Recenzije Reviews Dr Aleksandra Jovievi, red.prof.

La Sapienza, Rim i Fakultet dramskih umetnosti, Beograd La Sapienza, Rome and Faculty of Dramatic Arts, Belgrade

Likovne kolonije u Srbiji Art colonies in Serbia

Konkurs Ministarstva kulture Republike Srbije (20022008) Open contest of the Ministry of Culture of the Republic of Serbia (20022008)

Dr Milena Dragievi-ei, red.prof.

Fakultet dramskih umetnosti, Beograd i Univerzitet umetnosti, Beograd Faculty of Dramatic Arts, Belgrade and University of Arts, Belgrade

2009.

Sadraj Content

6 8

Uvodna re Likovne kolonije u Srbiji Dimitrije Tadi

6 8

Foreword Art colonies in Serbia Dimitrije Tadi

Konkurs Ministarstva kulture Republike Srbije (20022008)

Open contest of the Ministry of Culture of the Republic of Serbia (20022008)

34 Dislokacije: potencijali umetnikih kolonija u Srbiji Maida Gruden i Mara Prohaska-Markovi 42 Primeri dobre prakse (likovne kolonije) 54 Biografije

34 Dislocations: the potentials of art colonies in Serbia Maida Gruden i Mara Prohaska-Markovi 42 Examples of good practice (art colonies) 54 Biographies

Uvodna re Foreword
Dimitrije Tadi Cilj ove publikacije jeste da predstavi i objasni funkcionisanje i rezultate godinjeg konkursa Ministarstva kulture Republike Srbije za likovne kolonije. Taj konkurs funkcionie u sklopu ire koncipiranog konkursa Sektora za savremeno stvaralatvo, kulturnu industriju i kulturne odnose (Konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture), koji obuhvata sve umetnike oblasti savremenog stvaralatva. Objanjenjem konkursne procedure publikacija moe pomoi i profesionalcima, a naroito organizatorima likovnih kolonija, u sagledavanju kriterijuma Ministarstva i strunih komisija koje odabiraju projekte za finansiranje. Na taj nain, olakava se i unapreuje apliciranje na konkursu. Isto tako, vana je i prezentacija rada Ministarstva, kao organa uprave, i u krajnjoj liniji, dela Vlade, a radi transparentnosti procedura, kriterijuma i finansiranja projekata. Na kraju, eljeni efekti i rezultati konkursa upuuju i na stavove Ministarstva u smislu kulturne politike. Da bi se to bolje predstavili kriterijumi odabira projekata za finansiranje, publikacija sadri i primere dobre prakse. Tu su predstavljene, sa kratkim opisom i kontaktima, likovne kolonije koje Ministarstvo kulture Republike Srbije finansijski podrava. Za ovu priliku odabrani su projekti koji slikovito i reprezentativno ilustruju kriterijume i efekte konkursa, kao i napore Ministarstva usmerene ka unapreenju funkcionisanja umetnikog, kulturnog, ali i drutvenog sistema nae zemlje. Broj likovnih kolonija podranih na konkursu znatno je vei. Tekst Maide Gruden i Mare Prohaske-Markovi, istoriarki umetnosti, prua uvid u drutveni i istorijski kontekst razvoja kolonija i na osnovu organizacionog iskustva razmatra znaaj i potencijal likovnih kolonija danas. The aim of this publication is to present and to explain the functioning as well as the results of the annual contest of the Ministry of Culture of the Republic of Serbia for art colonies. The contest functions within the boundaries of a more widely conceived contest of the Sector for contemporary art, cultural industry and cultural relations (the contest for the co financing of project / programs that contribute to the development and presentation of art and culture) which includes all artistic fields of contemporary production. By explaining all of the contest procedures this publication will help professionals and especially art colony organizers in understanding the criteria set up by the Ministry and the expert committees which select programs that are to be financed. In this way, applying for the contest is set forward and made easier. The presentation of the Ministrys work as a part of the government and a governing body is vital and it is also important because of the transparency of procedures, criteria and financing of the project. Eventually, the desired effects and results of the contest point out the positions of the Ministry concerning cultural policy. In order for the criteria of selection of projects for financing to be presented in an adequate way, the publication also contains examples of good practice. Art colonies that are financially supported by the Ministry of Culture of the Republic of Serbia are presented here along with a short description and contacts. For this occasion projects which depict the criteria and effects of the contest are vividly and accurately selected. These projects also represent the efforts of the Ministry towards the improvement of the art, cultural and social system of our country. The number of art colonies supported by the contest is considerably larger than before. The text by Maida Gruden and Mara ProhaskaMarkovi, art historians, offers an insight into the

Cilj publikacije jeste i da posle sedam godina kontinuiranog postojanja konkursa za likovne kolonije predstavi i u isto vreme preispita njegove efekte i domete u unapreenju razvoja likovnih kolonija. Iznoenje iskustava u radu Ministarstva, odnosno u finansiranju projekata, takoe moe biti od koristi svim profesionalcima iz oblasti kulture. Publikacija je tampana kao izdanje udruenja graana Anonymous said: iz Beograda, to treba sagledavati u svetlu neophodne saradnje vladinog i nevladinog sektora, budui da je njena izrada pod direktnim pokroviteljstvom Ministarstva kulture Republike Srbije. Kako Ministarstvo veoma dri do kvalitetne i dinamine saradnje sa civilnim sektorom, ova publikacija ujedno svedoi i o naporima Ministarstva usmerenim ka unapreenju te vrste saradnje. Stoga, svesrdno zahvaljujemo timu Anonymous said: i Manetu Radmanoviu na uspenoj saradnji na ovom projektu. Veliku zahvalnost dugujemo Aleksandri Jovievi na dugogodinjoj pomoi i saradnji, kao i Mileni Dragievi-ei na znaajnoj pomoi u strukturiranju tekstova i same publikacije. eleli bismo da zahvalimo i Ani Vueti, pomoniku ministra kulture za savremeno stvaralatvo, kulturnu industriju i kulturne odnose, Vesni Jokanovi, pomoniku ministra kulture za ekonomsko-finansijske poslove, i Nadici Momirov, dravnom sekretaru u Ministarstvu kulture Republike Srbije, bez ije ljubazne pomoi tampa ove publikacije ne bi bila mogua. Posebnu zahvalnost upuujemo Neboji Bradiu, ministru kulture u Vladi Republike Srbije.

social and historic context of the development of colonies and considers the importance and potentials of art colonies today, based on organizational experience. The aim of this publication is to present and at the same time revise the effects and the range of the contest for art colonies considering the improvement of art colonies even after seven years of their existence. Bringing out the experience in the work of the Ministry concerning the financing of projects can also be useful to all professionals from the cultural field. The publication is printed as an edition of the citizens association Anonymous said: from Belgrade. This should be viewed in the light of necessary cooperation between the government and non government sector being that its production is under direct auspices of the Ministry of Culture of the Republic of Serbia. Ministry of Culture encourages dynamic and valuable cooperation with the civil sector based on high standards, this publication also testifies about the efforts of the Ministry of Culture directed towards the enhancement of this kind of cooperation. Hence, we are cordially grateful to Anonymous said: creative team and Mane Radmanovi for the successful cooperation on this project. We owe a great deal of gratitude to Aleksandra Jovievi for her continuing help and cooperation, as well as Milena Dragievi-ei for her considerable help, invaluable for the structure of this publication. We would also like to express our gratitude to Ms. Ana Vueti, the Assistant Minister for contemporary art, cultural industry and cultural relations; Ms. Vesna Jokanovi, the Assistant Minister for economical and financial affairs, and Ms. Nadica Momirov, the State Secretary in the Ministry of Culture of The Republic of Serbia, whose kind assistance made this publication possible. We give special thanks to Mr. Neboja Bradi, Minister of Culture in the Government of the Republic of Serbia.

Likovne kolonije u Srbiji Art colonies in Serbia Konkurs Ministarstva kulture Republike Srbije (20022008) Open contest of the Ministry of Culture of the Republic of Serbia (20022008)

Uvod

Introduction

Dimitrije Tadi

U Srbiji je registrovano vie od 200 likovnih kolonija, a smatra se da je njihov broj zapravo mnogo vei. Tradicija likovnih kolonija veoma je izraena. Meutim, kako njihova forma ve dugo nije u skladu sa potrebama savremene umetnosti, tu tradiciju trebalo je sistematski podrati i dozvoliti joj da se dalje razvija, ali je i preoblikovati da bi bila blia savremenim kulturnim i umetnikim tendencijama. Ministarstvo kulture Republike Srbije 2002. godine prvi put je otvorilo usko profilisani konkurs za likovne kolonije kako bi se nedefinisana i haotina situacija na tom polju uredila na odgovarajui nain. Konkurs za likovne kolonije pokrenut je ne samo zato da bi se izdvojile najkvalitetnije likovne kolonije i ukazalo na vanost njihovog ozbiljnog koncepta koji odreuje savesni selektor ve i radi edukacije organizatora kolonija i razvijanja menaderskog miljenja, kao i edukacije publike. Veoma je znaajno to to se likovne kolonije uglavnom odravaju van veih kulturnih centara kakvi su Beograd, Novi Sad i Ni, te je podrka razvoju tih manifestacija neobino dragocena i sa stanovita decentralizacije kulture i sa stanovita kulturnog turizma. Nita manje nije znaajna ni injenica da se odravanje likovnih kolonija vezuje i za produkciju umetnikih radova savremenih umetnika, to je jedan od najveih problema sa kojima se autori kod nas, naroito oni mlai, susreu zbog teke finansijske situacije. Na taj nain organizatori likovnih kolonija direktno pomau umetnicima u produciranju i ostvarivanju umetnikih zamisli. Konkurs za likovne kolonije jedan je od prvih konkursa koje je Ministarstvo pokrenulo posle 2000. godine. Prvi put otvoren je 2002,

There are more than 200 art colonies registered in Serbia, but their number is perhaps larger. This tradition is very pronounced. Their form has not been in accordance with contemporary art necessities for some time, so this tradition should have been systematically supported in order to improve further development and also to reshape it and bring it closer to contemporary artistic and cultural tendencies. The Ministry of Culture of the Republic of Serbia has for the first time opened a profiled contest for art colonies in 2002 in order to rearrange the chaotic and undefined situation. This contest was set in motion not only to select the best art colonies and to emphasize the importance of their serious concept which is defined by a conscientious selector but also to educate colony organizers and to develop the managerial way of thinking as well as education of the public. It is very important that art colonies exist mainly outside of great cultural centers such as Belgrade, Novi sad and Ni so that support of these manifestations is very precious from the point of decentralization of culture and cultural tourism. Equally important is the fact that art colonies are tied with art production of contemporary artists, which is one of the greatest problems which face authors in this country, younger ones in particular. In this way the organizers of art colonies directly help artists in the production of their artistic ideas. The contest for art colonies is one of the first that has been started by the Ministry of Culture after the year 2000. It was announced in 2002, and ever since 2003 it has been functioning within the annual contest of the Sector for contemporary art, cultural

a od 2003. funkcionie u okviru godinjeg konkursa Sektora za savremeno stvaralatvo, kulturnu industriju i kulturne odnose (Konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture) i odnosi se na likovne kolonije koje se realizuju u jednoj kalendarskoj godini. Konkurs Ministarstva kulture Republike Srbije za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture pokrenut je 2003. godine. Posle perioda veoma tekog za celu dravu, tadanji saziv Ministarstva uveo je sistemska reenja u funkcionisanje da bi se rad Ministarstva unapredio i osavremenio. Izmeu ostalog, to je znailo i promovisanje sasvim drugaijih procedura finansiranja projekata, u skladu sa savremenim evropskim standardima u kulturi. Jedna veoma vana, tada uvedena procedura, jeste konkurs za finansiranje projekata. Taj konkurs raspisuje se u okviru Sektora za savremeno stvaralatvo, kulturnu industriju i kulturne odnose, i u skladu je sa Zakonom o delatnostima od opteg interesa u oblasti kulture (Slubeni glasnik RS br. 49/92). Konkurs je otvoren za sve umetnike oblasti i projekte koji su u vezi sa naunoistraivakim radom u savremenoj umetnosti i kulturi. Pravo uea imaju institucije kulture, organizacije, udruenja graana, neformalne grupe i pojedinci sa teritorije Republike Srbije, dok projekti/programi ustanova kulture iz lana 2, stav 2 Zakona o delatnostima od opteg interesa u oblasti kulture (indirektni korisnici budeta) nemaju mogunost uea na konkursu. Razlog je to to se rad tih institucija finansira sa drugih budetskih pozicija, i to u celosti. Godinji konkurs Sektora za savremeno stvaralatvo, kulturnu industriju i kulturne odnose pokrenut je radi sistematinosti i transparentnosti rada Ministarstva kulture. Sistematinost u radu Ministarstva ogleda se u mogunostima koje konkurs prua, a to je pregled projekata koji se realizuju tokom godine, kao i itav niz mera kulturne politike koje se konkursom sprovode. Mnogi neprofesionalni postupci, neloginosti

industry and cultural relations (the contest for the co financing of projects/programs which contribute to the development and presentation of art and culture) and relates to art colonies production for the period of one calendar year. The contest of The Ministry of Culture of the Republic of Serbia for the co financing of projects/programs which contribute to the development and presentation of art and culture started in 2003. After a period which was very difficult for the state, the Ministry of Culture introduced system solutions in order to advance and modernize the Ministry. This meant the promotion of completely different procedures of financing projects, in accordance to contemporary European standards in culture. A very important, new procedure is this contest for the co financing of projects. This contest is announced within the Sector for contemporary Art, cultural industry and cultural relations and it is in accordance with the Law on activities of common interest in culture (Slubeni glasnik RS br. 49/92). The contest is open to all artistic fields and projects connected with scientific research in contemporary art and culture. The right of participation is granted to cultural institutions, citizens associations, informal groups and individuals from the Republic of Serbia, while projects/programs of cultural institutions from article 2, paragraph 2 of the Law on activities of common interest in the field of culture (indirect budget users) do not have the possibility of participation in the contest. The reason being that the work of those institutions has been financed from other budget sources in its entirety. The annual contest of the Sector for contemporary art, cultural industry and cultural relations was started because of the systematic and transparent work of the Ministry of Culture. Systematic activities of the Ministry are seen in the capacity of the contest to make a survey of projects being realized during one year as well as other measures of cultural policy. Many unprofessional acts, illogical and incoherent, are overcome by introducing this contest. In

i nedoslednosti u radu prevazieni su uvoenjem konkursa. Na taj nain donosioci odluka u prilici su da uporede i valorizuju umetniku i kulturnu produkciju u jednoj kalendarskoj godini. Transparentnost funkcionisanja konkursa, odnosno Ministarstva kulture Republike Srbije, prepoznaje se u injenici to su procedure i rezultati konkursa javni. Veoma je znaajno i to to su u proces odluivanja ukljueni i profesionalci (lanovi komisije). Dakle, osim transparentnosti u proceduri i ukljuivanja osoba van Ministarstva u proces odluivanja, potrebno je naglasiti i injenicu to su odluke o finansiranju umnogome preputene profesionalcima iz svake oblasti umetnikog stvaralatva. Nita manje nije znaajno ni pitanje naina utroka i planiranja budetskih sredstava kojima Ministarstvo raspolae u jednoj godini. Uvoenjem konkursne procedure ne samo to je potvren znaaj transparentnosti i javnosti rada ve je zbog dobrog pregleda umetnike i kulturne produkcije uveliko olakano i planiranje finansijskih sredstava Ministarstva, ali i organizatora projekata. Za svaku stvaralaku oblast formiraju se zasebne komisije sastavljene od strunjaka u svakoj oblasti koje odabiraju projekte za finansiranje. Kako je Ministarstvo organ dravne uprave, a ne struna institucija poput muzeja na primer, struna sluba Ministarstva koordinie rad komisija, ali su odluke o finansiranju projekata preputene lanovima komisije. Iako oni donose tzv. predlog odluke, vano je napomenuti da se ni ministar ni njegovi saradnici ne meaju u donete odluke, tj. preporuke strune komisije. Jedina eventualna intervencija moe se odnositi na iznos za svaki projekat predvien za finansiranje, to zavisi od budetskih mogunosti Ministarstva. Meutim, neobino je vana interakcija i dinamina, kreativna saradnja lanova komisije i strune slube Ministarstva. Tako se, radi to boljeg i svrsishodnijeg sprovoenja mera za unapreenje umetnikog i kulturnog sistema u zemlji, lanovima komisije predoavaju kriterijumi

this manner decision makers can compare and evaluate the artistic and cultural production in a calendar year. The transparency of the contest and also the Ministry of Culture of the Republic of Serbia, can be recognized in the fact that procedures and results of the contest are made public. It is very important that professionals (committee members) are also included in the decision making process. Apart from procedure transparency and the inclusion of persons outside of the Ministry, it is important to emphasis the fact that decisions regarding the finances are mainly handed over to professionals. Equally important is the question of expenditure and planning which the Ministry has each year. By introducing the contest procedure the meaning of transparency and public work is confirmed as well as a clear survey of artistic and cultural production thus helping the Ministry to plan financial means. Independent committees for each creative field are formed which are consisted of professionals from each respective field to select the projects that are to be financed. The Ministry is a member of state governing and not a professional institution like a museum for instance, its respective body of the Ministry coordinates the work of the committees and the decisions about financing are being left to the members of the committee. Although they decide this so called proposition, it is important to mention that neither the Minister nor his Assistants interfere in the conclusions that are proposals of the committee. A possible intervention regards the sum for each project which depends on the budget of the Ministry. Interaction and dynamic, creative cooperation of committee members and respective Ministry services is of great importance. In order to improve the artistic and cultural system of the country, members of the committee are informed of the criteria and expectations of the Ministry. Before the committee begins its work, those criteria are being confronted with the opinions and the criteria of the members of the committee

10

11

i oekivanja Ministarstva. S druge strane, pre poetka rada komisije, ti kriterijumi rada ukrtaju se sa miljenjima i kriterijumima lanova komisije, te se na taj nain oblikuje jasno definisana strategija za odabir projekata za sufinansiranje. Vano je napomenuti da komisija donosi kriterijume umetnikog kvaliteta projekata i umetnikih dometa umetnika koji apliciraju, to nije uvek lako. Nije uvek mogue pravilno suditi o ponuenim projektima, naroito ako je re o mlaim i nedovoljno afirmisanim stvaraocima, jer u tim sluajevima ni biografski podaci nisu sasvim reiti. Zbog svega toga, od sutinskog je znaaja upravo odabir lanova strune komisije, budui da je tu re o arbitriranju nad ne uvek precizno merljivim kvalitetima. Danas je kontekstualizacija umetnikih praksi neophodna, budui da se savremena umetnost posmatra i kroz neumetnike discipline poput psihologije, sociologije, feminizma, nauke, politike ili aktivizma. Stoga je neophodno komisiju formirati od strunjaka koji prate teorijsku misao, ali i zbivanja i razvoj vizuelne i multimedijalne scene u zemlji i inostranstvu. Osim strunih kompetencija, lanovi komisije treba da poseduju i izvesnu irinu u sagledavanju i ocenjivanju pristiglih projekata. esto nije dovoljno da lanovi komisije budu uskostruno uspeni (najee umetnici ili istoriari umetnosti) ve i da poseduju specifinu lucidnost u sagledavanju pristiglih konkursnih prijava. Nije uvek sa lakoom mogue uoiti potencijale projekata sa loe sastavljenim prijavama, ali i obrnuto, podnosioci projekata sa iskustvom u konkurisanju, u prilici su da atraktivno predstave skromne domete svojih zamisli i koncepata. Prilikom formiranja komisija, kolegijum Ministarstva uzima u obzir jo jedan problem, podjednako vaan: izbei konflikt interesa. Teko je, meutim, pronai profesionalce koji se ozbiljno bave profesijom a da nisu aktivni u svojoj delatnosti, to podrazumeva i angaman u konkurisanju za finansijska sredstva. lanovi komisije koji su eventualno predali svoju aplikaciju na konkurs pre nego

thus forming a clearly defined strategy for the choice of projects for (co)financing. Its worthwhile mentioning that the committee creates criteria of artistic quality of the project and the artistic range of the artists that are applying, which is not always easy. Its not always possible to correctly judge the submitted projects, especially if its concerning young and emerging artists, because in these cases not even the biographical data is intelligible. Because of this, the selection of the committee members is of utmost importance since in this case concerns loosely measurable quality. Today the contextualization of artistic praxis is necessary, since contemporary art is observed also through non artistic disciplines like psychology, sociology, feminism, science, politics and activism. This is why the committee should be consisted of professionals who are well informed. Apart from professional competence, members of the committee should possess a considerate horizon in the viewing and evaluation of the submitted projects. It is not always sufficient to be just a one way specialist (most often artists or art historians), it is necessary for them to have specific lucidity in their assessments of the applications. It is not always easy to perceive potentials of a project with badly composed applications and vice versa applicants with experience have the opportunity to present their modest ability very attractively. During the making of the committee the collegiate of the Ministry has in mind yet another equally important problem: how to avoid conflict of interest. It is difficult to find professionals who behave seriously without even being active in their role which implies their engagement in the application for financial means. Members of the committee which may have submitted their application for the contest before they were invited for this function have officially withdrawn their project. For the members of the committee for art colonies persons with professional integrity are chosen, as well as art historians that are well informed on such manifestations in Serbia and artists who have participated in

to su bili pozvani za tu funkciju, zvanino su povukli svoj projekat. Za lanove komisije za likovne kolonije birane su osobe sa profesionalnim integritetom, istoriari umetnosti koji su pratili odravanje takvih manifestacija u Srbiji, kao i umetnici koji su uzimali uea u radu likovnih kolonija. Tako sastavljena komisija, na osnovu pristiglih aplikacija odabirala je likovne kolonije kojima bi Ministarstvo, po njenoj preporuci, trebalo da prui finansijsku podrku. Odabrane likovne kolonije u zemlji u celosti su podrane na nain na koji je to struna komisija i oekivala. Komisije se formalno sastavljaju (ministar potpisuje Reenje o formiranju komisija) posle zatvaranja konkursnog roka, kada su prijave ve predate, a sastav komisije javno je poznat po zvaninom donoenju odluka o tome koje e projekte Ministarstvo finansirati te godine. Mandat komisija je jednogodinji, ali ukoliko se smatra da je potrebno, uobiajeno je da se ponovi naredne godine, ili da jedan lan komisije nastavi da radi i naredne godine. Na taj nain komisija je u prilici da evaluira rezultate podranih projekata. Vodi se rauna i o raznorodnom sastavu komisije, to znai da se lanovi biraju i na osnovu njihovih interesovanja i iskustva (novi mediji, slikarstvo i dr.), profesiji (umetnici, istoriari umetnosti, novinari koji struno prate likovne kolonije i dr), ali i godita. Nakon to komisija donese Predlog odluke, kolegijum Ministarstva evaluira njen rad i potom ministar potpisuje Odluku o finansiranju projekata. Iznos za svaki projekat takoe predlau komisije, ali se pre potpisivanja te odluke sagledavaju budetske mogunosti Ministarstva.

the art colonies activities. The committee formed in this manner, based on the received applications, has chosen art colonies that the Ministry should give financial support to after its recommendation. The selected art colonies are fully supported in the way that the professional committee expected. The committees are formally made (the Minister signs a Decree on the formation of the committees) after the expiration of the contest deadline, when the applications have already been submitted, and the members of the committee are publicly known for the official decisions that have been made concerning which projects the Ministry will finance that year. The committees mandate is one year, but if it is deemed necessary it is customary to repeat the mandate next year, or at least for one of the members to continue working in the next year. In this way the committee is capable of evaluating the results of the supported projects. The diversity of the committee members is also taken into account, which means that the members are also selected based on their interests and experiences (new media, painting and so on), professions (artists, art historians, journalists that cover art and multimedia) as well as their age groups. After the committee has decided on the Suggestion, the Collegium of the Ministry evaluates its activity after which the minister signs the Decision on financing of the projects. The sum for each project is also suggested by the committee, but the signing of that decision must be in accordance with budget abilities of the Ministry.

12

13

Dosadanji sastav komisija: 2002. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul i Mran Baji 2003. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul i Mran Baji 2004. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul i Mran Baji 2005. godina Ljiljana Slijepevi, Svetlana Mladenov i Nenad Radi 2006. godina Milica Petronijevi, Ljiljana Tai i Nenad Radi 2007. godina Ljubica Jelisavac, Tamara Ognjevi i Aleksandra Vasovi 2008. godina Vinja Posti, Milica Peki-Conev, Darka Radosavljevi, Zoran Todorovi i Ljubia Simovi Na osnovu dostavljenih narativnih i finansijskih izvetaja, ali i praenjem realizacije, zajedno sa lanovima komisije ti projekti se evaluiraju, to u velikoj meri utie i na finansiranje njihovih podnosilaca naredne godine. Dokumentacija potrebna za apliciranje na konkursu: 1. popunjen konkursni formular, 2. detaljan opis projekta, program i koncept likovne kolonije, spisak umetnika koji uestvuju u njenom radu i biografija selektora umetnikog direktora, 3. detaljan predraun trokova, 4. podaci o pravnom licu koje podnosi prijavu; pojedinac dostavlja profesionalnu biografiju,

Previous committee members: 2002. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul and Mran Baji 2003. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul and Mran Baji 2004. godina Ljiljana Slijepevi, Marina Marti, Ljiljana inkul and Mran Baji 2005. godina Ljiljana Slijepevi, Svetlana Mladenov and Nenad Radi 2006. godina Milica Petronijevi, Ljiljana Tai and Nenad Radi 2007. godina Ljubica Jelisavac, Tamara Ognjevi and Aleksandra Vasovi 2008. godina Vinja Posti, Milica Peki-Conev, Darka Radosavljevi, Zoran Todorovi and Ljubia Simovi Based on the submitted narrative and financial reports, together with members of the committee, these projects are being evaluated, which greatly influences the financing of the respective applicants in the next year. Necessary documents for the contest application: 1. A completed contest form; 2. Detailed description of the project, program and concept of the art colony, a list of participating artists and biography of the selector art director; 3. Budget estimation; 4. Information on the applicant legal body; individual submits professional curriculum

5. dokument o pravnom statusu (ukoliko postoji), 6. pismena obrazloenja dve osobe koje preporuuju projekat, 7. katalozi sa prethodnih saziva kolonije i druga vizuelna dokumentacija (ako postoji), kao i dokumentacija za projekat kojim se konkurie, 8. dokaz o uplati republike administrativne takse.

vitae; 5. A document regarding legal status (if any); 6. Two written recommendations for the project ; 7. Catalogues from previous art colonies and other visual documentation (if any), as well as documentation for the competing project; 8. Proof about the payment of the state administrative tax.

RAD KOMISIJE ZA LIKOVNE KOLONIJE MINISTARSTVA KULTURE REPUBLIKE SRBIJE Imajui u vidu zastareli i danas obesmiljen koncept likovnih kolonija iz perioda socijalistikog ureenja, 2002. godine prvi put je otvoren konkurs za likovne kolonije i formirana struna komisija radi stimulisanja najkvalitetnijih kolonija, prepoznavanja njihovog edukativnog karaktera i ostvarivanja kulturne decentralizacije. Veoma je vano to to komisija nije iskljuivo oekivala od Ministarstva da se finansijska pomo uputi organizatorima odabranih kolonija ve je i sama dala sugestije drugaijeg karaktera. Tu je re o odreenim merama za poboljanje rada kolonija koje je komisija prenela u nadlenost Ministarstva kulture Republike Srbije. Nadlene osobe iz Ministarstva u stalnoj su komunikaciji sa organizatorima likovnih kolonija da bi pratile njihov dalji razvoj i izvravanje obaveza onih koje su dobile finansijsku podrku. Ministarstvo je u vie navrata, po preporuci komisije, upuivalo zvanine dopise organizatorima kako bi prenelo stavove komisije. Tako su istaknute mere za poboljanje rada kolonija i izdvojeni sledei problemi: izbor selektora kolonije, budui da odabir umetnika nije uvek zadovoljavajui; za lanove komisije nije prihvatljivo da se rad kolonija svodi na ugled koji su nekada imale; za lanove komisije nije prihvatljivo da

THE COMMITEES ACTIVITY CONCERNING THE COMMITTEE FOR ART COLONIES OF THE MINISTRY OF CULTURE OF THE REPUBLIC OF SERBIA Taking into account an outdated concept of art colonies during the socialist era, in 2002 for the first time a contest for art colonies and a professional committee for stimulating the best colonies for envisioning their educative character and for achieving cultural decentralization was introduced. It is very important that the committee did not expect the Ministry of Culture to distribute financial help to the organizers of selected colonies, but it offered suggestions of a different kind. They concern certain measures for improving activities of the colonies which the committee thereafter submitted to the Ministry of Culture of the Republic of Serbia. Respective persons from the Ministry are in a constant state of communication with art colony organizers in order to follow their further development and fulfillment of the obligations of the colonies which were given financial support. On many occasions the Ministry, being advised by the committee, sent official acts to the organizers in order to explain the committees decisions. In this way the following problems for improving activities of the colonies were pointed out: The choice of colony selectors, being that the choice of artists isnt always satisfactory; Members of the committee do not find it acceptable that the activity of the colonies

14

15

se umetnici koji uestvuju u radu kolonije ponavljaju u svakom sledeem sazivu; neadekvatno uvanje umetnikih zbirki; kvalitet dizajna tampanog materijala (katalog, plakat, pozivnice i dr.) i CD prezentacija. Komisija je ustanovila tri kategorije likovnih kolonija. 1. Likovne kolonije sa jasnom fizionomijom, dugogodinjom tradicijom i dragocenim fondom umetnikih radova Tu spadaju likovne kolonije koje su se afirmisale tehnikama koje tretiraju. Tako postoje kolonije akvarelista, slikara, skulptora, ali i kolonije koje se bave keramikom, staklom, tapiserijom i sl. Za odluivanje su znaajne i ve postojee tradicije koje se vezuju za odreene gradove i mesta, kakva je, na primer, likovna kolonija zlatarstva u Majdanpeku (Zlatara Majdanpek). 2. Likovne kolonije kojima treba pruiti podrku da bi se ohrabrila lokalna inicijativa, sa napomenom da komisija Ministarstva oekuje dalji ozbiljniji rad organizatora na poboljanju njihovog koncepta 3. Likovne kolonije koje ne zadovoljavaju kriterijume koje su postavili Ministarstvo kulture Republike Srbije i komisija za likovne kolonije

Opti kriterijumi Budui da rad likovnih kolonija spada u oblast vizuelnih umetnosti, kriterijumi u radu komisije za likovne kolonije uklapaju se u kriterijume komisije za vizuelne umetnosti i multimedije: 1. visok umetniki kvalitet i profesionalnost u radu, 2. promocija savremenih umetnikih formi i izraza i unapreenje razumevanja ideja i jezika savremene umetnosti, kao i podrka inovativnim i eksperimentalnim projektima, 3. komunikativnost projekata sa publikom, 4. doprinos socijalnoj koheziji i optem blagostanju borba protiv predrasuda i stereotipa, multikulturalnost, status pojedinca u drutvu, rodna pitanja, uee ena u javnom ivotu, ljudska prava, ekoloka pitanja, pitanja tzv. drutveno marginalizovanih grupa, interkulturni dijalog i dr, 5. podrka novim inicijativama i novoj umetnikoj produkciji kvalitetno i savremeno osmiljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi); podrka projektima izvan institucija ili organizacija koje ve prethodno nisu obuhvaene budetskim sredstvima grada/optine, Republike i AP Vojvodine, ili znaajnim sredstvima iz ostalih izvora, 6. kritiko razmatranje kulture u savremenim drutvenim, politikim i medijskim okolnostima kako na lokalnom tako i na regionalnom i meunarodnom planu, 7. doprinos decentralizaciji kulture i kulturnoj saradnji, 8. podrka projektima koji doprinose jaanju kapaciteta, umreavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruenja graana, 9. uravnoteena i optimalna podrka javnom, privatnom i nevladinom sektoru, 10. postojanje vie finansijera predloenog projekta, 11. kvalitetno i savremeno osmiljena regionalna i meunarodna kulturna saradnja.

has been reduced to glory of previous days; Members of the committee do not find it acceptable that artists participating in activities of economy are repeated in each succeeding convocation; Inadequate presentation of art collections; The quality of the printed materials design (catalogue, poster, and invitations) and CD presentation.

General criteria Since the work of art colonies belongs into the field of visual arts, criteria of the committee for art colonies coincide with the criteria of the committee for visual arts and multimedia: 1. A high artistic quality and professional approach to this field; 2. The promotion of contemporary art forms and expressions and the development of the understanding of ideas and language of contemporary art, together with the support to innovative and experimental projects; 3. The transparency of the project for wider audiences; 4. The contribution to social cohesion and common welfare the struggle against prejudice and stereotypes, the multiculturalism, the status of the individual in society, gender issues, participation of women in public life, human rights, ecology, the questions concerning socially marginalized groups, inter cultural dialogue etc.; 5. The support for new initiatives and new artistic production a well conceived and presently designed individual authors projects (artists, curators and other cultural professionals); the support for non institutional projects which were not supported by budget means of their municipalities, Republic and AR of Vojvodina; 6. The critical survey of culture in contemporary social, political and media circumstances on a local as well as on a regional and international level; 7. The contribution to the decentralization of culture and cultural cooperation; 8. The support for projects which concern capacity building, networking and professional upgrading of organizations and citizen associations; 9. Well balanced and optimal support for the public, private and non government sectors; 10. Existence of multiple financial resources for the project; 11. A well conceived and contemporary regional and international cultural cooperation.

The committee has established three categories of art colonies. 1. Art colonies with a distinct physiognomy, long lasting tradition and precious fund of artworks Art colonies which have been recognized for the techniques they use belong into this category. There are also aquarelle, painters, sculptures colonies, as well as colonies that deal with ceramics, glass and tapestry. In decision making process there were taken important and already existing traditions connected with respective cities and locations, for instance the jewelry art colony in Majdanpek (Jewelry Majdanpek). 2. Art colonies that should be given support in order to encourage local initiative, keeping in mind that the committee of the Ministry expects further serious work of organizers to improve their concept. 3. Art colonies that do not meet the criteria set by the Ministry of Culture of the Republic of Serbia and the committee for art colonies.

KRITERIJUMI KOMISIJE ZA LIKOVNE KOLONIJE Uspostavljanje kriterijuma i principa rada neophodno je zbog osnovne strategije delovanja i adekvatne selekcije aplikacija.

THE COMMITEES CRITERIA FOR ART COLONIES Establishing the criteria and principles of work is necessary because of the basic strategy of action and adequate selection of applications.
16 17

Visok umetniki kvalitet i profesionalnost u radu Osim na visokom umetnikom i koncepcijskom kvalitetu, insistira se i na profesionalnoj realizaciji projekata, to jest kvalitetnoj produkciji. Promocija savremenih umetnikih formi i izraza i unapreenje razumevanja ideja i jezika savremene umetnosti, kao i podrka inovativnim i eksperimentalnim projektima Budui da se konkurs raspisuje u okviru sektora Ministarstva koji se bavi savremenom umetnou i kulturom, sasvim je oekivano da se ovi kriterijumi postavljaju kao vitalni. Iako nije uvek jednostavno sagledati realne efekte projekata, to jo vie vai za inovativne i eksperimentalne inicijative, ovi projekti imaju jedan veoma poseban kvalitet. Taj kvalitet ogleda se ne samo u njihovoj ivoj komunikaciji sa savremenim trenutkom ve i u tome to svedoe o vitalnosti umetnike i kulturne scene. Zatvorenost u okotalom i samozadovoljnom sistemu proverenih vrednosti dovodi do hermetine inertnosti i samoizolacije. U krajnjoj instanci, poznato je, to je i u tesnoj vezi sa kiem, to je uostalom esto i u tretiranju kulturne i umetnike batine. Komunikativnost projekata sa publikom Neophodno je da projekti poseduju dobru komunikativnost sa publikom. Zato treba razbijati donekle uvreenu predrasudu prema savremenoj umetnosti kao nerazumljivoj i elitnoj pojavi, te stoga i namenjenoj uskom i zatvorenom krugu poznavalaca. Praksa, naalost, pokazuje da su ponekad i sami akteri savremene umetnike scene skloni takvom pretencioznom stavu. Kao posledica toga nastaju projekti koji su sami sebi cilj, to svakako nije prihvatljivo. Kako se likovne kolonije uglavnom organizuju u manjim sredinama, ovo pitanje neobino je vano.

Doprinos socijalnoj koheziji i optem blagostanju borba protiv predrasuda i stereotipa, multikulturalnost, status pojedinca u drutvu, rodna pitanja, uee ena u javnom ivotu, ljudska prava, ekoloka pitanja, pitanja tzv. drutveno marginalizovanih grupa, interkulturni dijalog i dr. Naalost, ne samo u Srbiji esto se ne razume da kultura nije neto lepo to dolazi na kraju ve dinamina kategorija koja ima veliki potencijal i u ostvarivanju onoga to zovemo otvoreno drutvo. Samo otvoreno drutvo u mogunosti je da na kvalitetan nain i na obostranu korist komunicira i konstruktivno sarauje sa drugim sredinama. Veoma je znaajno kroz kulturu tretirati i diverzitet, koji se ne odnosi neminovno samo na multikulturna pitanja ve i na odrednice koje se tiu razliitih drutvenih frustracija, rodnih pitanja, borbe protiv predrasuda i stereotipa, tzv. drutveno marginalizovanih grupa, statusa pojedinca u drutvu itd. Nita manje nisu znaajna ni ona pitanja koja se tiu ekologije ili uea ena u javnom ivotu. Kao to znamo da problem uea ena u javnom ivotu nije mogue reiti njihovom inkluzijom koja je izraena brojkama i procentima, tako praksa pokazuje da je potrebno izuzetno paljivo sagledati stvarne efekte projekata koji se bave takvim pitanjima. Budui da su projekti koji ukljuuju komponentu socijalne kohezije veoma privlani za finansiranje institucijama i fondacijama, potrebno ih je valorizovati sa posebnom panjom, budui da podnosioci prijava sa iskustvom poznaju naine za uspeno predstavljanje projekata. Tu nije re samo o progresivnim drutvenim promenama, odnosno o kulturi u funkciji socijalne kohezije. Podjednako je vano ukazati i na znaaj kulture u razvijanju kulture ivljenja, jer ona ne podrazumeva iskljuivo posete izlobama ili drugim kulturnim dogaajima.

A high artistic quality and professional approach to this field Apart from a high artistic and conceptual quality, it is also insisted upon the professional production of projects. The promotion of contemporary art forms and expressions and the development of the understanding of ideas and language of contemporary art, together with the support to innovative and experimental projects Since the contest is announced within the Sector of the Ministry dealing with contemporary art and culture, one can expect that these criteria are vital. Although it is not always easy to envision real effects of the project they have a very special quality. It is recognized not only in their communication with the present but also because it testifies on the behalf of the vitality of the artistic and cultural scene. Isolation in a petrified and self indulging system of traditional valuesoften leads to hermetic inertia and self isolation. Finally, it is in a very close connection with kitsch which is otherwise also frequent in the treatment of cultural and artistic heritage. The transparency of the project for wider audiences It is necessary for the projects to have good communication with the audience. This is why the deeply rooted preconception towards contemporary art as an obscure and elite occurrence should be shattered, hence it was intended for a narrow and elite circle of connoisseurs. Unfortunately, the participants of the art scene themselves are also very often prone to such pretentious attitudes. Since art colonies are mainly organized in minor communities this question is of utmost importance.

The contribution to social cohesion and common welfare the struggle against prejudice and stereotypes, the multiculturalism , the status of the individual in society, gender issues, participation of women in public life, human rights, ecology, the questions concerning socially marginalized groups, inter cultural dialogue etc. Regrettably, it is often not understood, not only in Serbia, that culture is not something beautiful that arrives at the end, but a dynamic category with a great potential in achieving status which we call an open society. Only an open society is in the position to communicate and constructively cooperate with other societies with a mutual benefit. It is very important that diversity is treated through culture. This diversity does not pertain only to multicultural matters, but also to the specifications that concern various social frustrations, gender issues, the fight against prejudice and stereotypes, so called socially marginalized groups, the status of the individual in society and so on. The matters of ecology and the position of women in public life are of no lesser importance. As we know, the matter of womens participation in public life can not be solved with their inclusion which is expressed through numbers and percentages. And so, practice shows that is is needed to extremely carefully observe the true effects of projects which deal with such issues. Since these projects that include a component of social cohesion are very attractive for the financing by institutions and foundations, it is necessary to evaluate them with a special awareness, because the experienced applicants are skillful in finding ways of presenting their projects. This does not concern only the progressive social changes, ie. the role of culture in social cohesion. It is equally important to stress the importance of culture and the development of the culture of living, because it does not exclusively include visits to exhibitions and other cultural events.

18

19

Podrka novim inicijativama i novoj umetnikoj produkciji: kvalitetno i savremeno osmiljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi) Veoma je vano podrati nove inicijative i projekte koji podrazumevaju nastajanje novih umetnikih radova. Ta vrsta podrke usmerena je ka realizaciji autorskih zamisli, to je kod nas posebno dragoceno budui da umetnici i drugi profesionalci u kulturi esto nemaju velikih, pre svega finansijskih mogunosti za kvalitetnu produkciju projekata. Osnovni kvalitet likovnih kolonija moda je upravo mogunost umetnike produkcije. Ovde je potrebno istai individualnu ulogu kulturnih profesionalaca ije delovanje nije vezano za institucije, kao i njihov doprinos kreiranju kulturne scene. Postoje veoma pozitivni primeri saradnje organizatora likovnih kolonija sa nezavisnim kustosima. Kritiko razmatranje kulture u savremenim drutvenim, politikim i medijskim okolnostima kako na lokalnom tako i na regionalnom i meunarodnom planu U savremenom drutvu kultura i umetnost razmatraju se u sklopu drutvenih, politikih i medijskih okolnosti. S jedne strane, tu je re o konceptualnom umetnikom promiljanju, dok se, s druge strane, savremena kultura sagledava kao veliki potencijal u progresivnom menjanju drutvenih okolnosti. Ova vrsta projekata moe se smatrati svojevrsnim aktivizmom jer kritikuje i pokuava da ukae na vane probleme u savremenom svetu. Kultura, dakle, nije izdvojen, zaseban entitet, nezavisan od konteksta u kojem postoji i deluje, ve je u organskoj vezi sa drutvenim okolnostima, od kojih zavisi. Iako je umetnost neminovno uvek bila povezana sa drutvenim i politikim okolnostima u kojima nastaje, danas je ta veza jo vidljivija, te tako, u tom smislu emancipovana umetnika praksa sasvim direktno inkorporira drutveni i naroito politiki diskurs.

Doprinos decentralizaciji kulture i kulturnoj saradnji Ministarstvo kulture Republike Srbije veoma dri do kulturne decentralizacije. Gradska jezgra vremenom su taloila kulturne sadraje koji danas predstavljaju kulturnu batinu. Ono to se nastoji da se konkursom za likovne kolonije promovie kao znaajna (i nedostajua) kulturna ponuda jeste kvalitetna produkcija savremene umetnosti. Meutim, i ovde praksa pokazuje da je potrebno veoma voditi rauna o nainu na koji projekti savremene umetnosti komuniciraju sa publikom. Postoji izraena opasnost da se takvi projekti doive kao kulturna kolonizacija velikog umetnikog i kulturnog centra, obino prestonice. Postavlja se i pitanje da li je komotna, samozadovoljna pozicija, na primer umetnikog saveta jedne galerije iji rad finansira Ministarstvo kulture Republike Srbije, poeljna sa stanovita lokalnih konzumenata kulture. Tu nije re samo o kulturnom i umetnikom elitizmu ili pak problemima komunikacije savremene umetnosti generalno ve i o svrsishodnosti postojanja programa galerije koji tretira savremenu umetnost, a koji bi lokalna zajednica trebalo da identifikuje kao sebi blizak, intrigantan, zavodljiv. I u prestonici ak postoje projekti visokog kvaliteta koji veoma slabo komuniciraju sa publikom, te je i njihova poseenost loa. Razlog za to najee je neodgovarajui koncept, loa organizacija i marketinki pristup. Veoma znaajan kvalitet likovnih kolonija upravo je doprinos kulturnoj decentralizaciji, jer se ti projekti uglavnom realizuju van gradskih sredina. Podrka projektima koji doprinose jaanju kapaciteta, umreavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruenja graana Rad ustanova kulture u Srbiji dugo je bio veoma otean, te je profesionalnost njihovog funkcionisanja bila uruena. Njihov rad uglavnom je bio obesmiljen zbog duboke politizacije funkcija, to je za posledicu

The support for new initiatives and new artistic production a well conceived and contemporary designed individual authors projects (artists, curators and other cultural professionals) It is very important to support the new initiatives and projects which imply the creation of new art works. This kind of support is directed towards the realization of authors ideas, which are so precious in our country since the artists and other professionals in culture often do not possess financial means for their artistic production. It is well known that the participation of artists in larger, more ambitious projects does not always imply the creation of new art works. Thats why the financial aid of the Ministry is often used for the production of new art works. It is necessary to point out the individual role of cultural professionals whose exertion isnt tied to institutions, as well as their contribution in the creation of the cultural scene, which is also in coherence to the concern for the individual as a social subject. There are outstanding examples of cooperation of organizers of art colonies with independent curators. The critical survey of culture in contemporary social, political and media circumstances on a local as well as on a regionals and international level In contemporary society culture and art are contemplated within the social, political and media context. On the one hand, we are talking about the conceptual artistic approach, while on the other hand, contemporary culture is viewed as a large potential in the progressive changing of social circumstances. This type of project can be viewed as a certain kind of activism since it criticizes and points out important problems of the modern world. And so, culture is not an isolated, independent entity, independent from the context in which it dwells and acts, but it is in an organic connection with social circumstances on which it depends.

Although art has always inevitably been connected with social and political circumstances in which it dwells, that connection is even more so obvious today, and in that sense the emancipated artistic practice is directly incorporated in social and in political discourse especially. The contribution to the decentralization of culture and cultural cooperation The Ministry of Culture of the Republic of Serbia holds cultural decentralization in very high esteem. The city centers have gathered cultural content which today presents cultural heritage. One which attempts to promote itself as an important (and lacking) cultural offering, through the contest for visual arts and multimedia is a quality production of contemporary art. However, the practice here shows that it is necessary to take good care of the manner in which the projects of contemporary art communicate with the audience. There is an acute danger of these projects to be seen as cultural colonization by the large artistic and cultural center, usually the capital. The question arises whether the casual, self indulging position, for instance the Art Council of a certain gallery whose work is financed by the Ministry of Culture of the Republic of Serbia, is welcomed from the position of the local art consumer. This does not only concern the cultural and artistic elitism nor the problems of communicating contemporary art in general, but also the necessity of the existence of a gallery program which deals with contemporary art, which the local community should identify as something familiar, intriguing and seductive. In the very capital there are projects of outstanding quality which poorly communicate with the audience, and hence their attendance is poor. The reason for this is usually an inappropriate concept, bad organization and faulty marketing approach. An important quality of art colonies is their very contribution to cultural decentralization because these projects are mainly performed outside of city centers.

20

21

imalo mnogobrojne probleme: program skromnog kvaliteta, nesavremen koncept, loa kadrovska reenja, lou tehniku opremljenost, nemotivisanost zaposlenih i dr. Meutim, posle 2000. godine jedan broj kulturnih profesionalaca iz nevladinog sektora uzeo je uea u radu javnih ustanova, pa ak preuzeo i vodea mesta u njima. Oni su preneli svoja dragocena iskustva, to je rezultiralo novom energijom, novim strategijama i pristupima radu. U vezi s tim je i razvijanje meuinstitucionalne saradnje. I u sistemima ureenijim od onog u kojem naa zemlja funkcionie, meuinstitucionalna saradnja ne odvija se uvek sasvim zadovoljavajue, ukoliko uopte i postoji. Ona je posebno znaajna jer ne samo zato to uslojava, iri mogunosti i uveava kapacitete projekata ve i doprinosi otvorenosti kulturnih institucija. Veoma je poeljna i dugoronija saradnja na projektima u kojima uestvuju dve ili vie kulturnih institucija. S tog stanovita, u savremenom drutvu neobino je dragocena i saradnja raznorodnih (kulturnih) institucija u smislu njihovih primarnih delatnosti. S druge strane, Ministarstvu kulture Republike Srbije veoma je stalo do povezivanja, to jest umreavanja vaninstitucionalnih, po obimu manjih inicijativa. To je svrsishodan i uspean nain i za meunarodnu saradnju koja se odvija van institucionalnih, dravnih okvira, budui da tako organizovane mree pojedinaca, udruenja graana ili neformalnih grupa imaju velike kapacitete. Prednosti mogu biti mnogobrojne, od neoptereenosti glomaznim, birokratskim sistemima, do verovatno najznaajnije mree kao vorita inovativnosti i umetnikog i kulturnog razvoja. Ono zbog ega je umreavanje kulturnih institucija i inicijativa vano jeste prenos i meanje znanja i iskustva, to uvek rezultira boljim rezultatima rada.

Uravnoteena i optimalna podrka javnom, privatnom i nevladinom sektoru Ministarstvo kulture Republike Srbije konkursom za vizuelne umetnosti i multimedije finansijski podrava projekte od opte drutvene koristi sva tri drutvena sektora. Svaki od njih na svojstven nain doprinosi razvijanju kulturne scene. Proimanje njihovog rada neophodno je stalno razvijati. Praksa pokazuje tipine problematine take u njihovom delovanju: u radu javnog sektora, to je komotna pozicija institucije koja je u celosti finansirana (reijski trokovi, programi, plate i dr.), te pretenciozan i starovremenski stav koji budetsku instituciju definie kao sasvim superiornu i nedodirljivu; u radu nevladinog sektora, to je nezainteresovanost za realan i efektivan uticaj na pozitivno menjanje drutvene i kulturne stvarnosti; u privatnom sektoru, to je dominacija profita nad kvalitetnim umetnikim sadrajima, to za posledicu ima uruavanje postavljenog koncepta delovanja i obesmiljenost rada. Ministarstvu kulture Republike Srbije veoma je stalo do kvalitetnog odnosa i saradnje sa nevladinim sektorom, to jest sa svim projektima udruenja, privatnih inicijativa, pojedinaca i neformalnih grupa. Ta saradnja posebno je, ini se, vidljiva u oblasti vizuelnih umetnosti i multimedija, budui da na tom polju postoji veliki broj inicijativa te vrste. Uspena saradnja sa civilnim sektorom obezbeuje potrebni iri opseg drutvenog uea i konsenzusa oko zajednikih kulturnih interesa, to je jedan od prioriteta u radu Ministarstva. Postojanje vie finansijera predloenog projekta Postojanje vie finansijera jednog projekta ukazuje na ozbiljnost i ambicioznost u osmiljavanju projekta. Finansijska konstrukcija koja ukljuuje i druge finansijere projektu obezbeuje i svojevrsnu legitimnost, budui da su njegov znaaj, dakle, prepoznale i druge instance.

The support for projects which concern capacity building, networking and professional upgrading of organizations and citizen associations For a long time the work of the Serbian cultural institutions has been made very difficult, and hence the professional standard of their work has been compromised. Their activity has been made pointless because of the politicization of functions, which as a result spawned many problems: a program of modest quality, an obsolete concept, poor choice of staff, poor technical equipment and the non motivated employees and so on. However, after the year 2000. a number of cultural professionals from the non government sector took part in the activities of public institutions, and even took over the leading positions in them. They conveyed their precious experience, which resulted in a new energy, new strategies and a new approach to work. The enhancement of inter institutional cooperation is also connected to this. Even in better organized systems than the one that our country functions in, inter institutional cooperation does not always go smoothly, if it even exists. It is particularly important because it not only layers, widens the capabilities and enhances the capacities of the project, but also contributes to the openness of cultural institutions. Long term cooperation on projects is always welcome in projects in which two or more cultural institutions participate. From that standpoint, in contemporary society cooperation of cultural institutions of a diverse nature is very valuable in the sense of their primary activity. On the other hand, the Ministry of Culture of the Republic of Serbia cares deeply about interconnecting and networking of non institutional and initiatives of smaller parameters. It is a successful and meaningful way for international cooperation that occurs outside of institutional, state boundaries, being that networks of individuals, civil or non formal groups are organized in such a manner that these groups have large capacities. The

advantages can be numerous, from avoiding huge bureaucratic systems all the way to probably the most important networking as a focal point of innovation and artistic and cultural development. The reason that the networking of cultural institutions and initiatives is so important is the transfer and exchange of knowledge and experience, which always brings better results. Well balanced and optimal support for the public, private and non government sectors The Ministry of Culture of the Republic of Serbia supports projects of common social benefit in all three public sectors by the contest for visual art and multimedia. Each of them, in their own way improves the development of the cultural scene. The expansion of their activity should constantly be developed. Practice shows typical problem points in their assertion; the work of the public sector, which is a loose position of an institution which is completely funded (realization costs, programs, salaries and so on.), so a pretentious and old fashioned attitude which defines a budget institution as completely superior and untouchable; in the activity of the non government sector this means an indolence for a realistic and efficient influence on the positive changing of social and cultural reality; in the private sector this means the domination of profit over quality of artistic content, which as a result has the caving in of the established concept of action and the futility of work. The Ministry of Culture of the Republic of Serbia cares deeply about the quality of relationships and cooperation with the non government sector, meaning all projects of certain groups, private initiatives, individuals and non formal groups. This cooperation is, so it would seem, especially visible in the field of visual arts and multimedia, because there are numerous initiatives of this kind in this field. Successful cooperation with the civil sector provides a necessary broader aspect of

22

23

U smislu decentralizacije kulture, projekti koji su dobili podrku Ministarstva lake dobijaju i podrku lokalne samouprave. Kvalitetno i savremeno osmiljena regionalna i meunarodna kulturna saradnja Jedan od osnovnih prioriteta u radu Ministarstva jeste regionalna saradnja. Ta vrsta saradnje znaajna je za razvijanje i produbljivanje (kulturnih) veza sa dravama u regionu, dobrosusedske odnose i stvaranje kreativne, pozitivne politike prema tim dravama. Dobar primer regionalne saradnje u evropskom kontekstu i prepoznavanja zajednikog interesa dao je, na primer, Nordijski savet (Nordic Council). to se generalno meunarodne saradnje tie, na konkursu za likovne kolonije finansiraju se uea stranih umetnika u likovnim kolonijama, kao i prezentacije likovnih kolonija u inostranstvu. Domau savremenu kulturu u inostranstvu trebalo bi predstavljati atraktivnim programima koji uspeno komuniciraju sa inostranom publikom. Neophodno je i da sadraji i koncepcija njihove prezentacije budu prijemivi za inostranu publiku. Zato je veoma vano da se projekti adekvatno dokumentuju i objasne. Veoma je vano podrati i projekte koji e savremenim pristupom i konceptom, kao i izgraenim profesionalizmom, prikazati visoke domete domae umetnike i kulturne produkcije.

Posebni kriterijumi u radu komisije za likovne kolonije: 1. sistemsko unapreivanje koncepta likovnih kolonija koje se tradicionalno organizuju, kao i ohrabrivanje novih kolonija koje imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane likovne kolonije, 2. doprinos saradnji sa privrednim sektorom (radi obezbeivanja materijala potrebnog za rad umetnika), 3. odabir umetnika koji uestvuju u likovnoj koloniji (nain izbora i kvalitet umetnika) 4. kvalitetno i savremeno dizajniran tampani materijal (katalog, plakat, pozivnice i dr.), 5. to je mogue ravnomernija geografska rasporeenost likovnih kolonija, 6. adekvatno uvanje umetnikih zbirki sa delima nastalim tokom odravanja likovnih kolonija, 7. doprinos razvijanju kulturnog turizma. Sistemsko unapreivanje koncepta likovnih kolonija koje se tradicionalno organizuju, kao i ohrabrivanje novih kolonija koje imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane likovne kolonije Doprinos saradnji sa privrednim sektorom (radi obezbeivanja materijala potrebnog za rad umetnika) Likovne kolonije koje same obezbeuju materijal neophodan za rad (kamen, staklo, plemeniti materijali i dr.) imaju veliku prednost. Znaajan problem nastao je tokom devedesetih godina dvadesetog veka, kada se veina dravnih firmi koje su finansirale manifestacije kao to su likovne kolonije, nala u nezavidnoj finansijskoj situaciji. Jedan broj likovnih kolonija umnogome zavisi od takvih firmi budui da upravo one obezbeuju materijal potreban za odravanje kolonija. Tako je jedan broj kolonija, naalost, prestao da radi kada i firme sa kojima su bile u vezi.
24 25

social intervention and consensus concerning mutual cultural interests, which is one of the priorities of the Ministrys activity. Existence of multiple financial resources for the project The existence of multiple financial resources of a single project is proof of its ambition and determination in conceiving the project. The financial construction which includes other sponsors of the projects provides certain legitimacy, because its importance has been recognized by other instances. In the sense of the decentralization of culture, the projects that have been granted the support of the Ministry have easier access to the support of local administrations. A well conceived and contemporary regional and international cultural cooperation. One of the basic priorities of the activity of the Ministry of Culture of the Republic of Serbia is regional cooperation. This type of cooperation is important for the development and strengthening of (cultural) relations with countries in the region, good relations with neighboring countries and the establishment of creative, positive policy towards those countries. A good example of the regional cooperation in the European context and the recognition of a common interest were provided, for instance, by The Nordic Council. Concerning international cooperation in general, within the contest for art colonies, participation of domestic artists in the art colonies is financed as well as presentations of art colonies abroad. Domestic contemporary culture abroad should be represented by attractive programs which successfully communicate with a foreign audience. It is necessary to make the content and concept of their presentation susceptible to that audience. And so, it is very important to properly document and elaborate these projects. It is also very important to support projects

that will, with a modern approach and concept, as well as a well developed professional attitude, show a high level of the domestic artistic and cultural production.

SPECIFIC CRITERIA Since this specialized contest treats a special kind of project, there are specific criteria which should arrange their functioning in detail. Specific criteria of the committee for art colonies: 1. Systematic improvement of the concept of art colonies that are traditionally organized, as well as encouraging of new art colonies with the ambition and potential to be transformed into professionally shaped art colonies; 2. The contribution to the cooperation with the industry sector (in order to secure the materials necessary for artwork); 3. The selection of artists participating in the art colony; 4. A well conceived and modern printed material (catalogue, poster, invitations, etc.); 5. A well balanced geographic placement of art colonies; 6. Adequate storage preservation of art collections along with works produced during the colonies duration; 7. Contribution to the development of cultural tourism.

POSEBNI KRITERIJUMI Budui da ovaj specijalizovani konkurs tretira jednu posebnu vrstu projekata, ustanovljeni su i posebni kriterijumi koji bi trebalo detaljno da urede njihovo funkcionisanje.

Systematic improvement of the concept of art colonies that are traditionally organized, as well as encouraging of new art colonies with the ambition and potential to be transformed into professionally shaped art colonies

Odabir umetnika koji uestvuju u radu likovne kolonije Lista umetnika koji uestvuju u radu likovne kolonije govori o njenom kvalitetu, a njihov odabir uoen je kao problematina taka u organizaciji kolonija. Zato se na listu pozvanih umetnika obraa velika panja. Tokom prvih godina postojanja konkursa za likovne kolonije est problem predstavljalo je to to su isti umetnici uestvovali u radu jedne kolonije. To pitanje znaajno je posebno za one kolonije koje imaju zbirke, jer e se u tim zbirkama upravo nai radovi umetnika koji su uestvovali u radu tih kolonija. Kvalitetno i savremeno dizajniran tampani materijal (katalog, plakat, pozivnice i dr.) I ovaj kriterijum postavljen je kao veoma znaajan, budui da je uoeno da jedan broj kvalitetnih kolonija ne prati zadovoljavajui kvalitet grafikog oblikovanja, to jest dizajna tampanog materijala. To pitanje znaajno je i sa stanovita privlaenja umetnika za uee u kolonijama i sa stanovita meunarodne saradnje, budui da katalozi kulturnih manifestacija ostaju kao trajni dokument o njihovom konceptu i organizaciji. to je mogue ravnomernija geografska rasporeenost likovnih kolonija Ukoliko je mogue, prilikom odluivanja o finansijskoj podrci kolonijama, panja se obraa i na njihovu ravnomernu geografsku rasporeenost, radi to je mogue uravnoteenijeg kulturnog razvoja. Adekvatno uvanje umetnikih zbirki sa delima nastalim tokom odravanja likovnih kolonija Jedan broj likovnih kolonija sa dugom tradicijom poseduje dragocene fondove dela nastalih tokom njihovog odravanja, te je pitanje obrade

i uvanja kolekcija veoma vano. Budui da jedan broj kolonija ne organizuju institucije koje imaju kapacitete za adekvatno uvanje zbirki, to pitanje postaje jo vanije. S druge strane, problem predstavlja i optereenost zbirki popisanim delima skromnih umetnikih dometa nastalim tokom odravanja kolonija. Doprinos razvijanju kulturnog turizma Veza izmeu odravanja likovnih kolonija i kulturnog turizma jo uvek je slaba. Ipak, kolonije koje se bave tradicionalnim zanatima (na primer, peenje keramike na otvorenoj vatri), kao i one koje tretiraju modernije tehnike, imaju veliki kapacitet za privlaenje publike, ali i profesionalaca koji bi u njima uestvovali.

The contribution to the cooperation with industry sector (in order to secure the materials necessary for artwork) The material self-supplying art colonies (stone, glass, precious materials and so on) are in an advantageous position. During the nineties of the twentieth century there was a big problem when the majority of state companies which financed manifestations such as art colonies broke down. A number of art colonies depend largely on those companies since they secure material necessary for the well being of colonies. This is why a number of colonies unfortunately ceased to exist together with the companies that supported them. The selection of artists participating in the art colony The list of artists participating in art colonies work speaks evidently of its quality and the selection of artists was seen as a problematic issue in the organization of colonies. This is why the invitation list is carefully put together. At the beginning of the contest for art colonies very often emerged a problem of one and the same kind of artists who participated in an art colonys work. This question is particularly important for colonies which have collections since there one can find work of artist who participated in the work of these colonies. A well conceived and modern printed material (catalogue, poster, invitations, etc.) This criteria is very important since it has been noticed that a number of well conceived colonies doesnt fulfill a satisfactory quality of graphic design, eg. design of printed material. This question is also important because it attracts artists to participate in colonies and it underlines international cooperation, since the catalogues of cultural manifestations remain as a permanent document of their concept and organization.

A well balanced geographic placement of art colonies While deciding about financial support for colonies, special care is taken to their equal geographical placement, if possible, in order to enable a well balanced cultural development. Adequate storage preservation of art collections along with works produced during the colonies duration A number of art colonies with a very long tradition possess precious fund of works which were created throughout their duration, so the question of manufacturing and maintaining these collections is very important. Since a number of colonies is not organized by institutions that have capacities for adequate maintenance of collections, this question becomes ever more important. On the other hand, the problem is over burdening of collections with listed works of modest artistic range which were made throughout the colonies duration. Contribution to the development of cultural tourism The relation between maintaining art colonies and cultural tourism is still insignificant. In spite of this, colonies which deal with traditional crafts (such as the making ceramics in open fire), as well as those which introduce modern techniques, have a great capacity for attracting audiences and professionals who would gladly participate in them.

TEHNIKI KRITERIJUMI 1. Ispunjenost formalnih uslova konkursa: potpuna dokumentacija, sa opisom projekata i detaljno predstavljenim informacijama, kao i sa jasno ugovorenim mestom i vremenom odravanja likovne kolonije 2. Neophodnost dostavljenog narativnog i finansijskog izvetaja 3. Istinitost predstavljenih podataka Projekti prikazani kroz veoma preterane trokovnike koji ne odgovaraju stvarnim trokovima bilo kog elementa realizacije, kao i projekti u kojima nisu navedeni postojei finansijeri (iako postoje) i sl. odbijaju se za finansiranje. Saradnja i kontakti sa drugim finansijerima (optina, grad, inostrane fondacije) olakavaju proveru podataka navedenih u aplikacijama, to ima velikog udela u donoenju odluka.
26 27

TECHNICAL CRITERIA 1. The completion of formal conditions of the contest: complete documentation, along with the description of the project and detailed information, as well as a clearly defined place and time for the

Informacije dobijene od drugih finansijera koriste se i kao odrednice koje pokazuju da li je neki projekat potrebno finansirati, a ukoliko jeste, u kojoj meri. Komisija e tako, na primer, projektu koji pozitivno vrednuje, a koji je ve za deo realizacije dobio finansijsku podrku drugog finansijera, dodeliti sredstva kako bi organizatori bili u prilici da ga kvalitetno sprovedu.

manifestation of the art colony; 2. The disclosure of the narrative and financial report; 3. The reliability of presented data. The projects presented through highly overestimated expenditures that do not suit realistic costs of any element of realization, as well as projects that do not name existing financial supporters (even though they exist) will be rejected. Cooperation and contact with other financial instances (the City, Municipality, foreign foundations) ease the validation of the submitted data. This has significant impact on the decision making process. Information gathered from other financial instances is used as a standpoint which shows whether a project deserves funding, and if so, in what extent. And so, the committee will, for instance, for a project that is positively evaluated, which has already been granted funding for part of its realization from other sponsors, grant funds so that the organizers will be capable of executing the project in a quality manner.

NE RAZMATRAJU SE: projekti u vezi sa rekonstrukcijom ili izgradnjom novih objekata za kulturne namene, projekti sa izrazito komercijalnim efektima, projekti koji su prethodnih godina ve bili finansirani iz gradskog i/ili republikog budeta, a nisu realizovani. Da bi Ministarstvo podralo ponueni projekat, on treba da ispunjava to je mogue vie navedenih kriterijuma. Meutim, konkursne prijave koje su sastavljene sa prostim ciljem da se pribave finansijska sredstva, nemaju velikih izgleda za finansiranje. Netani podaci u prijavama takoe se lako otkrivaju budui da Ministarstvo sarauje sa drugim institucijama i fondacijama, te se informacije o podranim projektima razmenjuju. Osim toga, lanovi komisije su informisani profesionalci koji imaju velikog iskustva. Postavljeni kriterijumi takoe veoma dobro ukazuju na problematine take u osmiljavanju i realizaciji projekata. Problem u realizaciji likovnih kolonija, budui da su one usko vezane za decentralizaciju, jeste nedovoljna podrka lokalnih nivoa vlasti. Jedan broj gradova i optina u Srbiji znatno uestvuje u uspenom sprovoenju projekata, ali u nekim sredinama postoji izrazit problem oko finansijske i svake druge podrke projektima, budui da lokalni nivoi vlasti ne prepoznaju uvek kulturu kao prioritet ili je ak smatraju skoro sasvim nepotrebnom. Meutim, postoje i primeri koji pokazuju da je

finansijsko uee i partnerstvo Ministarstva kulture Republike Srbije u projektima, posebno nevladinog sektora, privuklo panju lokalnih vlasti i podstaklo ih na finansiranje. Meutim, postoje i suprotni primeri koji ukazuju na drugu vrstu problema sa kojima se suoavaju donosioci odluka (lokalni nivoi vlasti) na gradskom / optinskom nivou. Ti problemi obino su: nerazvijena infrastruktura, loa kadrovska reenja, politizacija kulture, nemotivisanost zaposlenih u kulturi, neorganizovanost civilnog sektora i dr.

likely to be granted funding. Incorrect data in the applications is easily discovered due to the fact that the Ministry cooperates with other institutions and foundations, so that information about supported projects is being exchanged. Apart from that, the committee members are well informed professionals with great experience. The established criteria also point out the problematic points in the concept and realization of the projects. The problem in the realization of art colonies, since they are closely related to decentralization, is the insufficient support of local authorities. A number of cities and municipalities in Serbia willingly take part in a successful carrying out of these projects, however, in certain environments there is an obvious problem with financial and all other types of support, because local authorities dont always recognize the priority role of culture and even do not consider it necessary. Although there are examples that show that financial participation and partnership of the Ministry of Culture of the Republic of Serbia in projects, especially in the non government sector attracted attention of local authorities and encouraged them to partake in financing. However, there are varying examples that show another kind of problem which decision makers are faced with (local authorities) on a citywide/municipal level. These problems are usually: underdeveloped infrastructure, poor staff selection, the politicization of culture, the lack of motivation of those employed in culture, the disorganization of the civil sector and so on.

Konkurs kao instrument kulturne politike / Utemeljenost u zakonodavstvu i strategijama razvoja Rad Ministarstva kulture Republike Srbije i kriterijumi za odluivanje o podrci projektima utemeljeni su u domaem zakonodavstvu i u aktima Saveta Evrope, iji je Republika Srbija punopravni lan, kao i u razliitim domaim i evropskim strategijama razvoja. Rad Ministarstva baziran je na Zakonu o delatnostima od opteg interesa u oblasti kulture (Slubeni glasnik RS br. 49/92). U tom zakonu dat je opti okvir za delovanje u kulturi. Kriterijumi i funkcionisanje konkursa za likovne kolonije u skladu su i sa domaim strategijama kao to su Strategija za smanjenje siromatva u Srbiji i Nacionalna strategija Srbije za pristupanje Srbije i Crne Gore Evropskoj uniji. Veoma je znaajno i utemeljenje u Generalnom operativnom planu (GOP). Iako, naalost, postoje izvesni problemi u punoj primeni GOP-a, smatramo da su usklaivanje u okviru GOP-a i njegova potpuna primena u osmiljavanju, procedurama i uopte funkcionisanju konkursa neophodni. Tako se, naravno, i kriterijumi za dodelu finansijske podrke uklapaju u GOP-om predviene kratkorone i dugorone ciljeve Ministarstva kulture Republike Srbije (socijalna kohezija, odrivi razvoj, program kulturnog razvoja).

THE FOLLOWING ARE NOT TAKEN INTO CONSIDERATION Projects concerning the reconstruction and construction of new facilities of cultural purposes; Projects that have profitable institutions backing them and projects with a strictly commercial purpose; Projects that have previously been funded from the city and/or republic budget, but were not completed. In order to be supported by the Ministry of Culture, the proposed project needs to fulfill as many of the above mentioned criteria. However, applications that are comprised with the simple goal to acquire financial aid are not

The contest as an instrument of cultural policy / the foundation in legislation and development strategies The work of the Ministry of Culture of the Republic of Serbia and the criteria for decision

28

29

Neka od vanijih evropskih dokumenata na koja se takoe pozivamo jesu: Deklaracija o kulturnoj razliitosti (Declaration on Cultural Diversity, 2000); Deklaracija o interkulturnom dijalogu i prevenciji sukoba (Declaration on Intercultural Dialogue and Conflict Prevention, 2003); Faro deklaracija o strategiji Saveta Evrope o razvoju interkulturnog dijaloga (Faro Declaration on the Council of Europes Strategy for Developing Intercultural Dialogue, 2005); Evropska kulturna konvencija (European Cultural Convention 1954); Firentinska deklaracija Kultura i regioni: kulturne aktivnosti u regionalnom kontekstu (Florence Declaration Culture and Regions: Cultural Action in the Regional Context, 1987); Evropska deklaracija o kulturnim ciljevima (European Declaration on Cultural Objectives, 1984); Arc-et-Senans deklaracija (Arc-et-Senans Declaration, 1972); Friburka deklaracija o kulturnim pravima (Fribourg Declaration on Cultural Rights, 2007); Evropska konvencija o ljudskim pravima (European Convection on Human Rights, 1950); Konvencija o zatiti i unapreenju raznolikosti kulturnog izraza (UNESCO

making concerning the support of projects are founded in domestic legislation and in the Council of Europes acts of which the Republic of Serbia is a rightful member, as well as in various domestic and European development strategies. The work of the Ministry is based on the Law on Activities of Common Interest in the field of culture (Slubeni glasnik RS br. 49/92). This Law provides the general framework aforctivities in culture. The criteria and functioning of the contest for visual arts and multimedia are in correlation to domestic strategies such as the Strategy for Diminishing Poverty in Serbia and The National Strategy for Serbias and Montenegros joining The European Union. The foundation in the General Operational Plan (GOP) is highly important. Although, unfortunately, there are certain problems in the full application of GOP, we think that the correlation to GOP and its full application in the concept, procedures and functioning of the contest altogether are necessary. And so the criteria for the distribution of financial support fit into GOPs foreseen short term and long term goals for the Ministry of Culture of the Republic of Serbia (social cohesion, sustainable development and a program for cultural development). Some of the more important European documents on which we call upon are:

Convention on the Protection and Promotion of the Diversity of Cultural Expessions, 2005). Vidljiva je, dakle, potreba za usklaenou kulturne politike sa zakonskim okvirom i stratekim dokumentima. Utemeljenje rada Ministarstva kulture u zakonu i razliitim domaim i meunarodnim strategijama i deklaracijama vano je i zbog toga to je neophodno istai doprinos kulture pozitivnim drutvenim promenama. Pozitivan uticaj Ministarstva na razvoj kulturne scene ne ogleda se iskljuivo u unapreenju poloaja profesionalaca i rada kulturnih institucija i organizacija, kako se esto misli. Kultura direktno utie i na opte blagostanje i dobrobit, kao i na kvalitet ivota graana. Zbog toga je vienje kulture kao potroaa budetskih sredstava u potpunosti pogreno.

The Declaration on Cultural Diversity, 2000; The Declaration on Inter cultural Dialogue and Conflict Prevention, 2003; The Faro Declaration on the Council of Europes Strategy for Developing Inter cultural Dialogue, 2005; The European Cultural Convention, 1954; The Florence Declaration Culture and Regions: Cultural Action in the Regional Context, 1987; The European Declaration on Cultural Objectives, 1984; The Arc-etSenans Declaration, 1972; The Fribourg Declaration on Cultural Rights, 2007; The European Convention on Human Rights, 1950; The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 2005. The need for balanced cultural policy together with a legal framework and strategic documents are visible. The foundation of the action the Ministry of Culture within the law and various domestic and international strategies and declarations is important because it is necessary to point out the contribution of culture for positive social changes. The positive influence of the Ministry on the development of a cultural scene is reflected exclusively in the enhancement of the position of professional culture workers and institutions and organizations. Culture has direct influence on the common welfare and well being, and also on the quality of life of citizens. This is why the perception of culture as a budget spender is completely wrong.

Pregled dosadanjih rezultata konkursa / Statistika analiza Broj prijava 2002. 2003. 2004. 2005. 2006. 2007. 2008. 65 46 27 40 35 37 44 Broj finansijski podranih 17 13 18 16 14 16 12
30 31

An overview of the contests results up to today / statistic analysis Number of applicants 2002. 2003. 2004. 2005. 2006. 2007. 2008. 65 46 27 40 35 37 44 Number of financially supported 17 13 18 16 14 16 12

ZAKLJUAK Ovaj projekat predstavlja pokuaj da se konfuzna situacija u vezi sa likovnim kolonijama u zemlji uredi to je mogue svrsishodnije. Najvanije je da se ugledne manifestacije ove vrste sistematski unaprede i da se ohrabre one kolonije koje, iako u zaetku, imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane manifestacije. U tom kontekstu, od likovnih kolonija koje imaju velikih kapaciteta (izlagaki prostor, ateljei, dobra saradnja sa lokalnim vlastima, finansijska podrka) naroito se oekuju visoki profesionalni standardi. Posebna pogodnost tih kolonija jesu ateljei (smetajni kapaciteti) u kojima umetnici mogu da realizuju svoju umetniku produkciju tokom odravanja kolonije. S druge strane, ima i onih likovnih kolonija koje na veoma uspean nain premouju taj problem, i to smetajem kod lokalnih stanovnika. Tokom odravanja tih kolonija, celo mesto funkcionie u znaku manifestacije. Jedan od repera uspenosti likovnih kolonija upravo je komunikativnost i pozitivna implementacija u lokalnoj sredini. Naalost, postoje i suprotni primeri koji jasno pokazuju da je sa posebnom panjom potrebno koncipirati program i nain realizacije kolonija. Komisija smatra da je, pre svega, potrebno ukazati na vanost ozbiljnog koncepta likovne kolonije. Kljuna osoba u kreiranju uspenog koncepta u duhu savremenih tendencija jeste selektor kolonije, budui da je on odgovoran za osmiljavanje programa i za listu umetnika koji e biti pozvani da uestvuju u radu kolonije. Naroito izraena potekoa u radu komisije jeste to to se organizatori likovnih kolonija esto na pogrean nain vezuju za tradiciju. Osim neprofesionalnog odnosa, i olako shvaeno osmiljavanje takvih kulturnih manifestacija tesno je povezano kako sa amaterizmom tako i sa tenjom da se zvune odrednice iz lokalne istorije i narodne tradicije uzimaju za nazive kolonija, a to, naravno, nije dovoljno. Potrebno je istai da naoj sredini jo uvek nedostaje ozbiljno koncipirana kolonija, rezidencijalni program koji bi imao dobre tehnike uslove za realizaciju projekata iz oblasti novih medija. I pored brojnih problema u koncipiranju i organizaciji likovnih kolonija, mnoge od njih pokazuju izuzetnu vitalnost u funkcionisanju i spremnost da idu u korak sa savremenim tendencijama u kulturi. Ono to takoe raduje jeste pojava novih kvalitetno osmiljenih likovnih kolonija. Ministarstvo kulture Republike Srbije, zajedno sa komisijom za likovne kolonije, ostaje odluno u sprovoenju smernica za poboljanje rada tih manifestacija i pored velikih pritisaka kojih je bilo naroito u prvom periodu rada komisije.

CONCLUSION This project represents an attempt to purposefully arrange the confusing situation in which the art colonies operate. Of the utmost importance we find systematic advancement of these respected manifestations and encouragement of those initial colonies which has the ambition and potential to be transformed into professionally formed manifestations. In this context, out of art colonies that have great capacities (exhibition space, studios, decent cooperation with local authorities, and financial support) it is particularly expected to have high professional standards. Special commodities of those colonies are studios (accommodations) where artists can produce their work while maintaining a colony. On the other hand, there are art colonies which very successfully bridge this gap by simply accommodating artists within locals homes. During these manifestations the whole community functions in this manner. One of the signs of the success of art colonies is really a fine communication and positive implementation in the local environment. Unfortunately, there are different examples which clearly demand particular attention and program concepts and a way of the existence of a colony. The committee is of the opinion that it is, first and foremost, necessary to have the importance of the dignity of the art colony in mind. The key person in creating a successful concept within the spirit of contemporary tendencies is a selector of the colonies participants, since he/she is responsible for rethinking the program and list of artists that are to be invited to participate in the work of the colony. A particular hardship in the work of the committee arises when organizers of the art colony erroneously oblige themselves to tradition. Apart from unprofessional and loosely taken organization of such cultural manifestations, it is tightly connected with amateurism as well as their desire to take audible passages from local history and folklore for the christening of their colony, which of course, is not enough. It is necessary to point out that our society still lacks seriously conceived colony, residential program which has good technical conditions for performing projects from the field of new media. In spite of numerous problems in conceiving and organizing art colonies many of them demonstrate exceptional vitality in functioning and readiness to walk side by side with contemporary tendencies in culture. It is exhilarating to see new, well made and conceived art colonies as well. Along with the committee for art colonies the Ministry of Culture of the Republic of Serbia remains firm in its thriving for the improvement of work of those manifestations in spite of tremendous pressures which were manifested particularly in the beginning of the committees work.

32

33

Dislokacije: potencijali umetnikih kolonija u Srbiji Dislocations: the potentials of art colonies in Serbia

Tekst koji sledi predstavlja pokuaj da se na osnovu sumiranih iskustava organizacije Slikarske kolonije u Lipovcu 2008. godine analiziraju mnogobrojni aspekti kolonija kao fenomena i istakne njihov sadanji potencijal i mogui pravci razvoja. Nije sluajno to se, u vremenu kada su interakcija i komunikacija postale najbitniji element u drutvu, ponovo preispituje i shvata znaaj kolonija sa aspekta kulturne politike, umetnike produkcije, kulturnog turizma, umreavanja na internacionalnom nivou. Vrlo vaan deo uestvovanja u kolonijama jeste i ostvarivanje i razvijanje zajednitva, koje u klimi promene paradigme koju ivimo postaje sine qua non produktivnog stava. Sadanja dostignua u nauci i tehnologiji nude model dinamine mree relacija, svest o jedinstvu i meuzavisnosti svih stvari i dogaaja, potrebu za preobraajem subjektivnosti i preoblikovanjem odnosa. Naputanje statusa umetnika-genija, demistifikacija autorstva i gubitak autonomije umetnikog dela jesu ideje savremene umetnosti koje u kolonijama imaju neophodne uslove za razvoj jer nas ue da se podruje subjektivnosti definie i formira samo u dodiru sa drugim podrujima. Budui da se kolonije odravaju van urbanih sredina i da traju od sedam do deset dana, njihovi uesnici umetnici, kustosi, domaini, organizatori, seljani upueni su jedni na druge, ime se uspostavlja vrsta male zajednice. Boravak i rad u kolonijama ima viestruki znaaj za umetnike i selektore/kustose, a posledino i za mnoge aspekte jaanja umetnike scene. Sam proces nastajanja umetnikog rada postaje vidljiv u gotovo svim fazama razvoja, to otvara mogunost

The following text is an attempt to analyze the many aspects of colonies as phenomena and to emphasize their current potentials and possible course of development, based on the sum of experiences gained from the organization of The Painters Colony in Lipovac in 2008. It is not a coincidence that in a time when interaction and communication have become the most vital element in society, the meaning of colonies from the aspect of cultural policy, artistic production, cultural tourism and networking on an international level are once again being revised and appreciated. A very important aspect of the participating in colonies is the realization and enhancement of togetherness which in a climate of change of the paradigm that we are living in has become a sine qua non of the productive standpoint. The current developments in science and technology offer a model of dynamic network relations, awareness of unity and interdependence of all things and events, the need for the metamorphosis of subjectivity and the reshaping of relations. Leaving behind the status of the artist-genius, demystification of authorship and loss of autonomy of the artwork are the devices of contemporary art which have necessary conditions for development in the colonies, because they teach us that the field of subjectivity is defined and formed only in contact with other fields. Because colonies are held outside of urban surroundings and because they last seven to ten days the participants -artists, curators, hosts, organizers, villagers are consigned to each other and so a small community is formed. Residing and working in colonies is significant in many ways for the artists and selectors/

Mara Prohaska-Markovi Maida Gruden

(kustoski duo Maramaida) (the curator duo Maramaida)
35

meusobnog uvida u razliite umetnike pristupe, njihovu komparaciju i razmenu miljenja. Umetnici tako dobijaju priliku da svoje delo na novi nain pozicioniraju i sagledaju. Kustosi pak imaju ansu da prate kreativni proces, steknu i inkorporiraju saznanja kroz direktno posmatranje, debate, opservacije i razgovore sa umetnicima. To su saznanja koja nezmenljivo doprinose njihovim teorijskim postavkama i interpretacijama. S obzirom da edukativni sistem svojim ureenjem razdvaja blie kontakte istoriara umetnosti i umetnika, znaaj kolonija mogao bi se sagledati i u prevladavanju tog manjka. Mada je re o jednom uzorku, odreenoj grupi umetnika, ona tokom trajanja kolonije i nakon njenog zavretka postaje potencijalna jedinica koja ima kohezivnu ulogu u strukturiranju umetnike scene. Ranije udaljeni akteri scene dolaze u meusobni dodir, uspostavljaju nove relacije koje nastavljaju da postoje, modifikuju se, ali sa velikim potencijalom za nova i vrsta grupisanja i umreavanja kroz kreativni rad i drutveni ivot. Upravo je za umetniku scenu bitno postojanje u realnim zajednicama koje se u radu kolonija uspostavljaju, jer urbano kretanje i ubrzanje svih procesa izmeta aktivni ivot u virtuelnu sferu, u razliite mone net-grupacije koje su ipak samo jedan od agenata neophodnih za vitalnost umetnikog ivota danas. Realne zajednice podrazumevaju razliite vrste postojanja u fizikom prostoru u kome se afirmie supstancijalnost odnosa koja nam pak u virtuelnom svetu izmie i zato se ispostavlja kao radikalno transformiua sila. Raznovrsnost medija koje umetnici danas koriste u svom radu proizlazi iz novog naina promiljanja rada od ideje do njene realizacije u odreenom mediju. Umetnici esto nisu samo slikari ili skulptori, ve opinjeni tehnikim i tehnolokim mogunostima eksperimentiu u multimedijalnim okvirima. Zbog toga je danas savremeno umetniko stvaralatvo teko ukalupiti u zahteve kolonija koje imaju viedecenijsku tradiciju produkcije iskljuivo u jednom mediju: najee slikarskom. Pomaci u Srbiji ipak postoje jer je nekoliko kolonija otvorilo svoje fondove i za radove izraene u novim

umetnikim medijima. To su, na primer, kolonije u Jaloviku i Sopoanima. Iskustvo 36. lipovake slikarske kolonije, na kojoj su 2008. godine pored slikara prvi put uestvovali i fotografi, a sami slikari i grafiari ostvarili radove i u neslikarskim medijima, pokazuje kako novi mediji iziskuju mnogo kompleksniju i vieslojniju interakciju sa selom i seljanima. Iste godine prvi put i deca iz sela imala su aktivnu ulogu i pokazala interesovanje za umetnost realizujui svoje radove uz pomo umetnika ili pomaui umetnicima u realizaciji njihovih dela. To iskustvo spontano je otvorilo nove potencijale razvoja u organizaciji jedne umetnike kolonije, direktno irei polje delovanja i na najmlae, najotvorenije i najprijemivije itelje sela. Planiran i organizovaniji vid rada u edukativnim radionicama mogao bi decu nauiti (pre)poznavanju umetnosti, umetnikih tehnika i medija, kao i boljem razumevanju sveta koji ih okruuje. Kada govorimo o raznovrsnosti medija i odreenju profila umetnikih kolonija, zanimljiv predlog moglo bi biti pokretanje kolonija koje u svom fokusu imaju land art ili razliite vrste umetnikih intervencija u prostoru. To bi u punoj meri omoguilo razvoj velikog broja aspekata kolonije kao fenomena, njenu kontekstualnost, komunikaciju sa selom, prirodom i domainima. Kontekstualnost takoe obuhvata i uvid i mogunost nadovezivanja na tradiciju, kao i umetniku ili kritiku obradu lokalnih specifinosti. Umetnost u prostoru, u ovom sluaju u selu, koje je posebna vrsta javno-privatnog prostora, svakako bi imala i edukativnu ulogu u odnosu na seosko stanovnitvo i doprinela irenju i broj transformaciji postojeih shvatanja o prirodi umetnikog stvaranja i dela. Kontakt sa prirodom, koji se istie kao jedna od osobenosti stvaranja u kolonijama, kroz land art dobio bi specifinu materijalnost i obnovljeni pogled na vezu izmeu oveka i prirodnog okruenja. Udaljavanjem od urbanog ivota, boravak i rad u kolonijama usporava tempo svakodnevice. Time se oslobaa vreme za oputeno, nepretenciozno, neambiciozno, a istovremeno

36

37

curators, and as a result it is also significant for many aspects of the strengthening of the art scene. The process of creating the artwork becomes visible in almost all of its stages of development, which opens up the possibility of mutual insight into various artistic approaches, their comparison and the exchange of ideas. In this way artists are given the chance to perceive their own work in a new light. Curators, on the other hand, have the opportunity to see the creative process, to gain and incorporate information by watching, observing, talking and debating with the artists. These insights fully contribute to their theoretical assumptions and interpretations. Since the educational system hinders closer contact of curators and artists, the significance of colonies could also be viewed as an overcoming of this gap. Even though it is just one example, a single group of artists, the colony becomes a potential unit which has a cohesive role in structuring of the art scene throughout its duration and after its completion. Participants of the scene that have been marginalized come in contact with each other and form new relations which continue to exist and change. However, they hold a great potential for new and solid clusters and networks which are formed through creative work and social life. It is especially important for the art scene to exist in actual communities that are founded through the work of the colonies, because urban life and the acceleration of various processes displace active life into a virtual sphere, into various powerful net groups which are just one of the necessary agents of vitality of artistic life today. Actual communities imply different kinds of existence in physical space in which the essence of relations is promoted. This substantiality is elusive in the virtual world and this is why actual communities serve as a force of radical transformation. The diversity of the media that artists use in their work today stems from a new way of contemplating the project through from its initial idea to its realization in the specified media. Artists are often not simply painters or sculptors, they are bewildered by the

technical and technological capabilities and they experiment in a multimedia framework. This is why contemporary art production today is difficult to define in the sense of the demands that colonies have. The colonies have a lasting tradition of production in a single medium: most often painting. The advances in Serbia do exist because a few of the colonies have opened their funds for works that have been made by the use of new artistic media as well. These are, for example, the colonies in Jalovik and Sopoani. Experience from the 36th Lipovo painters colony, in which photographers participated for the first time, and the painters and graphic artists themselves completed works in media not associated with painting, shows how new media demand a more complex and multi layered interaction with the village and villagers. That same year, for the first time, the children from the village played an active role and expressed interest for art by creating their works with the help of the artists or by helping artists to create their works. This experience spontaneously opened new potentials of development in the organization of an art colony, directly widening the field of action for the youngest, most open and most lively habitants of the village. A better planned and more organized aspect of work in these educational workshops could teach the children how to recognize art, art techniques and media, as well as how to improve their understanding of the world they live in. When dealing with the diversity of the media and the defining of profiles of art colonies, an interesting proposition could be the formation of colonies which focus on land art or various spacial artistic interventions. This would fully enable the development of many aspects of the colony as a phenomenon, its context and communication with the village, nature and hosts. The context also has an insight and a possibility of connecting with tradition as well as artistic and critical elaboration of local specifications. Spacial art, in this case in the village which is a unique kind of public-private space, would also have an educational role for the village community and it would enhance the spreading and faster transformation of

i posveeno bavljenje umetnou, sobom i drugima. Masovna savremena tehnika pomagala i organizaciona maina za efikasnu utedu ili dobijanje u vremenu, oveka/ uesnika umetnike scene, u dinamici i opisu rada i prezaposlenosti, esto dovode do granice iscrpljenosti, razbatinjenosti i usisanosti u sistem koji ga distancira od zemlje, ljudi, stvari i umetnosti. Neoptereenost vrtoglavom sukcesivnom smenom obaveza i miljenja o onome to donosi sutra tokom rada u kolonijama dozvoljava meditativni boravak u sadanjem trenutku, akumuliranje energija, iskustava, znanja i dijalektikog treninga aktera umetnike scene. Na taj nain opstanak kolonija koji se bazira na dislociranju dobija viestruku vanost u izmetanju izvan urbanog ivota, opredmeenih navika, virtuelnog prostora, iz definisanog rakursa sopstvenog rada, nudei novi model, produktivni utopijski prostor za moguu transformaciju postojeih odnosa.

Apendix Tokom pisanja teksta pokazalo se kao uputno ukljuiti i odgovore umetnika na pitanje: kakav je znaaj za vas imalo uee u 36. likovnoj koloniji u Lipovcu? Bojana Romi: Kolonija u Lipovcu za mene je bila vrlo prijatno iskustvo zbog nekoliko razloga: a) svideo mi se izbor umetnika, imali smo sjajnu komunikaciju; b) itelji su nas lepo prihvatili; c) deca itelja divno su nas prihvatila, crtala su i slikala zajedno sa nama sve vreme i dolazila su u kolu svaki dan iako je raspust bio u toku; d) kustoskinje Mara i Maida sprovodile su odlinu organizaciju; e) koristili smo mogunost da to due budemo u prirodi, ak smo uspeli da obiemo i nekoliko okolnih mesta i lokalne znamenitosti; d) verovatno najvanije: svi umetnici, zajedno sa kustoskinjama, nastavili su da se intenzivno drue i posle kolonije. Zar to nije najbolji put ka jaanju umetnike scene, u sredini gde umetniko trite jo uvek nije u dovoljnoj meri razvijeno? Duan Jevtovi: Meni je boravak u Lipovcu mnogo znaio! Bio sam veoma prijatno iznenaen gostoprimstvom svojih domaina i drugih metana, itavim ambijentom i ekipom kolega umetnika, tako da mi je to bio jedan od najprijatnijih odmora. Kaem odmor jer sam i sam rad (slikanje) u takvom ambijentu i drutvu doivljavao kao pravi odmor. Mislim da je svima nama ova kolonija mnogo znaila, a verujem da je i domainima bilo lepo s nama. Boravak u koloniji predstavljao je zbir zgusnutih, ispunjenih trenutaka, preplet plemenitog dokoliarenja, otkria, inspiracije, zanimljivih razgovora, smeha, bezbrinosti, ljubavi prema ljudima i prirodi.
38 39

existing understanding of artistic creation and artworks. Contact with nature, which is underlined as one of the characteristics of work performed in the colonies, could gain a special tangibility and a renewed glimpse on the connection between man and his natural surroundings through land art. Breaking away from urban life, spending time and working in colonies slows down the tempo of everyday life. In this way artists acquire time for relaxed, unpretentious, non ambitious, and at the same time dedicated pursuit of art, spending time with themselves and others. The contemporary mass technical tools and organizational mechanism for efficient conservation of time make the participant/person of the art scene, through the dynamic and the description of his work and his being preoccupied, to cross the line of exhaustion and dispossession within the system which distances him from the land, people, things and art. Free from the succession of obligations and thoughts about what tomorrow will bring, the work in colonies makes room for a meditative rest in the present moment, the accumulation of energy, experiences, knowledge and the dialectical training of the art scene participants. And so, the survival of colonies which are based on dislocation is important in many aspects towards the displacement from urban life, usual habits, virtual space, from the defined stand point of ones own work, offering a new model, a productive Utopian space for the possible transformation of existing relations.

Appendix We decided to include the answers of participating artists concerning the following question: what significance did the participation in the 36th Art Colony in Lipovac have for you? Bojana Romi: The colony in Lipovac was a very pleasant experience for me for several reasons: a) I liked the choice of artists, we had splendid communication b) the locals met us cordially c) their children accepted us kindly, they drew and painted along with us and were coming to school daily, even though the holidays were passing d) the curators Mara and Maida carried out a good organization e) we used the opportunity to spend as much time outside as we could, we even managed to visit a few of the surrounding places and local sights d) most importantly: all the artists, along with the curators, kept in touch even after the colonys end of term Is this not the best path to strengthening the art scene, in an environment where the art market is not well developed? Duan Jevtovi: The stay in Lipovac meant a lot to me! I was pleasantly surprised by the hospitality of my hosts and other locals, the entire setting and the crew of colleague artists. This was one of the most pleasant vacations I have ever had. The reason why I call it a vacation is because the work (painting) was done in such a surrounding that I perceived it as a real vacation. I think this colony meant a lot to all of us, and I think the hosts were pleased with us as well. The stay in the colony represented a cluster of dense, fulfilled moments, a mixture of noble disengagement, discoveries, inspiration, interesting conversations, laughter, and love towards people and nature.

Bojana Luki: Meni lino lipovaka kolonija bila je od izuzetne vanosti najpre zbog ostvarivanja direktnog kontakta sa kolegama umetnicima, poto nisam studirala u Beogradu i nisam imala prilike da upoznam mlade umetnike nae savremene scene, a zatim i zbog razmene iskustava iz oblasti umetnosti. Kolonija omoguava da se stvaraju radovi koji su svesno ili ne proizvod uticaja tamonjeg okruenja, prijatne atmosfere umadije, tj. domainstava koja su nas velikoduno ugostila, ambijenta u kome smo na neki nain bili izolovani iz svakodnevice, upueni jedni na druge i usmereni na zajedniku nit koja nas vezuje, tj. umetnost. Goran Micevski: Vreme otvaranja i prepoznavanja; privilegija davanja i primanja; radost! Oliver Veljkovi: Boravak u ovoj koloniji mnogi mi znai, pre svega zbog novih poznanstava. (Ovo je cela istina. Nadam se da je dovoljno... Tu bih injenicu pretpostavio razmeni umetnikih iskustava i sl.) Nikola Velicki: Uee u koloniji veoma je uticalo na moje umetniko razvijanje i dalji rad. Ideja istoriarki umetnosti Maide Gruden i Mare Prohaske, koje su i organizatorke ovog dogaaja, zaista je odlina, jer su na jednom mestu okupile desetoro mladih umetnika slinih energija i pogleda na umetnost danas. Naroito mi se dopalo to to je meu umetnicima bilo i slikara i grafiara i fotografa. To nam je omoguilo zajedniku saradnju na jednom projektu. To to smo bili na selu odigralo je znaajnu ulogu da kolonija i uspe, jer smo sve vreme bili zajedno, tako da smo mogli na miru da razvijamo svoje ideje i diskutujemo o umetnosti. Pre nego to sam doao u koloniju, nisam poznavao nikoga od kolega koji su bili u njoj, a danas smo svi u kontaktu. Postali smo kuni prijatelji i uvek se radujemo susretima na kojima veoma esto spominjemo atmosferu iz Lipovca.

Bojana Luki: The Lipovac colony was of great importance to me, because of the direct communication with other artists. Since I did not study in Belgrade, I did not have the opportunity to meet the young artists of our contemporary scene, and I also enjoyed exchanging experiences from the art field. The colony enables the creation of art that is, consciously or not, a product of the effect of the surroundings, pleasant environment of umadija and the families that kindly hosted us, and environment in which we were taken away from everyday life. We were closer to each other and we were focused on that which connects us, meaning art. Goran Micevski: A time of openness and recognition; a privilege of giving and taking; joy! Oliver Veljkovi: The time spent in this colony means a lot to me, because of the new people I met. (This is the whole truth. I hope it is enough...I would refer to this as an exchange of artistic experiences and such.) Nikola Velicki: Participation in the colony affected my development as an artist and my work very much. Art historians Maida Grudens i Mara Prohaskas idea is really great, because they put together ten young artists of similar energy and views about art today in one place. I especially like the fact that amongst the artists were painters, graphic artists and historians. This enabled us to cooperate on a single project. Being in the village played a significant role in the success of the colony, because we were together all of the time and we could discuss art and develop our ideas in peace. Before I came to the colony, I didnt know any of the people involved. We are all in touch these days. We have become close friends and we always look forward to meetings in which we often discuss the great mood that was present in Lipovac.

Milena Putnik: U uionici kole u Lipovcu bili su razmeteni stolovi, na njima razliite donete slike i one koje se tu stvaraju, zajedno sa dejim stolom, stalno aktivnim i osveavajuim. To je bio prostor razmene, gde svako donosi ono to je ulovio i pokree svoje teme za razgovor, ukljuujui i ostale u svoj proces rada. Slino Goranovim kamenovima miljarima, jedno zajedniko mesto obuhvatilo je mnogo razliitih mesta, istovremeno prisutnih i okupljenih u komunikaciji. Za mene je ovo dragoceni trenutak zbog kojeg kolonija i treba da postoji. Pored toga, letnje veeri na selu idealne su za formiranje (krajnje promenljivih i nikad dovrenih) lista deset najznaajnijih proitanih, odsluanih, pogledanih...

Milena Putnik: There were tables in the classroom in Lipovac on which there were paintings that were made previously and paintings that were being made there along with a childrens table which was always active and refreshing. It was a place of exchange, where everyone contributed something and initiated their own conversational subjects and included others in their work process. Similar to Gorans milestones, a single place unified many different places that are present and gathered by communication at the same time. This is a precious moment for me and this is why the colony should exist. Apart from this, the summer nights in the village are ideal for forming (variable and never completed) top ten lists of the best books, albums, films...

40

41

Primeri dobre prakse Examples of good practice Likovne kolonije Art colonies in Serbia

Bakar
Internacionalna umetnika kolonija Bakar poela je da radi 1985. godine na inicijativu Muzeja rudarstva i metalurgije u Boru. Na poziv Umetnikog saveta, u livnici u tom gradu stvaralo je vie od sto autora, izliveno je blizu 400 skulptura, a muzejska zbirka postala je najvea zbirka savremene skulpture u bronzi. Dela nastala u borskoj koloniji izlagana su u zemlji i inostranstvu, na Venecijanskom bijenalu, u Budimpeti, Minhenu, Krezou, Parizu i drugim evropskim gradovima. Kolonija Bakar postala je sastavni deo ivota graana Bora, vrsta obeleja i znak raspoznavanja. The international Art Colony Bakar (copper) began working in 1985. and it was initiated by the Museum of Mining and Metallurgy in Bor. Because of the appeal of the Art Council more than 100 artists worked in the citys foundry and around 400 sculptures have been cast. The Museums collection has become the largest collection of contemporary bronze sculpure. The sculptures created in the Bor colony have been exhibited in the country and abroad, on the Venetian Biennial, in Budapest, Munich, Creuset, Paris and many other European cities. The Art Colony Bakar has become an irreplaceable part of the everyday life of the citizens of Bor, a landmark and a symbol of recognition.

43

Kontakt Contact: Muzej rudarstva i metalurgije Bor / Museum of Mining and Metallurgy Bor Moe Pijade 19, 19 210 Bor Danijela Risti T: +381 30 423 560 E: kasaidana@beotel.net

Jalovik
Jalovika likovna kolonija osnovana je 1978. godine u selu Jaloviku, udaljenom oko 25 km od apca i oko 55 km od Beograda. Tokom svoje bogate istorije Jalovika likovna kolonija ugostila je vie od 200 umetnika iz zemlje i inostranstva i oformila zavidnu kolekciju umetnikih dela. Zahvaljujui pravilu i obiaju da svaki umetnik svome domainu ostavi bar po jedan umetniki rad, itav Jalovik postao je jedinstveno selo-galerija. Tu je stvoren jedan poseban sistem komunikacije koji odreuju okolnosti, na primer ko je umetnik, kod koga je odseo, ta on to radi. Poslednjih nekoliko godina Jalovika likovna kolonija okrenuta je uglavnom mlaim stvaraocima, domaim i inostranim, koji se bave razliitim izrazima, od slikarstva, skulpture i fotografije do videa, performansa i digitalnih medija. Na kraju svakog saziva, u Galeriji Jalovikog doma kulture, kao i u apcu i Beogradu, organizuju se izlobe. The Art Colony of Jalovik was founded in 1978. in the village of Jalovik. This village is 25 km from abac and about 55 km from Belgrade. Throughout its rich history the Art Colony of Jalovik has hosted more than 200 artists from within the country and from abroad and it has formed an impressive collection of artworks. Because of the rule and the tradition which states that each artist must leave his host at least one piece of artwork, the Jalovik has become a sort of village-gallery. A unique kind of communication has been established, one that is determined by circumstances such as who the artist is, who he is staying with, and what it is that he does. In the past couple of years the Art Colony of Jalovik has mainly been oriented towards younger artists, domestic as well as foreign, which are in pursuit of various forms of expression such as painting, sculpture and photography to video art, performance art and digital media. At the end of each meeting exhibitions are organized in the gallery of the Jalovik Cultural Center as well as in abac and Belgrade.

Klirit Art
Likovna kolonija KLIRIT ART poela je da radi 2005. godine u fabrici Galenika Klirit, u Zemunu, na inicijativu istoriarke umetnosti Vere Vitorovi i sa eljom da se u pogonima fabrike pozvanim umetnicima omogui da u optimalnim uslovima realizuju radove koristei materijal, specijalizovane maine i tehniku podrku domaina. Kao inicijativa koja otvara nove mogunosti i prostore za delovanje umetnika, kolonija je osmiljena da traje kao dobar vid dugorone saradnje umetnikih grupacija i vitalnih privrednih subjekata i podstakne umetniku produkciju i istraivanje u novim materijalima. Izlobe realizovanih radova, 2006. i 2009. godine, potvruju da te mogunosti nisu iscrpljene. The Art Colony KLIRIT ART was founded in 2005. in the Galenika Klirit factory in Zemun and initiated by the art historian Vera Vitorovi, aiming to enable the invited artists to use the factory facilities to create their work using materials, machines and the technical support of the host. As an open initiative that enables new possibilites and venues for artistic purposes, the colony was meant to act as a long term means of cooperation of art groups and vital economic subjects and to further artistic production and the new material exploration. The exhibitions of the works in 2006 and 2009. confirm that these possibilites have not yet been exhausted.

Kontakt Contact: Jalovika likovna kolonija / Jalovik Art Colony Selo Jalovik, 15 225 Vladimirci Branislav Nikoli T: +381 15 516073, 63 378806 E: bibliotekavlad@ptt.rs nikolicbrana@gmail.com

www.jalovik.net

44

45

Kontakt Contact: Vera Vitorovi vera.vitorovic@gmail.com

Slikarska kolonija u Lipovcu Art Colony in Lipovac

Slikarska kolonija u Lipovcu poela je da radi 1973. i ve 35 godina u selu Lipovcu, koje se nalazi izmeu Aranelovca i Topole, u kontinuitetu okuplja slikare. Kolonija ima dragocen fond vie od dvesta radova uglednih umetnika. Osim slika raenih uljem, tu su i radovi u pastelu, akvarelu i kombinovanim tehnikama. Ipak, savremene tendencije u umetnosti ukazuju na potrebu za transformacijom ovog tradicionalnog tipa slikarske kolonije, i to novim izborom umetnika, selektora i deliminim otvaranjem ka nekim od savremenih komunikativnih medija umetnikog izraavanja. Pri tom, naravno, nikako ne treba zanemariti oekivanja i potrebe lokalne zajednice i inicijative. The Art Colony in Lipovac began working in 1973. and it has been contunually hosting painters for 25 years. It is situated between Topola and Aranelovac. The Colony has a precious fund consisting of more than 200 art works of esteemed artists. Apart from oil paintings, there are works done in pastel, water colour and mixed technique. Contemporary tendencies in art indicate the necessity of the transformation of this traditional form of painters colonies by a new selection of artists, selectors and the partial acceptance of various kinds of contemporary communicative media of artistic expression. At the same time, local communal needs and initiatives should not be neglected.

MajdanArt
MajdanArt, osnovan 2001. godine, jedan je od nosilaca kulturnih aktivnosti i pokreta projekata u vezi sa obrazovanjem, turizmom, meunarodnom saradnjom u svim oblastima, afirmacijom ne samo istone Srbije i optine Majdanpek ve i drave u celini. Internacionalni simpozijum zlatarstva MajdanArt odrava se u Majdanpeku septembra svake godine. U umetnikoj radionici umetnici kreiraju i izrauju unikatni nakit u zlatu i srebru koristei sve tehnoloke mogunosti Zlatare Majdanpek. Glavni partneri simpozijuma su: Fakultet primenjenih umetnosti iz Beograda, Fakultet likovnih umetnosti iz Beograda, Muzej primenjene umetnosti iz Beograda, Fakultet umetnosti iz Zveana, Zlatara Majdanpek iz Majdanpeka, Muzej u Pritini sa seditem u Beogradu, Institut za srpsku kulturu iz Leposavia, BalkanKult, Zavod za prouavanje kulturnog razvitka Srbije i pojedinci. MajdanArt was founded in 2001. and it is one of the bearers of cultural activity and a founder of projects that deal with education, tourism, international cooperation in all fields, the affirmation of not just eastern Serbia and the municipality of Majdanpek, but of the entire country as well. The International Symposium of Jewelry MajdanArt is held in Majdanpek in September each year. In the artist workshop, artists create and manufacture golden and silver handmade jewelry making use of all the technological capabilites of the Majdanpek Jewelry. The leading partners of the symposium are: The Faculty of Applied Arts in Belgrade, The Faculty of Fine Arts in Belgrade, The Museum of Applied Arts in Belgrade, The Faculty of Fine Arts in Zvean, The Majdanpek Jewelry in Majdanpek, The Museum in Pritina with its seat in Belgrade, The Institute for Serbian Culture in Leposavi, BalkanKult, The Institute for The Research of Cultural Development in Serbia et al.

Kontakt Contact: Lipovaka kolonija / Art Colony in Lipovac Tanja Mii T: +381 11 811618 M: +381 64 455 4988 E: kctopola@nadlanu.com

46

47

Kontakt Contact: MajdanArt Karaoreva 38/1, 19 250 Majdanpek Zoran Mitrovi T: +381 30 583 663, 63 326 955 E: mitart@nadlanu.com

www majdanart.com

Sievo
Likovna kolonija Sievo najstarija je likovna kolonija na Balkanu. Prvi put je odrana 1905, a od 1964. odrava se svake godine u ivopisnom selu Sievu u istoimenoj klisuri udaljenoj 23 km od Nia. Kolonija ima sopstvenu zgradu sa velikim (slikarskim) i manjim (grafikim) ateljeom i dvokrevetnim sobama. Njen osnovni koncepcijski princip jeste raznovrsnost, jer se uvek pozivaju umetnici razliitih generacija, vokacija i stilskih opredeljenja. Kolonija doprinosi formiranju zbirke savremene umetnosti koja se uva u okviru fonda Galerije savremene likovne umetnosti, koja trenutno ima 706 eksponata. The Art Colony Sievo is the oldest art colony in the Balkans. It was introduced in 1905, and ever since 1964 it is held annually in the picturesque village of Sievo in the Sievo Gorge 23 km from Ni. The colony has its building with a larger (painters) and smaller (graphic arts) studio along with two bedroom accomodations. Its basic concept and principle is diversity, because artists of various generations, vocations and styles are always invited. The Colony contributes to the formation of the collection of contemporary art which is being held in the gallery fund of the Gallery of Contemporary Fine Art, which currently holds 706 exhibits.

Terra
Internacionalni simpozijum skulpture u terakoti Terra osnovan je 1982. i od tada se odrava svake godine od 1. do 31. jula u objektu stare industrijske arhitekture koji je izgraen 1895. Simpozijum svake godine okuplja od pet do osam umetnika iz Srbije i inostranstva.Do sada su uestvovala 373 vajara iz 31 zemlje sa svih kontinenata. Svaki uesnik duan je da Terri ostavi jednu veliku skulpturu i dve skulpture galerijskog formata. Sve ostale pripadaju autoru. Tako je stvoren fundus simpozijuma koji broji oko 1.000 skulptura. To je najvea zbirka velike savremene terakotne skulpture u svetu. Skulpture iz fundusa Terre predstavljene su na brojnim izlobama u mnogim gradovima u Srbiji i inostranstvu, od kojih je najznaajnije 48. Bijenale likovne umetnosti u Veneciji 1999. The Internationa Symposium of Terracotta Sculpture Terra was founded in 1982. and ever since then it has been held annually from the 1st till the 31st of July inside the building structure of old industrial architecture which was built in 1985. Each year the Symposium selects five to eight artists from Serbia and abroad. Up to today 373 sculptors from 31 countries worldwide have participated. Each participant is obliged to leave one large sculpture and two sculptures of gallery size to Terra. The rest belong to the author. This is how the Symposiums fund has grown to about 1.000 sculptures. It is the largest collection of contemporary terracotta sculpture in the world. The sculptures from the Terra fund have been presented in many exhibitions in many cities in Serbia and abroad. The most important of these exhibitions was The Biennial of Fine Art in Venice in 1999.

Kontakt Contact: Galerija savremene likovne umetnosti Ni / Gallery of Contemporary Art, Ni Kej Kola srpskih sestara 1/II, 18000 Ni Dragica Ciri-Spasojevi T: +381 18 513 701, 512 642 E: gslunis@yahoo.com

www.gslunis.org

48

49

Kontakt Contact: Terra Centar za likovnu i primenjenu umetnost, Kikinda / Terra Center for fine and applied arts, Kikinda Trg srpskih dobrovoljaca 25, 23 000 Kikinda Slobodan Koji T: +381 0230 26 508 E: centar.terra@nadlanu.com office@terra.rs

www terra.rs

Umetnost i papir, aak Art and Paper, aak

Uesnici Meunarodnog simpozijuma Umetnost i papir realizuju svoje radove od papirne mase spravljene od reciklanog materijala. Upotreba reciklae u umetnikim projektima iji je krajnji ishod umetniko delo, daje ovom simpozijumu ekoloki karakter. Projekat se realizuje u saradnji sa fabrikama hartije Boo Tomi i Diva. U fondu je ostalo 298 dela domaih i stranih autora. Simpozijum obuhvata i razliite pratee aktivnosti. Nosilac projekta je Centar za vizuelna istraivanja Krug iz aka. The participants of the international symposium Art and Paper make their creations out of paper mass that is composed of recycled materials. The use of recycling in art projects which produce art works gives this symposium an ecological disposition. The project is carried out in cooperation with paper factories Boo Tomi and Diva. The fund has 298 pieces by domestic and foreign artists. The symposium also contains other byactivities. The mainstay of the project is the Center for Visual Research Krug from aak.

Zlakusa
Meunarodna kolonija umetnike keramike Zlakusa autorski je projekat Sofije Bunardi, diplomiranog slikara-keramiara iz Uica. Projekat omoguava keramiarima da istrauju u nedovoljno poznatom procesu izrade, tehnici nazvanoj zlakusa. Posebnost ove kolonije predstavlja graenje finih spona izmeu tradicionalnog lonarstva jedinstvenog po materijalu, metodu rada i peenju keramike na otvorenom plamenu vatre, i savremenih tendencija u umetnikoj keramici. Umetnici ovde stvaraju dela na isti nain na koji se nekad radilo (od praistorije do danas). Od 1996. do 2009. godine odrano je 13 meunarodnih kolonija umetnike keramike Zlakusa Uice, pod pokroviteljstvom Ministarstva kulture Republike Srbije i grada Uica. Uestvovalo je 215 umetnika keramiara, vajara, slikara i istoriara umetnosti iz 19 zemalja (Japan, Italija, vajcarska, Austrija, Grka, Bugarska, Makedonija, Rumunija, Portugal, Velika Britanija, Gana, Turska, Malta, Nemaka, Holandija, Latvija, Slovenija, Crna Gora i Srbija). The International Colony of Artistic Ceramic Work Zlakusa is an authors project of Sofija Bunardi from Uice, who is a B.A. of painting and ceramics. This projects enables artists in ceramics to explore the new field and technique called zlakusa. The specialty of this colony is a creation of new ties between traditional pottery unique in its material, work method and baking of ceramics in open fire, as well as contemporary tendencies in artistic ceramics. Artists who come here create their work in the same way as it was created long ago ( from pre-history up to today ). From 1996 till 2009 thirteen international colonies of artistic ceramics Zlakusa Uice have been held under the auspices of the Ministry of Culture of the Republic of Serbia and the city of Uice. 215 ceramic artists, sculptors, painters and art historians from 19 countires (Japan, Italy, Switzerland, Austria, Greece, Bulgaria, Macedonia, Romania, Portugal, Great Britain, Ghana, Turkey, Malta, Germany, Holland, Latvia, Slovenia, Montenegro and Serbia) have participated.

Kontakt Contact: Centar za vizuelna istraivanja Krug / Center for Visual research Circle Uiteljska 8/1, 32 000 aak Boidar Plazini T: +381 32 226 032, 64 3373 650 E: trigon.dizajn@sezampro.rs

50

51

Kontakt Contact: Zlakusa Trg svetog Save 15, 31 000 Uice Sofija Bunardi T: + 381 31 513 726 E: buna@ptt.rs

www.keramika-zlakusa.org

Meunarodni keramiki simpozijum Zlakusa International ceramic symposium Zlakusa

Uspeno ouvanje tradicionalne izrade lonarije, odnosno posudne upotrebne keramike, autentina je karakteristika sela Zlakusa ve tri stotine godina. Selo je poznato po grnariji, napravljenoj na runom kolu, koje se jo retko gde koristi. Udruenje grnara Zlakuse organizuje svake godine Internacionalni Keramicki Simpozijum, uspostavljanjem dijaloga izmeu tradicionalnih zanata, kao dela kulturne batine i umetnike scene u Srbiji, koji bi umetnikim uticajem obogatio zanatsku delatnost, a sa druge strane reanimirao umetnike izvore inspiracije, koji postaju sve vie zaboravljeni. Delatnost Udruenja grnaara Zlakuse nastoji ukazati na znaaj i kvalitet rune izrade grnarije. Prikazivanjem ovog zanata, kao dela umetnikog rada, vrednovanje njegovog produkta dobija vii nivo. Successful preservation of traditionally made pottery, that is ceramic ware for domestic use has been an authentic characteristic of the Zlakusa village for more than three hundred years. The village is famous for pottery produced on hand wheel, which is seldom used nowadays. Each year the Association of Potters of Zlakusa organizes an International Ceramic Symposium, by establishing a dialogue between traditional crafts, as part of the cultural heritage and art scene in Serbia, with an intention to artistically enrich crafts and on the other hand to reanimate artistic sources of inspiration that are being forgotten. Activity of the Association of Potters of Zlakusa intends to point out the significance and quality of hand made pottery. Presenting this craft as an art product, it contributes to its higher esteem.

Umetnika kolonija Sopoanska vienja Art colony Sopoanska vienja

Umetnika kolonija Sopoanska vienja je tradicionalna likovna manifestacija visoke afirmacije koja traje ve 33 godine. Cilj kolonije, koja se organizuje u letnjem periodu (prva polovina jula) u neposrednoj blizini manastira Sopoani, jeste da okupi umetnike iz razliitih zemalja koji svojim delima daju odgovor u odnosu na ambijent, tradiciju i eventualno neki specifian materijal ili temu. Izlobe radova kolonije se organizuju i predstavljaju iroj publici uz odgovarajuu medijsku i kataloku promociju u Beogradu, Novom Pazaru i Raki.Realizaciju ove kolonije pomae Ministarstvo kulture R. Srbije i Grad Novi Pazar. The art colony Sopoanska vienja presents a traditional and highly regarded visual manifestation that has been in existence for 33 years. The aim of the colony, organized during the summer period (firs half of July) in the immediate vicinity of the Sopoani monastery, is to gather artists from different countries who are responding, through their art, to the tradition, environment or some specific material or theme. Exhibitions of the works produced in the colony are organized and presented to a wider audience with adequate media coverage and promotion through publications in Belgrade, Novi Pazar and Raka. The colony is supported by the Ministry of Culture of the Republic of Serbia and the City of Novi Pazar.

Kontakt Contact: Udruenje grnara Zlakuse / Association of potters of Zlakusa Dragoslav Nikitovi T: +381 31 546 474 M: +381 64 142 72 63 E: udruzenjeloncarazlakusa@gmail.com

www.keramikzlakusa.tk

52

53

Kontakt Contact: Dom kulture Osloboenje / Cultural Center Osloboenje Amra Hodi Jejna T: +381 20 335 444 E: amrajejna@gmail.com

www.domkulturenp.com

Biografije Biographies

Dimitrije Tadi

Maida Gruden Mara Prohaska-Markovi

Mara Prohaska-Markovi i Maida Gruden ine kustoski duo maramaida aktivan od 2004. godine. Diplomirale su istoriju umetnosti na Filozofskom fakultetu u Beogradu i trenutno su na postdiplomskim studijama na grupi za Teoriju umetnosti i medija Univerziteta umetnosti u Beogradu. Glavni realizovani projekti su: izloba Belgrade with Budapest, u saradnji sa ronom Fenyvesijem, Magacin u Kraljevia Marka u Beogradu (2008), izloba Preplitanja, Biblioteka Radoje Domanovi u Topoli (2008), selekcija 36. likovne kolonije u Lipovcu kod Topole (2008), izloba Belgrade in Budapest: Net of Choices, IMPEX Contemporary Art Provider, Budimpeta (2007), izloba Maarske igre, YUBIN galerija u Beogradu (2006), izloba Dislokacije: utopijski prostor(i), Galerija O3one u Beogradu, Gradska galerija u Smederevu, Dom kulture u Sopotu (2005/2006). Urednice su veb magazina za savremenu umetnost www.dipassage.com zajedno sa Majom Stankovi (od 2003) i lanice su AICA meunarodnog udruenja likovnih kritiara (od 2008). Autorke su niza tekstova o aktuelnim tendencijama u savremenoj srpskoj umetnosti. Radile su kao kustosi na odeljenju za noviju umetnost u Narodnom muzeju u Beogradu (od 2003. do 2005), gde su poloile struni/kustoski ispit. Uestvovale su na mnogobrojnim seminarima na temu savremenih tendencija u menadmentu u kulturi, zatim na Visitor programu u organizaciji Agency for Contemporary Art Exchange iz Budimpete i zavrile su kurs iz oblasti savremene kustoske prakse Transmisija 2005 (predava Erik Korn). Od 2007. Maida Gruden radi kao urednik likovnog programa u Domu kulture Studentski grad, a Mara Prohaska-Markovi radi u organizaciji nekoliko festivala u Beogradu. Mara Prohaska-Markovi and Maida Gruden make curatorial duet maramaida, active since 2004. They hold B.A. degrees from the Faculty of Philosophy, Art History Department, Belgrade and at the moment thay attend postgraduate studies at the Department for Theory of Art and Media at the University of Arts, Belgrade.

Dimitrije Tadi roen je 1973. godine u Beogradu. Fakultet primenjenih umetnosti u Beogradu zavrio je 1999. godine. Zaposlen je u Ministarstvu kulture Republike Srbije kao savetnik za vizuelne umetnosti i multimedije, u Sektoru za savremeno stvaralatvo, kulturnu industriju i kulturne odnose. Uestvovao je na mnogobrojnim seminarima i konferencijama: Kulturna industrija i nove tehnologije, Savet Evrope, Strazbur (2001); Kulturna politika i kulturna prava, Univerzitet u Friburgu (2002); Kulturna saradnja sa Jugoistonom Evropom, Evropska kulturna fondacija, Amsterdam (2003); Kulturna politika i umetnika produkcija, Univerzitet umetnosti u Beogradu (2004); Kulturna politika i njena administracija, Nacionalni institut za kulturnu politiku, Grenobl i Kua svetskih kultura, Pariz (2006), i dr. Autor je tekstova i urednik dve publikacije: Galerija 20032006 (Kulturni centar Sopot, Beograd, 2006) i Savremene umetnike inicijative (Remont nezavisna umetnika asocijacija, Beograd, 2006). Uestvuje u koncipiranju i organizaciji programa galerija (galerija Centra za kulturu Sopot, od 2002; galerija Slubeni glasnik, 20062008), kulturnih manifestacija i projekata. Vizuelni je umetnik i autor vie multimedijalnih projekata. Uesnik je mnogobrojnih grupnih izlobi i projekata. U saradnji sa Majom Josifovi izdaje i almanah kao pratei segment autorskih projekata: Evropizam (2001), Od sree i od sna (2004), Istorijska itanka (2005), Zlatni presek opsene (2006) i Velike strasti (2008). Objavio je knjigu pria Kabineti kurioziteta, promenade i drugi divertismani (Albatros plus, Beograd, 2009).

55

Dimitrije Tadi (born in 1973, Belgrade) holds a B.A. degree from the Faculty of Applied Art, Belgrade (1999). Works at the Ministry of Culture of the Republic of Serbia as the Advisor for Visual Arts and Multimedia in the Department for conteporary art, cultural industries and cultural relations. Participant of numerous seminars and conferences: Cultural Industry and new technologies, Council of Europe, Strasbourg (2001), Cultural policy and cultural rights, University of Fribourg (2002), Cultural cooperation with SEE, European Cultural Foundation, Amsterdam (2003), Cultural policy and art production, University of Arts, Belgrade (2004), Cultural policy and its administration, National Institute for Cultural policy, Grenoble and House of World Cultures, Paris (2006), among others. Author of numerous essays and editor of two publications: Gallery 20032006 (Cultural Center Sopot, Belgrade, 2006) and Contemporary art initiatives (Remont an independent artists initiative, Belgrade, 2006). Participates in program concepts and organization of art galleries (Gallery of the Center for Culture, Sopot, since 2002; Slubeni glasnik Gallery 20062008), cultural manifestations and projects. Dimitrije Tadi is visual artist and author of several multimedia projects. Participant of numerous group exhibitions and projects. In collaboration with Maja Josifovi works on publication Almanach, as additional segment of author projects: Evropism (2001), Out of happiness and out of a dream (2004), History text book (2005), Golden intersection of delusion (2006) and Strong Passions (2008). He has written a book of stories Curiosity cabinets, promenades and other divertisments (Albatros plus, Belgrade, 2009).

Among many others, the following projects should be emphasized: exhibition Belgrade with Budapest, in collaboration with ron Fenyvesijem, Magacin Gallery in Kraljevia Marka Street, Belgrade (2008), Exhibition Preplitanja, Radoje Domanovi Library, Topola (2008), selection of the 36th Art colony in Lipovac (2008), exhibition Belgrade in Budapest: Net of Choices, IMPEX - Contemporary Art Provider, Budapest (2007), exhibition Hungarian games, YUBIN Gallery, Belgrade (2006), exhibition Dislocations: utopian spaces(es), O3one Gallery, Belgrade, City Gallery, Smederovo, Cultural Center, Sopot (2005/2006). Mara Prohaska Markovi and Maida Gruden, with Maja Stankovi are editors of the web magazine for contemporary art www.dipassage.com (since 2003) and members of AICA International Association of Art Critics (since 2008). Authors of several texts on actual tendencies in contemporary Serbian art. They have worked as curators for the new art in the National Museum, Belgrade (2003 - 2005). Participants of many seminars with a topic on contemporary tendencies in the management in culture, at the Visitor program in the organization of the Agency for Contemporary Art Exchange from Budapest and they have completed a course on contemporary curatorial practice Transmission 2005 (lecturer Erik Korn) Since 2007. Maida Gruden works as head of the visual arts program at the Cultural Center Students City and Mara Prohaska-Markovi organizes several festivals in Belgrade.

56

57

Konkurs Ministarstva kulture Republike Srbije (20022008) Open contest of the Ministry of Culture of the Republic of Serbia (20022008) LIKOVNE KOLONIJE U SRBIJI ART COLONIES IN SERBIA
Izdava: Udruenje graana Anonymous said: Cara Nikolaja 61b, Beograd Za izdavaa: Sandra Markovi Anica Tucakov Urednik/Editor: Dimitrije Tadi Tekstovi/Texts by: Dimitrije Tadi, Maida Gruden i Mara Prohaska-Markovi Dizajn i prelom/Design and layout: Mane Radmanovi Prevod na engleski jezik/Translation: Damjan Babi Lektura/Proof reading: Vesna Kalabi Tira/Number of copies: 1000 tampa/Printed by: Standard 2 Beograd, 2009. god.

CIP - , 354.34(497.11).078.5]:73/762002/2008(083.94) 73/76 : 069.9(497.11)2002/2008 TADI , Dimitrije, 1973Likovne kolonije u Srbiji = Art Colonies in Serbia : konkurs Ministarstva kulture Republike Srbije (2002-2008) = open contest of the Ministry of Culture of the Republic of Serbia (2002-2008) / [tekstovi, texts by Dimitrije Tadi, Maida Gruden i Mara Prohaska : prevod na engleski jezik, translation Damjan Babi]. - Beograd : Udruenje graana Anonymous said:, 2009 (Beograd : Standard 2). - 58 str. : ilustr. ; 21cm Uporedo srp. tekst i engl. prevod. - Tekst tampan dvostubano. - Tira 1000. - Biografije: str. 55. ISBN 978-86-87913-01-1
1. , , 1975 - [] 2. , , 1975 - [] a) . - - 2002-2008 b) - - 2002-2008

COBISS.SR-ID 167539212

www. kultura.gov.rs

www.anonymoussaid.org