Risk Change 01

Adela Jušić i Andreja DugandŽić

Adela Jušić & Andreja Dugandžić (BA)
Ilegalno | Illegal
2015.
instalacija sa vezom | embroidery installation
Posebna zahvalnost: Sadžida Jušić, Azra Bašović, Fata
Osmanović, Vanesa Vasić-Janeković, Lala Raščić
| Special thanks to: Sadžida Jušić, Azra Bašović, Fata
Osmanović, Vanesa Vasić-Janeković, Lala Raščić

50

Stojan Kerbler

Stojan Kerbler (SI)
Haložani | The People of Haloze
1973–1988.
serija fotografija | series of photographs

51

Aleksij Kobal

Aleksij Kobal (SI)
Ujedinjene države | United States
2015.
akril, ulje na platnu | acrylic, oil on canvas

52

Herlinde Koelbl

Herlinde Koelbl (DE)
Italija - Katanija | Italy – Catania
2016.
fotografija iz serije Izbeglice | photo from the Refugees series

53

Oleg Kulik

Oleg Kulik (RU)
Dan raspeća | Crucifixion Day
Noć raspeća | Crucifixion nNight
2005.
štampa na sjajnoj foliji, laminacija, papier mâché na foreksu | print
on glossy foil, lamination, papier mâché on Forex

54

Oleg Kulik (RU)

Lolita vs. Alice
1999–2000.
štampa na sjajnoj foliji, laminacija, papier mâché na foreksu | print on
glossy foil, lamination, papier mâché on Forex

55

Oleg Kulik - performance

Oleg Kulik (RU)
Performans Fontana | Fountain Performance
učesnice performansa | performance participants: Evgeniya Kudelina, DaNS ansambl
Sokolskog društva Vojvodine: Mia Inić, Tanja Štricki, Jelena Severova, Vanja Nadežden,
Milica Šponja
stručna podrška | professional support: Tatjana Grujić
audio-vizuelna podrška | audio-visual support: Line audio Novi Sad, sound performans:
Miloš Jovanović, Simon Macuh
video: Alfa video, montažerka | editor: Bojana Starčević
koordinacija | coordination: Tijana Filipov, Svetlana Mladenov
27.10. 2017. | 20h

56

57

Zbigniew Libera

Zbigniew Libera (PL)
Oslobođenje (Bušov san) | Liberation (Bush’s Dream)
2003.
fotografija | photograph
serija prikazanih fotografija, objavljena u nedeljnom magazinu Przekroj (13. april, 2003)
series of staged photographs, published in Przekroj weekly magazine (April 13th, 2003)

58

Vessna Perunovich

Vessna Perunovich (RS/CA)
Rat je završen, rat nikada nije završen | War is Over, War is Never Over
2010-2016.
instalacija, bela kreda, crna zidna boja, paus, američki patronažni krevet iz 1944, klupica |
installation - white chalk, black wall color, pause, american mobile bed from 1944, bench

59

Ale de la Puente

Ale de la Puente (MX)
Nuklearne kartografije | Nuclear Cartographies
2014.
video instalacija | video installation
9’16’’ četvorokanalan zvuk | 9’16’’ four channel audio

60

RIGUSRS

RIGUSRS | RIGASRS (SI)
Slovenski mediteranski metar | Slovene Mediterranean Meter
1997.
štampa na mat nalepnici | print on matte adhesive sheet
Istraživački institut geoinformacione statistike Republike Slovenije (RIGASRS)
bio je aktivan 1997. godine. Saradnici Instituta: Vuk Ćosić, Irena Voelle, Alenka
Pirman | Research Institute of Geo-Artistic Statistics of the Republic of Slovenia
(RIGASRS) was active in 1997. Collaborators of the Institute: Vuk Ćosić, Irena
Woelle, Alenka Pirman

61

JoŽe SlaČek- Naključje 7

Jože Slaček - Naključje 7 (SI)
Platforma za pričanje priča | Storytelling Platform
2014–16.
priče o migrantima koji žive u Mariboru | stories of immigrants living in Maribor

62

Zora StanČič

Zora Stančič (SI)
Marama | Headscarf
2016.
štampani tekstil | printed textile

63

Mladen Stilinović

Mladen Stilinović (HR)
Umetnik opet na poslu | Artist at Work Again
fotografije u boji | colour photos

64

Mladen Stilinović (HR)

Srebrenica
fotografije u boji | colour photos

65

Dragoljub RaŠa Todosijević

Dragoljub Raša Todosijević (RS)
Hvala | Danke | Thank You
2016.
štampa na mat foliji, laminacija, papier mâché na foreksu (3mm) | print on matte foil, lamination,
papier mâché on Forex (3 mm)

66

Dragoljub Raša Todosijević (RS)
Uprkos | In Spite of
2004.
štampa na mat foliji, laminacija, papier mâché na foreksu (3mm) |
print on matte foil, lamination, papier mâché on Forex (3 mm)

67

Dragan VojvodiĆ

Dragan Vojvodić (RS)
Neprilagođeni | Misfits
2015.
instalacija | installation
Vlasništvo MSUV | Property of MoCAV

68

Tanja VujinoviĆ

Tanja Vujinović (RS/SI)
Univerzalni objekat: Park 2 | Universal Objects: Park2 
2016.
interaktivan 3D rad, instalacija | interactive 3D work, installation
Produkcija | Production: Ultramono

69

UroŠ Weinberger

Uroš Weinberger (SI)
Samo određeni mogu da hodaju po nafti | Only Few Can Walk on Oil
2013.
ulje na platnu | oil on canvas

70

Brigitta Zics

Brigitta Zics (UK/HU)
Automat za igre na sreću | Chance Machine
2016.
Pametna pačinko mašina | intelligent pachinko maschine

71

SrĐan ŽivuloviĆ

Srdjan Živulović (SI)
Nedovršena priča | Unfinished Story
2015.
fotografija | photograph

72

SAMOSTALNE IZLOŽBE
SOLO EXHIBITIONS

73

Róza EL-Hassan

Barnabás Bencsik Róza El-Hasan occupies one of the most exciting
art positions on the current East-Central European
Róza El-Hasan zauzima jednu od najuzbudljivijih contemporary art scene. Drawings, and architectural
umetničkih pozicija na sadašnjoj istočno-centralno sketches, which relate visionary and Utopian ideas
evropskoj savremenoj umetničkoj sceni. Crteži, about the notion of home, as well as installations which
arhitektonske skice koje prenose vizionarske i utopijske she has created in the past several years, represent
ideje o pojmu doma, kao i instalacije koje je stvarala relevant examples of responsible thinking in the context
poslednjih godina, su relevantni primeri načina of global mass migrations, influence of the Middle
odgovornog razmišljanja u kontekstu globalnih masovnih
migracija, uticaja ekološke katastrofe na Srednjem istoku

74

i potrebe da se poboljša i širi ideja održive prakse jeftinog, East environmental crisis, and the need to improve and
takozvanog „eko-dizajna“. Njena umetnička aktivnost expand the idea of sustainable practice of affordable, so-
uključuju direktni angažman u lokalnim ugroženim called “ecodesign.” Her artistic activity includes direct
zajednicama u unutrašnjosti Mađarske kako bi istražila involvement with local vulnerable communities in the rural
i ugradila tradicionalno i arhaično kreativno znanje u Hungary for the purpose of exploring and incorporating
savremeni način razmišljanja, te pokušala da ustanovi traditional and archaic creative knowledge into
ekonomski model zasnovan na specifičnim veštinama contemporary way of thinking, and attempting to esstablish
poput pletenja pruća. Poslednjih godina Róza El-Hasan economic model based on specific skills, like weaving
je širom Evrope napravila nekoliko izložbi zasnovanih whicker. In the last years, Róza El-Hasan has realized
na ideji „Arhitekture saosećanja“, a koje se bave temama several exhibitions throughout Europe based on the idea of
umetničkog aktivizma, solidarnosti i ekološkog dizajna, “Architecture of Compassion,” dealing with subjects of art
što su takođe ključne reči koje se mogu koristiti i da opišu activism, solidarity, and environmental design, which are
raznoliku i opsesivnu aktivnost ove umetnice danas. also key words that describe diverse and obsessive activity
of this artist today.
Naziv njene prve samostalne izložbe u Novom Sadu odnosi
se na duboko verovanje umetnice u važnost posmatranja The title of her first individual exhibit in Novi Sad relates
prirode kako bi se steklo osnovno znanje o ljudskom to a deep belief of the artist in the importance of observing
postojanju, proučavala logika ponašanja životinja i nature in order to gain basic knowledge about human
njihove strategije opstanka, te kako bi se one koristile kao existence, study the logic of animal behavior and their
neiscrpni izvor pronalaženja novih ideja za preispitivanje strategies of survival, and use them as inexhaustible source
globalnih izazova. U sredini izložbenog prostora ona gradi of finding new ideas for re-examining global challenges.
arhitektonsku konstrukciju sačinjenu od tradicionalnog She built an architectural construction in the middle of
lokalnog organskog materijala, trske, pruća i blata, a koja the exhibition space, made of traditional local organic
će referisati na njene crteže kroz koje propituje naizgled materials - cane, whicker, and mud - which refers to her
haotične strukture ptičijih gnezda, funkcionalnih objekata drawings analyzing seemingly chaotic structure of bird
koje su napravile životinje, ali koji su istovremeno duhovni nests - functional objects made by animals, but which
reprezenti različitih psiholoških stanja. Ovom izložbom are at the same time spiritual representatives of different
Róza El-Hasan uspostavlja vezu između njene ranije psychological states. With this exhibit, Róza El-Hasan
prakse stvaranja in-situ zidnih crteža velikog formata i established the connection between her earlier practice of
kompleksnih organskih struktura, i njenih društveno creating in-situ large format wall drawings and complex
angažovanih arhitektonskih eksperimenata, kako bi organic structures, and her socially engaged architectural
pronašla promenljivu harmoniju koja proizlazi iz estetskih experiments, in order to find dynamic harmony stemming
i funkcionalnih vrednosti drevne sirijske i modernističke from aesthetic and functional values of ancient Syrian and
arhitekture. modernist architecture.

75

Sanja Kojić Mladenov

Róza EL-Hasan: KAO PTICE LIKE BIRDS

U okviru međunarodnog projekta Rizikuj promenu (Risk As part of the international project Risk Change, Museum
Change) u Muzeju savremene umetnosti Vojvodine u of Contemporary Art Vojvodina in Novi Sad is hosting
Novom Sadu otvorena je izložba jedne od najrelevantnijih an exhibit by one of the most relevant characters in the
ličnosti istočno – centralno evropske savremene Eastern-Central European contemporary art scene, Róza
umetničke scene Roze El-Hasan (Róza EL-Hassan). Ova El-Hassan. With her objects, drawings, sketches, and
mađarsko-sirijska umetnica svojim objektima, crtežima, especially in situ installations, this artist of Hungarian and
skicama, a naročito in situ instalacijama, istražuje Syrian background researches the notion of home in the
pojam doma u kontekstu globalnih migracija i ekološke context of global migrations and environmental disaster
katastrofe na Srednjem istoku kroz umetnički aktivizam, in the Middle East through artistic activism, solidarity,
solidarnost i vizonarsko – utopističke ideje o humanom and visionary-Utopian idea of humane environmental
eko-dizajnu, te povratku prirodi. design, and return to nature.

Međunarodnu karijeru je započela 1993. kada je bila She began her international career in 1993 when she was
pozvana da izloži svoju konceptualnu skulpturu na invited to exhibit her conceptual sculpture at the 45th
45. Venecijanskom bijenalu Aperto ’93. godine, nakon Venice Biennale Aperto ‘93 after which she held individual
čega je imala samostalne i grupne izložbe u nekim od and group exhibitions in some of the most prominent
najistaknutijih izložbenih prostora svetske umetničke exhibitional spaces in Budapest, Graz, Vienna, Basel,
scene u Budimpešti, Gracu, Beču, Bazelu, Štokholmu, Stockholm, Antverpen, Chicago, and New York. She also
Antverpenu, Čikagu i Njujorku. Učestvovala je na participated in various biennale events, such as Gwangju
bijenalnim manifestacijama kao što su: Kuanđu bijenale Biennial in South Korea, Manifesta 1. in Roterdam, Sao
u Južnoj Koreji, Manifesta 1. u Roterdamu, Bijenale Paolo Biennial in Brasil, as well as in the Hungarian
Sao Paolo u Brazilu, kao i u paviljonu Mađarske na Pavilion at the Venice Biennale.
Venecijanskom bijenalu.
During the 1990s, she followed what was going on in
Tokom 90-ih godina 20. veka je pratila dešavanja u Yugoslavia and maintained contacts with individual
Jugoslaviji i imala kontakte sa pojedinim umetnicima artists and curators in Serbia. In addition, she realized
i kustosima iz Srbije. Takođe, realizovala je projekte sa projects with Belgrade artists Milica Tomić.
beogradskom umetnicom Milicom Tomić.

76

Koliko je doživljaj rata i migracija uticao na Vaše To what extent have wars and migrations influenced your
umetničko iskustvo? artistic experience?

REH: “Prva osoba koja je duboko uticala na moj rad REH: “The first person to dramatically influence my work
bila je Frida Kalo, kada mi je bilo 14 godina. Tada sam was Frida Khalo, when I was 14. It was then that I first
prvi put doživela umetnost. Što je bilo blisko životu i experienced art, which was close to life and existential
egzistencijalnom iskustvu. Kasnije, 1998, tokom Bijenala experience. Later, in 1998, during biennale in Sao Paolo,
u Sao Paolu, upoznala sam Milicu Tomić. Njen način I met Milica Tomić. Her manner of analytical thinking
analitičkog mišljenja imao je važan uticaj na mene. had a significant influence on me. She has always been
Ona se uvek, na vrlo hrabar način, zauzima za ljudska a staunch and brave advocate for human rights and was
prava i bila je jedna od vodećih figura koje su započele one of the leading figures to start an informal network
neformalnu mrežu povezivanja umetnika iz najudaljenijih of connecting artists from the furthermost parts of
delova bivše Jugoslavije i okolnih zemalja. Po njenom former Yugoslavia and surrounding countries. It was her
pozivu posetila sam Beograd 1999. nekoliko puta. U invitation that brought me to Belgrade in 1999 several
početku smo održavale izložbe i razgovore u kafeima i po times. In he beginning, we held exhibits and talks in

77

privatnim kućama. Kasnije je nastala izložba Konverzacija cafes and private houses. This later led to an exhibition
(2001) u MSUB, kustosa Branislave Anđelković i Branka Conversation (2001) at MSUB, curated by Branislava
Dimitrijevića, koja je pokazala snagu neformalnih mreža Anđelković and Branko Dimitrijević, who demonstrated
i prijateljstvo mnogih umetnika koji su se protivili ratnoj the strength of informal networks and friendship of
propagandi. many artists who opposed war mongering.

Osim političkog rada, postojao je još jedan, filozofski, Apart from political engagement, there existed another,
aspekt naše saradnje koji teško da mogu analizirati i do philosophical, aspect of our cooperation, which is
danas. Tokom pada državnog socijalizma u Mađarskoj difficult for me to analyze to this day. During the fall of
1989. – mnogi od nas umetnika bili su duboko uključeni u state socialism in Hungary in 1989, many of us artists
studentsku revoluciju, ali nije bilo spektakularne promene were deeply involved in student revolution, but there
u umetnosti – ili mi umetnici mislimo da je bilo, ali was no spectacular change in art - or rather, we thought
najbolji istoričari i kritičari su nas kritikovali zbog naših there was, even though most prominent historians and
prilično tihih kontemplativnih radova u vreme revolucije, critics criticized us for our rather quiet contemplative
pitajući zašto umetnost izgleda kao koncept arte povere works during the revolution, asking why art seemed like
ili kao rana forma relacione estetike umesto da bude a concept of arte povera or an early version of relational
dekonstrukcija simbola socijalističkog državnog režima aesthetics, instead of being deconstruction of symbols
ili uključenost u identitetsku politiku. Moji radovi, kao of socialist state regime or involvement in identity
što je Spektrum (Kamen sa obojenim iglama), Razapeta politics. My works, such as Spectrum (Stone with Colored
stolica ili Vrata, nisu izgledali kao objekti koji imaju veze Needles), Crucified Chair or The Doors, did not look like
sa ljudskim pravima ili društvenim angažmanom. objects which had something to do with human rights or
social engagement.
Milica mi je pomogla da otvorim novi svet lakanovske
i političke teorije, koji je bio tako snažan među Milica helped me open up a new world of Lacanian
intelektualcima u Srbiji. U Budimpešti je etnički ili and political theory, so strong among intelectuals in
identitetski konflikt bio nešto što se treba rešavati u Serbia. In Budapest, ethnic and identity conflict were
privatnosti. Ja sam mislila da to nije javno pitanje. something to be resolved privately. I thought it wasn’t a
Takva je bila praksa u mom multikulturnom sirijsko- public issue. That was the practice in my multicultural,
mađarskom, porodičnom poreklu, moj lični integritet. Syrian-Hungarian family, a part of my personal integrity.
Ćutanje je bilo tokom promene sistema u Mađarskoj, During the change of systems in Hungary, silence was,
i još uvek je, tradicija u društvu. Do fatalnih grešaka i and still is, a traditional social value. Fatal mistakes
smrti nevinih ljudi može dovesti ako se religiozni, etnički and death of innocent people happen when religious,
i rodni identitet suzbijaju, tretiraju samo kao privatno ethnic, and gender identities are supressed, treated only
pitanje i kao pitanje koje nije predmet umetničkog i ne- as intimate, private issues, and as a question which is
nasilnog diskursa. Moramo podići glas kada nedužni not a subject of artistic and non-violent discourse. We
pate i kada su drugi umetnici ili pristalice ljudskih prava must raise our voices when the innocent suffer and when
zarobljenici savesti. Postaje sve teže i teže na tekućoj other artists and human rights advocates are prisoners
medijskoj sceni.“

78 Róza EL-Hasan :: KAO PTICE

Roza EL-Hasan je poslednjih godina širom Evrope of conscience. It is becoming increasingly difficult on the
napravila nekoliko projekata zasnovanih na ideji contemporary media scene.”
„Arhitekture saosećanja“, koju je nastavila izložbom
u Novom Sadu, čiji kustosi su Sanja Kojić Mladenov i Róza El-Hassan has realized several projects throughout
Barnabaš Benšik. Koncept „Kao ptice“ ukazuje na važnost Europe in the past several years based on the idea of
posmatranja prirodnog okruženja i njegovih zakonitosti, “Architecture of Compassion,” which she continued
naročito logike ponašanja životinja i instiktivne strategije with the exhibit in Novi Sad, curated by Sanja Kojić
opstanka, kako bi se pronašli savremeni načini za Mladenov and Barnabaš Benšik. The concept “Like
prevazilaženje novih globalnih izazova nametnutih Birds” points to the significance of observing one’s
ekonomskim i geo-političkim promenama. Kroz natural environment and its rules, especially logics of
korišćenje istorijskih tehnika, lokalnog organskog animal behavior and instinctive strategy of survival,
materijala (trska, pruće, blato) i strukture ptičjeg gnezda, in order to find contemporary ways for overcoming
gradi arhitektonsku konstrukciju – privremeno sklonište, new global challenges imposed by economic and geo-
kao duhovni reprezent pojma kuće, odnosno utopistički political changes. Through utilization of historical
predlog mogućeg ognjišta (doma) u nehumanim uslovima techniques, local organic materials (cane, whicker, mud)
izbegličkih kampova. and structure of a bird’s nest, she built an architectural
construction - temporary shelter, as a spiritual
Koliko se koncept izložbe odnosi na trenutne događaje representation of the notion of home, that is, a Utopian
proposition for a possible hearth (home) in inhumane
u Siriji i koliko nosi univerzalnu poruku kretanja kao conditions of refugee camps.

prirodnog instinkta i građenja prirodnog habitata/doma To what extent does the exhibition concept relate to

kao unutrašnje potrebe? current events in Syria, and does it carry a universal

REH: „Ovi novi radovi su intuitivni: skloništa napravljena message of movement as a natural instinct and building
od zemlje, nalik sirijskim zemljanim kolibama. Bilo
je toliko patnji među sirijskom populacijom i toliko the natural habitat as an internal necessity?
sukoba, da je zamisao o zaštićenom prostoru bila jedino
podnošljiva. Započela sam serijom crteža na temu kupola. REH: “These new works are intuitive: shelters made of
Nešto kružno i u harmoniji sa prirodom i kosmosom da earth, much like Syrian earth cottages. There was so
nas mentalno zaštiti i pruži utočište ljudima u nevolji much suffering among the Syrian population and so
koji su tokom zime 2012. živeli u hladnim šatorima usred much conflict, that the idea of protected space was the
leda i snega, a topli i jeftini materijal, kao što su osušene only one imaginable. I started with a series of drawings
zemljane cigle je bio dostupan. Zašto ne zidati od njih? on the subject of domes. Something round and in
harmony with nature and universe to give us mental
Vaše pitanje, bilo da se odnosi na lokalnu situaciju u Siriji protection and offer refuge to people in distress who
ili ima univerzalnu poruku je veoma zanimljivo. Moram lived in cold tents in the middle of winter of 2012, while
da priznam da sam ono što se događalo u Siriji doživela warm and cheap materials, such as dry clay bricks, were
kao univerzalnu ljudsku katastrofu. Istorija pokreta za readily available. Why not build with those?
nenasilnu društvenu promenu koji je izmanipulisan i

Róza EL-Hasan :: LIKE BIRDS 79

80

81

doveo do stradanja. Maštala sam o ponovnoj izgradnji Your question, regardless of whether it applies to a local
zemlje drevnim prirodnim materijalima, kombinovanim situation in Syria or carries a universal message, is very
sa visokim tehnologijama. Istovremeno, mnoga pozitivna interesting. I have to admit that I experienced what had
znanja dolaze iz širokog regiona Bliskog istoka u Evropu, happened in Syria as a universal human catastrophy - the
koja takođe imaju univerzalni efekat. history of the movement for non-violent social change,
which was manipulated and then led to suffering. I
Rad u Novom Sadu, kućica za ptice, je nov. Ranije, dreamed of rebuilding the country with ancient natural
2008, uradila sam opširno istraživanje u mađarskim materials, combined with high technologies. At the same
ruralnim oblastima – uglavnom romskim selima, o time, many positive skills come from the region of the
upotrebi prirodnih materijala, pruća, o pletenju korpi: Middle East, and this also carries a universal effect.
vrba, kesten, rogoz, običan rogoz, kukuruz, raž-slama,
pšenična slama, kora lešnika, crna vrba – čestim The artwork in Novi Sad, the bird house, is new. Earlier,
ostacima u šumarskoj/drvnoj privredi ili poljoprivredi. in 2008, I completed an extensive research in Hungary’s
Svi mogu biti upotrebljeni da se naprave objekti ili rural areas - mostly villages with Roma population -
kuće – gradeći kao što ptice grade. Mogu se napraviti about the usage of natural materials, whicker, about
i haj-tek predmeti, zaštitne torbe za lap-top računare i weaving baskets: willow, chestnut, rush, plain rush, corn,
foto-aparate. Korišćenje lokalnih materijala i lokalne rye-straw, wheat straw, hazelnut crust, osier - which
tradicije je takođe bilo izražavanje identiteta, vrednosti i frequently constitute leftovers in the wood/timber
prirodni inter-kulturni dijalog bez političke propagande. industry or agriculture. All of them can be used for
Za potrebe novog projekta smo Muzej i ja napravili constructing objects or houses - imitating birds. Other
istraživanje šumskih kuća u Vojvodini i Srbiji. Stvari koje things and high-tech objects, such as lap top and camera
se brzo grade od dostupnog materijala bez dodavanja cases, can also be made. Using local materials and local
betona ili bilo čega što je napravljeno trošenjem energije tradition also represented expression of identity, values,
iz fosilnih izvora. Ipak, ptica je proširena metafora za and constituted inter-cultural dialogue without political
slobodu, slobodan govor i muziku. Dok sam pripremala propaganda. For the needs of the new project, the
ovu izložbu, slušala sam divnu flautu Papagenja. Ima Museum [of Contemporary Art Vojvodina, translator’s
toliko nepravde i represije. Kada ćemo zapevati i izdići note] and I conducted a research of sylvan houses in
glas i kada ćemo zaćutati kako bi izbegli ratove ili Vojvodina and Serbia. Things that can be built quickly
instrumentalizaciju emocija u svrhu izazivanja konflikta?“ without adding concrete or anything else made from
fossil fuels. Nevertheless, a bird is an extended metaphor
Roza El-Hasan je deo detinjstva provela u Siriji, zatim je for freedom, free speech, and music. While preparing for
živela u Nemačkoj i Mađarskoj, gde i danas živi i radi, uz this exhibition, I listened to a wonderful Papageno flute.
stalno kretanje zbog mnogih umetničkih projekata. There is so much injustice and repression. When are we
going to sing and raise our voices and when are we going
U svojim radovima istražujete socijalni dizajn i ekološku to fall silent in order to avoid wars or instrumentalization
of emotions for the purpose of inciting conflict?”
arhitekturu, privremena staništa (skloništa) za ljude bez

doma i koncepte zaklona u hitnim situacijama na Mesecu,

kroz istorijske primere kuća napravljenih od prirodnih “in-

82 Róza EL-Hasan :: KAO PTICE

situ” materijala, kao i utopističke ideje o arhitekturi koja Róza El-Hassan spent her childhood in Syria, then lived
naglašava bliskosti prirode i čoveka. I sami ste se više puta in Germany and Hungary, where she lives and works
selili i menjali mesto boravka. Da li možete da definišete today, with constant moving around due to her many art
gde je Vaš dom i koliko je ideja doma važna za Vašu projects.
umetničku praksu?
In your work, you explore social design and
REH: „Dom je uglavnom definisan ljudima koji su mi environmental architecture, temporary habitats
bliski, a ne lokacijom ili državom. Ovo često dovodi (refuges) for people without homes and concepts of
do emocionalne zavisnosti. Ovo je često izvor mojim shelter in emergency situations on the Moon, through
crtežima i figurativnim skulpturama. Možda je u ovim historical examples of houses made of natural “in situ”
vremenima dobro razviti emocionalnu zavisnost od materials, as well as a Utopian idea of architecture which
prijatelja, partnera, porodice, kolega, ljudi koji imaju iste emphasizes connection between nature and human
probleme, umesto zavisnosti od pripadanja naciji, državi beings. You moved and changed your place of residence
ili otadžbini. many times. Can you define where your home is and to
what extent is the idea of home important to your art
Naselje na Mesecu možda je funkcionalna utopija, ali practice?
je istovremeno metafora zvezda i Meseca iznad nas,
potekla iz Rumi literature. Arhitekta Nader Khalili, koji REH: “The home is mostly defined by people who are
je dizajnirao prve naseobine za Mesec kao Super-Adobe close to me, not a location or a country. This frequently
konstrukcije, bio je prevodilac Rumi literature. Nema više leads to emotional dependency. And this is frequently
potrebe deliti funkcionalnost od poezije.“ the source of my drawings and figurative sculptures.
Developing dependency on your friends, partner, family,
colleagues, people with similar problems, instead of
developing dependency on belonging to a nation, state,
or home country might be a good thing nowadays.

Settlement on the Moon may be a functional Utopia,
but at the same time represents a metaphor for the stars
and the Moon above us, coming from Rumi literature.
Architect Nader Khalili, who designed first Moon
settlements as Super-Adobe structures, was also a
translator of Rumi literature. There is no longer the need
to separate functionality from poetry.”

Róza EL-Hasan :: LIKE BIRDS 83

Igor BoŠnjak

84

Napravio sam veliku, ogromnu sliku Evrope, dobro, ne I made a big, huge painting of Europe, well not Europe but
Evrope, već nečeg sličnog. U stvari, to jeste mapa Evrope, something similiar. In fact it is European map, but very
ali vrlo čudna i neprijatna. To je reljefna mapa, veličine strange and awkward. It is relief map, size about 3,7 x 5
3,7 x 5 metara, gde je Evropa predstavljena kao potpuno meters, where Europe is represent as an island completely
izolovano ostrvo. Kasnije, iznad te mape, snimio sam isolated. Later, above that map I shoot a movie. It is film
film. Film je o tome kako Evropa danas postaje nešto about how Europe nowadays becoming something else...
drugo… Ovaj video prikazuje Evropu kao samodovoljni This video shows Europe as a self-sufficient form of
oblik postojanja, kao ostrvo EUtopiju koje će uskoro excistence, as an Eutopia island which will soon become
postati region samoograničavanja u psihološkom self-containment region in psychological way. Something
smislu. Ima nešto vrlo uznemirujuće u tome kako danas is very disturbing, about how we perceive Europe today.
doživljavamo Evropu. Ovaj video je moja projekcija ideje This video is my projection of idea of Europe. In text
Evrope. Ispod, u tekstu koristim misli Slavoja Žižeka o below I use a lot of Slavoj Zizek thoughts on Europe
Evropi danas. Dvadeseti vek je prošao. Totalitarni režim nowadays. The 20th century is over. A totalitarian regime
je dugoročno nesposoban za preživljavanje. Ako želimo is incapable of surviving in the long run. If we want to
da održimo sliku o sebi kakvu imamo na Zapadu, onda maintain the image of ourselves we have in the West,
se moramo ponovo pozabaviti ogromnim pitanjem koje then we have to revisit the immense questions relating to
se tiče širenja demokratskih sloboda i proći kroz proces the expansion of democratic freedoms and to the process
samoemancipacije. Baš tu je Evropa najugroženija. Ali, of self-emancipation. It is here where Europe is most
ja sam uveren da nam je Evropa potrebnija nego ikad. threatened. But I am convinced that we need Europe
Zamislite samo svet bez Evrope. Preostala bi vam samo more than ever. Just imagine a world without Europe.
dva pola – SAD, sa svojim brutalnim neoliberalizmom, You would only have two poles left - the USA, with its
i takozvani azijski kapitalizam, sa svojim autoritarnim brutal neoliberalism, and so-called Asian capitalism,
političkim strukturama. Izgubili bismo najvredniji with its authoritarian political structures. You would
deo evropskog nasleđa, gde demokratija i sloboda lose the most valuable part of the European legacy, where
podrazumevaju kolektivnu aktivnost bez koje jednakost democracy and freedom entail a collective action without
i pravednost ne bi bile moguće. Mi se, u Evropi, osećamo which equality and fairness would not be possible. We
previše krivim – naša multikulturna tolerancija proističe feel too guilty in Europe - our multicultural tolerance
iz nečiste savesti, kompleksa krivice koji bi mogao dovesti is the effluent of a bad conscience, of a guilt complex
do propasti Evrope. Najveća pretnja Evropi je njena that could cause Europe to perish. The greatest threat to
inertnost, njeno povlačenje u kulturu apatije i opšteg Europe is its inertia, its retreat into a culture of apathy and
relativizma. Ali, zar se izbeglice koje dolaze u Evropu ne general relativism. But are the refugees entering Europe
nude istovremeno i kao jeftina radna snaga, često na štetu not also offering themselves to become cheap precarious
domaćih radnika koji na ovu pretnju reaguju tako što se workforce, in many cases at the expense of local workers,
pridružuju antiimigrantskim političkim partijama? Za who react to this threat by joining anti-immigrant
većinu izbeglica to će biti realnost ostvarenog sna. Oni political parties? For most of the refugees, this will be the

85

ne beže samo iz svojih ratom razorenih zemalja, već su reality of their dream realized. The refugees are not just
opsednuti i određenim snom. Iznova i iznova to vidimo escaping from their war-torn homelands; they are also
na svojim televizijskim ekranima. Izbeglice u južnoj possessed by a certain dream. We can see again and again
Italiji jasno daju do znanja da ne žele da ostanu u njoj – on our screens. Refugees in southern Italy make it clear
uglavnom žele da žive u skandinavskim zemljama. that they don’t want to stay there - they mostly want to live
in Scandinavian countries.
A šta se dešava sa hiljadama koji kampuju oko Kalea
(Calais), koji nisu zadovoljni Francuskom već su And what about thousands camping around Calais who
spremni da rizikuju svoje živote da bi ušli u Ujedinjeno are not satisfied with France but are ready to risk their
Kraljevstvo? A, šta je sa desetinama hiljada izbeglica lives to enter the United Kingdom? And what about tens
u balkanskim zemljama koje žele da stignu, barem, of thousands of refugees in Balkan + countries who want
do Nemačke? Oni proglašavaju ovaj san za svoje to reach Germany at least? They declare this dream as
neotuđivo pravo i zahtevaju od evropskih vlasti, ne samo their unconditional right, and demand from European
odgovarajuću hranu i medicinsku brigu, već i prevoz authorities not only proper food and medical care but
do željenog mesta. Ima nečeg enigmatično utopijskog u also the transportation to the place of their choice. There
ovom nemogućem zahtevu: kao da je dužnost Evrope da is something enigmatically utopian in this impossible
im ostvari taj san, san koji, uzgred, nije dostupan većini demand: as if it is the duty of Europe to realize their
Evropljana. Koliko ”južnih” ili ”istočnih” Evropljana bi, dream, a dream which, incidentally, is out of reach to
takođe, više volelo da živi u Norveškoj? Ovde se može most of Europeans. How many South and East Europeans
uočiti paradoks utopije: upravo kada ljudi stradaju i nađu would also not prefer to live in Norway? One can observe
se u bedi i u nevolji, a od njih se očekuje da se zadovolje here the paradox of utopia: precisely when people find
minimumom sigurnosti i blagostanja, apsolutna utopija themselves in poverty, distress and danger, and one would
eksplodira. Teška lekcija za izbeglice je to što “nema expect that they would be satisfied by a minimum of
Norveške”, čak ni u Norveškoj. safety and well-being, the absolute utopia explodes. The
hard lesson for the refugees is that “there is no Norway,”
Oni će morati da nauče da cenzurišu svoje snove: umesto even in Norway.
da ih jure u stvarnosti, trebalo bi da se fokusiraju na
promenu realnosti. Tako se mora proširiti perspektiva: They will have to learn to censor their dreams: Instead of
izbeglice su cena globalne ekonomije. U našem globalnom chasing them in reality, they should focus on changing
svetu, proizvodi slobodno kruže, ali ne i ljudi: pojavljuju reality. One must thus broaden the perspective: Refugees
se novi oblici aparthejda ... are the price of global economy. In our global world,
commodities circulate freely, but not people: new forms of
apartheid are emerging...”

86 :: IGOR BOŠNJAK

87

88

Sanja Kojić Mladenov

Projekat EUtopija Igora Bošnjaka bavi se aktuelnom The project EUtopia by Igor Bosnjak deals with current
pozicijom Evrope u kontekstu savremenih ekonomskih position of Europe in the context of contemporary
i geopolitičkih promena izazvanih globalnim economic and geopolitical changes caused by global
migracijama stanovnika Srednjeg istoka. Autor ispituje migrations of Middle Eastern populations. The author
demokratske slobode, multikulturalnu toleranciju i proces examines democratic freedoms, multicultural tolerance,
samoemancipacije, te kritikuje vladajuću kulturnu apatiju and the process of self-emancipation, and criticizes the
i opšti relativizam Starog kontinenta. Analizira utopijsku predominant cultural apathy and general relativism of
poziciju Evope koja za mnoge simbolizuje željeno mesto the Old Continent. He analyzes the utopian position of
života ispunjeno snovima i nadanjima, ali i realnu sliku Europe, which for many symbolizes a desired domicile
koja ukazuje na niz problema sa kojima se, tokom svog filled with hopes and dreams, but also the more realistic
puta, migranti suočavaju. Koncept zasniva na simboličnoj situation pointing to a series of problems facing migrants
slici Evrope, kao izolovanom ostrvu, koji zatim medijski on their travels. He bases his concept on the symbolic
transponuje i usložnjava novim elementima kojima picture of Europe as an isolated island, which he then
gradi specifičnu prostornu video-instalaciju. Evropu transposes and supplements via media with new elements
ironično posmatra kao „samodovoljni oblik postojanja, used to build a characteristic space video-installation.
kao ostrvo EUtopiju, koje će uskoro postati region samo- He ironically views Europe as a “self-sufficient form of
ograničavanja u psihološkom smislu“. existence, as an island EUtopia, which will soon become
the region of self-limitation in the psychological sense.”

89

Katarina ŠeviĆ, Gergely László

Katarina Šević, Gergely László
Nemi služitelj | Stummer Diener
2013.
photo documentation of the
object | fotografija objekta

90

Opomena The Curfew

Katarina Šević i Gergely László (član kolektiva Katarina Šević and Gergely László (member of the
Techica Schweiz) sarađivali su u više navrata. Svoje collective Tehnica Schweiz) have worked together on
projekte realizuju u vidu grupa objekata, propraćenih several occasions. They realize their projects through
performansima u kombinaciji sa tekstom i naracijom. groups of objects, accompanied by performative situations
Pokreću ih dihotomije u savremenom društvu, a njihovi and events, combined usually with text and narration.
umetnički postupci zasnivaju se na složenim procesima They are propelled by the surrounding social dichotomies
u radu i povremenom korišćenju arhivskog materijala. of today, and their artistic methodologies are based on
Zanimaju ih alternativni vidovi razumevanja stvari, complex working processes with the occasional use of
njihovi radovi sadrže kritički i politički potencijal. archived documents. They are interested in alternative
formulas of knowledge and their works carry critical and
U svom radu istražuju načine na koje koegzistiraju political potential.
različiti glasovi, koristeći priče o sukobima između
društva i pojedinca. U svojim performansima In their work they explore how different voices can
eksperimentišu sa stilizovanim formatima, i tradicijama, coexist, using stories of conflicts between society and the
počev od tableux vivantes, preko komedije, antičkih individual. Their performances experiment with stylized
horova, sve do ameaterskih skečeva, u kojima likovi formats using traditions as diverse as tableaux vivants,
preuzimaju simbolične uloge. commedy, ancient chorus, or amateur sketches, in which
characters take symbolic roles.
Uporedo sa istraživanjima i performansima baziranim na
tekstu, oni takođe kreiraju objekte od kojih mnogi mogu Parallel to their research and text-based performances,
da se nose ili koriste na druge načine, tako da funkcionišu they also design and produce objects. Many of these
kao kostimi i rekviziti. Prilikom dizajniranja tih objekata, objects can be worn and used and therefore function as
umetnici koriste formalno kolažiranje, uz kombinovanje costumes and props. In designing these objects the artist
citata iz različitih perioda, estetika i funkcija. use formal collaging, by combining citations of different
periods, aesthetics and functions.
Oboje umetnika izlagali su u inostranstvu na solo i
grupnim izložbama, uključijići: OFF-Biennale Budapest; Both artists exhibited internationally in solo and group
Le 19 CRAC, Monbelliard; acb Gallery, Budapest; Play shows including: OFF-Biennale Budapest; Le 19 CRAC,
Time, Rennes Biennale, Rennes; New Museum, New Monbelliard; acb Gallery, Budapest; Play Time, Rennes
York; Kunsthaus, Dresden; Secession, Vienna; Witte de Biennale, Rennes; New Museum, New York; Kunsthaus,

91

With, Rotterdam; 21er Haus, Vienna; ISCP, New York; Dresden; Secession, Vienna; Witte de With, Rotterdam;
Künstlerhaus Bethanien, Berlin; Apexart, New York. 21er Haus, Vienna; ISCP, New York; Künstlerhaus
(www.katarinasevic.com, www.tehnicaschweiz.com) Bethanien, Berlin; Apexart, New York. (www.
katarinasevic.com, www.tehnicaschweiz.com)
Stummer Diener (2013-2014) je objekat, ali istovremeno i
predmet sa kojim se izvodi kontinualni performativni čin In the exhibition in MSUV they show two projects:
sa sedam učesnika koji čine hor. Hor stoji u krugu oko
objekta i ritualno ponavlja odabrane delove iz izloženih Stummer Diener (2013-2014) is an object and at once
knjiga u obliku upozorenja koja se neprestano ponavljaju. a device for continuous performative acts, with seven
Rad se bazira na drami Maksa Friša iz 1958. Biederman participants forming a chorus. The chorus stand in a circle
und die Brandstifter (Gospodin Bidermajer i piromani). around the object and ritually repeat selected parts from
Preuzeti tekstovi predstavljaju citate iz drame: sedam the exhibited books in form of admonitions in a given
odabranih upozorenja od strane sedmorice vatrogasaca, order, again and again. The piece is based on the 1958
koji sačinjavaju hor sposoban jedino da upućuje drama by Max Frisch, Biedermann und die Brandstifter
upozorenja, ali ne i da ugasi požar. (The Arsonists). The appropriated texts are quotations
from the play: seven chosen admonitions of the firemen, a
Oblik, proporcije, materijal i boja objekta – drugim chorus of seven who expect a disaster to happen and only
rečima dizajn – kao i sam naziv objekta, Stummer Diener have the means to give warnings, but not to extinguish the
(u prevodu nemi služitelj), potiče od vrste nameštaja koji fire.
je postao omiljen u domovima srednje klase koja je bila
u usponu tokom perioda bidermajer. Stummer Diener The form, the proportions, materials and color of the
je podsetnik na stil, oblik života i opšteg raspoloženja, object – in other words design – , as well as the title of this
nastalih zahvaljujući bogatstvu buržoazije za vreme piece, Stummer Diener (translates to mute servant), come
perioda Restauracije pod vlašću Meterniha (1) između from the type of furniture that became popular in homes
1815. godine, koja označava kraj Napoleonskih ratova i of the expanding middle class during the Biedermeier
revolucije iz 1848. Mada se njegovi ekvivalenti mogu naći period. Stummer Diener is a reminder of a style, a form
u Engleskoj, Francuskoj i Skandinaviji, termin bidermajer of life and a general mood that grew out of the wealth of
se posebno koristi za stil korišćen na teritoriji Srednje the bourgeoisie during the process of Restoration under
Evrope, u to vreme pod nemačkim uticajem. Otuda Metternich (1) between 1815, the end of the Napoleonic
predstavlja odliku koja čini identiteski osnov koji i danas war and the revolutions of 1848. Though it had its
povezuje zemlje iz ovog regiona. equivalents in England, France or Scandinavia, the term
Biedermeier is explicitly used for the style of the Central
Rad Stummer Diener citira Friša koji je u svojoj drami European region, under German influence at the time. It
stvorio vanvremensko građansko okruženje u kojem is therefore a feature that is fundamental to the identity
strah od promene, dvoličnost i kratkovidost blokiraju that connects the countries of the region today.
glas razuma. Jedina istorijska referenca koja je skrivena
u naslovu komada Gospodin Bidermajer i piromani The piece, Stummer Diener cites Frisch, who, in his drama,
(2) upućuje na stanje nesvesnosti i pasivnosti među created a timeless middle class setting, within which the

92 Katarina Šević i Gergely László :: Opomena

Katarina Šević , Gergely László
Opomena | The Curfew
performans, 28. oktobar 2017. | performance, 28th October 2017
Fotografije | Photo by: Boglárka Zellei

93

Katarina Šević , Gergely László
Opomena | The Curfew
performans, 28. oktobar 2017. | performance, 28th October 2017
Fotografije | Photo by: Boglárka Zellei

94

vladajućim segmentima društva koje se ispoljava tokom fear of change, hypocrisy and short-sightedness blocks the
bidermajer perioda, stanje koje se neprekidno obnavlja i voice of reason. The only reference to a specific historical
održava u ciklusu revolucija i restauracija sve do današnjih epoch that is hidden in the title of the play Biedermann
dana. Otuda se Stummer Diener može primeniti u bilo und die Brandstifter (2), points our attention to a state of
kom građanskom okruženju, u Berlinu baš kao i u ignorance and passivity amongst the empowered segment
Budmpešti, Beču i Novom Sadu, kao svedočanstvo da se of society that first unfolds during the Biedermeier
era bidermajera nikad nije završila. period, the state continuously renewed and sustained in
the cycle of revolutions and restorations until our days.
„U svojim ranijim radovima Šević i László koristili su Stummer Diener is therefore now applicable in any civic
različite vrste pozornica i načina za izvođenje svojih environment, Berlin as well as Budapest, Vienna or Novi
ranijih radova, ali nikad do sada (Opomena (The Sad, as it is a testimony of the Biedermeier era that never
Curfew / A Csendrendelet), 2017) ulicu. U ovom slučaju ended.
ulica postaje pozornica na kojoj se ponovo izvodi stari
performativni oblik koji vodi poreklo od groteske i “Šević and László have used different kinds of stages
grammelot-a, tako da istorijske reference imaju prevagu and ways of performing in their earlier works, but up
nad estetskim i umetničkim karakterom projekta.” (3) until The Curfew (2017), never the street. Here the street
becomes the stage where a theatrical, performative
Ulično pozorište – performans organizovana na ulicama format originating in the grotesque and the grammelot
Budimpešte (4) – Opomena – predstavlja alternativnu is re-performed, so that those historical references are
formu uličnih demonstracija. Grupa izvođača krstari dominating over the aesthetic and artistic character of the
ulicama Budimpešte. Pred sobom guraju tri metra visok project.” (3)
multiplejerski megafon u obliku jajeta. Zaustavljaju se
na prometnim javnim trgovima i izvode svoj komad The street play – a performance organized on the streets of
horski izgovarajući tekst o preobražaju jedne grupe Budapest (4) – The Curfew is an alternative form of public
čuvara obezbeđenja. U pomoć im pritiče magično jaje u demonstration. A troupe roves the streets of Budapest.
kojem se reči rađaju i pojačavaju. Koristeći se sredstvima They push in front of them a three-meter high egg-
iz različitih tradicija i oblika uličnog teatra, kao što su shaped, multiplayer megaphone. They stop at busy public
groteska i humor, performans teži da veliča slobodu squares to perform their play as a speaking choir about
izražavanja i neustrašivost, dejstvujući protiv opšteg the transfiguration of a group of security guards. They are
raspoloženja političke i građanske frustracije i pasivnosti. helped by the magical talking egg in which the voices are
reborn and amplified. By using tools related to the various
U komadu, grupa obučena u kožne kostime (koji traditions and forms of street-theater, such as grotesque
podsećaju na prsluke čuvara bezbednosti) patroliše and humor, the performance aims to celebrate freedom of
gradskim trgovima, tražeći glasne pojedince (koji nose expression and fearlessness, acting against a general mood
kožne maske) i ućutkava ih grotesknim pokretima of political and civic frustration and passivity.
koji simbolišu moć. Iznenada zapažaju neobičan
predmet višega reda – ogromno Jaje – i postaju svesni In the play a group, dressed in leather costumes
da ono transformiše i pojačava njihove misli i glasove. (resembling security wests), patrols various public squares,

Katarina Šević i Gergely László :: The Curfew 95

Koristeći Jaje oni pričaju priču o svojoj samospoznaji looks for loud individuals (wearing leather masks) and
i transformaciji. “Radi se o onom delu realnosti koja silences each of them in a grotesque manner, symbolizing
može da se ostvari samo u komadu, u bajci, u komediji.” power. Suddenly they notice a strange object of the
(5) U formi govornog hora oni recituju tekst (pesmu) higher order, a huge Egg, and discover it transforms and
koji je specijalno za The Curfew napisao savremeni amplifies their thoughts and voices. Using the Egg, they
pesnik Krisztián Peer. Tekst je aranžirala u obliku fuge tell the story of their self-reflection and transformation.
kompozitorka Dóra Halas, tako da se mnogi slojevi teksta “It is this part of reality, which can only come true in a
izgovaraju paralelnim glasovima. play, in a fairy tale, in a commedia.” (5). Through the form
of a speaking choir they recite the text (poem) written
“The Curfew ima čvrstu koreografiju, jasne istorijske specifically for The Curfew by contemporary poet and
reference na tradiciju komedije del arte, prikazujući writer Krisztián Peer. The text was arranged as a fugue by
tragično u formi komičnog i grotesknog, koristeći topose composer Dóra Halas, so many layers of text are spoken in
“maske” i “kostima,” krećući se od antičkog teatra, preko parallel voices.
renesanse sve do današnjih dana, prikazujući jedan
ikonografski sadržajan motiv – Jaje – u novom obliku , “The Curfew is strictly choreographed, it has clear
novoj formi.” historical references to the tradition of Commedia
dell’arte, showing the tragic in humorous and grotesque
(1) Klemens Menzel von Meternich bio je austrijski diplomata i forms, using the topoi of the “mask” and the “costume”
državnik od 1808 do 1848. Pod njegovim rukovođenjem sprovođen and going back all the way from the theatre of the classical
je Karslbadski dekret (1819) kojim je formulisan program za tradition, through the Renaissance up till today and
gušenje nacionalnih i slobodarskih pokreta na teritoriji Nemačke presenting an iconographically heavily loaded motif – the
konfederacije koja je objedinjavala sve zemlje nemačkog govornog Egg – in a new shape and a new form.”
područja, a koja se danas označava kao Centralna Evropa.
(1) Klemens Menzel von Metternich was the Austrian Minister
(2) Nemačka reč bider (bieder) je pridev koji se uglavnom koristio of Foreing Affairs between 1808 and 1848. Under his supervision
tokom 19. veka da označi plebejski i dosadni život niže srednje the Decree of Karlsbad (1819) was conducted that formulated a
klase. program to control movements of nationalism and liberalism in
the territories of the German Confederation (Deutsche Bund), a
(3) Kata Krasznohorkai, Marching on the streets is saying it – only confederation of German speaking countries that encompassed a
louder! Archive Journal, January-February 2018, Archive Kabinett, territory we may today refer to as Central Europe.
Berlin.
(2) The word bieder is a German adjective (that was used mostly
(4) Projekat je realizovan u Budimpešti u okviru programa OFF- during the 19th century), mocking the common and boring life of
Biennale Budapest, 2017. the petite bourgeoisie.

(5) Kata Krasznohorkai, op. cit. (3) Kata Krasznahorkai, Marching on the streets is saying it – only
louder!, Archive Journal, January-February 2018, Archive Kabinett,
Berlin

(4) The project was realized in the framework of OFF-Biennale
Budapest in the autumn of 2017.

(5) Kata Krasznahorkai, op. cit.

96 Katarina Šević i Gergely László :: Opomena

PREDAVANJA
LECTURES

97

DRAGOLJUB RaŠa TodosijeviĆ

98

UMETNIK U PRVOM LICU From the Artist’s Perspective

KRATKA I ULEPŠANA SHORT AND
VERZIJA MOG EMBELLISHED
MIZERNOG ŽIVOTA U VERSION OF MY
BEOGRADU MISERABLE LIFE IN
BELGRADE

Rođen sam drugog septembra 1945. godine u Beogradu, I was born on September 2nd 1945 in Belgrade in the
u ulici Narodnog Fronta; ta se ulica pre Drugog svetskog Narodnog fronta Street; this street used to be called
rata zvala ulica kraljice Natalije. Prvo smo – moji Kraljice Natalije (Queen Natalia) Street before the Second
čestiti roditelji i ja stanovali u Rumunskoj ulici (kasnije World War. First, we – my good parents and I used to live
Užička ulica), gore na Dedinju. Posle smo se, ko zna in Rumunska Street (later Užička Street) up in Dedinje.
zašto, preselili u Šajkašku ulicu br. 17. To vam je dole Later, who knows why, we moved to Šajkaška Street
kraj železničke stanice Dunav. Kada su gradske vlasti iz No. 17. It is down there near the Railway Station Dunav
neobjašnjivih razloga srušile to lepo zdanje u francuskom (Danube). When the city authorities, for inexplicable
stilu preselili smo se u Cvijićevu br. 115, blizu Novog reasons, demolished this beautiful French-style building,
Groblja. Posle nekih desetak a možda i koju godinu više we moved to Cvijićeva No. 115, near Novo Groblje (New
otišli smo na periferiju grada, bogu-iza-nogu, u Jablaničku Cemetery). After about ten years, maybe even a year
ulicu. Mnogo kasnije smo konačno dobili svoj stan, or two more, we went to the outskirts of the city, to the
sobičak slobode, na Senjaku, u Prahovskoj ulici, tačnije, u godforsaken, Jablanička Street. Much later, we finally, got
bivšem Američkom sokačetu. Kada su Marinelini roditelji our own flat, a room of freedom, on Senjak, in Prahovska
napustili ovaj svet skrasili smo se u centru grada u ulicu Street or, more precisely, the former American alley. When
Generala Ždanova, koja je pre neku godinu ponovo dobila Marinela’s parents left this world, we finally settled down
svoj stari, predratni naziv: Resavska. in the centre of town, in Generala Ždanova Street, which,
some years ago, got its old, pre-war name: Resavska.
Prvo me je moja nagluva tetka Stojanka grdno nagovarala
da odem na tapetarski zanat i da postanem tapetar, kao i First, my hard-of-hearing aunt Stojanka urged me to
njen brat a moj ujak Pedi. Potom sam pokušao da budem take up upholstery and become an upholsterer like her
vojni pilot u Mostaru. Kako mi ni to nije išlo od ruke brother, and my uncle Pedi. Then I tried to become a
niti mi se sviđalo dosadno kadetsko društvo vratio sam military pilot in Mostar. Since I was not good at it either,
se u Beograd. Dve godine sam pohađao Kurs crtanja i nor did I like the boring company of cadets, I returned
vajanja u Šumatovačkoj ulici 122a. Konačno, 1964. godine, to Belgrade. For two years I attended a course in drawing
dakle godinu dana posle zemljotresa u Skoplju, upisao and sculpting in Šumatovačka Street 122a. Finally, in
1964, a year after the earthquake in Skopje, I enrolled in

99