fondacija koje bi finansirale produkciju umetničkih radova ili ih otkupljivala, nepostojanje ozbiljnog umetnićkog tržišta, nedostatak volje da se ulaže u ovu sferu kulture i još češće nedostatak hrabrosti da se rizikuje putem podrške neafirmisanim i još uvek šire nepriznatim stvaraocima. Priča o tome kako je težak položaj umetnika dobar podsticaj na kreativnost čini mi se vrlo ironična. A: Da li misliš da postoji neki drugi način da se mladi umetnik pozicionira u nekomercijalnim umetničkim sistemima? Koliko su institucije kulture ili nezavisne organizacije otvorene za saradnju i da li je na taj način moguće afirmisati se kao mladi stvaralac? N: To je vrlo komplikovano pitanje koje podrazumeva ozbiljnu analizu. Kada mladi autor želi da se “plasira” na scenu, on nužno mora da uklapa svoju poetiku u izlagačku politiku određene institucije ili organizacije. To je često naporan proces koji podrazumeva prilagođavanje. Upravo zato je i nastao prostor U10, sa željom da to izbegnemo. A: Došli smo do neophodnosti samoorganizovanja. Reci mi nešto više o U10, koja ideja se krije iza ovog projekta? N: Ideja je puno, imamo elana i pozitivne energije da radimo dalje i razvijamo ovaj prostor. No, opet se vraćamo na prethodno rečeno – za osnivanje bilo kakvog prostora i njegovo održavanje i funkcionisanje, kao i ozbiljnije produciranje radova, potreban je novac. Na početku na kome se nalazimo, uprkos entuzijazmu koji posedujemo, nismo sigurni koliko 10
Ivan Marković Mali svetovi / Miniature world 2010. Drvo / Wood 100 x 20 cm
the perfect basis for what comes after. For now I wouldn’t prolong that question. A greater problem which is often pointed out by artists is the lack of an establishment which would finance the production of art works or purchase them, followed by the lack of a significant art market, the lack of the will to invest into this culture domain and even more, the lack of courage to risk supporting non-established and still widely unknown artists. The anecdote about how the difficult position of the artist contributes to creativity seems more than ironic. A: Do you think there is an alternative way for young artists to place themselves in non-commercial art systems? How much are cultural institutions or independent organisations open for cooperation and is it possible to become established as a young artist in this way? N: That is a very complex question which implies critical analysis. When young authors wish to promote themselves, they are obliged to adjust their poetics according to the policy of a certain institution or an organisation. This is often a tense process which entails adaptation. This is the essential reason why the U10 space was established, out of the desire to avoid this. A: We have come to the necessity of self-organisation. Tell me more about U10, what idea lies behind this project? N: There are a lot of ideas, we have the drive and the positive energy to work on and further develop this