TRI BOJE CRVENE

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BOICA RAENOVI
VESNA PERUNOVI
OLIVERA PARLI KARAJANKOVI
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O BOJAMA, OBLICIMA I OSEANJIMA
sa Oliverom Parli Karajankovi
N.T. U svojoj knjizi Boje naih seanja francuski istoriar Miel Pasturo, opisujui situaciju u kojoj je njegovim
prijateljicama jednog zimskog dana 1961. godine bio zabranjen ulazak u gimnaziju jer su tada na sebi imale
crvene pantalone, pie kako je postepeno formirana svest o crvenoj boji kao o prestupnikoj i opasnoj.
Da li vezujete neko svoje seanje za crvenu boju? I koja su za Vas njena znaenja?
O.P. Moja seanja su u mojim prstima (to je i jedan od razloga zbog ega runi rad), ali kada govorimo o znaenju
koje za mene ima crvena boja, uvek poem od injenice da je moja omiljena boja zelena. Odakle onda toliko crvene?
Biti crvena je neizbeno, to nije stvar izbora. Sklonost ka crvenoj boji nam je uroena. Moda ovo objanjava zato
je u gotovo svim jezicima izraz za crvenu boju stariji od bilo kog drugog. Pre plave, ute ili zelene, bila je crvena,
boja krvi i vatre, koje su bile mee nae egzistencije.
Zbog ega smo pocrveneli? Da li su u pitanju ideologija ili zioloki procesi naeg tela? U prostoru izmeu ova
dva znaenja nalazi se i povod za seriju mojih crvenih radova/objekata. U najirem smislu dilema (ukoliko uopte
i postoji) mogla bi se svesti na dihotomiju: priroda/kultura. Tu smo razapete: pripitomljene, ali divlje po svom
poreklu. Bezimena divljina jo uvek naseljava neki udaljeni deo naeg bia. Iako je to civilizacijska tema, namerno
govorim samo u enskom rodu, jer mi smo crvene. Biti crvena - to je poput stanja ekstremne oseajnosti, velike
preteranosti, razdraenosti. Opasnosti. Biti velika hodajua rana i uprkos tome cvetati, posedovati lepotu. Crveno
oliava ensko telo koje moe da donese ivot, ili pak da ga razori, pod okriljem mita. Od davnina se povezuje sa
ljubavlju i seksualnou. Otuda konac, mnogo konca, mnogo veza i vezica bez kraja i konca. Po Jungu, crvenjenje
ima svoj ekvivalent u otvaranju nivoa vrednosti u sebi samom, uz pozitivan porast oseanja vlastite vrednosti i
poveanja stvaralakih snaga iz Sopstva (Selbst).
N.T. Izloba Tri boje crvene ima objedinjujuu temu u vidu upotrebe iste boje od strane tri veoma samosvojne
umetnice. Ipak, itava postavka se ini kao prilino homogena celina, i to ne samo zbog injenice da se ispituju
oblici prisustva iste boje u razliitim opusima, ve i zato to predstavljeni radovi sve tri umetnice nose odreenu
slinu, uslovno reeno, oseajnu nit.
Da li je i vi prepoznajete?
O.P. Radove Boice Raenovi i Vesne Perunovi doivljavam kao meni veoma bliske. Usudila bih se da tu oseajnu
nit imenujem kao ensko iskustvo, ma koliko to bio neuhvatljiv i kompleksan pojam za deniciju.
N.T. Kako vidite svoj rad u odnosu na rad Boice Raenovi i Vesne Perunovi? Gde vidite eventualne slinosti, a
gde razlike?
O.P. Ovakva vrsta pitanja zahteva ozbiljno teorijsko razmatranje, u ta se ovom prilikom ne bih uputala. ini mi
se da se svi radovi nalaze u stalnom kretanju izmeu intimnog, linog prostora i sfere javnog, a opet bavei se
univerzalnim pitanjima nae egzistencije.
U razgovoru s umetnikim radovima, pa tako i u ovom sluaju, kada su u pitanju Vesnini i Boiini radovi, ja
im se jednostavno prepustim, uivam u ulnom izazovu koji je postavljen pred posmatraa. Pitanja i relacije koje
Boica i Vesna, svaka na svoj nain otvaraju kroz kompleksnu slojevitost njihovih radova, za mene su neka vrsta
hrane, nuna potreba i tenja mog bia. Najjednostavnije i najtanije reeno: ja volim njihove radove.
N.T. U katalokom tekstu za Vau izlobu Runi radovi, odranu 2008. godine u Likovnoj galeriji Kulturnog
centra Beograda, Maja iri pie kako Vai radovi nastaju iz oseanja. U poetku je to neto (zamreno kupko?)
neizdiferencirano, maglovito i nejasno, dominantno je samo oseanje, kao trag koji se prati. Tek kroz neposredan
rad to neto mutno i nedenisano dobija otrinu i smisao.
Sledei ovu tezu irieve, da li biste mogli da pojasnite samo to oseanje, njegovu prirodu i da ga dovedete u vezu
sa oblikom koji ono konano preuzima?
O.P. Hakim Bej bi rekao: Prouimo nevidljivost da bismo nauili da pravilno rukujemo vidljivou. U tom smislu
proces nastanka rada jeste transformacija podsvesnih, skrivenih procesa i stanja u svesne sadraje, pri emu
su poistoveeni individualni unutranji razvoj i oblikovanje umetnikog iskaza. Svakako da ova individualna
transformacija sadri i reektuje i sloene odnose koji postoje u okviru jedne drutvene zajednice. Kada govorimo o
tom poetnom tragu, za mene je on uvek rezultat preseka psiholokog stanja i zikih sila koje mogu biti pripisane
tim stanjima duha i to da ne i tela. ini mi se da veina mojih radova zapravo egzistira na tim kinestetikim
silama. Predmetima uvek prilazim intuitivno, uvaavajui njihovu mogunost transformacije i postajanja telom.
Tok rada na nekom objektu uvek je uslovljen dijalogom s materijalom koji koristim, uvek oslukujem i ta
materijal ima da kae, tragam za prirodnim vezama izmeu elemenata, ne verujem da bih se ikad posluila
lepkom (osim ukoliko gest lepljenja kao takav nije tema rada).
N.T. Kad zavrite jedan rad, koliko je on veran tom poetnom oseanju?
O.P. Ukoliko bi se pokazalo da su poetna i krajnja taka ovog procesa istovetne, smatrala bih svoj rad i istraivanje
neuspenim, besmislenim. Motivacija za rad i jeste mogunost otkrivanja novih relacija i teritorija. Ja ak ni ne
umem da radim projektno: napravim skicu, pa onda to u svim takama doslovno prenesem u zavrni materijal,
mogla bih da kaem da se prema takvom obrascu odnosim subverzivno. Moda moju stvaralaku putanju najbolje
opisuje metoda Lutati i izgubiti se.
Nela Tonkovi
Subotica, Beograd, jun 2014.

Olivera Parl Karajankovi, Ohola greka / Arrogant Mistake, 2011, platno, porcelanska posuda za supu, kaika, crveni konac, derdif /
anvas, porcelain, soup bowl, spoon, red thread, embroidery frame, dim. 33x12x25 cm
Olivera Parl Karajankovi, Lab, 2009. labaratorijsko staklo, najlon arape, voda, boja za hranu, onger /
laboratory glassware, nylon stockings, water, food colours, coat hanger, promenljivih dimenzija / variable dimensions
NITI, VORTA
Razgovor sa Boicom Raenovi
G.D. Struna javnost i ljubitelji umetnosti rani period stvaralatva Boice Raenovi (1989-1993), kada ste se
predstavili na savremenoj jugoslovenskoj sceni, pamte po markantnim skulpturama u drvetu sa oslikanim
partijama raenim u duhu Nove skulpture i sliakrstva postmoderne. Nakon odlaska iz zemlje, u vaem
kanadskom opusu skulpture u masivnom drvetu zamenjene su uidnim oblicima u mekanim materijalima,
koje realizujete pletenjem i upotrebom vunene niti i klupka vune. Rekli bismo da je jedan tipino muski
princi klesanja u drvetu, koji je podrazumevao rad sa opasnim alatima kao to su dleta, burgije, builice.., ija
upotreba je mladoj asistentkinji i prvoj eni na Vajarskom odseku Fakulteta likovnih umetnosti u Beogradu,
jedno vreme bila zabranjena, zamenjen jednim tipino enskim principom runog rada, tehnikom pletenja
gura i oblika pomou igli i vunene pree. Prisetimo se da je mekana skulptura prisutna u svetskoj umetnosti
jo od Jozefa Bojsa i njegovih oblika izvedenih u lcu, vuni, upotrebi loja i sl., a naroito je postala popularna
tokom 60. godina dvedesetog veka i pop arta. Tkanine i razliite vrste niti koristili su za svoje skulpture/objekte
ameriki umetnik Kles Oldenburg, potom Bari Flanagan i Luize Buroa, koja je i vaa omiljena umetnica i esta
inspiracija.
ta je (sve) uticalo na tako drastinu promenu tehnike rada u vaem bavljenu skulpturom i opredeljenje za
avanturu sa vunom u tehnici runog rada i pletenja likovnih formi i oblika ?
B.R. Lepo ste rekli da se desila drastina promena, jer ja sam rat i naputanje moje zemlje doivela kao
tektonsku promenu koja je morala da se odrazi i na moj rad. U novom okruenju postala sam supruga, majka i
osoba sa udnim imenom. U toj novoj sredini pojavili su se drugi problemi i druge elje. Postoji nesto prokleto u
ljudskoj prirodi, da ono ega imate na pretek nije vano. Tako je drvo, koji je bio moj glavni vajarski materijal i
koga ima u izobilju u kanadskim umama, vie nije moglo da podri sadraje koji su u novim uslovima ivota i
rada meni bili bitni. Takoe sam morala da pronaem materijal sa kojim bih mogla da putujem, a teki balvani
su me vezivali za jedno mesto. Smatram da je moj posao da istraujem ta sa kojim materijalom mogu da
izrazim, i ja svaki materijal shvatam kao novi likovni jezik. Prvo 2010. a potom i 2012. godine sam imala izlobe
u Beogradu i posle 18 godina odsustvovanja sa scene, elela sam da donesem neto iz Kanade, ega nema u
Beogradu - poelela sam da donesem kanadsku zimu. Zato sam izloila seriju dempera za sve one i stvari
kojima je poterebma zatita.

Obuci demper hladno je, je jedan od saveta koga smo esto uli i seamo ga se iz detinjstva. Moja majka je
plela. Za mene i moju sestru, plela je rukavice i dempere, titila nas je od zime. Uz parolu vie vredi umeti
nego imati, ona me je nauila vrlo rano, da pletem, vezem i kukiam. Tada sam mislila da mi to nikada nee
biti potrebno u ivotu.
Ako skulptura dolazi od neispunjenih elja onda ove mekane skulpture dolaze od potrebe za sugurnou i
toplinom. Nain izrade je slian nainu grajenja skulpture od terakote gde se spoljanjim zidom odvaja prazni
unutrasnji prostor, ime se obuhvata nesto ega nema. Razvlaeje i promenljivost ovih mekih skulptura sugeriu
nepostojanost seanja.
G.D. Izloba naslovljena Tri boje crvene, iji ste vi idejni tvorac, ima nameru da pokae na primerima vaih
radova, i stvaralatva druge dve umetnice - Vesne Perunovi, koja je multimedijalna autorka i takoe ivi i
stvara u Kanadi, i Olivere Parli, beogradske vajarka, kako svaka od vas na svoj likovni, psiholoki i simboliki
nain koristi crvenu boju u plastikom oblikovanju skulptura, ready madea i instalacija. injenica je da su
crvena, plava i uta, uvek u svojstvu osnovnih boja, kontinuirano prisutne u tragovima jo od vaih ranih
radova, da bi potom crvena, materijalizovana u vunenoj prei, preuzela dominantnu ulogu u kompleksnom
graenju forme i estetike umetnikog dela.
Kakav status zauzima crvena boja u vaem umetnikom radu ?
B.R. Ja boju koristim da ujedinim ili razdvojim formu. Tako moj ciklus crvenih, plavih ili utih radova moete
sagledati kao jedan crveni, uti ili plavi rad. Kada umesto crnog tua koristite crveni onada linije koje izvlaite
izgledaju kao da su pisane krvlju a takvi iskazi moraju biti lini i iskreni. Crvena je boja u prvom licu, crvena
je JA boja. Pred crvenom ne moete biti ravnoduni, ona budi strasti a njena ambivalentna priroda upuuje na
dvoumljenje.
Crvena je takoe boja mog detinjstva. Seam se crvene vunene kape koja me je uvek golicala, crvenih lakovanih
cipela kupljenih za broj vee i dana kad sam postala pionir. Igrali smo se crvenih rukavica sve dok nam prsti i
ruke ne postanu crvene od bola.
G.D. Sad pokuavam da se prisetim nekih od naziva skulptura iz vaeg ranog beogradskog perioda kao to su:
paga, Hula hop, Svlaenje, Spava, Leta, Stoj na glavi, Penelope, Portret sa utom trakom, itd, koje su sve imale
narative simbolikog ali i autobiografskog karaktera. Novije guralne scene iz kanadskog perioda kao to su
one iz pomenutog ciklusa Obuci demper, hladno je, Crvene rukavice, Paranje.. i drugi pregnantni oblici koje
smo imali prilike da vidimo na dve beogradske izlobe, zadrale su nazive autopoetskog konteksta i prepoznaju
se kao intimno psiholoko, socioloko i politiko promiljanje. Motive iz istorije umetnosti i mitologije takoe
usvajate kao nazive nekih radova i akcija kao to su na primer Penelopa, Pijeta ili Paranje koji predstavlja crtee
/ skice za istoimeni performans u ijoj naraciji se prepoznaje tema Arijadnine niti koja postaje spasonosni
putokaz iz lavirinta.
Kako i koliko spasonosno klupe i nit vune personalizuju lino snalaenje u zamrenim situacijama i
problemima ivota i umetnosti i simuliraju razreenje?
B.R. Nit moete sagledatit i kao ivot, a, vorove kao probleme i prepreke. Strpljenjem i kreativnocu se mogu
razmrsiti svi vorovi. Egzil ima dva ognjita. U egzilu uvek poinjete od nule, anonimnost vam daje slobodu
da uunite sa sobom i svojim radom ta god poelite ali vas vezanost za zemlju iz koje dolazite ini da uvek
oslukujete i pratite ta se u njoj deava. Volela bih kad bi svi mogli da kaemo - moja zemlja je ceo svet.
Obuci demper, hladno je je instalacija i naziv izloba iz 2010. godine, i tu u crvenoj, plavoj i utoj sobi predmeti
lebde i zauzimaju sredinji prostor nepripadajui ni tavanici ni podu, ve se traga za treim prostorom. Taj
rad govori o mom stanju nepripadanja. Moji najnoviji radovi Biti crven i Pijeta iz 2013. godine se bave samim
kreativnim procesom tj. stvaranjem i unitavanjem. Za rad Biti crven isplela sam drugu kou, a poslednju
petlju sam ostvila nezavrenu, tako da sam u performansu, hodajui oko dva stuba i ostavljajui trag konca
za sobom, napravila prostoriju moje visine. Sam rad postavlja pitanje: da li je ovako oblikovana skulptura plod
performansa ili je performans trag skulpture?
Gordana Dobri
Beograd, jun 2014.
Boica Raenovi, rtikanje i paranje / Knitting and Un-Knitting, 2013, crtei kao predlog za
performans / drawings as a template for performance, dim. pojedinanog crtea / dimension of
individual drawings 30cmX23cm
Boica Raenovi, Crvena Pieta / Red Pieta, 2013, printovi / prints, 100x70 cm

Boica Raenovi, Preplitanja linija krvotoka / Crossing the blood lines, 2014.
trikana crvena vuna / wool, 120x350x320 cm
TRI GRADA.... TRI BOJE CRVENE...
Razgovor sa Vesnom Perunovi
S.P. Sveobuhvatnom prikazu Vaeg multimedijalnog opusa u regionu tokom 2010. i 2011. godine prethodio
je dvadesetogodinji boravak u Kanadi koji se ispostavio kao vaan ne samo u linom ve i u profesionalnom
smislu. Ova promena se odrazila kako na teme koje obraujete tako i na izbor medija izraavanja. Izlagali
ste pritom na mnogim znaajnim meunarodnim izlobama i bijenalima (Kuba, Portugalija, Albanija, Velika
Britanija, Nemaka, Italija). U Kanadi ste izlagali na brojnim samostalnim i grupnim izlobama, a nedavno ste
izlagali i kao jedan od 15 izabranih autora koji su predstavili savremenu umetniku scenu Srbije na izlobi
Priguena egzistencija u Nacionalnom muzeju likovnih umetnosti Tajvana u Tajungu (R Kina). Vae radove
je videla publika na nekoliko kontinenata sa razliitim kulturolokim nasleem, pa i izloba Tri boje crvene se
prezentuje u tri grada u Srbiji koje odlikuje multikulturalnost (Beograd, Zrenjanin, Subotica). Teme kojima se Vi
bavite, pitanja rodnog identiteta, doma ali i politike teme koje proimaju pitanja granica, egzila su Vama lino
znaajne ali i univerzalne, koliko je Va rukopis prepoznat u razliitim kulturama?
V.P. Moj rad se bavi pitanjima granica, identiteta, egzila, doma, porodice, tranzicije, i prolaznosti. Ove teme su
po svojoj prirodi primarno humanistike i socio-politike. Kroz svoj umetniki proces ja prvenstveno pokuavam
da prenesem svoje lino iskustvo, povezujui ga sa univerzalnim politikim i socijanim kontekstom. Iako je moj
rad autobiografski, moj umetniki jezik koristi simbole i metafore koje su otvorene za intrepretaciju i dijalog, i
samim tim prilagoene univerzalnijem kontekstu.
Moje iskustvo dugogodisnjeg ivota na Severno- amerikom kontinentu doprinelo je da se moj umetniki jezik
izgradi tako da je itljiv publici koja ivi u potpuno razliitoj kulturnoj sredini od one iz koje ja potiem. ivot
u imigraciji, moja profesionalna putovanja i studiski boravci u intrnacionalnim kolonijama (Bun, Bursa,
Njujork, Berlin i Peking) takoe me je nauio toleranciji i boljem razumevanju razliitih kultura. Pod uticajem
svih ovih iskustava moj umetniki izraz je tokom godina postao otvoreniji i komunikativniji, formuliui teme
koje su nam svima zajednike i bavei se prvenstveno slinostima u ljudskom iskustvu. Moji radovi pokuavaju
da proiscenom formom, ekonomijom materijala i minimalistikom estetikom otvore komunikaciju i pristup
publici iz raznih kulturnih sredina. Kao primer pomenula bih rad Kua u Egzilu (2002-2010) koji je prikazan
na 15 izlobi u 6 zemalja i tri kontinenta i deo je izlobe Srpska savremena scena-Priguena egzistencija u
Nacionalnom Tajvanskom muzeju. Svojom arhetipskom formom kue/doma i temom koja se odnosi na sigurnost
i ugroenost u kontekstu globalnog drutva, ovaj rad je bio podjednako blizak i prepoznatljiv publici u Severnoj
Americi, Evropi i Aziji.
S.P. Na realizaciji izlobe Tri boje crvene okupljene su tri uspene beogradske umetnice koje danas stvaraju
u razliitim delovima sveta, Vi i Boica Raenovi u Kanadi a Olivera Parli u Beogradu. Sve tri u svom radu
na razliit nain upotrebljavate crvenu boju. Ova boja se krajem devedesetih godina kao konstanta pojavila
u vaem radu. U skulpturama odabranim za ovu izlobu Tihi jecaj, Razdvajanje i Prelivanje nastalim 1998.
godine kombinujete materijale poput arapa, menjajui im formu, iako je sama sutina enskih hulahopki da
budu rastegljive/promenljive, sa odabranim odbaenim predmetima stavljajui ih sve zajedno u drugaiji, nov
kontekst. Vaa dela proeta su linim iskustvima, daleko od doslovnog prikazivanja vizualizujete nematerijalna
stanja. Sama dvojnost crvene boje koja je najtemperamentnija i budi intenzivna oseanja u Vaem radu pored
estetskog nosi i posebno koliko pozitivno toliko i negativno znaenje to se posebno nagovetava u nazivu crtea
O strasti i besu kao irok spektar emocija koje Vai radovi nose i izazivaju. Koji je simboliki kod crvene boje
u Vaem radu, koliko ona nosi enski predznak i ideoloku konotaciju i koliko je crvena boja konstanta dok se
emocije njom inspirisane menjaju?
V.P. Crvena boja u mojim radovima je u osnovi metafora za krv, ukljuujui sve pozitivne i negativne konotacije
koje ona sobom nosi: krv kao egzistencijalni uid koji nam daje ivot i krv kao substanca koja ima politike,
ideoloke i emotivne indikacije (krvne veze i pripadnost, intimne i emotivne veze, prolivanje krvi i stradanja
u ime ideolokih i politikih ideja). Crvena boja u radovima na izlozbi Tri boje crvene je simbol emocija koje
prelaze granice uobiajenih normi i oseanja koja ne mogu da se obuzdaju.
Krajem devedesetih godina moje umetnike prakse, crvena boja se pojavila kao adekvatan odgovor temema
kojima sam se bavila u tom periodu: konikt u domovini, rat i raspad bive Jugoslavije kao i razaranje porodice
i individue u tim turbulentnim vremenima. U radovima koji su tada nastali: Prolivanja, Razdvajanje, Tihi
jecaji, O strasti i besu, iz projekt a Dom, crvena boja igra kljunu ulogu, simboliui krv, pripadanje, nasilje i
strast (uzavrela krv). Kontejneri u obliku olja, posuda iz kojih se simbolino rasipa krv, crvene niti koje raseca
dvoruna testera, crvene suze koje se razlivaju is kunih vrata, simboliu emocije koje su nezadrive i koje izlaze
iz okvira normale i odraavaju ekstremno ljudsko ponaanje. Radovi iz ove serije se itaju kao zaustavljeni
lm (frozen frame): odslikavajui trenutak izmedu potencijalog akta nasilja (prolivanja krvi) i elje da se
taj momenat sprei. Crvene forme u ovim radovima govore o trenutku kada je uspostavljen balans izmeu
suprotnih emocija: razumevanja, ljubavi i saoseanja sa jedne strane i mrnje, straha i agresije sa druge.
Slavica Popov
Zrenjanin, jun, 2014.
Vesna Perunovi, Razdvajanje / Splitting Up, 1998, metalni krevet. dekonstruisane crvene hulahopke, metalna
testera / metal bed, deconstructed red pantyhose, metal saw, 180x110x80cm, detalj / detail
Biograje/ Biographies
Olivera Parli- Karajankovi, roena je u Beogradu 1971. Diplomirala na Vajarskom odseku Fakulteta likov-
nih umetnosti u Beogradu, u klasi prof. Slavoljuba Radojia, 1997. godine. Na istom Fakultetu je magistrirala
2000. godine kod mentora prof. Mrana Bajia. Radi kao docent na Vajarskom odseku FLU u Beogradu. Od 2010.
deluje i kao lan nezavisne umetnike grupe Trei Beograd.
Samostalno izlagala skulpture, objekte i instalacije na pet samostalnih izlobi u Beogradu i uestvovala je na
brojnim grupnim i tematskim izlobama u Beogradu, Niu, Aranelovcu, Novom Sadu, Kikindi i Ivanjici (Srbija),
kao i na meunarodnim izlobama u Gracu i drugim gradovima u Austriji. Uestvovala je u radu vie kolonija
u naoj zemlji i Austriji. Skulptura un-Pun, realizovana je na otvorenom prostoru na Adi Ciganliji, u Beogradu.
Dobitnica je Nagrade FLU za portret, 1994. godine i Nagrade iz fonda Sretena Stojanovia, 1997. godine.
Olivera Parli- Karajankovi, born in Belgrade in 1971. Graduated from the Sculpture Department of the
Faculty of Fine Arts in Belgrade under Professor Slavoljub Radoji in 1997; in 2000 won her masters degree at
the same faculty with the Mentor Professor Mran Baji; works as a lecturer at the Sculpture Department of the
Faculty of Fine Arts in Belgrade; since 2010 a member of the independent art group Third Belgrade.
She has presented her sculptures, objects and installations at ve solo exhibitions in Belgrade; participated in
numerous group and thematic exhibitions in Belgrade, Ni, Aranelovac, Novi Sad, Kikinda and Ivanjica (Serbia),
as well as in international exhibitions in Graz and some other Austrian cities; attended several art colonies in
the country and in Austria. The sculpture Chun-Pun has been carried out in the open air in Ada Ciganlija in
Belgrade. A winner of the FLU Prize for portrait in 1994 and received an award from the Sreten Stojanovi Fund
in 1997.
Kontakt / Contact:
064/1357-895
parlico@sezampro.rs
Boica Raenovi, roena 9. oktobra 1965. u Beogradu. 1989. zavrila Fakultet likovnih umetnosti u Beogradu,
u klasi prof. Jovana Kratohvila. Postdiplomske studije zavrila 1991, u klasi prof. Slavoljuba Radojia. Od 1993.
ivi i radi u Otavi. Izlagala je na mnogim samostalnim i grupnim izlozbama. Od vanijih samostalnih izlozbi
i projekata realiizovanih poslednjih godina izdvajamo: Element destrukcije, RIA Artist Project Room, Otava,
Kanada; Mississipi Valley Textile Museum, Almonte, Kanada, Quartair Artist Initiative, Hag. Holandija, Likovna
galerija KCB, Galerija FLU, Beograd, Ottawa School of Art Gallery, Harbourfront Centre u Torontu i Karsh
Mason Gallery u Otavi. Radovi joj se nalaze u: Muzeju savremene umetnosti i Muzeju Cepter u Beogradu, City
of Ottawa Fine Art Collection, kao i u privatnim kolekcijama u Kanadi i Evropi.
Boica Radjenovi, born on Oct. 9, 1965 in Belgrade, Serbia. 1989 BFA Faculty of Fine Arts at the Univer-
sity of Arts in Belgrade, mentor prof. Jovan Kratohvil. 1991 MFA Faculty of Fine Arts at the University of Arts
in Belgrade, mentor prof. Slavoljub Radojcic. Since 1993 she has been living and working in Ottawa. Boica
Radjenovic has exhibited in many solo and group exhibitions, most recently at RIA Artist Project Room, Otawa,
Canada, Mississipi Valley Textile Museum, Almonte, Canada, Quartair Artist Initiative, at the Hague, the
Netherland, Belgrade Cultural Centre Art gallery, Serbia, Gallery of Faculty of Arts, Belgrade, Serbia, The Ottawa
School of Art Gallery, Harbourfront Centre in Toronto and Karsh Mason Gallery in Ottawa. Her work can be
seen in Museum of Modern Art and Museum Zepter in Belgrade, City of Ottawa Fine Art Collection and various
private collections in Canada and Europe.
www.bozicaradjenovic.com

Vesna Perunovi, Razdvajanje / Splitting Up, 1998, metalni krevet, dekonstruisane crvene hulahopke, metalna testera /
metal bed, deconstructed red pantyhose, metal saw, 180x110x80cm
Vesna Perunovi je kanadska umetnica srpskog porekla koja ivi i radi u Torontu, Kanada. Koristi irok spektar
medija: slikastvo, crte, instalacija, skulptura, video i performans. Perunovi je imala brojne izlobe u Kanadi i
svetu. Uestvovala je na meunarodnim bijenalima na Kubi, u Albaniji, Engleskoj, Portugalu, Jugoslaviji i Grkoj,
kao i u meunarodnim rezidencijalnim programima u Berlinu, Bursi, Banfu, Njujorku i Kini. U Evropi je izlagala
u Muzeju savremene umjetnosti Republike Srpske u Banjaluci, BiH; Muzeju savremene umetnosti Vojvodine,
Novi Sad; Kulturnom centru Beograda, Srbija; Slovakoj nacionalnoj galeriji, Bratislava, Slovaka, kao i u Nacio-
nalnom tajvanskom muzeju likovne umetnosti u Tajungu, R. Kina. U Kanadi je Perunovi svoja dela izlagala
u Likovnoj galeriji Misisauga, Galerijama Kembrid, Likovnoj galeriji u Piterborou, Likovnoj galeriji Kelovna,
Galeriji Endel, Kanadskom muzeju tekstila i na mnogim drugim mestima. Dobitnica je nagrade T.F.V.A. (Toron-
to Friends of Visual Arts) 2005. godine i almerz divelopment grant, (stipendija za profesionalni razvoj) 2011.
godine, a Saveti za umetnost Kanade, Ontarija i Toronta su mnogo puta nansirali njene projekte. Radovi joj se
nalaze u brojnim kolekcijama u Kanadi i Evropi, ukljuujui ambasadu SAD u Beogradu, kolekciju Umetnost u
ambasadama, Likovnu galeriju u Hamiltonu, Kulturni centar Beograda, Umetniki centar Mekdonald Stjuart u
Gelfu, Galeriju Robert Meklain u Otavi i mnoge druge. O njoj su objavljene dve sveobuhvatne monograje: (W)
hole (Celina/upljina), 2004. i Emblems of the Enigma (Amblemi enigme), 2008. Njene interdisciplinarne izlobe
Borderless (Bez granica) i Emblems of Enigma (Amblemi enigme) gostovale su u uglednim galerijama i muzejima
irom Kanade i Evrope. Predstavlja je Galerija Endel iz Toronta, Kanada.
Vessna Perunovich is Serbian born, Canadian artist who lives and works in Toronto Canada. She has worked
in a diverse range of media including painting, drawing, installation, sculpture, video and performance. Peru-
novich has exhibited extensively both in Canada and internationally. She took part ina number of international
biennials in Cuba, Albania, England, Portugal, Yugoslavia and Greece and attended the international residencies
in Berlin, Bursa, Ban, New York and China. Exhibition venues in Europe include Museum of Contemporary
Art Republic of Srpska, Banja Luka, Bosnia& Herzegovina, Museum of Contemporary Art of Vojvodina, Novi
Sad, Cultural Centre of Belgrade, Serbia and Slovak National Gallery, Bratislava, Slovakia, National Taiwan
Museum of Fine Arts in Taichung, RC. In Canada, Perunovich has shown her work at the Art Gallery of Mis-
sissauga, Cambridge Galleries, Art Gallery of Peterborough, Kelowna Art Gallery, Angell Gallery, the Canadian
Textile Museum and many others. She is the recipient of T.F.V.A. (Toronto Friends of Visual Arts) award in 2005,
and the Chalmers Development Grant in 2011, as well as numerous,Canada Council for the Arts, Ontario Arts
Council and Toronto Arts Council Grants for her projects. Her work is part of many collections in Canada and
Europe including the US Embassy in Belgrade,Art in Embassies Collection, Art Gallery of Hamilton, Cultural
Centre of Belgrade, Museum of Modern Art Republic of Srpska, Macdonald Stewart Art Centre in Guelph, Robert
McLaughlin Gallery in Oshawa and many others. She is the subject of two comprehensive monographs, (W)
hole, 2004 and Emblems of the Enigma, 2008.Her interdisciplinary survey exhibitionsBorderless and Emblems
of Enigma have recently toured at prestigious public galleries and museums across Canada, and Europe. She is
represented by Angell Gallery in Toronto, Canada.
Kontakt / Contact
arte4medija@ica.net
Olivera Parl Karajankovi, Handiwork, 2007.
noevi, crveni konac / knives, red thread, dim. 19x10x5 cm
OF COLOURS, SHAPES AND FEELINGS
With Olivera Parli Karajankovi
N.T. In his book The Colours of Our Memories, French historian Michel Pastoureau, describing a situation when
some female friends of his were not allowed to enter the grammar school on a winter day in 1961 because they
were wearing red trousers, writes that gradually the awareness was formed of the red colour as an oender
and dangerous one.
Do you associate any of your memories with red colour? And what are the meanings of red for you?
O.P. My memories are in my ngers (that is one of the reasons for the handiwork), but when I speak about the
meaning of red, I always start from the fact that my favourite colour is green. Why so much of red then? Being
red is inevitable; it is not a matter of choice. Inclination towards red colour is innate. This might explain why
the word for red is older than other words in almost all the languages. Before blue, yellow or green, there was
red, the colour of blood and re, which were the boundaries of our existence.
Why have we turned red? Is it about ideology or about physiological processes of our body? In the space
between these two meanings lies the cause for the series of my red works/objects. In the broadest sense, the
dilemma (if there is one) could be reduced to a dichotomy: nature/culture. Here we are stretched: tamed, but
wild in origin. A nameless wildness still inhabits a distant part of our being. Although it is a civilisational issue,
I deliberately speak of the female, for we are red. Being red it is like a state of extreme sensibility, large exag-
geration, irritation. Of danger. Being a great walking wound and yet ourish, have beauty. Red is a personica-
tion of the female body which can bring life, or destroy it, under the cover of myth. From times immemorial it
has been associated with love and sexuality. Hence the thread, a lot of threads, a lot of links and ties without
end. According to Jung, blushing has its equivalent in opening of the level of value in ourselves, with a positive
increase in the sense of our own value and in creative powers of the Selbst.
N.T. The exhibition Three Colours of Red has a unifying theme in the form of the use of the same colour by
three very autonomous artists. Yet, the exhibition appears to be quite a homogenous whole, not only due to
the fact that the forms of presence of the same colour in dierent oeuvres are explored, but also because the
presented works of all the three authors carry a certain similar, tentatively speaking, emotional thread.
Do you recognize it, too?
O.P. I perceive the works of Boica Raenovi and Vesna Perunovi as very close to me. I dare to name this emo-
tional thread as the female experience, no matter how elusive and complex this concept is to dene.
N.T. How do you see your work in relation to the work of Boica Raenovi and Vesna Perunovi? Where do you
see potential similarities and where are the dierences?
O.P. Such a question requires a serious theoretical consideration, and I wouldnt go into it now. It seems to me
that all the works move constantly between the intimate, personal space and the sphere of the public, and yet
dealing with universal issues of our existence.
In a conversation with works of art, in this case, too speaking of Vesnas and Boicas works, I simply surren-
der to them, enjoy the sensory challenge placed before the observer. Issues and relations that Boica and Vesna,
each in their own way, open through a complex stratication of their works are a kind of food for me, a bare
necessity and aspiration of my being. To put it in the simplest and most exact way, I love their works.
N.T. In the text in the catalogue for your exhibition Handiworks, held in 2008 in the Art Gallery of the Cultural
Centre of Belgrade, Maja iri wrote that your works arise from feelings. In the beginning it is something
(tangled skein?) undierentiated, vague and unclear, only the feeling is dominant, as a trail that is being fol-
lowed. Only through direct work the blurry and undened obtains sharpness and starts making sense.
Following this iris thesis, could you explain this feeling itself, its nature, and link it with the form it nally
takes?
O.P. Hakim Bey would say: Study the invisible to learn to handle the visible properly. In that sense, the process
of making a work is a transformation of the subconscious, hidden processes and states into the conscious
contents, in which process the internal development is identied with shaping of artistic expression. This
individual transformation certainly contains and reects complex relationships that exist within a social com-
munity. When we speak of this initial trail, for me it is always the result of a cross section view of psychological
conditions and physical forces that can be attributed to these states of mind and why not body. It seems
to me that most of my works actually exist on these kinesthetic forces. I always approach objects intuitively,
appreciating their possibility of transformation and becoming embodied. The progress of work on an object is
always conditioned by a dialogue with the material I use, Im always listening to what the material has to say,
looking for natural connections among the elements, I do not think I would ever use glue (unless the gesture of
gluing per se is the topic of the work).
N.T. When you nish a work, how faithful is it to this initial feeling?
O.P. If the initial and nal points of the process proved to be equal, I would consider my work and research
unsuccessful, meaningless. It is the possibility to reveal new relationships and territories that motivates you to
create. I do not even know how to do a project to make a sketch and then transfer all its points literally in the
nal material; I could well say that my relationship to such a pattern is subversive. Maybe my creative trajec-
tory is best described by the Wander and Get Lost method.
Nela Tonkovi
Olivera Parl - Karajankovi, Threadwork, 2007. noevi, konac / knives, thread, promenljivih dimenzija / variable dimensions
THREAD, KNOBS
Conversation with Boica Raenovi
G.D. Experts and art lovers remember the early period of work of Boica Raenovi (1989-1993), when you
introduced yourself on the Belgrade and Yugoslav contemporary visual scene by the striking sculptures in wood
with painted parts in the spirit of the New Sculpture and postmodern painting. Afer leaving the country, in
your Canadian oeuvre, sculptures in massive wood were replaced with uid shapes in sof materials, carried
out by knitting, and the use of woollen thread and ball of wool. We would say that a typically male principle-
carving in wood that implies work with dangerous tools such as chisel, gimlet, drill, the use of which was
forbidden for some time to this young assistant and the rst woman at the Sculpture Department at the Faculty
of Fine Arts in Belgrade, was replaced with a typically female principle- handiwork, technique of knitting of
gures and shapes using knitting needles and woollen yarn. Sof sculpture has been present on the world art
scene since the time of Joseph Beuys and his shapes in felt, wool, use of tallow, etc., and became particularly
popular in the sixties of the twentieth century and during the Pop Art era. Fabrics and various types of threads
were used in sculptures/objects by Claes Oldenburg, Barry Flanagan and Louise Bourgeois, who is your favourite
artist and frequent inspiration.
What inuences led you to such a drastic change of your technique in sculpture and to an adventure with wool
handiwork and traditional knitting of visual forms and shapes?
B.R. That is correct, there are has been a drastic change indeed, I experienced the war and leaving of my coun-
try as a tectonic shif in my life and that had to be reected in my work. In the new environment I have become
a wife, mother and person with a strange name. In this new environment other problems and other desires
have appeared. There is something damned in human nature that what you have in abundance is not impor-
tant. So wood, which was my rst main sculptural material and which is abundant in Canadian forests, was no
longer capable of supporting the contents important to me in the new living and working conditions. I also had
to nd the material with which I would be able to travel; heavy logs tied me to one place. I believe my job is to
explore what I can express with each material, and I understand each material as a new visual language.
First in 2010, and then in 2012, I had exhibitions in Belgrade and, afer 18 years of absence from the scene, I
wanted to bring something from Canada, something that one cannot nd in Belgrade I wanted to bring the
Canadian winter. Therefore I exhibited a series of sweaters for the things that need protection.
Put your sweater on, its cold is one of the tips that we all remember from our childhood. My mother used to
knit. She knitted gloves and sweaters for me and my sister to protect us from cold. With the slogan, its worth
more to know than to have, she taught me how to knit, embroider and crochet very early. I thought I would
never need it.
If the sculpture comes from unfullled desires, then those sof sculptures come from the need for security and
warmth. The way of making them is similar to the building of terracotta sculptures, where the outer wall sepa-
rates the empty interior space, and thus includes something that is not there. Stretching and variability of these
sof sculptures suggest the instability of memories.
G.D. The exhibition titled Three Colours of Red, which you conceived, strives to show, on the example of your
works and the work of the other two artists Vesna Perunovi, a multimedia artist who also lives in Canada
and Olivera Parli, a Belgrade sculptor how each of you uses red colour in her visual, psychological and sym-
bolic way in the plastic moulding of sculptures, readymades and installations. It is a fact that red, blue and
yellow, always as the primary colours of the spectrum, have been continuously present in trails since your early
works, but then red, materialized in woollen yarn, took the dominant role in a complex building of the form and
aesthetics of the artwork.
What is the status of red colour in your art?
B.R. I use colour to unite or separate the form. So you can perceive my cycle of red, blue or yellow works as one
red, yellow or blue work.
When you take red Indian ink instead of black, the lines drawn look like written in blood, and such statements
must be personal and honest. Red is a colour in the rst person singular, red is an I colour. You cant be
indierent before red; it arouses passions and its ambivalent nature causes hesitation.
Red is also the colour of my childhood. I remember a red woollen cap that always tickled me, red patent leather
shoes, bought one size larger on the day I became a pioneer. We used to play the game of slapping hands until
our ngers and hands would turn red with pain.
G.D. Im trying to remember some names of the sculptures from your early Belgrade period such as Splits,
Pantyhose / Hula Hoop, Undressing, Sleeper, Flyer, Head Stand, Penelope, Portrait with Yellow Ribbon, etc., that
all had narratives of symbolic but also autobiographical character. Your recent gural scenes from the so-called
Canadian period, such as those from the cycle Put Your Sweater On Its Cold, Slapping Hands, Un-Knitting and
other meaningful forms, that we had a chance to see at two Belgrade exhibitions, kept the names with auto-
poetic context and are recognized as intimate psychological, sociological and political reection. You also take
motives from art history and mythology as names for some of your works and actions, such as Penelope, Pieta
or Un-Knitting that represent drawings/ sketches for the performance with the same name, in whose narration
one can recognize the theme of Ariadnes thread that becomes the life-saving guidance for getting out of maze.
In which way and to what extent do life-saving woollen ball and thread personalize a persons navigating in
complicated situations and problems in life and art and simulate the solution?
B.R. The thread may be seen as life and knots as problems and obstacles; patience and creativity can untangle
all knots. Exile has two homes. In exile you always start from scratch; anonymity gives you the freedom to do
whatever you like with yourself and your work but the attachment to the country you come from makes you
always listen to and follow what is going on there. I wish we could all say - the whole world is my country.
Take a Sweater On, Its Cold is an installation and the name of the exhibition in 2010; there, in a red, blue and
yellow room, objects oat and occupy the central space that belong neither to the ceiling nor the oor, but are
searching for a third space. This work is about my state of not belonging. My latest works Being Red and Pieta,
from 2013, deal with the creative process itself, i.e., creation and destruction. For the work Being Red I knitted a
second skin and lef the last loop unnished so that, at the performance, walking around two poles and leaving
a trail of thread behind, I made a room. The work itself poses the question, is the sculpture made this way the
result of the performance or is the performance a trail of the sculpture?
Gordana Dobri
Belgrade, June 2014
Vesna Perunovi, Mrtva priroda / Still
Life, 1998-2013. polica, olje, dekon-
struisane crvene hulahopke, pesak /
shelf, cups, deconstructed red panty-
hose, sand, promanljivih dimenzija /
variable dimensions
THREE CITIES THREE COLOURS OF RED
Conversation with Vessna Perunovich
S.P. Prior to a comprehensive presentation of your multimedia oeuvre in the region in 2010 and 2011, you had
lived in Canada for twenty years, which proved to be an important period not only in your private life but also
professionally. This change is reected both in the topics you deal with and the choice of the media of expres-
sion. You have participated in numerous important international exhibitions and biennials (Cuba, Portugal,
Albania, Great Britain, Germany, Italy). You have had many solo and group exhibitions in Canada, and recently
you were in the group of 15 selected authors who presented the Serbian contemporary art scene at the exhibi-
tion Subdued Existence at the National Taiwan Museum of Fine Arts in Taichung (PR China). Audiences in
several continents with diverse cultural heritage have seen your works and the exhibition Three Colours Red is
held in three cities in Serbia characterized by multiculturalism (Belgrade, Zrenjanin, Subotica). The topics you
deal with, issues of gender identity, of home, as well as political topics that permeate the problems of borders
and exile are important to you personally, but they are also universal; to what extent is your visual language
recognized in dierent cultures?
V.P. My work is about borders, identity, exile, home, family, transition and ephemerality. These topics are by
nature primarily humanistic and socio-political. Through my creative process I am trying, in the rst place, to
convey my personal experience, by relating it to the universal political and social context. Although my work is
autobiographical, my artistic language uses symbols and metaphors open to interpretation and dialogue, hence
adapted to a more universal context.
My experience of a long-term life in the North American continent has contributed to the construction of the
language of my art so that it is readable to the audience living in a completely dierent cultural environment
than the one I come from. Life in immigration, my professional travels and international residencies (Bun,
Bursa, New York, Berlin and Beijing) have also taught me to be tolerant and to understand dierent cultures
better. Over the years, under the inuence of all that experience, my artistic expression has become more open
and communicative, formulating issues that we all share and dealing primarily with similarities in the human
experience. Through their puried form, economy of means and minimalist aesthetics my works strive to open
a communication with and approach to the audiences from dierent cultural environments. As an example, I
would mention the work House of Exile (2002-2010), which has been presented at 15 exhibitions in six coun-
tries and three continents and is part of the exhibition Serbian Contemporary Art Scene - Subdued Existence in
the National Taiwan Museum. By its archetypal form of the house/home and its theme relating to security and
vulnerability in the context of a global society, this work was equally close and recognizable to the audiences in
North America, Europe and Asia.
S.P. Three successful Belgrade artists now working in dierent parts of the world gathered to realize the exhibi-
tion Three Colours of Red, you and Boica Raenovi are in Canada and Olivera Parli is in Belgrade. Each uses
the red colour in a dierent way. This colour appeared as a constant in your work in the late nineties. In the
sculptures selected for this exhibition Silent Cry, Splitting Up and Overow, made in 1998, you combine ma-
terials such as stockings, changing their shape - although the essence of pantyhose is to be elastic/modiable
- with selected discarded objects, putting them all together in a dierent, new context. Your works are imbued
with your personal experiences; you visualize the intangible in a way far from literal. The very duality of red,
which is the most temperamental colour and arouses intense feelings, carries not only the aesthetical but a
special meaning too, both positive and negative, which the title of the drawing Of Passion and Rage indicates
as a wide range of emotions carried and aroused by your works. Which is the symbolic code of the colour red in
your work, how much of the female sign and ideological connotation does it contain and to what extent is the
red colour constant while the emotions inspired by it change?
V.P. In my works red colour is basically a metaphor for blood, including all the positive and negative connota-
tions it has: blood as the existential uid that gives us life and blood as a substance having political, ideologi-
cal and emotional indications (blood relations and belonging, intimate and emotional connections, spilling of
blood and sacricing for ideological and political causes). Red colour in the works at the exhibition Three Shades
of Red is a symbol of emotions that cross the boundaries of the standard norms and feelings that cannot be
restrained.
In the late nineties, red appeared as an adequate response to issues that I was dealing with at that period: the
conict in my homeland, war and disintegration of former Yugoslavia as well as the destruction of families and
Lista radova
01. Vesna Perunovi, Tihi Jecaji, 1998. ulazna vrata, trube, dekonstruisane crvene hulahopke, pesak, kuka,
200x80x60cm
02. Vesna Perunovi, Brana, 2013. konveksno ogledalo, udice, dekonstruisane crvene hulahopke, pesak, 230cm
(visina je promennjiva), dim. 70x70cm
03. Vesna Perunovi, Mrtva priroda, 1998-2013. polica, olje, dekonstruisane crvene hulahopke, pesak, proman-
ljivih dimenzija
04. Vesna Perunovi, Razdvajanje, 1998, metalni krevet, dekonstruisane crvene hulahopke, metalna testera,
180cmx110cmx80cm
05. Boica Raenovi, rtikanje i paranje, 2013. crtei kao predlog za performans, dim. pojedinanog crtea
30cmX23cm
06. Boica Raenovi, 2013. Crvena Pieta, printovi, 2013, 100x70cm
07. Boica Raenovi, Preplitanja linija krvotoka, 2014. trikana crvena vuna, 120x350x320cm
08. Boica Raenovi, Rast, 2014, drvo, vuna. dim. 91x61cm
09. Boica Raenovi, Crvene linije, 2014., vuna i valjana vuna, promenljive dimenzije
10. Olivera Parl Karajankovi, Threadwork, 2007. noevi, konac, promenljivih dimenzija
11. Olivera Parl Karajankovi, Lab, 2009. labaratorijsko staklo, najlon arape, voda, boja za hranu, onger ,
promenljivih dimenzija
12. Olivera Parl Karajankovi, Ohola greka, 2011. platno, porcelanska posuda za supu, kaika, crveni konac,
derdif, dim. 33x12x25cm,
13. Olivera Parl Karajankovi, Handiwork, 2007. noevi, crveni konac, dim. 19x10x5cm
List of works
01. Vesna Perunovi, Silent Cries, 1998, front door, trumpets, deconstructed red pantyhose, sand, hook, 200cmx
80x60cm
02. Vesna Perunovi, Flood Gate, 2013, convex mirror, sh-hooks, deconstructed red pantyhose, sand, 230cm
(variable height), 70x70cm
03. Vesna Perunovi, Still Life, 1998-2013, shelf, cups, deconstructed red pantyhose, sand, variable dimensions
04. Vesna Perunovi, Splitting Up, 1998, metal bed, deconstructed red pantyhose, metal saw, 180x110x80cm
05. Boica Raenovi, Knitting and Un-Knitting, 2013, drawings as a template for performance, 30x23cm,
dimension of individual drawings
06. Boica Raenovi, 2013. Red Pieta, prints
07. Boica Raenovi, Crossing the blood lines, 2014, wool, 120x350x320cm
08. Boica Raenovi, Grovth, 2014, wood, wool, variable dimensions
09. Boica Raenovi, Red lines, 2014, wool, felted wool, variable dimensions
10. Olivera Parli Karajankovi, Threadwork, 2007, knives, thread, variable dimensions
11. Olivera Parli Karajankovi, Lab, 2009, laboratory glassware, nylon stockings, water, food colours, coat
hanger, variable dimensions
12. Olivera Parli Karajankovi, Arrogant Mistake, 2011, canvas, porcelain soup bowl, spoon, red thread, embroi-
dery frame, 33x12x25 cm
13. Olivera Parli Karajankovi, Handiwork, 2007, knives, red thread, 19x10x5
individuals in these turbulent times. In the works created at that time - Shedding, Splitting Up, Silent Cries,
Of Passion and Rage, from the series Home Project, red colour plays the key role, symbolizing blood, belonging,
violence and passion (boiling of blood). Containers in the shape of cups, containers used for symbolic spilling of
blood, red threads cut by a two-handed saw, red tears pouring out of front doors - symbolize emotions that are
uncontrolable and go beyond the normal and reect extreme human behaviour. The works in this series read
as a frozen frame - mirroring the moment between a potential act of violence (spilling of blood) and a desire
to prevent this moment. Red forms in these works speak about the moment when a balance between conict-
ing emotions is established: between understanding, love and compassion on the one side and hatred, fear and
aggression on the other.
Slavica Popov
Zrenjanin, June 2014
Izdavai/ Publishers
Kulturni centar Beograda
Mia David, v.d. direktorka
Savremena galerija, Zrenjanin
Igor Dostani, direktor
Moderna galerija Likovni susret, Subotica
Nela Tonkovi, direktorka
TRI BOJE CRVENE / THREE COLOURS OF RED
Umetnice/Artists: Boica Raenovi, Vesna Parunovi, Olivera Parli Karajankovi
Koncepcija/ Concept: Boica Raenovi
Likovna galerija/ Art Gallery
Knez Mihailova 6, Beograd
Savremena kretanja, sveska 560
Contemporary trends Series, volume 560
Savet Galerije/ Gallery Council
Gordana Stanii, Aleksandra Miri, Aleksandra Estela Bjelica Mladenovi
Kustoskinje/ Curators
Gordana Dobri, Slavica Popov, Nela Tonkovi
Intervjui / Inretviews
G. Dobri i B.Raenovi, S. Popov i V.Perunovi, N.Tonkovi i O.Parli Karajankovi
Urednik kataloga/ Editor: Gordana Dobri
Prevod / Translation
Vesna Strika
Dizajn i prelom / Design and layout
Bruka notesa
Postavka/ Exhibition Instalalation
Slavoljub iri, Mirko Herceg
tampa / Printed by
Grafolik, Belgrade
Tira / Print run: 600
Izlobu podrali/ Supported by:
Ministarstvo kulture i informisanja Republike Srbije, Pokrajinski sekreatarijat za kulturu i javno informisanje,
Grad Beogad-Sekretarijat za kultura, Grad Subotica, Grad Zrenjanin
cip
TRI BOJE CRVENE
BOICA RAENOVI
VESNA PERUNOVI
OLIVERA PARLI KARAJANKOVI
3 26. jul 2014.
Likovna galerija
Knez Mihailova 6, Beograd
www.kcb.org.rs
28. jul 8. avgust 2014.
Savremena galerija Zrenjanin
Subotieva 1
www.galerija.rs
11 29. avgust 2014.
Moderna galerija Likovni susret
Park Ferenca Rajhla 5, Subotica
www.likovnisusret.rs
THREE COLOURS OF RED
BOICA RAENOVI
VESNA PERUNOVI
OLIVERA PARLI KARAJANKOVI
3
TH
26
TH
JULY 2014
The Art Gallery
Knez Mihailova 6, Belgrade
www.kcb.org.rs
28
th
July 8
th
August 2014.
Contemporary Gallery Zrenjanin
Subotieva 1
www.galerija.rs
11
th
29
th
August 2014.
Contemporary Art Gallery Subotica
Perk Ferenca Rajhla 5
www.likovnisusret.rs