Re/Shaping The City

Re/Shaping The City

Izložba Re/Sharping The City – International art festival predstavlja značajan festival, koji je stavio akcenat na redefinisanje i novo viđenje grada. U projektu preoblikovanja grada umjetnici angažovano djeluju u izdvojenim cjelinama, prilagođavajući umjetničku postavku datom prostoru i dajuću mu novi vizuelni identitet. Upravo ti prostori, u kojima se nekada odvijao aktivan život, a koji su u proteklom periodu bili potpuno zapostavljeni i zaboravljeni, postaju mjesta za angažovano razmišljanje i djelovanje.

Art festival Re/Shaping The City privukao je ljude iz različitih regiona i time je Cetinje dobilo jednu značajnu priču i značajan kulturni sadržaj. Tu kraj nas, u napuštenim prostorima zatvora u Bogdanovom kraju, kuće Jovana Tomaševića i kuće Mijatovića nastala je nova priča, postavka čudesne energije. U pitanju je kolektivna izložba, u kojoj su izabrani umjetnici iz zemlje i regiona.

Uz veliki trud i zalaganje svi prostori su pretvoreni u funkcionalne izlagačke cjeline u kojima se prezentuju umjetnički radovi. Radovi umjetnika su uglavnom konstruktivističke forme, instalacije i skulpture, koje sadrže angažovane sugestije i izrazito subjektivistički gest. Mladim autorima se u jednom segmentu priključuju i umjetnici starijih generacija koji imaju slično poimanje forme. U art festivalu učešće su uzeli sljedeći autori: Lucian Barbu (Rumunija), Madalin Ciuca (Rumunija/Italija), Adina Constantin (Rumunija), Migle Duncikaite (Litvanija/Finska), Radoslaw Gryta (Finska), Eduard Fulop (Rumunija), Teresa Marasca (Italija), Nikola Pavlićević (Crna Gora), Vuk Peković (Crna Gora), Šćepan Popović (Crna Gora), Madalina Rossi (Italija), Stefano Sasso (Italija), Danilo Sciorilli (Italija), Elisabetta Pesaresi and Pietro Sabbatini (Italija), Mato Uljarević (Crna Gora), Jovana Vujović (Crna Gora), Milena Živković (Crna Gora) i Milica Janković (Crna Gora).

The exhibition Re/Shaping The City - International Art Festival represents a significant festival that emphasized on redefining and revisualizing the city. In the project of Re/Shaping The City, the artists are actively engaged in separate units, adapting artwork implementation to the space while giving it a new visual identity. It is precisely these spaces in which active life once took place, which in the past were completely neglected and forgotten, that became places for engaged thinking and action. The art festival Re/Shaping The City attracted people from different regions and thus Cetinje got a significant story and significant cultural content. There, next to us, in the abandoned spaces of the prison in Bogdanov kraj, the House of Jovan Tomašević and the house of Mijatović, a new story was created - a setting of miraculous energy. It is a collective exhibition for which artists from the country and the region were selected. With tremendous effort and commitment, all spaces have been transformed into functional exhibition units in which artworks were presented.

The artists’ works are mostly constructivist forms, installations and sculptures that contain engaged suggestions and a distinctly subjectivist gesture. In one segment, young authors are joined by artists of older generations who have a similar understanding of form. The following authors took part in the art festival: Lucian Barbu (Romania), Madalin Ciuca (Romania/Italy), Adina Constantin (Romania), Migle Duncikaite (Lithuania/Finland), Radoslaw Gryta (Finland), Eduard Fulop (Romania), Teresa Marasca (Italy), Nikola Pavlićević (Montenegro), Vuk Peković (Montenegro), Šćepan Popović (Montenegro), Madalina Rossi (Italy), Stefano Sasso (Italy), Danilo Sciorilli (Italy), Elisabetta Pesaresi and Pietro Sabbatini (Italy), Mato Uljarević (Montenegro), Jovana Vujović (Montenegro), Milena Živković (Montenegro) and Milica Janković (Montenegro).

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Izložba se sastoji od tri segmenta, koja čine uvezanu umjetničku priču, u kojoj je fokus usmjeren ka mladim umjetnicima različitih senzibiliteta. Oni su birali izlagačke prostore koje su osmišljali i u kojima su predstavili svoje radove. Na taj način se postiglo bogatstvo različitih pristupa u umjetničkim izrazima.

Ovom kompleksnom izložbom, obnavljanjem značajnih prostora prikazano je suprotstavljanje destrukciji, uz želju za unapređenjem, kreacijom i harmonijom. Stvoren je novi kulturni prostor, koji objedinjuje umjetnost različitih kulturnih ambijenata. Radovi umjetnika su inovativni u smislu sposobnosti da iskažu svoje angažovane stavove u jednom novom prostoru i da svojim konstruktivnim odnosom pošalju poruku koja u svojoj osnovi sadrži težnju za skladom, redom, obnovom i dobrim odnosima. Prvi segment vezan je za kuću Jovana Tomaševića, u kojoj je predstavljena instalacija pod nazivom Take Me Back Home. Autorka je Milica Janković (Crna Gora), a asistenti su Madalina Rossi i Salvatore Ramaglia (Italija) i inženjer softvera Martynas Januškauskas (Litvanija). Instalacija sa dominantnom crvenom bojom pravi kontrast kamenoj kući u kojoj je postavljena. Osmišljena je tako da privuče pažnju posmatrača. Svi cvjetovi su ručno izrađeni, a zatim pažljivo uvezani i postavljeni u prostoru. Svojom jedinstvenošću podsjećaju na beskrajno, harmonično polje cvijeća. Posmatrač ulaskom u kuću pristupa instalaciji iznutra i istražuje njene nove mogućnosti, koje se kreću u rasponu između virtuelnog i realnog svijeta. Ulaskom u svijet sastavljen od tkanja crvenih cvjetova, posmatrač preuzima Re/Shaping the City aplikaciju, koja mu omogućava interakciju sa ovom instalacijom putem AR (Proširene Stvarnosti). Aplikacija koja prati rad dizajnirana je specijalno za potrebe ovog festivala. Ona nudi posjetiocu mogućnost da uživa u virtuelnoj igri velikog broja latica, koje padaju sa tavanice i lebde po cijeloj prostoriji, stvarajući vezu virtuelnog i realnog svijeta. Kretanje latica daje dodatnu dinamiku instalaciji i gradi meditativnu atmosferu, koja daje novo viđenje preoblikovanja kuće Jovana Tomaševića.

The exhibition consists of three segments that create united art story in which the emphasis is on young artists of diverse sensibilities. They chose and designed the exhibition spaces in which they presented their works. This way, the richness of different approaches in artistic expression was achieved. With this complex exhibition, by restoring spaces of historical significance, the resistance to destruction was shown, with a desire for improvement, creation and harmony. A new cultural space has been created, that unites the art of different cultural backgrounds. The works of artists are innovative in terms of the ability to express their engaged views in a new space and to send a message with their constructive attitude, which basically contains the pursuit of harmony, order, renewal and good relations. The first segment is related to the house of Jovan Tomašević, in which an installation entitled Take Me Back Home was presented. The author is Milica Janković (Montenegro), the assistants are Madalina Rossi and Salvatore Ramaglia (Italy) and a software engineer, Martynas Januškauskas (Lithuania). The installation, with the dominant red color, contrasts the stone house in which it is placed. It is designed to attract the attention of the viewer, while all the flowers are handmade and carefully bound and installed in the space. With their uniqueness, they are reminiscent of an endless, harmonious field of flowers.

Upon entering the house, the observer approaches the installation from the inside and explores its new possibilities, which range between the virtual and the real world. Entering a world made up of weaving red flowers, the viewer downloads the Re/Shaping The City app that allows them to interact with this installation via AR (Augmented Reality). The application that accompanies the work is designed especially for the needs of this festival. It offers the visitor an opportunity to enjoy the virtual play of a large number of petals falling from the ceiling and floating throughout the room, creating a connection between the virtual and the real world. The movement of the petals gives additional dynamics to the installation and builds a meditative atmosphere that provides a new vision of the transformation of Jovan Tomašević’s house.

Druga cjelina je kuća Mijatovića, koja se takođe nalazi u Njegoševoj ulici i koja je u procesu transformacije dobila naziv The garden of memories (Bašta sjećanja). U ovoj kući je predstavljen izuzetno zanimljiv rad umjetnika: Milica Janković (Crna Gora), Migle Duncikaite (Litvanija/Finska), softver inženjer – Martynas Januškauskas (Litvanija), dizajn zvuka i kompozicija – Stefano Sasso (Italija). Predstavljena instalacija kreirana je da ponudi publici jedinstvenu interakciju sa biljkama i prirodom. Umjetnici su u ruševinama stare kuće oplemenili i preuredili prostor, stvarajući jedinstven prirodni ambijent.

Za ovaj projekat umjetnici su izvršili intervenciju u prostoru i potpuno ga preoblikovali, stavljajući akcenat na biofiliju i razvijanje empatičnog pristupa svemu što nas okružuje. U unutrašnjosti kuće prilikom postavke rada zasađene su sljedeće biljke: drijen (Cornus mas), crveni javor (Acer rubrum), javor (Acer platonoides), lješnik (Cornus avellana) i bijeli jasen (Fraxinus excelsior). U večernjim satima postaje vidljiva svjetlosna instalacija, koja predstavlja težište rada. Krećući se po selektovanim stazama, posjetilac svojim pokretom aktivira različite kompozicije, koje su tehnički povezane sa svakom biljkom. Prilikom kretanja kroz prostor aktiviraju se određeni zvuci, koji se preklapaju, dopunjavaju i grade nove kompozicije. Na ovaj način gradi se veza između napredne tehnologije i prirode, koje zajedno mogu da grade skladan odnos.

The second unit is the house of Mijatović, which is also located in Njegoševa Street and which in the process of transformation was named The garden of memories. The house presents extremely interesting works created by artists: Milice Janković (Montenegro), Migle Duncikaite (Lithuania/ Finland), Software Engineer-Martynas Januškauskas (Lithuania), Sound and Composition Design - Stefano Sasso (Italy).

Presented installation was created to offer the audience a unique interaction with plants and nature. In the ruins of an old house, the artists have refined and rearranged the space, creating a unique natural ambience. For this project, the artists intervened in space and completely reshaped it, emphasizing biophilia and development of an empathic approach to everything around us. The following plants have been planted in the interior of the house during the installation: Dogwood (Cornus mas), Red maple (Acer rubrum), Maple (Acer platonoides), Hazel (Cornus avellana) and European ash (Fraxinus excelsior), and in the evening, a light installation becomes visible. which represents the center of the work. Moving along the selected paths, the visitor activates various composition parts that are technically related to each plant. When moving through space, certain sounds cues are activated, which overlap, complement and build new compositions. This way, a connection is built between advanced technology and nature, which together can build a harmonious relationship.

Treća cjelina je najklompleksniji dio postavke koju čini grupna izložba u zatvoru u Bogdanovom kraju.

U pitanju je jedna dobro osmišljena cjelina, u kojoj se poštuje specifičnost prostora. Jedan objekat sa negativnom konotacijom doveden je u novi kontekst i dato mu je novo značenje. Nakon Cetinjskog bijenala1 iz 2004. godine, ovo mjesto je potpuno

The third unit is the most complex part of the exhibition, which consists of a group exhibition in the prison in Bogdanov kraj. It is a well-designed unit that respects the particularity of space. A structure with a negative connotation was brought into a new context and given a new meaning. After the Cetinje Biennale1 in 2004,

Na prostoru starog zatvora u Bogdanovom kraju u inte rvalu od 1991. do 2004. godine održavala se izuzetno značajna kulturna manifestacija Cetinjski bijenale, sa značajnim temama („Od kiča do krvi samo je jedan korak“ (1991), „Vidjeti u mraku” (1994), „Susreti umjetnika istoka i zapada“ (1996), „Rekonstrukcija“ (2002), „ Love it or leave it“ (2004).

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1 In the area of ​​the old prison in Bogdanov Kraj in the inte rval from 1991 to 2004, an extremely important cultural event was held Cetinje Biennale, with significant themes “From kitsch to blood is only one step” (1991), “Seeing in the dark” (1994 ), “Meetings of Artists of the East and the West” (1996), “Reconstruction” (2002), “Love it or leave it” (2004).

zapostavjeno i zaboravljeno, ali upravo organizovanjem ovog art festivala u zatvorskom prostoru ostvarena je višedecenijska želja da ovo energetski jako mjesto bude ponovo mjesto okupljanja i preze ntovanja radova umjetnika. Ponovno oblikovanje grada sadrži niz interaktivnih instalacija postavlje nih u zatvoru, koje imaju cilj da razbiju i preoblikuju stereotipe primjenjujući nova načela mišljenja i viđenja. U izložbenim prostorima (ćelijama) preze ntovana su konceptualna rješenja umjetnika, a u dvorišnom dijelu su postavljene instalacije i obje kti. Svaki rad sadrži QR kod, čijim skeniranjem posjetilac dobija informaciju o radu umjetnika, izazovima i idejama prilikom implementacije rada.

Ovaj projekat je izuzetno zanimljiv jer ima cilj da se objedini istorijska priča zatvora sa savremenim umjetničkim ostvarenjima. Ovako osmišljena postavka trebalo je da ukaže na važnost činjenice da je ovaj prostor obilježilo jedno vrijeme i da su trenutno izloženi radovi vezani za genius loci.

this location was completely neglected and forgotten, but by organizing this art festival in prison spaces, a decades-long wish was realized for this energetically strong location to once again be a place for gathering and presenting artistic works. The re-shaping of the city features a series of interactive installations set up in the prison that aim to disintegrate and reshape stereotypes, applying new principles of thought and vision. Conceptual solutions of the artists were presented in the exhibition spaces (cells) with installations and objects placed in the courtyard. Each work contains a QR code, which scanned delivers the visitor information about the work of the artist, challenges and ideas during the implementation of the work. This project is extremely interesting, because it aims to unite the historical story of the prison with contemporary artistic achievements. The exhibition designed this way has pointed out the importance of the fact that this space was marked for a time and that works related to the genius loci are currently on display.

Nikola Pavićević predstavio je instalaciju Cijepanje objekta, u kojoj je prikazao prostor koji nastaje kao rezultat pažljive gradnje, razmjene energije, postavljen između iracionalnog svijeta ideja i racionalnog prostora boli. Umjetnik u autonomnom umjetničkom polju pravi otklon od svih definisanih formi i prikazuje dekonstruisane predmete.

Specifičnom umjetničkom arhitektonikom banalne predmete uzdiže na nivo ikonografskog – scenografskog, dajući tim predmetima nova značenja. Prilikom izrade rada umjetnik je raspolagao informacijom da je zatvor 70-ih i 80ih, kada je bio van funkcije, služio kao dom za porodice. Priča je obilježena socijalnom stranom rada. U ovom slučaju, riječ je o porodici koja usljed nesuglasica počinje da dijeli napola svaki objekat nađen u sobi. Podjela objekta predstavlja sjećanje na dati trenutak. Konci koji su povezani sa pocijepanim objektom ritmično povezani daju ovom djelu vibrantnu dinamičnost. Njihova zategnutost do pucanja izaziva kod posmatrača jednu vrstu napetosti i misaone budnosti.

Nikola Pavićević presented the installation Splitting the Object in which he revealed the space that is created as a result of careful construction, energy exchange, placed between the irrational world of ideas and the rational space of pain. The artist in the autonomous art field deviates from all defined forms and displays deconstructed objects. With a specific artistic architecture, the artist elevates banal objects to the level of iconographic - scenographic, giving these objects new meaning. While creating the work, the artist discovered that in the 70s and 80s, when the prison was out of order, it served as a home for families. The story is shaped by the social side of this work, in this case, it is about a family that, due to disagreements, begins to divide every object found in the room in half. The division of an object represents the memory of a given moment. The strings connected with the torn object are rhythmically connected giving this work a vibrant dynamism.

Their tightness to the point of cleavage, causes to the observer sort of tension and mental alertness.

Vuk Peković, Šćepan Popović – Obelisk is dead je umjetnički rad koji predstavlja intervenciju na kamenu. Ovi zapisi na kamenu su provokativni, inteligentni, mitski. Lucidni izbor materijala na kojem umjetnik smješta svoju poeziju koja postavlja pitanja, začuđuje, sugeriše i daje odgovore na velika pitanja. Ovaj rad nije samo instalacija, već sociološka-antropološka, poetska izjava, koja sadrži i provokativnu dimenziju. Tako da stihovi dobijaju semiotičko značenje prizivajući i ukazujući na mučne procese karakteristične za dati prostor.

Okamenjena poezija nosi dualitet suptilnosti izraza i hladnog materijala.

Vuk Peković, Šćepan Popović - Obelisk is dead is a work of art that represents an intervention on stone. These inscriptions are provocative, intelligent, mythical. A lucid choice of material on which the artist places their poetry that asks questions, amazes, suggests and gives answers to big questions. This work is not just an installation, but a sociological-anthropological, poetic statement that contains a provocative dimension. Thus, the verses acquire a semiotic meaning by invoking and pointing out the painful processes characteristic to a given space. Petrified poetry carries a duality of subtlety of expression and cold material.

Milena Živković gradi novi kontekst, u kome su istaknuti ključni odnosi prema istini, moralu, ljubavi, ideologijama, religiji. Novim asocijativnim metodama Živković nas vraća u suprematizam (supremus2) gradeći ikonu svog doba. U umjetničkom radu Kiseonik umjetnica na drvenoj podlozi prikazuje samo zlatnu površinu, na kojoj izostaje prikaz svetitelja. Ovim načinom ona istražuje kontekst svjetlosti, vaskrsenja, smrti, sumnje, vjere, prostora umjetnosti i prostora slobode. Tako rad redefiniše vrijeme i prostor i pretvara ćeliju broj sedam u hram u kome vlada uzvišena, mistična atmosfera.

Posmatraču se nudi novo čitanje rada, novi način viđenja i mišljenja, sa akcentom na duhovnoj praksi.

U ćeliji broj dva predstavljen je diptih sa profilom i anfasom umjetnice kao referisanje na model zatvoreničke fotografije. Portret je u sjenci, nudi novi estetsko-filozofski pristup smrti. Tretirajući sliku kao ikonu u kojoj je uvijek moguća dvosmjerna komunikacija, posmatrač postaje dio ćelije i razvija empatični odnos kroz ideju koju je umjetnica prenijela.

Milena Živković builds a new context in which the key relation towards truth, morality, love, ideologies, religion are emphasized. With new associative methods, Živković brings us back to suprematism (supremus2) by building an icon of her time. In the artwork Oxygen, Živković, on a wooden background, shows only a golden surface, on which there is no depiction of a saint. This way, she explores the context of light, resurrection, death, doubt, faith, the space of art, and the space of freedom. This way, the work redefines time and space and converts cell number 7 into a temple in which a sublime, mystical atmosphere reigns. The observer is offered a new reading of the work, a new way of seeing and thinking with an emphasis on spiritual practice. In cell number 2, a diptych with the profile and straight forward face of the artist is presented as a reference to the model of prison photography. The portrait is in the shadows, offering a new aesthetic-philosophical approach to death. By treating the image as an icon in which twoway communication is always possible, the observer becomes part of the cell and develops an empathic relationship through the idea conveyed by the artist.

2 Suprematizam (supremum – najviši, krajnji) je pravac u slikarstvu nastao u Rusiji 1913, pod uticajem ideja francu skog kubizma i italijanskog futurizma. Osnivač pravca je Kazimir Maljevič, koji je uporište za svoju umjetnost tražio u čistoj osjećajnosti i odsutnosti predmeta. Težio je da ostvari potpunu usklađenost čistih plošnih geometrijskih oblika i boja.

2 Suprematism (supremum - the highest, ultimate) is a direction in painting that originated in Russia in 1913 under the influence of the ideas of French cubism and Italian futurism. The founder of the direction is Kazimir Maljevič, who sought a foothold for his art in pure sensitivity and the absence of objects. He aspired to achieve complete harmony of pure planar geometric shapes and colors.

Teresa Marasca elemente sintetiše u jedinstvene skladne kompozicije, kojima ostvaruje kontinuitet u svom izrazu. Mirna snaga ove instalacije postignuta je zahvaljujući pulsirajućoj smirenosti plavog ofarbanog lišća. Umjetnica je akcenat u radu stavila na želju zatvorenika da vidi nebo, koju je simbolično predstavila oslikanim listovima plave boje, kojima je prekrila pod zatvorske ćelije. Na zid je postavila sliku na kojoj je, takođe pigmentom plave boje, oslikano srce koje udara i kuca, sa naglašenim zlatnim elementom. Pulsirajuće srce simboliše snažnu želju za uzdizanjem iz datog prostora.

Mato Uljarević – Međa. Koncept rada upravo je zasnovan na igri promjene usmjerenja zatvorskog zida. Zid u njegovom radu stvara atmosferu nelagode, otcjepljenja, odvajanja, usamljenosti, kao i osjećaja beznađa. Međa izaziva strah, ukazuje na nezaustavljivu aktivnost smrti. Posmatrač je stavljen u ulogu izopštenika. Nemogućnost ulaska u zatvorsku ćeliju zbog ozidane međe na ulazu predstavlja podjednako intenzivnu frustraciju kao nemogućnost napuštanja iste. Uljarević je kreirao instalaciju koju je povezao sa trenutnom situacijom otuđenosti i usamljenosti. Međa/Zid kao granična linija izaziva neprijatno osjećanje bilo da je u pitanju kućni zid ili državna granica, tako da ovaj rad možemo posmatrati i u kontekstima aktuelnih migrantskih kriza, zatvorenih granica, kao i kriza koje je izazvala pandemija.

U radu Jovane Vujanović platno postaje bojno polje na kome umjetnica predstavlja svoje tijelo, putem koga prenosi angažovane poruke. Njen izraz je sugestivan, pun tjeskobe, uznemirenosti, pobune protiv zla. Statična svečana atmosfera opominje na neminovnost tragedije, uz redukovano naglašavanje svečanog prividnog mira. Ovaj rad zahtijeva ,,čulnu, intelektualnu i mističnu intuiciju”3. Rad je sastavljen iz tri dijela. Prvi segment čine fotografije multipliciranog praznog tijela. Drugi dio čini 3 O. B. Merin, Jedinstvo u viziji umetnosti, Nolit, Beograd, str. 190

Teresa Marasca synthesizes the elements into unique harmonious compositions, with which she achieves continuity in her expression. The calm power of this installation is achieved thanks to the pulsating calmness of the blue painted leaves. The artist emphasized the work on the prisoner’s wish to see the sky, which she symbolically represented with painted blue leaves, with which she covered under prison cells. She placed a painting on the wall, which, painted with blue pigment, depicts a beating heart, with an accentuated golden element. This pulsating heart symbolizes a strong desire to ascend from a given space.

Mato Uljarević - Međa. The concept of the work is based on the game of changing the direction of the prison wall. The Wall in his work creates an atmosphere of discomfort, detachment, separation, loneliness, as well as feelings of hopelessness. The border causes fear, it indicates the unstoppable activity of death.

The observer was placed in the role of an exile. The impossibility of entering the prison cell due to the walled border at the entrance is as intense and frustrating as the impossibility of leaving it. Uljarević created an installation that connects with the current situation of alienation and loneliness. The Wall, as a border line, causes an unpleasant feeling, whether it is a house wall or a state border, so we can observe this work in the context of current migrant crises, closed borders, as well as the crisis caused by the pandemic.

In the work of Jovana Vujanović, the canvas becomes a battlefield on which the artist presents her body through which she transmits engaged messages. Her expression is suggestive, full of anxiety, restlessness, rebellion against evil. The static solemnly atmosphere alerts to the inevitability of tragedy with a reduced emphasis on solemn apparent peace. This work requires “sensory, intellectual and mystical intuition”3.

The installation consists of 3 parts. The first segment 3 O.B. Merin, Jedinstvo u viziji umetnosti, Nolit, Beograd, str.190

skulptura koja odražava proces mentalnog stanja.

Napravljena je od 10.000 listova papira umakanih u tuš, nakon čega su listovi gužvani rukama i pažljivo ređani na postolje, koje čini crni krug od drveta.

Sačinjena je od 33 sloja, koja su gažena nogama kako bi bila presovana. Zajedno sa zvukom koji je prisutan, cijeli proces uvodi posmatrača u neku vrstu meditativnog stanja, kroz koje ima mogućnost da istražuje i suočava se sa dubljim djelovima svoje duše.

Migle Duncikaite predstavila je instalaciju od ogledala, koja je postavljena na podu ćelije. Instalacija umrežava urbani prostor sa posmatračem. Ritam, tok i refleksije se sudaraju i posmatrač sa svojim odrazom u ogledalu postaje dio instalacije. U toku dana ulaze sunčevi zraci, koji se odbijaju i reflektuju u ogledalu, dok je uveče po obodu instalacije postavljena led rasvjeta, koja se proteže oko cijele instalacije. Vidljivost je smanjena, ali privlači pažnju.

Ovakav narativ podrazumijeva da posmatrač postaje dio rada, jer upravo on postaje dio tog prostora i ćelije u kojoj je postavljena instalacija.

Staklo traži introspektivni prodor i suočavanja sa sopstvenim mislima i osjećanjima.

Adina Constantin – CNP – Visit to the lacunary space of memory – projekat prikazuje aktiviranje afektivne memorije kroz crteže iz djetinjstva, odakle su kreirane likovi animacije. Putovanje vozom je izgovor da se umjetnica prisjeti porodičnih uspomena prožetih nehotičnim sjećanjem. Difuzna jednosložna buka vagona u pokretu određuje oscilacije između sna i jave. Tehnički, animacija kombinuje 2D sekvence sa stop-motion-om, kako bi uključila ličnu kolekciju karata za voz, spisak aktivnosti, čiji dokazi postoje u albumu sa sugestivnim naslovom: CNP (skraćenica za ličnu kartu). Priča u okviru koje umjetnica pokušava vizuelno ilustrovati svoju ličnost u beskrajnoj, dinamičnoj i živahnoj igri.

Danilo Sciorilli – I know I`m gonna die but I don`t believe it – poetika umjetnika usredsrijeđena je na pitanje smrti i pokušaj njenog prevazilaženja.

consists of photographs of a multiplied empty body.

The second part consists of a sculpture that reflects the mental state process. It is made of 10,000 sheets dipped in ink, after which the sheets were carefully folded and placed on the black circle formed base made of wood. It consists of 33 layers that were pressed in a process of trampling with feet. Together with the sound, the entire process brings the observer to a kind of meditative state, through which they have the opportunity to explore and face the deeper parts of their soul.

Migle Duncikaite presented a mirror installation placed on the floor of the prison cell. The work itself connects the observer with the outer space. Rhythm, flow, reflections collide and the observer becomes part of the installation reflecting in the mirror. During the day, the sun’s rays are reflecting in the mirror, while in the evening, LED lighting appears and extends around the perimeter the entire installation. Visibility is reduced, but it attracts attention. This narrative implies that the observer becomes a part of the work, because it is they who become a part of the space and the cell in which the installation is placed. Glass seeks introspective penetration and confrontation with one’s own thoughts and feelings.

Adina Constantin – CNP- Visit to the lacunary space of memory - The project represents the activation of affective memory through drawings from childhood, from where the animation characters were created.

Traveling by train is an excuse for the artist to recall family memories imbued with involuntary ones. Diffuse monosyllabic noise from a moving wagon determines the oscillations between sleep and wakefulness.

Technically, the animation combines 2D sequences with stop-motion, to include a personal collection of train tickets, a list of activities of which evidence exists, in an album with a suggestive title: CNP (short for ID). A story in which the artist tries to visually illustrate her personality in an endless, dynamic and lively game.

Danilo Sciorilli - I know I’m gonna die but I don’t believe

Umjetnost je u njegovom radu sredstvo kojim zaluđuje sebe i sredstvo putem koga može prevazići smrt. Nada i iluzija se u njegovom radu poklapaju.

Na crtežu je umjetnik predstavio sebe mučenikom.

Uz to, okružen je nekim od svojih umjetničkih djela.

Predstavljen je kao Sveti Sebastijan, jedini svetac koji je dva puta mučen. Na isti način umjetnik, koji svoj život posvećuje svojim djelima, rizikuje da umre dva puta: prvi put tjelesno, a drugi put ako njegova djela padnu u zaborav.

Eduard Fulop – The city we can(‘t) see – Animacija Grad koji (ne) možemo vidjeti podijeljena je u tri dijela: Grad koji vidimo – ono što već znamo; Grad koji ne možemo vidjeti – predložen iluzijom, informacijama koje mislimo da imamo, ali u stvari ne nemamo, i Grad koji (ne) možemo vidjeti – neutralni prostor između prva dva. Grad koji (ne) možemo vidjeti je privremena veza između znanja i iluzija, grešaka.

Um je svakodnevno opterećen raznim vizuelnim i slušnim podražajima informacija, koje se filtriraju, primaju i svjesno i nesvjesno. Informacije koje nesvjesno ulaze fokus su ove studije, jer vode do nepoznatih procesa koji filtriraju informacije, stvarajući palimpsest, prozirni izgled, preklapajući pogrešne informacije. Ovo stvara kolaž ideja koji čini privremenu osnovu pogrešne konstrukcije. Ove pogrešne konstrukcije pojavljuju se na granicama Grada koji (ne) možemo vidjeti, dok se u razmišljanju pojavljuje rasulo, uništavajući ove sistematske greške, što znači da se metaforične zgrade ruše.

Kratka animacija Grad koji (ne) možemo vidjeti sugeriše na tok misli i ubjeđivanja, vizuelno prolazeći putem svjesnih mehanizama filtriranja informacija.

Ideja Ateljea 22 bila je da u zavičajni grad dovede i okupi veliki broj umjetnika i da ih uključi u protok aktuelnih umjetničkih ideja. Odabrani prostori su arhitektonski atraktivni, djelimično rekonstruisani, kompaktni – savršeno odgovaraju savremenim konceptima. Revitalizacijom stare arhitekture nosioci ovog projekta pokušali su da daju jednu novu dimenziju gradu sa izložbenom postavkom.

U ćelijama zatvora dominiraju instalacije, objekti,

it - The poetics of the artist are focused on the issue of death and the attempt to overcome it. In his work, art is a means by which he illudes himself that he can overcome death. Hope and illusion coincide in it. In the drawing, the artist presented himself as a martyr being surrounded by some of his artworks.

He is presented as Saint Sebastian, the only saint who was tortured twice. In the same way, an artist, who dedicates his life to his works, risks dying twice: the first time corporally, and the second time if his works fall into oblivion.

Eduard Fulop - The animation The city we (can’t) see is divided into three parts: The city we see - what we already know; A city we can’t see - suggested by illusion, information we seem to know but don’t and The city we can(‘t) see - a neutral space between the first two. A city that we (can’t) see is a temporary connection between knowledge and illusions, mistakes. The mind is daily imprinted with various visual and auditory stimuli of information, which are filtered and received both consciously as well as unconsciously. Information that enters unconsciously is the focus of these studies, because it leads to unknown processes that filter information, creating a palimpsest, a transparent appearance, overlapping erroneous information. This creates a collage of ideas that forms the temporary basis of the wrong construction. These erroneous constructions appear on the borders of the City that we can(‘t) see, while the thoughts are chaotic, destroying these systematic errors, which means that these metaphorical buildings are collapsing. The short animation A City We Can’t (Can) See suggests a flow of thought and persuasion, visually passing through conscious information filtering mechanisms.

The idea of Atelie ​​ 22 was to bring and gather a large number of artists to Cetinje and to include them in the flow of current artistic practices and ideas. The selected spaces are architecturally attractive, partially reconstructed, compact, perfectly fitting contemporary concepts. By revitalizing the old architecture, the bearers of this project tried to give a new dimension to the city with exhibited works. Prison cells are

crteži. U pitanju je ozbiljan organizacioni koncept, koji u velikoj mjeri unapređuje savremenu umjetničku scenu u Crnoj Gori. Međunarodni multimedijski festival Re/Shaping The City prilika je da se obnove velike teme i da se ožive napuštene kuće i zatvorske prostorije u Bogdanovom kraju kroz novi način interpretacije, percepcije i komunikacije sa posmatračima. Ovaj festival ima cilj da se izbrišu granice i da umjetnici iz različitih područja predstave svoje radove kako bi se došlo do novog čitanja i postavljanja novih standarda.

mr Maša Vlaović teoretičarka i istoričarka umjetnosti

dominated by installations, objects, drawings. We are facing a serious organizational concept that greatly improves the contemporary art scene in Montenegro.

The international multimedia festival Re/Shaping The City is an opportunity to renew important topics and to revive abandoned houses and prisons spaces in Bogdanov kraj, using a new way of interpretation, perception and communication with the observer.

This festival aims to annul borders so that the artists from different artistic backgrounds can present their works with the aim of re-reading and establishing new standards.

Maša Vlaović, MA Theoretician and Art historian

Re/Shaping The City

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Migle Duncikaite Untitled 2021

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Madalin Ciuca Passages 2018, ulje na platnu I oil on canvas 30x30 cm

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