SLUIM UMJETNOSTI Sluim umjetnosti je multidisciplinarni projekat koji obuhvata nekoliko radova koji se realizuju u jednakom vremenskom periodu

izolacije u prostoru bive kasarne Vrbas. Poetkom oktobra je zapoela izolacija i realizacija radova. Poseban je izbor prostora bive kasarne kao centralnog mjesta aparata jednog totalitarnog reima ije su traumatine posljedice jo uvjek prisutne u drutvu. Dekonstrukcija identiteta tog prostora i line prolosti su dodatno izraeni devetomjesenim performansom i intervencijama koje su realizovane u tom prostoru za vrijeme performansa. Lina povezanost sa prostorom je moj boravak u takvom prostoru u kojem sam zavrio kolu rezervnih oficira(6 mjeseci) i obuavao 30 vojnika(3 mjeseca). Kao ekvivalentnost tom stereotipnom ponavljanju jednakih dana i nehumanostikoj implikaciji tog boravka ponovni boravak u jednom takvom prostoru u jednakom vremenskom periodu(9 mjeseci). Akcenat u toku realizacije performansa stavljen na multidisciplinarnosti u izrazu gdje koristim umjetnost kao sredstvo dekontamanacije prostora i njegovoj dekonstrukciji. Poetkom performanasa otvorena je web stranica (20.10.2006 - 14.07.2007) koja je medij prezentovanja rada 274 pogled n svijet(www.iserveart.net) i moe se definisati kao kombinacija Big Brothera,vojne slube i zolokog vrta. To je rad koji je jednosmjeran nain komunikacije umjetnika u izolaciji i drutva.Intervencija kojom se zavrava rad ce biti odrana u bivoj kasarnoj Vrbas na nekoliko lokacija. Rad Sit-no je kao uzvik u vojsci uz koji se izgovara broj preostalih dana do razduivanja. U ovom sluaju to je odbrojavanje dana sluenja umjetnosti kroz radove koji su preispitivanje i kritika ideolokog, kulturnog, vojnog i politikog sistema.Rad reflektuje kritiki odnos umjetnika izvan drutva prema istom, koristei se najee praksom lingvistikog konceptualizma i postmodernistikog pristupa. Mapiranje BIH u radu Artattack kao mogue stanice na putu kretanja teroristikih organizacija ka zapadu ovdje tei da predstavi jedno slino djelovanje na polju kulture. Rad nastaje u izolaciji u vidu planova kako doi do izlobe u velikim evropskim i svjetskim centrima. Area 1 for artattack je presjek i mogui modus bosanskog umjetnika koji dolazi do izlobe.Na platnima su motivi galerija ije sam mape dobio aljui dopise i predstavljajui se kao organizacija za promociju kulture iz Holandije. Dobivi mape od pojedinih galerija slikam plan postavke svojih radova u tom prostoru koristei se vojnim simbolima u izrazu. Po zavretku ciklusa ponovo aljem dopise galerijama u kojem traim izlobu, uz prijetnju umjetnikim terorizmom ! Invert shoot (naopako pucanje) je inverzno djelovanje autora u odnosu prisustva i odsustva prolosti prostora. Dekonstruktivan je odnos prema povrini na kojoj umjetnik treba da ostavi odredjeni trag koji emanira konstrukciju umjetnickog djela. Figura je motiv rada koji je izgradjen na temelju pucanja izvan samih kontura figure iz puke.Tako da pucanjem oko figure nastaje i sama figura sto je suprotno tenji u koritenju oruja, a to je da se pogodi figura kao cilj.Ovaj performans za cilj istovremeno ima i umjetnicki i istrazivacki karakter, kritikuje umjetnost koja struktuira mehanizam ideoloske interpelacije i predstavlja mogui model progresivnog umjetnickog djelovanja.

I SERVE ART I serve art is a multidirectional project which covers several works realised at the same time of isolation in ex-military barracks Vrbas. At the beginning of October began isolation and realisation of works. Ive chosen the place of exmilitary barracks as a central place of totalitarian regime aparatus whose traumatic consequences are still obvious in our society. The project is a deconstruction of the places identity and my personal past by 9 month lasting performance and interventions realized in the place while performing. Personal connection with the mentioned place reflects my stay in such a place where Ive finished school for reserve officers( 6 months) and trained 30 soldiers(3 months). As equivalence to that stereotyped repetition of equal days and inhuman implication of the stay would be my repeated 9- month stay at the same place. While performing, focus would be put on multidirectional expression. Im using art as a mean for decontaminating the space and its deconstruction. The web page started at the beginning of the performance(20.10.2006-14.07.2007)which is then a media for the work 274 ways to look at the world(www. iserveart.net) and this work could be defined as combination of Big Brother, military service and a Zoo. This work represents one way comunication between the artist in isolation and outer world. Intervention and exhibition at the end of project will be held in ex-military barracks in few locations. One of works is Sit no that is like a command in army used for acknowledging the number of remaining days. In this case it is counting down the days of serving art through works which are examination and critic of ideological, cultural, military and political system. The work reflects critical attitude of an artist outside society towards the same. Mapping B&H in work Artattack, as a stop station on the terrorist organizations road to the west, tends to represent a similar effect in a cultural field too. This work is created in isolation as part of plans how to achieve exhibitions in big European cities. Area 1 for art attack is perspective and a modus of achieving the exhibitions for a Bosnian artist. In the pictures are parts of the galleries whose maps I got by sending emails and presenting myself as a Dutch organization for cultural promotion. After receiving maps of certain galleries, I paint a plan how to exhibit my works in that space expressing myself in military symbols. At the end of a process, I send my emails to the galleries again, requesting exhibition, threatening with art terrorism. Work Invert shoot as invert authors effect in terms of present or absent history at the space. Its representing deconstructive attitude towards the surface, on which the author should leave a certain trace, which would later lead on to the construction of the work of art again. A figure is a motive, put up by a rifle shooting outside the outlines of the figure itself. So, aiming just at outlines of the figure, the figure itself is being produced or shot, which is again the ultimate goal of the shooting. The project has simultaneously artistic and exploratory features. It critisizes the art which builds the mechanism of ideological interpellation and represents possible model for progressive artistic influence. Mladen Miljanovi

Eksploatacija konteksta ili o dekonstrukciji i rekonstrukciji identiteta Dua umjetnikog djela nije u njegovu tijelu. Prije e biti da se tijelo umjetnikog djela uvijek nalazi u njegovoj auri. Boris Groys Jo se Walter Benjamin ranih tridesetih godina prolog stoljea u svom uvenom eseju Umjetniko djelo u doba tehnike reprodukcije, kada je govorio o auri umjetnikog djela da bi opisao razliku izmeu originala djela i njegove reprodukcije, pitao o sudbini umjetnikog djela u moderno doba kada se ono vezuje uz smisao koju metaforiki izraava fraza gubitak aure. Pojam aure, po Benjaminu, zapravo naglaava sudbinsku povezanost umjetnikog djela i mjesta s kojeg ono potjee - djelo je uvijek topoloke naravi, uronjeno u svoj izvanjski kontekst. Tu funkcionalnu relaciju Boris Groys opisuje kao topologiju aure, jer aura upravo oznaava razliku izmeu ivog konteksta umjetnikog djela i njegove tehnike proteze koja nema svoje mjesto ili kontekst. Imati mjesto ili kontekst znai posjedovati sve radosti i traume identiteta i razliitosti, koje su podjednako kolektivne i individualne. Identitet je naime, kao i takozvana ideologija autonomije uostalom, rezultat presjeka u osi vrtloga razliitih subjektivnih i objektivnih silnica i interesa, a ta je uporina toka i oslonac tijela identiteta. Nadovezujui se na Lacanovu tezu o znaenju slike tijela u konstrukciji identiteta subjekta, u sluaju je mladog umjetnika Mladena Miljanovia (1981.) ta poticajna slika tijelo vojnog kompleksa u tranziciji - kao posve odreen prostor banjaluke kasarne Vrbas u kojem je sam Miljanovi zavrio estomjesenu kolu rezervnih oficira; njegovom se preciznom kontekstualnom lokalizacijom i bavi u svom radu pratei, pritom, dominantni komunikacioni kanal prostor znak. Povodei se za jednim od tvoraca teorijskog itanja umjetnosti, semiotiarem Umbertom Ecom, koji je spojio fenomenoloke i strukturalne pristupe umjetnikom djelu u analizi uvjeta njegova nastanka (u prvobitnom konceptu otvorenog djela, 1958.), s punim pravom postavljamo pitanje: to nam danas donosi taj sklop koji pretpostavlja komunikacijsku strukturu odailjatelj primatelj, odnosno umjetniko djelo poruka. Moda tek danas razumijemo do kraja, kako to formulira Groys, da dua umjetnikog djela nije u njegovu tijelu, dakle, njegov se umjetniki jezik ne moe tek svesti na boje i oblike, nego e prije biti da se tijelo umjetnikog djela nalazi u njegovoj auri, dakle, izvan njega samog; jednom rijeju, u dijalokom odnosu u kojem ono postaje medij ili kanal hermeneutikog razumijevanja. Meutim, ovo tumaenje fenomena diskursa kao znakova post-estetskog pristupa umjetnikom djelu postaje takoer i post-estetski postupak stvaranja, odnosno produkcije umjetnosti. Kljunu ulogu danas sve vie preuzima upravo ova umjetnika praksa u kojoj se i umjetnik i promatra spajaju u poziciji tumaa. U tom smislu, Eco pretpostavlja da je svaka poetika kao

operativni projekt istodobno i komunikacijski projekt. To je toliko oito postalo u suvremenim umjetnikim strategijama, da se u ovom vremenu umjetnosti poslije umjetnosti (Donald Kuspit) problem post-estetskog pristupa vidi prividno kao posljedica nepostojanja pravog odgovora na pitanje to je umjetnost danas. Zapravo, kada se umjetnost u tolikoj mjeri pretapa u (svakodnevno) iskustvo ivota da sva teorijska pitanja umjetnike transcendencije ili estetska pitanja o lijepom i runom postaju irelevantna, onda postaju bitne kontekstualne odrednice kulturolokog posredovanja autonomije umjetnikog subjekta u procesu realizacije projekta, bilo da je u pitanju instalacija djela ili izlobe. U ovom podruju se Mladen Miljanovi suvereno kree jer precizno prepoznaje koordinate mjesta/prostora, iji je identitet posvojio kao alibi za svoj kreativno-ideoloki, odnosno poetiki pristup. Narativ samog mjesta (nekadanja kasarna - jo od austro-ugarskih vremena, vojni stoer, kola rezervnih oficira, te sadanji civilni prostor, studentski kampus, umjetnika akademija itd.) funkcionalno je u slubi eksploatacije konteksta, iji je identitet ve faktiki i simboliki razgraivan zadnjih desetak godina. Iz perspektive Miljanovieve poetike, tijelo ovog prostora je medij kojim se njegov dominantan i veoma precizan simboliki poredak vojne moi dekonstruira. Potom se rekonstruira sa stajalita transfera u problematizaciju liberalistikog sistema moi i njegovih oblika djelovanja na pojedinca u modernom drutvu, ija je strukturalna paradigma umjetnika sloboda kreativnog pojedinca. Da takozvana autonomija umjetnikog subjekta ne bi ostala tek na metaforikoj razini, Miljanovi u potpunosti realizira fenomenologiju ideoloke metafore sluiti vojsku/sluiti narodu u projektu Sluim umjetnosti/I Serve Art, svojom odlukom da u devetomjesenom performansu dobrovoljne i potpune izolacije u nekadanjem prostoru vojne moi doslovno ponovi ritual totalne kontrole nad pojedincem do granice njegove fizike izdrljivosti; jer, ta je kontrola, kako kae sam Miljanovi, podrazumijevala tijelo kao krajnju jedinicu preko koje treba da se vri manipulacija i transformacija linosti. U operacionalizaciji svog projekta koji se slui tijelom obiljeenog prostornog teritorija, on obre rigidnost i zatvorenost vojnih regula izolacije u otvorenu i javnu multimedijalnu prezentaciju procesa odvijanja performansa izolacije. Ona poprima stanoviti oblik spektakla u Baudrillardovom smislu, te se odvija poput neke kombinacije Big Brothera, vojne slube i zoolokog vrta, dakako preko masovnih medija (web, tv, e-mail, video-linkovi, novine). No, njena zbiljska i medijska realnost se spajaju u bodrijarovsku hiperrealnost, koju dodatno potvruje kolska kontrola (performans se odvijao u okviru prve godine postdiplomskih studija Akademije umjetnosti). Naravno, ova kontrola je drugaija po ideolokoj prirodi, ali ne i potpuno razliita po bitnoj prirodi i smislu prosvjetiteljske ideje nadziranja slobodnog razvoja pojedinca. No, u ovom sluaju, autonomnost umjetnikog izbora i odluke nadziru nadzirano! Ma koliko da je danas ideoloki model suverenosti nad fizikim granicama (bilo kojeg materijalnog ili virtualnog entiteta!) u tranziciji, ili je ve posve promijenjen, do problema,

meutim, dolazi kada se polje djelovanja novog, Slobodnog liberalistikog sistema moi primjeni na teritorijalno ogranienog subjekta. Otuda svoje podruje djelovanja Mladen Miljanovi iri na razliita fenomenoloka polja preispitivanja mehanizama uobliavanja identiteta. U radu Sitno (uzvik u sistemu vojske uz koji se izgovara broj preostalih dana do razduivanja) polazi od strategije svakodnevnih, nevezanih vizualnih zapisa, na podlozi ujednaenog formata, kao dnevnih poruka iz zatoenosti obiljeenim tijelom prostora dok odbrojava svoje dane sluenja svijetu umjetnosti. Odbrojavanje je dokumentirano i radom - fotodokumentacijom 274 pogleda na svijet (20.10.2006. 14.07.2007.), suoenja aktera performansa i prostora kasarne sa razliitih stajalita unutar ogranienog prostora kretanja u kojem se pogled umjetnika, koji je okrenut leima prema promatrau, koristi kao sredstvo subjektivne dekontaminacije prostora optereenog daljim i bliim povijesnim kontekstom. U radu Artattack Miljanovi koristi strategiju simulacije u mapiranju potencijalnog kretanja umjetnikog terorizma prema Zapadu, s bosanskim predznakom. Rad je konceptualiziran poput tajne operacije u izolaciji u kojoj se stvaraju planovi kako doi do izlobe u velikim evropskim i svjetskim centrima. U tom smislu je sastavni dio rada i vlastiti umjetnikov diskurs samoopisivanja: Area 1 for artattack je presjek i mogui modus bosanskog umjetnika koji dolazi do izlobe. Na platnima su motivi galerija ije sam mape dobio aljui dopise i predstavljajui se kao organizacija za promociju kulture iz Holandije. Dobivi mape od pojedinih galerija slikam plan postavke radova u tom prostoru koristei se vojnim simbolima u izrazu. Po zavretku ciklusa ponovo aljem dopise galerijama u kojima traim izlobu, uz prijetnju umjetnikim terorizmom! Za razliku od multimedijske strategije simulacije artattacka virtualnim upadom u institucionalni galerijsko-umjetniki sistem svijeta umjetnosti, Miljanovieva strategija simulakruma u radu PAYBACK zasniva se na udarnoj jednostavnosti instalacije ikonikog znaka. Instalacija slikarskih platana na ijoj su bijeloj, nevinoj podlozi do neprozirnog crnila plono kontrastirane slike oruja postavljenih na ready made inventar invalidskih kolica i taka pronaenog na vojnom otpadu, svojom istom vizualnou ini vidljivim upravo ono nevidljivo: osjeaj nelagode (neto kao otplata duga) prema bliskoj prolosti aktualnog prostora umjetnikove izolacije. Pozicija umjetnika nije vrijednosno neutralna pozicija: u vrstom nizu stratekih problematizacija te njihovih konceptualizacija i vizualizacija dominira kontekstualni kod u pristupu, dakako na onoj komunikacijskoj liniji prostor znak koja ne razdvaja otro kontekst umjetnosti od konteksta ivota. Na ovaj nain fokusirane teme i forme identiteta su uinjene znaajno vidljivima; dakle, prisutnima kako na lokalnoj tako i na iroj umjetnikoj sceni kao problem krize identiteta u tranziciji, ali i kao neokonceptualna potraga za identitetom razliitosti u odreivanju prema tumaenju istonoeuropske tranzicijske paradigme. Sonja Briski Uzelac

Exploit of the context or about deconstruction and reconstruction of the identity The soul of a work of art is not in its body. Its more likely that the body of a work is in its aura. Boris Groys Even Walter Benjamin in the early thirties of the last century, in his famous essay Work of art in the age of technical reproduction, when he spoke of the aura of the piece of art to describe the difference between the work and its reproduction, wondered about the destiny of the work of art in modern age when its associated to the sense metaphorically expressed in the phrase loss of aura. Term aura, according to Benjamin, actually emphasizes destined connection of work of art and the place it comes from-work has always topological nature, implanted in its external context. This functional relation is described by Boris Goys as topology of aura because aura signifies exactly the difference between live context of the work of art and its technical extension which hasnt got its own place or context. To have place or the context means to posses all the joys and traumas of the identity and distinctiveness which are equally joint and individual. Identity is actually, as well as the ideology of autonomy withal, result of centerline of whirls of different subjective and objective tendencies and interests, and that anchorage is reliance of the identity. Relating to the Lancans thesis about the significance of the picture of the body in structure of subjects identity, that incentive picture, in case of young artist Mladen Miljanovic(1981), is the body of military complex in transition-as particular space of barracks Vrbas in Banja Luka, where Miljanovic graduated six months school for reserve officers; its precise contextual localization is his work , thereat adding dominant communication channel space-sign. Guided by the one of creators of theoretical interpretation of art, semiotic Umberto Eco, who united phenomenological and structural approaches to work of art in analyzing conditions of its creation (in primary concept of opened work, 1958), with full right we ask the question: what is clutch presenting communicational structure transmitter-receiver, i.e. work of art-message giving us today? Maybe just nowadays we understand completely Groys words the soul of work of art is not in its body, hence, his artistic language cant be reduced only to colors and forms, but its more likely that the body of work is in its aura meaning beyond itself. Simply, it becomes media or channel of hermeneutical understanding in dialogue. However, this interpretation of discourse phenomenon as signs of post-esthetic approaches to work of art becomes post-esthetic approach of creation as well, i.e. production of art. Key role is today taken by the artistic practice where artist and observer are together interpreters. Meaning, Eco supposes that each poetics as operational project is at the same time communicational project. This has become so obvious in contemporary artistic strategies that, in this age of art after art (Donald Kuspit), the problem of post-esthetic approach is apparently seen as consequence of nonexistence of real answer to the question what is art today.

 Actually, when art in such terms converts into (everyday) experience of life that all theoretical issues of artistic transcendences or esthetic issues of pretty and ugly become irrelevant, then, contextual guidelines of cultural intercession of artistic subjects autonomy in process of realizing the project become relevant, whether it is installation of the work or the exhibition. Mladen Miljanovic is sovereign in this field because he precisely recognizes the coordinates place/space, whose identity he adopted as an alibi for creative-ideological i.e., poetical approach. Narration of the place itself (former barracks, dating back to Austral- Hungarian rule, military pivot, service officer school, and todays civil place, university campus, art academy, etc) is in service of context exploit, whose identity has already been symbolically elaborated in last ten years. Through Miljanovic poetics point of view, body of this space is the medium which he uses to deconstruct the symbolic and very precise system of military power. Then, its being reconstructed as transfer in problematization of liberal system of power and its ways in affecting individuals in modern society, whose structural paradigm is artistic freedom of an imaginative individual. That this, so called, artistic subjects autonomy wouldnt survive only on its metaphorical level, Miljanovic entirely embodies phenomenology of the ideological metaphor serve the army/serve the people in project I serve art. He made his own decision to voluntary perform nine months of isolation in a place of former military power literally repeating the ritual of total control over an individual up to the highest level of his physical endurance; because, this control implies that the body is ultimate unit through which manipulation and personality transformation should be performed, says Miljanovic. In operationalization of his project using the body of scared special territory, he reverses rigid and closed of military rules of isolation to opened and public multimedia presentation of developing process of isolation. In Baudrillards sense, it turns into a form of spectacle, and runs as combination of Big Brother, military service and zoo, certainly through mass media (web, TV, e-mail, video-link, newspapers). But its factual and public reality is united in Baudrillards hyper reality which is additionally magnified by school control (the performance was on during the first year of master studies at Art Academy). This control is, of course, different in its ideological nature, but not completely, when it comes to essential nature and sense of monitoringfree development of an individual in education. But, in this case, autonomy of artistic choice and decision monitor whats monitored already. No matter how far in transition or completely changed is the ideological model of sovereign over physical boundaries (whether material of virtual entity), problem starts when you apply Free liberal system of power to territorially limited subject. Therefore, Miljanovic expands his field to different phenomenological fields of questioning the mechanism for forming identities. In the work Sitno (military exclamation used to stress how many days are left till end) he begins with a strategy of everyday, unconnected visual inscriptions, on an equalized format surface, in a

form of daily messages written in isolation while counting down the days of serving the world of art. Countdown is photo documentation 274 ways to look at the world (20 Oct 2006-14 July 2007), which presents confronting the performer and the space of barracks where artists view(whos back is facing the observer) is used as a mean of subjective decontamination of the space burdened with past and more recent historical context. In his work Artattack, Miljanovic uses strategy of simulation in mapping a potential route of art terrorism towards West with Bosnian sign. The work I framed as secret operation in isolation, making planes how to achieve an exhibition in big European and world centers. According to this, part of this work is artists own description of discourse:Area 1 for Artattack is possible modus of a Bosnian artist who gains exhibition. On the canvases are the motives of the galleries which maps I received by corresponding and presenting myself as an organization for promoting culture from Netherlands. Gaining maps of certain galleries, I paint a plan of work installation in the space using military symbols in expression and at the end of cycle I get in touch with galleries again and ask for an exhibition, threatening with art terrorism! In contrast to multi media strategy used in simulating Art attack with virtual invasion in institutional gallery art system of the world of art, Miljanovics simulacrum strategy in his work PAYBACK is based on striking simplicity in installing an iconic style. Installation of painters canvases, having on their innocent white surfaces pictures of weapons set on ready made inventory of wheelchair and orthopedic apparatuses found on military waste (contrasted in jet black) is what makes the invisible visible: feeling of discomfort (something like paying the debt) towards the recent past of the space of artists isolation. Position of artist is not validly neutral position: contextual code in approach dominates in strict order of strategic problematisation and its conceptualization and visualization, through communicational channel space sign witch doesnt strictly part context of art and context of life. In this way focus themes and forms of identities are made significantly visible to those present at local as well as wider art scene as a problem crises of identity in transition, but, as well as nonconceptual search for identity in determining difference in interpretation of East European transitional paradigm. Sonja Briski - Uzelac

Subjektifikacija putem samoizolacije Oktobra meseca 2006. Mladen Miljanovi je uao u prostor nekadanje kasarne u Banjaluci s namerom da devet meseci slui umetnosti. Sloeni splet problema koji se namee ovim umetniim inom, ali i ivotnom odlukom, iniciran je injenicom iz line biografije o boravku devet meseci u koli rezervnih oficira, od oktobra 2000. do jula 2001, u drutvu tek izalom iz rata. Na taj nain, umetnik se svesno podvrgao samoizolaciji, inu preispitivanja kako line istorije tako i uloge umetnika u drutvu i mogunosti da kako sam kae, deluje antropoloki kroz umetnost. Socio-politiki kontekst u posleratnoj Bosni i Hercegovini, prepun surovih egzistencijalnih suoavanja i dilema nametnuo je umetnicima stalna preispitivanja mogunosti delovanja, naina da se umetnost pomiri sa ivotnom realnou, uspostavi vezu sa ambijentom, prostorom i bremenom recentne istorije ija se refleksija ne moe mimoii, te da bude svrsishodna, kritika delatnost. Pri tome se javljaju i druga, intimnija pitanja, da li lina istorija moe da poslui kao motiv, tema, sadraj i smisao umetnikog delovanja, i kako lina iskustva upisati u javni prostor? Upravo ovo pitanje je posluilo kao podtekst za izabranu umetniku strategiju Mladena Miljanovia koji ispituje kako tehnologije funkcionisanja subjekta u drutvu, proces subjektifikacije gde individua odreuje sopstveni identitet spram spoljanjih centara moi, tako i politikim i drutvenim strategijama egzerciranja te moi na pojedince i njihov ivot. Umetnik se tako okree analizi linog identiteta, naina na koji se on konstruie i menja, pitanju statusa u drutvu u kome deluje, kao i modelima pozicioniranja u javnoj sferi. Time to lino iskustvo sluenja vojske ponavlja kao umetniki performans koji se prati u medijima i javnosti, umetnik kontekstualizuje svoju intimnu naraciju u iroj drutvenoj sferi i sebi stvara novu vrstu javnog identiteta. S druge strane namee se pitanje da li odluka o ponavljanju ovog ina sluenja, ovog puta ne narodu nego umetnosti preuzima repetitivnu matricu traume, i njenog ponovnog oivljavanja? Po Frojdu, dogaaj je registrovan kao traumatski samo kroz kasniji dogaaj koji ga retroaktivno rekodira putem ponovljene akcije ili Nachtrglichkeit-a. Subjekat tako nije zauvek odreen ve je strukturisan kao relej predvianja i rekonstruisanja traumatskih dogaaja i ostvaruje se tek kroz ponovljenu akciju. Umetnikovi motivi i psiholoki impulsi za ovakav nain delovanja naravno da su kazalno uslovljeni i u uzajamnoj sprezi sa kontekstom tranzicionog drutva u konstantnom stanju fluksa i previranja koje i proizvodi reakcije umetnika i utie na svakog pojedinca u njemu. Postepeni ulazak ovog drutva u iru globalnu mreu drutvenih procesa u periodu dezorganizovanog, disjunktivnog kapitalizma gde dominiraju post-nacionalni odnosi protoka informacija i kapitala kao i supranacionalne integracione mree koje reguliu ove tokove, dovedena je do krajnje konsekvence Fukoova i potom Agambenova teorija biopolitike gde je goli ivot i telo individue konani cilj nad kojim se izvrava mo putem kontrole i manipulacije. Za Agambena metaforu

novog globalnog vanrednog stanja predstavja logor, deportacioni kamp u kome se sprovodi biopolitiki aspekt moi i kontrole nad pojedincima lienim politikog i pravnog statusa ija je egzistencija svedena na isto fiziku dimenziju. Alibi za formiranje ovakvih ekstrateritorijalnih kampova predstavlja terorizam kao nova paradigma svetkog (hladnog) rata. Kao posledica rata protiv terorizma na globalnom nivou ugroena drutva poput SAD i zemalja EU postaju sve zatvorenija iza sigurnosnih pojaseva kojima se opasuju pod stalnom pretnjom napada. Presikavanje globalnih modela u lokalnoj situaciji daje za pravo umetniku da konstatuje kako ivot postaje lovina novih drugaijih odnosa moi koje ovoga puta nisu ograniene ni teritorijom ni stanovnitvom ni dravom niti bilo ime to je ustaljeni pojam suverenosti postavljao. Odgovor umetnika ovakvoj globalnoj konstelaciji, lokalnoj istorijom optereenoj sredini, kao i pitanju procesa subjektifikacije i (ne)mogunosti formiranja stabilnog identiteta, predstavlja naizgled paradoksalan in samoizolacije, devetomeseni proces sluenja izabranoj vokaciji koja za umetnika postaje jedini izlaz. Zoran Eri

Subjectification through self-isolation In October2006 Mladen Miljanovic entered the place of former military barracks in Banja Luka to serve art for nine months. Complicated network of problems occurring with this art act and life decision, as well, is initiated by his personal biography; he spent nine months in school for reserve officers with fellows just out of the war, from October 2000 to July 2001. In this way, artist has consciously put himself in self-isolation, act of self-questioning his personal past and the role of artist in society and possibility to, as he says it, anthropologically operates through art. Socio-political context in after-war Bosnia and Herzegovina, full of rough existential confrontations and dilemmas, has imposed to artists constant questioning of possibilities for acting, ways to conceal art with reality of life, restoring relationship with environment, space and burdened recent past, whose reflection cant be avoided, and making art a rational and critical act. Beside, there are other, more intimate questions like, can personal history be a motive, theme, content or a sense of artistic acting, and how personal experiences can be encrypted in public space? Precisely, this question has served as subtext for chosen artistic strategy of Mladen Miljanovic who is questioning technologies of functioning of a subject in society, process of subjectification where an individual determines his/her own identity modeling it by external power centers, and subtext for political and social strategies of influence on an individual and its life. Therefore, artist analyzes his own identity, the ways he changes and constructs, and he turns to the question of his own position in society where he acts and to the models of positioning in public sphere. Artist, thereby, repeating the personal experience of serving the army as a artistic performance present in media and public, contextualizes his intimate narration in wider social sphere and creates for himself new kind of public identity. On the other hand theres a question whether this decision of repeating the act of serving, this time not to the people but to the art, turns into a form of repetitive matrix of trauma? According to Freud experience is registered as traumatic only through some later one witch retroactively recodes it by repeating the experience or so called Nachtrglichkeit. Subject is not, therefore, forever determined but structured as a relay of prediction and reconstruction of traumatic experience and fulfilled through repeated action. Artists motives and psychological impulses, which make him act the way he does, are conditional and in mutual conjunction with a context of transitional society, which, therefore, is in a constant state of flux and agitation influencing every individual and making artist react. Gradual entry of this society into a bigger global network of social processes, in a period of disorganization and disjunctive capitalism, is dominated by supranational integration networks and postnational flow of information and money. This state is on the limits of Fuks and later Agambens theory of bio-politics where bare life and body of individual are ultimate goal for achieving power through control and manipulation. Globally, society is threatened with terrorism as a new paradigm of World (cold) War and state of emergency, become more and more close within

their safety belts under the constant threat of attack. Copying global models to local situation gives the right to the artist to state life becomes a pray of new and different relations of power witch, this time, are not limited with territory, population, country nor anything that conventional term of sovereignty appointed. Artists response to this global constellation, to local environment burdened with history and to the process of subjectification and (im) possibility to form unshakeable identity, apparently represents paradox of self-isolation: nine-month process of serving your chosen vocation, the only way out artist has. Zoran Eri

RADOVI

WORKS

 274 POGLEDA NA SVIJET tehnika: 274 fotografije - digitalni print, web, video dimenzije: 100 x 70 cm godina produkcije: 2006 / 2007

274 WAYS TO LOOK AT THE WORLD technique: 274 photography - digital print, web, video dimension: 100 x 70 cm year of prodction: 2006 / 2007 >>>>>

dan 1 (20.10.2006.) / day 1 (20.10.2006.)

dan 274 (14.07.2007.) / day 274 (14.07.2007.)

 SIT - NO tehnika: kombinovani mediji dimenzije: 30 x 20 cm godina produkcije: 2006 / 2007

SIT - NO technique: mixed media dimension: 30 x 20 cm year of prodction: 2006 / 2007

59

78

32

13, 149, 152, 260

246, 213, 214, 99

55, 31, 29, 25

 INBENICI tehnika: kombinovani mediji dimenzije: promjenjive godina produkcije: 2006

FACTORS technique: mixed media dimension: variable year of prodction: 2006 >>>>>

detalj 1 / detail 1

detalj 2 / detail 2

 ARTATTACK tehnika: kombinovani mediji dimenzije: promjenjive godina produkcije: 2006 / 2007

ARTATTACK technique: mixed media dimension: variable year of prodction: 2006 / 2007 >>>>>

AREA 1 ZA ARTATTACK / AREA 1 FOR ARTATTACK >>>>> detalj / detail ARTATACK 1, THE NEW GALERY - CALGARY - CANADA

 AGRESIJA instalacija dimenzije: promjenjive godina produkcije: 2007

AGGRESSION instalation dimension: variable year of prodction: 2007 >>>>>

detalj 1 / detail 1

detalj 2 / detail 2

 NAOPAKO PUCANJE tehnika: pucanje po rigips ploama dimenzije: 200 x 120cm godina produkcije: 2006 / 2007

INVERT SHOOT technique: shooting at the plates dimension: 200 x 120cm year of prodction: 2006 / 2007 >>>>>

proces pucanja / proces of shooting

detalj lica ploe / facial detail of plates

detalj pozadine / background detail

figura 1 / figure 1

 PAYBACK instalacija dimenzije: promjenjive godina produkcije: 2007

PAYBACK instalation dimension: variable year of prodction: 2007 >>>>>

detalj 2 / detail 2

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 STROJEVO PRAVILO video dimenzije: 720 x 576, bit rate 1536kbps trajanje: 0:02:27 godina produkcije: 2006

MASHINES RULE video dimension: 720 x 576, bit rate 1536kbps duration: 0:02:27 year of prodction: 2006

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detalj 4 / detail 4

 OPROSTITE, APARAT NE VRAA KUSUR kombinovani mediji dimenzije: 120 x 180 cm godina produkcije: 2007

SORRY, THE MACSHINE DOESNT GIVE THE CHANGE BACK mixed media dimension: 120 x 180 cm year of prodction: 2007

 LETITE U SLOBODU 12 golubova obuenih u vojne uniforme dimenzije: promjenjive godina produkcije: 2007

FLY INTO FREEDOM 12 doves wearing military uniforms dimension: variable year of prodction: 2007

LETITE U SLOBODU - FLY INTO FREEDOM

 SVRHA instalacija dimenzije: promjenjive godina produkcije: 2007

PURPOSE instalation dimension: variable year of prodction: 2007

jedina svrha ove recenice jeste okupacija ove stranice only purpose of this sentence is occupation of this page

 0 - 80 instalacija dimenzije: 90 x 15 cm godina produkcije: 2007

0 - 80 instalation dimension: 90 x 15 cm year of prodction: 2007

detalj 1/ detail 1

 SIJAMSKA FOTELJA rad sa Borjanom Mrdjom instalacija dimenzije: promjenjive godina produkcije: 2007

SIAM CHAIR work with Borjana Mrdja instalation dimension: variable year of prodction: 2007

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 ZLATNI REZ rad sa Sonjom Briski Uzelac svjetlosna instalacija dimenzije: / godina produkcije: 2007

SIAM CHAIR work with Sonja Briski Uzelac light instalation dimension: / year of prodction: 2007

detalj 2 / detail 2

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MLADEN MILJANOVI
Roen u Zenici 1981. godine, srednju kolu zavrio u Doboju. Nakon srednje, odazi u kolu rezervnih oficira gdje dobija in vodnika. Kao vodnik tri mjeseca obuava 30 regruta. Poslije zavrenog roka upisuje Akademiju umjetnosti (Odsjek za slikarstvo) u Banja Luci. Nakon diplomiranja upisuje postdiplomske studije na Akademiji umjetnosti u Banjoj Luci gdje se zapoljava kao asistent na predmetima Intermedijalna istraivanja i Teorija prostora. Miljanovi se bavi i drutvenim i terapeutskim aspektima umjetnosti kao inicijator radionica i kolonije za osobe sa invaliditetom. Volonter je u udruenju osoba sa onesposobljenjem Udas, gdje posljednje tri godine vodi slikarsku i vajarsku radionicu. E-mail: iserveart@gmail.com Uestvovao na vie kolektivnih izlobi i radionica, izmeu ostalih: 2005: Halo bing, kako brat, Umjetnika galerija BiH (Sarajevo). 2006: Kontinentalni doruak, Muzej savremene umjetnosti RS (Banja Luka), Umjetnost i javni prostor, radionica sa prof.Misha Kubalom i Zoranom Eriem u organizaciji umjetnikog udruenja PROTOK (Banja Luka); izloba finalista za godinju nagradu ZVONO, galerija Banski dvor (Banja Luka); Real Presence, internacionalna radionica studenata likovnih akademija (Beograd) , Istoni susjedi, kulturni centar Babel (Utrecht, Holandija); (o)granienja, mladi umjetnici iz BiH, galerija studentskog centra (Zagreb). 2007: Strategies of conforment in the age of biopolitics, Corcoran, galerija Brakeground (Amsterdam, Holandija); Retrospektrum Umjetnika galerija BiH (Sarajevo).Zvono izloba finalista, Muzej savremene umjetnosti RS (Banja Luka). Dobitnik je nagrade Rotary kluba 2005. za postignuti uspjeh na studijima i nagrade Muzeja savremene umjetnosti RS za najbolje radove na zavrnoj izlobi Akademije umjetnosti, Banja Luka, 2006. Nagrada Zvono za najuspijenijeg mladog umijetnika BIH 2007. Born in Zenica in 1981, completed the secondary school in Doboj. After secondary school he obtained the Reserve Officer School where he earned the rank of sergeant. As a sergeant he trained 30 privates. After servin army he enrolled himself in Academy of Arts (Department of Painting) in Banja Luka. After he completed Art Academy,he started working as assistant at the Inter-media and Spacial Theory Department. Miljanovi also deals with the social and therapeutic aspects of art, being the initiator of the workshops and colonies for the disabled. He is volunteering in the Udas association of disabled persons where he has been in charge of the painting and sculptor workshops for the last three years. E-mail: iserveart@gmail.com He has participated at several collective shows and art workshops, including: 2005: Hello Bing, hows the brother, National Gallery of B&H (Sarajevo). 2006: Continental Breakfast, Museum of Contemporary Art of RS (Banja Luka); Art and Public Space, workshop with Misha Kubal and Zoran Eri, organized by Art Association PROTOK (Banja Luka); finalists of ZVONO annual Award, Banski dvor Gallery, (Banja Luka); Real Presence, international workshop of the students of Art Academies (Beograd); Eastern neighbors, Cultural Center Babel (Utrecht, Nederland); (l)imitations, young artists from BiH, Student Center Gallery (Zagreb). 2007: Strategies of conforment in the age of biopolitics, Corcoran, Brakeground Gallery (Amsterdam, Nederland); Retrospektrum National Gallery of BiH (Sarajevo). Zvono final exibition, Museum of Contemporary Art of RS (Banja Luka). He is the winner of the Rotary Club prize in 2005 for achievements made in his studies, prize of the Museum of Contemporary Art RS in Banja Luka for the best works at the annual final exhibition of the Academy of Arts in Banja Luka, 2006, and Zvono award for best young artist in BIH 2007.

POKROVITELJI / SPONSOR:

GRAD BANJA LUKA

ORGANIZACIJA AMPUTIRACA
PODRKA PROJEKTU / SUPPORT:

UDAS

Izdava / Publisher: Akademija umjetnosti Univerziteta u Banjoj Luci Academy of Arts - Unyversity of Banja Luka Za izdavaa / For publisher: Milorad Kenjalovi, dekan Akademije umjetnosti Milorad Kenjalovi, dean Academy of Arts Dizajn / Design: Mladen Miljanovi Fotografija / Photography: piri Dajan Borjana Mrdja Mladen Miljanovi Prevod / Translation: Branka Tubi Lektor / Lector: Branka Tubi tampa / Print: CGM Tira / Print: 300 www.iserveart.net iserveart@gmail.com