milan aleksić: prethodna zbivanja – od savremene jugoslovenske do savremene post-jugoslovenske fotografije

PRETHODNA ZBIVANJA: OD SAVREMENE JUGOSLOVENSKE  DO  SAVREMENE POSTJUGOSLOVENSKE FOTOGRAFIJE

* Milan Aleksić (Beograd)

Za razmatranje post Jugoslovenske fotografske scene, od koristi može biti podsećanje na dva dogadjaja: jedan ostvaren i jedan planiran. Ostvarena izložba Savremena Jugoslovenska fotografija i simpozijum “Izmedju” fotografski pogled na jugoslovensku kulturu je održana 1989 na Kornel univerzitetu u SAD. Planirani projekat je na nivou kustoskog predloga Fictographs koncipiran 1996 godine ali do sada nije realizovan.

1. Savremena Jugoslovenska fotografijai simpozijum Izmedju” fotografski pogled na jugoslovensku kulturu je predstavljena u Hartell galeriji, Ithaca, SAD.

Kustosi izložbe jesu bili Berry Perlus i Milan Aleksić.

Pri skorašnjem predstavljanjanju te izložbe  čovek se sreće sa najmanje dva problema. Jedan je sam pojam “savremena” iz naziva. Ako bi “savremeno” ostalo bez vremenske odrednice, kao kada se na početnom slajdu nedavne prezentacije pojavi samo odrednica “Savremena Jugoslovenska fotografija”, onda odmah postaje jasno da se radi o nemogućem sklopu. Ne može se danas govoriti  “savremena” i “Jugoslovenska” iz jednostavnog razloga što Jugoslavije više nema. Takodje je nemoguće da pregled produkcije od pre dvadeset godina bude savremen (pripada ovom vremenu) osim ako se svojim kvalitetom umetničke i kustoske vizije ne nameće kao proizvod neprolazne i trajne vrednosti. Problem je očigledno u samostalnom pojmu “savremena” koji se opire protoku vremena i istoriji. Logično je da sada može da postoji samo savremena postjugoslovenska fotografija.

Drugi problem je još opasniji jer se radi o potencijalnom psihološkom poremećaju koji se može vezati uz ponovno razmatranje te izložbe. Taj psihološki poremećaj je, do skorašnjeg medicinskog obrta koji u njemu naslućuje i moguće terapeutsko dejstvo, bio poznat da izaziva uznemirenost, nesanicu, lupanje srca, depresiju pa je shodno ozbiljnosti simptoma bio kroz istoriju lečen i elektrošokovima. Radi se o nostalgiji. Ipak, podsećanje na Savremenu jugosovensku fotografiju is 1989 godine jeste korisno. Ono formira spoj izmedju našeg prošlog i sadašnjeg bića u kojem nostalgija ima potencijal da ustanovi veze izmedju oblasti kao što su sećanje, emocije, kontinuitet i smisao.

Na izložbi jesu bili predstavljeni radovi Stojana Kerblera, Tomaža Lundera, Branibora Debeljkovića, Dragoljuba Kažića, Milice Marinčić, Zorana Tomića, Tomislava Peterneka, Dragana Tanasijevića, Ivana Posaveca, Mia Vesovića, Marka Gosara, Maria Hlače, Vladimira Gudca, Vlaste Delimar, Borisa Cvjetanovića, Sanje Bachrach i Maria Krištofića, Nenada Bračića, Dragana Pešića, Stanke Djorić i Draga Dangubića, Ljubomira Šimunića, Fedora Vučemilovića i Milana Aleksića.

Princip okupljanja je bio jednostavan. Radilo se samo o kvalitetu i snazi pojedinačne umetničke vizije i iskustva. Takav stepen  potpune tematske slobode je rezultirao ne vidjenjem i interpretacijom zadatih aspekata Jugoslovenskog okruženja, kulture i zajedništva tog vremena već davanjem autentičnog umetničkog uzorka na osnovu kojega je mogla da se formira i proveri teza o Jugoslovenskoj kulturi i zajednistvu. Teme su bile shodno tome raznorodne od voajerizma, arheologije, eksperimenta, filmskog stripa, sela, studentskih demonstracija, egzibicionizma… Kao da jedino Jugoslavija nije bila tema već samo ligočan okvir umetničkog i kustoskog  rada.

Na pratećem simpozijumu su u tumačenju radova, kao i obično, bili najlucidniji ljudi van istorije umetnosti.

Robet Asher, Department of Antropology, je tako ustanovio da: “When I look around this exhibition of Yugoslav potography, I see local and I see universal… Yugoslavia is a very complex place with, as we have noted, many different languages. In the exhibit there are local traditions ( different places in Yugoslavia), more broadly local traditions (something common perhaps to all of Yugoslavia) , and something which extends beyond Yugoslavia. I expect to see, and do see, both the local and the universal in the exhibit.”

U to vreme je, bez najave budućih zloslutnih zbivanja i raspada, Robert Asher postavio nekoliko i pitanja: “Why is it that no one in the photographs smiles? Not a single smiling person. Nobody even looks like he’s goinng to smile at any time in the future.” Razmišljao je “that the overall mood or tone of the exhibit was somber.” Iako kustosima takav pristup i moguće tumačenje nikako nisu ugradili u bilo koji aspekat procesa selekcije.

Profesor Debra Fried, Department of English, primećuje kako “Any picture of another culture has resonances for us that to some degree are luxuries.”

Mogućnost traganja i istraživanjem različitih kultura  se relativno neočekivano javila svega nekoliko godina posle američke izložbe i promenom kulturnog pejzaža  na samom području bivše Jugoslavije. Kako se isti fotografi i njihovi naslednici snalaze u novim kulturnim okolnostima se nametalo kao logično pitanje za dalje kustosko istraživanje. Tako je iniciran predlog projekta Fictographs sa tezom da proveri kako se fotografi sa izložbe snalaze sa sopstvenim iskustvom u postjugoslovensko vreme.

Ako je tačno da slike iz različitih kulture odzvanjaju i odredjenim stepenom luksuza onda  je predlog istraživanja postjugoslavije kao začetka novih kultura vredan svakog napora. Da li će se pokazati da su nova kulturna odredišta luksuzna u smislu velikog komfora i ekstravgantnog života ostaje da se potvrdi u odjecima kulturnih promena od Jugoslavije do postjugoslavije.

2. Projekat Fictographs photographers from Serbia, Croatia and Slovenia

Exhibition proposal as defined in the 1996:

This exhibition should consists of three separately curated exhibitions of photographs from Serbia, Croatia and Slovenia presented in the same place at the same time.

The last overview of photography scene in Yugoslavia entitled: Contemporary Yugoslav Photography has been done  in 1989.  This project is in the meantime gaining fictive significance as the last, unique and one that can not be repeated. Contemporary Yugoslav Photography in the 90’s will inevitably be different. The problem with otherwise expected development, that comes as a result of one decade of individual and collective achievements in the field, lies in the fact that neither Contemporary nor Photography has changed significantly.

It is Yugoslavia which is in the meantime violently taking different form and content.

In Contemporary Yugoslav Photography 1989,  3 participants come from Slovenia, 10 from Serbia and 9 from Croatia. Their work come as a result of, amongst other things, multiple mutual exposure to each other’s work within the framework of Yugoslav culture. Now, these artists live and work in different countries with almost total isolation from each other,  and the term contemporary scene will have to be applied to three different segments of what once used to be a single unit.

Curatorial and artistic curiosity to follow the work of well known colleagues and friends and to exhibit together again, is stopped by the unfortunate political developments beyond artistic comprehension and influence. The only possible benefit from the forcefully torn cultural organism is the ability to observe different organs developing in total isolation from other parts of the formerly same body. Cultural disintegration, the exercise which under social laboratory conditions will be to cruel to perform, already happened, so it can be used to test the following concept: how deep our roots are?

The experiment will include gathering photographers from the region of the former Yugoslav cultural milieu to represent their new work together. Such a gathering will show how similar or different we were/are once relieved from centrifugal cultural force. It will also test artistic self defense mechanisms during the time of conflict and individual ability to artistically  survive. As no contacts are possible yet the organizational framework for the exhibition will include three separately curated exhibitions of Yugoslav (Serbian), Croatian and Slovenian photography. Each exhibition should feature photographs from approximately 5 photographers who will be able to fully represent their work with a selection of 20-30 pieces. These selections should not bear national, ideological or state identification, but should insist on purely artistic criteria and values.

Curators should come from three countries involved with the fourth member of curatorial team coming from England, Germany or France, to represent museum or gallery institution willing to liaise with parties involved and host the exhibition.

Curator for Yugoslavia: Milan Aleksic

Curator for Croatia: Vladimir Gudac

Curator for Slovenia: Stojan Kerbler

Izložba Fictographs je ostala na nivou predloga i najbliže ostvarenju ovog projekta se došlo 2012 izložbom projektom “Aftermath – Promjena kulturalnog pejsaža” . Taj projekat je još aktivan i tek će se videti njegovi dometi i značenje kroz buduće izložbe, seminare i publikacije.

Slično prethodnim primerima i Aftermath predstavlja fotografe iz područja koje je bilo omedjeno granicama zajedničke Jugoslavije. No, za razliku od prethodnih ova izložba je tematski odredjena fokusom na godine promena i raspada više nego na pitanja slobodnog istraživanja sopstvenih interesovanja i osećajnosti. Podsećanje na sve ove segmente daje mogućnost formiranja spoja izmedju našeg prošlog i sadašnjeg bića pri čemu se nadamo da nostalgija  da sliku pozitivnog gledanja na prošlost a time i osećanje kontinuiteta i smisla budućeg života i iskustva.

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AFTERMATH. Changing Cultural Landscape – Sarajevo

AFTERMATH. Changing Cultural Landscape
Tendencies of engaged post-Yugoslav contemporary photography

12-26 May 2014

City Gallery Collegium Artisticum, Sarajevo
(Terezije bb, Centar Skenderija)

After the initial presentation in Ljubljana followed by five shows across the region (Pordenone, Zagreb, Beograd, Cetinje, Bratislava) Aftermath. Changing Cultural Landscape project will be shown in Sarajevo. The exhibition brings together the principal protagonists from the field of engaged contemporary photography active in the territory of the former Yugoslavia following its disintegration (1991–2011).

*The exhibition is dedicated to recently deceased Milena Zarić Maksimović. R.I.P.

Nenad Malešević, Age of Renewal, 2009-2011

Nenad Malešević, 13 January 2006, from the Age of Renewal series, 2006-2011

Domagoj Blažević • Boris Cvjetanović • Qëndrëse Deda • Andrej Đerković • Tomaž Gregorič • Majlinda Hoxha • Astrit Ismaili • Robert Jankuloski • Genc Kadriu • Amer Kapetanović • Silvestar Kolbas • Srđan Kovačević • Borut Krajnc • Nenad Malešević • Goran Micevski • Duško Miljanić • Bojan Mrđenović • Paula Muhr • Oliver Musovik • Vigan Nimani • Ana Opalić • Lazar Pejović • Darije Petković • Ivan Petrović • Marija Mojca Pungerčar • Vojo Radonjić • Jasenko Rasol • Bojan Salaj • Tarik Samarah • Mirjana Stojadinović • Viktor Šekularac • Dejan Vekić • Sandra Vitaljić • Borko Vukosav • Milena Zarić • Ivan Zupanc • Antonio Živkovič

The Aftermath. Changing Cultural Landscape international project is the first regional research and curatorial platform established in order to identify and articulate principal tendencies within the field of contemporary photography in relation to its immediate environment. With the participation of partner organisations from throughout the former Yugoslavia, the project represents an extensive investigation of the effect of large-scale social shifts on the image of the physical and mental environment, and thereby, also on the expression of a number of artists who work in the field of fine art photography.

Aftermath represents a metaphor for the consequences of turbulent events and their mark on the physical environment and on social everyday life. Through their creative efforts, the participating artists address various effects of transition processes that unconditionally and brutally changed the life of the individual, be it the bloody wars in the 1990s and their indirect and direct consequences, radical economic changes that had a significant impact on the general climate, or directly related new social values.

Due to its temporal span, Aftermath provides an interesting confrontation of artistic reflections and expressions of various generations that either experienced the period before the disintegration of the common state or originate from a completely new social context. A 20-year period is short enough to preserve historical memory; thus, with most artists, the new situation is always somewhat juxtaposed with the memory of the recent past. The main starting point of the exhibited works is therefore the relation between the old and the new, the recording of the gradual changes within an individual place and time and the effect of ideologies on the broader social and physical environment.

Aftermath is collaborative project of seven partner organisations from former Yugoslav states (Beograd, Cetinje, Ljubljana, Priština, Sarajevo, Skopje, Zagreb); it is supported by European Cultural Foundation (BIFC), local authorities and Commune di Pordenone.

collegium.omnitask.me

www.photon.si

Partners:
Photon (Ljubljana) / Remont (Belgrade) / Film & Film (Pula) / Collegium Artisticum (Sarajevo) / Stacion (Prishtine) / Narodni muzej Crne Gore (Cetinje) / Contemporary Croatian Photography (Zagreb)

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