Friday

15 December 2017

gallery
The Cultural Centre of Belgrade St. 6, Knez Mihailova, Belgrade Phone: ++381 11 2621 469, 2622 469 Fax: ++381 11 2623 853 www.kcb.org.rs
Tuesday, 14 June 2011
Sunday, December 4th Centre for Cultural Decontamination, Birčaninova 21 13:00 Guided tour of the exhibition 19:00 Spacing  – Naming IT War – Closing event Organisation: The Ignorant Schoolmaster and His Committees / CZKD www.uciteljneznalica.com Museum of the Yugoslav Film Archive, Kosovska 11 20:30 Heart Of Glass (1976), Werner Herzog – Film screening Hypnosis as a Metaphor – Hypnosis and Philosophical Antiutopies Discussion after film screening   Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Saturday, December 3th The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 13:00 Guided tour of the exhibition 14:00 Artists talk: Art Clinic / Great Celebration, film premiere Museum of the Yugoslav Film Archive, Kosovska 11 20:30 The Man Is Not a Bird (1965), Dušan Makavejev – Film screening Hypnosis as a Metaphor – Hypnosis, Myth and Magic Discussion after film screening  Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Friday, December 2nd The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 17:00 Presentation of the workshop DOCUMENTS 2000 Organisation: Remont – An independent artistic association www.serbiancontemporaryart.info 18:00 At the exhibition with... Museum of the Yugoslav Film Archive, Kosovska 11 20:30 Power (documentary, 1973), Vlatko Gilić – Film screening Hypnosis as a Metaphor – Hypnosis and Totalitarian Ideologies Discussion after film screening Film selector: Srđan Vučinić Thursday, December 1st The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 17:00 Avenge but one of my two eyes (film screening) and discussion with the author of the film Z32, Avi Mograbi Centre for Cultural Decontamination, Birčaninova 21 19:00 Spacing  – Naming IT War– Public debate Initiator and main organiser: Noa Treister Organisation: The Ignorant Schoolmaster and His Committees /CZKD in cooperation with  the Association of Serbian War Veterans, Belgrade – Rakovica – Mile Milošević www.uciteljneznalica.com O3one Gallery. Andrićev venac 12 20:00 Art Clinic, Choir and orchestra for extraordinary situations: whistling at the Salon Museum of the Yugoslav Film Archive, Kosovska 11 20:30 Exterminanting Angel, (1962), Luis Bunuel Film screening Hypnosis as a Metaphor – Citizen Conventions as a Hypnosis Discussion after film screening  The authors of the concept and film selectors: Stefan Arsenijević and Srđan Vučinić Wednesday, November 30th Museum of the Yugoslav Film Archive, Kosovska 11 20:00 Spellbound (1945), Alfred Hitchcock - Film screening Hypnosis as a Metaphor – Hypnosis and Psychoanalysis Discussion after film screening  Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Tuesday, November 29th Centre for Cultural Decontamination, Birčaninova 21 19:00 Rastko Močnik, Beseda, besedo, 1984 Spacing  – Naming IT War – A Short Course on the History of Yugoslav Thinking Moderator: Branimir Stojanović Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CZKD www.uciteljneznalica.com Sunday, November 27th The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 10:00-15:00 Children and youth club MSUB 13:00 Guided tour of the exhibition 14:00 The Public as Art – Moving Apart – Naming IT War as commented by artists, curators and critics, Moderator: Milica Tomić Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CCD www.uciteljneznalica.org Saturday, November 26th The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 13:00 Guided tour of the exhibition 18:00 Majstor i Margarita (Aleksandar Petrovic) – Film screening Hypnosis in Film History – Hypnotic Motives in Contemporary Balkan Cinema Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Centre for Cultural Decontamination, Birčaninova 21 17:00 New Shareholding and Cooperative Companies – Public debate Moving Apart – Naming IT War – Being a Worker Today Authors and moderators: The Freedom Fight Movement – Milenko Srećković and Ivan Zlatić Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CCD www.uciteljneznalica.org Thursday, November 24th ARTGET Gallery, Trg republike 5/I 6 pm Panel discusion  of the Balkan Centre for Middle East: Religion and Obediance and Disobediance, from Abraham do neoliberal capitalism Participants: prof Milan Vukomanović, PhD, Department for Sociology Philosphy Faculty in Belgrade, mr sc Muhamed ef. Jusufspahić, deputy of Reisu-el-ulema of Serbia, and Isak Asiel, the main rabine of Serbia Sunday, October 30th The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 12:00 What a Particular Face Tells You?, a workshop for secondary school pupils The Process Studio, authors: Biljana Branković, Bratislav Branković and Nataša Katalina 13:00 Guided tour of the exhibition 14:00 The Audience is Art – Spacing – Naming IT War, commented by artists, curators and critics, Moderator: Milica Tomić Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CZKD www.uciteljneznalica.org Saturday, October 29th The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 12:00 What a Particular Face Tells You?, a workshop for secondary school pupils The Process Studio, authors: Biljana Branković, Bratislav Branković and Nataša Katalina 13:00 Guided tour of the exhibition 13:00-16:00 The War Is Over? A creative workshop for the reinterpretation of histories Moderator: Ana Nedeljković 18:00 The Master and Margarita (1972, Aleksandar Petrović) – Film screening Hypnosis in Film History – Hypnotic Motifs in the Yugoslav Black Wave Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Tuesday, October 25th Centre for Cultural Decontamination, Birčaninova 21 19:00 Milan Kangrga, The Ethical Problems in the Work of Karl Marx, 1960 Spacing – Naming IT War – A Short Course on the History of Yugoslav Thinking Moderator: Branimir Stojanović Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CZKD www.uciteljneznalica.org Sunday, October 23rd The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 12:00 Guided tour of the exhibition – Galit Eilat and Alenka Gregorič, curators of the 52nd October Salon 13:00 Artist talk – Mladen Miljanović 14:00 Artist talk – Khaled Jarrar 15:00 The Audience is Art – Spacing – Naming IT War commented by artists, curators and critics, Moderator: Milica Tomić Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CZKD www.uciteljneznalica.org Saturday, October 22nd Zeleni venac, green market 08:00 –15:00 – THE ART CLINIC – Bringing art to the public The Museum “May 25th” – Museum of Yugoslav History, Botićeva 6 13:00 Guided tour of the exhibition – Galit Eilat and Alenka Gregorič, curators of the 52nd October Salon 13:00-16:00 The War Is Over? A creative workshop for the reinterpretation of histories Moderator: Ana Nedeljković 14:00 Artist talk: Amir Yatziv 15:00 Artist talk: Irena Woelle and Vuk Ćosić DOCUMENTS 2000, workshop / a web database on contemporary Serbian art after the year 2000, Moderators: URTICA, Prof. Dragan Bulatović, PhD, Galit Eilat, Saša Janjić and Miroslav Karić Participants: Art history undergraduate and graduate students Organisation: Remont – an independent artistic association www.serbiancontemporaryart.info 18:00 The Cabinet of Dr Caligari (1919, Robert Viene) – Film screening Hypnosis in Film History – Hypnotic Motives in German Expressionism Film selection: Srđan Vučinić in collaboration with the Auteur Film Festival Centre for Cultural Decontamination, Birčaninova 21 17:00 Partnership and Decentralisation – Relations between workers and the local/central government – public debate/ Spacing – Naming IT War –  Being a Worker Today Authors and moderators: The Freedom Fight Movement – Milenko Srećković and Ivan Zlatić Organisation: The Ignorant Schoolmaster and His Committees in cooperation with CZKD www.uciteljneznalica.org Friday, October 21 "Museum 25th May" 12:00 talk with the artist: Jan Fabre 13:00 talk with the artist: IRWIN 17:00 Short satirical films & talk with artists Yossi Atia & Itamar Rose Yossi Atia and Itamar Rose are behind this cinematic project. Their short movies, which feature them in a variety of fictional characters alongside ‘real’ Israelis they meet or approach on the street, the mall or the park, target every burning issue this little country of ours has to offer. Atia and Rose seem especially fond of breaking taboos, in an attempt to make people take a fresh look at their reality and observe it from a different perspective. For them, no cow is sacred, and suicide bombings, the occupation, the war in Lebanon, bereavement, homosexuality and rape are just a few of the subjects with which they have dealt in their recent movies. Their films were screened around the world in galleries, museums, art events and festivals. Shirutrom 2006, 8' In honor of the “Shirutrom” telethon for the Israeli Army, Yossi and Itamar dress up as soldiers and go door to door to test the limits of people’s generosity.  How much are people willing to give to the richest institution in Israel? Jewish Arab State 2008 4'30'' In consideration of a Jewish-Arab state, Yossi and Itamar ask citizens of Taibeh to create a new flag, imagine a new common enemy and an alternative minority group to receive less right. homo 2006, 3'20''   Yossi and Itamar go to Ha’yarkon Park in Tel Aviv, role-playing with strangers a parent and child scenario in which they come out to their parents. Independence Day 2006, 6' During Independence Day celebrations at the park, Yossi and Itamar dress up as Arabic villagers to ask picnickers for a moment of silence for their misfortunes symbolized by the Israeli Independence Day / Palestinian Nakba Day.
Tuesday, 24 May 2011
The October Salon Board: Aleksandar Peković, the Chairman Vladimir Perić Ana Perović Miroslav Perić Mia David
Tuesday, 14 June 2011
October Art Salon is a representative event featuring actual tendencies in the domain of visual arts, founded under the auspices of the City of Belgrade. It was established in 1960 as an exhibition of the best works in the sphere of fine arts. In 1967 it became an important review of the current trends in applied arts, too. Owing to its tradition of more then four decades, the October Salon represents an important segment in the study of the modern Serbian art of the second half of the 20th century. The Salon has become a point of reference of Serbian culture, a representative review of creators in the broad sphere of visual arts and a great exhibition of authors whose selectors are prominent experts in this area. In the course of its history, the Salon has changed its concept and organizational forms, but it has remained a strong challenge to creative consciousness. The Council of the Salon makes decisions on its concept. This Council consists of renowned experts in the sphere of visual arts (art historians, art critics and artists), appointed by the City of Belgrade. The Council selects the international Jury that gives three equal awards for the best art works exhibited at the Salon. An art director, who suggests a concept of the Salon, was appointed since 2001. Until 2005, the October Salon has been an event presenting solely the art scene of Serbia and Montenegro. Wishing to establish a fuller dialogue between the October Art Salon and the international art scene, the City of Belgrade and the Council have decided that the future Salons should be international in character. The change of the Salon's concept and structure is very important for the development of the oldest and most important visual arts event in Belgrade. October Art Salon has been promoting only artists from Serbia till 2004, when this manifestation turned into an international event in a hope that will start a dialogue with the international art scene. In 2004 Ms Anda Rotenberg, art historian from Poland, curated the first international 45th October Salon. In 2005 the Art Director of the 46th October Salon was Ms Darka Radosavljević Vasiljevic, art historian from Serbia. In 2006 the Art Director of the 47th October Salon was Mr René Block, renowned curator from Germany. In 2007 the Art Director of the 48th October Salon was Mr Lorand Hegyi, renowned curator from Hungary. In 2008 the Art Director of the 49th October Salon was Ms Bojana Pejić, art historian from Serbia. In 2009 the Art Director of the 50th October Salon was Ms Branislava Anđelković Dimitrijević, art historian from Serbia.
Thursday, 02 June 2011
Milica Tomic (visual artist) is a founding member of a New Yugoslav art/theory group, Grupa Spomenik (Monument Group, 2002); one of the founders of the international platform Yugoslav Studies and Working Group Four Faces of Omarska; She has participated in international exhibitions such as 24th Sao Paulo Biennale (1998), 49th Venice Biennale (2001), 50th Venice Biennale (2003); 8th International Istanbul Biennial (2003); Populism, National Museum of Art, Oslo/Stedelijk Museum, Amsterdam/Frankfurter Kunstverein (2005); 15th Sidney Biennale (2006); Manufacturing Today/Trondheim Biennale (2010); 10th Sharjah Biennial (2011). She has participated in artist's residencies at the ArtPace in San Antonio (2004), DAAD Artist in Residence Berlin (2006), Residencies for International Scholars, Stanford Humanities Center / Drama department, Stanford University, USA (2011).   Container – Photography by other means / Index of the permanent war, 2004-2011   In her work, the artist mainly deals with collective guilt – reconstructing and contextualizing crimes against humanity. With her extensive artistic experience, the artist uncovers painful chapters of society. She records, archives and comments on terrible crimes people commit against each other. The piece Container – Photography by other means / Index of the permanent war is a reconstruction of a crime commited in northern Afganistan in November 2001. Taliban prisoners of war, who were being transported through the desert in cargo containers, were left for days without food, water or air. When the prisoners started to beg for air, members of the Northern Alliance started shooting at the containers to create “air holes“. Tomić decided to reconstruct the scene of the crime by repeating the act of shooting at an empty cargo container. This action was carried out in Serbia, Australia, Armenia and Italy. The main idea was to create a non-existing or fictitious picture, or event. However, with every reconstruction, Tomić came across new information linking host countries to various war zones.    
Friday, 14 October 2011
Khaled Jarrar was born in Jenin, He completed his studies in Interior Design at the Palestine Polytechnic University in 1996, and he get his BA with visual Art from the International Academy of Art-Palestine, he entered the world of photography in 2004, his first exhibition "At the Checkpoint” in 2007 has been placed in full view of the Israeli soldiers at Howarra & Qalandia checkpoint. Jarrar works with photography, video, and Performance. He participated in a number of solo and groups shows. Since 2008, Jarrar made a number of video artworks and short films. He worked on several other short films in Palestine. His first short experimental video was met with success and was shown locally and internationally (Basel Art 41, Les Instants Video, London Palestine Film Festival, and others).   Docile Soldier, 2011 Photographs and  video, 35 min Courtesy of the artist The installation Docile Soldier takes the power relation between the photographer and the subject of photography to the extreme. In this case, the photographer is an officer that follows the process of his subordinates as they become soldiers. Unlike other officers however, Jarrar also follows/documents this process with his camera. Photography is the result of an encounter between one and the other. In this encounter, one is holding a camera, while the other, knowingly or not, becomes the photographed or filmed soldier. An image – aspects of that soldier – are inscribed within the film.
Thursday, 13 October 2011
Ignorant Teacher and his Committees is a platform for self-education and a public library/archive of texts, journals and books in the field of Yugoslav humanistics. It has been realized in collaboration with the Center for Cultural Decontamination (CZKD) – where contemporary culture and arts are being produced and presented.  CZKD was established on the 1st of January 1995 as a gathering place of the anti-war movement and intellectual and artistic initiatives opposed to the politics of terror on the territory of the former Yugoslavia. During the fifteen years of work it has become an autonomous zone of permanent campaign for the freedom of individuals and for solidarity, as well as an agent of cultural and artistic production that supports these values. www.uciteljneznalica.org www.czkd.org
Wednesday, 12 October 2011
Ibro Hasanovic (born in Ljubovija, Yugoslavia, 1981). Lives and works between Rouen and Brussels. Hasanovic is a Bosnian artist who studied at the Academy of Fine Arts in Sarajevo and is currently enrolled at Le Fresnoy-Studio national des arts contemporains. He has participated in a number of exhibitions which include: Brot Kunsthall, Vienna; City Museum of Ljubljana; Nappe Arsenale, Venice; Thessaloniki Concert Hall (2011), P74 Center and Gallery, Ljubljana (2010), Galleria d'Arte Moderna Palazzo Forti, Verona (2009), Washington Project for the Arts (WPA), Washington DC (2008), as well as the First International Annual Exhibition SPAPORT, Banja Luka (2008). www.ibrohasanovic.com   A short story (film stills), 2011 16 mm film transferred to HD, 10,20 min Produced by Le Fresnoy - Studio national des arts contemporains, Тоurcоing Courtesy of the artist   Individual and collective memory are the main topics of Hasanović’s work, made manifest in videos and photography to performance art, drawings and installations.The film A short story explores the recording of a story, or rather, its interpretation based on oral testimony. By way of a lyrical introduction, a landscape shot is accompanied by sounds of nature, which are then intensified to a point where they become indistinguishable, and even begin to resemble the threatening sounds of war. After a moment of deafening silence, the narrator begins a tale which, as we learn at the beginning, has been told from one generation to another.  
Wednesday, 12 October 2011
Rod Dickinson is a visual artist and lecturer in Media and Cultural Studies at  the University of West England in Bristol. His artwork explores ideas of control and mediation, focusing on the way in which our behaviour is moderated by feedback systems. Using detailed research into moments of the past and present, Dickinson has made a series of meticulously re-enacted events that represent various mechanisms of social control. A selection of his exhibitions include: Longside Gallery, Yorkshire Sculpture Park, The Israeli Center for Digital Art, Holon, Israel (2010),  Te Tuhi Centre for the Arts, Auckland, New Zealand and BAK, Basis Voor Actuele Kunst, the Netherlands (2009).   Closed Circuit, 2010 Rod Dickinson in collaboration with Steve Rushton 20 minute long 3 channel video installation Commissioned and produced by Aksioma Institute for Contemporary Arts, Ljubljana, Slovenia and funded by Arts Council England In Rod Dickinson's video installation, Closed Circuit: Who, What, Where, When, Why and How, made in collaboration with Steve Rushton, two white, elderly statesmen appear onscreen to deliver a press conference. They wear bland blue suits, one seemingly decorated with military badges, and stand to attention at podiums in front of several rolled down, blue flags. They speak English in Received Pronunciation, and deliver a series of statements relating to an unclear conflict, their faces occasionally lit up by the silent flashes of cameras. They are actors in a simulated press conference, and read a miscellany of quotations taken from political speeches delivered by a variety of heads of state since the Cold War.  
Wednesday, 12 October 2011
Nemanja Cvijanović (born in Rijeka, Croatia,1972 in mixed family of South Slavic nations), lives and works in Rijeka. Graduated in the Academia di Belle Arti di Venezia, Venice (1998), and  received an MA in Projecting and Production of Visual Art from the Architecture University I.U.A.V, Venice (2010). Recent solo exhibitions include: ŠKUC Gallery, Ljubljana; MSU, Zagreb; Alberta Pane Gallery, Paris; Kjosk! Public Art Platform, Bassano del Grappa (VI), Italy (2010), and at the Museum of Modern and Contemporary Art, Rijeka, Croatia (2008).   Paying my Electricity Bill, 2005 marble, gilded tin, thermal electrical installation, heat 150 x 300 x 7 cm Courtesy of the Мuseum of Modern and Contemporary Art, Rijeka The predominant element in the artwork of this Croatian artist, in which we find a strong tendency towards traditions of conceptual art of the 1960s and 1970s, is a critical reflection on the current political, economic and social situation. The artist repeatedly correlates these situations with history and memory, particularly the collective memory of those who used to pledge allegiance to the same flag. Cvijanović deals with the recent past by presenting incontestable facts, which are then translated into the present and interpreted - always with a humorous undertone - via his specific visual language. The marble tombstone is a replica which does not serve its purpose. It speaks about a slice of history which cannot be easily erased, despite the attempts of mainstream politics to smear almost half a century of coexistence among nations. The words “Josip Broz Tito, 1892-1980” are written in gold letters on the tombstone – the origin of the phrase is well known. The tombstone of the former leader is located in the House of Flowers, and it is now a tourist hotspot for nostalgic members of former Yugoslav nations. Cvijanović's copy is not a mere historical facsimilie. His monument is also a heater for home use – while also keeping history warm.
Wednesday, 12 October 2011
Etcetera… Founded in 1997 in Buenos Aires, the group Etcetera is composed of visual artists, poets, puppeteers and actors, most of whom were under 20 at that time. They all shared the intention of bringing art to the sites of immediate social conflict – the streets – and bringing this conflict into arenas  of  cultural production, including the media and art institutions. In 2005 Etcetera were part of the foundation of the movement, Errorist International: an international organisation that claims error as a philosophy of life. Today the group continues to develop its activities collaboratively with other collectives and individuals. Loreto Garín Guzmán (Chile) and Federico Zukerfeld (Argentina) are cofounders of the Etcetera group. Etcetera has presented at the Ludwig Museum in Cologne (2004), in Friedericianum Museum, Kassel; San Diego/Tijuana (2005), Taipei Biennial in Taiwan (2008), 11th Istanbul Biennial (2009), Linz Cuvee Biennial; MAMA showroom, Rotterdam; Palazzo Risso, Sicily; Kunsthalle Exnergasse, Vienna; and Smart Project Space, Amsterdam (2009). In 2010 Etcetera curated the group exhibition Reciprocidad (Reciprocity). MIERDAZO (Poop attack), Social performance Public intervention, Buenos Aires, 2002 Courtesy of Etcetera Archive “A Comer! Otra Realidad es possible” "Another reality is possible: Let Eat! Social performance Public intervention, Buenos Aires, 2002 Courtesy of Etcetera Archive “Escrache a Galtieri” Escrache, demonstration. Buenos Aires 1998 Social performance Public intervention, Buenos Aires, 2002 Courtesy of Etcetera Archive Etcetera... was formed in Buenos Aires in 1997 by a group of visual artists, poets, puppeteers and actors. Etcetera’s work in the October Salon include a laboratory for investigating certain aspects of the development of collective memory and the different ways of representing it. The laboratory functions as a game, which will be made manifest through different modes such as storytelling, performance, absurd and grotesque theatre, and other artistic strategies.
Wednesday, 12 October 2011
Irena Wölle (born in Ljubljana, Slovenia, 1965) is a designer of visual communications and an activist, living in Ljubljana. She has authored numerous design projects for a wide range of key cultural and Non-Governmental institutions in Slovenia. Vuk Ćosić (born in Belgrade, Serbia, 1966) is a new media artist, web strategist, and activist living in Ljubljana. Ćosić is founder of net.art and the author of web strategies for numerous cultural, corporate and political clients. Educational poster with chronology and documentation of the project Kitchen Revolution One of the key concerns of any society is the work and integrity of educational institutions. In many countries, especially those in which the recent decades were marked by turbulent wars or violent changes in government, the rules of the educational system and their implications are often subject to revision. More often than not, even basic facts are questioned. Institutions tend to shape themselves in line with their dominant policies, the religious affiliation of the majority, and strength of military structures, etc. In many cases, educational institutions are selective when deciding on the content and curricula of their programmes. There are even examples where we can see human rights violations. This does not refer only to this part of the public sector, but the effects within this sphere are more dangerous and terrifying when we bear in mind the recipients of this information – those who have not fully shaped their own opinions and actions. Designer and activist, Irena Woelle and pioneer of Internet art, Vuk Ćosić took decisive action when an individual, in this case a teacher, chose to adjust primary school lessons according to his own personal biases.  
Wednesday, 12 October 2011
  Kateřina Šedá (born in Brno, Czech Republic) lives and works in Brno and Prague. She studied at the Academy of Fine Arts in Prague (2005) and the School of Applied Arts in Brno (1999). Her recent solo exhibitions include: Kunstverein Wiesbaden, Cubitt gallery in London, Künstlerhaus in Bremen, Germany, Museums Sheffield in Sheffield (2011),  Mori Art Museum in Tokyo, Franco Soffiantino Gallery in Torino (2010). She has exhibited widly in group exhibitions, including this year Venice Biennale, at WIELS Contemporary Art Centre in Brussels, Castello di Rivoli Museo d’Arte Contemporanea in Turin (2011), Future Generation Art Prize, Pinchuk Art Centre in Kiev,  Mucsarnok Kunsthalle, in Budapest (2010). Nic Tam Nenị  /There is Nothing There, 2003 paper documentation, video Photography: Kateřina Šedá Courtesy of the artist In the work There's Nothing There, Kateřina Šedá designed a multi-user game, similar to a real-time video game, in real life. The average activity day Šedá created for the villagers of Ponetovice (after intricately surveying their habits) was laid out on an instruction sheet headed "Regime for a Day". Initially the artist had secured the villagers’ willing participation in the project, going from house to house, delivering self-described "letters of persuasion" and questionnaires, staging meetings and discussions. Once they had agreed to take part, the villagers were then required to blindly follow the demands of the schedule. The confusion between permission and submission is salient, for the artist's work frequently occupies an unlikely middle-ground between liberty and coercion.
Monday, 03 October 2011
Art Clinic was founded in 2002 as the last project of the LED Art Group. Its activities are based on a utopian idea that art can cure and change the sick society in which we live. The Group aims to subvert and transgress the  power hierarchy within the arts, culture and society as a whole. The Art Clinic project is a multimedia process operating on two levels:  regular programme  activities (exhibitions in Šok Gallery, evening nude, kinoclinics, lectures and discussions) and  projects (Perspectives, the Reconstruction of a Crime, Shock Alliance, Additional Drawing Lessons, etc.). Art Clinic is not a formal group based on common aims and the mutual confidence of its collaborators.   The Big Celebration – Euthanasia, installation, 2011 The Art Clinic’s participation at the October Salon will be twofold. The first segment is a recreation of the Shock Gallery in the Museum’s exhibition area. Each part of this version of the Shock Gallery represents one of the activities of the Art Clinic. The gallery is divided into different areas, occupying the same space as the original exhibition in Novi Sad. One area shows the entire archive of the Art Clinic since its creation in 2002. Another, black gallery exhibits incomplete projects: Tanks against the Assembly, Doorstep for a Street in Srebrenica, Ashes Left from Burning of Artwork – all from the previous action Museum from Ashes, within the exhibition Space for New Dialogue which was organised by the Vojvodina Museum of Contemporary Art – as well as the Emergency Chorus and Orchestra: Whistling at the Opening of 38th Novi Sad Salon. The last space in this recreated gallery is a white box intended for future projects.  
Friday, 07 October 2011
Amir Yatziv (Karmiel, Israel, 1972) currently lives and works in Berlin. He studied  at the Bezalel Academy of Arts & Design, Jerusalem (2004 — 2008) and Computer science, IDC Herzelia, Israel (1998 – 2001).  His recent solo exhibitions include: Holstein-Haus Kunst in Schwerin,  (2011), Ramat-Gan Museum of Art in Israel, Appendix2 Gallery in Warsaw (2010). He participated in many group exhibitions in Italy, Netherlands, Germany, Grait Britain, Israel. Detroit, 2009 one channel video, c-print, (40x50cm) x 4, drawing on paper 200 x 120cm Courtesy of the artist Detroit is a 1:1 simulation of a Palestinian city, like Gaza or other identical urban Arab situation. The title of the installation was borrowed from the Israeli Defence Force’s (IDF) training area near Ze’elim in the country’s southern region. In the video work Yatziv presents the architectural plans for “Detroit” to various urban planners, without mentioning what this plan represents – asking them instead to analyse the city for him. All the planners express varying measures of discontent with the city plan, but none realise that it is a city constructed for the sole purpose of simulation. The simulation prepares the fighter for “better” confrontation in real time, striving to neutralise the element of surprise in battle by exercising – dulling the shock of encounter with the real.  
Tuesday, 11 October 2011

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