Risk Change 01

K CHANGE RISK CHANGE RISK CHANGE RISK CHA

RISK CHANGE 01

MSUV.ORG

Novi Sad, 2018.

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SADRŽAJ I
CONTENTS

4 Aleksandra Kostič
Migracija je stanje svesti
Projekat u kulturi “Rizikuj promene” (2016 – 2020)
Migration is a State of Mind
Cultural project “Risk Change” (2016–2020)

Peter Tomaž Dobrila

6 Migranti pod nebom XXI veka
Migrants Under the 21st Century Sky

Nina Jeza I Artists&Poor’s

18 Savremena umetnost kao migratorna,
interdisciplinarna mreža XXI veka
Contemporary Art as a 21st Century
Migratory Interdisciplinary Grid

Sanja Kojić Mladenov

28 Migracija kao neophodnost
Migration As A Necessity

33 IZLOŽBA MIG21
EXHIBITION MIG21

73 SAMOSTALNE IZLOŽBE
SOLO EXHIBITIONS

97 PREDAVANJA
LECTURES

105 REZIDENCIJE
RESIDENCES

117 BIOGRAFIJE UMETNIKA/CA
ARTISTS’ BIOGRAPHIES

Aleksandra Kostič

MIGRACIJA JE STANJE SVESTI
Projekat u kulturi “Rizikuj promene”
(2016 – 2020)

Rizikuj promene je projekat u kulturi koji se bavi migracijama. Uključuje deset evropskih partnerskih
institucija. U javnosti je prvi put predstavljen oktobra i novembra 2016. godine, u Mariboru, izložbom velikog
formata, MIG21, koju su pratila brojna dešavanja fokusirana na različite umetničke i stručne pristupe u vezi
sa migracijama i trajnim društvenim i kulturnim promenama XX i XXI veka u Evropi. Cilj projekta Rizikuj
promene je bavljenje savremenim društvenim pojavama, putem aktivne povezanosti savremene umetnosti,
kulture, nauke i tehnologije.

Značenje Rizikuj promene (Risk Change) počinje Rizikom, društvenom igrom. U njoj treba osvojiti koliko
god je moguće više zemalja i kontinenata. Napadom na teritoriju saigrača, igrač postiže efekat. Neprijateljski
i odbrambeni napadi će rezultirati prisilnim pokretima, izazivajući nasilne migracije. Rizikuj promene, tako,
aludira na ljude koji moraju preuzeti rizik kako bi doveli do promena na bolje. Rizik upućuje na migrante, a
promena na stalno naseljene stanovnike, takozvane ne-migrante; dva ekstrema upotrebljena kao ilustracija
suprotnosti, protagonista i antagonista savremene ljudske drame. Dve sukobljene strane su samo crno-bela
interpretacija problema. A postoji mnogo različitih sivih koje treba razotkriti.

Evropa je zbunjena i podeljena. Gradeći unutrašnje zidove zemlje pokazuju očigledno prisustvo straha i
nepoverenja. Evropa nema zajedničku strategiju o migracijama, ljudskim pravima ili potencijalnim pretnjama.
Mediji postavljaju problem na scenu. Tražioci azila se naizmenično predstavljaju kao žrtve, kao potencijalni
teroristi, neki mediji zagovaraju rasističke, neemigrantske politike, drugi, više levo orijentisani, brane prilično
naivne ideje, čiji koreni sežu u prethodni vek. Širi pogled se sreće veoma retko. Umetnost, nauka i kultura
su, međutim, sposobne da se izdignu iznad tako pojednostavljenih humanitarnih ili ekstremno desničarskih
pristupa, i da istaknu kompleksni odnos između lokalnih prostora i globalnih sila. Savremene migracije su test
za evropski identitet, njegovu raznolikost, njegovu zajedničku kulturu i filozofiju.

Projekat Rizikuj promene naglašava važnost razumevanja Drugačijeg, shvatanja povezanosti interesovanja,
razmene ideja i znanja i multikulturne integracije u Evropi. Mi dišemo novu stvarnost: migracija je stanje
svesti.

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Aleksandra Kostič

MIGRATION IS A STATE OF MIND
Cultural project “Risk Change”
(2016–2020)

Risk Change is a cultural project dealing with migrations. It includes ten European partner institutions. The public
kick-off took place during October and November 2016 in Maribor with MIG 21, a large-scale art exhibition
accompanied by numerous events, focused on different artistic and expert approaches related to migrations and
the continuous social and cultural changes of 20th and 21st century Europe. Risk Change aims at addressing
contemporary social phenomena through active connectivity of contemporary art, culture, science and technology.

The meaning of Risk Change starts with “Risk”, a child’s game. It is about conquering as many countries and
continents as you can. By attacking the co-players’ territory a player causes an effect. Hostile and defending pushes
will result in forced movement, causing forced migrations. Risk Change is thus alluding to people who must take
a risk of change for the best. “Risk” is a word for migrants, and “Change” is a word for settled inhabitants, the so-
called non-migrants; two extremes used as an illustration of two opposites, the protagonists and antagonists of a
contemporary human drama. Two conflicting sides are just a blackand-white interpretation of the problem. And
there are many different greynesses to be revealed.

Europe is confused and divided. By building internal walls, countries are demonstrating an obviously present
fear, and mistrust. Europe does not have a common strategy on migrations, human rights, or potential threats.
Mass media stage problems. Asylum seekers are alternately presented as victims, and as potential terrorists; some
media advocate racist non-migrant policies, others, more left-oriented, are defending rather naive ideas, which
are rooted in the previous century. A broader view is very rare. Art, science and culture, however, are able to rise
above such simplistic humanitarian or extreme right-wing approaches, and point out the complex relationship
between local spaces and global forces. Contemporary migrations are a test for European identity, its diversity, its
common culture and philosophy.

The Risk Change project highlights the importance of understanding otherness, of connectivity of interests, of
exchange of ideas and knowledge, and of multicultural integration in Europe. We are breathing a new reality:
migration is a state of mind.

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Peter Tomaž Dobrila

Migranti pod nebom XXI veka

Prikazati migracije umetničkim sredstvima, razotkriti raznolikost pristupa, suprotstaviti brojne iskaze, kako one
koje se podrazumevaju tako i one jasne, fokusirati se na lične priče, podrazumevati hiperbole i razumeti metafore,
unaprediti dokumentovanje sveta, udubiti se u virtuelne refleksije i uhvatiti realistična značenja kroz prisećanja na
prošlost, prihvatanje sadašnjosti i predviđanje budućnosti – to znači razumeti kretnje, pokret, promenu. Smestiti
količine koje je fizički jednostavno definisati na drugi nivo i povezati ih, kroz poetiku individualnih umetničkih
radova, u različitim audio i vizuelnim medijima, u konzistentnu dramaturgiju – znači postaviti pitanje značenja
kretanja, inherentnog kvaliteta svega prirodnog, koje se tokom cele istorije pojavljuje kao dramatično, a često bolno i
tragično. Uprkos činjenici da se sve što nas okružuje, sve što živi u nama, što nas čini živima, stalno kreće, stalno nas
upozoravaju da granice zaista postoje. Ali, jedina konstanta u životu je promena.

Nakon suđenja pred inkvizicijom Galileo Galilej je, navodno, promrmljao reči: ‘’Eppur si muove’’, u prevodu: ‘’Ipak
se okreće’’. Nemamo dilemu u vezi sa tim šta je naučnik hteo da kaže: danas se njegov iskaz tumači kao anegdota koja
ilustruje ograničenu sposobnost da se prihvate određene činjenice. Kada umetnik izlaže umetničko delo, koje uvek
donosi i određenu poruku, od nas se traži da dok gledamo, slušamo i promišljamo umetnost, razmišljamo o vrsti
poruke koju ona saopštava. Za razliku od nauke, koja koristi različite metode i procedure kako bi pružila, po pravilu,
nedvosmislen rezultat, ostavljajući malo prostora za spekulacije, umetnički radovi poseduju sposobnost da nas
inspirišu kroz višestruke staze duž kojih možemo tražiti i istraživati, prihvatiti ih i ići duž njihovih linija. A, ipak, ne
možemo biti sigurni u pravac ovog kursa, iako zaista postoji samo jedan, jedinstveni put duž kog se možemo kretati
– naš put, naš sopstveni put. Sa našim umovima, telima i našim srcima.

Šta bi nam se dogodilo kad bi naša krv prestala da se konstantno kreće, i šta se događa kad srce stane, a mozak
prestane da misli, kad signali među sinapsama prestanu da putuju od jednog neurona do sledećeg, ili da Zemlja
stane, ili se Sunčev sistem zaustavi, ili univerzum prestane da se kreće? Prekid tih procesa je kraj, kod živih bića to
znači smrt, a najava sprečavanja kretanja je u stvari poziv na samoubistvo, vrhunski ludizam, baš kakav ponekad
uočavamo kod bizarnih religioznih sekti i njihovih manijakalnih vođa. Ipak, brojni političari su tokom prethodnih
nekoliko godina postupali slično, okupljajući oko sebe, u svojim populističkim previranjima – primitivce svih vrsta,

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Peter Tomaž Dobrila

Migrants under the 21st century sky

To show migrations through artistic means, to disclose a diversity of approaches, to confront numerous statements,
those that are implied and those that are straightforward, to focus on personal stories, to imply hyperboles and
understand metaphors, to upgrade our documen- tation of the world, to delve inside virtual reflections and capture
realistic meanings through reminiscences of the past, receptions of the present, and predictions of the future – is to
understand movement, motion, change. To place quantities, which are physically simply de- finable, on another level,
and connect them, through the poetics of individual artworks in different audio and visual media, into a consistent
dramaturgy – is to question the meaning of movement, an inherent quality of all things natural, which have appeared
through the course of history as dramatic, and often painful and tragic. In spite of the fact that everything that
surrounds us, everything that resides in us, and that makes us alive, is constantly moving, we are being warned all the
time that borders do exist. But the only constant in life is change.

After the inquisition trial of Galileo Galilei, he supposedly muttered to himself the words “Eppur si muove”,
translated as“And yet it moves”. We do not wonder about what the scientist wanted to say: today it is considered as a
kind of anecdote illustrating the limited ability to accept certain facts. When an artist showcases an artwork, which
always comes with some kind of statement, we are prompted to ponder while watching, listening to, and reflecting
art, about the kind of message it delivers. Unlike science, which uses various methods and proce- dures to deliver,
as a rule, an unambiguous result, leaving little room for speculations, works of art possess the ability to inspire us
through multiple unequivocal paths, through which we can seek and explore, accept them, and walk along their
lines. And yet we cannot be certain about the direction of this course, even though there really only is a single path,
alongside which we are able to move – our path, our very own path. With our minds, our bodies, and our hearts.

What would happen to us if our blood was not constantly moving, and what happens, when the heart stops and the
brain ceases to think, when signals between the synapses fail to travel from one neuron to the next, or the Earth
stops, or the Solar system comes to a standstill, or the Universe; moving? The termination of these processes is the
end, in living creatures this means death, and announcing a prevention of movement is in fact a call for suicide.
Because such proclamations are performed by representatives of nations, we are be- ing pushed towards a collective

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nacionalne i verske, ljude čije se samoubilačke tendencije pretvaraju u ubilačke, dok od nas oni agresivno zahtevaju
da ih pratimo i sprečimo kretanje.

Ljudi ne bi postojali bez kretanja. Niti bi bez kretanja bilo životinja, biljnog sveta, Zemlje, ni planete. Po
postojećim teorijama, praistorijski čovek koji je nastao u Africi – ‘’čovekoliki majmun’’, Prokonzul, pre oko 20
do 25 miliona godina, ‘’uspravni čovek’’ pre oko 2 miliona godina, i ‘’čovek koji misli’’ pre 200.000 godina –
lutao je u širom Azije, naselio prvo Indoneziju, zatim Australiju, pre nego što je stigao u Evropu preko Sibira
i naselio Ameriku preko Aljaske, u vreme kada je Beringov prolaz još bio zaleđen i prohodan. Dakle, ako se
složimo da naš nastanak bude početna tačka, svi smo mi, prema postojećim antropološkim teorijama, došli iz
Afrike. Naravno, može se odabrati bilo koja druga početna tačka, ako vam više odgovara, i reći da potičemo,
recimo, iz Australije ili Azije.

Pre više od 3.000 godina, utrt je put svile od Kine do Evrope i obrnuto, ruta koja ponovo postaje tema, bez koje bi
bezbrojni pronalasci, naučni, umetnički, praktični kao i roba i sirovine koji su sastavni deo naših života, ostali zauvek
neotkriveni. Trgovačka ruta, koja je od 15. veka nadalje išla morem, oko Afrike do Indijskog potkontinenta i dalje,
i ekspedicije koje su se upućivale iz Evrope, ‘’otkrivajući’’ teritorije, ljude i kulture, upoznale su nas sa paprikom,
cimetom, đumbirom, itd. Jedna od najvećih zabluda je da je bilo koji Evropljanin tokom perioda srednjeg veka
‘’otkrio’’ bilo šta na svojim putovanjima po morima i zemljama, jer ljudi su već dugo pre toga naseljavali te oblasti.
Verovatno nije slučajnost da su se takva ‘’otkrića’’ dogodila tokom perioda najstrože inkvizicije, koja je, naravno,
postavljala svoje zahteve pred ta putovanja, koja su bila praćena širenjem hrišćanstva, ‘’ognjem i mačem’’. Susreti
novopridošlih i starosedelaca obično su eskalirali u konflikte, a bili materijalizovani u vidu kolonija, koje su postojale
sve do XX veka da bi, pod određenim uslovima, bile ukunute tek nakon Drugog svetskog rata. Jedna od poslednjih
zemalja bila je Južnoafrička Republika, gde je politika aparthejda bila ukinuta tek 1994. godine kada su održani prvi
multirasni demokratski izbori.

Ovo se dogodilo tokom ratova u Jugoslaviji, a danas, ponovo, izgleda da se približavamo takvom razumevanju sveta.
U stvari, ova vrsta logike nikada nije stvarno napuštena, samo su današnje kolonije više virtuelne, baš kao što su i
ratovi. Sve dok ih lično ne doživimo. Mirganti, su, izgleda, smetnja, neki ih doživljavaju kao opasnost, jer su emocije
– lične i intimne kao i uvek – neželjene, čak zabranjene. Čovečanstvo se utapa u kricima koje su izazvali oni koji žele
da zaštite sopstvene zablude i prikriju ograničenost sopstvenog sveta. Ali – da li je migracija zaista evropski problem?
Izveštaji Amnesti Internešnala tvrde da trenutno ima 21 milion izbeglica u svetu, što je ukupno 0,3 procenta cele
svetske populacije, sa najvećim brojem izbeglica sa utočištem u azijskim i afričkim zemljama koje su locirane blizu
centara nemira. Jedini izuzetak je Kanada koja je prošle godine primila 30.000 sirijskih izbeglica. Najbogatije zemlje
su domaćini ‘’najmanjem broju izbeglica’’, dok je lavovski deo prepušten siromašnijim zemljama: deset zemalja koje
zajedno predstavljaju svega 2,5 procenta svetskog BDP-a, pružilo je dom za više od polovine izbeglica u svetu.

8 Peter Tomaž Dobrila :: Migranti pod nebom XXI veka

suicide, a Luddism par excellence, just like we sometimes observe it, horrified, in the bizarre religious sects and
their maniacal leaders. Yet numerous politicians have acted under such influences over the past few years, gathering
primitives of all kinds, nations and religions around them in their populist upheavals – people whose sui- cidal
tendencies are turning homicidal, as they aggressively demand all of us to follow them, and prevent movement.

Humans would not exist without migrations. Neither would animals, plants, the Earth, nor the planets. According
to existing theories, prehistoric man originated in Africa – the “human-like ape”, Proconsul, around 20 to 25
million years ago, the “upright man” around 2 million years ago, and the “thinking man” 200.000yearsago–
roamedacrossAsia,inhabitedfirst Indonesia and then Australia, before reaching Europe through Siberia, and
populating America via Alaska, when the Bering Strait was still frozen and passable. Thus, according to existent
anthropological theories, we are all recent arrivals from Africa, if we agree to set the beginning as the starting
point. You can, of course, pick any other starting point, if it suits you better, and say you’re coming from, say,
Australia, or Asia.

More than 3.000 years ago, the silk road was paved from China to Europe and vice versa, a route that is becoming
topical yet again; without it, countless findings, scientific, artistic, practical, as well as goods and commodities
that make up our lives, would have remained undisclosed. The spice trade route, which traveled across seas
around Africa to the Indian sub- continent and beyond from the 15th century onward, as expeditions set out from
Europe,“discovering” territories, people, and culture, has introduced to us pep- per, cinnamon, ginger, etc. One of
the biggest historical misconceptions is that any European during the period of Middle Ages “discovered” anything
through their travels across seas and lands, because people have already inhabited those areas long before. It is
probably no coincidence that such “discoveries” occurred during the times of the strictest inquisition, which, of
course, made its demands on these travels, which were followed by Christianization “by fire and sword”. The meeting
of newcomers and natives usually escalated into conflicts, and were materialized in the form of colonies, which
existed up to the 20th century, and were conditionally abolished only after the Second World War. One of the last
countries was the South African Republic, where the apartheid policy was struck from the books only in 1994, when
the first multi-racial elections were held.

This occurred during the time of the Yugoslav war, and today, once more, it seems that we are approaching such
an understanding of the world. In fact, this kind of logic was never truly abandoned, only the colonies of today
are more virtual, as are the wars. Until we experience them ourselves. Migrants, apparently, are a nuissance,
dangerous to some, because the emotions – individual and intimate as ever – are un- wanted, or even
forbidden. Humanity is drowning in the screams triggered by others, who want to protect their own delusions,
and cover up the limitations of their world. But – is migration truly a European problem? Amnesty International
reports state that there are currently 21 million refugees in the world, which adds up to 0,3 percent of the entire world
population, with most refugees hosted by Asian and African countries, which are located close to the centerpoints of

Peter Tomaž Dobrila :: Migrants under the 21st century sky 9

Čak 56 procenata od 21 miliona izbeglica je stacionirano u Jordanu (više od 2,7 miliona), Turskoj (više od 2,5
miliona), Pakistanu (više od 1,6 miliona), Libanu (više od 1,5 miliona), Iranu (nešto manje od miliona), Etiopiji
(oko 750.000), Keniji (oko 550.000), Ugandi (malo manje od 500.000), Demokratskoj republici Kongu (oko
380.000) i Čadu (skoro 370.000). Ove zemlje se nalaze u blizini kriznih područja. Neadekvatni uslovi u tim
zemljama domaćinima prisiljavaju brojne izbeglice da krenu na put prema Evropi ili Australiji, rizikujujući da izgube
čak i život jer više nemaju ništa drugo da izgube. Naravno, nepravedna raspodela tereta zaoštrava i produbljuje
globalnu izbegličku krizu, a taj trend će se nastaviti ukoliko više zemalja ne odluči da pristupi problemu sa više
odlučnosti. ‘’Ako bi svaka od najbogatijih zemalja sveta prihvatila broj izbeglica proporcionalno svojoj veličini,
bogatstvu i stopi nezaposlenosti u zemlji, potraga za novim domom bi za izbeglice širom sveta postala vrlo rešiv
problem,’’ kaže se u izveštaju Amnesti Internešnala i predlaže se da najbogatije zemlje sveta obezbede domove za
deset procenata izbeglica svake godine. Oni dodaju da je ‘’vreme da lideri započnu ozbiljan i konstruktivan razgovor
o načinima na koje će naša društva pomoći ljudima koji su primorani da napuste svoje domove zbog rata i progona.
Oni treba da objasne zašto je svet u stanju da spase banke, razvija nove tehnologije i vodi ratove, a ipak ostaje
nesposoban u pružanju doma izbeglim ljudim

Situacija sa izbeglicama je posledica ratova koje je izazvao NATO, drugim rečima, oni su izazvani lažima i
izmišljotinama koje je fabrikovala Amerika (invazija Iraka 2003), koja je bila umešana u oko 80 raznih konflikata i
ratova od 1945, zatim Ujedinjeno Kraljevstvo, Francuska i Nemačka, tj. bivši kolonijalisti i imperijalisti. Slovenija je,
takođe, postala deo ovoga, a izgleda da nema ničeg što bi nas sprečilo da se nađemo još dublje upleteni u ove procese.
Evropska politika zatvaranja granica je kontradiktorna; s jedne strane je anahrona, deluje kao zlokobno predviđanje
plemenske budućnosti, dok s druge strane podržava migracije u smislu programa, koji je postao, nakon godina
prikazivanja mobilnosti umetnika značajnom, jedan od prioriteta Kreativne Evrope. Projekat Rizikuj promene se,
stoga, nalazi u prilično zbunjujućoj situaciji gde se umetnički bavi temama migracija i zatvaranja granica. Kao softver
i hardver. Države su hardver, kreiran od strane politike u skladu sa sopstvenim merama, a ljudi su stavljeni u ulogu
programa koje države koriste kako bi ostvarile svoje ciljeve.

Ovo je delom razlog zbog koga sam razmatrao, u pripremnoj fazi ove izložbe, 90-tu godišnjicu smrti najvećeg
slovenačkog avangardnog pesnika, Srečka Kosovela, i njegove pesme Evropa umire i Ekstaza smrti, koje
prikazuju sličnu situaciju u vreme nakon Prvog svetskog rata, ili Velikog rata, kako ga istoričari nazivaju – ali
sam kasnije napustio tu ideju. Još uvek pokušavam da napravim referencu na avangardu, ali ne istorijsku, više
mi se dopada moderni pristup; verujem da izložena umetnost takođe izaziva tu vrstu pitanja, ali opredelio
sam se za život: migracije su odraz života, slavljenje života, one jesu život. Međunarodna izložba MIG21 –
migratorna interdisciplinarna mreža je umetnička izložba pokreta, pokriva najintegralniju paletu mogućih
početnih tačaka, sastavljena je od serije intimnih iskustava, koja sadrže bezbrojna značenja, kao i originalne,
lične i umetničke slojeve, a kako to sugerišu sakupljeni radovi.

10 Peter Tomaž Dobrila :: Migranti pod nebom XXI veka

disturbance. The only exception is Canada, which last year welcomed 30.000 Syrian refugees. The richest countries
are hosting “the fewest refugees, and doing the least”, while the lion’s share is left to the poorer countries: ten
countries, which together represent only 2,5 percent of the world’s GDP, are hosting more than half the refugees in
the world.

As much as 56 percent of the 21 million refugees are stationed in Jordan (more than 2,7 million), Turkey (more
than 2,5 million), Pakistan (more than 1,6 million), Lebanon (more than 1,5 million), Iran (a lit- tle under
a million), Ethiopia (around 750.000), Kenya (around 550.000), Uganda (a little under 500.000), Democratic
Republic of the Congo (around 380.000), and Chad (almost 370.000). These countries are located close to the
crisis areas. Unsuitable conditions in the main host countries force numerous refugees to embarkonapathway
towardsEuropeorAustralia,and risklosingeventheirlives, astheyhavenothingelseleft to lose. Of course, the unfair
distribution of the burden is sharpening and deepening the global refugee crisis, and the trend will continue,
unless more states decide to approach the issue with more resolution.“If each of the richest countries in the
world accepted a number of refugees proportionate to the size, wealth, and un- employment rate of the country,
searching for a new home for refugees around the world would become a very solvable challenge,” the Amnesty
International report says, and suggests that the richest countries in the world should provide homes for ten percent
of the refugees each year. They add that “it is time the leaders began a serious and constructive discussion about
the way our societies are going to help people, who are forced to leave their homes on account of wars and
prosecution. They need to explain, why the world is able to save banks, develop new technologies, and fight wars,
yet it remains incompetent in providing safe homes for the refugees.”

The refugee situation is a consequence of the wars caused by NATO, in other words, they were triggered by lies and
pretence fabricated by America (the 2003 invasion of Iraq), which was involved in around 80 different conflicts and
wars since 1945, the United Kingdom, France, and Germany, i.e. the former colonists and imperialists. Slovenia, too,
became part of this, starting with the Vilnius letter, and there seems to be nothing preventing us from becoming
even further entangled inside these processes. The European pol- icy of shutting down borders is contradictory;
on one hand, it appears anachronistic, while on the other, it acts as an ominous prediction of a tribal future, as it
supports migrations in the sense of programs, which became, after years of embellishing the artists’ mobility, one
of the priorities of Creative Europe. The project Risk Change, therefore, finds itself in a rather puzzling situation of
dealing artistically with the topics of migrations and the closing of borders. Like a software vs. hardcore opposition.
The countries are the hardware, created by politics according to their own measures, and the people are placed in the
role of programs, which the countries use to achieve their own goals.

This is part of the reason why I was considering, in the preparation stage of the exhibition, the 90th anniversary of
the death of the greatest Slovenian avantgarde poet, Srečko Kosovel, and his poems Europe is Dying and Ecstasy of
Death, which depict a similar situation in the time following the First World War, or the GreatWar,as historians refer

Peter Tomaž Dobrila :: Migrants under the 21st century sky 11

Cilj nije bio da se organizuje izložba reportažnog stila koja bi predstavila brojne današnje fotografe ovenčane
značajnim međunarodnim nagradama među kojima je izabrano nekoliko autora rođenih u Sloveniji, iako bi takav
princip bio mnogo jednostavniji. Umesto toga, ideja je bila da se obuhvati umetnost u celom opsegu i dubini poetike i
raznih medija koje uključuje. Stoga je vremenski raspon ograničen na 45 godina, s najstarijim delom iz 1971. godine,
a najsvežijim koji pripadaju najnovijim produkcijama iz 2016. godine. Kroz takvu vremensku dimenziju, definisana
je, takođe, i mlađa generacija, koja se u ovom kontekstu shvata kao savremena pojava. Svi umetnici koji izlažu su
još živi, osim Mladena Stilinovića, koji je preminuo tokom priprema umetničke izložbe, 18.jula 2016. godine. Poput
njega, bilo je mnogo drugih stranih umetnika na izložbi, koji su predstavljali svoje zemlje na Venecijanskom bijenalu,
izložbi Dokumenta u Kaselu i brojnim drugim muzejima i galerijama širom sveta, dok se ispostavilo da je većina
nacionalnih umetnika, sasvim nenamerno, dobila Prešern, Jakopič, Župančič ili Glazer nagrada.

Tema migracija, pokreta, bila je povezana sa ličnim poetikama, prepoznatljivim kreativnim pristupima, različitim
medijima, prostornim postavkama, međusobnim odnosima, originalnim kulturama, ličnim intervencijama.
Višeslojna priroda radova je ukombinovana u elementarnu humanističku poruku. Koncept povezivanja ljudskih
hormona sa ćelijama biljaka (Špela Petrič), prenošenje aktivnosti mozga (Aphra Tesla), svetlosnih i zvučnih talasa
(Monika Pocrnjič, Matjaž Lenhart), i moderna tehnologija i optičko čitanje DNK (Heather Dewey-Hagborg) su
bili povezani sa istorijskim događajima koji potiču iz daleke i bliske prošlosti, obuhvatajući sadašnjost i flertujući sa
budućnošću. Ideološke teme povezane sa politikom, religijom, ekonomijom sadržale su čak i postulate građanskog
društva, i, naravno, vojne (Herlinde Koelbl). Individualne umetničke procedure prožele su postavku skulpturama,
slikama, fotografijama, video radovima, audio-vizuelnim sadržajima i filmovima (Jovan Joca Jovanović i
Stanoje Ćebić), video igricama sa kompjuterski animiranim likovima (antiAtlas of Borders – Isabelle Arvers),
intermedijalnim i interaktivnim instalacijama koje koriste svetlo (Ivan Marušić-Klif), ili zvuk i svetlo (Jane Tingley,
Michal Seta), audio-vizuelnim efektima (Brigitta Zics), onlajn projektima (antiAtlas of Borders – Joana Moll i
Cédric Parizot), inforgrafikama i prikazima vladajućih struktura i štampanih medija (Bureau d’Études).

Mobilnost umetnosti i umetnika bila je u vezi sa aktuelnim trenutkom – iako nikad nije, niti će ikad biti
drugačije, u smislu zaustavljanja kretanja – i uhvaćeno u autonomnoj fuziji, koja je povezivala umetničke
simbole iz praistorijskih vremena, tj. od kada majmunoliki simian prigrli savremenost (Jakov Brdar), tako da će,
kroz robotizovane instalacije (Adam Donovan), i slike devastiranog, distopijskog okruženja (Aleksij Kobal) započeti
razmišljanja o tome kakva bi Zemlja bila, ili će biti, bez ljudi. Pred našim čulima, našim očima i ušima prepliću se
direktne i indirektne asocijacije na evoluciju ljudi i društva, asocijacije na realnost postojećeg sveta (Marko Jakše),
na multikulturalizam i korporativni globalizam (Uroš Weinberger). Religiozni elementi su upotrebljeni da bi se
komentarisalo hrišćanstvo, islam, judaizam (Metod Frlic), kroz istorijske ličnosti (Žarko Bašeski), pomešano
nasleđe i naopaki svet (AES+F). U Starom zavetu sve tri monoteističke religije na isti način cene iste slike. Kako sve
tri potiču sa Bliskog istoka i Azije one podvlače vekovnu zabludu putem koje ekstremisti svih vrsta dovode u zabludu

12 Peter Tomaž Dobrila :: Migranti pod nebom XXI veka

to it – but I later abandoned that idea. I am still trying to make a reference to the avantgarde, but rather than the historical,
I prefer a contemporary approach; I believe that the exhibited art triggers this kind of questions as well, but I opted
for life: migrations are a reflection of life, a celebration of life, they are life itself. The international exhibition MIG 21 –
Migratory Interdisciplinary Grid is an artistic showcase of movement, covering the most integral palette of possible
starting points, composed of series of intimate experiences, which contain countless meanings, as well as original,
personal, and artistic layers, as suggested by the collected works.

The goal was not to organize a reportage-style exhibition presenting numerous current photographs awarded with
illustrious international prizes, among which several Slovenian-born authors were selected, although such a principle
would have been much simpler. Rather than that, the idea was to comprise art in all the scope and profoundness
of the poetics and various media it includes. Hence, the temporal scope was limited to 45 years, with the oldest
work dating back to the year 1971, and the youngest belonging to the most recent productions of 2016. Through
such a temporal dimension, the younger generation too was defined, which is understood in this context as a
contemporary phenomenon. All exhibiting artists are still living, except for Mladen Stilinović, who passed away
during the preparation of the art show, on the 18th of July 2016. Like him, there were many other foreign artists in
the exhibition, who have represented their countries in the Venice biennials, the Documenta in Kassel, and numerous
other museums and galleries around the world, while most of the national artists, rather unintentionally, turned out
to be (former) winners of the Prešeren, Jakopič, Župančič, and Glazer awards.

The theme of migrations, of movement, of motion, was associated with personal poetics, distinctive creative
approaches, various media, spatial settings, interpersonal relationships, original cultures, and own interventions.
The multi-layered nature of the works was combined into an elemental humanistic message. Concepts of joining
human hormones with plant cells (Špela Petrič), transferring brain activities (Aphra Tesla), light and sound waves
(Monika Pocrn- jič, Matjaž Lenhart), and modern technology and optical DNA reading (Heather Dewey-Hagborg)
were linked to historical cues, stemming from distant and recent past, capturing the presence, and flirting with the
future. Ideological themes were linked to politics, religions, economies, and comprised even civil-so- cial postulates,
and, of course, the military (Herlinde Koelbl). Individual artistic procedures pervaded the setting with sculptures,
paintings, photographs, vid- eo works, audio-visual contents, and films (Jovan Joca Jovanović and Stanoje Ćebić),
machinimas – video gameswithcomputer-animatedcharacters(antiAtlas of Borders – Isabelle Arvers), intermedia
and interac- tive installations using lighting (Ivan Marušić – Klif), or sound and light (Jane Tingley and Michal Seta),
au- dio-visual impacts (Brigitta Zics), online projects (an- tiAtlas of Borders – Joana Moll and Cédric Parizot),
infographics and depictions of the ruling structures, and printed media (Bureau d’Études).

The mobility of artists and art was related to the current moment – though it never was, and never will be
otherwise, in the sense of movement stop- ping – and captured in an autonomous fusion, which connected artistic
symbols from prehistoric times, i.e. from the ape-like simian embracing contemporaneity (Jakov Brdar), so that

Peter Tomaž Dobrila :: Migrants under the 21st century sky 13

neinformisane mase da je hrišćanstvo evropska religija. To, jednostavno, nije istina, ili, isto se može reći za judaizam
ili islam. Religije ljudi u Evropi, tj. naroda koji su ovde živeli, bile su politeističke još od praistorijskih vremena.

Političke ideologije su međusobno povezane u tvrdnji da su ratovi, i sve u vezi sa njima, prvenstveno
ekonomske kategorije, uključujući i izbeglice (Raša Todosijević). Dalje, da je sve u vezi sa ratovima ogroman
biznis, kao što je industrija oružja, legalna i nelegalna trgovina oružjem, i, naravno, ratovi sami i njihove
posledice, što podrazumeva migrante i njihov legalni i ilegalni transport, razne ograde (Jože Slaček), bodljikave
žice ili one sa bodljama poput žileta duž državnih granica (Marko Brecelj), koja se u Sloveniji pruža duž
neverovatnih 184 kilometra, i koja košta milione evra; izbeglički centri, šatori, dokumenta, azili, itd. (Srdjan
Živulović). Kontradiktorno je govoriti o ‘’ekonomskim’’ migracijama, jer je svaka migracija ekonomska, a isto
važi i za turizam, koji je osim toga, jedan od najvećih izvora zagađenja ove planete, i koji ne štedi ni tlo, ni vodu
(Robertina Šebjanič), ni visine, ni dubine, šireći se, takođe, i u svemir. Od pakla (Julijana Božič) do neba (Jože
Šubič).

Što se tiče geografije, mi smo obuhvatili svet, povezujući različite umetničke pristupe unutar jedinstvenog prostora,
naglašavajući različite vrste migracija, kretanja, pokreta, (Nika Oblak i Primož Novak), spuštajući se na nivo
nukleusa (Ale de la Puente), simbolično, šetajući odatle do sveta mrtvih, kroz vrata ka neistraženom (Mirsad Begić),
formalno, od apstrakcije (Ksenija Čerče) do konkretnog (Jure Fingušt), lirski, od ‘’reklame’’ (Zbigniew Libera) do
direktnih javnih intervencija (Ana Pečar), kompjuterski, od simbola (Matjaž Požlep) do tačkica i linija (So Kanno i
Takahiro Yamaguchi), u dizajnu, od marama za glavu (Zora Stančič) do etalona (Research Institute of Geo-Artistic
Statistics of the Republic of Slovenia – RIGUSRS).

Umetnost je život, njegova neodvojiva suština, a dokaz tome su umetnički radovi koji odslikavaju različite sudbine,
lične i kolektivne, porodične i društvene, građanske, političke i religiozne (Jusuf Hadžifejzović), dok spuštaju
medijsku zavesu da nas suoče sa dalekim i bliskim horizontima (Ulrich Wüst); sa ljudskim figurama u
diskretnim međusobnim vezama, zamišljene, zabrinute, ali, takođe, i razigrane perspektive, ocrtavajući
svoje staze i odnose (Stojan Kerbler). Život uvek nađe način, čak i u najekstremnijim uslovima, i uprkos
dijametralno suprotstavljenim ljudskim odnosima koji povezuju zajednice i pojedince (Oleg Kulik), tako da oni
postaju aktivni; svako pruža sopstveni doprinos (Adela Jušić i Andreja Dugandžić). Prihvatanje sebe i drugog,
drugačijeg; dopuštanje i prihvatanje postojanja drugačijeg je, izgleda, najteže, nešto što mora biti zaustavljeno, a
mi se moramo zatvoriti. Putovanje je dug put (Matej Čepin), što se takođe manifestuje i kao lična parafraza (Tina
Dobrajc).

Sećam se anegdote o Fridrihu Ničeu, kada je napisao: ‘’Bog je mrtav’’, usledilo je: ‘’Niče je mrtav. Bog’’. Možemo
sugerisati isto to za izjavu bivše britanske premijerke, Margaret Tačer: ’Društvo je mrtvo’’, i dodati: ‘’Tačer
je mrtva. Društvo’’. I tako ćemo, sigurno, komentarisati za nekoliko godina nebuloznu ideju Angele Merkel:

14 Peter Tomaž Dobrila :: Migranti pod nebom XXI veka

it would, through robotized installations (Adam Donovan), and images of devastated, dystopian environments
(Aleksij Kobal) open up considerations of what Earth would be like, or is going to be, without humans. In front
of our senses, our eyes and ears, direct and indirect associations to the evolu- tion of humans and the society were
intertwined, associations to the reality of the existing world (Marko Jakše), to multiculturalism and corporate
globalism (Uroš Weinberger). Religious elements were used to comment on Christianity, Islam, Judaism (Metod
Frlic) through historical figures (Žarko Bašeski), mixed heritage and an upside-down world (AES+F). In the Old
Testament all three monotheistic religions have the same appreciation for the same paintings. Since all three are
based in the Middle East and Asia, they are underscoring the centuries-long misconception, by means of which
extremists of all kinds are misleading the uninformed masses, that Christianity is a European religion. This is
simply not true, or else the same could be said about Judaism or Islam. The religions of European peoples, i.e. of
the nations that settled here, have been polytheistic since prehistoric times.

Political ideologies were interconnected in statements about wars and everything related to wars being primarily
an economic category, including refugees (Raša Todosijević). Furthermore, that everything related to war is a huge
business, starting from the weapons industry, the legal and illegal arms trade, and of course the wars themselves and
their consequences, which entails migrants and their le- gal or illegal transports, various fences (JožeSlaček), the
barbed wire or razor wire alongside state borders (Marko Brecelj), which in Slovenia stretches across a mindboggling
184 kilometers, and which cost millions of Euros; refugee centers, tents, documents, asylums, etc. (Srdjan Živulović). It
is contradictory to talk about “economic”migrations, because every migration is an economic one, and the same goes
for tourism, which is, apart from that, one of the biggest sources of pollution on this planet, sparing neither land nor
water (Robertina Šebjanič), neither heights nor depths, and permeating into outer space as well. From hell (Julijana
Božič) to heaven (Jože Šubič).

In terms of geography, we have encompassed the globe, connecting a variety of art approaches within a single
space, emphasizing different kinds of migrations, movements, motions (Nika Oblak and Primož Novak), dropping
to the level of nucleuses (Ale de la Puente), symbolically strolling from here to the world of the dead, through the
door to the great beyond (Mirsad Begić), formally from abstraction (Ksenija Čerče) to the concrete (Jure Fingušt),
lyrically from “advertisement” (Zbigniew Libera) to direct public interventions (Ana Pečar), computer-wise from
symbols (Matjaž Požlep) to dots and lines (So Kanno and Takahiro Yamaguchi), in terms of design from head-
scarves (Zora Stančič) to etalons (Research Institute of Geo-Artistic Statistics of the Republic of Slovenia –
RIGASRS).

Art is life, its inherent essence, a testimony to this are the artworks reflecting different fates, personal and collective,
family and social, civil, political, and religious (Jusuf Hadžifejzović), as they pull down the media curtain to
face us with distant and nearby horizons (Ulrich Wüst); with human figures in subtle interpersonal connections,
thoughtful, worried, but also playful perspectives, outlining their paths and relations (Stojan Kerbler). Life

Peter Tomaž Dobrila :: Migrants under the 21st century sky 15

‘’Multikulturalizam je mrtav’’, time što ćemo reći: ‘’Merkel je mrtva. Multikulturalizam’’. Toliko se mnogo subjekata
takmiči u sličnim opaskama, bez obzira na sopstvenu provenijenciju, ko će izgovoriti najaktuelniju, proročansku,
besmrtnu prognozu, a ipak niko od njih nije uspeo da prevaziđe Endi Vorholovu izreku o ‘’petnaest minuta slave’’,
za kojom svi oni tako strastveno žude. Jedina je tragedija što, dok to čine, sruše jednu-dve zemlje, i provociraju čitav
svet držeći se principa ‘’posle mene – potop’’. Ako se kod Fransisa Fukujame sve vrtelo oko kraja istorije, jasno je da
svet neće nestati nečijom smrću. Ljudi su samo brojevi, žrtve, trofeji (Jan Macko), a ono što je važno su teritorije i
prirodni resursi.
Razlika između nauke i umetnosti je da nauka bira različite puteve kako bi došla do istog, nedvosmislenog,
zajedničkog rezultata, dok u umetnosti različiti putevi vode do mnogostrukih rezultata; ličnih, individualnih,
jedinstvenih. Zbog toga je spoj između njih kontradiktoran, a ipak, istovremeno može biti veoma inspirativan
i veoma kreativan. Obe (i nauka i umetnost) sebe vide kao humane i progresivne, kako postupaju u korist
čovečanstva. Nesumnjivo, progres jeste njihova zajednička osobina. Ali, za razliku od nauke, koja koristi sve
savršenije, haj-tek i retko dostupne alate, umetnost još uvek upošljava materijale i oblike koji su dostupni svakom
čoveku. Ponekad i koketira sa naukom, i igra se sa realnošću, ali je u svojoj suštini ostaje nešto što nas inspiriše
da razmišljamo ‘van okvira’, što nas, dalje, ohrabruje da delujemo u odnosu na nešto. Život je autonomno, lično,
sopstveno putovanje kroz prostor i vreme. Pošto nismo sami, mi ga delimo sa drugima. Svi smo mi, u suštini,
migranti, koji putuju pod jednim istim, ogromnim nebom.

16 Peter Tomaž Dobrila :: Migranti pod nebom XXI veka

always finds a way, even in the most ex- treme conditions and in spite of the diametrically op- posed human
relations, which connect communities and individuals (Oleg Kulik), so that hey become active; everyone
provides their own contribution (Adela Jušić and Andreja Dugandžić). Accepting oneself and the other, the
different; allowing and accepting other- ness is, apparently, the hardest thing, something that has to be stopped, and
we must shut down. Travelling is a journey (Matej Čepin), which is manifested as a personal paraphrase as well
(Tina Dobrajc).

I remember the anecdote about Friedrich Nietzsche, when he wrote “God is dead”, and the consequent “Nietzsche
is dead. God”. We could suggest the same for the primitive statement of the former British prime minister Margaret
Thatcher: “Society is dead”, and add that“Thatcher is dead. Society”. And as surely we will comment in a few
years’ time on another nebulous idea by Angela Merkel, “Multiculturalism is dead”, by saying “Merkel is dead.
Multiculturalism”. So many subjects out there, regardless of their provenience, compete in this kind of statement-
dropping, who will utter the most momentous, prophetic, immortal forecast, yet none of them make it past Andy
Warhol’s catchphrase about the “fifteen minutes of fame”, something they so passionately yearn for. The only tragedy
is that in doing so, they topple down a country or two, and provoke the whole world following the principle of “after
me, the flood”. If Francis Fukuyama was all about the end of history, it is clear that the world will not end with his
own death. We learn nothing from history. People are just numbers, victims, trophies (Jan Macko), what matters are
territories and natural resources.

The difference between science and art is that science chooses different paths to obtain the same, un- ambiguous,
common result, while in the arts, different paths lead to multiple results; personal, individual, unique. This is why
the junction between them is contradictory, yet at the same time it can be very inspiring and highly creative. Both
envision themselves as being humane, as acting for the benefit of humanity, and as being progressive. Undoubtedly,
progress is a common feature of both. But unlike science, which uses increasingly sophisticated, high-tech and rarely
accessible tools, art still employs the materials and forms that are available to the everyman. Sometimes it even flirts
with science, and toys with reality, but at its core it remains something that inspires us to think outside the box,
which in turn often encourages us to act upon something. Life is an autonomous, personal, own journey through
space-time. Since we are not alone, we share it with others. We are all basically mi- grants, travelling underneath the
same big sky.

Peter Tomaž Dobrila :: Migrants under the 21st century sky 17

Nina Jeza I Artists&Poor’s

Savremena umetnost kao migratorna,
interdisciplinarna mreža XXI veka

Migratorna interdisciplinarna mreža, MIG 21, tematski je povezana sa migracijama i procesima koji su u vezi sa
migracijama. Migracija kao kretanje unutar prostora i vremena je vitalna za egzistenciju kako ljudi, tako i umetnosti.
Transdisciplinarnost umetničkih pristupa kao centralni koncept MIG-a 21 povezuje sve medije, forme i sadržaje
umetničkog izraza i odslikava sadašnje stanje društva, a u isto vreme je obeležena vizionarskim radom umetnika
koji učestvuju. Radovi, koji vremenski pokrivaju period od sedamdesetih godina XX veka do danas, predstavljaju
tematski, konceptualni i emocionalni odgovor umetnosti na tekuće svetska događanja.

Kod nekih od najstarijih radova, kod izbora iz serije fotografija Ljudi Haloza (The People of Haloze, 1973-1988)
slovenačkog fotografa Stojana Kerblera, formalini odmak od realnosti je minimalan. Kerbler je majstor analogne
fotografije, on portretiše ljude koji žive po udaljenim brdima severoistočne Slovenije, blizu hrvatske granice, u
Halozama. Ljudi Haloza su oduvek bili ekonomski migranti: u potrazi za boljim životom, oni su uglavnom odlazili u
Nemačku, ali, takođe, i u velike gradove bilo koje, druge zemlje. Glavni protagonisti odabranih fotografija su deca i
stari ljudi, koji su ostajali kod kuće.

Herlinde Kelbl (Herlinde Koelbl), iskusni fotograf, kombinuje novinarski, dokumentarni pristup sa visokim
umetničkim standardima. U radu Izbeglice (Refugees), ona prenosi fotografski i video prikaz trenutnog stanja
izbeglica koji dolaze sa Bliskog istoka i Mediterana. Mete (Targets) su nastale kao rezultat šestogodišnjeg putovanja
po svetu i obilaska više od trideset zemalja, predstavljaju vizuelnu dokumentaciju vojnih meta korišćenih za obuku
vojnika. Pitajući se: Kako izgleda neprijatelj? Ima li lice?, Kelbl otkriva različite fotografije koje se koriste za sistematsko
vežbanje ciljanja, gađanja, pogađanja, i, konačno, ubijanja. Njeni radovi su uvek angažovano i promišljeno suočavanje
sa političkim i društvenim problemima.

Odgovor na prošlogodišnje događaje koji su nastali otvaranjem Balkanske rute zapisan je u radu slovenačkog
fotografa Srđana Živulovića, koji izlaže jednu od fotografija nagrađenih Pulicerovom nagradom pod nazivom
Nedovršena priča (Unfinished Story). Kao član tima Rojtersa on je dokumentovao izbeglice kako pešače obalom
reke u blizini Brežica.

18 Nina Jeza :: Savremena umetnost kao migratorna, interdisciplinarna mreža...

Nina Jeza I Artists&Poor’s

Contemporary Art as a 21st Century
Migratory Interdisciplinary Grid

The migratory interdisciplinary grid MIG 21 is thematically linked to migrations, and the processes related to
migrations. Migration as a movement inside space and time is vital to the existence of both humans and art.
Transdisciplinarity of artistic approaches as the central concept of MIG 21

connects all media, forms, and contents of artistic expression and reflects the current condition of society, which
is marked at the same time by the visionary work of participating artists. The works, ranging temporally from the
nineteen-seventies to present day, are thematic, conceptual, and emotional responses of art to the current world
events.

With some of the oldest works, a selection from the photography series The People of Haloze (1973–1988) by
Slovenian photographer Stojan Kerbler; the formal break from reality is minimum. Kerbler is a master of analog
photography; he portrays people living in the remote hills of north-eastern Slovenia near the Croatian border, in
Haloze. The people of Haloze have always been perpetual economic migrants: in the search of a better life they
would mostly head off to Germany, but also to large cities in any other country. The main protagonists in the selected
photographs are children and elderly people, who stayed behind.

Herlinde Koelbl, a seasoned photographer, combines a journalistic documentary approach with high artistic
standards. In Refugees, she conveys a photographic and video account of the current state of refugees entering from
the Middle East and the Mediterranean. Targets was created as a result of over six years of travelling around the
world, and visiting more than thirty countries: a visual documentation of the military targets used in the training
of soldiers. What does the enemy look like? Does he have a face? Koelbl discloses the various images that are used
to systematically practice aiming, shooting, hitting, and, ultimately, killing. Her works are always engaged and
thoughtful confrontations with political and social issues.

A response to last year’s events occurring with the open- ing of the “Balkan route” is captured in the work of
Slovenian photographer Srdjan Živulović, who showcases one of this year’s Pulitzer-winning photographs titled
Unfinished Story. As a member of the Reuters team, he documented Syrian refugees walking alongside a river
embankment near Brežice.

Nina Jeza :: Contemporary Art as a 21st Century Migratory Interdisciplinary Grid 19

Zbignjev Libera (Zbigniew Libera) je jedan od najintrigantnijih i provokativnijih savremenih poljskih umetnika.
Inspiraciju crpi iz svakodnevnih objekata koje nalazi u današnjem urbanom okruženju. Stekao je međunarodno
priznanje svojim pop-art radovima Popravljanje uređaja (Correcting Devices), koje je počeo da stvara nakon pada
komunističkog režima u Poljskoj. Libera je takođe jedan od pionira video umetnosti u Poljskoj – izložba predstavlja
njegov 20-minutni video Kako obučavati devojke (How to train the girls) iz 1987. godine. Fotografija pod naslovom
Bušovi snovi (Bush’s Dreams) spada u seriju montiranih fotografija koja je izazvala mnogo kontroverze kada je bila
objavljena u nedeljniku Przekroj (Presek).

Oleg Kulik je završio studije na Kijevskoj umetničkoj školi, a zatim se 1988. godine preselio u Moskvu. On je
stalni migrant koji je stekao slavu svojim performansima u Americi, Evropi i kod kuće. Na izložbi je predstavljena
Lolita protiv Alise (Lolita vs. Alice), serija fotografija okruglog oblika (tondo), koje ilustruju značaj rođenja: na
fotografijama su prikazani autor, njegova nećaka, njegova zlatna ribica i njegov pas, koji izgledaju kao da plutaju,
prepleteni i spojeni u jedno. ‘’Postoji samo jedan Bog – živi čovek – osoba koja sedi pored tebe. To je moja religija.
Verujem da postoji smisao života’’, kaže Kulik. Diptih, koji prikazuje fantaziju, pod imenom Dan Raspeća i Noć
Raspeća (Crucifixion Day,Crucifixion Night) prikazuju pogled iza volana − tokom dana na prvoj, a tokom noći
u drugoj slici, samo sa različitim protagonistima. Na slici koja prikazuje dan, dve prostitutke sede u kolima i
posmatraju muškarce, radnike, dok je na noćnoj slici, naravno, obrnuto – u kolima su dva poslovna čoveka koji biraju
neku od prostitutki. Slike se bave temom prostitucije i bizarne komercijalizacije ljudskog rada. Opus Kulikovog rada,
koji je ovde predstavljen, takođe uključuje video produkciju, Gobi test (zima), (Gobi Test;Winter) o svakodnevnom
životu mongolskog naroda, koji žive na tradicionalan način, kao nomadi. Kroz umetnički medijum, Kulik
komentariše Rusiju i Zapad, politiku i moć, ljudski rod kao fenomen sam za sebe i naš odnos prema prirodi.

Ruski kolektiv AES+F, sastavljen od četiri umetnika, akronim je formiran kombinacijom inicijala prezimena
arhitekata Tatjane Arzamasove i Leva Evzoviča (Tatiana Arzamasova, Lev Evzovich), dizajnera Evgenija Svjatskog
(Evgeny Svyatsky) i fotografa Vladimira Fridkesa (Vladimir Fridkes), koji se prvobitno oformljenom triju pridružio
nekoliko godina kasnije. Njihov rad je obeležen korišćenjem prefinjenog, poetičnog dijaloga kroz sve medije,
istraživanjem istorije i kulturnih pojava, dok se njihov vizuelni narativ zadubljuje u vrednosti, greške i konfliktnu
prirodu današnje kulture na svetskom nivou. Inverso Mundus (Svet naopačke) je vrhunska video produkcija koja
portretiše futurističku priču o civilizaciji u kojoj je svet izokrenut naopačke kao rukavica. Islamski projekat, slike
je serija fotografija čuvenih mesta i građevina kao što je Notr Dam u Parizu, samo sa tipično islamskim kupolama
tornjeva. Najpoznatija je Nova statua slobode (New Liberty), reprodukcija Statue slobode obučene u burku. Projekat
seže unazad u devedesete godine prošlog veka.

Umetnička izložba uključuje umetnike iz nekada ujedinjenih republika bivše Jugoslavije, Slovenije, Hrvatske, Bosne
i Hercegovine, Srbije i Makedonije.

20 Nina Jeza :: Savremena umetnost kao migratorna, interdisciplinarna mreža...

Zbigniew Libera is one of the most intriguing and provocative contemporary Polish artists. He gained international
recognition with his pop art works Correcting Devices, which began to be created after the fall of the communist
regime in Poland. Libera is also one of the pioneers of video art in Poland – the exhibition features his 20-minute
video How to train the girls from 1987. He draws inspiration from everyday objects found in the present-day urban
environment. The photograph titled Bush’s Dreams belongs to a series of staged photographs which sparked a lot of
controversy when published in the weekly magazine Przekroj.

Oleg Kulik completed his studies at the Kiev Art School, then moved to Moscow in 1988. He is a constant
migrant, gaining fame with his performances in America, Europe, and at home. The exhibition features Lolita
vs. Alice, a series of round-shaped (tondo) photographs, illustrating the signification of birth: the photographs
depict the author and his niece, his gold fish and his dog, who appear to be floating, intertwined and fused into
one. “There is only one God – the living man – the person sit- ting next to you. That is my religion. I believe that
there is a sense to life,” says Kulik. The fantasy diptych named Crucifixion Day and Crucifixion Night depicts
a view from be- hind the steering wheel – during day time in the first, and during night time in the second
image, only with different protagonists. In the daytime picture, two prostitutes are sitting in the car, observing
the manly workers, whereas by night it is, of course, the other way around – the car is occupied by two
businessmen choosing from among the prostitutes. The paintings address topics of prostitution and the bizarre
commercialization of human work. The featured opus of Kulik’s work also includes a video production, Gobi Test
(Winter), about the everyday life of the Mongolian people, who live in a traditional way, as nomads. Through the
artistic medium, Kulik comments on Russia and the West, politics and power, the humankind as a phenomenon
in its own right, and our relationship to nature.

The Russian collective AES+F consists of four artists, the acronym is formed by combining the initials of the family
names of architects Tatiana Arzamasova and Lev Evzovich, designer Evgeny Svyatsky, and photographer Vladimir
Fridkes, who joined the originally formed trio some years later. Their work is marked by the use of a sophisticated,
po- etic dialog throughout all media, an exploration of history and cultural phenomena, whereby their visual
narratives delve into the values, flaws, and the conflictive nature of present-day culture on a global level. Inverso
Mundus – The World Upside Down is a top-level video production portraying a futurist story of a civilization, in
which the world is turned inside out like a glove. Islamic Project, images is a series of photographs of famous places
and buildings, like the Notre Dame in Paris, only with typically Islamic dome- shaped steeples. The most well-known
is New Liberty, reproducing Lady Liberty wearing a burqa. The project traces back to the nineties, when Islam was
not really an issue yet.

The artshow includes renowned artists from the once-united former Yugoslav republics, Slovenia, Croatia, Bosnia-
Herzegovina, Serbia, and Macedonia.

Nina Jeza :: Contemporary Art as a 21st Century Migratory Interdisciplinary Grid 21

Jovan Joca Jovanović, pripada grupi režisera, koji su započeli takozvani Crni talas u jugoslovenskoj kinematografiji.
Film Kolt 15 GAP (Kupujem Otpatke Ližem Tanjire 15 Godina Aktivno Pasivno) iz 1971. godine, predstavlja preminulog
Stanoja Ćebića, inkarnaciju mita socijalističkog radnika, aktiviste i konačno umetnika, koji je bio istinski ekonomski
migrant pošto je radio u više od 150 fabrika u bivšoj Jugoslaviji, Nemačkoj, Švajcarskoj i Belgiji.

Konceptualni umetnik, rođen u Srbiji, Raša Todosijević, stekao je priznanja svojim radovima kojima kritikuje
društvo i uzor je mlađim generacijama. Izložba prikazuje seriju fotografija pod nazivom Danke (Hvala),
simbolično poređanim u oblik svastike, uz koji stoji natpis: ‘’Uprkos ekonomskoj krizi i konfliktnoj situaciji u
svetu, postoji jedna stvar oko koje se svi slažu: umetnicima treba mnogo novca!’’

Umetnici iz Bosne i Hercegovine, predstavnici mlađe generacije, Adela Jušić i Andreja Dugandžić, živeli su u
Sarajevu tokom poslednjih ratova na Balkanu. Njihov rad Ilegalno (Illegal) je u vezi sa porukom koja naglašava
važnost, snagu i podršku koju su prokazale žene tokom ratnog perioda.

Jusuf Hadžifejzović (rođen u Srbiji, studirao u Beogradu, živi i radi u Sarajevu i Antverpenu) je jedan od
najprovokativnijih umetnika srednje generacije od osamdesetih godina XX veka pa nadalje. U svom čuvenom
performansu Strah od pijaće vode (The Fear of Drinking Water) Hadžifejzović igra pikado bacajući strelice na
fotografiju članova svoje porodice, pod nazivom Porodica, susedi i prijatelji (Family, Neighbors and Friends) koja
je snimljena 1994. godine.

Radovi čuvenog, postkonceptualnog umetnika, Mladena Stilinovića, su izloženi posthumno, a među njima je
sugestivni natpis na svili Čujem priča se o smrti (I Hear There’sTalkof Death). Izložene su fotografije Srebrenice,
sećanje na genocid i odavanje počasti žrtvama rata na Balkanu sa kraja prošlog veka. Njegovi eksperimentalni
filmovi i video radovi stvoreni između 1971. i 2006. su takođe deo izložbe.

Skulptor i profesor, Žarko Baševski (Makedonija) je savremen, kako u materijalima koje koristi, tako i u temama koje
pokriva: izložene su četiri hiperrealistične skulpture, napravljene od materijala kao što su poliester, silikon i prirodna
kosa. Skulpture (Facing) simbolišu spazam savremenog društva i strah od propadanja vrednosti, one su sklupčane
kao fetusi, u samoodbrani od spoljnog sveta. Druge dve figure su: Ezekiel, prorok, koja simbolizuje povratak iz egzila
i David, ne kao pastir, već kao savremeni, mlad čovek sa kompjuterskim mišem umesto kamena u jednoj ruci koji
ponosno drži Golijatovo oko u drugoj.

Umetnici Mirsad Begić, Jakov Brdar i Zora Stančič su rođeni u Bosni i Hercegovini, a studirali su na Akademiji
likovnih umetnosti u Ljubljani. Danas su među najistaknutijim savremenim umetnicima Slovenije.

Veliki vratar (The Great Gatekeeper) Mirsada Begića je ambijentalna, skulpturalna instalacija koja simbolizuje ulaz u
pakao – njegov ‘’vratar na vratima smrti’’ je odgovor na ratove na Balkanu, a ugrađene lobanje i koplja koja prolaze
kroz njih prenose atmosferu sumraka čovečanstva.

22 Nina Jeza :: Savremena umetnost kao migratorna, interdisciplinarna mreža...

Jovan Joca Jovanović, belongs to a group of directors, who started the so-called Black Wave (“Crni talas”) in
Yugoslavian cinematography. The film KOLT 15 GAP (Kupujem Ot- padke Ližem Tanjire 15 Godina Aktivno Pasivno
/ Will buy rubbish or lick plates, 15 years experience, active – passive) from 1971 features the late Stanoje Ćebić, the
incarnation of the socialist worker myth, an activist, and an artist finally, who was a genuine economic migrant,
having worked in more than 150 factories in the ex-Yugoslavia, Germany, Switzerland, and Belgium.

Serbian-born conceptual artist Raša Todosijević has won acclaim through his socially critical works, and is a role
model to younger generations. The exhibition features a series of photographs titled Danke (Thank You), symbolically
arranged in the shape of a swastika, and accompanied by the sign “In spite of the economic crisis and conflicting
world situation there is one thing everyone agrees with: artists need lots of money!”

Artists from Bosnia-Herzegovina are representatives of the younger generation Adela Jušić and Andreja Dugandžić,
who both lived in Sarajevo all through the Balkan war period. Their work Illegal is an embroidery with a message,
highlighting the importance, power and support demonstrated by women during wartime.

Jusuf Hadžifejzović (born in Serbia, studied in Belgrade, lives and works in Sarajevo and Antwerpen) has been one
of the most provocative middle-generation artists from the eighties onward. In his famous performance The Fear
of Drinking Water Hadžifejzović plays darts by throwing them at a photograph of the members of his family, titled
Family, Neighbors and Friends, which was taken in 1994.

The works of renowned post-conceptual artist Mladen Stilinović are presented posthumously, among them the
suggestive silk-inscribed I Hear There’sTalkof Death... On dis-play are photographs of Srebrenica, a reminder of the
genocidal slaughter and homage to the victims of the Balkan war at the end of the past century. His experimental
films and videos created between 1971 and 2006 are also part of the exhibit.

Sculptor and professor Žarko Bašeski (Macedonia) is contemporary both in the materials he uses, as well as in
the topics he covers: four hyper-realistic sculptures are show- cased, made from materials like polyester, silicone,
and natural hair. The sculptures in Facing symbolize the spasm of contemporary society and the fear of decaying
values, they contract like fetuses in self-defense against the outer world. The other two figures are Ezekiel, a prophet
symbolizing the return from exile, and David, not as a shepherd, but as a modern young man with a computer
mouse instead of a stone in one hand, and proudly holding up Goliath’s eye in the other.

Artists Mirsad Begić, Jakov Brdar, and Zora Stančič were born in Bosnia-Herzegovina and came to study at the
Academy of Fine Arts in Ljubljana. Today all three are among the most prominent Slovenian contemporary artists.

The Great Gatekeeper by Mirsad Begić is an ambient sculptural installation symbolizing the gateway to hell – his
“gatekeeper at the door of death” is a response to the Balkan war, the incorporated skulls and spears piercing through
them convey an atmosphere of humanity’s twilight.

Nina Jeza :: Contemporary Art as a 21st Century Migratory Interdisciplinary Grid 23

Zora Stančič izlaže ženske marame pune snažne simbolike. Ovi komadi pripadaju ličnom legatu njene majke, koja
je volela da čuva stvari koje će joj koristiti ”kada za to dođe vreme”. Stančič je majstor grafike, na maramama su
odštampane slike svedene na najstrožu formu od koje je prepoznatljiva ostala samo silueta. U vreme kada su marame
za glavu i modni aksesoar, a i religiozni element, takav iskaz je više nego jasan.

Julijana Božič izlaže dve ilustracije. Radovi su (re)kreirani kako bi ilustrovali današnju interpretaciju Danteovog
Pakla koju je napisao Petja Janžekovič. Pridruživši se petom krugu, ovi ukrasi su prilagođeni modernim vremenima.
Oni prikazuju Licemerje i bes (Hypocrites and Wrath) čiju je sintetizovanu suštinu umetnica vešto transformisala u
sveobuhvatnu i vizuelnu poruku koja nosi značenje.

Umetnički izraz Tine Dobrajc je izrazito narativan i oslanja se na savremenu sliku žene koja ima snažan seksualni
karakter, ali koja je, u isto vreme, tradicionalno uzdržana i nedostupna. Slika Ov(c)a (She(ep)) je reinterpretacija
klasičnih (tradicionalnih, čak folklornih) tema, praćenih ličnim komentarima, čime umetnica formira odgovarajući
subjektivni stav prema iznetoj temi.

U nazivu, kao i kroz procese/fotografije koje su korišćene u stvaranju slike, rad Beketovo čelo (Beckett’s Forehead)
Ksenije Čerče uspostavlja odnos prema priči Semjuela Beketa koji je emigrirao iz Irske 1937. godine i nikad se u nju
nije vratio. Živeo je u egzilu, u Parizu. Ova slika se uklapa u koncept izložbe više kroz slikarska sredstva i njihove
transformacije u likovni jezik nego u smislu priče na temu migracija.

Prilog Jože Slačeka je platforma za pričanje priča, projekat koji uključuje migrante koji trenutno žive u Mariboru.
Glavni cilj projekta je da se zabeleže i na razne načine predstave priče doseljenika u Maribor i narodne priče iz
zemalja njihovog porekla.

Matej Čepin iz Celja (Slovenija) stvorio je mistično Putovanje (Voyage), sliku koja prikazuje njegove prijatelje kako lete
na persijskim ćilimima, bezbrižno uživajući u pogledu.

Ime projektne grupe RIGUSRS je akronim Istraživačkog instituta za geoumetničku statistiku Republike Slovenije,
i povezuje čuvene slovenačke umetnike i saradnike instituta, Alenku Pirman, Vuka Ćosića i Irenu Vele (Irena
Woelle), koji su 1997. godine javno predstavili Slovenački mediteranski metar (SMM) kao novu jedinicu mere
označavajući razdaljinu od 46,6 kilometara, tj. celu dužinu slovenačke obalske linije.

U svom performansu Žicanje sa žarom uz konferenciju za medije (Grill Scrounging During a Press Conference),
kantautor i performer Marko Brecelj vešto i duhovito prolazi kroz različita značenja reči i percepcija. Žicanje
(Scrounging) znači izlaganje kolutova zloglasne bodljikave žice, odsecanje delova te žice velikodušnom,
izloženom Palmedaru (kalendar sa palmovim drvećem) i pevanje pesama-marševa kavkaskih duhovnih
pesama, kao i Novih melodija, za vreme dok nenasilno privlači pažnju prisutnog društva.

24 Nina Jeza :: Savremena umetnost kao migratorna, interdisciplinarna mreža...

Zora Stančič displays headscarves charged with powerful symbolism. These pieces belong to the personal legacy
of her mother, who liked to keep things to be used in“better times”. Stančič is a master of graphics, the scarves
are printed with images reduced to the strictest formality, of which only the silhouette remains recognizable.
In a time when headscarves are both a fashion accessory and a religious element, such a statement is more than
straightforward.

Julijana Božič showcases two illustrations. The works were (re)created to illustrate a modern-day interpretation of
Dante’s Inferno written by philosopher Petja Janžekovič. Accompanying the fifth circle, these tailpieces are adapted
to modern times. They depict Hypocrites and Wrath, the synthesized essence of which is skillfully transformed by the
artist into a comprehensive and meaningful visual message.

The artistic expression of Tina Dobrajc is distinctly narrative and leans against the modern image of a woman
charged with a powerful sexual character, but who is at the same time traditionally restrained and unavailable.
The painting She(ep) is a re-interpretation of classic (traditional, even folklore) themes accompanied by a personal
commentary, whereby the artist forms a proper subjective stance to- wards the expressed topic.

In the title, as well as through the processes / photo- graphs, which were used in the creation of the painting,
the work Beckett’s Forehead by Ksenija Čerče establishes a relation to the story of Samuel Beckett, who emigrated
from Ireland in 1937 and never returned. He lived in exile in Paris. Rather than in the sense of a narrative on the
topic of migrations, this painting fits into the concept of the exhibition through the painting means and their
transformations into the fine arts’ language.

Jože Slaček’s contribution is a storytelling platform, a project involving migrants currently living in Maribor.
The main goal of the project is to keep a record of, and present in various ways the stories of immigrants in
Maribor, and the folk tales from their homelands.

Matej Čepin from Celje, Slovenia, created the mystical Voyage, a painting depicting his friends flying on Persian rugs,
enjoying a carefree view.

The name of the project group RIGASRS is an acronym for the Research Institute of Geo-Artistic Statistics of the
Republic of Slovenia, joining together renowned Slovenian artists and collaborators of the institute Alenka Pirman,
Vuk Ćosić and Irena Woelle, who in 1997 publicly presented the Slovenian Mediterranean Meter (SMM) as a new
unit of measurement, marking the distance of 46,6 kilometers, i.e. the entire length of the Slovenian coastline.

In his opening night performance Grill Scrounging, song- writer and performer Marko Brecelj skillfully and
wittingly traverses between various meanings of words and perceptions. “Žicanje (Scrounging)” means
displaying reels of the infamous razor-wire fence, cutting off pieces of that wire to the generous, exhibiting

Nina Jeza :: Contemporary Art as a 21st Century Migratory Interdisciplinary Grid 25

Slovenački slikar Marko Jakše izlaže jedan od svojih monumentalnih radova, nedovršenu Otrovnu nevestu
(Toxic Bride). Jakše se fokusira na motive i simbolizam, koje prenosi koristeći najuniverzalnija vizuelna sredstva.
On je dosegao nivo prefinjenosti tipičan za stare majstore i prevazišao ga: njegov stil se ne može definisati kao
da pripada bilo kom određenom istorijskom periodu (žanru), i, iako je u vezi sa arhetipovima, njegov rad se
pronicljivo odnosi na ovde - i - sada, izgledajući kao potpuno savremen i subverzivan.

Umetnici Aleksij Kobal i Uroš Vajnberger (Uroš Weinberger) stvaraju potpuno nov, savremen pristup
tradicionalnom slikarstvu. Kobalove slike Sjedinjene države, Inkubatori i Vetrenjače (United States, Incubators,
Windmills) su prikaz bizarne budućnosti koja nas očekuje ako popustimo silama koje kontrolišu sferu politike.
Vajnergerova slika iz serije Sedam sestara ( Seven Sisters) upozorava na monopol džinovskih naftnih korporacija, koji
je povezan sa nasiljem kapitalizma, plitke komercijalizacije i eksploatacije dobara i ljudskih resursa.

Dva kolektiva sa sedištem u Francuskoj su deo izložbe, a radovi oba ulaze u istraživanje i politički domen. Kolektiv
antiAtlas of Borders (antiAtlas granica) je predstavljen pričom Herojski stvaraoci protiv herojske zemlje (Heroic
Makers vs. Heroic Land). Autor rada, Izabel Arver (Isabelle Arvers), stvara video filmove koje podržava tehnologija
video igrica kako bi se bavila odnosom između umetnosti, video igrica, interneta i novih oblika likova – avatara
povezanih sa mrežama i digitalnim tehnologijama.

Članovi kolektiva Bureau d’Études (Projektni biro) izlažu svoje infografike Svetska Vlada (World Government),
monumentalni kartografski prikaz savremenih političkih, društvenih i ekonomskih sistema, što je istovremeno atlas
globalne kontrole.

Kartografija je takođe domen Meksikanke Ale de la Puente (Ala de la Puente). Njen rad Nuklearne kartografije
(Nuclear Cartographies) je audio-vizuelna instalacija koja se koristi da se prenese mikro-ekonomija kretanja čestica,
koja u procesu stalne interakcije stvara polje unutar svake od njih i nastavlja da menja ne samo pravac, već i izgled .

Impresivna umetnička instalacija umetnice Brigite Zis (Brigitta Zics), rođene u Mađarskoj, a nastanjene
u Britaniji, pod nazivom Očni rezonator (Eye Resonator), istražuje temu kolektivnih pokreta, migracijskih
uzoraka, logiku funkcionisanja mreže i menjanja interaktivne prirode komunikacije.

Umetnička izložba predstavlja 120 izabranih umetničkih radova: tradicionalnih likovnih radova kao i savremenih
intermedijskih instalacija, koji ispituju temu kretanja, ili migracije, u najširem smislu te reči – kroz interpretacije
radova 66 umetnika iz 16 zemalja.

26 Nina Jeza :: Savremena umetnost kao migratorna, interdisciplinarna mreža...

Palmedars (calendars with palm trees) and marching-song Caucasian spiritual songs, as well as New Tunes,
while non-violently attracting the attention of the present company.

Slovenian painter Marko Jakše exhibits one of his monumental works, the unfinished Toxic Bride. Jakše focuses on
the motifs and the symbolism, which he conveys by using the most universal visual means. He has reached a level
of sophistication typical of old masters, and surpassed it: his style cannot be defined as belonging to any particular
historical period (genre), and, although drawing on archetypes, his works piercingly refer to the here-and-now,
appearing as entirely contemporary and subversive.

Artists Aleksij Kobal and Uroš Weinberger create an entirely new, contemporary approach to traditional painting.
Kobal’s paintings United States, Incubators, and Windmills are a depiction of a bizarre future that awaits us if we give
in to the forces controlling the political sphere. Weinberger’s painting from the series Seven Sisters warns about
the animalistic monopoly of the oil corporation giants, which are associated with violence of capitalism, shallow
commercialization, and exploitation of goods and human resources.

Two French-based collectives are part of the exhibition, the works of both enter into the research and political
domains. The collective antiAtlas of Borders is presented with the story Heroic Makers vs. Heroic Land. The author
of the work, Isabelle Arvers, creates video films, supported by video-game technology, to deal with relations between
art, video games, the internet, and new forms of images – avatars connected to networks and digital technologies.

Members of the collective Bureau d’Études display their infographics World Government, a monumental
cartographic display of the contemporary political, social and economic systems, which is at the same time an atlas
of global control.

Cartography is also the domain of Mexican Ale de la Puente. Her work Nuclear Cartographies is an audio-video
installation used to convey the micro-economics of particle movements, which create a field within each of them, and
continue to change not only their direction, but also their appearance, in a process of constant interaction.

The immersive art installation by Hungarian-born British-based artist Brigitta Zics, titled Eye Resonator,
explores themes of collective motion, migration patterns, the logic of network functioning, and the changing
interactive nature of communication.

The art show features 120 selected artworks: traditionally visual works, as well as contemporary intermedia
installations, which examine the theme of movement, or migrations, in the widest sense of the word – through the
interpretations of works by 66 artists from 16 countries.

Nina Jeza :: Contemporary Art as a 21st Century Migratory Interdisciplinary Grid 27

Sanja Kojić Mladenov

Migracija kao neophodnost

U periodu kada se Evropa susreće sa izazovima masovnog kretanja stanovništa podstaknutog političkim,
ekonomskim i ličnim razlozima, nameće se preispitivanje procesa migracije stanovništva koje je neposredno uticalo
na iskustva umetnika i umetnica, od individualnih kretanja koja su se godinama kontinuirano odvijala, pa sve do
kolektivnog aktivizma, podstaknutog aktuelnim političkim i ratnim konfliktima.

Region bivše Jugoslavije je devedesetih godina 20. veka bio jedan od nosilaca migracionih i tranzicijskih procesa
u Evropi što je dovelo do postepene imigracije značajnog dela kulturne elite u zemlje Zapadne Evrope, severne
Amerike, Australije i dr., kao mesta željenog nastanjenja. Mnogi umetnici su odlazili u njih zbog razvijenog
edukativnog sistema, kulturnog i ekonomskog standarda, proširivali svoje duhovne vidike, ostajali, vraćali se u
zemlje svog porekla ili išli dalje tražeći nova iskustva.

Među umetnicima koji su, zbog političkih i ekonomskih, ali i ličnih i porodičnih razloga, krajem 80-ih godina
20. veka napustili Srbiju na ivici građanskog rata je Vesna Perunović, danas uspešna kanadska umetnica.
Svojom umetničkom praksom ona godinama istražuje probleme koje stvaraju geopolitičke granice i zidovi,
zatvorenost i ksenofobičnost društva, poziciju imigranata u novoj sredini boravka, njihove svakodnevne teškoće u
komunikaciji i prilagođavanju, prihvatanju i usvajanju novog okruženja, koristeći intermedijsku praksu i strategiju
neokonceptualizma i feminizma.

Tokom novog procesa migracije severnoafričkog i maloazijskog stanovništva izazvanog aktuelnim ratnim
zbivanjima, uzdrmana je postojeća geopolitička pozicija Evrope, što je proizvelo različite lančane događaje u mnogim
zemljama, na šta su pojedini politički aktivisti i umetnici reagovali na licu mesta. Jedan od prvih takvih projekata u
Srbiji je izložba Hladni zid − kolektivni odgovor na ograde i ljude (Cold Wall – a collective answer on fences and men),
koju je inicirala kustoskinja Rona Kopecki (Róna Kopeczky) i umetnici Ferenc Grof (Ferenc Gróf), Vladan Jeremić
i Volodimir Kuznjecov (Volodymyr Kuznetsov), koji su kroz međusobni dijalog kreirali i realizovali zajednički
mural direktno na zidovima galerije (Studio of Young Artists’ Gallery) u Budimpešti, novembra 2015. godine, a
posle i u Muzeju savremene umetnosti Vojvodine (MSUV), jula 2016. godine, uz učešće i Rene Redle (Rena Raedle),
Babija Badalova (Babi Badalov) i umetničkog kolektiva Škart. Kolektivnom praksom ovi umetnici su ukazali na
gorući problem podizanja zidova i ograda koje onemogućavaju kretanje ljudi, a koje je povezano sa međunarodnim
strateškim interesima koji se nalaze u pozadini svih ovih događaja.

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Sanja Kojić Mladenov

Migration As A Necessity

In the period when Europe faces challenges related to mass movement of populations instigated by political,
economic, and personal reasons, this migrational process imposes the need for its re-examination, as it directly
influences artists’ experiences, ranging from individual movements which had been taking place for years, to
collective activism, motivated by current political and military conflicts.

The region of former Yugoslavia was, in the 1990s, one of the principal bearers of migrational and transitional
processes in Europe, which led to gradual immigration of a significant part of its cultural elite to the countries of
Western Europe, North America, Australia, etc, designated as places of desired domicile. Numerous artists had
chosen these countries for their developed educational system, cultural and economic standards, or to expand
spiritual horizons - some chose to stay, some came back to their countries of origin, or moved on seeking new
experiences.

One of the artists who left Serbia at the end of the 1980s for political and economic, but also personal and family
reasons, is Vesna Perunović, today an accomplished Canadian artist. With her art practice, she has been exploring
problems created by geopolitical borders and walls, society’s narrow-mindedness and xenophobia, and position of
immigrants in their new environments - their daily difficulties in communicating and adjusting, in accepting, and
adopting their new surroundings - by using intermedia practice and strategy of neo-conceptualism and feminism.

During the new process of migrations of North Africa’s and Middle Eastern population provoked by current
military conflicts, Europe’s geopolitical position has been jeopardized, initiating various chain events in many
countries, which, in turn, caused reactions on the part of political activists and artists on the spot. One of
the first projects of this type in Serbia was the exhibition Cold Wall - Collective Response to Fences and Men,
initiated by a curator Róna Kopeczky and artists Ferenc Gróf, Vladan Jeremić, and Volodymyr Kuznetsov, who
created and implemented, through mutual dialogue, a joint mural directly on the walls of the Studio of Young
Artists’ Gallery in Budapest in November 2015, and also in the Museum of Contemporary Art Vojvodina
(MSUV) in July of 2016, with participation of Rena Readle, Babi Badalov, and art collective Škart. With their
collective practice, these artists pointed to a burning issue of erecting walls and fences which disable the
movement of people, and are related to international strategic interests, which are at the core of these events.

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Izložba Bez granica (Borderless) Vesna Perunović u Muzeju savremene umetnosti Vojvodine realizovana 2011.
godine, kao i nedavno održan Hladni zid, predstavljaju primere aktuelne umetničke prakse koja osvešćeno posmatra
i reagujuje na probleme prisutne u sopstvenom društvenom okruženju, kako bi istražili i ukazali na snažno prisustvo
migracijskih procesa, njihove karakteristike, izazove i nove situacije koje iz toga proističu. Razlike u njihovim
pristupima, bilo da su podstaknute ličnim ili kolektivnim iskustvom, nevidljivom ili globalnom migracijom, teže
isticanju migracijskih procesa, te značaja otvorenosti i internacionalizacije društva.

Róna Kopeczky, Ferenc Gróf, Vladan Jeremić, Rena Raedle,
Volodymyr Kuznetsov, Babi Badalov, collective Škart
Cold Wall – a Collective Answer on Fences and Men
2016.
MSUV | MoCAV

30 Sanja Kojić Mladenov :: Migracija kao neophodnost

Vesna Perunović’s exhibition Borderless, realized at the Museum of Contemporary Art Vojovodina in 2011, as
well as her more recent exhibition Cold Wall, represent examples of current art practices which insightfully
analyze and react to the problems of one’s own social environment in order to explore and point to the
strong presence of migrational processes, their characteristics, challenges, and new situations evolving from
them. The differences in the approaches of the two exhibitions, motivated either by personal or collective
experience, invisible or global migration, emphasize migrational processes and significance of the openness and
internationalization of society.

Vessna Perunovich

(W)hole, House of Exile
2002–2016.
video instalacija | video installation
Kolekcija MSUV | MoCAV Collection

Sanja Kojić Mladenov :: Migration As A Necessity 31

32

IZLOŽBA I EXHIBITION

MIG 21

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AES+F

AES+F (RU)
Inverso Mundus
2015.
jednokanalna HD video instalacija, 38’ | 1-channel HD video installation, 38’

34

AES+F (RU)

Inverso Mundus
2015.
jednokanalna HD video instalacija, 38’ | 1-channel HD video installation, 38’

35

AES+F (RU)
Islamski projekat | Islamic Project
1996–2003.
digitalni kolaž, print na sjajnoj foliji, laminacija, papir
mache na foreksu | digital collage, print on glossy foil,
lamination, paper mache on Forex
Pariz, Notr Dam | Paris, Notre Dame
Moskva, Crveni Trg | Moscow, Red Square
Njujork, Liberti ajland | Liberty Island, New York City
Rim, Trg Svetog Petra | Rome, St. Peter Square
Berlin, Rajhstag | Berlin, Reichstag

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antiatlas of Borders

antiAtlas granica | antiAtlas of borders | L’antiAtlas des frontières (FR)
Isabelle Arvers
Herojski kreatori vs. herojska zemlja | Heroic Makers vs. Heroic Land
2016.
mašinima video | video machinimas

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Žarko Bašeski

38

Žarko Bašeski (MK) Žarko Bašeski (MK)

Jezekilj David
2012. 2012.
poliester, silikon, prirodne vlasi kose | poliester, silikon, prirodne vlasi kose |
polyester, silicone, natural hair polyester, silicone, natural hair

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Mirsad BegiĆ

Mirsad Begić (SI)
Veliki čuvar | The Great Gatekeeper
2015.
instalacija | installation

40

Marko Brecelj

Marko Brecelj (SI)
Žicanje sa žarom | Grill Scrounging
2016.
performans na otvaranju izložbe (27. oktobar 2017) | performance at the exhibition opening (October 27, 2017)

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Bureau d’Études

Bureau d’études (FR)
Svetska vlada | World Government
štampa na mat foliji | print on matte foil

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Julijana BožiČ

Julijana Božič (SI)
Hipokrite | Hypocrites
2010.
olovka i akvarel na papiru | pencil and watercolor on paper

43

Matej Čepin

Matej Čepin (SI)
Putovanje | Voyage
2016.
akril i ulje na platnu | acrylic and oil on canvas

44

Ksenija ČerČe

Ksenija Čerče (SI)
Beketovo čelo | Beckett’s Forehead
2011–2015.
zabranjena tehnika | forbidden techniques

45

Tina Dobrajc

Tina Dobrajc (SI)
Ov(c)a | She(ep)
2014.
akril na platnu | acrylic on canvas

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Jusuf HadŽifejzoviĆ

Jusuf Hadžifejzović (BA)
Strah od vode za piće | Fear of Drinking Water
1994–2016.
dokumentacija performansa | documentation of performance

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Marko JakŠe

Marko Jakše (SI)
Otrovna nevesta | Toxic Bride
1998–∞
kombinovana tehnika na juti | mixed techniques on jute

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Jovan Joca Jovanović i Stanoje Čebić

Jovan Joca Jovanović, Stanoje Čebić (RS)

KOLT 15 GAP
Skupljam otpatke, ližem tanjire, 15 godina, aktivno – pasivno | Collecting Rubbish, Licking Plates, 15 Years, Active – Passive
1971.
Dokumentarni igrani film, 24’ | Documentary feature film, 24’
Režija | Directed by: Jovan Joca Jovanović
Scenario | Screenplay: Miodrag Milošević
Glavna uloga | Lead role: Stanoje Ćebić

49