body (nature, metamor-
pokret, emocija, forma...): živo telo, tehnološko telo, telo obje- phosis, movement, form...): the living body, technological
kat, generisano telo, fikcija i iluzija, telo kroz doživlјaj, privid... body, body-object, generated body, fiction and illusion, the
body through experience, appearance...
U fokusu projekta je pokretna forma, odnosno umetničko
delo (objekat, audio-video instalacija...) u formatu koji je u The project focuses on the motion form, that is, an artwork
prostorno-vremenskom smislu i opsegu definisan trajanjem. (object, audio-visual installation...) presented in such a for-
mat that is defined by duration in its spatial-temporal sense
Radovi se oslanjaju na multimedijalne umetničke discipline, and scope.
istraživačko-eksperimentalnog karaktera kojе korespondi-
raju u oblastima vizuelnih tehnologija, elektronike, genera- The works rely on multimedia artistic disciplines of explor-
atory-experimental character corresponding in the fields of
tivne umetnosti, interakcije, pokreta, svetla, zvuka i ostalih
visual technologies, electronics, generative art, interaction,
procesa digitalnih multifunkcija. Realizacija projekta podra- movement, light, sound and other digital multi-function
zumeva produkciju novih radova. processes. The project includes production of new works.
Eksperimentalnu pokretnu formu karakteriše: upotreba novih An experimental motion form is characterised by: the use of
materijala, istraživački pristup u višemedijskom polјu, orga- new materials, an exploratory approach in the multimedia
nizaciona realizacija, prostorno i ambijentalno predstavlјa- field, organisational realisation, spatial and ambient pres-
nje, napredni segmenti u predstavlјanju tela (interakcija, entation, advanced segments in representation of the body
interfejsi, kinetika, robotika, elektronika, video, animacija...) (interaction, interfaces, kinetics, robotics, electronics, video,
ili na osnovu periodike postupaka po iskustvima avangarde, animation…) or based on the periodicals modelled after the
pokretni post ready made, asamblaž, pokretne skulpture, mr- avant-garde experiences, motion post readymade, assem-
dalice, mehanika... blage, moving sculptures, mechanics...
Cilј je da svaki rad nešto radi, i otvara niz tema, zahteva učešće The goal is that each work does something, and opens a series
posmatrača, a zauzimajući i fizički i virtuelni prostor radovi of topics, requires interaction from the observer, while taking
up physical and virtual space, the works are supposed to form
treba da formiraju jedan hibridni prostor u kojem je omogu-
a hybrid space where an active interaction between the audi-
ćena aktivna interakcija publike i umetničkog dela.
ence and the artwork is possible.
Podržavajući umetničke izraze koji zastupaju eksperimentalni Supporting artistic expressions advocating an experimental
pristup u umetničkom delu, projekat otvara polјe za medijske approach in an artwork, the project opens space for media in-
instalacije i prostorna rešenja koji na cilјan način prenose kom- stallations and spatial solutions that carry complex contents in
pleksne sadržaje i omogućavaju da se informacije dožive. Isto- a targeted way and thus enable experiencing information. At
vremeno, podstiče se i kritičko sagledavanje pokretačke uloge the same time, it encourages critical perception of the driving
tehnologije u nastajanju novih umetničkih formi. role of technology in creating new art forms.
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Art Body Art
Teodora Perović, istoričarka i teoretičarka umetnosti Teodora Perović, art historian and theorist
Pandemija koja ne jenjava, zaustavila nas je u svim The pandemic, which is not letting up, has stopped all
redovnim aktivnostima i unela nemir i neizvesnost u our regular activities and brought unease and uncer-
naše živote. Ljudi su se više nego ikada okrenuli kulturi, tainty into our lives. More than ever, people have turned
umetnosti i kreativnim industrijama i pokazali koliko su to culture, arts and creative industries, and shown how
ove oblasti važne za život. Kreativnost je hrana za dušu, important for our lives these areas are. Creativity is food
a umetnici/ce su zahvaljujući modernim tehnologijama for soul, and thanks to modern technologies, even in
i tokom izolacije pronašli način da još jednom stvaraju isolation, the artists have found a way to create extraor-
izvanredna umetnička dela. dinary works of art yet again.
U svoje radove su uložili ogromnan trud da kroz brojne They have invested enormous efforts in their works in
tehnike iz svojih domova inspirišu, uteše, ohrabre, mo- order to, using numerous techniques, inspire, comfort,
tivišu, nauče i pokažu. encourage, motivate, teach and show us something,
Projekat Art Body Art je omogućio umetnicima da razli- from their homes.
čitim multimedijalnim umetničkim jezicima istražuju, The Art Body Art project has given the artists an opportu-
podstiču i razvijaju umetničke prakse koje se bave feno- nity to explore, encourage and develop artistic practices
menom pokreta. that address the phenomenon of movement through a
Doživljavamo ga kao skup svih tišina koje su autori pro- variety of multimedia art languages.
življavali tokom samo(izolacije). U njima se produbljuje The project feels like a collection of all the silences that
potraga za smislom i suštinom samog života, njegovog the authors experienced during their (self)isolation.
trajanja i delovanja. Čovek kao društveno biće je navikao They show a deepened search for the meaning and
da se kreće, međutim u ovim ključnim momentima spo- quintessence of life as such, its duration and action. Man
znaje primorani smo da prve korake napravimo u sebi. as a social being is used to moving around; however, in
Umetnošću se vraćamo u prošlost, u srž samog detinj- these critical moments of gaining understanding, we
stva. Posebno je interesantan način na koji se prošlost are forced to take the first steps inside ourselves. With
trenutno predstavlja, putem virtuelne savremene teh- art, we travel back to the past, to the core of childhood
nike. Kao da sama digitalizacija koja predstavlja našu as such. The way in which the past is currently present-
ed, through virtual contemporary technology, is par-
ticularly interesting. It is as if the very digitalisation, a
thing of our present everyday life, helps us to extract the
most vivid memories and memorable events that we
lived through without the digital age, and bring them
into the current future we are experiencing. If we were
to try to take a moral from an artwork, it seems that
every time we would stand in front of it, we would take a
completely different sentence, because here, messages
are transmitted just like on our laptops, mobile phones
or tablets, so fast, in sync with and tapped into the rest
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svakodnevicu pomaže da iz nje iscrpimo najupečatljivije
uspomene i događaje koje smo preživeli bez digitalnog
doba, i unesemo ih u trenutnu budućnost koju proživ-
ljavamo. Ako bismo pokušali da iz umetničkog dela pre-
nesemo pouku kao da bi svaki put kad stanemo ispred
njega bila neka potpuno druga rečenica, jer ovde se
poruke prenose baš kao na našem lap-topu, mobilnom
telefonu ili tabletu, tako brzo, neometano, umreženo sa
ostatkom sveta. U ovim umetničkim delima svi smo isti,
izjednačeni, stojimo izolovani na istom mestu, ali ono
što nas čini drugačijima je način na koji gledamo kroz
of the world. In these works of art, we are all the same,
prozor, na koji se konektujemo sa prirodom. Jedan isti
equal, we stand isolated in the same place; the thing
pejzaž je hiljadu različitih slika u različitim očima. Video
that makes us different is the way we look out of the
koji traje neće svakog zadesiti na istom kadru, iako je to
window, the way we connect with nature. One and the
isti video u koji dva pojedinca gledaju.
same landscape provides a thousand different images
Od svih radova koji odišu čarima zarobljene slobode, iz- through the lenses of different beholders. A video that
dvaja se Vrpca, iz razloga što u sebi nosi srž celog projek- is running will not catch everyone in the same frame,
ta, ali i suštinu života, koji čine slike zarobljene u sećanju. although it is the same video seen by two people.
Pupčana vrpca kombinovana sa savremenom fotografi-
Among the pieces emanating the magic of confined
jom, ukazuje na primer modernog doba života, svakodne-
freedom, The Cord stands out, due to the fact that it has
vice koja je prožeta prošlošću. Pružamo korak ka buduć-
captivated the essence of the entire project as well as
nosti, ali u nju unosimo celog sebe zajedno sa svim svojim
the essence of life – images immured in memory. The
uspomenama i svime što jesmo, i što smo bili. Upravo
umbilical cord is combined with contemporary pho-
to nas čini onim što smo smo danas stvorili od sebe.
tography, offering an example of modern living where
Izuzetno važan segment je kontakt sa prirodom. Poseb- everydayness is permeated with the past. We are strid-
no u vreme izolacije, zarobljen između četiri zida, jedina ing into the future, taking our entire selves together
priroda koju je čovek nosio sa sobom je on sam. Otuda with all our memories and everything making us who
u delima čitamo tu veliku spoznaju sebe, svojih ideala we are, who we were. These are the very building blocks
i prošlosti. Drugu prirodu poput sebe možemo pronaći we have made our today’s selves with.
samo u drugom čoveku. Tu zapravo dolazi do spoznaje
Contact with nature is an extremely important segment.
sveta i buđenja empatije za sveukupno stanje u kojem
Especially so in times of isolation, confined within four
se svet nalazi, strah za drugo živo biće.
walls, the only nature that man was able to bring in was
Međutim, upravo u tom stanju jedini smiraj i meditacija his own self. Hence, in the works we read arriving at this
se nalazi u prirodi, sa kojom se ne možemo stopiti. Način great self-knowledge, understanding of our ideals and
na koji ova dela savremenom tehnikom prikazuju zov čo- the past. We can find another nature like our own only in
veka za prirodom ukazuju na činjenicu da je i jedan i drugi another human being. This is the birthplace of an under-
segment jako bitan u kreiranju života savremenog čoveka. standing of the world and the awakening of empathy for
Koncept umetnosti koji je ustanovljen 50ih godina proš- the general state in which the world finds itself, fear for
log veka, zagovarao je da je bitan proces stvaranja dela, another living being.
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a ne sam rezultat procesa. Ovaj projekat nam je pokazao However, it is in this very state that the only serenity
da je bitan proces stvaranja dela, ali i sam rezultat tog and meditation can be found in nature, which we can-
procesa. not unite with. The way in which these works show the
U radovima ovog projekta, pored multimedija, nastaje human call for nature using modern techniques points
nova instnaca, a to je virtuelna realnost. Nju primećuje- to the fact that both segments are very important in cre-
mo u oblikovanju i realizaciji umetničkih dela, i to na taj ating the life of modern man.
način da jedan umetnički interaktivni tehnološki sistem The concept of art established in the 1950s advocated
deluje na različita čula i da ta različita čula bivaju uvede- that the process of creating a work of art is more impor-
na u taj sistem i artikulisana ili deartikulisana. tant than the result of the process as such. This project
Dolazimo do pitanja: da li je granica prekoračena? has shown us that the process of creating a work is as
Odbacivanje tradicionalnog razumevanja umetničkih important as the result of that process.
disciplina u ovom projektu, rezultiralo je heterogenim In this project’s works, in addition to multimedia, a new
istraživanjima koja su se kretala od avangardnih ekspe- component is created, and that is virtual reality. We ob-
rimenata, strategije redimejda, preko hepeninga, per- serve it in the design and actualisation of artworks, in
formansa, multimedijalne umetnosti, sve do umetničkih such a way that one artistically interactive technological
instalacija, ambijenata i konceptualne umetnosti. Radovi system affects different senses and that these different
su obeleženi nizom umetničkih praksi koje podrazume- senses are introduced into that system and articulated
vaju kombinovanje raznorodnih umetničkih metoda. or disarticulated.
Umetnici su tragali za novim rešenjima, istraživali mo- We arrive at the question: Have we crossed over the
gućnosti kolaža, asamblaža, fotomontaže. Radovima boundary?
ukidaju iluziju i podražavanje stvarnosti, proglašavajući The rejection of the traditional understanding of artistic
predmet, koji upravo predstavlja sam sebe, za umetnič- disciplines in this project has resulted in heterogeneous
ko delo. Zbog toga umetnost sagledavamo kao ideju, explorations ranging from avant-garde experiments,
odluku, kao koncept samog autora koji određeni postu- readymade strategies, happenings, performances and
pak proglašava umetničkim, pa samim tim dolazimo do multimedia art, to art installations, ambiences and con-
zaključka da realizovani projekat odiše raznom poetikom ceptual art. The works are marked by a series of artistic
mladih, talentovanih ljudi neopterećenih mejnstrimom practices that involve combining diverse artistic methods.
savremene umetnosti Srbije. The artists have sought new solutions, exploring the
possibilities of collage, assemblage and photomontage.
The works cast off the illusion and imitation of reality,
declaring the object, which represents itself, to be a
work of art. That is why we see art as an idea, a deci-
sion, as a concept of the author who declares a certain
procedure artistic, and, thus, we come to the conclusion
that the actualised project emanates diverse poetics of
the young, talented people unencumbered by the main-
stream of contemporary Serbian art.
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Teodora Šćepanović
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Grafički dizajn.
Senior undergraduate at the Academy of Arts in Novi Sad,
Module: Graphic Design.
Untitled
video-animacija / video-animation, 2020.
Nastao kao rezultat vizuelnog istraživanja eksperimentalnog Resulting from visual experimental exploration, this work
tipa, ovaj rad pokreće temu uloge tehnologije u stvaranju focuses on the topic of the role of technology in creating con-
savremenog umetničkog dela. Kako je u toku stvaralačkog temporary works of art. Due to the fact that the creative pro-
procesa samo deo faktora bio pod kontrolisanim uslovima, cess was such that only some factors were under controlled
rezultat eksperimenta uslovljen je digitalnim algoritmom. conditions, the result of the experiment was subject to an
Od prve faze – tipografskog plakata, provlačenjem rada kroz algorithm. Starting from a typographic poster, the piece was
računarske programe za manipulaciju slika, nastaje neoče- processed by image manipulation programs, with a surpris-
kivani krajnji ishod koji je apstraktan, a tipografski znakovi ing end result that is abstract, while typographic signs are
dekonstruisani su i dovedeni do neprepoznatljivosti. Fokus se deconstructed and made unrecognisable. The focus is shifted
premešta na nasumično i vremenski neograničeno kretanje to a random and endless movement of these, digitally gener-
ovih, digitalnim putem generisanih, rasterskih formi. ated, raster forms.
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Sara Masnikosa
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
My movement is not just an ordinary dance
Senior undergraduate at the Academy of Arts in Novi Sad, objekat (fimo, drvo) / object (polymer clay, wood),
Painting Module. (17 x 21 x 21 cm), 2020.
Solid ground
24 kocke (drvo, fimo, plastika) / 24 blocks (wood, polymer
clay, plastics), (12 x 6 x 2 cm), 2020.
Mini-serija radova integriše pokret, koncept tela i uključuje This mini-series integrates motion, the concept of the body,
interakciju sa posmatračem, izazivajući tako i njegovu ličnu and includes an interaction with the observer, thus causing
koncepciju rada. Radovi se oslanjaju na promenu svog po- his own conceptualisation of the piece. The works rely on
ložaja u prostoru, kao i na promenu vremenskih definicija changing their position in space, as well as changing tempo-
početka ili kraja pokreta. U svim situacijama može se reći da ral definitions of where motion starts and where it ends. Their
imaju funkciju igračke kao umetničkog dela. U ovoj igri sva- role can be said to be that of a toy as an artwork in all situa-
ko ima mogućnost stvaranja jedinstvenog koncepta radova. tions. In playing this game, everyone is given the opportunity
U radu My movement is not just an ordinary dance, na ravnoj to create a unique concept of the pieces.
ploči raspoređene su figure u prividno nezavisnim položajima. My movement is not just an ordinary dance features seemingly
One svojom pojavom i pokretom ne upućuju na ozbiljnu radnju, independently arranged figures on a flat surface. They do not
svaka je opuštena, zanesena ili nezainteresovana. Međutim, imply any serious activity; indeed, each is relaxed, captivated
stanje čitave kompozicije menja se uvođenjem pokreta. Figure, or indifferent. However, the state of the entire composition
povezane zupčanicima u osnovi, imaju mogućnost da se tako changes with the introduction of movement. Connected with
integrišu u jedinstvenu radnju. Samo nekoliko figura je pokre- cogwheels at the base, the figures can be integrated into a
nuto sopstvenom snagom, dok ostale uživaju u korišćenju ener- joint activity. Only some of the figures are self-driven, while
gije koja im je pomoću mehanizma preneta sa ostalih figura. others use the energy transferred from other figures by the
Na kompoziciji možemo uočiti dve različite slike stvarnosti. mechanism.
Ono što doživljavamo dok su figure u stanju mirovanja pot- We can distinguish two different pictures of reality in the
puno se menja u trenutku kada se aktivira pokret. Na nama composition. What we experience from the image of station-
ostaje izbor – u okviru koje stvarnosti želimo da posmatramo ary figures changes completely once the composition is actu-
ovaj neobični ples. ated. The choice is ours – which reality we want to observe
U radu Solid ground postoje dvadeset četiri kockice, što do- this curious dance in.
zvoljava slaganje na različite načine, čime je omogućeno The piece Solid ground involves twenty-four blocks allowing
formiranje različitih kompozicija. Polovina kocaka u svojoj various arrangements, forming various compositions. Half of
unutrašnjosti ima integrisane figure; unutar predmeta koji the blocks feature integrated figures inside; there are figures
obično služi za igru, nalaze se zamrznute figure u neodređe- frozen in unspecified activities inside the objects commonly
nim radnjama. Druga polovina kocaka sadrži zapise koji upu- used for playing. The other half of the blocks contain notes
ćuju na radnju, smisao i delovanje ovih tela. referring to the activity, meaning and action of the bodies.
Rad Jewelrrly box of extraordinary use takođe se bavi relacijom The work Jewelrrly box of extraordinary use also explores the
pokret–interaktivnost–figura. movement-interaction-figure relationship.
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Jelena Bursać
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Senior undergraduate at the Academy of Arts in Novi Sad,
Module: Painting.
Steps
interaktivni objekat, kombinovana tehnika /
interactive object, combined technique
(50 x 50 x 6 cm), 2020.
Na beloj ploči nalaze se dvadeset četiri pločice prekrivene On a white board, there are 24 tiles, covered with sawdust,
piljevinom, a na njima 2D i 3D oblici. Pločice su međusobno on which there are 2D and 3D shapes. The tiles are intercon-
povezane linijom – putanjom – i predstavljaju vrstu slaga- nected by a line – a path – forming a kind of puzzle. The
lice. Posmatrač je stavljen pred izazov da putem pomeranja observer is invited to move the pieces – the tiles – in order
delova – pločica – dođe do odgovarajuće celine. Predstav- to arrive at a desired whole. What is presented is movement
ljeno je kretanje geometrijskih tela – kvadara – u jednom of geometric shapes – cuboids, within a limited space, a
zatvorenom prostoru, kvadratu, koji je statičan oblik i sim- square, which is a static shape and symbolises stoppage, a
boliše zaustavljanje, odabrani trenutak. Takođe, preispituju chosen moment. What is also explored are the notions of
se granice i sloboda. Kvadrat je simbol materije, ograničenja, boundaries and freedom. Square is a symbol of matter, lim-
mirovanja. Unutar njegovih granica postoje tela koja se kre- itation, stillness. Within the boundaries of the square, there
ću, te to posmatrača primorava na promišljanje: kreće li se are objects in motion, inviting us to think about whether
slobodno ili se pak pridržava zadatog puta i zadatih granica. they move freely or follow a predefined path and the bound-
Data mu je, dakle, sloboda izbora da se prilikom dolaženja aries set. In solving the puzzle, the observer is given the
do rešenja pridržava granica koje je postavio autor, ili da raz- freedom of choice to stay within the boundaries set by the
mišlja „izvan kutije“. author or to think “outside the box”.
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Valentin Varga
Apsolvent na Master akademskim studijama Akademije
umetnosti u Novom Sadu, modul Slikarstvo.
Senior master student at the Academy of Arts in Novi Sad,
Module: Painting.
Imagyros
instalacija, promenljive dimenzije /
installation, varying dimensions, 2020.
Na šipci koja se okreće (vertikalni ražanj) vrti se skup pred- A set of object – white plush toys – rotate on a rod (a vertical
meta – belih plišanih igračaka. Nagomilane igračke, koje su u rotisserie). The assemblage of toys, in the role of animals or a
ulozi životinje ili gomile mesa na ražnju, pored toga što pod- chunk of meat on a spit, are suggestive of the physical body’s
sećaju na prolaznost fizičkog tela i cikličnost te prolaznosti, transience and the cyclic nature of the transience, at the same
istovremeno predstavljaju vezanost ili privrženost formama time symbolising fondness for and attachment to the forms,
iz prohujalog vremena, emocije, uspomene, misli i od njih emotions, memories, thoughts of the bygone times and the
satkanu prošlost. past they are woven into.
Istovremeno prisustvo hladne, metalne mehaničke konstruk- The contrasting presence of a cold, metallic mechanical struc-
cije i mekih plišanih igračaka koje podsećaju na toplotu, si- ture and soft plush toys evoking childhood warmth and safe-
gurnost detinjstva, kao i vizuelna, taktilna sinergija, otvaraju ty, as well as the visual and tactile synergy, open a series of
niz pitanja u vezi sa fizičkim postojanjem, ljudskom civilizaci- questions about physical existence, human civilisation, and
jom, odnosom „živih bića“ i „beživotnih“ predmeta. the relationship of “living creatures” to “dead” objects.
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Bojana Prodanović
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student of the Academy of Arts in
Novi Sad, Module: Painting.
Going back
interaktivna instalacija / interactive installation 2020.
Vaspitanje dece usmereno je ka njihovom što bržem infiltri- Bringing children up aims at their speedy infiltration into the
ranju u svet odraslih, pri čemu se često odbacuje i zanema- world of adults, and in this process, a basic human need –
ruje osnovna ljudska potreba – igra. Svakodnevna izloženost play – is often rejected and neglected. The daily exposure
stresu postaje neraskidiva nit koja se doživotno proteže, bez to stress becomes a continuous thread extending a lifetime,
jasnog početka. Dosezanje mira postaje obaveza i moranje, without a clear starting point. Achieving serenity becomes an
odnosno samo još jedan izvor stresa. Cilj igre jeste pravlje- obligation and a must, transforming it into yet another source
nje predaha u svakodnevnom razmišljanju, i fokusiranje na of stress. The aim of the game is to take a break from everyday
igru i apstraktne ideje radi postizanja balansa i unutrašnjeg frame of mind, focusing on playing and abstract ideas, in or-
spokoja. der to reach a balance and inner peace.
Going back je interaktivna instalacija, sačinjena od magnet- Going back is an interactive installation, made of magnetic
nih traka fluidnih oblika, koje nikad ne poprimaju svoj final- strips of fluid shapes that never take their final form. They are
ni izgled. One su deo igre koja nikada ne prestaje, koja kao part of a never-ending game. The interactive character of the
takva nema konačan kraj. Interaktivni karakter instalacije bi installation has a potential to transport the player to the time
aktera igre mogao na trenutak da vrati u doba iskonske igre of original playing with geometric shapes for a moment. In
geometrijskim telima. U tom smislu, gradi se relacija između this sense, a connection is made between the moment the
trenutka u kome se akter nalazi i daleke prošlosti u kojoj je actor inhabits now and a long gone past the actor used to
nekada boravio, istovremeno stvarajući fizičku sponu između inhabit, at the same time creating a physical link between
geometrijskih tela na zidu. geometric figures on the wall.
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Mila Pejić
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Fotografija.
Third-year undergraduate student of the Academy of Arts in
Novi Sad, Module: Photography.
Transfer resistor
kombinovana tehnika na platnu (200 x 200 cm),
video-instalacija / combined technique on canvas
(200 x 200 cm), video-installation, 2020.
Ideal?
stop motion / video, 2020.
Preopterećenost fizičkim izgledom, kao posledica savreme- Obsession with physical appearance, which comes as a con-
nog načina života, društvenih mreža, mas-medija, fotografija sequence of the contemporary lifestyle, social networks,
savršeno oblikovanih tela koje vape za pohvalama, dovela je mass media, photographs of perfectly shaped bodies craving
do masovnog zanemarivanja duhovnog, mentalnog razvitka praise, led us to overwhelmingly neglect spiritual and intel-
pojedinca. Stalna prisutnost „lakih“ sadržaja, za koje nije po- lectual development of an individual. The constant presence
trebno nikakvo mentalno naprezanje, utemeljila je mišljenje of “light” contents, requiring no mental effort, has reinforced
da je fizički izgled najvažnija karika u što boljem predstavlja- the opinion that physical appearance is crucial in maximising
nju sebe kao ličnosti. Pokušaj kontrole nad sopstvenim telom one’s personality presentation. The attempt at controlling
doveden je do bizarnih granica – od slepog praćenja pravila, one’s own body has reached its bizarre limits – from blind-
dijeta, vežbi, do različitih estetskih korekcija, pri čemu se do- ly following rules, diets and work-outs to different aesthetic
bijaju „proizvodi“ nalik lutkama, koji postoje samo kao iden- corrective procedures, resulting in doll-like “products”, exist-
tični objekti estetske namene. Da li je to idealna predstava ing only as identical object for aesthetic use. Is that an ideal
čoveka, primer koji treba slediti? Da li je cilj stvoriti svet bez representation of man, an example to be followed? Is the
različitosti, u kojem će svi pojedinci slušati i pratiti sve in- goal to create a world without diversity, where all individuals
strukcije koje su im nametnute? will follow all the instruction imposed on them?
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Ivana Jeremić
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Painting.
Me + My Phone
video-instalacija / video-installation, 2020.
The authoress started this series with the idea to present the
question she encountered during (self)isolation: what is that
moment where we all share the feeling of being lost; the mo-
ment when everything is on fire, and what does it look like?
Autorka je ovu seriju započela sa idejom da predstavi pitanje She found the feeling of trepidation and uncertainty, that is,
sa kojim se susretala tokom (samo)izolacije: Koji je to tre- pathos, in the horizon. Having seen the work of Nan Goldin,
nutak u kojem svi delimo zajedničku izgubljenost, trenutak entitled Orange Horizon, she realised what the collision of the
kada sve gori, i kako to izgleda? sky and earth, devouring each other in these few moments,
Osećaj straha i neizvesnosti, odnosno pathosa, pronalazila je mean for a person. But she saw this moment as cognitive and
u horizontu. Videvši delo Nan Goldin, pod nazivom Narandža- final, not taking into consideration the fact that behind cog-
sti horizont, uvidela je šta za pojedinca znači taj sudar neba i nition there is a question lying in each answer. She wanted
zemlje koji se, u tih nekoliko trenutka, međusobno proždiru. this horizon to be the end she can strive for, to see it as an
Ali, gledala je na taj trenutak kao saznajni i konačni, ne uzi- idea of finality and understanding, idealising it and seeking
majući u obzir činjenicu da iza svakog saznanja u odgovoru refuge in it. Abandoning this idea was hard for her, so she
leži pitanje. Želela je da taj horizont bude kraj kojem može made pauses in her exploration, fearing she would not find
da stremi, da ga smatram idejom o svršenosti i razumevanju, what she was looking for, fearing that she would not see in
idealizujući ga i tražeći u njemu utočište. Bilo joj je teško da herself the thing she sees in the world around her. She made
se odvoji od te ideje, čineći pauze u istraživanju, u strahu da new photographs, but she kept revisiting the original idea.
neće naći ono za čime traga, da neće u sebi videti ono što vidi Selecting two of the photographs, she set them beside each
u svetu oko sebe. Pravila je nove fotografije ali se uvek vraćala other, and they remained set like that, unchanged and safe.
prvobitnim. Izdvojivši dve, postavila ih je jednu pored druge, In them, she saw herself depleted, devoid of her driving force,
i tako su ostale, nepromenjene i na sigurnom. U njima je vi- just a half of her self, who, without its other half, becomes
dela osiromašenu sebe, lišenu pokretačkog žara, tek puku po- apathetic and feeble. The essence of the authoress’s nature
lovinu sopstva, koja bez svoje druge strane postaje apatična is duality, and she will never be satisfied with the horizon
i bleda. Suština autorkine prirode jeste dualitet, i ona nikada as such, only with the search for it. The paleness of the sky
neće biti zadovoljna samim horizontom, već jedino idejom o announcing the approach of the dark, and the burning sun
potrazi za njim. To bledilo neba koje najavljuje noć, i žarko emerging from the ground swallowing the darkness as it
sunce koje izbija iz tla, gutajući za sobom tminu, sami za sebe advances, mean nothing taken separately. This expanse –
ne znače ništa. To prostranstvo – koje budi u čoveku osećaj causing a feeling of fear and uncertainty in man, where it is
straha i neizvesnosti, u kojem je moguće lutati pustinjom sve possible to wonder the desert until one is reunited with the
do ponovnog susreta sa zajednicom, samim sobom i svojim community, one’s own self and one’s possibilities – is a uni-
mogućnostima – univerzalno je sećanje. versal memory.
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Jovan Ranković
Apsolvent Master akademskih studija Akademije umetnosti
u Novom Sadu, modul Vajarstvo.
Senior master student at the Academy of Arts in Novi Sad,
Module: Sculpture
„Stadtluft macht frei“ u prevodu sa nemačkog znači: „Gradski “Stadtluft macht frei” means “Urban air sets you free” in Ger-
vazduh oslobađa“. man.
Ova izreka potiče iz 13. veka, kada je važilo pravilo da svako This saying dates back to the 13th century, when every person
ko u gradu živi punu godinu i jedan dan biva razrešen svo- living in a city for a year and one day was made free from
jih kmetovskih obaveza. Kasnije, iz tog slogana izvučena je serfdom. Later, this slogan served as a basis for the notorious
ozloglašena parola Arbeit macht frei, koja je kao natpis stajala motto Arbeit macht frei, which appeared at the entrance to
na ulazu u nemačke logore smrti u 20. veku. the 20th century German death camps.
Autor u ovom radu želi da poznati izraz iskoristi i transponuje In this work the author attempts to use this well-known
ga u 21. vek, u suočenju sa današnjim gradskim životom – u phrase and transpose it into the 21st century, facing urban life
Srbiji, u gradu u kom je vazduh najzagađeniji na svetu, tokom in Serbia today, in a city with the world’s most polluted air,
utamničenih zimskih nedelja u magli, da bi već na proleće na- the foggy winter months spent trapped inside, only to live
stupila potpuna zabrana kretanja, kojom smo zaista postali in a complete lockdown in spring, which made us virtually
zatvorenici svojih malih stanova. Međutim, gradovi nude kul- prisoners of our small flats. However, cities offer cultural free-
turnu slobodu, obrazovanje, muzeje, pozorišta... dom, education, museums, theatres...
Autorova ideja je da napravi kutiju nalik svetlećoj reklami, u The author’s idea is to make a box similar to illuminated ad-
koju bi ubacio mašinu za pravljenje pare. vertising, where he would insert a fog machine.
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Aleksandar Danguzov
Student treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Fotografija.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Photography.
Digital Native
video, 2020.
Luciferin
video, 3D animacija / video, 3D animation, 2020.
Transhumanizam predstavlja modifikovanje ljudske vrste Transhumanism is modification of the humankind through
kroz bilo koja novodolazeća saznanja. Ovaj rad, kroz procese any emerging discoveries. This work, through processes of ge-
genetskog inžinjeringa, ili spajanja čoveka sa tehnologijom, netic engineering, or merging man and technology, explores
istražuje estetiku i mogućnost pojave vidljive bioluminescen- aesthetics and possibilities of visible bioluminescence in hu-
cije kod čoveka. Iako je 2009. u Japanu sprovedena studija man beings. Although there was a study conducted in 2009
kojom je dokazano da ljudska bioluminescencija u spektru in Japan which proved that human bioluminescence in the
vidljive svetlosti postoji, intenzitet svetlosti koje telo emituje visible light spectrum exists, the intensity of the light emitted
hiljadu je puta manji od osetljivosti naših očiju. U istoriji se ta- by the body is a thousand times lower than the sensitivity of
kođe spominje Angel’s Glow – fenomen koji se desio u vreme our eyes. History also mentions Angel’s Glow – a phenome-
američkog Građanskog rata, kada je zabeleženo da su nekim non that occurred during the American Civil War, when it was
vojnicima rane sijale plavim svetlom. Nakon toga, lekari su recorded that wounds of some soldiers glowed with blue
primetili da se ta grupa vojnika znatno uspešnije i brže opo- light. After that, doctors noticed that this group of soldiers
ravljala od njihovih drugova kod kojih spomenuti fenomen was recovering much faster and more successfully than their
nije bio prisutan. companions not exhibiting the same phenomenon.
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Marija Ranković
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Senior undergraduate student at the Academy of Arts in Novi
Sad, Module: Painting
Lavirint / Labyrinth
animacija, print / animation, print, 2020.
The Circle
animacija / animation, 2020.
naracija / narration: Neven Sukara
Rad predstavlja nevidljivi život reke, provučen i ispoljen kroz The work presents the invisible life of the river, processed and
negativ, tek jedan njen fragment. Na trenutke izgleda kao manifested in a negative, just a fragment of it. At moments, it
staklo stavljeno pod mikroskop, naizgled čisto, prozirno, dok appears as glass under microscope, seemingly pure, transpar-
se iza svega toga krije jedan svet sa sopstvenom energijom, ent, while hiding an entire world of its own, with its energy,
tokom, ritmom, te se mnogo jasnije vidi kretanje reke, svaki current, pace, so one can see more clearly the movements of
talas, odsjaj i površina ispod nje. Odsjaj sunca, koji se u ovom the river, each wave, reflection and the surface underneath.
radu manifestuje kao mnoštvo crnih tačkica, pojačava osećaj The sun’s reflection, manifested in this work as a multitude of
živosti, oponašajući tako konstantno kretanje mikroorganiza- black specks, enhances the impression of liveliness, imitating
ma u prirodi. the constant movement of microorganisms in nature.
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Maja Marković
Studentkinja druge godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Second-year undergraduate student at the Academy of Arts
in Novi Sad, Module: Painting
Naselje / Town
digitalna vektorska slika, print / digital vector image, print
(60 x 85 cm), 2020.