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JALOVIÄŒKA LIKOVNA KOLONIJA/2018 JALOVIK ART COLONY
4. avgust, 2018: Uvod Nismo se poznavali kada je autobus krenuo iz Beograda, a zeleni pejzaži zamenili arhitekturu glavnog grada. Moje misli odlutale su u sećanje na moju domovinu, susednu Rumuniju, gde sam provela svoje detinjstvo trčeći bosonoga po livadama prekrivenim živopisnim divljim cvećem u susret vukovima, pčelama ili ponekoj barici koja bi me uvek obradovala. Često se vraćam u svoje selo, i kako odrastam, zaje dnica koja me poznaje od detinjstva pruža mi osećaj pripadnosti koji je upadljivo odsutan iz mog užurbanog, modernog gradskog života. Ja živim u centru sveta, a Jalovik doživljavam kao komadić slobode od...svega. 10. avgust, 2018: Lutanja Za vreme našeg boravka u Jaloviku lokalna zajednica bila je deo naše svakodnevnice i ključni učesnik u izvođenju radova. Ne postoji linija razdvajanja između umetnika i ljudi koji ga okružuju. Svi sedimo oko iste vatre, pijemo iz iste flaše i delimo cigarete i priče. Jedan čovek je čak poznavao mog oca davnih dana kada je živeo u Bukureštu. Mali je svet, pomislim, i na smejem se na pomisao da su stotine umetnika delile ovaj prostor sa istom ovom zajednicom proteklih 41 godinu. Stevanovi roditelji, na primer, dolazili su ovde zajedno i pre nego što se on rodio. Sada je i on otac. Mejlovi su zaboravljeni, baterije mobilnih telefona se ispraznile, i ne mogu da odolim poređenju ove divne izo lacije sa rezidencijalnim programom koji mi kao CTG Kolektiv organizujemo u Zimbabveu svake godine. I tamo kao i ovde zajednica je ključna za naš doživljaj, isto kao što je to i miris dima na našoj garderobi svakog jutra. I tamo kao i ovde svi smo jednaki, bilo da ste umetnik, šaman ili stočar. U ovakvoj atmosferi razmene nastaju prava saradnja, empatija, ideje i rasprave. Komercijalni svet umetnosti bledi, otvara se prostor za koncepte i čudnovate želje. Potreba za ovakvim mestom koje bi pružalo podršku umetnicima čini se sve značajnija kako globalni svet umetnosti iz dana u dan biva sve bučniji i ograničavajući u svojim zahtevima za slavom i finansijskim uspehom. Ovde se može pronaći prostor za autentičnost, eksperimentisanje, pa čak i za neuspeh.
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13. avgust, 2018: Uvodna reč kustosa na otvaranju izložbe Udisala sam ovaj vazduh ranije i delila bol i borbu naše zajedničke istorije. Na mestu kao što je ovo, gde se okupljaju umetnici različitog senzibiliteta i pristupa iz celog sveta, moja uloga kao kustosa jeste da budem saučesnik, ispomoć, katalizator za pomeranje ideja unapred. Uključila sam se na svim nivoima sa umetnicima Jalovičke likovne kolonije 2018. Sa nekim umetnicima sarađujem već deceniju, a neke od njih sam tek upoznala. Na kraju ovog kreativnog procesa stvorila sam izložbu za vas, posetioce, i za nas, stvaraoce. Ali kako da dam smisao radovima ovih 10 umetničkih umova i 20 veštih ruku? Kako da dam smisao jednom iskustvu u zemlji koja mi je u isto vreme strana a ipak nesumnjivo bliska i poznata? Dok se osvrćem oko sebe, sve što vidim su granice: granice između zemalja i granice povučene unutar njih; granice između ljudi, između polova, između naših fizičkih i spiritualnih bivstvovanja; granice između prošlosti i sadašnjosti, između prirode i tehnologije; granice koje nestaju između života i umetnosti. Pozivam te, moj najdraži čitaoče, da uzmeš u razmatranje ovu ideju dok posmatraš, razmišljaš i doživljavaš ovu izložbu. Kako tvoje telo doživljava ovaj kavez? Kako se ovo veštačko sunce obraća tvojim željama? Kako se zaštitni zavoji boje obraćaju vašoj zajednici i istoriji? U kojoj meri ste otvoreni da bi se ovi umetnički radovi mogli obraćati vašoj duši? 19. februar, 2019: Šest meseci kasnije Jalovička likovna kolonija je svet za sebe koji obitava na rubovima naše realnosti. Dolaskom ovde, osećala sam se kao da sam ušetala u Tajni vrt Frensisa H. Berneta: jedno mesto van vremena i prostora u kojem moja koža upija filozofske misli sa zracima sunca. To je mesto gde vreme protiče svojim sporim tokom, i gde se umetnici povezuju sa zajednicom koja živi svojim ustaljenim načinom života udaljena od gradske užurbanosti. Ali možda se to samo tako čini meni kao strancu. Pitam se da li lokalni umetnici doživljavaju ovu zajednicu na drugačiji način, kao nešto prisnije i jednostavnije. Nisam se setila da ih pitam u tom trenutku. Opet ova neumitnost „vremena”… S vremenske distance i udaljena čitav kontinent, šest meseci kasnije, čitajući šta sam napisala o ovim poslednjim danima o završnoj izložbi, stičem utisak da je moje vreme provedeno u Koloniji bilo samo san. Sećam se da sam provodila dosta vremena u ležaljci slušajući cvrkut ptica i posmatrajući leptire kako sleću na moju ruku. Sećam se da sam se snažno zaljubila, da stojim na traktoru u pokretu sa raširenim rukama i da plešem na stolu… ili je to Rejčel plesala na stolu? Umetnici koji su učestvovali u rezidencijalnom programu doneli su sa sobom različita interesovanja i talente. Svaki je pronašao ovde nešto sa
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čim bi se povezao, sa čim bi uspostavio blisku vezu. Najvažniji resurs je nesumnjivo bila zajednica koja je okruživala Koloniju. Naše komšije su nesebično pružale svoje vreme, opremu i strpljenje. Nijedna ideja nije bila preambiciozna, nijedna misija nemoguća. Projekti koji su izvedeni i materijali i procesi koji su stavljeni na raspolaganje omogućili su impresivan skup radova koji su sada na putu ka izložbama u muzejima i galerijama Srbije i sveta. Osećam kao da sam ušla u isti prostor, mesto i vreme koje su posećivali svi ostali umetnici i kustosi pre mene u protekle četiri decenije: svaki put nešto drugačiji, ali u isto vreme i pomalo isti. Brana je odrastao i dobio decu, a ona su svake godine sve starija. Od Tajnog vrta do Petra Pana, putujemo zajedno kroz vreme – umetnici, stvaraoci, povezani zemljom i energijom ovog mesta. Katinka Tabakaru
--KATINKA TABAKARU (rođena 1981. u Rumuniji), kustos, živi i radi u Njujorku i koselektor je umetnika za Jalovičku likovnu koloniju 2018. Direktor je dve umetničke galerije „Catinca Tabacaru” osnovane 2014. u Njujorku i 2017. u Harareu, i suosnivač Kolektiva CTG. Ima iznijansirani i empatičan pristup projektima, gravitirajući prema umetnosti koja utiče na biće i ličnost. www.catincatabacaru.com • www.ctgcollective.com
August 4, 2018: An introduction We were strangers to one another when the bus pulled out of Belgrade and green landscapes replaced the human architecture of the country’s capital. My mind drifted towards memories of my neighboring homeland, Romania, where I spent my childhood running barefoot across prairies of colorful wild flowers, running into wolves, or bees, or a welcomed waterhole. I return to my village often, and as I grow older, the community that has known me since I was a child is offering more and more a sense of belonging that is strikingly absent from my busy and ultimately chic city life. I live at the center of the world, and Jalovik feels like a tiny corner of freedom from… everything.
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August 10, 2018: Meanderings During our stay in Jalovik, the community has been a part of our daily life and a central player in the making of the artworks themselves. There is no dividing line between artist and neighbor. We all sit by the same fire, pass a bottle around, and share both stories and cigarettes. One man even knows my father from many years ago when he lived in Bucharest. The world is small, I think, and I smile at the thought that hundreds of artists have shared this space with this same community for the past forty-one years. Stevan’s parents came here together even before he was born. Now, he too is a father. Emails are forgotten, phones are out of battery, and I can’t help but compare this beautiful isolation to the residency we run as the CTG Collective in Zimbabwe every year. There too, community is central to the experience, as is the smell of fire on our clothes every morning. There too, we are equals, whether artist, shaman or goat herder. In this configuration of exchange, true collaboration, empathy, ideas, and discussions ensue. The commercial art world fades away, making room for concepts and unhinged desires. The necessity of such a place to support artists feels ever more valuable as international art world becomes more noisy and restrictive in its requirements for fame and financial success. Here we find room for authenticity, for experimentation, maybe even for failure. August 13, 2018: Curatorial Statement for Exhibition Opening I have breathed this air before and shared the pain and struggle of our common history. In a place like this, where artists of different sensibilities and practices meet from all over the world, my role as a curator is to be an accomplice, an extra pair of hands, catalyst for pushing ideas forward. I found myself engaging on all levels with the artists of the Jalovik Art Colony of 2018. With some of the artists, I have been collaborating for decades and some I have just met. At the end of this creative process, I have compiled an exhibition for you, the visitors, and for us, the authors. But how do I make sense of 10 artistic minds and 20 skilful hands? How do I make sense of an experience in a country so foreign to me, yet so undeniably familiar? While I look around, all I can see are the borders: borders between countries, borders within counties; between people, between genders, between our spiritual and physical beings; borders between past and present, between nature and technology; borders that vanish between life and art. I invite you, my dearest reader, to consider this idea as you look, think and process. How does this cage speak to your body? How does this artificial sun speak to your desires? How do the protective bands of colour speak to your community and history? How do you open yourself so that these artworks may speak to your soul?
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February 19, 2019: Six months later The Jalovik Art Colony is its own world existing on the edge of our reality. Arriving here felt a bit like walking into Frances Hodgson Burnett’s Secret Garden: an atemporal place where philosophical thoughts soak into my skin with sunrays. It is a place where time passes by at its own slow pace, and where artists connect with a community that lives a quaint life far from the bustle of the city. But maybe it only looks like this to my outsider’s eye. I wonder if the local artists see the community as something else, as something more familiar, more banal. I didn’t think to ask them at the time. Again this imposition of “time”… looking back on an experience from a continent away, six months into the future, reading the words I wrote in those last few days to accompany our final exhibition, makes my time in JAC feel ever more like a dream. I remember spending a lot of time in a hammock listening to the birds’ chirping and watching the butterflies land on my arms. I remember falling deeply in love, standing up on a moving tractor, and dancing on a table… or was that Rachel dancing on a table? The artists who participated in the residency brought with them a variety of interests and talents. Each found there something to connect with; to commune with. The most valuable resource was undoubtedly the community surrounding the JAC. Our neighbors were beyond generous with their time, gear, and patience. No idea was too ambitious; no mission impossible. The projects that were completed, the materials and processes made available, and the access granted led to an impressive array of works that are finding their way to museum and gallery exhibitions around Serbia and beyond. I feel like I entered the same space, place, and time, that had been entered every year for four decades by all other artists and curators before me; each time a little bit different, but also a little bit the same. Brana grew up, and has his own children now, and each year they too grow a little bit older. From the Secret Garden to Peter Pan, we travel together across time - artists, creators, tied together by the earth and energy of this one place.
Catinca Tabacaru --CATINCA TABACARU (b. 1981 Romania) is a curator living and working in New York City and a co-selector of the artists of the JAC 2018. She is the director of Catinca Tabacaru Gallery (est. 2014 New York / est. 2017 Harare) and a co-founder of the CTG Collective. She takes a nuanced and empathetic approach to projects, gravitating towards art that impacts the self and society. www.catincatabacaru.com • www.ctgcollective.com
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Marija Ćalić
Kroz odnos prema prostoru oblikovanom za sopstvene potrebe sagledava se naš odnos prema svetu u kome živimo. Time pokazujemo i svoje shvatanje prioriteta. Sagraditi prostor po meri čoveka u društvu u kome je sve ili prenaglašeno ili potcenjeno veliki je izazov za svakog od nas. Na raskršću glavnih puteva – jednog sagledanog kroz želje, namere i ideje o slobodi i drugog, tog brzog, nesagledivog i životnog – niču naše kuće.
Through our relation to the space that we shape according to our own needs, our view of the world in which we live in is reflected. In that way we show our understanding of priorities. Building of our space on human scale – in which everything is either overemphasised or underrated, is a great challenge for each one of us. On the intersection of main roads – one seen from the point of view of desire, intentions and ideas of freedom and the other, this fast-paced, overwhelming and worldly – our houses are built. RAD/WORK „Naše kuće (Nos maisons)”, foto-instalacija “Our Houses (Nos maisons)”, photo installation
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Marija Ćalić Graduated Faculty of Law, University of Belgrade and Photography course at St Martin's School of Art, London. Member of Association of Applied Artists of Serbia (section Photography). Contributed to press photography in daily papers, weeklies and monthly magazines, as well as for Books, Exhibition Catalogues and other media. Editor for Photography in weekly magazine (Europa Press Holding) Belgrade 20032011. Artist in Residence of Kultur-Referat of City of Munich, Germany, Vila Waldberta 2010. Along diverse group exhibitions, three international concept shows include: ‘Closed Circuits’, Duchess Residence Museum of City of Belgrade 2005, ‘Micro Narratives’ at 48th Belgrade October Salon in 2007 and Musee d 'art moderne de Saint Ettienne, France 2008 and Biennial of Visual Arts in Pančevo 2012. Selected and more recent solo shows (201216) are titled ‘Post Memory’, ‘The Spell of the Past’, ‘My Home’, ‘Nothing is Left To Tell’, ‘Cache Memory’,‘Elective Affinities’, ‘The Lodger’ and ‘Stern-Berg’. KONTAKT/CONTACT mariacalic01@gmail.com www.mariacalic.com
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Jelena Micić
Intervencija u vidu monohromnog murala na ploči prednjeg dela zgrade Doma kulture „Dragoljub Jovičić” zasnovana je na arhitektonskim elementima sakupljenim u Jaloviku i okolini. Šare na magazama (tur. skladište) koje se nalaze na zaštitnom obruču konstrukcije pojavljuju se u obliku standardizovanih šablona, koji vrlo često dobijaju varijaciju, odnosno slobodnu interpretaciju upotrebom boje. Tradicija nas definiše i ograničava. Ona predstavlja obrazac ponašanja. Jednom izrađen, šablon se prenosi sa generacije na generaciju da bi ponovo bio reinterpretiran tokom restauracije ili zarad prodaje. Preuzimam osnovni šablon kako bih upotrebom boje proizvela nove oblike i obrazac dovela do ne prepoznavanja.
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Intervention in the shape of monochromatic mural on the panel of the front side of the building of the Culture Centre „Dragoljub Jovičić” is based on architectural elements collected all over Jalovik and the surroundings. Designs on “magazas” (Turkish name for warehouse) which belong to the protective ring of the construction, appear in the form of standardised patterns, which, very often, have their own variation, i.e., free interpretation, achieved by means of colour. Tradition defines us and limits us. It represents the pattern of behaviour. Once created, this pattern is transmitted from generation to generation, only to be reinterpreted during restoration or for the sake of sale. I take over the basic pattern in order to use the colours to create new shapes and make this pattern unrecognizable. RADOVI/WORKS „Jalovička magaza”, mural, 1630 × 10 cm „Kamuflažna mreža”, akril na platnu, 190 × 120 cm „Spomen-ploča ili čišćenje istorije”, performans (sa Rachel Monosov – reprodukcija na strani 21) “Jalovik Magaza (warehouse)”, mural, 1630 × 10 cm “Camouflage Net”, acrylic on canvas, 190 × 120 cm “Memorial Plaque or Cleaning of History”, performance (with Rachel Monosov – reproduced on page 21)
Jelena Micić Born 1986 in Knjaževac, Serbia. Student at the Academy of Fine Arts Vienna in the Textual sculpture class with Heimo Zobernig. MA in Philosophy and Graduated philologist of Scandinavian languages University of Belgrade. Worked as a teaching Assistant at the Academy of Fine Arts Vienna in the Figurative painting class. Rewarded with the Ö1 Talentestipendium Bildende Kunst 2018, Austria and the kültür gemma! fellowship in IG Bildende Kunst Vienna 2018. KONTAKT/CONTACT contact@jelenamicic.com www.jelenamicic.com
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Sanja Latinović
Performans Rukavice održan je na kraju Jalovičke likovne kolonije. Dok su drugi umetnici i kustosi rezidencijalnog programa bili zauzeti radom sa sopstvenim materijalima, Sanja Latinović koristila je prostor i svedočanstva o selu i učesnicima kao materijal za svoje radove. Čak se i poigravala sa samom sobom, testirajući sopstvenu sposobnost da se stavi u tuđu kožu, postavši na taj način fantomski lopov sela Jalovik. U tih deset dana, ona je planirala i izvela akcije „krađe” uzimajući stvari koje su pripadale učesnicima. Stvorila je atmosferu sumnje među ljudima, sve vreme živeći u mehuru neizvesnosti i nervozne euforije delom zbog rizika, delom zbog toga što nije bila uhvaćena. Opet je, kao što je njen običaj, pokušala da izvuče odgovore na neka teška pitanja: koliki je nivo poverenja među ljudima? da li postoji potreba za pronalaženjem opravdanja za situacije u kojima se nalazimo? da li je lakše da okrivimo druge ili da pronađemo i uhvatimo pravog počinioca? Video-rad prikazuje jednostavan čin pranja ruku kojim Sanja Latinović podseća na čuvene reči Pontija Pilata. RADOVI/WORKS „Rukavice”, performans „Rukavice”, video, trajanje 4.50 “Gloves”, performance “Gloves”, video, duration 4:50
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List of stolen belongings: 1. after shave – Anssi Taulu, 2. small yellow flacon – Branislav Nikolić, 3. thread – Jelena Micić, 4. two soaps, 5. cigarettes – Biljana Ranković, 6. battery – Justin Orvis Steiner, 7. hair curler – Marija Ćalić, 8. toothpaste – Rachel Monosov, 9. coffee pot – Đenadija Šujić, 10. gloves – Falk Holtman, 11. sunglasses – Branislav Nikolić, 12. socks – Milan Bukejlović, 13. sunscreen – Ana Vujović, 14. spice – Rachel Monosov, 15. money – Catinca Tabacaru, 16. towel – Stevan Kojić, 17. baby daiper – Poliak family, 18. blue shirt – Capucine Gros, 19. patch, 20. scissors.
Performance Gloves happened at the end of Jalovik Art Colony. While the other artists and curators in residency were busy with their own working materials, Sanja Latinović used space and testimonials about the village and participants as her working material. She even toyed with herself, testing her own ability to put herself in the shoes of somebody else, becoming a phan-tom thief from the Jalovik village. During ten days she was planning and conducting actions by stealing possessions of the participants. She created an atmosphere of suspicion among people, all the while living in a bubble of uncertainty and nervous euphoria by taking risks and not getting caught. Again, as always in her art practice, Latinović tried to shake out some answers to difficult questions like: What is the level of trust amongst people? Is there a sense of justification for the situations in which we found ourselves? Is it easier just to blame somebody else, or to find and catch the true malfeasant? Video work is a simple act of washing hands by which Latinović evokes a famous statement of Pontius Pilate.
Sanja Latinović Born 1983 in Belgrade, Serbia. Graduated from the Faculty of Fine Arts in Belgrade, Department of Sculpture. In 2016 she finished Master Studies for Performance Art at HKB, Berne, Switzerland. Although a sculptor by vocation, Sanja focuses her work mainly on performance, video work and photography, choosing those carefully as the fields of her artistic expression in order to question the very medium of sculpture by exploring its transformative potential in the relations matter-space-form-idea. Sanja’s thematic preoccupations are mainly about problematizing the complex functioning of an individual in today’s world, our everyday confrontations with numerous and various forms of social determinations, imperatives, pressures. Dealing more with the emotionally psychological dimension of those relations, the artist proposes and articulates her own views through unpretentious, simplified visual solutions/ performances forming them into a kind of metaphores about syndromes, states and processes that characterise the complex global image of the society. In the period from 2009 to 2014 she was a member of the Third Belgrade association KONTAKT/CONTACT rem.faza@gmail.com www.sanjalatinovic.com
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Stevan Kojić Istraživanjem relacija između prirode i tehnologije kao odraza savremenog sociopolitičkog okruženja i eksperimentalnim kombinovanjem elemenata iz oblasti biologije, elektronike i informatike nastaju nove hibridne strukture biotehnološkog staništa. Instalacija Jedan/One je mala improvizovana laboratorija za uzgoj žita koja suprotstavlja tradicionalne materijale i postupke potencijalnim futurističkim društvima i ideologijama. Pravougaona forma zasađenog semena preuzima simboličko-značenjsku ulogu broja „jedan” – aktivnog dela binarnog para (1–0/on–off) – osnove novog utopijskog tehno-bio-religijskog sistema.
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By means of investigating relations between nature and technology as reflection of modern sociopolitical environment and by means of experimental combining of elements from the domain of biology, electronics and IT, new hybrid structures of biotechnological habitat are engendered. Installation One is a small and improvised laboratory for growing crop in which traditional materials and procedures are contrasted with potential futuristic societies and ideologies. Rectangular form of the planted seed takes symbolic-semantic meaning of the number “one” – active part of the binary set (1–0/on–off) – basis of new utopian techno-bio-religious system.
RAD/WORK „Jedan”, prostorna instalacija
“One”, site specific installation
Stevan Kojić Born 1973 in Kikinda, Serbia. Completed his BA and MA at the Department of Sculpture, Faculty of Fine Arts in Belgrade. He is a full professor at the New Media Department at the Academy of Arts in Novi Sad. Artistic field of interest of Stevan Kojić lies at the intersection of science, art and technology. KONTAKT/CONTACT stevakojic@gmail.com www.stevankojic.com
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Capucine Gros
Ins & Outs je serija ručno vezenih mapa sveta, koje su izvrnute da bi se razotkrili čvorići i spojevi veza, pre nego klasično geografsko prikazivanje granica na koje smo navikli. Ovaj gest simbolizuje skrivenu i ružnu stranu geopolitike. To poigravanje povlači sa sobom raznolike odnose mesta koja su arbitrarno podelile jake istorijske ličnosti koje su imale moć da povuku konce. Rađanje slike je serija ručno pravljenih slika od lokalnih materijala. Rad pod nazivom Jalovik napravljen je od drveta i osušene ispletene trave koja je sakupljana u bašti. Radeći u svetu masovne produkcije i lako dostupnih umetničkih materijala, blaga apsurdnost ovakvog rada za mene je osvežavanje najvećih slikarskih lekcija: stvaraj svojim rukama, budi upoznat sa poreklom materijala koje koristiš, upoznaj se sa svrhom alata i poštuj lepotu nesavršenosti. Jedan recept za svaku zemlju je dugoročan projekat kroz koji učim po jedan recept iz svake zemlje sveta. Kako se recepti budu sakupljali biće izdavani kuvari i priče koje ih prate. Ovaj rad se nadovezuje na drugi sličan projekat, Oko 199, performans koji je trajao 200 dana i u kome sam svaki dan nosila majicu sa printom mape druge države. Naziv ovog rada je Kratko predstavljanje sveta i sastoji se od čitanja pojedinačnih biografija na različitim mestima širom sveta. Posebno bih se zahvalila Marini koja nas je ugostila u svom domu i Savi koji je bio odličan prevodilac.
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Ins & Outs is a series of manually made world maps which are turned inside-out to show the knots and stitching instead of classical geographic demarcation of borders that we are used to. This gesture symbolizes hidden and ugly side of geopolitics. This playing with the idea draws out different relations of locations that have been arbitrarily divided by powerful historic personalities who had the power to pull the strings. Birth of the Painting is a series of handmade pictures made of local materials. The piece called Jalovik is made of wood and braided dried grass collected in the garden. Working in the world of mass production and accessible artistic materials, a slight absurdity of this kind of work for me was the repetition of the most important lessons in painting: create with your hands, be aware of the origin of material that you use, get acquainted with the tools and respect the beauty of imperfection. RADOVI/WORKS „Ins & Outs (10/∞)”, ručni vez na staroj jastučnici, 30 × 40 cm, 2013/2018. „Rađanje slike (Jalovik)”, drvo, kora drveta i trava, 12,5 × 12,5 cm „Jedan recept za svaku zemlju (Srbija)”, bećarac skuvan sa Marinom, Jalovik, 8. avgust 2018. “Ins & Outs (10/∞)”, hand broidery on an old pillow case 30 × 40 cm, 2013/2018 “Birth of the Painting (Jalovik)”, wood, tree bark and grass, 12.5 × 12.5 cm “One Recipe Per Country (Serbia)”, bećarac cooked with Marina, Jalovik, 8th August 2018
One Recipe Per Country is a long term project which allows me to learn one recipe from each country of the world. Once the recipes are collected, the cookbooks will be published with the stories to go with those recipes. This work is a continuation of another similar project, Cca. 199, performance that lasted 200 days and in which each day I wore a t-shirt with the map of different country. The title of this work is Brief introduction to the world and consists of reading individual biographies in different places of the world. I would like to give particular thanks to Marina who housed us in her home and to Sava who was an excellent translator.
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Capucine Gros Switzerland-born artist currently working somewhere between New York and Bucharest. She is represented by Catinca Tabacaru Gallery, New York / Harare and splits her time between her own performance-based and geography-focused practice and other collaborative projects. Capucine most recently completed residencies at EIDOS Foundation in Romania, Jalovik Art Colony in Serbia and CTG Collective in Zimbabwe. KONTAKT/CONTACT tocapucinegros@gmail.com www.capucinegros.com
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Branislav Rachel Monosov Nikolić
Migracije su danas goruća tema u svako dnevnom razgovoru, kako u ličnoj, tako i u javnoj sferi. Formiranje granica kulturološki je transfor misalo nacionalno okruženje Srbije i delovalo kao glavni razlog za mnoge ratove. Teritorija – ko je poseduje, ko je kontroliše, ko može na nju da deluje produžava konflikte širom sveta. Na podu mog ateljea, kao zaboravljen, leži odbačeni ceger sa geslom: Sve se kreće. Poštuj mobilnost ljudskog života. Svi migriraju. Pomislih kako imam sreće što se nalazim među ljudima koji sa mnom dele slične vrednosti. Najlepši purpurni zalazak sunca upravo se odigrava pred mojim očima na ovim ne taknutim pejzažima i sada znam da će sunce zalaziti svakog dana uz razočaravajuće saznanje da će već sledećeg jutra granice ponovo biti podizane. Migrations are the topic of the day in everyday conversations, both in personal and in public sphere. Creation of borders has transformed culturally national environment of Serbia and seems to be the main reason for many wars. Territory – who owns, who controls, who can act upon it, prolongs the conflicts around the world. A discarded shopping bag with a motto: Everything moves. Respect the mobility of human life. Everyone migrates. lies on the floor of my studio.
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I think how happy I am to be surrounded by people with whom I share similar values. The most beautiful purple sunset is just happening before my eyes in this virgin landscape and now I know that the sun will go down each day with a disappointing awareness that the following day the borders will rise again. RADOVI/WORKS „Fabrika za mir na Bliskom istoku”, aluminijum, 30 × 30 × 10 cm „... i sunce je zalazilo svakog dana na ovim granicama”, instalacija, performans „Spomen-ploča čišćenja istorije”, preformans (sa Jelenom Micić)
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“The Factory for Peace on Middle East”, aluminium, 30 × 30 × 10 cm “... and the Sun Went Down Each Day on Those Borders”, installation, performance “Memorial Plaque, Cleaning of History”, performance (with Jelena Micić)
Rachel Monosov Born 1987 in St. Petersburg, Russia. Live and work in Berlin, Germany. Rachel Monosov works in photography, video, performance and sculpture. By delving into cultural notions of alienation, territorial belonging, and identity, she reflects a rootless present rife with broader social implications. She constructs entire worlds around her subjects, which function pursuant to their own set of laws. Her personal biography is weaved throughout the work and loaded with social and political concepts echoing actual historical events. Monosov holds two MFAs in Filmmaking and Fine Art from The Royal Academy of Fine Arts (KASK) in Ghent, Belgium, and her BA from Bezalel Academy in Jerusalem, Israel. In the past two years, she has exhibited at the Zimbabwe Pavilion of the 57th Venice Biennale in collaboration with artist Admire Kamudzengerere, at the 11th Bamako Biennial, and at the Dakar Biennial; and in museum exhibitions at the BOZAR and Museum Dhondt-Dhaenens in Belgium, and the National Gallery of Zimbabwe in Harare. Her work has been acquired into the permanent collections of the Block Museum at Northwestern University and The Art Institute of Chicago, among other international public and private collections. Monosov has exhibited in galleries, foundations and film festivals globally, and has been the subject of much critical acclaim. She is a co-founder of the CTG Collective, and currently lives and works in Berlin. KONTAKT/CONTACT rachelmonosovstudio@gmail.com www.rachelmonosov.com
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Branislav Nikolić Sećam se kako je moja baka sa sela pravila domaći sapun. Topila bi mast, stavljala sodu i izlivala masu u veliku šerpu. Zatim bi ga sekla i slagala velike bele kriške koje su ličile na cigle u kačaru da zriju do proleća. Četrdesetak godina kasnije, shvatio sam kako bih mogao da iskoristim taj divni beli materijal za svoju skulpturu. Rad koji je u nastanku zvaće se Čisti odžak i kada ga završim biće visok oko 230 santimetara. Pored toga što mi mirisi masti i lavande bude divna sećanja na detinjstvo, ovaj rad za mene predstavlja i igru između muškog i ženskog principa (muškolikog oblika tornja i nežnog materijala sapuna), kao i kontrast između nečeg prljavog kao što je odžak i nečeg tako čistog kao što je sapun.
I remember how my grandma from the village used to make homemade soap. She would melt the lard, put some bicarbonate of soda and pour the mass into a big pot. Then she would cut it and arrange big white slices that resembled bricks on top of each other in the store room to ripen until spring. Some forty years later, I realised how I could use this beautiful white material for my sculpture. The work in progress will be called Clean chimney and when it is over it will be 230 centimetres high. Beside the fact that the scent of lard and lavender bring nice childhood memories, this work for me represents also the play between male and female principle (male-like tower and gentle material of the soap) as well as the contrast between something dirty like a chimney and something pure like soap.
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RADOVI/WORKS „Čisti odžak” (detalj), ručno izrađeni sapun, 60 × 230 cm „Čisti odžak”, aluminijum, 22 × 46 × 2 cm “Clean Chimney” (detaile), handmade soap, 60 × 230 cm “Clean Chimney”, aluminium, 22 × 46 × 2 cm
Branislav Nikolić Born 1970 in Šabac, Serbia. He graduated from the Academy of Fine Arts in Novi Sad, Serbia, the department of painting, in 1996. He received postgraduate degrees from the Dutch Art Institute, Enschede, the Netherlands in 2001 and from the Academy of Fine Arts in Novi Sad, Serbia in 2002. From 1995 he is a member of the Association of Fine Artists of Serbia. From 2002 he is selector for the Jalovik Art Colony. He works in sculpture, painting, design and as a curator. Branislav Nikolić has exhibited his works independently and together with other artists, both at home and abroad. He lives and works in Belgrade, Serbia. KONTAKT/CONTACT nikolicbrana@gmail.com www.branislavnikolic.net www.dailydrawingfeed.blogspot.com
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Justin Orvis Steimer
Bogosav Ilić Ovaj metafigurativni portret transcendira vreme i mesto kako bi ponudio fizičko prevođenje duha Bogosava Ilića, heroja iz Jalovika koji je poginuo u II svetskom ratu. Jalovik + Vreme/Mesto Jalovika Ova slika delimično je inspirisana leptirima koji lete oko Doma kulture u Jaloviku. Umetnik je proveo sate posmatrajući ova stvorenja tokom Jalovičke umetničke kolonije. Aluminijumska skulptura koja je prati prvi je umetnikov rad u ovom materijalu, a izrađena je uz velikodušnu pomoć Bore i njegovog sina Gorana. Rad je izraz sadašnjeg trenutka u vremenu i mestu. RADOVI/WORKS „Studija leptira”, tuš i konac na industrijskoj vreći, 107 × 160 cm „Jalovik”, aluminijum, 20 × 30 × 1 cm „Bogosav Ilić”, tuš na papiru i C-print, 35 × 42 cm (crtež) i 11 × 21 cm (fotografija) “Study of Buterflly”, ink and thread on the industrial bag, 107 × 160 cm “Jalovik”, aluminium, 20 × 30 × 1 cm “Bogosav Ilić”, ink on paper and C-print, 35 × 42 × cm (drawing) and 11 × 21 cm (photography)
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Bogosav Ilić This metafigurative portrait transcends time and place in order to offer physical transposition of the spirit of Bogoslav Ilić, a hero from Jalovik who died in the Second World War. Jalovik + Time/Space of Jalovik This drawing was partly inspired by butterflies floating around the Culture Centre in Jalovik. The artist spent hours observing those creatures during Jalovik Art Colony. Aluminium sculpture accompanying it is the first work of this artist in this material, and it was made with generous help of Bora and his son Goran. The work is an expression of the present moment in time and space.
Justin Orvis Steimer Born 1981 in Colorado, USA. 2004 BFA University of Colorado at Boulder. Lives and works in Brooklyn, NY. MUZEJSKE I INSTITUCIONALNE IZLOŽBE/MUSEUM AND INSTITUTIONAL EXHIBITIONS 2016 Zig Zag Zim, National Gallery of Zimbabwe, Harare; Curator: Catinca Tabacaru 2015 New Wave, Brooklyn Academy of Music, Brooklyn, NY; Curator: Holly Shen Personal Structures, European Pavilion, 56th Venice Biennale, Italy SAMOSTALNE IZLOŽBE/SOLO EXHIBITIONS 2018 2017 2016 2014
The Watchers (with Terrence Musekiwa), 50 Golborne, London The Guardian and The Builder (with Terrence Musekiwa), Catinca Tabacaru, Harare Cave paintings of a homo galactian, Catinca Tabacaru, New York Have you ever wondered what a soul looks like?, Catinca Tabacaru, New York (solo)
KONTAKT/CONTACT orvis@justinsteimer.com www.justinorvissteimer.com
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Branislav Anssi Taulu Nikolić
Priče kamena Priče o vremenu, mestu i postojanju. Pre nego što sam stigao na Jalovičku umetničku koloniju razmišljao sam o pejzažu kao temi radova budući da sam se kroz svoje skorašnje radove na jedan ili drugi način bavio okruženjem. Ovde sam pronašao kamen koji mi je rekao: „Ja sam planina, prati me”. Poslušao sam ga i crtao ono što mi je govorio o pejzažu.
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The Stories of the Stone Stories about time, place and existence. Before I came to Jalovik Art Colony, I thought about landscape as the topic of my future works since I have dealt with the environment in my recent works in one way or another. Here, I found the stone that told me “I am the mountain, follow me”. So I followed it drawing what it told me about landscape.
RAD/WORK „Priče kamena”, prostorna instalacija, kamen, staklo, aluminijum, drvo i tuš na papiru “The Stories of the Stone”, site specific installation, stone, glass, aluminium, wood and ink on paper
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Anssi Taulu OBRAZOVANJE/EDUCATION 2010-12 Institute of Fine Arts of Lahti 1991-94 Kankaanpää Visual Art school, sculptor 1993 Tallinn University of Visual Art 1985-88 Petäjävesi Arts and Crafts School, Building artesan SAMOSTALNE IZLOŽBE/SOLO EXHIBITIONS 2018 Galerie Toolbox, Berlin, Germany 2015 Galerie Toolbox, Berlin, Germany 2012 Gallery Becker Jyväskylä, Finland 2009 GalleryKONE, Hämeenlinna, Finland 2009 Arthall of Porvoo, Finland 2007 Gallery Sculptor, Helsinki, Finland 2004 Gable Gallery, Helsinki, Finland 2003 Goethe-Institut, Helsinki, Finland 2003 Gallery BE’19, Helsinki, Finland 2001 Promenadi Gallery, Hyvinkää, Finland 1997 Gallery Ripustus, Hämeenlinna, Finland 1996 Keuruu Art Museum, Finland 1994 Rantagallery, Turku, Finland NAGRADE/AWARDS 2007 Award of good construction. Artists Olli Jalonen, Anssi Taulu and Olli Larjo housing fair area of environmental art Red sun design and implementation. 2007 Union of Finnish Art Associations, Voipaala-medal RADOVI U JAVNOM PROSTORU/PUBLIC WORKS 2015 Top, Scuplture Park, Utica, New York, USA Three public sculptures in Hämeenlinna Blue sun (2017) Black sun (2007) and Red sun (2007) together whit sculptor Olli Larjo and author, art professor Olli Jalonen 1994 Totem, at children’s playground in Kankaanpää KONTAKT/CONTACT anssi.taulu@gmail.com www.anssitaulu.com
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Branislav Branko Banić Nikolić
RAD/WORK „Mala hrpa malih stvari”, drvo, instalacija “Small Pile of Small Things”, wood, installation
Branko Banić Jalovik, 1958–2019. Samouki umetnik. Redovni učesnik Jalovičke likovne kolonije.
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Ana Vujović
Kontempliranje prošlosti Pukotine i oštećenja na stambenim i javnim građevinama česta su slika kako malih tako i velikih naselja i gradova. Prisutne decenijama u našem okruženju, postale su sastavni deo arhitekture i na taj način kao da ispisuju novu istoriju, a time možda i novu tradiciju. Likovnom intervencijom na podu donjeg i gornjeg dela galerijskog prostora želim da sačuvam i istaknem uspomenu na jedno prošlo vreme, a nazivom rada skrećem pažnju na duhovno sagledavanje odnosno opažanje uzvišene lepote u prihvatanju stvari onakvim kakve jesu, a ne na kritikovanje i osuđivanje. RADOVI/WORKS „Kontempliranje prošlosti 1”, prostorna insatalacija „Kontempliranje prošlosti 2”, prostorna insatalacija
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“Contemplating Past 1”, site specific installation “Contemplating Past 2”, site specific installation
Contemplating Past Cracks and damages on residential and public buildings are often seen both in small and big settlements and towns. Present for decades in our surroundings, they have become integral part of the architecture and they look as if they are writing new history, and thus maybe even new tradition. With an artistic intervention on the floor of the upper and lower part of the gallery space, I try to keep the memory of the past times and emphasise it, and the name of the piece draws attention to spiritual understanding, that is, the perception of sublime beauty, in accepting things as they are, without criticism and judgment.
Ana Vujović Born 1979. Graduated from the Faculty of fine arts, Belgrade, painting department. Employing a mix of multimedia and digital, Ana Vujovic’s work explores the post-analogue experience – society’s interactions with the digital world and its relationship to our roots of traditional heritage. Vujovic scrutinizes and examines marginalized part of the society through combination of multidisciplinary sound and light installations, and in her most recent works through multimedia objects, how we encounter and understand the hypocrisy of society and deformed values that, contrary to the advancement of technology, are taking civilization a step back. She had ten solo exhibitions in the country and abroad and exhibited in group shows on cultural events and exhibitions in Greece, Slovenia, Germany, Burma, Bosnia and Herzegovina, Italy. She received residency programs and grants as a scholarship program Erazmus at the Aristotle Institute in Thessaloniki, Greece, Germany, Italy, Belgium and Serbia. Her works are in several international private collections. She lives and works in Belgrade, Serbia. KONTAKT/CONTACT anavuu@gmail.com www.anavujovic.net
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DEČJA RADIONICA/CHILDREN’S WORKSHOP Deca se raduju putovanjima: vožnja biciklom do druga, poseta baki i deki u selu, odlazak na more ili kod tetke u veliki grad... Proteklih avgustovskih dana deca u Jaloviku putovala su na najlepši način. Putovala su svojom maštom, kreativnošću i saznanjima, iluzijama i željama. Možda se nekom činilo da su sve vreme bili na jednom mestu. Neverovatno, ali mališani su otputovali u svemir! Dotakli su ogromne visine koje su nedostižne samo za one koji ne umeju da sanjare... Obasjavale su ih bleštave zvezde, krili su se u senci drugih planeta. Neki su sreli i neke čudne ljude i upoznali njihove priče. To čarobno putovanje trajalo je danima i nije ih zamorilo. Neumorno i veselo pokazivali su nam svoje slike sa putovanja i uverili nas da je svet dovoljno lep, velik i raznobojan. Pokazali su nam da ima mesta za sve nas, ali i ono nešto novo i nepoznato čemu svi stremimo. Videli smo divne razglednice sa tih putovanja iz Dečje likovne radionice u Jaloviku! Ana Gemaljević, koordinator Dečje radionice
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Children look forward to travelling: bike ride to a friend’s place, visit to grandma and grandpa in the village, going to the coast or to an aunt living in a big city... In the past August days, children travelled in the most beautiful way. They travelled on their imagination, creativity and sense, illusions and wishes. Maybe to some it looked like they were in the same place all the time. Incredibly, however the young ones travelled to space. They reached great heights unattainable to those who are not able to daydream… They were illuminated by glittering stars; they hid in the shadow of other planets. Some have even met some strange people and learned their stories. This wonderful journey lasted for days, but they were not tired. Tirelessly and gaily they showed us their pictures of journeys and convinced us that the world is sufficiently beautiful, big and colourful. They have showed us that there is room for all of us, but they also showed us something new and unknown to which we all strive. We saw wonderful postcards from those journeys of Jalovik Children Art Workshop! Ana Gemaljević, Children’s Workshop co-ordinator
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