The 80s & the 90s Today - The Rhythm Divine KATALOG

Oficirski dom, Galerija SLU, Niš

Izdavač GALERIJA SAVREMENE

LIKOVNE UMETNOSTI NIŠ

Kej Kola srpskih sestara 1/II

18 000 Niš Tel: +381 18 513701 www.gslunis.org gslunis@gmail.com

Za izdavača

Emilija Bilić Ćoćić

Urednik

Milica Todorović

Autorski projekat

ART-ZUM

(Dragoslav Krnajski, Vladimir Ristivojević i Ivona Fregl)

Tekst i prevod na engleski

Ivona Fregl

Grafičko oblikovanje

ATELJE MAKARIJE

Fotografija

Vladimir Perić, Igor Antić, Vladimir Ristivojević, Ivona Fregl

Štampa: ATLANTIS

Tiraž: 300

ISBN 978-86-7740-138-2

Oficirski dom, Galerija SLU, Niš Autorski projekat ART-ZUM

‘80 i ‘90 danas – The Rhythm Divine / The 80s & 90s Today – The Rhythm Divine

Aleksandar Rafajlović

Anica Vučetić

Darija Kačić

Dobrivoje Krgović

Dragoslav Krnajski

Dušan Petrović

Đorđije Crnčević

Igor Antić

Marija Dragojlović

Nina Todorović

Perica Donkov

Slobodan Kojić

Slobodanka Stupar

Srđan Apostolović

Vladimir i Milica Perić

Vladimir Ristivojević

Zdravko Joksimović

Oficirski dom, Galerija SLU, Niš

‘80 i ‘90 danas – The Rhythm Divine

Izložba ‘80 i ‘90 danas – The Rhythm Divine predstavlja jedan od mogućih izbora radova umetnika koji su prihvatili načela postmodernizma (generacije ‘80 i ‘90 ali i određeni broj umetnika koji su se na umetničkoj sceni Srbije pojavili ‘70 godina 20. veka). Radovi predstavljeni na izložbi datiraju iz perioda od ‘80 do danas, te se “danas” u naslovu izložbe istovremeno odnosi i na recentnu produkciju navedenih umetnika i na današnju recepciju njihovih umetničkih dela nastalih tokom ‘80 i ‘90 godina.

‘80 – korak napred...

Posle pretežno konceptualne, snažno intelektualno orijentisane, prečišćene umetnosti ‘70, umetnost ‘80 dovodi do obnove materijalnosti slike i skulpture, narativnosti, vrednovanja osećaja za likovnost, vizuelnost i formu, kao i do ponovnog oživljavanja manuelne produkcije radova.

Za razliku od angažovanih umetničkih praksi ’70, umetnost ‘80 nije imala ambicije niti da podstiče, niti da utiče na promene u društvu. Promene koje je ona donosila ispoljavale su se isključivo u okviru njenog primarnog delovanja, unutar oblasti same umetnosti i odnosile su se na stilske, tehničke, lingvističke i žanrovske preformulacije. Prakse ’70 postale su isuviše autoreferentne, hermetične u odnosu na publiku sa kojom postmoderna obnavlja dijalog, prevashodno kroz ambijentalne instalacije i vraćanje narativnosti. U prvoj polovini ‘80 postmodernu su obeležili povratak umetničkoj tradiciji (dolazi do obnove klasičnih umetničkih medija - slike i skulpture, ali u izmenjenom obliku - „nova slika“, „nova predstava“), neoekspresionizam, umetničko intervenisanje na citatima iz istorije umetnosti („ponavljanje s razlikama“) i eklekticizam matrijala, stilova, tehnika; u drugoj polovini ‘80 javlja se ne-ekspresionizam, kao ponovno interesovanje za apstraktni izraz kroz neogeometriju i neokonceptualizam.

‘80 su označile početak doba lingvističkog pluralizma koji predstavlja istovremeno prisustvo različitih umetničkih načina izražavanja koji se jednako vrednuju. U ovako širokom dijapazonu različitosti koji potenciraju česti kontakti sa kulturnim centrima Evrope, utemeljene u duhu i kulturi vremena i mesta (književnost, pozorište, film, rok muzika) i velikoj podršci institucija kulture, javljaju se karakteristične umeničke prakse koje ne karakterišu toliko međusobne koncepcijske podudarnosti, već saglasje umetničkih senzibiliteta.

‘90 – ... nazad dva

Krajem ‘80 svet se sve više približava realizaciji ideje globalizacije – početak prevlasti ove ideje simbolično predstavlja rušenje Berlinskog zida 1989. godine. No, na našem podneblju situacija je upravo suprotna – dok se u Evropi ruše faktički i imaginarni zidovi, u našoj bivšoj jugoslovenskoj državi oni počinju ubrzano da se podižu, te umesto globalizacije dobijamo naglu lokalizaciju. Okviri kretanja, fizičkog i mentalnog, sužavaju se skoro do potpune izolacije društva, getoizacije kulture i marginalizacije umetnosti koja sve manje zanima društvo, nespremno suočeno sa egzistencijanom krizom.

Kao odgovor na rat i krizu svih dotadašnjih vrednosti (moralnih, kulturnih, ljudskih), neki umetnici postmoderne započinju akcije koje u svojoj suštini imaju ideju protesta i kritiku stvarnosti (Led Art, na primer), dok se drugi “distanciraju”, odnosno nastavljaju da se bave svojim poslom i njihovi radovi iz ovog perioda ne odražavaju očiglednu utemeljenost u kontekstu nesrećnih vremena i skučenog prostora u kome nastaju. Mišljenja sam da su i takvi postupci, kao vid otklona od stvarnosti, predstavljali deo bunta, ali ne kroz jasno definisane aktivnosti koje su odražavale stav “protiv”, već kroz pasivno stvaranje ličnih mikrokosmosa u pokušaju da se nepovredivost i autonomija umetnosti očuvaju za neka bolja vremena. Značajno je da oba vida protesta zadržavaju težnju ka visokim kriterijumima umetnosti kao dominantnoj odrednici.

Umetnost ’90 najpreciznije je opisao Dejan Sretenović metaforom „umetnost u zatvorenom društvu“ koja oslikava getoizaciju umetničke scene i marginalizaciju umetnosti. Ova getoizacija nasilno je zaustavila mnoge umetničke karijere u usponu na domaćoj i međunarodnoj sceni, uticala na pojavu osećaja beznađa više generacija mladih umetnika koji su se tih godina formirali i donela nesagledive dugoročne posledice kulturnoj sceni Srbije.

Umetnost vs. populizam post-demokratskog društva

Promena vlasti 2000. godine donosi i novi polet umetničkoj sceni, ali i uvodi neo-liberalni kapitalizam koji umetnost tretira kao industriju, a umetničko delo prvenstveno kao robu kojoj isključivo tržište određuje vrednost. Doba post-demokratije, kako našu sadašnjost nazivaju engleski sociolog Kolin Krauč (Colin Crouch) i nemački filozof i teoretičar kulture Peter Sloterdajk (Peter Sloterdijk), karakterišu politička nezainteresovanost građanstva, prevlast desničarskih populističkih snaga na političkoj sceni sveta, globalizacija kao način sticanja još većeg bogatstva i moći malobrojnih pojedinaca i zemalja koji nameću svoje stavove i odluke ostalima. Post-demokratija u Evropi i svetu tokom prvih dekada 21. veka dovodi do ponovnog

urušavanja autonomije umetnosti i značaja autentičnih umetničkih vrednosti. Sve se sagledava kroz novac i profit, te se i od umetnosti očekuje da pronađe svoje novo mesto u okvirima tzv. “kreativne industrije”.

Krah svih vrednosti ’90 rezultirao je opštom krizom čije posledice osećamo i danas; sa druge strane, još uvek su prisutne i posledice ‘80ih. U ovom našem, poslovično, polarizovanom društvu, danas ponovo postoje dve struje – jedna koja se baštini na nasleđu ‘80ih (otvorenost, evropska i svetska orijentisanost, s tim što se nekadašnji “mejnstrim” (ukoliko se o mejnstrimu uopšte može govoriti u kontekstu ’80 godina) danas očitava kao alternativa, dok je nekadašnja alternativa danas minorna subkultura), a druga na nasleđu ‘90ih (tradicionalizam, nacionalizam, kič kao mejnstrim).

Suviše etablirani da bi predstavljali alternativu, suviše brojni da bi bili subkultura, umetnici postmoderne u današnje vreme simulakruma normalnosti ostaju verni sebi i pozicioniraju se u odnosu na novu, angažovanu umetnosti današnjice. Bitno je da ne prestaju da stvaraju.

O konceptu – zasto ritam – o ritmu

U želji da novoj, mladoj publici predstavimo različite načine iščitavanja umetničkog dela na primerima savremene produkcije, krećemo od ritma kao jednog od ključnih pojmova za razumevanje ne samo umetnosti (i ne samo vizuelne, već i književnosti, muzike, baleta, pozorišta i filma), nego i celokupnog mikro i makro univerzuma i života u njima.

Ritam možemo prepoznati svuda – u strukturi pojavnosti i načinu funkcionisanja žive i nežive prirode, u ljudskim delima. Ritam daje takt našim životima, vremenu i prostoru kroz koje se krećemo. Ritam uvek označava konstantno kretanje i promenu, a samim tim usko je povezan sa životom koji je upravo takav. U vizuelnim umetnostima možemo govoriti o ritmu boje, linija, površina, oblika, ritmu punog i praznog ali ga prepoznajemo i u inkorporaciji i iščitavanju koncepta (ideje) i u stvaranju (ritam poteza). Ritam predstavlja nit koja celini elemenata kompozicije daje dinamiku. Kao izvesna pravilnost u ponavljanju, ritam određuje tempo naše percepcije umetničkog rada.

Koncept ove izložbe ne treba shvatiti kao “ulaznicu” koju publika dobije i onda u svim izloženim delima teži da prepozna samo dobijeni “zadatak”, jer je svako umetničko delo mnogo više od onoga šta nam bilo koji koncept može predočiti. Koncept treba shvatiti samo okvirno, kao jedan od mnoštva mogućih vidova objedinjavanja inače autonomnih radova koji sadrže mnoštvo različitih vrednosti i nivoa značenja.

Ne ulazeći u definicije različitih tipova ritma, možemo reći da postoje dva načina ispoljavanja ritma u umetničkom delu – spoljašnji, vizuelni ritam i unutrašnji, konceptualni ritam. Dok vizuelni ritam više utiče na način percepcije umetničkog prostora, konceptualni se više odnosi na tempo utiskivanja i otkrivanja ideja rada.

O izloženim radovima

Umetnici Aleksandar Rafajlović i Perica Donkov krenuli su sa sličnih umetničkih polazišta, a danas ih predstavljamo sa dva rada potpuno različite likovnosti. Poliptih Aleksandra Rafajlovića Žuto cveće odmah nam privlači pažnju svojim razigranim, jarkim koloritom. Detalji istog motiva, buketa cveća u kojima dominira žuta boja, ponavljaju se na svakoj od 20 fotografija, stvarajući vizuelni nasumični ritam, sličan ritmu šljunkovite plaže. Ipak, fotografije su postavljene po tačno određenom redosledu – dužim posmatranjem zapažamo da vizuelna struktura poliptiha ima svoju piktoralnu logiku. Rad Žuto cveće obiluje konceptualnim kontradiktornostima i ima različite slojeve iščitavanja – na prvi pogled šareno, veselo cveće suštinski predstavlja iskadrirane snimke buketa sa groblja. Ipak, u kontekstu u kome ga umetnik predstavlja, rad ne predstavlja “memento mori”, nego “viva la vida” – podseća nas da uvek neki život nastavlja da postoji, da život kao fenomen ne nestaje. Spoj kontradiktornosti – život i smrt, šarenilo i žalost, cveće i tuga ukazuje na ciklični ritam života i smrti.

Gluva soba Perice Donkova monumentalnih dimenzija predstavlja izuzetno emotivan, stejtment-rad. U gluvoj sobi nema nikakvih zvukova, čovek i proces održavanja života su jedini zvuci – otkucaji srca, disanje, “zvuk” misli koje upijaju zidovi sobe. Gluva soba predstavlja prostor apsolutne izolacije jedinke. Vizuelni ritam odaje sporost, nepromenljivost, a konceptualni ritam promišljanja i kontemplacije i, najviše, emocije. Rad karakteriše minimalistički, konceptualni pristup umetnosti i potpuna apstrakcija – sveden, pesimistički kolorit (siva, crna), horizontalne linije i površine – kao ograda, granica; nematerijalnost prikaza upućuje na beg u duhovnost ličnog mikrokosmosa umetnika suočenog sa užasima degradiranog i banalizovanog sveta koji ga okružuje.

Izrazito taman kolorit prisutan je i u opusu Vladimira Ristivojevića. Njegov novi rad, tetraptih naslovljen Minimalna ekspozicija najjasnije oslikava poziciju “modernizam posle postmodernizma”. Naziv rada predstavlja i igru reči jer u fotografiji minimalna ekspozicija označava nedostatak svetla, crnilo. Rado karakteriše izrazito intelektualan pristup umetnosti, odsustvo pojavnosti i crna boja “oživljena” pigmentima. U tom magično privlačnom crnilu ipak ima dešavanja – potezi, reljefnost, kompoziciona geometrizacija površina u tačno određenom rasporedu. Preciznost izrade, ritam tekstura, poteza i svetla koje je nezaobila-

zni “spoljni” element svake Ristivojevićeve “crne slike” stavljeni su u funkciju sublimacije kognitivnih procesa koje umetnik ne otkriva, vać samo nagoveštava. Mentalne, konceptualne slike-objekti govore u prilog apsolutnog podržavanja autonomije umetnosti.

Tamne, skoro monohromne fotografije sa tek po kojim svetlosnim i kolorističkim akcentom čine instalaciju Defensive Structures Underground Nine Todorović. Iako zadržavaju dokumentarnost, fotografije ponajpre izražavaju emotivni aspekt intimnog sučeljavanja sa strahom od “drugih”. Mračna atmosfera otuđenosti vlada u podzemnim prostorima artkulisanim arhitektonskim elementima (potpornim betonskim stubovima i žičanim ogradama kao kavezima) koje umetnica precizno, analitički kadrira. Motiv žičane ograde prisutan je skoro na svim fotografijama –njeno ritmično ponavljanje i preklapanje artikuliše vizuelnu dubinu i slojevitost, u isto vreme pojačavajući osećaj izolovanosti i usamljenosti. Ograde su svuda – čak i kada se u centru kompozicije nalazi prazan prostor, one su tu negde, naziru se sa strane ili osećamo da su skrivene u mraku. To nisu samo”naši” kavezi, već i kavezi “drugih”, postavljeni jedni pored drugih. Rad odiše tišinom – nema komunikacije, ovde je svaki čovek “ostrvo za sebe”.

Intimistički pristup obeležava i video rad Izvan fokusa Anice Vučetić. Interakcija dva paralelna sveta, dve paralelno prisutne realnosti, umetnica prikazuje kroz ritam osvešćivanja njihovog međusobnog preplitanja. Fokus rada je na samoj umetnici, ona je istovremeno i subjekat i objekat ovog mentalnog i emotivnog ulaska u dimenziju svog drugog “ja”. Rad generiše dijalog između realnog, otuđenog i ranjivog “ja” i idealizovanog, primamljivog, tehnološkog “ja” koje se u jednom trenutku “materijalizuje” kroz simbol pružene ruke jasno pozivajući umetnicu u svet World Wide Weba. Rad je zasnovan na posledicama globalizacije pristupa informacijama i delovanju medija interneta na svakog subjekta kroz čestu nemogućnost uspostavljanja zdravog odnosa između realnog i virtuelnog života. Vizuelni ritam fizičkog priklona i otklona tela prati konceptualni ritam agonizujućeg procesa donošenja odluke o napuštanju realnosti i odlasku u drugost.

Friz Voda Marije Dragojlović predstavlja pet autorskih fotografija na kojima je umetnica intervenisala bojom, utiskivajući ličnu notu, deo svojih sećanja i emocija u rad. Predstava mora koje se mreška udarajući u beli kamen venecijanskog kanala budi u nama osećaj prisnosti, atmosferu sećanja, evokaciju ličnih doživljaja mora, ritam nadirućih misli i emocija. Ritam formiranja talasa i raspršavanja kapi vode, zaustavljene uspomene koje se nadovezuju jedna na drugu i ponavljaju u beskraj kroz meditativno i kontemplativno posmatranje rada emotivno oživljavaju trenutak spoznaje velikog značenja malih stvari koje nam ponekad predstavljaju čitav svet. Nedavno preminula umetnica Darija Kačić prisutna je na izložbi svojim prefinjenim, skoro taktilnim i nežnim crtežima Morske priče i White Horse. Tananost, fragilnost,

osetljivost, krhkost, prefinjenost i delikatnost fragmenata maštanja i emocija izvučenih na svetlost papira iz najdublje intime ličnih fantazama donose ritmično u talasima jedan raskošni ali nenametljiv intimistički senzibilitet za ljubav prema malim stvarima i unutrašnjim svetovima.

Stepenice kao motiv poslednjih nekoliko izložbi Slobodanke Stupar predstavljaju poziv na kretanje, na akciju kao prostori nepredviđeni za zadržavanje. Kao spone između različitih spratova (svetova ) čiju nam sadržinu umetnica ne nagoveštava vizuelno već samo nazivom rada, ovi međuprostori stogo funkcionalnog značaja su upravo ono što okupira njenu pažnju. Umetnica je fotografisala stepenice poznatih svetskih muzeja savremene umetnosti . Instalaciju MSU Atina čine četiri fotograjije stepeništa i njihovih detalja koje prati zvučni zapis. Iako poseduju nivo dokumentarnog, fotografije nisu verističke, već predstavljaju intimni doživljaj skrivenih delova građevina koje su za umetnicu od izuzetog značaja. Uočavamo svedeni kolorit, ritam horizontal i vertikala, ritam postavke samih fotografija u okviru instalacije koje vode naš pogled kružnom putanjom oko geometrijkog centra postavke; Zvuk je u funkciji pojašnjenja atmosfere i pomaže pri percepciji celovitosti ambijenta Nema ljudi – sami smo okruženi trima mogućnostima: gore, dole, ili “stand by”.

Srđan Apostolović i Dobrivoje Krgović predstavljeni su radovima koje karakteriše postupak preformulacije, koji se kod Apostolovića više odnosi na vizuelnu, estetsku, a kod Krgovića na konceptualnu sferu. Rad Dual Activ Srđana Apostolovića nastao kombinovanjem i kolažiranjem dva molitvena ćilima predstavlja spoj redimejda i konceptualne logike. Na prvi pogled nelogično fragmentirana i ponovo sastavljena predmeta kao krajnji produkt čine, u svom tom “neskladu”, harmoničnu i dinamičnu dvojnu instalaciju, punu vizuelnih dešavanja, kao pozitiv i negativ. Ritam šara samih ćilima, ritam umetničke intervencije fragmentiranja, otkrivanja i pokrivanja i ritam boja stvaraju razigranu elegantnu konceptualnu mozgalicu neočekivanog prekrajanja u smislu “a može i ovako”.

Serija Migration Pattern Dobrivoja Krgovića zasniva se na inicijalnom radu koji je umetnik na poziv Centra za grafiku i vizuelna istraživanja kreirao za prestižni kalendar 2018. godine. Privučen rezultatima kompjuterskog softvera Circos kreiranog za potrebe grafičke vizuelizacije statističkih podataka, Krgović koristi generisane paterne migracija na kojima interveniše tokom postprodukcije, zadržavajući pri tom relativne odnose pomeranja stanovništva u svetu. U prikazanim celinama dominira ritam kružnih oblika živih boja koji predstavljaju geo-politički definisane delove kontinenata, ritam lukova - pravaca migracija stanovništva, dok širine lukova odgovaraju procentualnom učešću svakog geo-političkog entiteta u migraciji.

Serija Migration Pattern sastoji se iz pet radova koji prikazuju podatke u vremenskim intervalima od po pet godina, počev od 1990. do 2015. godine. Krgović ni ovde, kao ni u jednom od svojih radova, ne iznosi konačne sudove, ne zatvara formu,

već ostavlja otvorenu strukturu unutar koje su moguća različita iščitavanja. Same migracije mogu biti dobrovoljne ili prisilne, ekonomske, emotivne, podstaknute katastrofama, itd. Vizuelno, Migration Pattern se isprva čine “veselo i šareno”, razigrano, čak i previše. Ipak, dužim posmatranjem dolazimo do spoznaje da je reč o veoma sofisticiranoj celini sličnih formi u skoro identičnim kompozicijama čija su potencijalna značenja različita od onih isključivo statističkih, a da je razigranost “eyecatcher” koji prikriva mračniji narativ.

Osim u radu Žuto cveće Aleksandra Rafajlovića, floralni motivi bili su inspiracija i radova Vladimira i Milice Perić, Igora Antića i Zdravka Joksimovića. Instalacija pod nazivom So zemlje Vladimira i Milice Perić nastala je ne kao preformulacija, nego pre kao konceptualna nadogradnja njihovog rada Kleine Garten (Male bašte). Kolažiranjem istog detalja 37 različitih autorskih fotografija ograda jednog austrijskog seoceta i rastinja iza i ispred njih nastaje 37 kaleidoskopskih paterna - “malih bašti” šestougaonog oblika kojima umetnički tandem Perića podaruje novi život. Vizuelni ritam definiše radijalno širenje paterna ograda sa zelenilom u centrima heksagona, a konceptualni nastavak rasta i novog života koji se dešava u teglama sa zemljom pod njima. Artificijelne male bašte stvaraju aluziju na veštački, “plastičan” život u post-humanističkom dobu, dok nas prirodni procesi nastanka i bujanja plesni i bakterija u i na zemlji u teglama vraćaju na same početke nastanka života na zemlji. Mini-instalacije (mala bašta na tegli ispunjenoj zemljom) ponašaju se kao jedinke – svaka za sebe, ali zajedno čine jedinstvenu celinu različitih biljaka.

Artificijelne biljke kao idejno polazište prisutne su i u radovima Zdravka Joksimovića i Igora Antića. Živa ograda Zdravka Joksimovića predstavlja nastavak serijala radova u kome Joksimović istražuje pitanje linije i forme, podstaknut slikarskom praksom Bore Iljovskog. Joksimović zadržava jezičku autonomiju i kompleksnost izraza Iljovskog, ali ih transponuje iz dve u tri dimenzije – iz slikarske ravni u skulptorski prostor. Posežući za postmodernističkim citiranjem autentične likovnosti kompozicija Bore Iljovskog kao osnovom za dalje umetničke intervencije, Joksimović gradi originalnu, dekorativnu i ornamentalnu formalističku kompoziciju prepoznatljivog, njemu svojstvenog senzibiliteta. Vizuleni ritam izuvijane dekorativne linije, četiri “plošne”površine koje definišu prostornost skulpture – objekta i četiri stranice postolja koje čini integralni deo ove instalacije Joksimović povezuje ritmičnom alternacijom dve nijanse plave boje u zaokruženu celinu. Nazivom dela, Joksimović takođe obezbeđuje i referentnost svog rada u odnosu na pojavni svet, kao i ritmičnu igru bukvalnog i prenesenog značenja.

Umetnička praksa Igora Antića zasniva se na instalacijama in situ u okviru kojih umetnik preispituje različite odnose između umetnosti, mesta i situacija, kroz stvaranje originalnih instalacija. Projekat Nedovršene forme koji je Igor Antić započeo 2018. godine sastoji se iz realizacije različitih artificijelnih biljaka koje na

svojim granama, listovima ili cvetovima (zavisno od izgleda biljke i od okolnosti) nose ispisana pitanja u vezi sa temom koju je umetnik izdvojio kao bitnu i odlučio da je u svom radu problematizuje. Umetnik je predvideo da ove biljke vremenom rastu i granaju se, a sa njima i broj pitanja. Nedovršene forme #3-2 osmišljene su u kontekstu mesta (vojne ustanove) i problematizuju odnos vizuelnih umetnosti i umetnosti kamuflaže. Struktura instalacije sastoji se od PVC cevi kao “grana” biljke koje podsećaju na vojne barikade i osmougaonih “listova” od platna kamuflažnog vojnog kolorita sa na kojima su ispisana pitanja kojima Antić ukazuje na konfrontaciju poznatog i nepoznatog, jasno vidljivog i skrivenog, kamufliranog. Umetnik nam ne daje odgovore, već nam nudi način da sagledamo okolnosti u kojima se nalazimo iz više različitih, ponekad neočekivanih uglova posmatranja.

Vizuelni ritam horizontala i vertikala “grana” i rasporeda “listova” sa pitanjima uvode nas direktno u konceptualni ritam iščitavanja i sagledavanja ideje umetničke intervencije u prostoru. Instalacija Nedovršene forme #3-2 predstavlja zaokruženo konceptualno i kontekstualno umetničko delo – konceptualno jer je nosilac rada ideja problematizacije odnosa dva vida umetnosti (vizuelne i kamuflažne), ne samo fizičke karakteristike dela, a kontekstualno jer predstavlja angažovanu umetničku intervenciju u datoj situaciji i prostoru, odnosno u jasno određenom kontekstu mesta i vremena.

Radovi Dušana Petrovića, Dragoslava Krnajskog, Slobodana Kojića i Đorđija Crnčevića pripadaju sferi “skulpture u proširenom polju” koju je prva definisala Rozalind Kraus (Rosalind Krauss). Posle duže vremena ponovo izložen rad Podzemni prolaz (Underground) Dušana Petrovića sačinjavaju dva paralelno postavljena trougaona monumentalna objekta artikulisana masivnim drvenim pragovima. Rad karakteriše geometrizacija, svedenost i izuzetna snaga umetničkog izraza. Ritam isturenih i uvučenih horizontalno postavljenih pragova omeđanih drvenim okvirom stvara jednakokraki trougao koji stremi uvis, kao strela u nebo, određujući pravac sagledavanja rada i njegov uticaj na okolni prostor. Konceptualni ritam ukazuje na drugu dimenziju, koncentraciju sile u vršnoj tački sučeljavanja dve masivne drvene grede. Drugi trougao je jednakostraničan, artikulisan samo okvirom i nagoveštava koncept ulaza u nov prostor. Kao kapija novog vremena i mesta, artikuliše prolaz koji nas vodi u drugu dimenziju postojanja.

Rad Slobodana Kojića Bez naziva predstavlja četiri elementa od terakote heterogenih oblika i tekstura koji potiču iz različitih perioda Kojćeve umetničke aktivnosti. Kojićevu sitnu plastiku karakteriše čista likovnost i apstrakcija kao odsustvo svakog viška narativnosti. Konceptualni ritam ideje ostavljanja traga u materijalu vizuelno se iščitava kroz ritam intervenisanja u oblikovanju forme i definisanju teksture površina, odnosno kroz percepciju umetnikovog istraživanja forme i zapisa u/na njoj.

Prostorna instalacija Skulptoralni prostor Đorđija Crnčevića izmešta nas iz prostora galerije u otvoren prostor – redefinišući percepciju svoje okoline, skulptoralna instalacija svojom prafiguralnom poetikom i monumentalnom snagom stvara oko sebe idealizovni, primordijalni prostor koji u mašti nadograđujemo. Vizuelnoj dinamici doprinosi ponavljajući ritam vidljivih grubih poteza alata u teksturi drveta. Ritam manjih elemenata preseca veliki dominantni dijagonalno postavljen horizontalni deo naglašavajući igru arhetipskih oblika velikog asocijativnog potencijala čiji je idejno uporište u prafigurama našeg podneblja. Skulptoralni prostor iz nas izvlači fragmente potisnutog kolektivnog sećanja na početke postojanja ljudske vrste.

Objekat velikih dimenzija Dragoslava Krnajskog naziva Apokalipsa asocira nas na formu trube/levka od metalnih i drvenih delova. Elegantna svedenost boja i skladnost oblika prečišćene plastičnosti kao odlika umetničke prakse Dragoslava Krnajskog prisutna je i u njegovom novom radu. Precizno izrađene radijalno postavljene drvene letvice vode ka krešendu velikog kružnog otvora kroz koji “čujemo”, odnosno “osećamo” zvuk truba kao simbol anđeoske najave apokalipse posle otvaranja 7. pečata. Naziv aludira na sudnji dan, te ovu smirenost oblika išitvamo i kao zatišje pred buru. Umetnički rad – objekat baziran je na skladu suprotstavljenih elemenata, odnosno ujednačenom ritmičnom sučeljavanju kontrasta: vizuelno dominantan radijalni ritam koji kulminira u velikoj kružnici kao svoju suprotnost ima tamnu savijenu usku cev/duvaljku, dok je konceptualni ritam zasnovan na suprotstavljanju elegantnih oblika i pretećeg naziva rada koji nas ostavlja u dualističkom iščekivanju propasti ili radosti, zavisno od nas samih.

U današnje vreme, kad je sve sintetizovano, “kompresovano”, jer jedino kao takvo može da odgovori brzini i velikoj količini informacija koju nam savremeni život nameće, mnogi će se pred nekim od ovih umetničkih dela naći kao pred zidom. Ostajuću u okvirima stručnosti, izložbom ‘80 i ‘90 danas – The Rhythm Divine ARTZUM teži da razjasni, da olakša i približi percepciju umetnosti postmoderne, ali ne i da je banalizuje.

Ivona Fregl

The 80s & 90s Today – The Rhythm Divine

The 1990s - ... two steps backwards

The 80s and 90s Today - the Rhythm Divine presents one of the possible choices of artworks created by artists who have embraced the principles of Postmodernism (generations 1980s and 1990s, but also a certain number of artists who appeared on the artistic scene of Serbia in the 1970s). The artworks presented at the exhibition date back in the period from the 1980s until today, therefore the term “today” in the exhibition title refers both to the recent production of the mentioned artists and to today’s reception of their works of art, created during the 80s and 90s.

The exhibition

The 1980s – one step forward...

After the predominantly conceptual, strongly intellectually oriented, purified art of the 1970s, the art of the 1980s leads to the revival with painting and sculpture substantiality, to its narrative, appreciation of the sense of artistry, visuality and form, as well as to the re-animation of manual artwork production.

Unlike the engaged artistic practices of the 1970s, the art of the 1980s neither had the ambition to encourage nor to influence changes in society. The innovations the art of the 1980s made were exclusively within the framework of its primary activity, within the area of the art itself. These changes referred to stylistic, technical, linguistic and genre differences. The practices of the 1970s became too autoreferential and hermetic in relation to the audience with whom the Postmodern art restores the dialogue, primarily through ambient installations and the return of narrative. In the first half of the 80s, the post-modern period was marked by the return to the artistic tradition (there is a renewal of classic art media - paintings and sculpture, but in an altered form - “new image”, “new painting”), neo-expressionism, artistic intervention on quotations taken from the art history (“repetition with differences”) and eclecticism of materials, styles, techniques; in the second half of the 80s, no-expressionism emerged, as a reinterpretation of an abstract expression through neo-geometry and neo-conceptualism.

The 80s marked the beginning of an era of linguistic pluralism, the term that depicts a simultaneous presence of equally valued various manners of artistic expression. In such a wide range of diversity empowered by frequent contacts with the cultural centres of Europe, based on the spirit and culture of time and place (literature, theatre, film, rock music) and with the vast support of cultural institutions, characteristic artistic practices emerged. These practices were not mainly characterised by mutual conceptual compatibilities, but the consistency of artistic sensibilities.

At the end of the 1980s, there was a growing realization of the idea of globalization and its beginning was symbolically marked by the fall of the Berlin Wall in 1989. However, in our region, the situation was quite the opposite - while factual and imaginary walls were tumbling down in Europe, in our former Yugoslav state they were about to be raised rapidly, so instead of globalization, we faced a sudden localization. The ranges of movement, both physical and mental, constrain almost to the complete isolation of society, the ghettoization of culture and the marginalization of art that was less and less the subject of interest of society, being unprepared for facing the existential crisis.

In response to the war and the crisis of all previous (moral, cultural, human) values, some postmodern artists begin actions based on the idea of protest and critique of reality (Led Art, for example), while others “distance themselves” i.e. continue with their work and their works from this period do not reflect the obvious justification in the context of the unfortunate times and the restricted space in which they emerged. In my opinion, such actions, as a form of deflection from reality, were part of the revolt, but not through clearly defined activities that reflected the attitude of being “contra”, but through passive creation of personal microcosm in an attempt to preserve the integrity and autonomy of art for some better times. It is significant to note that both forms of protest retain the tendency toward high art criteria as its dominant characteristic.

Dejan Sretenović most accurately described the art of the 1990s using the metaphor “art in a closed society” that depicts the ghettoization of the art scene and the marginalization of art. This ghettoization violently stopped many artistic careers in the rise on the domestic and international scene, influenced the appearance of the hopelessness of several generations of young artists who were being formed in those years and brought tremendous long-term consequences to the cultural scene of Serbia.

Art vs. post-democratic society populism

The change of political power in 2000 brought a new uplift to the art scene but it also introduced neo-liberal capitalism that treats art as an industry and artwork primarily as a commodity which value is exclusively determined by the market. The age of post-democracy, the term that English sociologist Colin Crouch and German philosopher and theoretician of culture Peter Sloterdijk use to describe our present, is characterized by the political indifference of citizenship, the dominance of right-wing populist forces in world politics, globalization as a way of acquiring even greater wealth and power of few individuals and countries that impose their

views and decisions on others. Post-democracy in Europe and the world during the first decade of the 21st century has led to a further collapse of the autonomy of art and the importance of authentic artistic values. Everything is viewed through money and profit, and art is also expected to find its new place within the socalled “creative industries”.

The crash of all values of 1990s resulted in the general crisis, whose effects we even feel today; on the other hand, the outcomes of the 1980s are still present. In our well-known polarized society, there are still two courses - one derived from the 1980s heritage (openness, European and world orientation, with the former “mainstream” (if the mainstream can be considered at all in the context of 1980s) being an alternative today, while the former alternative is now a minor subculture), and the second based on the heritage of the 1990s (traditionalism, nationalism, kitsch as a mainstream).

Too established to be an alternative, too numerous to be a subculture, the postmodern artists in today’s simulacrum of normality remain faithful to themselves and position themselves in relation to the new, engaged art of today. It’s important that they do not stop creating.

On the concept - why rhythm - about the rhythm

In order to present the new, young audience with different ways of reading artworks with examples of contemporary production, we start from rhythm as one of the key concepts for understanding not only art (and not only visual arts, but also literature, music, ballet, theatre and film) but also the entire micro and macro universe and life in them.

Rhythm can be recognized everywhere - in the structure of the visual world and in the functioning of all living and inanimate nature as well as in human creations. The rhythm gives a beat to our lives, to the time and space through which we travel. Rhythm always signifies a constant movement and change; therefore, it is closely related to life which is exactly the same. In visual arts, we can talk about the rhythm of colours, lines, surfaces, shapes, rhythms of full and empty, but we can also recognize it in the incorporation and comprehension of the concept (idea) and in creation (the rhythm of strokes). Rhythm is a thread that gives dynamics to the unity of the composition elements. As certain regularity in repetition, the rhythm determines the tempo of our perception of the artwork.

The concept of this exhibition should not be understood as the “ticket” that the audience receives and then tends to recognize only the obtained “task” in all the

exhibited artworks, because every work of art is much more than what any concept could show us. The concept should be understood only as a framework, as one of the multiple possible forms of the alliance of, otherwise autonomous artworks which contain the abundance of different values and layers of meaning. Without going into the definition of different types of rhythms, we can say that there are two ways of expressing the rhythm in the artwork - the external, visual rhythm and the inner, conceptual rhythm. While the visual rhythm has more influence on the way of art space perception, the conceptual rhythm is more about the tempo of imprinting and revealing the artwork idea.

On the exhibited artworks

Aleksandar Rafajlovic and Perica Donkov commenced their practices from similar artistic starting points. Today, we present them with two artworks of completely different visual presentation. Aleksandar Rafajlović’s Yellow Flowers polyptych immediately attracts attention with its playful, bright colours. The details of the same motif, bouquets with yellow flowers, reappear on each of the twenty photographs creating a visual random rhythm, similar to the rhythm of the pebbly beach. Nevertheless, the photographs were set in a very precise order – we can observe that the visual structure of polyptych has its own pictorial logic. Yellow Flowers artwork abounds with conceptual contradictions and has different layers of comprehending - at first glance colourful, cheerful flowers essentially represent cropped photographs of bouquets from the cemetery. However, in the context in which the artist displayed it, the artwork does not represent “memento mori”, but “viva la vida” - reminding us that life always continues to exist, that life as a phenomenon does not disappear. The parallelism of contradiction - life and death, colour and sadness, flowers and sorrow points to the cyclical rhythm of life and death.

Perica Donkov’s Deaf Room of monumental format is an extremely emotional, statement artwork. In the deaf room, there are no sounds, the person and the process of sustaining his/her life are the only sounds - heartbeats, breathing, “sound” of thoughts absorbed by the walls of the room. The deaf room represents the area of absolute isolation of an individual. The visual rhythm depicts slowness, immutability, and the conceptual rhythm depicts reflections, contemplations and, most of all, emotions. The work is characterized by a minimalist, conceptual approach to art and complete abstraction - a reduced, pessimistic colouring (grey, black), horizontal lines and surfaces - suggest a fence or a border; the immateriality of the display indicates the escape into the spirituality of the personal microcosm of the artist faced with the horrors of the degraded and banalized world that surrounds him.

Rather dark colouring is also present in Vladimir Ristivojević’s opus. His new artwork, the tetraptych entitled Minimal Exposition, most clearly reflects the position of “modernism after postmodernism.” The artwork title is also wordplay because, in photographic media, the minimal exposition denotes the lack of light, the blackness. The work is characterized by an extremely intellectual approach to art, the absence of visual presence and black colour “revived” by pigments. However, in this magically attractive blackness, there are some events - brush strokes, relief, and composition geometry of surfaces in a precisely defined schedule. The precision of the execution, the rhythm of textures, brushstrokes and the rhythm of light which is an indispensable “outer” element of every Ristivojević’s “black painting” have been put into the function of cognitive processes sublimation which the artist does not reveal but only suggests. Mental, conceptual images-objects speak in favour of absolute supporting the autonomy of art.

Dark, almost monochrome photos with rare light and colour accents make Nina Todorović’s installation Defensive Structures Underground. While retaining their documentary character, the photographs foremost express the emotional aspect of intimate confrontation with the fear of “the others”. The dark atmosphere of alienation is present in underground spaces articulated by architectural elements (supporting concrete pillars and wire fences like cages) that the artist accurately, analytically frames. The wired fence motif is present in almost every photographits rhythmic repetition and overlapping articulate visual depth and stratification, at the same time enhancing the sense of isolation and loneliness. The fences are everywhere - even when there is an empty space in the centre of the composition, they are somewhere around, loom from the sides, or we feel that they are hidden in the dark. These are not just “our” cages, but also the cages of “others”, placed next to each other. The work radiates the silence - there is no communication, every man is an island here.

An intimate approach also marks Anica Vučetić’s video work Out of Focus. The artist depicts the interaction between two parallel worlds, two simultaneously present realities through the rhythm of their mutual interweaving awareness. The focus of the work is on the artist itself, who is, at the same time, both subject and object of this mental and emotional entry into the dimension of her other “self”. The artwork generates a dialogue between a real, alienated and vulnerable “self” and an idealized, tempting, technological “self” that at one point “materializes” through the reaching hand symbol, explicitly inviting the artist into the world of the World Wide Web. The work is based on the consequences of the globalized information access and the of the Internet media influencing each subject through the frequent inability to establish a healthy relationship between real and virtual life. The visual rhythm of physical body movements forward and backwards follows the conceptual rhythm of the agonizing process of making a decision to abandon reality and turn away to the otherness.

Marija Dragojlović’s frieze Water presents five authorial photos on which the artist intervened in colour, imprinting a personal note, a part of her memories and emotions into her photo work. The representation of the sea which ripples hitting the white stones of the Venetian canal awakens in us the sense of intimacy, the atmosphere of memory, the evocation of the personal experiences of the sea, the rhythm of overwhelming thoughts and emotions. The rhythm of the formation of waves and dispersion of water droplets halted memories that relate to each other and repeat endlessly through meditative and contemplative observation of artwork emotionally revive the moment of the recognition of the great meaning of small things that sometimes represent the whole world.

The recently deceased artist Darija Kačić is present at the exhibition with her sophisticated, almost tactile and delicate drawings Stories of the Sea and White Horse. The sensitivity, fragility, subtlety, frangibleness, sophistication and tenderness of imagination and emotions fragments that were brought out to the light of the paper from the artist’s deepest intimate personal fantasies, bring rhythmically a lavish but unobtrusive intimate sensibility for loving small things and inner worlds.

Stairs as a motif of the few recent exhibitions of Slobodanka Stupar, as spaces which aren’t intended for any longer staying, represent an invitation to move and to act. As connections between different floors (worlds) whose contents the artist does not imply visually, but only through the artwork title, these interspaces of strictly functional significance are precisely the motif that occupies her attention. The artist took photographs of the world’s famous museums of contemporary art staircases. The installation MoCa Athens consists of four photographs depicting the staircases and their details, accompanied by the soundtrack. Although photographs have a documentary significance, they are not veritable, but they represent an intimate experience of hidden parts of buildings that are of exceptional importance to the artist. We notice the reduced colour, the rhythm of horizontal and vertical elements, the rhythm of the manner the photographs are displayed within the installation that guides our view along the circular path around the geometric centre of the arrangement; accompanying audio is in the function of explaining the atmosphere and helping the perception of the environmental unity. There are no people - we are alone, surrounded by three possibilities: upstairs, downstairs, or “stand by”.

Srđan Apostolović and Dobrivoje Krgović are presented with artworks characterized by the process of pre-formulation, which in Apostolović’s work refers more to the visual and aesthetic, and in Krgović’s to the conceptual sphere. Srđan Apostolović’s work Dual Activ, created by combining and collating two prayer kilims, represents a combination of ready-made and conceptual logic. At first

glance, the illogically fragmented and reassembled objects in this “mismatch” form, as the ultimate product, a harmonious and dynamic dual installation, full of visual events, as a positive and negative. The rhythm of kilims’ design patterns, the rhythm of the artistic intervention of fragmentation, uncovering and coverage, the rhythm of colours create a playful, elegant conceptual puzzle of an unexpected customisation in the sense of “it can be done this way as well.”

Dobrivoje Krgović’s series Migration Pattern originates in the initial artwork created by the artist at the invitation of the Centre for Graphic Art and Visual Research for their prestigious 2018 calendar. Drawn by the results of the Circos computer software created for graphical visualization of statistical data, Krgović uses the generated migration patterns and intervenes on them during post-production, while retaining the relative interactions of population shifts in the world. The displayed ensembles are dominated by the rhythm of vibrantly coloured circular forms representing the geo-politically defined parts of the continents; the rhythm of arcs shows the directions of population migrations, while the arcs’ width corresponds to the percentage of participation of each geopolitical entity in the migration. The Migration Pattern series consists of five works that show data grouped into five-year intervals, from 1990 to 2015. Neither here nor in any other works does Krgović present final judgments or close the form, leaving them rather structurally open in order to enable a myriad of different readings. Migrations themselves may be voluntary or forced, economic, emotional, incited by catastrophes, etc. Visually, Migration Pattern at first appears “cheerful and colourful”, maybe even excessively playful. Nevertheless, we come to understand that it is a very sophisticated ensemble of similar forms in almost identical compositions, whose potential meanings are different from those purely statistical, and that the playfulness is just an “eye catcher” that hides a much darker narrative.

Apart from Aleksandar Rafajlović’s artwork Yellow Flowers, floral motifs were the inspiration of the works by Vladimir and Milica Perić, Igor Antić and Zdravko Joksimović. Vladimir and Milica Perić’s installation titled Salt of the Earth is not just a pre-formulation, but rather a conceptual upgrade of their work Kleine Garten (Small Garden). Having collaged the same detail, one for every of thirty-seven different author photographs showing fences of an Austrian village and the vegetation behind and in front of them, 37 kaleidoscopic patterns - “small gardens” of an octagonal form are created to be given a new life by Perić artistic tandem. The visual rhythm defines the radial expansion of the patterns with fences and greenery in the octagon centres, and the conceptual continuation of growth and new life occurring in the jars with the earth beneath them. Artificial small gardens create an allusion of “plastic” life in the post-humanistic era, while the natural processes of the formation of moulds and bacteria in and on earth in the jars bring us back to the very beginnings of life on earth. Mini-installations (small gardens on a jar

filled with soil) behave as separate units - each for themselves but together they make a unique body of different plants.

Artificial plants as a conceptual starting point are present in the artworks of Zdravko Joksimović and Igor Antić. Zdravko Joksimović’s Hedge represents a continuation of a series of works in which the artist explores line and form, inspired by the painting practice of Bora Iljovski. Joksimović retains the linguistic autonomy and complexity of the Iljovski’s expression but he transposes them from two to three dimensions - from the painting level to the sculptural space. Joksimović reaches for the postmodernist citation of the authentic visual manifestation of Bora Iljovski’s compositions, building on this foundation original, decorative and ornamental formalistic compositions of a recognizable, unique sensibility. By the rhythmic alternation of the two shades of blue, the artist connects the visual rhythm of the curved decorative lines, the four “flat” surfaces that define the sculpture-object space and the four sides of the platforms that make up an integral part of this installation in an integral unity. Title of his artwork also provides a reference to the phenomenal world, as well as the rhythmic play of a literal and symbolic meaning.

Igor Antić’s artistic practice is based on in-situ installations in which the artist analysis different relationships between art, places and situations, through the creation of original installations. The Uncompleted Forms project that Igor Antić started in 2018 consists of the creation of various artificial plants. These plants have written questions on their branches, leaves or flowers (depending on the appearance of the plant and the circumstances) regarding the theme that the artist recognised as important and decided to problematise in his work. The artist envisioned that these plants would grow and develop over time, together with new questions. Uncompleted Forms #3-2 are created in the context of the place (military institutions) problematizing the relationship between visual arts and art of camouflage. The structure of the installation consists of PVC pipes as “branches” of plant that resembles military barricades and octagonal “leaves” made of the canvas coloured with military camouflage colours with the written questions whit which Antic points to the confrontation of the known and unknown, clearly visible and hidden, camouflaged. The artist does not give us answers but offers us a way to consider the circumstances in which we find ourselves from several different, sometimes unexpected angles. The visual rhythm of the horizontal and the vertical “branches” and the layout of “leaves” with questions introduce us directly into the conceptual rhythm of reading and perceiving the idea of artistic intervention in space. The installation Uncompleted Forms # 3-2 represents an integral conceptual and contextual artwork - conceptual because the carrier of his work is the idea of problematizing the relationship between two types of art (visual and camouflage), and not only the physical characteristics of the work; contextual, because it

represents an engaged artistic intervention in a given situation and space, i.e. in a precisely defined context of place and time.

The works of Dušan Petrović, Dragoslav Krnajski, Slobodan Kojić and Djordjije Crnčević belong to the sphere of “sculptures in the expanded field”, the concept defined by Rosalind Krauss. Re-exhibited after a long time, Dušan Petrović’s sculptural installation Underground consists of two parallel positioned triangular monumental objects articulated with massive wooden thresholds. The artwork is characterized by geometry, reduction and exceptional strength of the artistic expression. The rhythm of projected and redrawn horizontally positioned thresholds enclosed by a wooden frame creates an isosceles triangle that sticks upwards, like an arrow towards the sky, determining the direction of artwork observation and its impact on the surrounding space. The conceptual rhythm points to another dimension, the concentration of force at the peak of the collision of two massive wooden beams. The second triangle is equilateral, articulated only by a frame and suggests the concept of entering into a new space. As the gateway of the new time and place, it articulates a passage that leads us to another dimension of existence.

Slobodan Kojić’s artworks Untitled represent four elements made in terracotta with heterogeneous forms and textures that originate from various periods of Kojic’s artistic activity. The fine plastic of the artist is characterized by pure artistry and abstraction as the absence of any excess of a narrative. The conceptual rhythm of the idea of leaving the trace in the material is visually read through the rhythm of intervening in shaping the form and defining the surface texture, that is, through the perception of the artist’s research of the form and the leaving the trace in/on it.

Djordjije Crnčević’s spatial installation Sculptural Space takes us from the gallery space into an open area - redefining the perception of its surroundings, the sculptural installation with its ancient figural poetics and monumental power creates an idealistic, primordial space that we out build in our imagination. The repeated rhythm of visible rough tool strokes in the wood texture contributes to the visual dynamics of the composition. The rhythm of smaller elements is crossed by the large dominant diagonally set horizontal part emphasizing the play of archetypal forms of great associative potential whose conceptual base is in the ancient figures of our region. Sculptural Space draws from us the fragments of the suppressed collective memory of the beginnings of the existence of humankind.

Dragoslav Krnajski’s sculpture-object of the great dimensions entitled Apocalypse recalls the shape of a trumpet/hopper made of metal and wooden parts. Elegant colour reduction and harmony of purified forms as a feature of Dragoslav Krnajski’s artistic practice is also present in his new artwork. The radial arrange-

ment of wooden slats made with precision lead to the crescendo of a large circular opening through which we “hear” or “feel” the sound of the trumpet as a symbol of the angelic announcement of the apocalypse after the opening of the seventh seal. The artwork title alludes to the judgment day, so this calmness of the form can also be seen as a slumber before the storm. The artwork-object is based on the balance of contradictory elements, i.e. the consistently rhythmical opposition of the contrasts: the visually dominant radial rhythm that culminates in a large circular opening has as its opposite a dark bent narrow tube/blower, while the conceptual rhythm is based on opposing the elegant shapes and the threatening work title which leaves us in the dualistic anticipation of extinction or rapture, depending on our own conscious.

Nowadays, when everything is synthesized, “compressed”, because only as such it can respond to the speed and the large amount of information that modern life imposes, many visitors will feel that they are facing the wall in front of some of these artworks. Staying within the boundaries of expertise, with the exhibition The 80s and 90s Today - The Rhythm Divine ART-ZOOM intends to clarify, to facilitate the approach to the perception of postmodern art, without banalizing it.

Ivona Fregl

Aleksandar Rafajlović - Rođen 1957. u Beranama u Crnoj Gori. Diplomirao na Fakultetu likovnih umetnosti u Beogradu 1980. godine. Postdiplomske studije završio na istom fakultetu 1983. godine. Specijalizacija na École nationale supérieure des beaux-arts u Parizu 1983/84. Živi i radi u Beogradu i Portugalu.

Aleksandar Rafajlović - Born in Berane, Montenegro 1957. He graduated from the Faculty of Fine Arts in Belgrade in 1980. Rafajlović completed his postgraduate studies at the same university in 1983 and obtained a specialisation at the École Nationale supérieure des Beaux-Arts in Paris in 1983/84. He lives and works in Belgrade and Portugal.

Str. 12, 13, 15, 21, 30 –Žuto cveće/Yellow Flowers, 2000-2, fotografije/photos, 250 x 300 cm

Anica Vučetić - Rođena 1962. u Beogradu. Diplomirala i magistrirala slikarstvo na Fakultetu likovnih umetnosti u Beogradu. Bavi se video instalacijama i ambijentima. www.anicavuc.wix.com/anicavucetic, anica_vuc@yahoo.com

Anica Vučetić - Born in Belgrade 1962. Vučetić has a master’s degree in painting from the Faculty of Fine Arts in Belgrade. She deals with video installations and environments. www.anicavuc.wix.com/ anicavucetic www.serbiancontemporaryart.info/i... anica_vuc@yahoo.com

Str. 17, 29 – Izvan fokusa/Out of Focus, 2017, video rad/video, 54 sec

Darija Kačić – (1959. – 2018.) Godine 1983. diplomirala na slikarskom odseku Fakulteta likovnih umetnosti u Beogradu, u klasi profesora Radenka Miševića, a 1986. godine završila postdiplomske studije na istom Fakultetu kod profesora Milice

Stevanović. Iste godine primljena je za asistenta za predmet slikanje i crtanje na FLU. Do kraja života bila je u zvanju vanrednog profesora na FLU.

Darija Kačić – In 1983 she graduated from the painting department of the Faculty of Fine Arts in Belgrade, in the class of Professor Radenko Mišević, and in 1986 completed her studies at the same faculty with Professor Milica Stevanović. In the same year, she became an assistant at the department of painting and drawing at the Faculty of Fine Arts. Until the end of her life Darija was an associate professor at the Faculty of Fine Arts.

Str. 21, 22, 26 – White Horse, 1987, kombinovana tehnika/mixed media, (2x) 32 x 30 cm

Morske priče/Stories of the Sea, 1987, kombinovana tehnika/mixed media, 82 x 63 cm

Dobrivoje Krgović – Rođen 1957. godine u Peći. Diplomirao, magistrirao i doktorirao na Fakultetu likovnih umetnosti u Beogradu. Radi na Učiteljskom fakultetu Univerziteta u Beogradu.

Dobrivoje Krgović – Born in Peć, 1957. He graduated and obtained both Master and PhD degree from the Faculty of Fine Arts. He works as a professor in Teacher Education Faculty at the University of Belgrade.

Str. 13, 17, 21, 22, 23 – Migration Pattern, 2018, digitalni print/digital print, (5x) 45 x 60 cm

Dragoslav Krnajski – Rođen u Puli 1953. godine. Fakultet za likovne umetnosti u Beogradu završio je 1982. godine. Post–diplomske studije završio je na istom faku–ltetu 1984.godine. Živi i radi u Beogradu kao samostalan umetnik. krnajski@eunet.rs

Dragoslav Krnajski – Born in Pula 1953. He graduated from the Faculty of Fine Arts in Belgrade in 1982. He completed his post-graduate studies at the same faculty in1984. He lives and works in Belgrade as an independent artist. krnajski@eunet.rs

Str. 12, 15, 16, 17, 21, 22, 31 – Apokalipsa/Apocalypse, 2019, drvo i metal/wood and metal, 190 x 190 x 200 cm

Dušan Petrović - Rođen 1962. godine. Diplomirao je 1987. godine na Vajarskom odseku Fakulteta likovnih umetnosti u Beogradu u klasi profesora Miodraga Popovića. Kod istog profesora završio je poslediplomske studije 1992. godine. Asistent na FLU u Beogradu od 1989. godine, 1997. godine postaje docent, a zvanje redovnog profesora stiče 2010. godine.

Dušan Petrović - Born in 1962. He graduated from the Sculpture Department of the Faculty of Fine Arts in Belgrade in the class of Professor Miodrag Popović in 1987 and completed his postgraduate studies with the same professor in 1992. Petrović became an assistant at the Faculty of Fine Arts in Belgrade in 1989, an assistant professor in 1997 and full professor in 2010.

Str. 12, 13, 14, 15, 16, 19, 21 – Podzemni prolaz/Underground, 1989, impregnirano drvo/impregnated wood, 160 x 150 x 40 cm i 240 x 165 x 80 cm

Đorđije Crnčević (1941 – 2013) Rođen u Dupilu, Crmnica. Diplomirao vajarstvo 1967. godine na Akademiji likovnih umetnosti u Beogradu u klasi profesora Miodraga Miše Popovića, kod koga je i magistrirao 1972. godine.

Đorđije Crnčević (1941 – 2013) was born in Dupilo, Crmnica. He graduated sculpture at the Academy of Fine Arts in Belgrade in Professor Miodrag Miša

Popović’s class in 1967 and got his master’s degree with the same professor in 1972.

Str. 12, 13, 17, 21, 33 – Skulptoralni prostor/Sculptoral Space, 2009-11, metalna konstrukcija i patinirano drvo/metal construction and patinated wood, 212 x 75 x 30 cm

Igor Antić - rođen 1962. u Novom Sadu. Diplomirao je slikarstvo 1988. na Akademija umetnosti u Novom Sadu. Kao stipendista francuske vlade 1989. godine nastavlja svoje usavršavanje kod Vladimira Veličkovića na École nationale supérieure des beaux-arts i kod Pontusa Hultena na Institute des Hautes Études en Arts Plastiques u Parizu. Živi i radi u Parizu. www. igorantic.com igorantic@yahoo.com

Igor Antić - born in Novi Sad 1962. He graduated painting at the Academy of Arts in Novi Sad in 1988. As a scholar of the French government, he continued his training with Vladimir Veličković at the École Nationale supérieure des Beaux-Arts in 1989 and Pontus Hulten at the Institut des Hautes Etudes en Arts Plastiques in Paris. Antić lives and works in Paris. www.igorantic.com igorantic@ yahoo.com

Str. 12, 14, 15, 18, 19, 21 – Nedovršena forma #3-2/ Uncompleted Form #3-2, 2018-9, PVC cevi, laneno platno, uljane boje/PVC pipes, linen canvas, oil paint, promenljive dimenzije/variable dimension

Marija Dragojlović – Rođena 1950 god. u Šapcu. Akademiju likovnih umetnosti završila je 1975. god. Postdiplomske studije završila na istom fakultetu 1977. god. Od 1985. radi kao asistent na FLU u Beogradu, od 1988. kao docent na odseku za slikarstvo. Godine 1996. postala je vanredni, a 1998. redovni profesor.

Marija Dragojlović – Born in Šabac 1950. She graduated from the Academy of Fine Arts in 1975. She finished her postgraduate studies at the same university in 1977. Since 1985 she has been working as an assistant at the Faculty of Fine Arts in Belgrade and since 1988 as an assistant professor in the department of painting. In 1996 Dragojlović became an associate professor and full professor in 1998.

Str. 12, 14, 15, 16, 17, 27 – Voda 1-5/Water 1-5, 2015, fotografije digitalno štampane na akvarel papiru, suvi pastel, olovke u boji/photos digitally printed on aquarelle paper, dry pastel, colour pencils, (5x) 79x120,5 cm

Nina Todorović – Rođena u Beogradu, 1973. godine. Diplomirala 1999. na FLU, odsek slikarstvo, u klasi profesora Čedomira Vasića. Od 2000. ima status samostalnog umetnika. Magistrirala 2002. u klasi istog profesora. Doktorirala 2014. na FLU, Beograd (mentor redovni profesor dr Mileta Prodanović). www.ninatodorovic.com

Nina Todorović – Born in Belgrade 1973. She graduated from the Faculty of Fine Arts, Department of Painting, in the class of Professor Čedomir Vasić in 1999. Since 2000 she has been an independent artist. Todorović got her master’s degree in 2002 from the same professor. She got her PhD at the Faculty of Fine Arts, Belgrade (mentor Professor Dr Mileta Prodanović) 2014. www.ninatodorovic.com

Str. 15, 21, 31 – Defensive Structures Underground (001, 004, 009, 011, 012, 014, 015, 023 i 024,) 2009-13, Lambda print, (9x) 100x56 cm

Perica Donkov - rođen 1956. u Mazgošu (Dimitrovgrad). Fakultet likovnih umetnosti završio u Beogradu 1981. godine. Na istom fakultetu magistrirao je

slikarstvo 1984. u klasi profesora Radenka Miševića. Zaposlen na Fakultetu umetnosti u Nišu, u zvanju vanrednog profesora.

Perica Donkov - Born in Mazgoš (Dimitrov–grad) 1956. He graduated from the Faculty of Fine Arts in Belgrade in 1981 and got his master’s degree in painting under Professor Radenko Mišević at the same university in 1984. Donkov works as an associate professor at the Faculty of Arts in Niš.

Str. 12, 13, 15, 21, 25 - Gluva soba – pressure/Deaf Room - pressure, 2019, akril na sargiji/acryl on sackcloth, 350 x 320 cm

Slobodan Kojić - (Kikinda, 1944). Diplomirao je 1971. godine na Akademiji likovnih umetnosti u Beogradu, odsek vajarstvo. Na istoj Akademiji 1974. godine završio je postdiplomske studije u klasi profesora Miodraga Popovića. Redovni je profesor na Fakultetu likovnih umetnosti na Cetinju i direktor Centra za likovnu i primenjenu umetnost Tera u Kikindi.

Slobodan Kojić - is a sculptor, professor at the Faculty of Fine Arts in Cetinje and director of the Centre for Fine and Applied Arts Tera in Kikinda. He graduated from the Academy of Fine Arts in Belgrade, Department of sculpture in 1971 and got his master’s degree at the same Academy in 1974 in the class of Professor Miodrag Popović.

Str. 13, 14 – Bez naziva/Without Title, 2015, terakota/ terracotta, promenljive dimenzije/variable dimension

Slobodanka Stupar – Rođena 1947. u Sarajevu. Diplomirala unutrašnju arhitekturu i grafiku na FPU u Beogradu. Magistrirala grafiku na FLU u Beogradu. Specijalizirala grafiku na Školi Lepih Umetnosti u Atini.

www.wooloo.org/slobodankastupar

www.issuu.com/slobodankastupar/docs/slobodanka_stupar__from_object_to_c_0a07ad2d69188b/1 ;

Slobodanka Stupar – Born in Sarajevo 1947. Stupar graduated from the department of interior architecture and graphics at the Faculty of Applied Arts in Belgrade. She obtained her master’s degree in graphics at the Faculty of Fine Art in Belgrade and specialised graphics at the School of Fine Arts in Athens. www.wooloo.org/slobodankastupar

www.issuu.com/slobodankastupar/docs/slobodanka_stupar__from_object_to_c_0a07ad2d69188b/1

Str. 14, 15, 28 – MSU Atina/MoCa Athens, 2016-18, digitalna štampa na alubondu/digital print on alubond, 4 x (115 cm x 80 cm), audio instalacija/audio instalation, nosač zvuka mp3/mp3 player.

Srđan Apostolović - Rođen 1963. godine u Beogradu. Diplomirao na Fakultetu likovnih umetnosti 1989. godine.

Srđan Apostolović - Born in Belgrade 1963. He graduated from the Faculty of Fine Arts in 1989.

Str. 16, 25, 32 – Dual Activ, 2016, drvo, tekstil/wood, textil, (2x) 67 x 124 x 75 cm

Vladimir i Milica Perić - Vladimir Perić (1962) je multimedijalni umetnik koji stvara pretežno u medijima instalacije, objekta, fotografije i video rada. Na sceni vizuelne umetnosti prisutan je više od tri decenije –kao Talent (1986-1996), zatim kao deo umetničke grupe Talent Factory (1996-2006) i potom, od 2006. godine, kao autor projekta Muzej detinjstva. Projektu se 2011. godine pridružuje Milica Perić (1984), istoričarka umetnosti i kustoskinja. Vladimir, uz Muzej detinjstva nastupa i pod svojim imenom, a povremeno i sa Milicom, kao umetnički tandem.

Vladimir i Milica Perić - Vladimir Perić (1962) is a multimedia artist who mainly creates within the media of installation, objects, photography and video work. He has been present on the visual arts scene for more than three decades - under the pseudonym Talent (1986-1996), afterwards as a part of the artistic group Talent Factory (1996-2006) and, since 2006, as the author of the Childhood Museum project. Milica Perić (1984), an art historian and curator joined this project in 2011. Within the Childhood Museum, Vladimir acts both under his name and, occasionally, with Milica, as an artistic tandem.

Str 15, 16, 17, 21, 35 - So zemlje/Salt of the Earth, 2017, instalacija, digitalna štampa na plastici/installation, digital print on plastic, 37 elemenata/elements (dimenzije jednog elementa/single element dimension: 25x29 cm) i 37 tegli sa zemljom/jars with soil, promenljive dimenzije/variable dimension

Vladimir Ristivojević – Rođen 1953. u Loznici. Diplomirao 1979. godine klasičnu grafiku na Akademiji Likovnih Umetnosti u Sarajevu. Od 1992. godine ima status samostalnog umetnika. Živi i radi u Beogradu i Splitu.

v.ristivojevic@gmail.com

www.artslant.com/ew/artists/edit/210895-vladimirristivojevic

Vladimir Ristivojević – Born in Loznica 1953. In 1979 he graduated classic graphics at the Academy of Fine Arts in Sarajevo. Since 1992 he has been an independent artist. He lives and works in Belgrade and Split. v.ristivojevic@gmail.com

www.artslant.com/ew/artists/edit/210895-vladimirristivojevic

Str. 12, 16, 17, 21, 24 – Minimalna ekspozicija/Minimal Exposition, 2019, akril i paint stick na platnu/acryl and paint stick on canvas, (4x) 100 x 100 cm

Zdravko Joksimović - Rođen 1960. godine u mestu Buče, Crna Gora. Završio vajarski odsek Fakulteta likovnih umetnosti u Beogradu 1986. godine, u klasi profesora Nikole Jankovića. Magistrirao 1989. godine, u klasi istog profesora. Od 1992. radi na FLU u Beogradu gde je, 2006. godine izabran u zvanje vanrednog profesora.

Zdravko Joksimović – Born in Buče (Montenegro) 1960. He graduated from the Department of Sculpture at the Faculty of Fine Arts in Belgrade, within Professor Nikola Janković’s class in 1986. He got his master’s degree in 1989, with the same professor. From 1992 he has worked at the Faculty of Fine Arts in Belgrade where, in 2006, he was appointed an associate professor.

Str. 17, 21, 22, 23 – Živa ograda/Hedge, 2019, guma, drvo, aluminijum/rubber, wood, aluminium, 185 x

23 x 23 cm

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