izdavač/publisher javna ustanova zavičajni muzej i...

Izdavač/PublisherJavna ustanova Zavičajni muzej i Umjetnička galerija

“Josip-Bepo Benković” Herceg-NoviMarka Vojnovića 4, 85340 Herceg-Novi

[email protected]

Odgovorni urednik/Editor-in-ChiefRadmila Ćapin

Urednik izdanja/EditorĐorđe Ćapin

Predgovor i postavka/Preface and exhibition displayAna Ivanović

Prevod/TranslationOlivera Kusovac, Ana Ivanović

Dizajn/DesignVoislav Bulatović

Štampa/PrintBiro Konto

Sutorina bb, Herceg-NoviTiraž/Circulation

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Održavanje 46. hercegnovskog zimskog salona omogućili suOrganization of the 46th Winter Salon was supported by

Opština Herceg Novi | Municipality of Herceg NoviMinistarstvo kulture Crne Gore | Ministry of Culture of Montenegro

Copyright © Javna ustanova Zavičajni muzej i Umjetnička galerija “Josip-Bepo Benković” Herceg-Novi, 2013. All rights reserved

Galerija „Josip-Bepo Benković”Marka Vojnovića 4, 85340 Herceg-Novi

februar – mart 2013.february – march 2013

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Selektorka 46. hercegnovskog zimskog salona i JU Zavičajni muzej i Umjetnička galerija „Josip-Bepo Benković” ljubazno se zahvaljuju na

pomoći:Selector of 46th Winter Salon in Herceg Novi and Homeland Museum

and Art Gallery “Josip-Bepo Benković” would like to thank to:

Njegovoj ekselenciji Aleksandru Vasilevskom, Majdi Zorko Gasparič, Aleksandri Prlinčević-Milović – Atelje „Otklon” u Beogradu, Ljiljani Karadžić, Danijeli Mršulji-Vasić i Milenku Vasiću, Ljiljani Zeković, Mirjani

Dabović-Pejović, Branki Vujović, Jeleni Pavlović i Selmanu Trtovcu.

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ŽIRI ZA DODJELU NAGRADA | JURY FOR THE WINTER SALON AWARDS

Veseljka Salatić istoričarka umjetnosti, muzejski savjetnik, Trebinje

Art Historian, museum consultant, Trebinje

Radojka Abramovićistoričarka umjetnosti, muzejski savjetnik, Kotor

Art Historian, museum consultant, Kotor

Slavko Timotijevićistoričar umjetnosti Beograd

Art Historian, Belgrade

SELEKTORKA | SELEcTORA n a I v a n o v i ć

istoričarka umjetnosti, Budva | Art Historian, Budva

• Đorđije Bato Boljević • Marijan Crtalić • diSTRUKTURA • Leo Duff • Olivera Inđić • Slavica Janešlieva • Andrijana Mlinarević-Cvetković • Borjana Mrđa • Danijela Mršulja-Vasić • Ivan Pejović • Ivanka Vana Prelević • Adin Rastoder • Žiga Rehar • Željko Reljić • Davor Sanvincenti • Brane Širca • Maja Šofranac • Selman Trtovac • Anica Vučetić • Antonio

Živković

UmJETNIcI • ARTISTS

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Ko gleda spolja – sanja,ko gleda unutra – budi se.

Karl Gustav Jung

Oduvijek sam vjerovala u snagu umjetnosti. I uvijek sam se pitala odakle ta snaga dolazi. Da li je ona objektivno prisutna u jednom umjetničkom djelu, ili je to nešto što mu se pripisuje u skladu sa ukusom ili senzibilitetom, a u određenom socio-kulturnom okviru? To je pitanje koje svakako ostaje otvoreno, ali jedno je sigurno – ukoliko je je-dan umjetnički rad moćan u tolikoj mjeri da može da „probudi” svijest posmatrača, onda je vjera u snagu umjetnosti opravdana.

Tema Buđenje koju sam odabrala za ovogodišnji Zimski salon, s obzirom na fleksibilni karakter koji posjeduje, ima za cilj da, u širem smislu, pruži uvid u aktuelna kretanja u umjetnosti u regionu. U užem smislu, učinila mi se pogodnom za ispitivanje interaktivnosti odnosa umjetnik – posmatrač. Kada kažem interaktivnost mislim na trenutak poveziva-nja i preklapanja stavova, razmišljanja, osjećanja koja se rađaju u umjetniku prilikom stvaranja rada s jedne, i reakcije koja se rađa kod posmatrača prilikom susreta sa djelom, s druge strane. Izložba je multimedijalnog karaktera, a višeslojnost značenja pojma buđenja pružila je širok dijapazon odgovora na više problemskih pitanja – od buđenja koje može biti izazvano čistom likovnošću djela, preko angažovanosti u pravcu ekološkog osvješćivanja, do onih koji su proizvod introspektivnog procesa i zapitanosti nad egzistencijalističkim nedoumicama današnjeg čovjeka. Kao jedan od preduslova da određeni rad pronađe svoj put do posmatrača jeste da on bude iskren, da poriv zbog kojeg nastaje ima karakter obračunavanja sa ravnodušnošću koja je, po mom skromnom mišljenju, veoma opasna pogotovo u vrijeme kada je sve relativizovano, kada vlada sumnjiv sistem vrijednosti i opšta mentalna nehigijena, a proizvoljnost je prisutna u gotovo svim porama života. S obzirom na izraženi senzibilitet i delikatnost umjetniko-vog bića, istinska posvećenost u razmatranju određenih pojava i tema je nediskutabilna. Takođe, svrha postavljanja teme oko koje su okupljeni umjetnici svakako nije u nametanju rigidne vizure već humana potreba da oživimo čula, da se pokrenemo, da zavirimo u sebe...

Na kraju, ne mogu a da se ne osvrnem na prošlogodišnji Salon i napor uložen da manifestacija visoke reputacije i dugogodišnje tradicije u Crnoj Gori, okupljanjem umjetnika iz svih zemalja bivše Jugoslavije, poprimi razmjere po-željne regionalne umjetničke smotre. S tim u vezi, istakla bih važnost ponovnog ujedinjavanja nekad jedinstvenog duhovnog prostora, kao događaja koji može imati dalekosežan značaj. Ana Ivanović, istoričarka umjetnosti

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Who looks outside, dreams;who looks inside, awakes.

Karl Gustav Jung

I have always believed in the power of art. And I have always wondered where that power comes from. Is it objecti-vely present in a work of art or is it something ascribed to an artwork in accordance with taste or sensibility in a cer-tain socio-cultural framework? Even though this question undoubtedly remains open, one thing is certain: if a work of art is so powerful that it can ‘awaken’ the viewer’s consciousness, then the belief in the power of art is justified.

Given its flexible nature, the theme Awakening that I have chosen for this year’s Winter Salon, in the broader sense is aimed at providing an insight into the current art trends in the region. In the narrow sense, the theme seemed suitable for examining interaction in the artist-viewer relations. When I say interaction, I mean the moment when the attitudes, thoughts and feelings born in the artist during the creation connect or overlap with the reaction trig-gered in the viewer during his or her encounter with the work of art. This exhibition has a multi-media character, while the multi-layered meanings of the term awakening offer a wide spectrum of answers to a number of problem questions – from awakening which can be prompted by the pure visual aspect of work, through activity towards ecological awareness, to questions which are the product of an introspective process and existentialist dilemmas of modern man. One of the preconditions for an artwork to find its way to the viewer is for it to be sincere, while its driving force has to have the character of squaring accounts with indifference which, in my humble opinion, is very dangerous particularly in a time when everything has been relativized, when a dubious value system is in operation accompanied by overall lack of mental hygiene, and when arbitrariness permeates almost all spheres of life. Considering the high sensibility and subtleness of the artist’s being, the genuine commitment in the explora-tion of certain phenomena and themes is undisputable. Furthermore, the purpose of setting the theme which has brought the artists together is by no means to impose a rigid vision but rather a human need to revive our senses, to make a move, to peep into ourselves...

Finally, I cannot but make reference to the last year’s Winter Salon and the efforts made for this reputable Monte-negrin event with long tradition to grow into a notable regional exhibition by gathering together artists from all former Yugoslav republics. In this context, I would like to stress the importance of reunification of the once unified spiritual space as an event which may have far-reaching significance. Ana Ivanović, art historian

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Iz cIklusa akt Bato Boljević je slikar nerva, trenutka, njegov potez je gestualan, silovit, on beleži brzo kako bi očuvao nadahnuće u samoj njegovoj izvornosti.

Inspiraciju pronalazi u tijelu žene koje, neretko svedeno samo na asocijativan znak, postaje medijum za saopštavanje složenih simboličkih značenja i generator snažnih osjećanja. Bato je ličan, iskren, on posmatra, preispituje, otkriva sebe. Svaka pojedinačna linija, svaki potez i forma zapravo su intimni zapisi umjetnikove duše.

Akt za Boljevića ne predstavlja samo likovni motiv već ga on, pokrenut čulnošću ženskog tijela, pretvara u kontemplativno polje u kojem je izatkana mreža najtananijih misli i osećanja,

unutrašnja borba umjetnika, potreba da se pronađe duhovna ravnoteža; snažno je prisutan muško-ženski princip, ambivalentnost čovekove prirode i autorefleksivna stanja koja nam on tako smelo otkriva. U svemu tome nema raspričavanja, rasplinjavanja, njemu je važna esencijalnost stvaralačkog nagona koju materijalizuje tako da se gotovo može opipati. A.I.

From the act cycle Bato Boljevic is a painter of nerves, of the moment, his stroke is gestural and forcible, he is painting quickly in order to save his inspiration in its authenticity.

The inspiring template in his works is a female body that, reduced to the associative sign, becomes a medium for transference of complex symbolic meanings and a generator of strong emotions. Boljevic executes his painting almost ritually, very often an anutonomous paint brush or pencil draw launches an avalanche of acumulated, deep inner contents that are acquainted directly and without embellishment. Bato is personal, honest, observant, inquistive and revealing. Each line, brush stroke and form is actually the most intimate inscription of the author’s soul.

For Boljevic, the act is not a mere painting motif. Inspired by the sensuality of the female body he converts it in a contemplating field where he weaves the net of his most sensitive thoughts and feelings, inner struggle. There is a necessity to detect the spiritual equilibrium showing

the strong presence of the male and female principle, ambivalence of the human nature and self-reflexive states which he is so bold to reveal. All things considered, there is no fading away, no melting, what is important to him is the very essence of the impulse to create which he materializes to the point where it becomes almost tangible. A.I.

BATO BOLJeVIĆ

Iz cIklusa akt2012, kombinovana tehnika, 170 x 130 cm

From the act cycle2012, mixed media, 170 x 130 cm

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sadašnjost povIjestI Sadašnjost povijesti, vizualizacija je danas uobičajenog pogleda na radnika i njegova prava u spoju s ponudom načina života koji mu se nudi od strane državnog aparata. Slobodnije rečeno, navedeni aparat doživljavam kao dotrajali i pokvareni birokratski mehanizam, a radnike kao hipereksploatiranu tržišnu živu vagu bez prava i identiteta. Od nekadašnjeg društveno-političkog brenda, radnička klasa je pretvorena u ismijani relikt socijalizma

zabilježen na crno-bijelim fotografijama, a radnik je postao duh odnosno sjećanje na čovjeka koji je „nekad“ izgradio sve što mu je „danas“ oduzeto u stvarnom svijetu izgrađenom po lokalnom kriminalnom modelu privatizacije i pretvorbe.

present moment oF the hIstory Present Moment of the History is a visualization of the common manner of looking at the Worker and his rights in relation to the way of living offered by the state aparatus. Speaking more openly, I see that aparatus as a worn-out and broken birocratic mechanism, and I see workers as hyper-exploited liveweight without any rights or identity. Once being social and political brand, working class nowadays is being transformed into a ridiculed relict of socialism, recorded on the black and white

photos, and the Worker became a ghost, or shall I say, he became the memory of a man who has been building in the past everything that is taken away from him today, in this real world... a world made by a criminal model of privatization and simulation.

MARIJAN CRTALIĆ

sadašnjost povIjestI2011, kaširani printovi, 50 x 35 cm

present moment oF the hIstory2011, prints mounted on forex, 50 x 35 cm

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lIcem u lIceCiklus fotografija Face to Face doslovno replicira romantičarsku topografiju posmatrača neposredno konfrontiranog sa uzvišenim i zadivljujućim prizorima jednog postindustrijskog predela i primer je jedne nove socijalne i mentalne ekologije. To je rad u nastajanju (work in progress project) koji izvodimo na svakom mestu koje posetimo i sastoji se od radova u različitim medijima, mada je najzastupljeniji medij fotografije. Tako su motivi pejsaža i gradova širom sveta postali objekt naše izolovane kontemplacije pozivajući i posmatrača da se toj kontemplaciji pridruži.

Iskustvo postajati-deo-prirode ili biti-deo-prirode preuzeto je iz tradicije ro-mantičarskog pejsažnog slikarstva, a posebno iz radova nemačkog slikara Kaspara Fridriha Davida (Caspar Friedrich David). U pitanju su slike pejsaža ispunjenih usamljenim figurama, beznačajnih u odnosu na prirodu koja ih okružuje. Sledeći svoje unutrašnje impulse on je glorifikovao snagu i lepotu prirode obezbeđujući joj spiritualni karakter. Na taj način stvorio je novi tip slike „pejsaž kao ikona prirode“, gde pejsaž prestaje da biva samo dekoracija, refleksija našeg okruženja, već počinje da opisuje naš unutrašnji život i nudi nova značenja kao što su čovekovo shvatanje prirode i veza između čoveka i prirode.

Kao žanr, pejsaž ponovo privlači pažnju i interesovanje. Istorija je pokazala da se čovek vraća prirodi i traži prekinute veze sa njom, naročito u vremenima naglog tehničkog razvoja, kada se početna euforija počinje pretvarati u sop-

stvenu suprotnost. Jedan od razloga može biti i to što prirodu ne možemo više uzimati zdravo za gotovo. Bilo da se koristi kao simbol moći, bega ili kao mesto za sanjarenje i kontemplaciju, moramo se zapitati da li bi trebali ovoj temi prići sa posebnom pažnjom i svesnijim stavom. Sama pozicija današ-njeg čoveka, kao istovremenog aktera i posmatrača sveta u kome živi, nameće potrebu osmišljavanja logike kojom bi on sam mogao ova dva stanovišta da poveže i da ih sebi objasni.

Koristeći duh romantičarskih ideja kao slika koje teže lepoti, mi predstavljamo pejsaže oblikovane ljudskom aktivnošću i često sa prilično brutalnom indu-strijskom eksploatacijom kao što je prikazano u Not so far away seriji fotogra-fija gde portretišemo prirodu kao izolovani objekat koga treba zaštititi. U ovoj podseriji se Face to Face projekat susreće sa određenim ekološkim pitanjima koje tema o pejsažu i uticaju čoveka na njega neminovno povlači.

Pitanje koje pokušavamo da postavimo je, od kog momenta ove promene I uticaji dovode do promena u načinu mišljenja? Nama nije samo pogled po-smatrača važan, nego i način gledanja, a to će omogućiti recipientu da posta-ne svestan kako današnjice, tako i prošlosti i svog kulturnog nasleđa.

Face to Face Face to Face cycle of photographs literally replicates the Romantic topography of the viewer directly faced with the sublime and stunning scenes of a post-industrial landscape and it is an example of a new social and mental ecology. It is a work in progress project which we carry out in every place we visit and which includes works in different mediums, photography in the first place. In this way, the motifs of landscapes and cities around the globe have become objects of our isolated contemplation inviting the viewer to join the contemplation.

The experience of becoming-part-of-nature or being-part-of-nature has been taken from the tradition of Romantic landscape painting, especially from works by German painter Caspar David Friedrich. They are landscapes filled with solitary figures, insignificant compared to the natural environ-ment surrounding them. Following his inner impulses, Friedrich glorified the power and beauty of nature giving it a spiritual character. In this man-ner, he created a new type of painting – “landscape as an icon of nature”, where landscape ceases to be mere decoration, a reflection of our environ-ment, but begins to depict our inner lives and to offer new meanings such as man’s view of nature and connection between man and nature.

As a genre, landscape attracts attention and interest again. History has shown that man returns to nature attempting to re-establish bonds with it, particularly in times of rapid technical development, when the initial eu-

phoria starts to convert into its opposite. One of the reasons might be the fact that nature can no longer be taken for granted. Whether it is used as a symbol of power or escape, or as a place for daydreaming or contempla-tion, we must ask ourselves whether we should approach this theme with a special attention and more conscious attitude. The position of modern man, both as an actor and an observer of the world he lives in, imposes the need to conceive the logic with which he himself could establish a link between the two standpoints and explain them to himself.

Using the spirit of Romantic ideas as pictures striving for beauty, we rep-resent landscapes shaped by human activity and often by rather brutal in-dustrial exploitation, as shown in the Not so far away series of photographs where we portray nature as an isolated object in need of protection. In this sub-series, the Face to Face project addresses certain ecological issues which the themes of landscape and the impact of man on it unavoidably bring up.

The question we are trying to ask is how long it takes for the changes in our environment to change the way we think. It is not just observing that we care about, but the manner of observing, too, which will enable the recipi-ent to become conscious both of the present day and of the historical and cultural heritage. Translation by: Olivera Kusovac

not so Far away I2007, lambda print, 80 x 120 cm

the best oF leIsure (zmajevItI)2011, lambda print, 80 x 120 cm

diSTRUKTURA

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pekIng: oblIk stvarI koje će doćI Zbog čega postoji toliko plastike u Kini, zbog čega tako prekomjerna upotreba, zašto je toliko loše napravljeno, zašto je tako lomljivo, otkud tako žive boje, loš dizajn i nedostatak ujednačenosti, stabilnosti i estetike? Koliko je štete naneto prilikom proizvodnje ovih plastičnih predmeta?

Ljudi nikada ne saznaju ono što Vlada želi da sakrije od njih. Kada će ljudi naučiti nešto o svojoj prošlosti i imati kontrolu nad svojom sudbinom? Kada će postati svjesni postojanja nepotrebnog otpada i opasnog zagađenja, najvećim dijelom izazvanih masovnom proizvodnjom u kojoj se koristi otrovna plastika?

Radovi odabrani za Zimski salon preuzjeti su iz serije Peking: Oblik stvari koje će doći.

Moj pristup je bio da upotrijebim plastične predmete za svakodnevnu upotrebu, koje sam pronašla u svom stanu, kako bih pomoću njih pokušala da prikažem različite vidove života

u Pekingu: turizam, Vladu i obična zaduženja iz domaćinstava, kao što su prostiranje veša, kuvanje nekog jednostavnog jela, prikazujući smisao prostora – duh prostora. Nepomičnost predmeta i njihova dvodimenzionalnost daju nam vremena da posmatramo i mislimo, vremena za ličnu interpretaciju i promišljanje. Prepoznatljivi oblici posmatraču postaju veza od jednog predmeta ka drugom, i novi put spoznaje države Kine.

beIjIng: the shape oF thIngs to comeWhy is there so much plastic in China, why such excessive use, why so badly made, why so breakable, why such vibrant colours, why such bad designs that lack balance, stability or aesthetic? How much damage is done in the production of these plastic objects?

People do not find out what the government wishes to keep hidden. When will people learn about their past and have control over their own destiny? When will the become aware of unnecessary waste and dangerous pollution, much caused by mass manufacturing using toxic plastics.

The works selected for the Winter Salon are from the series Beijing:The Shape of Things To Come. My approach was to

use the plastic everyday objects found in my apartment, using the shapes to suggest commentary on different aspects of life in Beijing; tourism, government and domestic household tasks such as hanging up washing, cooking a simple meal, dressing thus reflecting the sense of the place - the genius loci. The stillness of the objects and their two dimensions create time to look and think, time for individual reflection and personal interpretation, recognisable shapes providing links from one object to another for the viewer and a new journey of reflection on the state of China.

LeO DUFF GOST SALONA | HONOURABLe GUeST

Iz ciklusa pekIng:oblIk stvarI koje će doćI, 2011.

Jungnani (Dvorište vlade), 67 x 68 cmTrg Tjenanmen (Turistička atrakcija), 66 x 58,5 cm

Oblici Pekinga: Katalog I, 76 x 56 cmKuhinjska polica 76 x 57 cm

From the cycle beIjIng:the shape oF thIngs to come, 2011

Jungnanhi (Government Compound) Tianamen Sq (Tourist Attraction)

Shapes Of Beijing: Catalogue I Kitchen Shelf

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l'espIrIt nomade Umetnost. Mnogo je onih koji neizrecivo bolje koriste reči. Moje tlo je vizuelno. Zapravo, ono koje mi najmanje izmiče.

Mali kolaž fotografija koji sam izabrala za Salon, L’esprit Nomade (Nomadski duh) najbolje opisuju upravo reči nekoga drugog. Suzan Sontag. Sakupljati fotografije znači sakupljati svet.

Isecanjem ovog trenutka i njegovim zamrzavanjem sve foto-grafije svedoče o neumoljivom topljenju vremena. Fotografija je i pseudoprisustvo i znak odsutnosti. Kao vatra u kaminu koja gori u sobi, fotografije – naročito fotografije ljudi, ili dalekih kra-jeva i gradova, iz iščezle prošlosti – podstiču na sanjarenje.

Bunjuel pravi filmove da bi pokazao da ovo nije najbolji od svih mogućih svetova. Taj drugi svet, nalazi se unutar ovog sveta... A to je upravo umetnost.

nomadIc spIrIt The Art. There are many people who use words better than I do. My field is visual. Actually, the one that doesn’t slip away from me. Little collage of photographs that I have chosen to exhibit in Winter Salon entitled L’Esprit Nomade describes in the most suitable manner someone else’s words. Susan Sontag’s.

Collecting photographs means collecting the world itself. Photographs testify about the implacable passage of time by cutting out the particular moment and then freezing it. Pho-tography represents both pseudo-presence and the sign of absence. Like a fire burning in the fireplace, photographies,

especially the ones with people, distant landscapes and towns from the past, inspire dreaming.

Buñuel made movies to show how this world is not the best one of all. The other world is deep inside the existing one... And that’s exactly what art is.

OLIVeRA INĐIĆ

l’esprIt nomade (nomadskI duh)2011, analogna fotografija, 30 x 20 cm

nomadIc spIrIt2011, analogous photography, 30 x 20 cm

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naratIvI I cvetanje sImbola...Iako zasnovane na potpuno različitim stilskim i tematskim konceptima, serija grafika Narativi i simboli Slavice Janešlieve imaju zajedničku tačku koja na vrlo suptilan način izražava opsesivno prisustvo tragova prošlosti.

Nakon početnog poimanja ovih različito modelovanih grafika, mi, kao posmatrači, počinjemo da tragamo za detaljima. Naslovi grafika ukazuju na ono što se manifestuje kao njihova uzajamna razlika, prisutnost i odsutnost (auto) referencijalnosti, (auto)citata, a ukazuju i na autorkinu strast i zadovoljstvo prilikom eksperimentisanja sa različitim vrstama grafike. Prilikom finog kombinovanja, odnosno, sjenčenjem i usaglašavanjem tehnika, osjećamo zračenje autorkinog zadovoljstva ishodom njene alhemijske igre. /.../ Sinhronizovano prihvatanje grafika Slavice Janešlieve, s magijom njihove liričnosti, njihovih mekih, toplih linija koje još od njenog djetinjstva nastavljaju svoje kreativno sanjarenje lebdeći iznad papira, fascinira nas a priori. Putem njenih snova i fantazija, ili da citiramo Pola Klea – putem “sanjanja linije”, u različitim hronološkim kontekstima pratimo postepeni razvoj, to jest, rast i forimiranje kreativnog identiteta ove umjetnice.

Na njenom putu po ličnim i porodičnim trasama, u njenim interpretacijama priča izvezenih u rukopisima, i u njihovoj povezanosti

s crtežima iz autorkinog najranijeg djetinjstva, kao i u njenim ličnim i porodičnim fotografijama, u simulaciji starog premaza, ne prepoznajemo samo svjetlinu njenog ličnog mita o djetinjstvu, već i radost i nostalgiju za našim, možda pohabanim i intenzivnim, ali sveprisutnim mitom./.../

Retrospektivno projektujući, pišući i sanjajući sebe kroz citate i auto citate, Janešlieva predlaže nježan dijalog o ljubavi, koji od nas očekuje da odgovorimo istom emotivnošću i identifikovanjem njenih želja sa našim željama. Magija autorkinog liričnog tkanja osigurava dalje cvjetanje, polisemiju naracije koja neizbježno širi nestabilnu i konstantno novu, promjenljivu sliku interpretacije. (odlomak iz kataloga samostalne izložbe Narativi i simboli, Skopje) Konca Pirkoska

narratIves and the bloomIng oF symbols…Although conceived on entirely different stylistic and thematic concepts Slavica Janeslieva’s series of prints entitled Narratives and Symbols share a common feature which, in a very subtle way, manifests an obsessive presence of traces of time past.

After the initial reception of the differently modeled and performed series we as recipients start to look for details. The titles of the prints themselves refer to what manifests itself as their mutual distinction, i.e. the presence and the absence of (auto) referentiality, (auto) citation, narratives as well as to the artist’s passion and pleasure in the act of experimenting with different kinds of graphic techniques. In the subtle combining, i.e. in the shading and harmonization of techniques, we sense the emanation of the artist’s pleasure in the outcomes of her alchemy play. /…/

The synchronized reception of Janeslieva’s prints, with the magic of their lyricism, their soft, warm lines, which since her early childhood continue their creative dreaming and hovering over the surface of the paper, fascinates us a priori. Through her dreaming and fantasies, or to use Klee’s expression, by her “dreaming the line”, in various chronological contexts we follow the gradual development, i.e. the growth and

formation, of the artist’s creative identity.

In her journey along the intimate family and personal routes, in her readings and interpretations of the stories embroidered in the manuscripts and their association with the fragmentary drawings from early childhood, as well as in her personal and family photo graphics, in their simulated old coating we do not only recognize the brightness of her own personal myth about childhood, but also the joy in and the nostalgia for our own, although shabby and intense, nevertheless constantly existing myth./…/

Retrospectively projecting, writing and dreaming herself through the play of citations and auto citations, Janeslieva suggests a subtle dialog on love, which expects from us a response with an identical emotion and identification of her desires with those of our own. The magic of Janeslieva’s lyric textual weaving secures a further flourishing, a polysemy of the narration which inevitably emanates an unstable and constantly new, a changeable image of interpretation. (Excerpt form the catalogue of the exhibition Narratives and Symbols, Skopje) Konca Pirkoska

SLAVICA JANešLIeVA

Iz ciklusa naratIvI: mIslI I sapatI,kombinovana tehnika, 43 x 77cm

thoughts and whIspers, mixed media, 43 x 77cm

kult,kombinovana tehnika, 43 x 77cm

the cult, mixed media, 43 x 77cm

20

IgraAndrijana Mlinarević-Cvetković umjetnica je izuzetne osobnosti. Iako po vokaciji slikarica, svoju neobuzdanu kreativnost usmjeravala je i prema trodimenzionalnoj formi, kao i prema prostornim konstrukcijama od žice i lima, po čemu je i prepoznatljiva.

Stvaralaštvo ove autorice je bajkovito, ono je oda djetinjstvu, bezbrižnom odrastanju, igri i dječjim maštanjima. Poetika dječ-jeg likovnog izražavanja je njen izbor, a ne tek prolazna faza ili trend. Svojim recentnim ciklusom žičanih prostornih crteža jednostavno nazvanih „Igra“, Andrijana je poput zaigranog dje-teta otpočela svoju stvaralačku igru sa žicom, žičanom mrežom, gipsom i limovima kojima je maštovito komponirala svoje dav-no proživljene slike djetinjstva. Razigrane kompozicije njenih igara su nadasve osobne i unatoč hladnom materijalu tople. Nježne dječje figurice širom otvorenih očiju, izdužene, lelujave,

poneke čak i groteskne, preobražavaju zidne plohe igrom sjena i materijala, one „lebde“, izvrću se naglavačke, a njihovom po-stavkom izbjegavaju se pravila normalne perspektive.

Sretni su svi koji su poput Andrijane proživjeli bezbrižno djetinj-stvo, a sretni su i ukoliko ga uspiju zadržati živim u sebi, jer dječji svijet je neiskvaren i iskreniji je od svijeta odraslih. To je esencija ovog stvaralaštva, esencija koja ga čini vitalnim, osebujnim i uvijek privlačnim.Dragana Nuić-Vučković

the game Andrijana Mlinarević-Cvetković is an artist of an exquisite personality. Although a painter by a vocation, she directed her intractable creativity toward three-dimensional form, as well as toward spatial constructions made of wire and sheet metal, which make her recognizable.

The work of this artist is like something out of a storybook, it is an ode to childhood, care- free growing up, children’s games and dreaming. Poetics of childish art style is the artist’s choice, not just a temporary phase or a trend. With her recent cycle of wire spatial drawings, simply called “ The Game” Andrijana , in a manner of an engaged child, has started her creative game with wire, wire net, plaster and sheet metal. She used these ma-terials to compose her long-time- gone childhood experien-ces. Vivid compositions of her games are above all personal and warm, despite the cold material they were made of. Gentle chil-dish statuettes with their wide-open eyes, elongated, waving,

sometimes even grotesque, transform walls with the game of shadows and materials, they “float”, turn upside-down, and the rules of narmal perpective are avoided with their proposition.

All those people who have had a happy childhood, like our An-drijana, are happy, they are even happier if they have succeeded to keep it in themselves because children’s world is unspoiled and more honest than the world of adults.It is the essence of this work, The essence which keeps it vital, original and always attractive.Dragana Nuić-Vučković

ANDRIJANA MLINAReVIĆ-CVeTKOVIĆ

Igra2011, kombinovana tehnika

dimenzije promjenljivethe game

2011, mixed mediavariable dimensions

22

preobraženje Preobraženje kao promjena oblika i mentalnog stanja, evolucija ličnosti. Rasplitanje kose kao akt neprihvatanja ograničenja i konvencija individualne sudbine, opšte usvojenog načina života i društvenog poretka kroz ličnost umjetnice ili žene.

Rad se sastoji od dva video zapisa.

U prvom video zapisu moja majka formira pletenicu od moje kose. Navlačim rukavicu-češalj, koju sam napravila od radnič-ke rukavice i prirodnih bodlji bagremovog drveta (drveta koje ne trune, drveta od čijih bodlji je napravljena Hristova kruna) i raščešljavam pletenicu dok moja kosa ne postane potpuno slo-bodna od bilo kakvog oblika.

U odnosu na svakodnevni ritual češljanja radi „uljepšavanja“ ovakav način češljanja je prije svega raščešljavanje radi osloba-đanja tradicionalne forme ženske frizure (pletenice).

U drugom video zapisu moja kosa je zapletena u granu bora, na

planini Kozari na kojoj sam rođena i gdje se moja ličnost počela formirati, što je iznenada prekinuto 1991. godine. Trudim se da odvojim kosu od grane. Pokušavam da se krećem, što je bolno i skoro nemoguće budući da mi grana bora čupa kosu kada i najmanje pomjerim glavu.

Voljom, upornim pokušajima i pomjeranjem granice bola ipak uspijevam da se oslobodim vezanosti za negativnosti prošlosti.

transFIguratIon Transfiguration as a form and mental transformation, the evolution of personality. The undoing of the tress is an act of not excepting the constraints and conven-tions of individual destiny, generally excepted way of life and social order through the personality of artist and a woman. The work is constitution of two videos.

In the first video my mother forms the tress from my hair. I put the brush-glove on, which I made from working glove and na-tural thorns from acacia wood (wood that doesn’t decompose, wood whose thorns were used to make the crown of Christ) and comb my tress until my hair becomes free from any form. In relation to the daily ritual of combing to be “beautiful” this way of combing the hair is done primarily to release the hair of any traditional form of women’s hairstyle (tress).

In the second video my hair is entwined with the branch of Pine tree, on the mountain Kozara where I was born and where my identity started to take form, which was suddenly interrup-ted in 1991. I am trying to separate the hair from the Pine tree branch. I’m trying to move, which is painful and almost impo-

ssible because the branch plucks my hair every time I move my head. By strong will, persistent efforts and crossing the bo-undaries of pain I manage somehow to free myself from the addiction to the negativity of past.

BORJANA MRĐA

preobraženje 2009, video, trajanje 7 min.10 sek.

transFIguratIon 2009, video, duration 7 min. 10 sec.

24

ukradeno od sna Često nam trenutak buđenja donese tek jednu sliku kao refleks cijelog sna.

Pokušala sam da jednu takvu sliku koja je ukradena od sna prikažem kao skulptoralnu kompoziciju svoje šake na kojoj se nalazi zreli nar, dok je koloplet sna ostao zarobljen u podsvijesti, u bijeloj taktilnoj slici.

stolen From a dream Awakening moment often brings only a single image as a reflection of the whole dream.

I tried to materialize one such picture that was stolen from a dream as sculptural composition of my hand holding ripe pomegranate, and the whirlpool of dreams remained trapped in the subconscious, trapped in white tactile painting.

DANIJeLA MRšULJA-VASIĆ

ukradeno od sna 2012, kamenina, liveni mermer, boja

11 x 20 x 10 cmstolen From a dream

2012, stoneware, casted marble, color11 x 20 x 10 cm

taktIlna slIka sna2012, kombinovana tehnika

64 x 64 x 4 cmtactIle paIntIng oF a dream

2012, mixed media 64 x 64 x 4 cm

26

sunčana strana mog brda Slike Ivana Pejovića posjedu-ju snažnu likovnost, one su tonski i koloristički kompleksne i kao takve, otkrivaju svijet nabujalih emocija, jer njegove boje imaju najpre psihološku vrijednost. Kroz motivski krug pejzaža i figuracije, Pejović nam otkriva bogat duhovni sadržaj. Predio za koji je umjetnik intimno vezan postaje svjedok i prenosilac svih njegovih traganja, patnje, radosti, bola... Zapravo, on nosi duh vremena i prostora koji za umjetnika ima osobnu važnost, međutim, ono što se prenosi na posmatrača jeste emocija koja vibrira kroz njegov potez i bojeni nanos. Evidentan je osjećaj tjeskobe i uzburkanosti, kao traga potrebe za pronalaženjem

sklada…kao kakav zadržani ili nečujni vapaj. Stoga njegove slike imaju karakter oslobađanja jer primaju ono zadržano i skriveno u umjetniku, a koje se može naslutiti „osluškivanjem“ njegovih boja. A. I.

sunny sIde oF my hIll Ivan Pejovic’s paintings have a strong pictorial value. They are coloristically complexe and have a power to reveal the world of the swollen emotions becau-se of the psychological characteristics of the colours he uses. Through the motifs such as landscape and figuration, Pejovic reveals rich spiritual content. Landscape that the artist is inti-mately connected to now becomes the witness of the artist’s suffering, longings, happiness and pain. Actually, it is a spirit of the place and time that the artist is strongly bounded to, but what is essential to this matter is the emotion which vibrates through his strokes and colour fields and is being transferred onto observer. Feeling of anxiety and disturbance as a trace of his need to find balance is also evident... like some kind of a qui-

et cry. His paintings have the liberating character because they absorb what is long kept hidden inside artist’s soul, something that could be sensed by “listening” to his colours. A. I.

IVAN PeJOVIĆ

sunčana strana mog brda2007, akrilik na platnu, 190 x 150 cm

sunny sIde oF my hIll2007, acrylic on canvas, 190 x 150 cm

28 IVANKA VANA PReLeVIĆ

eko-san Rad pod nazivom Eko-san nadovezuje se na ra-dove koje sam izlagala na izložbama pod nazivom Paralaktički pejzaži 2008. u Ateljeu DADO na Cetinju i Recikliranje s(a)vje-sti 2010. u Paviljonu ULUCG u Podgorici, kao i 2012. u Galeriji O3ONE u Beogradu. Izložba se sastojala iz više cjelina koje su se međusobno vezale osvrtanjem na društvena dešavanja – po-trošačko društvo i društvo spektakla.

Instalacija je oblikovana od bijelog vatelina, meke, vazdušaste forme. Ovako oblikovana instalacija asocira na komad oblaka kroz koji izviru listići i grančice simbolizujući plodnost, napredak i obnovu, jer je drvo izvor života, koji u svom neprestanom ra-zvoju i uspinjanju uspostavlja vezu između neba i zemlje.

U današnje vrijeme čovjeku je teško biti potpuno ekološki osvi-ješten zato što bi to značilo da se trebamo „vratiti u pećine“, odnosno da odbacujemo savremen način života. Eko-san je težnja ka promjeni stvarnosti, ka preobražaju, nastojanju da se postigne uravnotežen odnos između zaštite prirodnih temelja života i ljudskih potreba.

eco-dream Eco-Dream is a continuation of the artworks exhibited as a part of Parallactic landscapes exhibition in 2008, at Atelier DADO, Cetinje and Recycling of conscience/consciou-sness in 2010, at Art Pavilion in Podgorica, as well as at Gallery O3ONE in Belgrade in 2012.

The project consisted of several parts which refer to the social circumstances – particularly to the both spectacle and consu-mer society.

The installation is made of white lining and has soft, airy form. This way it resembles a piece of cloud from which small leaves and branches appear as a symbol of fertility, improvement and revival, because the tree as a spring of life, connects the earth and the sky by its constant growth and ascending.

Today, it is hard for a man to be ecologically aware because it could refer to “returning to the caves ”state of mind, or rejecting

contemporary way of living.

Eco-Dream strives for changing reality, transfiguration, to achieve balance between preservation of the natural basis of life and human needs.

eko-san2013, kombinovana tehnika

(vatelin, grančice, papirići u obliku listova)100 x 150 x 25 cm

eco-dream2013, mixed media

(lining, sprigs, leaf-like sheets)100 x 150 x 25cm

30 ADIN RASTODeR

napuštena glava Umjetnost Adina Rastodera tjera nas na razmišljanje koje nije optimistično. Kroz ljudske figure on pruža ogledalo čovjeku, kako bi vidio koliko je prazan, koliko je tu-poglav, koliko je podložan mržnji koja mu život ruži, koja ga sprečava da se približi drugom čovjeku, da ga voli. Branka Bogavac

abandoned head Adin Rastoder’s art provides a thought which is not optimistic. Using human figures he gives a man the mirror to see how shallow he could be, and how he could be able to feel hatred which makes his life miserable, disabling him to get closer to other human being, to appreciate him. Branka Bogavac

napuštena glava2011, poliester, 58 x 28 x 31 cm

abandoned head2011, polyester 58 x 28 x 31 cm

32 ŽIGA ReHAR

hIgh resolutIon Is no solutIon U ciklusu slika High Resolution Is No Solution (Visoka rezolucija nije rješenje), Žiga Rehar pokušava da skrene pažnju na ravnodušnog posmatrača koji je utonuo u konzumentsko društvo i nije zain-teresovan za umjetnost, koristeći jednu „smicalicu“. Trik je simbolizovan ramom slike koji podsjeća na televizijski ekran i saopštava dublju poruku posmatraču. Rehar slika na karakterističan način koji je razvio u saradnji sa prirodom. Kada slika, on koristi prednost uobičajenog zgušnjavanja koje se javlja kada prolije boju i vodu preko glatke površine. Na određenim mjestima ti zgusnuti djelovi ostaju, dok na drugim mjestima interveniše i transformiše ih koristeći svoj je-dinstveni vizuelni jezik. Rehar je kritičan prema ljudskoj zaokupljenosti samima sobom i pita se da li će posmatrači skrenuti pogled sa sopstvene refleksije na ramu (ekranu) i utonuti u sliku; da li će napustiti egocentričnu poziciju u kojoj njihove oči traže samo sopstveni odraz. U donjem dijelu rama, ime umjetnika je ispisano slovima koja sugerišu ime nekog brenda ili logotipa kompanije. Na taj način umjetnik direktno iskazuje kritiku statusa umjetnika danas.

Poziv za učestvovanje na Zimskom salonu u Herceg Novom na temu Buđe-nje, dalo je podstrek za ispunjenje davnašnje želje, ili, bolje rečeno, izvođenje logičnog poduhvata koji će vjerovatno trajati i u budućnosti (ili možda neće). Ovaj projekat je povezao i nadgradio vrijednost rada dva vizuelna umjetnika, Braneta Širce i Žige Rehara, koji su godinama zajedno radili u istom studiju i

izlagali na istim grupnim izložbama, ali uvijek kao individualni umjetnici. Odu-vijek su željeli da zajedno naprave nešto, ali nikad nisu to ostvarili. Projekat na temu Buđenje pružio je priliku da konačno urade tako nešto. Ova tema ih je podsjetila na njihovu želju da stvore umjetnički rad zasnovan na sličnom načinu razmišljanja. Rad je komponovan u dva različita medija i u okviru razli-čitih pristupa, ali prezentovan je kao cjelina pod jednim nazivom. To je rezultat poziva na buđenje.

Zajednički projekat Braneta Širce i Žige Rehara sastoji se od nečujnih portre-ta koji zure u ekrane, gubeći jasnu sliku zbog prebukiranosti informacijama. Pažnja je usmjerena ka pogrešnom putu kojim je krenulo moderno društvo i činjenici da je ono, zapravo, izgubilo kontakt sa realnošću zbog vjere u ne-ograničenu moć progresa, i sada je u paničnoj potrazi za rješenjima koja bi omogućila dalji razvoj. Promišljena igra riječima u naslovu Solution is HD Wi(re)-Fi(re) ®Evolution ističe važnost dijaloga i uloge koju on ima u društvu; istovre-meno, ironija naslova ispunjuje optimizmom koji još uvijek nije u potpunosti izgubljen.Janez Svarovski, likovni kritičar i pisac

hIgh resolutIon Is no solutIon In his High Resolution Is No Solution series of paintings, Ziga Rehar tries to draw the attention of an indifferent viewer who is immersed in consumer society and has no interest in art by using a trick. The trick is symbolized by a painting frame which reminds the viewers of a television screen and conveys a more profound message to them. Rehar has a characteristic style of painting which he has developed in cooperation with nature. When he paints, he takes advantage of random thickening that occurs when he spills paint and water over a smooth surface. Only the thickening the artist chooses to leave remains, in other places he improves and transforms it using his unique visual language. Rehar is critical of human self-absorption and wonders whether the viewers will avert their eyes from their own reflections in the frame – screen and immerse themse-lves into the painting, whether they will abandon their own egocentric po-sition in which their eyes search only for a reflection of their own selves. On the bottom part of the frame the name of the artist is written in font type like a trademark or a company logo. There the artist directly expresses his critique of the status of the artist today.The invitation to participate in the Awakening project gave the decisive impulse to carrying out a long-standing wish, or rather, a logical step which would probably take place in the future, or maybe not.

That is to say, the project has connected and added additional value to the work of two visual artists, namely Brane Širca and Žiga Rehar, who have been working in the same studio for years and have exhibited in the same group exhibitions, but always as individual artists. They have often wished to do something together, but never really got round to it. The Awakening project presented them with a perfect opportunity to finally do that. It reminded them of their wish to create an artwork based on similar way of thinking to-gether. The project is composed of two different approaches in two different media, however, it is presented as a whole under one common title. It is the result of the call to awakening.

The joint project of Brane Širca and Žiga Rehar consists of silent portraits sta-ring into screens losing a clear picture because of the information overload. It draws attention to the wrong direction contemporary society has taken, and the fact it lost touch with reality because of its belief in the unlimited power of progress, and is now in panic searching for solutions that would enable further development. The clever play on words in the title Solution is HD Wi(re)-Fi(re) ®Evolution points out the importance of dialogue, and the role the dialogue holds in society; at the same time, its irony fills us with opti-mism that all is not yet lost.Janez Svarovsky, Fine Arts Critic, Writer

Idp5.22011, kombinovana tehnika, 9:13, dijagonala 133 cm

Idp5.22011, mixed media, 9:13, diagonal 133 cm

34 ŽeLJKO ReLJIĆ

buđenje Upoznavanje sa samim sobom ne nalazi se u veli-kim riječima, već u ulaganju napora i sagledavanju svega onog što nas čini. Osjećaj da si prisutan, da si živ, osjećaj postojanja i novih početaka – sve je to buđenje.

awakenIng Introspection does not come out of the big words but from taking an effort to create something, to get to look deeply inside and see what we are consisted of. Knowing to be alive, to be present and knowing that there is possibility of the new beginning is what awakening actually is.

buđenje2013, vareno željezo, 24 x 23 cm

awakenIng2013, welded iron, 24 x 23 cm

36 DAVOR SANVINCeNTI

blue arpeggIos Plavi arpeđato predstavlja vremenski rad koji izbjegava strukturalni narativ i može se posmatrati kao me-tafora za svjesnost, percepciju ili kao osvrt na individualnu pozi-ciju u prirodi. Fiksirani pogled postaje istraživanje za subjektivni svijet percepcije, saznanje i imaginaciju.

Muzika koju je komponovao Fransisko Lopez budi i ojačava unutrašnje predjele asocijacija.

„Ponekad je predio predmet posmatranja; u drugim slučajevi-

ma on je na trenutke u ravnoteži sa akcijom koja se u njemu odigrava. Međutim, energija predjela je uvijek prisutna i osje-ćamo je zbog onoga što jeste – prirodni, sirovi materijal ljudske psihe.˝ (Bil Viola)

blue arpeggIos Blue arpeggios is a time work which avoids the structural narrative and can be grasped as a metaphor for consciousness, perception or as a reflection on the individual position in nature. The fixed gaze becomes an exploration for subjective world of perception, cognition and imagination.

The music composed by Francisco López evokes and stren-gthens the inner landscape of associations.

“Sometimes the landscape is the subject; other times it shares the moment in balance with an action taking place within it; yet always its energy is present and felt for what it is – the natu-ral raw material of the human psyche.” (Bill Viola)

blue arpeggIos (plavI arpeđato)2012, video (trajanje 5 min. 20 sek.)

blue arpeggIos2012, video (duration 5 min. 20 sec.)

38 BRANe šIRCA

žIčana lIca U radu Žičana lica, Brane Širca se bavi ulogom mo-dernog čovjeka i žene u društvu koje je u stalnom tehnološkom razvoju. Ciklus se sastoji od ironičnih portreta ljudi napravljenih od žice, koju on vidi kao važan element modernog društva u oblikova-nju današnjeg vremena. Žice su svuda, u svakom električnom pred-metu, kroz njih putuju vodeće sile društva – informacija i energija (struja). Žičana lica su portreti običnih ljudi uhvaćenih u žičane mre-že. Oni su prazna polja u mnoštvu žica. Ovo je važna tema danas, ne samo među umjetnicima već i u cijeloj Zapadnoj civilizaciji gdje ljudi počinju da preispituju svrhu stalnog tehnološkog i informacijskog progresa. Upravo ove sumnje predstavljaju glavnu poruku nečujnih portreta napravljenih od isprepletane žice koji gledaju u nas, tražeći spas.

Poziv za učestvovanje na Zimskom salonu u Herceg Novom na temu Buđenje, dalo je podstrek za ispunjenje davnašnje želje, ili, bolje re-čeno, izvođenje logičnog poduhvata koji će vjerovatno trajati i u bu-dućnosti (ili možda neće). Ovaj projekat je povezao i nadgradio vri-jednost rada dva vizuelna umjetnika, Braneta Širce i Žige Rehara, koji su godinama zajedno radili u istom studiju i izlagali na istim grupnim izložbama, ali uvijek kao individualni umjetnici. Oduvijek su željeli da

zajedno naprave nešto, ali nikad nisu to ostvarili. Projekat na temu Buđenje pružio je priliku da konačno urade tako nešto. Ova tema ih je podsjetila na njihovu želju da stvore umjetnički rad zasnovan na sličnom načinu razmišljanja. Rad je komponovan u dva različita medija i u okviru različitih pristupa, ali prezentovan je kao cjelina pod jednim nazivom. To je rezultat poziva na buđenje.

Zajednički projekat Braneta Širce i Žige Rehara sastoji se od nečujnih portreta koji zure u ekrane, gubeći jasnu sliku zbog prebukiranosti informacijama. Pažnja je usmjerena ka pogrešnom putu kojim je kre-nulo moderno društvo i činjenici da je ono, zapravo, izgubilo kontakt sa realnošću zbog vjere u neograničenu moć progresa, i sada je u paničnoj potrazi za rješenjima koja bi omogućila dalji razvoj. Promi-šljena igra riječima u naslovu Solution is HD Wi(re)-Fi(re) ®Evolution ističe važnost dijaloga i uloge koju on ima u društvu; istovremeno, ironija naslova ispunjuje optimizmom koji još uvijek nije u potpuno-sti izgubljen.Janez Svarovski, likovni kritičar i pisac

wIre Faces In his Wire Faces series, Brane Sirca considers modern man and woman and their role in the society of continuous techno-logical progress. The series consists of ironic portraits of people made of wire which he sees as an important element in modern society shaping present times. Wires are everywhere, in every electronic de-vice, along them information and energy – the driving force of soci-ety – travel. Wire faces portray ordinary people caught up in these wire networks. They are empty spaces surrounded by massive crowd of wires. This is a very important subject today not only among artists, but also in the western civilization as a whole where people have started to question the purpose of continuous technological and in-formational progress. It is precisely these doubts that are the main message of the silent portraits made of intertwined wire looking at us and seek for salvation.

The invitation to participate in the Awakening project gave the deci-sive impulse for carrying out a long-standing wish, or rather, a logical step which would probably take place in the future, or maybe will not. That is to say, the project has connected and added additional value to the work of two visual artists, namely Brane Sirca and Ziga Rehar, who have been working in the same studio for years and have exhibited in the same group exhibitions, but always as individual ar-

tists. They have often wished to do something together, but never really got round to it. The Awakening project presented them with a perfect opportunity to finally do that. It reminded them of their wish to create an artwork based on similar way of thinking together. The project is composed of two different approaches in two different media, however, it is presented as a whole under one common title. It is the result of the call to Awakening.

The joint project of Brane Sirca and Ziga Rehar consists of silent por-traits staring into screens losing a clear picture because of the infor-mation overload. It draws attention to the wrong direction contem-porary society has taken, and the fact it lost touch with reality because of its belief in the unlimited power of progress, and is now in panic searching for solutions that would enable further development. The clever play on words in the title Solution is HD Wi(re)-Fi(re) ®Evolution points out the importance of a dialogue, and the role the dialogue holds in society; at the same time, its irony fills us with optimism that all is not yet lost.Janez Svarovsky, Fine Arts Critic, Writer

žIčana lIca,2011, žica, 30 x 30 x170 cm

wIre Faces,2011, wire, 30 x 30 x 170 cm

40 MAJA šOFRANAC

sIlIkonskI čovjek Siilicon Man je ciklus monoprinta kombino-vanih sa linorezom na papiru, inspirisanih životom u svijetu visoke tehnologije današnjice. Svaki čovjek u većoj ili manjoj mjeri prolazi kroz iskustvo individuacije koje podrazumijeva duhovno sazrijevanje i postizanje duhovne cjelovitosti, a po mom viđenju transformaciju iz bezličnog čovjeka iz mase u samosvjesnog i ostvarenog čovjeka. Stoga je prizor na mojim radovima čovjek u procesu hodanja (osvje-

šćivanja) kroz život, okružen ne samo drugim ljudima i odnosima sa njima nego i tehnologijom kao zgusnutim iskustvom čovječanstva koja je postala nerazdvojni dio današnjeg čovjeka.

sIIlIcon man Siilicon Man is cycle of mono-prints combined with linocuts on paper, inspired by living in the high technology world of today. Every man, in greater or lesser extent, goes through the experience of individuation – a spiritual maturation and atta-inment of spiritual wholeness, and in my vision it is the transforma-tion of an impersonal man from the crowd into the self-conscious and realised man. Therefore, the scene in my works is a scene of

a man walking through his life, surrounded not only with other people and relationships with them, but also with technology as a condensed experience of humanity which has become part of a today’s man.

Iz cIklusa Siilicon man2012, kombinovana tehnika (monoprint, linorez i crtež)

50 x 60 cm

From the cycle Siilicon man 2012, mixed media (monoprint, linocut, drawing)

50 x 60 cm

42 SeLMAN TRTOVAC

stop makIng sense Crtanje je u radu umetnika Selmana Trtovca pri-marni oblik izražavanja, prvi impuls u razvoju neke forme ili akcije. Kada go-vori o crtanju, on pod crtanjem podrazumeva univerzalni princip vizuelnog komponovanja. Crtanje, kako sam umetnik kaže, predstavlja mogućnost da se uđe u naročito, reklo bi se, povišeno stanje svesti. U takvim situacijama mobilišu se svi resursi svesti.

Crteži iz serije Stop making sense nastali su tokom leta 2012. godine, odno-sno tokom autorovog boravka u ateljeu Rondo u Gracu.

Veoma jednostavna sredstva kao što su olovka i papir, bez tehnološke nad-gradnje svojstvene današnjim vizuelnim praksama, prisiljavaju autora da se usredsredi na ono što je zaista bitno u umetnosti. Crtež ne trpi mistifikova-nje, niti varku, znanje tu veoma malo znači, jer znanje se može naučiti, dobiti ili dalje proslediti, ali istina ne. Ona se mora spoznati!

Tema Doppelgänger je u direktnoj vezi sa umetničkom strategijom umet-nika, odnosno sa onim delom strategije koja je usmerena ka dekonstrukciji samoljublja.

Samoljublje ima takođe osobinu da nam daje određenu prepoznatljivost, profil i čak elemente karaktera. Puka dekonstrukcija samoljublja nas dovodi u opa-snost da budemo suviše rasplinuti, konfuzni, amorfni, bez jasnog umetničkog profila, karaktera i pozicije. Zato bi taj proces dekonstrukcije samoljublja morao biti istovremen sa osmišljavanjem jedne tehnike koja bi služila kao substitut sa-moljublju. Iz takvog toka mišljenja došao sam do konačnog zaključka da unu-

trašnja strategija može biti supstitut za umetničko samoljublje.

U tom smislu, metoda supstitucije samoljublja nekim drugim strateškim ele-mentom, učinila mi se svrsishodnom. Commedia dell’arte je pozorišna forma koja bi na ovom mestu bila dobro poređenje sa onim što želim da definišem kao supstitut za samoljublje. Umetnik može da igra jednu određenu ulogu u umet-nosti i životu, ili više uloga, u zavisnosti od sklonosti i karaktera samog umet-nika. Kako ta forma teatra implicira, umetnik ulogu u potpunosti improvizuje, što znači da ne postoji neki unapred utvrđeni scenario već postoji samo opšta predstava, odnosno tema kao baza za improvizaciju. Bitno je reći da umetnik pri tom nije neko drugi do on sam, niti umetnik lažira svoju istinsku prirodu i karak-ter, već je to jedna metoda, odnosno strategija kojom se samoljublje zamenjuje nečim drugim. Kroz tu tehniku umetnik gradi određeni otklon prema samom sebi i time osvaja najmanje dve perspektive u vezi sa predmetom interesovanja i razmišljanja! (Odlomak iz teksta „O istini u umetnosti”, Selman Trtovac)

stop makIng sense Drawing is the primary form of expression in the work of artist Selman Trtovac, the first impulse in developing a form or an action. When he talks about drawing, he has got universal principle of visual composition on his mind. Drawing, as the artist says, is an opportunity to get into the particular, elevated state of mind. The artist mobilizes the entire consciousness in such situations.

Drawings entitled Stop making sense were made during the summer of 2012 at the time of the author’s stay at the Rondo studio in Graz.

Very simple drawing tools, such as pencil and paper, without the technolo-gical upgrading inherent in current visual practices, is forcing the author to focus on what really matters in art. Drawing does not tolerate any mystifi-cation or illusion, knowledge means very little, because knowledge can be learned or forwarded, but the truth cannot be. The truth must be recognized!

The topic Doppelgänger is directly related to the artist’s strategy in Art, or to the part of the strategy which is focused on the deconstruction of self-love.

Self-love also has a characteristic that gives someone recognition, profile and even elements of the character. Simple deconstruction of self-love leads us to the risk of being too fuzzy, confused and amorphous, without clear artistic profile, character and position. Therefore, this process of deconstruction of self-love has to be simultaneous devising a technique that would serve as a substitute for self-love. According to this kind of thinking the final conclusion is that the internal

strategy can be a substitute for the self-love.

Therefore, the substitution of self-love with another strategic element seems to be very useful.

Commedia dell’ arte is a form of theatre, with which I could compare my defini-tion of a substitute for self-love. An artist can play a certain role in art and life, or many other different roles, depending on the preferences and the character of the particular artist. The form of this kind of theatre implies that the role the artist is playing is completely improvised, which means there is no predetermined script as a basis for improvisation, but just a general idea of the theme. It is essential to say that the artist is not anyone else than himself, the artist does not fake his true nature and character. The point is that this represents a method or strategy that replaces self-love with something else. Using this technique, artist builds a certain shift in relation to himself and thereby he gets at least two perspectives regarding the subject of his interests and thinking! (Extract from the article: "The truth in art” by Selman Trtovac)

Iz cIklusa Stop making SenSe doppelgänger/dvojnIk,

2012, grafit na papiru, 190 x 133 cmFrom the cycle Stop making SenSe

doppelgänger/a double goer, 2012, graphite on paper, 190 x 133 cm

44 ANICA VUčeTIĆ

uočavanje Rad se nalazi u kolekciji Međunarodnog bijenala umetnosti minijature u Gornjem Milanovcu, osvojio je gran pri Bi-jenala 2008. godine.

Rad Uočavanje je nastao spajanjem restlova materijala korišćenog u montaži video instalacije pod nazivom Višnja (u trajanju od 13 se-kundi), izloženoj u okviru izložbe Odslikavanja u galeriji Remont u Beogradu, oktobra 2007. godine.

Dok se u Odslikavanjima bavim irisom oka kao tačkom dodira i odra-za našeg unutrašnjeg prostora i prostora koji nas okružuje, Uočava-nje ukazuje na napor u mentalnom i vizuelnom procesu prilikom prijema informacija iz spoljašnjeg sveta i njihovog smeštanja u lo-gičan poredak.

Odslikano u irisu oka, drvo višnje od golih grana cveta do pune krošnje. Period od nekoliko meseci sažet je u samo trideset sekundi, u nekoliko treptaja oka. Posmatrač ostaje nepomičan, zagledan u

drvo i pejzaž. Ovo bi mogao biti iskaz o vremenu u kome živimo, vremenu koje nas razoružava brzinom promene, iskušava našu snagu i sposobnost prilagođavanja i stavlja nas u poziciju budnog posmatrača.

observIng This artwork is a part of the International biennale of Miniature Art Collection, in Gornji Milanovac (Serbia). It won the biennale Grand Prix in 2008.

Observing is the artwork made of offcuts of the material used in montage of a video installation entitled Visnja (The Cherry, duration 13 seconds) that was displayed at the exhibition named Reflection, in the Remont Gallery, Belgrade, October 2007.

While installation Reflection examines the iris of an eye as a point of touch and reflex of our inner spaces and the external ones, Ob-serving emphasizes the effort of the mental and visual process of absorbing the outward information and them being set in a logical order.

Reflexed in an iris, out of naked branches cherry tree blooms into the rich treetop. Several months period has been reduced to not more than 30 seconds, reduced to several blinks of an eye, while the observer remains motionless, staring at the tree and the landscape.

This could be the statement of a time we live in, disarming us by its speed of change; the time which is testing our strength and ability to adjust, and gives us a role of the awakened observer.

uočavanje2008, video (trajanje 43 sek.)

observIng2008, video (duration 43 sec.)

46 ANTONIO ŽIVKOVIč

odsjaj sjećanja Trbovlje je mjesto mog djetinjstva, mje-sto gdje se formirala moja mentalna percepcija. Iako ne živim više tamo, ovo mjesto je još uvijek moj „duhovni dom”. U ciklu-su fotografija Odsjaj sjećanja, fokusiran sam na lokacije veza-ne za moju ličnu prošlost, gdje su događaji iz mog djetinjstva „zaključani” (stan, škola, dječja igrališta, industrijske zgrade…). Pratio sam svoje sjećanje, duševne slike, ističući svijetle, tamne i mutne površine na fotografijama i na taj način pokušao da ova mjesta nadahnem svjetlom i sjenkom, sjenom raznježe-

nosti i nostalgije. Ali priča se ovdje ne završava! Svaki pažljivi posmatrač može povezati ove fotografije sa sopstvenim osje-ćanjima ili sličnim mjestima u svom sjećanju.

reFlectIon oF memory Trbovlje is the place of my child-hood, the place where my mental perception was moulded. Although I don’t live there anymore, this place is still my “spiri-tual home”. At this series of photos I am focused on the locati-ons connected with my personal past where events from my childhood have been “locked” (apartment, school, playgroun-ds, industrial buildings…). I have followed my reminiscence, mental images by emphasizing bright, dark and unsharp surfaces on photos and have thus tried to inspire this place with different light and shade, a shade of softness and nostal-

gia. But the story does not end here! Every observer who is watching it attentively could connect these photos to his own feelings of similar places in his memory.

Iz cIklusa odSjaj Sjećanjacrno-bijela srebro-želatinska fotografija (tonirana)

From the cycle Reflection of memoRy black and white silver gelatine photography (toned)

48

ĐORĐIJe BATO BOLJeVIĆRođen 1971. godine u Podgorici. Diplomirao je 1996. godine na Fakultetu likovnih umjetnosti na Cetinju, na odsjeku za grafiku, u klasi profesorice Anke Burić. Član je Udruženja likovnih umjetnosti Crne Gore od 1997. godine. Pored likovne grafike bavi se slikarstvom i crtežom. Samostalne izložbe imao je u Budvi, Kotoru, Podgorici, Beogradu, Petrovcu, Nikšiću. Izlagao je na mnogim kolektivnim izložbama u zemlji i inostranstvu, od kojih su najznačajnije u Budvi, Tivtu, Kotoru, Podgorici, Beogradu, u Mađarskoj, Bugarskoj, Španiji, Belgiji.Živi i radi u Budvi.

Born in 1971 in Podgorica, Montenegro. He graduated in 1996 from the Faculty of Fine Arts, Cetinje, graphics department, in the class of the professor Anka Buric. He is a member of the Fine Artists Association of Montenegro (ULUCG) since 1997.Apart from the graphic arts he is also engaged in painting and drawing. Solo exhibitions: Budva, Kotor, Podgorica, Belgrade, Petrovac, Niksic.His artwork was exhibited at many group exhibitions in Montenegro and abroad: Budva, Tivat, Kotor, Podgorica, Belgrade, Hungary, Bulgaria, Spain, Belgium, etc.Lives and works in Budva.kontakt / contact: [email protected]

MARIJAN CRTALIĆRođen 1968. godine u Sisku. Diplomirao slikarstvo na Akademiji likovnih umjetnosti u Zagrebu 1992. godine. Multimedijski umjetnik. Živi i radi u Za-grebu i Sisku.

Born in1968 in Sisak, Croatia. 1992 graduated painting from The Academy of Fine Arts, Zagreb, Croatia. Multimedia artist. Lives and works in Zagreb and Sisak.Izabrane samostalne izložbe/Selected solo exibitions: 1999. „Tran-scendentalna teleportacija“ / “Transcendental teleportation”, SC Gallery, Za-greb, Croatia | 2000. „Crkva“ / “The Church”, Miroslav Kraljevic Gallery, Zagreb, Croatia | 2007. “Videoinstalacije” / “Videoinstallations”, (with Zlatko Kopljar), Alter- Native 15 International short film festival, B5 studio Gallery, Targu Mures, Romania | 2009. „Nevidljivi Sisak- Fenomen Željezara“ / “Invisible si-sak- the ironworks phenomenon”, Miroslav Kraljevic Gallery, Zagreb, Croatia | 2010. „Nevidljivi Sisak- Podvodni Grad (Ribe, Bombe i kulturna baština)“/ „The Invisible Sisak – Underwater City (Fish, Bombs and the Cultural Heritage)”, The Gallery of Extended Media, Zagreb, Croatia | 2011. “Sadašnjost Povijesti” / “Present Moment of The History”, Siz Gallery, Rijeka, Croatia | 2012 “Razine i mete”/ “Levels and Targets”, St. Toma Gallery, Rovinj, Croatia | “Introspektiva”/

“Introspective”, Prsten Gallery, Hdlu, Zagreb, Croatia.Izabrani performansi/Selected performances: | 2000.“Osveta”/ “Revenge”, Lazareti Art Workshop, Dubrovnik, Croatia | “Obezrazumljenje” / “Losing One`S Senses”, Gavella Theatre, Zagreb, Croatia | “Obezrazumljenje” / “Losing One`S Senses”, Palach Club, Rijeka, Croatia | 2001. “VIRUS”, Kaptol Centar, Zagreb, Croatia | 2002. «Ronjenje»/ «Diving», Break 21, Kinoteka, Lju-bljana, Slovenia | 2006. «Komunikacijske Igre» / “Games Of Communication” (live streaming) , Device art, Zagreb(Croatia) / Beograd (Serbia) | 2009. „U Društvu Poznatog Hrvatskog Umjetnika“ / “In The Company Of Famous Cro-atian Artist”, “Perforations” / “Perforacije”, Cvjetni trg, Zagreb, Croatia | 2011. «Pogreb» / «Funeral», Dopust festival, Stradun, Dubrovnik, Croatia | «Moguć-nost Otpora» / «Possibility Of Resistance», Ve. Sch Gallery, Vienna, Austria | 2012. „Političko Disanje“/Political Breathing“ (Revolution now and forever), SC Gallery, Zagreb, Croatia | „Reci Svijetu Da Svoj Narod Hrvat Ljubi“/ “Go Tell The Whole World That A Croat Loves His Homeland” (Performance Days), Osi-jek, Croatia | „Mogućnost Izlaza“/ „Exit Option“ (Perforations), Hdlu, Zagreb, Croatia | “Mogućnost Ulaza”/ “Enter Option” (NUS festival), MKC Gallery, Split, CroatiaIzabrane grupne izložbe/Selected group exibitions: 2000. „Što, Kako i Za Koga“ / “What, How, For Whom?”, Hdlu, Zagreb, Croatia | “Balkan Video Federation”, Contemporary Art Centre, Belgrade, Serbia | „26. Salon Mladih“ / „26th Salon Of Youth“, Zagrebacki Velesajam, Zagreb, Croatia | 2001. „Što, Kako i Za Koga“ / “What, How And For Whom”, Wuk Kunsthalle Egsnergasse, Wienna, Austria | “Tirana Biennale 1 - Escape”, National Gallery & Chinese Pavillion, Tirana, Albania | “I Touch Myself Ii”, P74 Gallery, Ljubljana, Slovenia | 2002. “Here Tomorrow”, Gliptoteka , Zagreb, Croatia, | “My Body Is My Business”, Baltimore, USA | 2003. „Posljednja Istočnoeuropska Izložba“ / “The Last East European Show“, Museum of contemporary art, Belgrade, Ser-bia | “re-SOLUTION”, Home gallery, Prague, Czech Republic | “Homemade:a”, Kunstlerhaus Mounsonturm, Frankfurt, Germany | 2004. „Recentni Hrvatski Video“ / “Recent Croatian Video”, Millennium Film Workshop, New York, USA | „U Prvom licu“ / “First- Person Singular”, HDLU, Zagreb, Croatia | 2005. “Insert”, Retrospective of Croatian Video Art, Museum of Contemporary Art, Zagreb, Croatia | 2009. „Acto“, Bitola, Makedonija | “The Orange Dog and Other Tales“ Re-Enactment Performances, Sc (Mm Centar), Zagreb, Croatia | 2010. “Tht- Msu“, Museum of Contemporary Art, Zagreb, Croatia | “2 or 3 Things We’re Learned”, Galerija Ig Bildende Kunst, Vienna, Austria | “E-Motion to Cohabit“, Palazzo Forti, Verona, Italy | 2011. „Svemirski Brod Jugoslavija” / “Spaceship Yugoslavia”, Ngbk Gallery, Berlin, Germany | 2012 „Prizivanje Prošlosti”/ “Re-Calling The Past”, Istarska Sabornica, Poreč, CroatiaNagrade/Awards: 2000. Nagrada 1. Salona mladih Siska / Award of the youth salon - Sisak , CZK, Sisak, Croatia | 2001. Nagrada 26. salona mladih / Award of the 26th Zagreb salon of Youth, Zagreb, Croatia | Nagrada AICA-e, AICA Award of the 36th Zagreb salon, Zagreb, Croatia | 2009. Nagrada publike/ Audience Award, Fibula film festival, Sisak, Croatia | 2010. Nagrada

49

THT-MSU natječaja i izložbe, Award of the THT-MSU art’s competition and exhibition, Zagreb, Croatia kontakt / contact: [email protected] Blog: http://marijancrtalic.blogspot.com

diSTRUKTURAMilica Milićević i Milan Bosnić su diplomirali i magistrirali na Fakultetu likov-nih umetnosti u Beogradu, na Odseku za slikarstvo. Od 2005. rade na zajed-ničkim projektima kao umetnički par pod nazivom diSTRUKTURA. Njihov rad je prezentovan kako u zemlji tako i u inostranstvu na samostalnim i grupnim izložbama kao što su distURBANces u Beču i Bratislavi (2012), TINA B festi-val u Pragu (2012), Police the Police/ Bijenale mladih umetnika u Bukureštu (2010), Beograd Ne-Mesta u Salonu muzeja savremene umetnosti u Beo-gradu (2009), Hotel Mariakapel: a portrait by Katie Jane u Hoornu u Holan-diji (2008), Mikro Narativi u muzeju modern umetnosti u Sent Etjenu (Saint Etienne) (2008), 48. Oktobarski Salon u Beogradu (2007) i Štajerske jesenje svečanosti 2007- next code: love u Gracu (2007). Samostalno su izlagali u Beogradu, Nijeveen-u (Holandija), Bonu, Ljubljani, Ii (Finska) i Celju. Njihove aktivnosti su podržali Evropska kulturna fondacija, KulturKontakt, Kraljevina Norveška, ProHelvetia, Sekretarijat za kulturu grada Beograda i drugi. Rado-vi im se nalaze u privatnim, javnim i korporativnim kolekcijama u Austriji, Sloveniji i Srbiji, uključujući Wiener Stadtische collection, muzej grada Be-ograda, Telenor kolekciju kao i Okolje Consulting Art Collection iz Ljubljane. Tokom proteklih godina učestvovali su u raznim rezidens programima, sim-pozijumima i radionicama u Holandiji, Austriji, Italiji, Sloveniji, Egiptu i Fin-skoj.Žive i rade u Beogradu i Briselu.

Milica Milićević and Milan Bosnić hold their BA and MA degrees from the Department of Painting, the Faculty of Fine Arts in Belgrade. They have been working together as an artistic couple diSTRUKTURA since 2005.Their works have been presented on solo and group exhibitions held in Ser-bia and abroad: distURBANces , Wienna and Bratislava (2012), TINA B festival, Prague (2012), Census at Fishmarket Gallery, Northampton, Great Britain (2011), Biennial of Young Artists, Bucharest, Romania (2010), Non-Places, sa-lon of the Museum of Contemporary Art, Belgrade (2009), Hotel MariaKapel: a portrait by Katie Jane in the Netherlands (2008), Micro-Narratives in the Museum of Modern Art, Saint Etienne (2008), 48th October Salon in Belgra-de (2007) and Steirischer Herbst 2007 – next code:love in Graz.Their activities have been supported by European Cultural Foundation, Kul-turKontakt from Austria, the Kingdom of Norway, ProHelvetia from Switzer-land, the Secretariat for Culture of the City of Belgrade, etc. diSTRUKTURA’s artworks are part of various private, public and company collections in Slo-venia, Austria, Italy and Serbia. DiSTRUKTURA has participated in different

residency programmes, symposia, workshops and summer academies in Austria, Italy, Slovenia, Finland, Egypt, Macedonia and Serbia in the last se-veral years.The artists live and work in Belgrade and Brussels.

Samostalne izložbe / Solo exhibitions: 2012. Avgust, Third Nature, Ga-lerija KiK AiR programa, Nijeveen, Holandija | 2012. Januar, Not so far away, Galerija Savremene Umetosti, Pančevo, Srbija | 2011. Decembar, O izvesno-sti, Galerija Treceg Beograda, Beograd | 2011. Novembar, Not so far away, Muzej Savremene Umetnosti Vojvodine, Novi Sad, Srbija | 2011. Oktobar, Not so far away, Galerija Savremene Umetnosti, Zrenjanin, Srbija | 2011. Septem-bar, Not so far away, Galerija ArtGet, KCB, Beograd | 2011. Jun, Treći Pejsaž, Galerija 73, Beograd | 2011. Mart, Ekozofija Trećeg Pejsaža, Galerija Kolarčeve Zadužbine, Beograd | 2010. Jun, Uvod u Treći pejsaž, Nova Galerija, Beograd | 2010. April, Raum fur Kunst und Natur, Bon, Nemačka | 2009. Jun, Urban Uto-pia, Prodajna Galerija Beograd, Beograd | 2009. April, Face to Face, Photon Galerija, Ljubljana, Slovenija | 2009. April, Urban Utopia, Plevnik-Kronkowska Gallery, Celje, Slovenija | 2008. Novembar, Facing Finland, KultuuriKauppila Art Center, Ii, Finska | 2007. Maj, Face to Face, Likovni Salon Celje, Celje, Slove-nija | 2007. Mart, Significant Other – Joint Venture, Galerija Remont, Beograd.Grupne izložbe/Group exhibitions: 2012. November, Deviant Mytho-logy, Magacin u Kraljevića Marka, Beograd | 2012. Novembar, ULTRA005, My Foreign Affairs vol.1, Sajam umetnosti, Tokio, Japan | 2012. Oktobar, distUR-BANses Evropski Mesec Fotografije, Beč, Austrija | 2012. Oktobar, distURBAN-ces Evropski Mesec Fotografije, Bratislava, Slovacka | 2012. Oktobar, Tina B Festival Savremene Umetnosti, Prag, Češka | 2011. Novembar, Young Artists Project 2011 – Digital Nomad, Expo hall, Daegu, Južna Koreja | 2011. No-vembar, Sićevo 2011, Galerija SLU, Niš, Srbija | 2011. Jul, Census and the art of capturing data, Galerija FishMarket, Northampton, Velika Britanija | 2010. Decembar, Through drawing, Galerija Magacina u Kraljevića Marka, Beograd | 2010. Novembar, Slika 2010 – Still Life, umetnička kolonija Ečka, Savremena Galerija Zrenjanin | 2010. Oktobar, Police the Police, Bijenale mladih umetni-ka, Bukurešt, Rumunija | 2010. Oktobar, Bele Noki, Dom Omladine, Skoplje, Makedonija | 2010. Jul, Close to Nature u nacionalnom parku „Pöllauer Tal”, Austrija | 2010. Maj, Okolje Consulting kolekcija, Galerija Sodobne Umetnosti Celje, Slovenija | 2010. Maj, SerbiArt, Magacin u Kraljevića Marka, Beograd | 2009. Decembar, Inauguraciona izlozba, Nova Galerija, Beograd | 2009. Avgust, Beograd Ne-Mesta, Salon Muzeja Savremene Umetnosti, Beograd | 2009. Mart, Photonic Moments IV, Magacin u Kraljevića Marka, Beograd | 2009. Februar, Telenor Kolekcija savremene srpske umetnosti, Kulturni Centar, Vršac | 2009. Januar, Telenor Kolekcija, Muzej Savremene umetnosti Vojvodi-ne, Novi Sad | 2008. Oktobar, Photonic Moments IV, Mala Galerija, Cankarjev Dom, Ljubljana, Slovenija | 2008. Septembar, Hotel Mariakape: a portrait by Katie Jane, Hoorn, Holandija | 2008 Jul-Avgust, Sistem Binario – BELEF `08, Beograd | 2008. Jun, Rondo – internacionalni umetnici, Galerija Rondo stu-

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dija, Grac, Austrija | 2008. Maj, Mikro Narativi, Muzej Moderne umetnosti, Saint Etienne, Francuska | 2007. Decembar, Urbane Mitologije, Prodajna Ga-lerija ’Beograd’, Beograd | 2007. Decembar, Belgrade Beauty, New Moment Ideas Galerija, Beograd | 2007. Novembar, Break festival, Ljubljana, Slovenija | 2007. Oktobar, 48. Oktobarski Salon, Beograd | 2007. Oktobar, Equal Oppor-tunities, C2C Galerija, Prag | 2007. Septembar, Steirischer Herbst 2007- next code: love, Grac, Austrija | 2007. Septembar, Equal Opportunities, Galerija Stanica, Zilina, Slovačka | 2007. Avgust, Equal Opportunities, Galerija OPEN, Bratislava, Slovačka | 2007. Jun, Privatni Prostor - Javni Prostor, Magacin u Kraljevića Marka, Beograd | 2007. Maj, Nobody wants to be nobody, Grac, Austrija | 2007. April, ViennAfair 2007, Beč, Austrija | 2006. Novembar, Izložba internacionalne radionice, Atelier of Alexandria, Aleksandrija, Egipat | 2006. April, Step Out, Galerija O3ONE, Beograd | 2006. April, ViennAfair 2006, Beč, Austrija | 2006. Januar, ORTung 2005, Galerija 5020, Salcburg, Austrija.Radionice, air programi, kolonije/Workshops, Air Programmes, Colonies: Artists in Residence program, KiK – Kunst in Kolderveen, Nije-veen, Holandija, jul-avgust 2012. | Umetnička koonija Sićevo 2011, Sićevo, Srbija, septembar 2011. | Umetnička kolonija Ečka Slika 2010 - Still Life, Ečka, Srbija, avgust 2010. | Simpozijum, Close to Nature, Štajerski letnji festival, Pollau, Austrija, Jul 2010. | Artists in Residence program, KultuuriKauppila, Ii, Finska, Novembar 2008 – Januar 2009. | Artists in Residence program, Rondo Studio, Grac, Austrija, Maj/Jul 2008. | Artists in Residens program, Zavod Ce-lea Celje, Slovenija | Mart/April 2007. Aleksandrijski Ateljei | radionica 2006, Aleksandrija, Egipat | Simpozijum u Strobl am Wolfgangsee ORTung 2005, Salcburg, AustrijaRadovi u kolekcijama/Artworks in collections: Telenor kolekcija | Muzej Grada Beograda | Okolje Consulting kolekcija | Wienner Stadtische.kontakt/contact: [email protected] www.distruktura.com

LeO DUFFLeo Daf pravi crteže koji su u vezi sa konceptom genius loci. Naslijeđe, istorija i ispitivanje mjesta i objekta razvili su se iz interpretacija izgrađenog okruže-nja. Različite forme arhitekture od kolokvijalnih do grandioznih, od preisto-rije do najsavremenijih konstrukcija vodili su je ka organizovanju tematskih izložbi u Velikoj Britaniji, Irskoj, Portugalu, SAD, Koreji, Kini i Tajvanu. Jedan je od direktora projekta umjetnost+arheologija a učestvovala je na četiri re-zidencije u vezi sa projektom Stonehenge Riverside kako na iskopavanjima tako i u Muzeju Salzburi. U skorašnjem boravku na Ženskom Univerzitetu u Kini bavila se plastičnim objektima u domaćem okruženju.Rođena u Belfastu, Leo Daf se školovala na Brajtonu, a potom na Kraljevskom koledžu umjetnosti u Londonu. Vezanost za tradiciju britanske ilustracije do-vela ju je do saradnje sa mnogim edukativnim ustanovama, razvijajući nje-nu karijeru zajedno sa interesovanjem za crtež. Vođstvo i inovacija na polju istraživanja crteža, pedagogije i prakse u brojnim disciplinama predstavljaju

međunarodnu osnovu za povremeni rad u istočnoj Aziji, Srednjem Istoku, Indiji i u zemljama bliže Velikoj Britaniji.Poslednjih godina akademsko istraživanje Leo Daf o globalnim aspektima višeg obrazovanja iz oblasti umjetnosti i dizajna takođe je uticalo na njen rad. Poslednjih godina teme kojima se bavi inspirisane su posmatranjem različitih pojava tokom posjeta Koreji, Tajvanu i Kini. Kroz svoj rad stalno ispi-tuje medije i proces stvaranja, a materijal koji je uključila u skorašnji rad čine kredu, kremen i industrijske boje u spreju.

Leo Duff works as a maker of drawn images to do with A Sense of Place. Heritage, history and investigation of place and object have developed from interpretations of the built environment. The environments of various forms of architecture from the vernacular to the grandiose, from pre-history to the most contemporary constructions have taken her over the world on commi-ssioned work and to develop themes for exhibition in the UK, Ireland, Por-tugal, USA, Korea, China and Taiwan. She is co-director of art+archaeology and has been on four residencies with the Stonehenge Riverside Project on excavations and at Salisbury Museum. More recently a residency at China Women’s University looked at plastic objects in the domestic environment.Born in Belfast, Leo Duff studied at Brighton then the Royal College of Art, London. Her association with the tradition of British Illustration led to in-volvement with many educational establishments, her academic career developing alongside her everlasting interest in drawing. Leadership and innovation in the arena of Drawing Research, pedagogy and practice in a broad range of disciplines holds an international footing working frequently in East Asia, Middle East, India as well as closer to home.In recent years Leo Duff’s academic expertise on global aspects of Art and Design higher education has also influenced her work. In recent years the subjects she has tackled have been inspired by observations made on visits to Korea, Taiwan and China. Media and process are always under scrutiny in Leo Duff’s work, materials recently integrated include chalk, flint and indu-strial spray paints.

Izabrane izložbe/Selected exhibitions: 2013 Leo Duff Platform, King-ston University, London | 2010 Monuments and Marks, Tom Caldwell Gallery, Belfast, Ireland (with Christine Bowen) | 2008 Standing Stones, Tom Caldwell Gallery, Belfast, Ireland | 2006 Stone Upon Broken, Samwon Gallery, Seoul National University, Korea | 2006 The Precipitous Edge, National Taiwan Uni-versity of the Arts, Taipei | 2000 Port and the Douro, Solar do Porto, Musee Romantico, Oporto PortugalGrupne izložbe/Group exhibitions: 2009 Seven Artists respond to Ce-zanne The Brindley Arts Centre, Runcorn | 2008 Drawing Stonehenge, The Whitworth Art Gallery, Manchester | 2008 Abhar agus Meon (Materials and Mentalities), World Archaeological Congress, Dublin | 2007,06,05 Kingston Open, Stanley Picker Gallery, Kingston Upon Thames, London | 2006 Seven

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Artist-Seven Days. Williums Art Foundation, Mas Des Graviers, Provence, France | 2005 Four Now (Arts Councils of Ireland and Northern Ireland) Lewis Glucksman Gallery Cork | 2004 Brill Collection, Kingston Museum Surrey | 2004 Ambit International Chelsea Arts Club LondonRadovi u kolekcijama/Collections include: Victoria and Albert Muse-um, Ulster Museum, Insurance Corporation of Ireland, London Lighthouse, Dept of the Environment, Arts Council (NI), Arts Council Ireland, Ulster Tele-vision, Earl of Antrim, Paul de Savary, President Mary Robinson, Sir Terence Conran, Royal Borough of Kingston Framlington Trusts, MMG. kontakt/contact: www.leoduff.com

OLIVeRA INĐIĆRođena je 1981. godine u Beogradu. Na Fakultetu likovnih umetnosti u Be-ogradu diplomirala je 2006. gorine, smer slikarstvo, u klasi prof. Čedomira Vasića. Član je ULUS-a od 2007. godine.Od 2008 do 2011. radila je kao fotograf za časopise „The Men“, „Sport United“, „Yachting & sailing world“ i „The Best Shop“. Trenutno u statusu samostal-nog umetnika. Fotografije je objavljivala u dnevnim novinama „Politika“, „24 sata“,u „ReFoto“ magazinu i na različitim sajtovima u vezi sa graffiti i street art kulturom. Organizovala je nekoliko radionica za decu, u Beogradu i Velikoj Hoči (Kosovo i Metohija). Takođe, bila je jedan od organizatora radionice za batik u Ljubljani, Slovenija.

She was born in 1981, in Belgrade. In 2006 she graduated from the Faculty of Fine Arts in Belgrade, Painting department, professor Cedomir Vasic. In 2007 she became a member of the Serbian Artists Association ULUS. 2008–2011 worked for ‘The Men’, ‘Sport United’, ‘Yachting & Sailing World’, and ‘The Best Shop’ magazines.

Samostalne izložbe/Solo exhibitions: 2012. ..la bicyclette.., fotografije, galerija „Bogić“, Beograd | 2010. fotografije, Studentski kulturni centar, Beo-grad | 2008. crteži_stene, galerija DKSG, Beograd.Izbor grupnih izložbi/Selected group exhibitions: 2012. Foto knji-ga, Fotodokumenti 02, Salon MSUB, Beograd | Periskop 016-fotografije, Sarajevo.. Priština.. Beograd, Podmornica (http://oliveraindjic.com/photos/sarajevo-pristina-beograd/) | EuroXibition-fotografije, Evropski parlament u Briselu, Belgija | EuroXibition, fotografije, Kongresni centar Alpbach, Austrija | Water sign- fotografije, Univerzitet Saga u Kjotu, Japan | Noć muzeja (U ritmu sreće-fotografije), Novi Sad | Filmografija – jedna scena, rečito puto-vanje, fotografije, XIII Festival studentskog filma, UK Parobrod, Beograd | Pe-riskop 008-fotografije, Postcards from the Netherlands, Podmornica (http://oliveraindjic.com/photos/postcards/) | Papergirl Street Art Project, Novi Sad, Zagreb, Beograd, Calgary, Toowoomba | EuroXibition, fotografije, Nacionalna i univerzitetska biblioteka, Priština | EuroXibition, fotografije, foaje Dvorane

Kulturnog centra Beograd | 2011. Kyoto 2012, Water sign – fotografije i grafi-ke, galerija Bogić, Beograd | Mladi, NBGD kulturna mreža, Beograd | Noć mu-zeja („Gradovi i njihove tajne“), Muzej savremene umetnosti Vojvodine, Novi Sad | 2010. Kalendar 2010_februar, Akademija-Art kafe “Fleka”, Beograd | Silk-skrin-svilena mušema, evropski centar za kulturu i debatu GRAD Nevidljivi grad, Kulturni centar Beograda, galerija Artget | 2009. Moduli vizuelne na-racije, Kulturni centar Srbije, Pariz | Aprilski susreti 2009, Studentski kulturni centar, Beograd | Jesenja izložba 2009, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | 2008. Prolećna izložba 2008, Umetnički paviljon “Cvijeta Zuzorić”, Beograd | Izložba malog formata, Centar za kulturu Grocka, Beograd | 30 x 30, Savremena galerija, Zrenjanin | fotografije, Crteži na struju, izložba u sastavu 5. evropskog festivala animiranog filma BALKANIMA 2008, DKSG, Beograd | 2007. Novi članovi 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Prolećna izložba 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Me-đunarodna izložba mladih autora Brainstorming, SKC, Beograd | N.A.F. (Nis Art Foundation), Niš, Beograd, Novi Sad | Osmi beogradski bijenale crteža i male plastike, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Jesenja izložba 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | 30 x 30, Savremena ga-lerija, Zrenjanin | 2005/04/02 -XXXIV, XXXIII, XXXI izložba crteža, skulptura i objekata malog formata studenata FLU, galerija Doma omladine, Beograd | 2003. izložba radova međunarodne studentske letnje likovne kolonije „Tršić“, | DKSG, Beograd | 2002. Izložba crteža studenata FLU, Solun | 2000. crteži, DKSG, Beograd.Od maja 2009 u sastavu Grupe IDE realizuje radionice, različite projekte, mu-rale: 2009. predstava „Čudesno putovanje“, projekat ‘JA KAŽEM DA...’ Grupe IDE i POD Teatra, namenjen je deci oštećenog sluha, polaznika Odeljenja za audiološku rehabilitaciju, Instituta za ORL i MFH, Kliničkog Centra Srbije, fi-nansiran od strane BCIF-a, Balkanskog fonda za lokalne inicijative.Murali/Murals: 2004. vrtić u Velikoj Hoči, Kosovo i Metohija | 2004-2005. u dvorištu i na ogradi osnovne škole za decu oštećenog sluha i govora „Radivoj Popović”, Zemun | 2005. prostorije bivše Dečije ambasade, Obilićev venac, Beograd | 2007. dvorište, Zemun | 2009. internat pri Osnovnoj školi za decu oštećenog sluha i govora „Radivoj Popović” u Zemunu, uz podršku Evrop-skog pokreta u Srbiji | 2011. u Zvečanskoj, Centar za zaštitu odojčadi, dece i omladine (grupa IDE).Studijski, rezidencijalni programi, stipendije/Study, residential programmes, scholarships: 2003. International Art Camp Tršić, Srbija | 2004. School of Fine Arts of the Aristotle University of Thessaloniki | 2005. Outside Project, SACI (Studio Art Centers International), Firenca | 2008. Cité internationale des Arts, Pariz | 2012. International Summer Art Camp Jabuka, Prijepolje | 2012. European Forum Alpbach, Expectations – The future of the young, Austria.Radionice/Workshops: 2009. Howard Katz, Technique from a fresh per-spective, CZKD, Beograd | Paul Murray, Lab for new dance, physical theatre and contemporary movement, Magacin, Beograd | 2010. Melissa Passut, ra-

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dionica kontaktne improvizacije, KC Pančevo | 2011. Julia C Gorosito, Contact Improvisation Workshop, Magacin, Belgrade.kontakt/contact: [email protected] http://oliveraindjic.com/ (under construction)

SLAVICA JANešLIeVARođena je 1973. godine u Skoplju, Makedonija. 1996. Diplomirala na Uni-verzitetu Ćirilo i Metodije u Skoplju, Fakultet likovnih umjetnosti, odjelje-nje za grafiku. 1998. Magistrirala na istom fakultetu. 2000–2006. Slobodni umjetnik. 2006–2011. Radila kao asistent na Fakultetu likovnih umjetnosti u Skoplju. 2011. Profesor-saradnik na Fakultetu likovnih umjetnosti u Skoplju. 2008–2010. Prodekan na Fakultetu likovnih umjetnosti u Skoplju. Born in Skopje, Macedonia, in 1973. BFA 1996, Ss. Cyril and Methodius Uni-versity in Skopje, Faculty of Fine Arts in Skopje, Printmaking Department. MFA 1998, Ss. Cyril and Methodius University in Skopje, Faculty of Fine Arts in Skopje. 2000-2006, freelance visual artist. 2006 -2011– assistant professor at the Faculty of Fine Arts, Ss. Cyril and Methodius University in Skopje. 2011- associate professor at the Faculty of Fine Arts, Ss. Cyril and Methodius Uni-versity in Skopje. 2008-2010 – Vice Dean at the Faculty of Fine Arts, Ss. Cyril and Methodius University in Skopje.

Odabrane samostalne izložbe/Selected solo exhibitions:2012 - Impressions, Multimedia Center “Mala Stanica”, National Gallery, Skopje | 2011 - Shadow, Gallery MC, New York | 2009 - Brrrmmm, Mala Ga-lerija, Skopje; Filantropic Urges 1&2, Skopje City Museum | 2007 - Grafting, Multimedia Center “Mala Stanica”, National Gallery, Skopje | 2006 -Utrecht, The Netherlands, Cultural Center “Babel” | 2005 -Stories, New York City, USA, Gallery MC | 2004 -Narratives and Symbols, Skopje, National Gallery | 2002 - A Cry, Skopje, Museum of Contemporary Art | 2001 - Remembering an Idealist, Skopje, Gallery “Stepen”, Cultural Location “Mesto” | Story Telling and video performance All My Bicycles, Bratislava, Slovakia, Open Gallery | 2000 -Story Telling, Boswil, Switzerland, Artists’ House Faundation | 1999 -Reading the Clouds, Skopje, CIX Gallery | 1998 - Graphic Installation Letters, Skopje, Open Graphic Studio | 1997 - Exhibition of prints - with the project Sheep Fold, Skopje, MKC | 1996 - Exhibition of prints, Bitola, Art Gallery Bitola.Izabrane grupne izložbe / Selected group exhibitions: 2012 - 7th International Print Triennial, Bitola, Macedonia | 16th International Biennial of Small Works on Paper, Musee du Petit Format, Viroinval, Belgium; Inter-national Saloon of small print (14th edition), Florean Museum, Maramures, Romania | 2011 - Fragments (Macedonian Art Scene 1991-2011), Museum of Contemporary Art, Skopje | 10th International Biennial – Dry Point, City Gallery, Uzice, Serbia | 1st International Print Triennial – ULUS, Art Pavilion “Cvjeta Zuzorik”, Belgrade | 2007 - Contemporary Arts Festival, Varna, Bul-garia | 2006 - Inkladia, Rueff Galleries, Purdue University, West Lafayette, Indiana, USA; Artists in Conversation, Kampanagel Hamburg, Germany | Ea-

stern Neighbours, Cultural Center “Babel”, Utrecht, The Netherlands | 2005 - Global Fusion Close Up, urban art, Vienna | Melbourne | Tokyo Internati-onal Mini-Print Triennial, Tama Art University, Tokyo | New Art, Museum of Contemporary Art in collaboration with the British Embassy in Macedonia, Skopje | 2004 - Cosmopolis 1 - Microcosmos x Macrocosmos, State Muse-um of Contemporary Art, Thessalonika | Macedonian Artists, Lincoln Center, New York City | Woterworks Visual Arts Center, Salisbury, North Carolina | 4th International Print Biennial, National Gallery, Sofia | Prints from the Balkans – International Print Triennial, Dalarnas Museum, Falun, Sweden | 2003 - The Conceptual Discourse in Macedonia, Museum of Contemporary Art, Skopje | We Are The Weather - Second Biennial of Contemporary Visual Arts By Bal-kan Female Artists, National Art Gallery, Sofia | The Masters of Graphic Arts – 7th International Biennial of Drawing and Graphics, Municipal Museum of Arts, Györ, Hungary | 6th Mondial Triennial of Small Sized Prints, Association Mouvement Art Contemporain, Chamalières, France | Dialogues-Macedoni-an Art Today, Unesco Gallery, Paris | Ministry of Culture, Rome | 2002 -22nd Nadezda Petrovic Memorial, Art Gallery “Nadezda Petrovic”, Cacak, Yugosla-via | Bound/less Borders, Goethe Institute Inter Nationes, public art project with billboards, Belgrade, Yugoslavia, (travelled to Skopje, Sofia, Bucharest, Saraevo, Kassel) | Links, Graphica Creativa - 10th Triennial, Jyväskylä Art Muse-um, Jyväskylä, Finland | Small Graphic Forms, City Art Gallery, Łódź, Poland | 2001 - Small Talks, Museum of Contemporary Art, Skopje | 5 Contemporary Macedonian Printmakers, Gallery Cvadrato di Omega, Rome | Perfect Match, exhibition of public art projects, City Shopping Mall, Skopje | 2000 - 6th In-ternational Biennial of Miniature Prints, Moderna Gallery, Gornji Milanovac, Srbia | Communication. Experience of interaction., Almaty Buisiness Center, Almaty, Kazahstan | 1st Cheju International Print Art Festival, Gallery of Cheju and Sogwipo Kidang, Cheju, Seoul, Korea; Artist(s) in Residence (participa-tion in the project of Luchezar Boyadziev), part 2 “Social Reality/Existence/Politics”, L’autre moitie de l’Europe, Jeu de Paume, Paris | 1999 - Matrix, Trieste Contemporanea, Trieste | 4th International Triennial Exhibition of Prints, Ino-cho Paper Museum, Kochi-shi, Japan | 12th German International Exhibition of Graphic Art, Stadtsaal, Frechen, Germany etc.Nagrade/Awards: 2007 - Purchase Award, “Telma”, 37th Exhibition of Prints-DLUM, Skopje | 2004 - Purchase Award, 35th Exhibition of prints-DLUM, Skopje | 2003 - Atanas Muchev Award, Selection 2002, Strumica | DENES Award, Nominated Artists Exhibition, Annual Award by the Civil Society Fo-undarion in New York, Trust for Mutual Understanding and the Contempo-rary Art Center in Macedonia, Skopje | 2001 - First Prize, 1st International Mini Print Triennial, Tetovo | Grand Prix, 5th Biennial of the youth artists, Skopje | 2000 - Purchase Award, 3rd International Print Triennial, Bitola | Ratko Ne-storovski - Kines Award, Revijalna exhibition-DLUM, Skopje | 1998 - Purcha-se Award, 28th Exhibition of prints, Skopje | 1997 - Second prize, SIAB ‘97, Skopje.Radovi u kolekcijama/Works purchased for collections: Museum

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of Contemporary Art, Skopje, Macedonia | National Gallery, Skopje, Mace-donia | Jyvaskyla Art Museum, Juvaskyla, Finland | World Bank, Washington D.C., USABoravci/Residencies:2003 New York, International House – Columbia University Campus, Con-temporary Art Center Skopje and Civil Society Foundation New York Grant-award | 2000 Paris, Jeu de Paume, art project of Luchezar Boyadziev (Pro Helvetia and APEX grants) | Boswil, Switzerland, Artists’ House Foundation (Pro Helvetia grant). kontakt/contact: [email protected]

ANDRIJANA MLINAReVIĆ-CVeTKOVIĆRođena je 1980. u Širokom Brijegu u Bosni i Hercegovini. Osnovnu školu i gimnaziju završila je u Grudama. Diplomirala je na Akademiji likovnih um-jetnosti u Širokom Brijegu 2004. godine u klasi profesora Ante Kajinića, sli-karski odjel. Dvije godine kasnije završila je poslijediplomski studij Ars Sacra na istoimenoj akademiji. Autorica je nekoliko javnih djela, ilustrirala je više knjiga za djecu. Članica je HDLU-a iz Zagreba, ULUBiH-a, ULU En Face-a i Točka. Izlagala je na 11 samostalnih i preko sto skupnih izložbi u zemlji i inozemstvu.Dobitnica je više nagrada, među kojima su: 2000. Rektorova nagrada za naj-boljeg studenta akademske godine 1999/2000. | 2006. Nagrada „Miroslav Šutej“ ALU Široki Brijeg, za slikarsko ostvarenje na poslijediplomskom studiju Ars Sacra | 2006. II Nagrada za idejno rješenje spomenika poginulim brani-teljima u Grudama | 2007. Nagrada „Privatno i javno“ na istoimenoj izložbi u Širokom Brijegu | 2007. II Nagrada „Anale crteža“ ULUBiH-a u Mostaru | 2008. I Nagrada „Anale crteža“ ULUBiH-a u Mostaru | 2009. Nagrada za instalaciju, Salon mladih, Sarajevo | 2009. Nagrada „Collegium Artisticum“ za prostorni crtež na Šestoaprilskoj izložbi u Sarajevu | 2010. II. Nagrada „Anale crteža“, ULUBiH-a, Mostar | 2010. Nagrada „Collegium Artisticum“ za slikarstvo na Šestoaprilskoj izložbi u Sarajevu | 2010. „Cest is the best“, posebno priznanje, Zagreb;Rad joj se nalazi u kolekciji Umjetničke galerije Bosne i Hercegovine.

Born in 1980 in Široki Brijeg, Bosnia and Herzegovina. She finished elemen-tary school and high school in Grude. She graduated from the Academy of Fine Arts in Široki Brijeg, Bosnia and Herzegovina in 2004 in the class of professor Ante Kajinic, painting department. Two years later she completed postgraduate studies ,,Ars Sacra“, at the same academy. She is a member of ULUBiH (Bosnia and Herzegovina Association of Visual Artists) and ULU En Face (Association of Visual Artists En Face) and Tocka. She presented her works on 11 solo and more than 100 group exibitions at home and abroad. She recieved several awards, including: | 2000 Dean’s Award for best student of the academic year 1999/2000 | 2006 Award ‘’Miroslav Sutej’’ ALU Siroki Brijeg, for painting achievement of postgraduate study Ars Sacra | 2006 2nd

Award for preliminary design of monuments to the fallen soldiers in Grude | 2007 Award ‘’Privately and publicly’’ at the homonymous exibition in Siroki Brijeg | 2007 2nd Award ‘’Annals of the drawings’’ ULUBiH in Mostar | 2008 1st Award ‘’Annals of the drawings’’ ULUBiH in Mostar | 2009 Award for installati-on, ‘’Salon of Young Artists’’ in Sarajevo | 2009 Award ‘’Collegium Artisticum’’ for spatial drawing on exibition ‘’April sixth’’ in Sarajevo | 2010 Award „Colle-gium Artisticum“ painting award on exibition „ April sixth“ in Sarajevo | 2010 „Cest is the best“ special award for artistic flag in Zagreb.Her work is also included in the collection of National gallery of Bosnia and Herzegovina.kontakt/contact: [email protected]

BORJANA MRĐARođena je u Banjaluci 1982. godine, gdje živi i radi. Diplomirala na Akade-miji umjetnosti Univerziteta u Banjaluci, gdje je i magistrirala 2010. godine. Zaposlena je kao asistent na predmetima Slikanje i Crtanje, na Akademiji umjetnosti Univerziteta u Banjaluci.

Born in 1982 in Banjaluka, where she lives and works. Graduated from the Academy of Fine Arts, University in Banjaluka. MA degree at the same Uni-versity 2010. Works as an assistant professor at the Painting and Drawing departments, Academy of Fine Arts, Banjaluka.

Samostalne izložbe/Solo exhibitions: 2012 Blic Jackpot slike, Bring In Take Out Living Archive, Open Systems / Open Space, Vienna | 2012 Micro-story, Muzej savremene umjetnosti, Banjaluka | 2012 Promjenljivo tijelo, Mu-zej savremene umjetnosti, Banjaluka | 2010 Intrada/načini pripovijedanja, Galerija Terzić, Banjaluka | 2008 Izložba slika, Banski Dvor, Banjaluka | 2007 Reanimacija, Akademija umjetnosti, Banjaluka | 2007 Izložba crteža, Galerija Narodne skupštine, Banjaluka.Grupne izložbe/Group exhibitions: 2012 Time stood still / Multimeri-dijan, Galerija Anex, Galerija Luka, Pula | 2012 Bring In Take Out Living Arc-hive, The Austrian Association of Women Artists VBKÖ, Beč | 2012 Pichwise, Galerija Mak, Sarajevo | 2012 Intime/Intimacies, Collegium Artisticum, Sara-jevo | 2012 Arrivi e partenze, Mole Vanvitelliana, Ankona | 2012 Individual-ne strategije, Collegium Artisticum, Sarajevo | 2011 Not so distant memory, Delaware Center for the Contemporary Arts, Delaware | 2011 Cyberfest, Kuryokhin Modern Art Center, St. Peterburg | 2011 Urban Maps, Festival sa-vremene umjetnosti, Prag | 2011 Open City, aMAZElab Art&Culture, Sarajevo | 2011 Granica/performans, Ms Dockville festival, Hamburg | 2011 Open City, aMAZElab Art&Culture, Tirana | 2011 Cut-out momenti, Marin galerija, Umag | 2011 Odjeca kao simbol identiteta, Gradska galerija, Bihać | 2011 Open City, aMAZElab Art&Culture, Skoplje | 2011 Algebra/ Life path number, ITS-Z1 ga-lerija, Beograd | 2011 Not So Distant Memory, The Big Screen Project, Nju-jork | 2010 #5 Neunundneunzig, Freunde Imnamendesraumes, Berlin | 2010

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Open City, aMAZElab Art&Culture, Milano | 2010 Žensko pismo, Remont ga-lerija, Beograd | 2010 BiH video umjetnost, Photon Gallery, Ljubljana | 2009 Emyan 2/Artifice, online internacionalni festival umjetnosti | 2009 NamaTRE.ba 3 projekat, B&H Videoart, Akademija umjetnosti, Trebinje | 2009 NamaTRE.ba 3 projekat, B&H Videoart, Visual TV Container, Milano | 2009 Zvono (na-grada za najboljeg BiH umjetnika/cu), Muzej savremene umjetnosti, Banja-luka | 2008 Spa Port, Međunarodna godišnja izložba savremene umjetnosti, Banjaluka | 2008 Terminal 00, Ada Street Gallery, London | 2008 Moja zemlja Štaglinec, Koprivnica | 2007 Sarajevska zima, Galerija Mak, Sarajevo. Nagrade/Awards: 2009 Finalista za nagradu ZVONO (nagrada za najbo-ljeg BiH umjetnika/cu)/ZVONO Award finalist | 2004 Nagrada Akademije za najbolju sliku/Best Painting Award, Academy of Fine Arts, Banjaluka | 2002 Nagrada Akademije umjetnosti za najbolji crtež/Best Drawing Award, Aca-demy of Fine Arts, Banjaluka | 2002 Nagrada Banskog dvora za najbolju gra-fiku/Banski dvor Best Graphics Awardkontakt/contact: borjanamrdja.com [email protected]

DANIJeLA MRšULJA-VASIĆDanijela Mršulja Vasić rođena je u Kotoru 1979. godine. Diplomirala je 2005. i magistrirala 2009. godine na Fakultetu likovnih umjetnosti u Beogradu, na odsjeku vajarstvo. Trenutno je na Umjetničkim doktorskim studijama na istom fakultetu. Iza sebe ima dvanaest samostalnih i veliki broj grupnih izlož-bi, kao i sedam skulptura/instalacija izvedenih u javnom prostoru, u Njemač-koj, Austriji, Italiji i Crnoj Gori. Njeni radovi se nalaze u privatnim kolekcijama u Švajcarskoj, Austriji, Italiji, Kanadi, Srbiji i Crnoj Gori. Učesnik je velikog broja grupnih izložbi, radionica i artist-in-residence programa. Živi i radi u Beogra-du i Kotoru.

Samostalne izložbe: 2012 Interaktivno i ambivalentno u vizuelnoj umjet-nosti, Galerija FLU, Beograd | 2011 100% Art recyclable, Galerija Cite, Hotel de Ville 18, Pariz | Simulakrum, Galerija Zvono, Beograd | 2010 Katena, Gale-rija Josip Bepo Benković, Herceg Novi | 2009 Između, Galerija Centar, Podgo-rica | In Medias Res, Prodajna galerija „Beograd“, Beograd | 2008 Hands, Kun-stzentrum Bosener Muhle, St.Wendel, Njemačka | Prayer for parents, Gotički Karner/International Gastatelier im Maltator, Gmund, Austrija | Skulpture, Gradska galerija, Kotor | Skulpture, Galerija Zvono, Beograd | 2002 Skulpture, Galerija Stari grad, Kotor | Skulpture, Galerija Vitomir Srbljanović, Pljevlja.Grupne izložbe (selekcija): 2012 Novembarski likovni salon, kustos Ana-stazija Miranović, MKCG, Cetinje | Istok – Zapad, Muzej Pino Paskali, Polinjano a Mare, Bari | Savremena crnogorska umjetnost, Galerija Miodrag Dado Đu-rić, Cetinje | 2011 XXIV Čukarički likovni salon, Galerija 73, Beograd | Studio Romance, La Vitrine, Pariz | Savremena Crnogorska likovna scena, Galerija Pizana, Porto Montenegro, Tivat | Body of digital, Nova galerija, Budva | 2010 Kotorski likovni umjetnici 2010, Gradska galerija Kotor, Kotor | Hibridni obje-

kat, SKC, Francuski kulturni centar i Cvijeta Zuzorić, Beograd | Eko festival, Tvrđava Španjola, Herceg Novi | Noć kulture, Herceg Novi | Hibridni objekat, Muzej premoderne umetnosti, Spodnji Hotič, Slovenija | 2009 Tim koji po-bjeđuje, Galerija Zvono, Beograd | BJCEM – XIV Bijenale Mladih Umjetnika Evrope i Mediterana 7 kapija, Skoplje, Makedonija | Premio nazionale delle arti 08, Galleria Arte Contemporanea - Le Ciminiere, Catania, Italija | Mladi srpski umjetnici, Galerija Zvono, Nacionalni muzej književnosti Ukrajine, Ki-jev | Sopoćanska viđenja 08, kustos Gordana Vasiljević, Galerija Zvono, Beo-grad | I Multimedijalni centar, Novi Pazar | 42. zimski salon, kustos Anastazija Miranović, Herceg Novi | 2008 Novogodišnja izložba, Prodajna galerija „Beo-grad“, Beograd | Kotorski likovni umjetnici 2008, Gradska galerija Kotor, Kotor | Renesansa-san o lijepom, kustos izložbe Milica Radulović, Santa Marija in Punta, Budva | Terratorija, BELEF 08, Beograd | Izložba skulptura u kamenu, Gradska galerija, Kotor | Izložba novih članova ULUCG-a, Podgorica | 41. zim-ski salon, kustos Bogdan Musović, Herceg Novi.Skulpture izvedene u javnom prostoru: 2011 Tre sorelle, Porto Mon-tenegro, Tivat | Regina Elena, San Benedetto del Tronto, Italija | 2010 The Circle, Porto Montenegro, Tivat | 2008 Prayer for parents, Gmund, Austrija | The Seed, Kotor, Crna Gora | 2007 Gumno, Gorizia, Italija | 2006 Božanstvena majka, Otzenhauzen, Njemačka. Artist in residence: 2011 Cite Internationale des Arts, Pariz | 2009 - Medi-terranean workshop, Galleria Arte Contemporanea – Le Ciminiere, Catania, Italija | 2008 Kunstzentrum Bosener Muhle, St.Wendel, Njemačka | Stipendija KulturKontakt, Gmund, Austrija.Sajmovi umjetnosti / Galerija Zvono | 2010 / Moscow, Moskva | 2009 Art Miami, Art Moscow | 2008 Kunstart Bolcano, Art Moscow i Viennfair Beč Nagrade: 2009 42. zimskog salona, Herceg Novi | 2008 41. zimskog salona, Herceg Novi | 2007 otorski likovni umjetnici 2007, Kotor | 2001 Nagrada za crtež, Fakultet Likovnih Umetnosti, Beograd.Kolekcije: 2012, Privatna kolekcija, Ženeva | 2011, Radix kolekcija, Beograd | 2010, Porto Montenegro, Tivat | Privatna kolekcija, Podgorica | 2008, Privat-na kolekcija, Gmund, Austrija | Privatna kolekcija, Tirol | 2001, Privatna kolek-cija, Toronto, Kanada.

1979 Born in Kotor, Montenegro. 2005, B.A, Sculpture, Faculty of Fine Arts, Belgrade. 2009, M.A, Sculpture department, Faculty of Fine Arts, Belgrade. At the moment finishing PhD. at Faculty of Fine Arts, Belgrade. Lives and works in Belgrade and Kotor. Solo exhibitions: 2012, Interactive and ambivalent in visual art, PhD. Exhi-bition, Gallery FLU, Belgrade | 2011, 100% art recyclable, Hotel de Ville 18, Paris | Simulacrum, Zvono gallery, Belgrade | 2010, Catena, J. B. Benković gallery, Herceg Novi, Montenegro | 2009, In between, Gallery Center, Pod-gorica, Montenegro | In Medias Res, Gallery “Belgrade“, Belgrade | 2008, Kun-stzentrum Bosener Muhle, St. Wendel, Germany | Prayer for parents, Gothic Carner / International Gastatelier im Maltator, Gmund, Austria | Of Sculptu-

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res, City gallery, Kotor | Of Sculptures, Zvono gallery, Belgrade, Serbia | 2002 Of Sculptures, Gallery Stari grad, Kotor, Montenegro | Of Sculptures, Gallery Vitomir Srbljanovic, Pljevlja, Montenegro.Group exhibitions (selection out of forty): 2012, November art salon, curator Anastazija Miranovic, MCM, Cetinje | East – West, Museum Pino Pas-cali, Polignano a mare, Bari, Italy | Contemporary art in Montenegro, Gallery Miodrag Dado Djuric, Cetinje, Montenegro | 2011 XXIV Belgrade art salon, Galery 73, Belgrade | Studio romance, La Vitrine, Paris | Contemporary art scene of Montenegro, Porto Montenegro, Tivat | Body of digital, New gallery, Budva, Montenegro | 2010, Hybrid object, SKC, French cultural center and Cvijeta Zuzorić gallery, Belgrade | Eco festival, Fortress Spanjola, Herceg Novi | Night of culture, Herceg Novi | Hybrid object, Museum of too moderna art, Spodnji Hotič, Slovenia | 2009, Winning team, Zvono gallery, Belgrade | BJCEM – XIV Skopje Biennal, Macedonia | Premio nazionale delle arti 08, Galleria Arte Contemporanea – Le Ciminiere, Catania, Italy | Young serbian artists, Zvono gallery, National museum of literature of Ukraine, Kiev | Sopo-cani Gatherings 08, Curated by Gordana Vasiljavic, Zvono gallery, Belgrade and Multimedia center, Novi Pazar | 42. winter salon, curated by Anastasija Miranovic, J. B. Benkovic gallery, Herceg Novi | 2008, New Year’s exhibition, Gallery “Belgrade“, Belgrade | Kotor’s fine art artists 2008, City gallery, Kotor, Montenegro | The renaissance-dream of beauty, Curated by Milica Radulo-vic, Saint Maria in Punta church, Budva, Montenegro | Terratory, BELEF 08, Belgrade | Stone sculptures, Kotor | 41. winter salon, curated by Bogdan Mu-sovic, J. B. Benkovic gallery, Herceg Novi.Realized outdoor projects: 2011 / Tre sorelle, Porto Montenegro, Tivat, Montenegro | Regina Elena, Scultura Viva, San Benedetto del Tronto, Italy | 2010 / The circle, Porto Montenegro, Tivat, Montenegro | 2008 / Prayer for parents, Gothic Karner, Gmund, Austria | The seed, Grbalj, Kotor, Montenegro | 2007 / Gumno, Scultura 2001, Gorizia, Italy | 2006 / Divine mother, Cerda & Celtoi (Art & Celts), Otzenhausen, Germany.Artist in Residence: 2011 / Cite Internationale des Arts, Paris, France | 2009 / Mediterranean workshop, Galleria Arte Contemporanea – Le Ciminie-re, Catania, Italy | 2008 / Kunstzentrum Bosener Muhle, St.Wendel, Germany | KulturKontakt Austria grant, Gmund, Austria.Art fairs: Zvono gallery, Belgrade: | 2010 / Art Moscow | 2009 / Art Miami and Art Moscow | 2008 / Kunstart Bolcano, Art Moscow and Viennafair .Collections: 2012 / Private collection, Geneva, Switzerland | 2011 / Radix Collection, Belgrade, Serbia | 2010 / Porto Montenegro, Tivat, Montene-gro | Private collection, Podgorica, Montenegro | 2008 / Private collection, Gmund, Austria | Private collection, Tirol, Austria | 2001 / Private collection, Toronto, Canadakontakt/contact: [email protected] www.danijelamrsuljavasic.com

IVAN PeJOVIĆRođen 1978. godine u Nikšiću. Dilomirao na Fakultetu likovnih umjetnosti na Cetinju, u klasi profesora Branislava Sekulića. Postdiplomske studije završio na FLU Cetinje 2010. godine. Radi kao saradnik u nastavi na odsjeku slikar-stva. Član je Udruženja likovnih umjetnika Crne Gore od 2004. Dobitnik je godišnje nagrade za slikarstvo, FLU, Cetinje. 2010. Prva samostalna izložba u Paviljonu ULUCG-a.2011. Osvojio Grand Prix Likovnog salona 13. Novembar.2012. Likovni salon Petar Lubarda, Cetinje.Učestvovao je na mnogobrojnim grupnim izložbama u zemlji i inostranstvu.Živi i radi u Podgorici.

Born in 1978, in Niksic. Graduated from the Faculty of Fine Arts, Cetinje, pain-ting department, professor Branislav Sekulic’ class. Finished his postgraduate studies in 2010, same Faculty. Works as an associate lecturer at the painting department at the Faculty of Fine Arts, Cetinje. Member of the Montenegrin Fine Artists Association from 2004. Winner of the Faculty of Fine Arts’ Annual Award for painting.2010. First solo exhibition in Art Pavilion, Podorica.2011 Grand Prix Winner of the Art Salon 13th November, Cetinje.2012 Art Salon Petar Lubarda, Cetinje.Participated in many group exhibitions in Montenegro and abroad.Lives and works in Podgorica.kontakt/contact: [email protected]

IVANKA VANA PReLeVIĆDiplomirala 1990. i magistrirala 1995. godine na Fakultetu primenjenih umetnosti i dizajna u Beogradu, na odsjeku vajarstva, u klasi prof. Miodraga Živkovića. Na istom fakultetu magistrirala 2006. godine na odsjeku sceno-grafije u klasi prof. Geroslava Zarića. Član ULUCG-a od 1992. godine.Stalno zaposlena u Crnogorskom narodnom pozorištu kao vajar od 1995, a od 2006. do 2010. godine bila angažovana na Atlas TV kao scenograf. Dobit-nik je stipendije „Velibor-Bucko Radonjić“ Crnogorskog narodnog pozorišta za scenografiju.Graduated from the Faculty of Applied Arts and Design in Belgrade, scul-pture department in 1990 and MFA in 1995, same department under the mentorship of professor Miodrag Zivkovic. MFA in 2006, scenography depar-tment under the mentorship of professor Geroslav Zaric.Member of Montenegrin Fine Artists Association from 1992.Employed in Montenegrin National Theatre as a sculptor from 1995, and from 2006 to 2010 worked as a scenograph at the Montenegrin television studio Atlas. She is the „Velibor-Bucko Radonjić“ stipendist of Montenegrin National Theatre for scenography.

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Nagrade/Awards: 1995 / II Podgorički likovni salon | 1996 / 29. Zimski salon u Herceg Novom | 2002 / 35. Zimski salon u Herceg Novom | 2002 / VI Podgorički likovni salon | 2004 / VIII Podgorički likovni salon | 2006 / Pivo Karamatijević | 2012 / Nagrada Centra savremene umjetnosti Crne Gore.Samostalne izložbe/Solo exhibitions: 1993 / NUBS, Beograd; ULUCG, Podgorica; KIc, Kotor; Buća, Tivat; Hotel Plaža, Herceg Novi | 1996 / SULUJ, Beograd; Centar savremene umjetnosti CG, Podgorica; Josip B. Benković, Herceg Novi; galerija Stari grad, Kotor; Galerija Nikola I, Nikšić | 1998 / Ju-goslovenski kulturni centar Pariz | “Ritual”, Crnogorsko Narodno Pozorište – na ul. Stanka Dragojevića (u okviru Međunarodnog dana pozorišta) | 2003 / “Objekti” Muzej, galerija I biblioteka Budva; Centar savremene umjetnosti CG, Podgorica | 2008 / Paralaktički pejzaži Narodni muzej Crne Gore – Atelje Dado, Cetinje (u okviru manifestacije Noć muzeja) | 2010 / Recikliranje s(a)vjesti Paviljon ULUCG, Podgorica | 2012 / Recikliranje s(a)vjesti Galerija O3O-NE, Beograd.kontakt/contact: [email protected]

ADIN RASTODeRRođen je 1985. godine u Titogradu. Diplomirao je na Fakultetu likovnih um-jetnosti na Cetinju 2010. godine, u klasi profesora Pavla Pejovića.2009. Nagrada „Velibor Bucko Radonjić“ Crnogorsko narodno pozorište.2009. Nagrada Ekonomskog fakulteta „Susreti“, Podgorica. 2010. Član je Udruženja likovnih umjetnika Crne Gore. 2011. Predstavljao Crnu Goru na Bijenalu mladih umjetnika Evrope i Medite-rana, Solun, Grčka 2012. Rad u stalnoj postavci Narodnog muzeja Crne Gore, Cetinje. 2012. Studijski boravio u Nansiju – Francuska. 2012. Boravak u Cite des Arts i samostalna izložba u galeriji Cite-a, Pariz, Fran-cuska Učestvovao na više od šezdeset grupnih izložbi i projekata.Born in 1985 in Titograd. He graduated from the Faculty of Fine Arts, Cetinje, 2010, under the mentorship of professor Pavle Pejovic. 2009 He won the “Velibor Bucko Radonjic“ Montenrgrin National Theatre Award. 2009 “Susreti” Award, Faculty of Economy, Podgorica.2010 Member of ULUCG (Fine Arists Association of Montenegro)2011 Biennal of Young Artists in Europe and the Mediterranean region, The-ssaloniki, Greece.2012 His artwork is placed as part of the Permanent Exhibition in National Museum of Montenegro, Cetinje.2012 Study sojourn, Nancy, France.2012 Solo Exhibition at the Gallery of Cite des Arts, Paris, FranceParticipated in more than sixty group exhibitions and projects. kontakt/contact: [email protected]

ŽIGA ReHARRođen 1977. godine u Ljubljani. Diplomirao je na Koledžu za vizuelne um-jetnosti Arthouse u Ljubljani 2003. godine. Postdiplomske specijalističke studije završio je 2006. godine u klasi profesora Darka Slaveca. Izlagao je na više grupnih izložbi i u inostranstvu (Nantong, Kina; Beč, Austrija; Zagreb, Hr-vatska; Beograd, Subotica, Novi Sad, Srbija) i u Sloveniji. Živi i radi u Ljubljani.

Born in 1977 in Ljubljana. In 2003, he graduated from the Arthouse – College of Visual Art. In 2006, he completed his postgraduate specialist studies under the mentorship of Prof. Darko Slavec. He has exhibited his work in many group exhibitions both abroad (Nantong – China, Vienna – Austria, Zagreb – Croatia, Belgrade, Subotica, Novi Sad – Serbia) and in Slovenia. Rehar lives and works in Ljubljana.kontakt/contact: [email protected]

ŽeLJKO ReLJIĆRođen je 1976. godine u Bazelu, u Švajcarskoj. Diplomirao je vajarstvo na Fakultetu likovnih umjetnosti na Cetinju, u klasi prof. mr Pavla Pejovića. Magistrirao je na istom fakultetu u klasi prof. mr Milivoja Babovića. Član je ULUCG, radi kao stručni saradnik u nastavi (skulptura u materijalu i vajanje) na FLU Cetinje.

Samostalne izložbe: 2002. Od znaka ka skulpturi, Rusko poslanstvo, Ceti-nje | 2006. Tra L’Europa e Mediterraneo, Rim, ITALIJA | 2007. Figuralna forma kao simbolička prostorna predstava, FLU Cetinje | 2007. Skulpture, reljefi, Kulturni centar Buća, Tivat | 2007. Slike, Yellow Moon, Cetinje | 2009. Skul-pture, galerija Marko K. Gregović, Petrovac | 2010. Djetinstvo, Umjetnička kolonija Danilovgrad | 2011. Djetinjstvo, Kotorski festival pozorišta za djecu, Kotor | 2011. Djetinjstvo, Galerija „Centar“, Podgorica.Kolektivne izložbe: 2001. Trijenale mladih (selektor Dragan Radovano-vić), Podgorica | 2003. Zvuci novog vremena, Plavi dvorac, Cetinje | 2005. Crnogorska moderna skulptura, Danilovgrad/Niksić/Bar | 2006. Galerija „Ko-larac“, Beograd, Srbija | 2006. Crnogorska moderna skulptura, Danilovgrad/Tivat/Podgorica | 2007. Crnogorska moderna skulptura, Danilovgrad/Kotor | 2008. Tradicionalna izložba ULUCG, Podgorica | 2008. Noć Muzeja, Pod-gorica | 2008. 13. bijenale Evrope i Mediterana, Puglia/Bari, Italija | 2008. Kancelarija za EU integracije, Podgorica | 2008. Crnogorska moderna skul-ptura, Danilovgrad | 2008. Bijenale akta, Petrovac | 2008. ULUCG, Zagreb, Hrvatska | 2009. Likovni salon Petar Lubarda, Cetinje | 2009. Tradicionalna izložba ULUCG, Podgorica | 2009. Elenart, Stari Grad, Budva | 2009. Crno-gorska moderna skulptura, Danilovgrad | 2009. Odraz umjetnosti u javnim prostorima Cetinja | 2009. Izložba saradnika FLU, galerija ULUCG, Podgorica | 2009. Izložba profesora i saradnika, Gintaš, Podgorica | 2009. Likovni salon 13. novembar (selector Aleksandar Čilikov), Cetinje | 2010. Zimski likovni sa-

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lon (selector Lj. Zekovic), Herceg Novi | 2010. Tradicionalna izložba ULUCG, Podgorica/Budva | 2010. Evropska komisija, Podgorica | 2010. ART STA-ZA, Smokovci | 2010. Crnogorska moderna skulptura, Danilovgrad | 2010. ULUCG Zagreb Hrvatska | 2011. Tradicionalna izložba ULUCG, Podgorica, Budva | 2011. ULUCG Skoplje, Makedonija | 2011. Imanje KNJAZ, Podgorica | 2011. Art Expo, Budva | 2011. Savremena crnogorska skulptura, Danilovgrad | 2011. Porto Montenegro, Pizana, Tivat | 2011. Pet autora, Petrovac | 2011. Izložba saradnika FLU Cetinje, Galerija 42°, Cetinje | 2011. Montenegro Fa-mily, Ministarstvo Kulture CG, Cetinje | 2011. Mogući izbor – FLU Cetinje, Dvorac kralja Nikole, Bar | 2011. Crnogorski Likovni Salon (selektor Milica Radulovic), Cetinje | 2011. Cafe NERO...mali formati, Podgorica | 2012. Tradi-cionalna izlozba ULUCG, Podgorica | 2012. Crnogorska galerija umjetnosti Miodrag DADO Đurić, Cetinje | 2012. Savremena crnogorska skulptura, Da-nilovgrad | 2012. Galerija Pizana, Podgorica i Tivat | 2012. URBAN CLEANER, Bijenale arhitekture, Venecija (IT) | 2012. Cafe NERO, Mali formati, Podgorica | 2012. Mladi umjetnici, ULUCG, Podgorica | 2012. Likovni salon Petar Lu-barda, Cetinje.Skulpture izvedene na otvorenom prostoru: 2009. Totem, Kraljev park, Cetinje | 2010. Ikar i sunce, Tivat | 2010. Kišobran, Smokovci | 2010. Little man on the big stone, Danilovgad | 2011. Točak, Skadar, Albanija.Projekti: Realizacija skulpture (mermer), idejno rješenje arhit. Cvetko Boš-kovic, Stara maslina Bar. | Asistiranje pri realizaciji spomeničke skulpture Petar I Petrović Njegoš autor vajar N. Šoškic, Podgorica | 2010. Festival Te-uta – novi antički teatar Kraljica Teuta (statua za dodjelu nagrade) | 2011. Spomen-ploča civilnim žrtvama ratova 1991–2001, Pobrežje – Podgorica | 2012. Idejno rješenje i realizacija instalacije URBAN CLEANER (Arhitektonski fakultet, Podgorica) BIJENALE ARHITEKTURE – Venecija, Italija.Radionice: 2009. Stručni saradnik, predmet slobodno crtanje, Arhitekton-ski fakultet, Podgorica | 2009. Odraz umjetnosti u javnim prostorima, Ceti-nje | 2010. ART STAZA, Smokovci. Simpozijumi: 2010. Internacionalni simpozijum skulpture, Danilovgrad | 2011. Internacionalni simpozijum skulpture, Skadar, Albanija.Nagrade: 1999. Nagrada za analitički crtež, FLU, Cetinje | 2008. Lubarda-Stijović-Milunović ULUCG | 2010. Lubarda-Stijović-Milunović ULUCG | 2011. Prva nagrada konkursa Ministarstva za zaštitu manjinskih i ljudskih prava, izrada spomen-ploče.Born in 1976 in Basel, Switzerland. He graduated from the Faculty of Fine Arts in Cetinje, department of sculpture, class of Professor Pavle Pejovic. He took his master degree in the class of Professor Milivoje Babovic. Reljic works as an assistant professor at the Department of Sculpture at the Faculty of Fine Arts in Cetinje, Montenegro.Individual exhibitions: 2002 From a sign towards sculpture, Russian Em-bassy, Cetinje | 2006 Tra L’Europa e Mediterraneo, Rome, Italy | 2007 Figural Form as a Symbolic Spatial Representation, Faculty of Fine Arts, Cetinje | 2007 Sculptures, Gallery Buca,Tivat | 2007 Paintings, Yellow Moon, Cetinje |

2009 Sculptures, Gallery Marko K. Gregovic, Petrovac | 2010 Childhood, Art Gallery, Danilovgrad | 2011 Childhood, Art Gallery, Kotor | 2011 Childhood, Art Gallery Centar, Podgorica.Group exhibitions:1997–2000 Annual exhibition of Faculty of Fine Arts, Cetinje | 2001 Triennial of the Young (selected by Dragan Radovanović), Podgorica | 2003 The Sounds of New Time, Blue Castle, Cetinje | 2005 Mo-dern Montenegrin Sculpture, Danilovgrad/Niksic/Bar | 2006 Gallery Kolarac, Belgrade | 2006 Modern Montenegrin sculpture, Danilovgrad/Tivat/Podgo-rica | 2007 Modern Montenegrin sculpture, Danilovgrad/Kotor | 2008 Annual exhibition of ULUCG, Podgorica | 2008 Museum Night, Podgorica | 2008 13th biennale Puglia, Bari, Italy | 2008 Office for EU Integrations, Podgorica | 2008 Modern Montenegrin sculpture, Danilovgrad | 2008 ULUCG, Zagreb, Croatia | 2008 Biennale of Nude, Petrovac | 2008 ULUCG, Zagreb, Croatia | 2009 Petar Lubarda Salon, Cetinje | 2009 ULUCG Podgorica, Budva | 2009 Elenart gallery, Budva | 2009 Modern Montenegrin sculpture, Danilovgrad | 2009 Art Re-flection, Cetinje | 2010 Montenegrin Art Salon 13. Novembar, Cetinje | 2010 Winter Art Salon of Herceg Novi | 2010 Traditional Annual Exhibition of the National Association of visual artists of Montenegro | 2010 – European Com-mission, Podgorica | 2010 Art Way Smokovci | 2010 Modern Montenegrin sculpture, Danilovgrad | 2010 Exhibiton of the national association of visual art of Montenegro, Zagreb 2011 Traditional Annual Exhibition of the national association of visual artists of Montenegro | 2011 / N.A. of visual artist of MNE, Skopje Macedonia | 2011 Prince Estate, Podgorica | 2011 Art Expo, Budva | 2011 Modern Montenegrin sculpture, Danilovgrad | 2011 Porto Montenegro Pizana, Tivat | 2011 Five Authors, Petrovac | 2011 Exhibition assistants FLU Cetinje,42° Cetinje | 2011 Montenegro Family, min. cultural, Cetinje | 2011 Possible choice, Castle King Nikola, Bar | 2011 November Art Salon, Cetinje | 2011 café NERO, small format, Podgorica | 2012 Traditional Annual Exhibition of the National Association of visual artists of Montenegro | 2012 Montene-grin Gallery of Contemporary Art Miodrag Dado Djuric, Cetinje | 2012 Mo-dern Montenegrin sculpture, Danilovgrad | 2012 Porto Montenegro PIZANA, Tivat | 2012 URBAN CLEANER, Biennale of Architecture, VENICE (IT) | 2012 café NERO, small format, Podgorica | 2012 Young Artists,ULUCG, Podgorica | 2012 Art Salon Petar Lubarda, CetinjeOpen space sculptures: 2009 Totem, Kings Park, Cetinje | 2010 Icarus and the Sun, Tivat | 2010 Kisobran Smokovci | 2010 Little Man on The Big Stone, Danilovgrad | 2011 Wheel, Skadar, AL.Symposium: 2010 International Sculpture Symposium, Danilovgrad | 2011 International Sculpture Symposium, Skadar ALProjects & workshops: Lectures at the Architecture Faculty, drawing cla-sses | Fountain (marble), concept architect Cvetko Boskovic, Old olive, Bar | Assistant in the project of the monument of Petar I Petrovic Njegos, au-tor sculptor Nenad Soskic, Podgorica | Festival Teuta- New Ancient Theater (statue for the award) | Reflection of art, Cetinje | Art Trail, Smokovci | 2011 Commemorative plaques of civil victims of wars 1991–2001, Podgorica |

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2012 Conceptual design and production installations URBAN CLEANER. Bi-ennale of architecture, Venice.Awards: 1999 Award for analytic drawing, Faculty Fine Arts Faculty, Cetinje. | 2008 Award for sculpture, Lubarda-Stijovic-Milunovic, ULUCG | 2010 Award for sculpture, Lubarda-Stijovic-Milunovic, ULUCG | 2011 First prize competi-tion for the Ministry of Human Rights Montenegro.kontakt/contact: [email protected]

DAVOR SANVINCeNTIRođen 1979. godine, međunarodni multimedijalni umjetnik iz Hrvatske, ta-kođe poznat pod nadimcima Messmatik i Gurtjo Ningmor.Posebno je zainteresovan za audiovizuelno istraživanje i antropologiju vizuelne kulture, fokusiran naročito na stanja i oblike ljudskih osjećanja i percepcije. Posmatranja i istraživanja koja prevazilaze naučne i umjetničke sfere, uspostavljaju strukturu njegovog rada. Njegova umjetnost iskazana je kroz različite medije – film i video-zapise, fotografiju, svjetlosne i zvučne instalacije i performanse. Njegov rad se poigrava sa konceptom iluzije, istra-žujući moguće granice percepcije i strukture iskustva. Sanvinčenti istražuje estetske i kvalitativne mogućnosti različitih medija kroz direktnu komunika-ciju sa posmatračem, koji postaje nužni dio tog rada.Njegovi radovi su izlagani širom svijeta, uključujući festivale Rencontres In-ternationales Pariz/Berlin/Madrid, LOOP /Barselona, 25FPS /Zagreb, World Film Festival /Bangkok, VideoEX /Cirih, CineMed/Monpelje i prostore kao što su Centre Georges Pompidou, Pariz; HfG/ZKM, Karlsrue; Joanneum Museum, Grac; Lincoln Center, Njujork; Museo de Arte Contemporaneo, Oahaka; FRAC Pays de la Loire, Nant; MoCA, Zagreb; NIU, Barselona; La Tri-ennale, Milano; MoCA Vojvodina, Novi Sad; HB Galerie, Roterdam; Filmoteca Española, Madrid; Art Pavilion, Zagreb; Haus der Kulturen der Welt, Berlin. Dobitnik je nagrade „Radoslav Putar“ za najboljeg hrvatskog umjetnika u kategoriji mlađih od 35 godina. Njegova video-instalacija 1001 nalazi se u audio-vizuelnoj kolekciji Muzeja savremene umjetnosti u Zagrebu.

Born in 1979. He is a International multimedia artist from Croa-tia, also known by monikers such as Messmatik and Gurtjo Ningmor. He is specifically interested in a field of audiovisual research and anthropo-logy of visual culture, particularly focused on the conditions and forms of human senses and perceptions. Notices, observations and research that per-vade scientific and artistic spheres constitute the structure for his work. His artistic practice takes shape in the variety of media - film and video, photo-graphy, physical light and sound installations and live media performances. His work plays with the concept of illusion, exploring the possible bo-undaries of perception and the construction of experience. Sanvincen-ti explores aesthetical and qualitative capabilities of different media as direct communication with the spectator which becomes an inevitable part of the work, the reflecting contemplative and physical structure.

His work has been exhibited and presented internationally, including fe-stivals Rencontres Internationales Paris/Berlin/Madrid, LOOP/Barcelona, 25FPS /Zagreb, World Fim Festival /Bangkok, VideoEX /Zurich, CineMed/Montpellier and venues including Centre Georges Pompidou, Paris; HfG/ZKM, Karlsruhe; Joanneum Museum, Graz; Lincoln Center, New York; Mu-seo de Arte Contemporaneo, Oaxaca; FRAC Pays de la Loire, Nantes; MoCA, Zagreb; NIU, Barcelona; La Triennale, Milano; MoCA Vojvodina, Novi Sad; HB Galerie, Rotterdam; Filmoteca Española, Madrid; Art Pavilion, Zagreb; Haus der Kulturen der Welt, Berlin. In 2010, he was the recipient of the Radoslav Putar Award for the best Croatian artist under 35. His physical video insta-llation 1001 takes part of the AV collection of the Museum of Contemporary Art in Zagreb.

Obrazovanje / Education/residences: 2012 | CEC ArtsLink residency - Spaces Gallery, Cleveland, US | XXVIe Ateliers Internationaux - FRAC Pays de la Loire, Nantes, FR | LKS – Lithuanian Composers Union, Druskininkai, LT | 2011 / ISCP - International Studio & Curatorial Program, New York, US | 2009 / 5 Senses project, Vilnius - Capital of Culture 2009, Vilnius, LT | 2005 / Masterclass - Multimedia Programming and Sound engineering, | Agon - electroacoustic center, Milan, IT | 2004 / Academy of Fine Arts Brera, Multimedia alternative, Milan, IT | 2003 / BA Visual Arts, European Institute of Design, Milan, IT | 1997 - 2000 / Faculty of Philosophy, Department of Psycology, Rijeka, HR.Nagrade / Awards / grants: 2012 | Residency grant, National En-dowment for the Arts, New York, US | Second Prize, public intervention for Vodotoranj Gredelj, Zagreb, HR | 2011 / First Prize, Vizura Aperta - Festival of Visual and Audio Media, Momjan, HR | Residency grant, Foundation for Civil Society, New York, US | 2010 / Winner, Radoslav Putar Award, Zagreb, HR | Finalist, Photodays, Rovinj, HR | 2009 / Second Prize, 41. Review of Croati-an Independent Film, Split, HR | Finalist, Celeste Prize 09, Berlin, DE | 2008 / Third Prize, [email protected], Zagreb, HR | Second Prize, Photodays, Rovinj, HR | Winner, Granangular short documentary prize, Barcelona, ES | 2005 / Third Prize, MOL - permanent installation for Trg Slobode, Poreč, HR | Finalist, Diesel Wall - Temporary Art Award, Milan, IT | 2003 / Grant, final year at European Institute of Design, Milan, IT.Predavanja / Lectures / artist talks: 2012 / Film studies, Cleveland In-stitute of Art, Cleveland, US | Blue arpeggios, Čiurlonius Museum, Druski-ninkai, LT | 2011 / Invisible landscapes, Miroslav Kraljević Gallery, Zagreb, HR | Salon, ISCP - International Studio & Curatorial Program, New York, US | CroArtScia2011, Museum of Contemporary Art, Zagreb, HR | 2010 / Ren-contres Internationales, Centre George Pompidou, Paris, FR | 2008 / Video in real time, Media Mediterranea Festival, Pula, HR | 2007 / Visual intervention in public spaces and landscapes, 7 Days of Creation Festival, Pazin, HR | Crossover avangard video artist, European Institute of Design, Milan, IT | 2006 / Visual intervention in public spaces and landscapes, 7 Days of Cre-

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ation Festival, Pazin, HR | 2005 / Urban art application, European Institute of Design, Milan, IT | 2003 / Open Day Video Design, European Institute of Design, Milan, IT.kontakt/contact: www.messmatik.net www.vimeo.com/user1765355

BRANe šIRCARođen je 1971. godine u Ljubljani. Diplomirao je 2003. godine na Koledžu za vizuelne umjetnosti Arthouse u Ljubljani, u klasi profesora Tanje Mastnak i Darka Slaveca. Širca je suosnivač i predsjednik KUD VIČ Udruženja umjetnosti i kulture, kao i suosnivač i vođa Umjetničke grupe S.K.U.P. Živi i radi u Ljublja-ni, izlaže u Sloveniji i u inostranstvu. Takođe, vodi radionice grafike i vizuelne umjetnosti za djecu i odrasle, a načinio je i umjetničke radove za nekoliko publikacija. Glavnu temu njegovog rada predstavljaju brojevi koje dizajni-ra i kombinuje na različite načine na svojim platnima, grafičkim radovima i asamblažima. U poslednje vrijeme vraća se ženskom aktu i ljudskoj figuri, a oprobao se i kao skulptor.

Born in 1971 in Ljubljana. In 2003, he graduated from the Arthouse – Colle-ge of Visual Arts in Ljubljana under the mentorship of Prof. Darko Slavec and Prof. Tanja Mastnak. Sirca is co-founder and president of the KUD VIČ Arts and Culture Association, and co-founder and leader of the S.K.U.P. Art Group. He lives and works in Ljubljana, and exhibits regularly in Slovenia and abroad. He also runs graphic and visual art workshops for children and adults, and has provided artwork for several publications. The main subject in his work are numbers, which he designs and combines in different ways in his canvases as well as in his graphic and assemblage works. Recently he has returned to the female nude and human figure, and has also tried his hand at sculpture.kontakt/contact: [email protected] MAJA šOFRANACRođena je 1981. godine u Podgorici, Crna Gora. Diplomirala je na odsjeku za slikarstvo na Fakultetu likovnih umjetnosti, Cetinje 2005. godine, a 2009. magistrirala na istom fakultetu.2006/2007. Studijski boravila na Univerzitetu Mark Blok u Strazburu, odsjek UFR Arts – Francuska. 2007 | Studijski boravila u Pont Avenu, Francuska, School of Contemporary Art – Pont Aven. | 2012. Boravila u SAD, Kalifornija, kao asistent na projektima američkog muraliste Džona Pjua.Nagrade: 2003. Nagrada za slobodni crtež FLU Cetinje | 2005. Nagrada za slikarstvo FLU Cetinje | 2009. Nagrada Hercegnovskog zimskog salona.Izložbe: 2005. Diplomska izložba na temu Od materije do duha, FLU Cetinje | Samostalna izložba nagrađenih studenata FLU u Modernoj galeriji, Budva | 2007. Izložba grafika u CIAC galeriji u Pont Avenu | Galerija CIAC, Pont Aven, Francuska | 2009. Magistarska izložba na temu Svi, ULUCG Podgorica | Gale-

rija Josip – Bepo Benković, Herceg Novi | 2010. Galerija Buća, Tivat |Southe-astern Europe Contemporary Art Exhibition Looking Forward, Umjetnički muzej, Cetinje | 2012. Galerija Stone Griffin – Campbell, Kalifornija, SAD.

Maja Sofranac was born in 1981, in Podgorica, Montenegro. Graduated from the Faculty of Fine Arts, Cetinje, 2005, painting department. Master’s degree in painting 2009, same faculty.2006 / 2007. Study visiting of University Mark Block, department UFR Arts, Strasbourg, France | 2007. Study visiting School of Contemporary Art Pont-Aven, France | 2012. Lived and worked in the USA, California as an art assi-stant to American muralist John Pugh.

Awards: 2003 Faculty of Fine Art’s annual Award for drawing | 2005 Faculty of Fine Art’s annual Award for painting | 2009 Winter Salon Award, Herceg Novi.Exhibitions: Graduating exhibition From Matter to Spirit, FLU Cetinje | 2005 Modern Gallery, Budva | 2007 CIAC Gallery Pont Aven, France | 2009 Master Exhibition Everyone, Gallery ULUCG, Podgorica | Gallery Josip – Bepo Benković, Herceg Novi | 2010 Gallery Buća, Tivat | Southeastern Europe Con-temporary Art exhibition Looking Forward, Art Museum, Cetinje | 2012 Sto-ne Griffin Gallery – Campbell – California, USA.kontakt/contact: [email protected]

SeLMAN TRTOVACRođen je 1970. u Zadru, SFRJ1990–1993. Studije na Fakultetu likovnih umetnosti, Beograd | 1993–1997. Studije na Umetničkoj akademji u Dizeldorfu, u klasi profesora Klausa Rin-kea | 1997. Proglašenje za studenta majstora | 2003. Prijem u Internacionalni umetnički gremijum – IKG | 2008. Doktorske studije na Fakultetu likovnih umetnosti (vajarstvo, mentor prof. Veljko Lalić) u Beogradu | 2010. Idejni tvorac i jedan od osnivača Slobodne umetničke zadruge „Treći Beograd“ | 2012. Doktorirao na Fakultetu likovnih umetnosti u Beogradu. | Živi i radi u Beogradu.

Born in 1970, in Zadar, Former Republic of Yugoslavia.1990–1993 Studies at the Faculty of Fine Arts, Belgrade | 1994–1997 Studies at the Art Academy, Düsseldorf, Professor Klaus Rinke, sculpture department | 1999 Master of Arts degree | 2002 Serbian Fine Artists Association (ULUS) Membership | 2003 International Arts committee (IKG) Membership | 2008 Doctoral studies at the Faculty of Fine Arts in Belgrade (sculpture, mentor professor Veljko Lalic) | 2010 Notional creator and one of the founders of the Treci Beograd (The Third Belgrade) | 2012. DFA at the Faculty of Fine Arts in Belgrade.Lives and works in Belgrade.

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Samostalne izložbe (izbor)/Selected solo exhibitions: 2012. Izložba Stop making sense, crteži, galerija Otklon, Beograd | 2011. Izložba 12 Soba / Art Market, Kuća kralja Petra I, Beograd | 2010. Izložba State of Mind, Galerija ULUS, Beograd | 2009. Izložba Dijalektika (zajedno sa umetnikom Radošem Antonijevićem), Galerija Magacin, Beograd | Izložba Ruka umjetnika – Crna ruka/Ruka ubice (zajedno sa Ilijom Šoškićem), Galerija Arte, Beograd | 2008. Izložba Ex nihilo nihil fit, Galerija Osmica (MKM) u Beogradu | 2007. Izlož-ba “...što traže ekstremnosti da bi znali gde je sredina!”, | Galerija savremene umetnosti u Smederevu | 2001. Izložba Omnibus, Rekapitulacija, galerija SKC-a, Beograd | 1994. Future, crteži, skulpture i objekti, galerija Kulturgut, Gelzenkirhen | 1993. Led, objekat, galerija SKC-a, Beograd | Vatreni cvetovi, galerija SKC-a, Beograd | On the road, crteži, skulpture i objekti, akademi-ja umetnosti, Dizeldorf | 1992. Stalaktiti - Stalagmiti, objekti, galerija SKC-a, Beograd | 1991. Prostorna pukotina, instalacija, galerija SKC-a, Beograd | Grupne izložbe (izbor)/Selected group exhibitions: | 2012. Izložba Deviant mythology (as a riot on an empty street), galerija Magacin, Beograd | Izlož-ba 26. Memorijal Nadežde Petrović – BIG SLEEP (u okviru Trećeg Beograda), galerija Nadežda Petrović, Čačak | Izložba Ja volim i umetnost drugih (3BGD), Galerija savremene umetnosti, Smederevo | 2011. Izložba STUDIO ROMAN-CE, galerija La Vetrine - École Nationale Supérieure d’arts Paris-Cergy, Pariz | Izložba Treći Beograd, Salon Muzeja savremene umetnosti, Beograd | Izložba Hibridni objekat, Muzej premoderne umetnosti, Litija, Slovenija | 2010. Izlož-ba Umetnici o krizi slikarstva, Paviljon Cvijeta Zuzorić, Beograd | 2009. Izložba Real life presence, Künstlerhaus u Gracu | Izložba OUT, Institut für Kunst im öffentlichen Raum Steiermark, Grac | 2006. Izložba Osvetliću tamnu stranu meseca, povodom 150. rođendana Nikole Tesle, (u okviru grupe Faust-Mani-fest), prostor Javnog kupatila, Beograd | 2005. Izložba i kongres IKG-a, OHNE GRENZEN - WITHOUT BORDERS - PIIRIDETA, Muzej Arhitekture Tallin, Esto-nija | 2004. Izložba Ideja ne realizacija, galerija Remont | Izložba 10 godina Konkordije, Muzej savremene Umetnosti, Beograd | IKG Kongres, Lodz i Nie-borow, Poljska | 2003. Izložba Re-discovered, Muzej istorije Jugoslavije, Be-ograd | Izložba Real presence 3, Muzej istorije Jugoslavije, Beograd | Izložba Ideja ne realizacija, Gradska galerija Požega (putujuća izložba) | 2002. Kodovi vremena, Peto internacionalno bijenale mladih, Vršac | 1999. Objekat Ruka jednog ubice-Mano negra, u okviru grupne izložbe, galerija Stefanija Miše-ti, Rim | 1998. Gost izložbe klase Janisa Kunelisa, Salon muzeja savremene umetnosti, Beograd | Izložba Contemporaneo, muzej Pinacoteca Molaioli di Fabriano, Italija | Izložba Saldo, muzej Kunstpalast, Dizeldorf | 1997. Izlož-ba Lebensterbenleben, galerija crkve Sv. Petra, Ahen | 1996. Prolećni salon 96., Galeriija Theatre Municipal, Luksenburg | 1995. Quick step, zajednička izložba sa umetnikom Jostom Višnevskim, galerija SKC-a, Beograd | 1994. Mi volimo i umetnost drugih, Akademija likovnih umetnosti, Dizeldorf | 1992. Izložba Majski susreti, Happy New Gallery, Beograd | 1991. 16 bijenale mla-dih umjetnika, Muzej moderne umjetnosti, Rijeka.Ostale aktivnosti/Other activities: 2012. Stipendija AiR Rondo, Grac,

Ministarstvo kulture Štajerske, Austrija | 2009. Raskršće – Festival umetnosti mladih u Valjevu, umetnička radionica | 2002. Umetnost-stvarnost-akcija, letnja umetnička škola Univerziteta umetnosti u Beogradu, Subotica 2002, (u svojstvu predavača) | 1997. Nagrada konkursa Connection (otkup rada, kolekcija Neurohiruške klinike u Dizeldorfu).kontakt/contact: www.selmantrtovac.com

ANICA VUčeTIĆRođena je 1962. u Beogradu. Diplomirala i magistrirala slikarstvo na Fakulte-tu likovnih umetnosti u Beogradu. Bavi se video instalacijama i ambijentima. Slobodan umetnik od 1986, član Umetničke zadruge Treći Beograd.Realizovala dvadeset devet samostalnih izložbi u Beogradu, Sarajevu, Čačku, Vršcu, Novom Sadu, Požegi, Raškoj, Mariboru, Muzeju savremene umetnosti Univerziteta u Sao Paulu (1995), Muzeju Ludwig Forum za internacionalnu umetnost u Ahenu (1999, 2001), Galeriji „23 y 10“ Kubanskog istituta za umetnost i kinematografsku industriju u Havani (2002), Muzeju savremene umetnosti Republike Srpske u Banja Luci (2010). Izlagala na više od sto gru-pnih izložbi u zemlji i svetu.

Nagrade: Memorijal Nadežde Petrović u Čačku – Nagrada Memorijala i Na-grada publike (2005), Grand Prix na 9. Međunarodnom bijenalu umetnosti minijature u Gornjem Milanovcu (2008), Politikina nagrada (2009).

Born in 1962, in Belgrade, Serbia. Works on video installations and video environments.Education: University of Arts in Belgrade – Faculty of Fine Arts: Graduate Studies – Bachelor of Arts, Painting (1986); Postgraduate Studies – Master of Arts, Painting (1989).Selected one-man shows: Exhibition Room of the Museum of Contem-porary Art Belgrade (1997); Museum of Contemporary Art of the University of Sao Paulo, Sao Paulo, Brazil (1995); Museum Ludwig Forum for Internati-onal Art, Aachen, Germany (1999, 2001); Galeria 23 y 10, ICAIC – Instituto Cubano del Arte y la Industria Cinematograficos, Havana, Cuba (2002); Mu-seum of Contemporary Art of Republic of Srpska, Banja Luka (2010). Group Exhibitions: Collegium Artisticum, Sarajevo, Bosnia and Herzego-vina; Menhengladbah, Germany; Kultur Centrum Sittard, Holland; Emersive New Media, Toronto; Espace Culturel François Mitterrand du Conseil général de la Dordogne, Périgueux, France; Leksands Kulturhaus, Sweden; Art Muse-um of Togliatti, Togliatti, Russia; Musee d’ Art Moderne, Saint-Etienne, France; Museum of Contemporary Art of Republic of Srpska, Banja Luka; National Gallery, Skopje, Macedonia; The Museum of Byzantine Culture, Thessaloniki, Greece; Nicolas Salmeron Cultural Centre Gallery, Madrid, Spain; Eskilstuna konstmuseum, Eskilstuna, Švedska; TOKI Art Space, Tokyo, Japan; Contem-porary Art Museum of Istra, Pula, Croatia.kontakt/contact: [email protected]

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ANTONIO ŽIVKOVIĆRođen je 1962. u Novom mestu u Sloveniji. Odrastao je u Trbovlji, gdje je i završio srednju školu. U Ljubljani je završio Elektrotehnički fakultet. Za foto-grafiju je počeo da se zanima 1986. godine. Jedan je od članova Zavoda za razvoj fotografije FAIR/WYP i član je društva Photon. Od 2001. godine radi kao samostalni umjetnik. Njegova djela se mogu naći u javnim zbirkama (Kabinet slovenske fotografije, Gorenjski muzej, Kranj; Moderna galerija, Ljubljana; Železnički muzej SŽ, Gradska galerija Nova Gorica...) i u mnogim privatnim zbirkama. Živi i radi u Škofljici kao samostalni fotograf.

Born in 1962, in Novo mesto, Slovenia. He grew up in Trbovlja where he fi-nished high school. Graduated form the Electrotechnic faculty in Ljubljana. He started doing photogaphy in 1986. He is one of the members of Insti-tution for development of photography FAIR/WYP and also a member of Association Photon. Works as a freelance artist since 2001. His artworks are part of many public collections (Cabinet of Slovenian photogaphy, Gorenjski Museum, Kranj, Modern Gallery Ljubljana, Rail Museum, City Gallery Nova Gorica, etc.) and in many private collections. He lives and works in Skofljica as a freelance photographer.

Samostalne izložbe / Personal exhibitions: 2011/ O industriji, Fakul-teta za družbene vede, Ljubljana | Zadnja izmena, Delavski dom, Hrastnik | 2010 / Sledi preteklosti, Atelje galerija Mikado, Ljubljana | 2009 / Fotografije 1998-2008, Mestna galerija Ljubljana | 2008 / Photographs 2001-2007, Fo-togalerie im Grazer Rathaus, Gradec/Graz (Avstrija/Austria) | Vrata rudniških objektov, Delavski dom, Trbovlje | 2007 / Vrata/Zadnja izmena, Cankarjev dom, Ljubljana | Vrata/Zadnja izmena, Vašhava, Zagorje | Fotografije 2003-2006, Galerija Mat Kultra, Zagorje | Rekonstrukcije, Galerija Photon, Ljublja-na | 2006 / Prostori tišine, Galerija Simulaker, Novo mesto | 2005 / Odsev spomina, Fotogalerija Stolp, Maribor | Dimniki, Galerija Photon, Ljubljana | Industrijski interieri 2005, Železniški muzej, Ljubljana | 2004 / Prostori tišine, Delavski dom, Trbovlje | On-Fas, Galerija Luwigana, Ljubljana | Vodni stolpi, Galerija Photon, Ljubljana | 2003 / Prostori tišine, salon Rotovž, Umetnos-tna galerija Maribor | Prostori tišine, Loški muzej, Škofja Loka | Prostori tišine, KUD France Prešeren, Ljubljana | 2002 / Odsevi, Mestna galerija, Nova gorica | 2001 / Odsev spomina, Cankarjev dom, Ljubljana | 2000 / Schwarzes Tal, Fotogalerie Palais Jalta, Frankfurt am Main (Nemčija/Germany) | Črna dolina, Zasavski muzej, Trbovlje | 1998 / Črna dolina, KUD France Prešeren, Ljublja-na | Črna dolina, Fotogalerija Stolp, Maribor | 1996 / Narava Beso, Cankarjev dom, Ljubljana | Movimento, Galerija Avla NLB, Ljubljana | Ujetniki pogleda, Cafe galerija Skica, Koper | 1995 / Berlin-Görlitzer Park, KUD France Prešeren, Ljubljana | 1992 / Rock koncert, Klub K4, Ljubljana | 1991 / Ujetniki pogleda, Galerija Prešernove hiše, KranjGrupne izložbe - izbor/Selected group exhibitions: 2011 / Obliko-

vanje republike, Muzej za arhitekturo in oblikovanje, Ljubljana | Fokus v pre-rezu, Galerija Plevnik-Kronkowska, Celje | Novi rock 3.0, Katedrala kino Šiška, Ljubljana | Dobrodelna dražba za varovance Cirius-a, Atrij Mestne hiše, Lju-bljana | 2010 / Gesamtkunst Laibach (Temelji 1980-1990), MGLC,Ljubljana | Dobr Fokus (Dobrodelna fotografska razstava), Stari grajski stolp, Celje | Pho-tonic moments 2010 (Mesec fotografije), Cankarjev dom, Ljubljana | 2008 / Skrito.si, Galerija Photon,Ljubljana | Emzin-ov natečaj za fotografijo leta 2007, Cankarjev dom, Ljubljana | multimeridijan 08, Stara tiskara Sv. Ivana, Pula (Hrvaška/Croatia) | Nuova Fotografia Slovena 2^ edizione, Triestefoto-grafia 2008, Trst/Trieste (Italija/Italy) | Fotografija, ki je ni, Mestna galerija, Pi-ran | 2007 / Sodobna fotografija na slovenskem, Galerija-Muzej Lendava | The Mediterranean landscape, Lazio tra Europa e Mediterraneo, Viterbo (Italija/Italy) | Vsak človek je svoj kustos, Moderna galerija, Ljubljana | 2006 / Pho-tonic moment, Grazer Rathaus, Graz (Avstrija/Austria) | Odprti Rog, Galerija ŠKUC, Ljubljana | Sodobna fotografija na slovenskem, Umetnostna galerija, Maribor | Nova fotografija-dokument, Savinov likovni salon, Žalec | 2005 / Aj-dovski stari mlin, Pilonova galerija, Ajdovščina | Ajdovski stari mlin, KUD Fran-ce Prešeren, Ljubljana | Hypegallery, Rencontres de la Photographie, Arles (Francija/France) | Photonic moment, Galerija Photon, Ljubljana | Slovenska umetnost 1995-2005, Moderna galerija, Ljubljana | Kabinet slovenske foto-grafije-Izbor iz zbirke, Prešernova galerija, Kranj | Laibach focus, Galerija stu-dentskog kulturnog centra, Zagreb (Hrvaška/Croatia) | 2004 / Immagini dalla nuova Europa, Mercati Traiani, Roma (Italija/Italy) | Podobe Slovenije, Galerija Kresija, Ljubljana | 6.Fotoincontro, Kulturni dom, Gorica/Gorizia (Italija/Italy) | Laibach focus, Galerija S, Ljubljanski grad | Laibach focus, Akademie der Bildenden Kunste, Dunaj/Wien (Avstrija/Austria) | 2003 / Salon sodobne slo-venske fotografije, Gospodarsko razstavišče, Ljubljana | Original, dobrodelna dražba fotografij, Galerija Photon, Ljubljana | 2002 / Rock, Galerija Ivana Gro-harja, Škofja Loka | 2001 / Oko in njegova resnica, Moderna galerija, Ljubljana | 1999 / Fénykép által homályosan, Ernst Múzeum, Budimpešta/Budapest ( Madžarska/Hungary) | La imagen que se escapa, Teatro San Martin, Buenos Aires, Argentina | 1998 / Emzin-ov natečaj za fotografijo leta 1998, Cankarjev dom, Ljubljana | Fotografi Posočju, Ars Cafe pri Črnem orlu, Idrija | 1997 / Zmuzljivost podobe fotografije, Mestna galerija, Ljubljana | Collective eye, Arhitekturni muzej, Grad Fužine, Ljubljana | Another Connection, Mediawa-ve, Gjör (Madžarska/Hungary) | Collective eye, Galeria BPA, Sofia, Bulgaria | 1996 / 34. slovenska razstava fotografij, Fotogalerija Stolp, Maribor | Collec-tive eye, Musée de l’Elysée, Lausanne (Švica/Switzerland) | Collective eye, Narodni technicke muzeum, Praga/Praha ( Češka/Czech Republik) | 1995 / Emzin-ov natečaj za fotografijo leta 1994, Cankarjev dom, Ljubljana | Cash & Carry, Galerija ŠKUC, Ljubljana | 1994 / 32. slovenska razstava fotografij, Loški muzej, Škofja Loka | 1993 / 31. slovenska razstava fotografij, KUD Španski borci, Ljubljana | 1989 / Mlada generacija fotografov na Slovenskem, Gorenj-ski muzej, Kranj.Izbrana bibliografija / Selected bibliography: Primož Lampič, Zavest

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in podzavest republike, razstavni katalog, junij 2011 | Sarival Sosič, Moč in-dustrijske fotografije, Art Centrala 04, december 2010. | Boris Gorupič, Sledi preteklosti, razstavni katalog Photonic moments, oktober 2010. | Matjaž Bru-lc, Podobe odsotnih zvokov, Revija Fotografija št.43/44, 2010. | Sarival Sosič, Moč podobe industrijske fotografije, razstavni katalog, december 2009. | Miha Colner: Nadčasna topografija industrijskega okolja. Dnevnik, 10. dec. 2009. | Vladimir P. Štefanec: S čustvi zaznamovana industrijska arheologija. Delo, 5. dec. 2009. | Vojko urbančič: Še globlje v jedro fotografije. Delo, 6. januar 2009. | Barbara Sterle Vurnik: Ohranjevalci spomina. multimeridijan 08, razstavni katalog, september 2008. | Milan Ilič: Fotograf umrlih duš in-dustrije. Delo, 3.april 2008. | Mojca Pišek: Rekonstrukcija Dantejevega pekla. Dnevnik, 15.november 2007. | Miha Colner: Nadaljevanje življenskega opusa. Revija Fotografija št.31/32, 2007. | Boris Gorupič: Težka industrija. Polet, 21.ju-nij 2007. | Mateja Grošelj: Razmišljam in ustvarjam analogno. Večer, 6.junij 2007. | Roman Rozina: Fotograf časa, ki se odlaga v spomin. Revija Razvoj, junij 2007. | Vladimir P. Štefanec: Zbogom knapi. Delo, 26.april 2007. | Breda Kolar Sluga: Nova f. UGM Maribor, razstavni katalog, september 2006. | Rasto Božič: Prostori tišine. Dolenjski list, 19.oktober 2006. | Boris Gorupič: Nova fotografija-dokument. Savinov salon, razstavni katalog, julij 2006. | Maja Me-gla: Umetnost v tovarne. Delo, 22.junij 2006. | Boris Gorupič: Intimne inter-pretacije industrijske arhitekture. MM februar 2006. | Irene Mislej: Ajdovski stari mlin. Pilonova galerija, razstavni katalog, julij 2005. | Miša Gams: Dimni-ki Antonio Živkoviča. Radiostudent.si, julij 2005. | Boris Gorupič: Ekspresiv-no dojetje industrijske krajine. Delo, 15.julij 2005. | Matija Brumen: Odsev spomina. Revija Fotografija št.23/24, 2005. | Boris Gorupič: Izid monografije Antonia Živkoviča. Marketing Magazin, april 2005. | Marko Zorovič: Odsev spomina Antonia Živkoviča. Večer, 7.marec 2005. | Mojca Štrajher: Oljni ma-dež časa. Dnevnik, 4.marec 2005. | Urška Samec: Odsev spomina. Spekte-ronline.net, marec 2005 | Marina Gržinič: Laibach: Se nadaljuje..., Ljubljanski grad, razstavni katalog, oktober 2004. | Vladimir P. Štefanec: Zgradbe brez duše. Delo, 7.oktober 2004. | Boris Gorupič: On Fas Antonia Živkoviča. Delo-skop, 30.september 2004. | Dejan Sluga: Podobe Slovenije, Galerija Kresija, zgibanka, julij 2004. | Barbara Sterle Vurnik: Čudoviti prostori tišine. Revija Fotografija št.19/20, 2004. | Brane Kovič: Sence molka. Delo, 30.oktober 2003. | Marko Zorovič: Čas in njegove naplavine. Večer, 2.april 2003. | Lara Štrumej: Elegija zapuščenim prostorom, razstavni katalog, marec 2003. | Igor Kavčič: Rockovske zgodbe. Gorenjski glas, 24.maj 2002. | Saša Bučan: Rock, Galerija Ivana Groharja, zgibanka, maj 2002. | Marta Hrušovar: Nostalgičen dotik. Za-savc št.8, 25.april 2002. | Klavdija Figelj: Lepota Črne doline. Primorske novice, 8.marec 2002. | Brane Kovič: Odsevi, Mestna galerija NG, razstavni katalog, marec 2002. | Valentina Vovk: Dve razstavi/Dva intimna svetova. Revija Foto-grafija, št. 13 -14, 2002. | Brane Kovič: Na robu preživetja. Delo, 6.september 2001. | Brane Kovič: Znamenja odsotnosti. Delo, 29.marec 2001. | Jelka Šutej Adamič: Odsev spomina v ječah. Delo, 13.marec 2001. | Uroš Zupan: Odsev spomina. Cankarjev dom, Ljubljana, zgibanka, marec 2001. | Sarival Sosič:

Črna dolina je moja dolina. Delo, 26.junij 2000. | Mateja Grošelj: Moji dolini in njenim prebivalcem. Večer, 15.februar 2000. | Wilhelm Roth: Es gibt kein Paradies. Frankfurter Rundshau, 8.februar 2000. | Dmitry Vilensky: Kein Pa-radies. Fotogalerie im Palais Jalta, zgibanka, januar 2000. | Pablo Baler: Con-temporary Slovenian photography, really! - For the Herald, julij 1999. | Sabine Faber: Slowenische Fotografen. Argentinische Tageblatt, 3.julij 1999. | Juan Travnik: La fotografia en Eslovenia. Foto Mundo, Buenos Aires, junij 1999. | Ines Katzenstein: De los eslovenos a Man Ray. La Nacion, 13.junij 1999. | Bra-ne Kovič: La imagen que se escapa. Teatro San Martin, Buenos Aires, razstavni katalog, junij 1999 | Juan Travnik: Fotografia eslovena contemporanea. Teatro San Martin, zgibanka, junij 1999. | Peter Rak: Realnost fikcije. Delo, 19.no-vember 1998. | Jelka Šutej Adamič: Ozko grlo črne doline dimnikov. Delo, 19.marec 1998. | Uroš Zupan: Razdalja je duša lepote. KUD France Prešeren, zgibanka, marec 1998. | Brane Kovič: Zmuzljivost podobe fotografije. Zimski salon, Mestna galerija Ljubljana, razstavni katalog, marec 1997. | Jelka Šutej Adamič: Evropska mreža za mlado fotografijo. Delo, 17.julij 1996. | Zala Ko-kalj: Interview mit Antonio Živkovič. Rohraff, no 1, 1996. | Damir Globočnik: Movimento. Galerija Avla NLB, Ljubljana, zloženka, marec 1996. | Tihomir Pinter: Berlin-Gerlitzer park. Revija Turist, december 1995. | Alenka Pirman: Cash & Carry. Galerija ŠKUC, letni katalog, december 1995. | Jure Nagode: Fo-tografiram, torej sem. Zasavc, št. 13, april 1995. | Marina Gržinić: Narava beso, obrazložitev nagrade, Emzin, letnik V, pomlad-poletje 1995. | Boris Jaušovec: Life Antonia Živkoviča. Večer, 20.maj 1991. | Damir Globočnik: Life - Antonio Živkovič, Prešernova hiša, Kranj, zloženka, maj 1991. | Aleksander Bassin: Na začetni poti, Mlada generacija fotografov na Slovenskem. Gorenjski muzej, Kranj, razstavni katalog, november 1989.kontakt/contact: [email protected]

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