ART BODY ART Uvodni događaj projekta Art Body Art - Izložba autora mlađe generacije, avgust 2020.

The introductory event of the Art Body Art project - The exhibition features young authors, August 2020

SMIC. POKRETNA FORMA / SMIC. MOTION ART FORM

Program Novih umetničkih praksi, Savez udruženja likovnih umetnika Vojvodine, Srbija
The New Art Practices Programme, The Union of Associations of Fine Artists of Vojvodina, Serbia
ART BODY ART
SMIC. pokretna forma / SMIC. motion art form

Savez udruženja likovnih umetnika Vojvodine, Srbija

The Union of Associations of Fine Artists of Vojvodina, Serbia
Program Novih umetničkih praksi SULUV, SMIC. pokretna forma
The New Art Practices Programme, SULUV, SMIC. motion art form
Kulturna stanica Svilara, 11 - 17. avgust 2020.
Cultural Station Svilara, 11-17th August 2020
ART BODY ART
ART BODY ART
SMIC. POKRETNA FORMA / MOTION ART FORM
Projekat Art Body Art - Relacije tela / The Art Body Art project - The Body Relations
Uvodni događaj projekta Art Body Art - Izložba autora mlađe generacije, avgust 2020.
The introductory event of the Art Body Art project - The exhibition features young authors, August 2020

Učesnici / Participants: Teodora Šćepanović, Sara Masnikosa, Jelena Bursać,

Valentin Varga, Bojana Prodanović, Mila Pejić, Aleksandar Siker, Ivana Jeremić,
Darko Sretić, Dejana Kovačević, Vania Janković, Jovan Ranković,
Aleksandar Danguzov, Edvard Winters, Marija Ranković, Milan Marinković,
Anđela Stojanović, Maja Marković, Aleksa Mitrović.

Program novih umetničkih praksi Udruženja / New Artistic Practices of the Association Programme
Savez udruženja likovnih umetnika Vojvodine, Srbija / The Union of Associations of Fine Artists of Vojvodina, Serbia
Projekat Art Body Art
Relacije tela
Projekat ART BODY ART je koncipiran da kroz multimedijal-
ne umetničke jezike istražuje, podstiče i razvija umetničke
prakse koje se bave fenomenom pokreta, kroz SULUV oznaku
i program Novih umetničkih praksi SMIC. pokretna forma.
Izložba predstavlja prvu aktivnost - uvodni događaj projekta
Art Body Art. Na izložbi su predstavljeni autori mlađe gene-
racije, studenti, čiji radovi odgovaraju na temu Art Body Art
projekta: Relacije tela (telo kao pokretna forma).
Tema Relacije tela, predstavlјa tematsku aktivnost u okviru
projekta ART BODY ART. Koncept tela (priroda, metamorfoza,
pokret, emocija, forma...): živo telo, tehnološko telo, telo obje-
kat, generisano telo, fikcija i iluzija, telo kroz doživlјaj, privid...
U fokusu projekta je pokretna forma, odnosno umetničko
delo (objekat, audio-video instalacija...) u formatu koji je u
prostorno-vremenskom smislu i opsegu definisan trajanjem.
Radovi se oslanjaju na multimedijalne umetničke discipline,
istraživačko-eksperimentalnog karaktera kojе korespondi-
raju u oblastima vizuelnih tehnologija, elektronike, genera-
tivne umetnosti, interakcije, pokreta, svetla, zvuka i ostalih
procesa digitalnih multifunkcija. Realizacija projekta podra-
zumeva produkciju novih radova.
Eksperimentalnu pokretnu formu karakteriše: upotreba novih
materijala, istraživački pristup u višemedijskom polјu, orga-
nizaciona realizacija, prostorno i ambijentalno predstavlјa-
nje, napredni segmenti u predstavlјanju tela (interakcija,
interfejsi, kinetika, robotika, elektronika, video, animacija...)
ili na osnovu periodike postupaka po iskustvima avangarde,
pokretni post ready made, asamblaž, pokretne skulpture, mr-
dalice, mehanika...
Cilј je da svaki rad nešto radi, i otvara niz tema, zahteva učešće
posmatrača, a zauzimajući i fizički i virtuelni prostor radovi
treba da formiraju jedan hibridni prostor u kojem je omogu-
ćena aktivna interakcija publike i umetničkog dela.
Podržavajući umetničke izraze koji zastupaju eksperimentalni
pristup u umetničkom delu, projekat otvara polјe za medijske
instalacije i prostorna rešenja koji na cilјan način prenose kom-
pleksne sadržaje i omogućavaju da se informacije dožive. Isto-
vremeno, podstiče se i kritičko sagledavanje pokretačke uloge
tehnologije u nastajanju novih umetničkih formi.
The Art Body Art Project
The Body Relations
The ART BODY ART project is conceptualised to explore,
encourage and develop artistic practices focusing on the
phenomenon of movement through multimedia artistic vo-
cabulary, under the SULUV mark and the programme of New
Artistic Practices SMIC. motion form.
The exhibition is the first activity – the introductory event of
the Art Body Art project. The exhibition features young au-
thors, students, whose works cover the topic of the Art Body
Art project: The Body Relations (the body as a motion form).
The Body Relations topic is a thematic activity under the ART
BODY ART project. The concept of the body (nature, metamor-
phosis, movement, form...): the living body, technological
body, body-object, generated body, fiction and illusion, the
body through experience, appearance...
The project focuses on the motion form, that is, an artwork
(object, audio-visual installation...) presented in such a for-
mat that is defined by duration in its spatial-temporal sense
and scope.
The works rely on multimedia artistic disciplines of explor-
atory-experimental character corresponding in the fields of
visual technologies, electronics, generative art, interaction,
movement, light, sound and other digital multi-function
processes. The project includes production of new works.
An experimental motion form is characterised by: the use of
new materials, an exploratory approach in the multimedia
field, organisational realisation, spatial and ambient pres-
entation, advanced segments in representation of the body
(interaction, interfaces, kinetics, robotics, electronics, video,
animation…) or based on the periodicals modelled after the
avant-garde experiences, motion post readymade, assem-
blage, moving sculptures, mechanics...
The goal is that each work does something, and opens a series
of topics, requires interaction from the observer, while taking
up physical and virtual space, the works are supposed to form
a hybrid space where an active interaction between the audi-
ence and the artwork is possible.
Supporting artistic expressions advocating an experimental
approach in an artwork, the project opens space for media in-
stallations and spatial solutions that carry complex contents in
a targeted way and thus enable experiencing information. At
the same time, it encourages critical perception of the driving
role of technology in creating new art forms.
3
Art Body Art
Teodora Perović, istoričarka i teoretičarka umetnosti
Pandemija koja ne jenjava, zaustavila nas je u svim
redovnim aktivnostima i unela nemir i neizvesnost u
naše živote. Ljudi su se više nego ikada okrenuli kulturi,
umetnosti i kreativnim industrijama i pokazali koliko su
ove oblasti važne za život. Kreativnost je hrana za dušu,
a umetnici/ce su zahvaljujući modernim tehnologijama
i tokom izolacije pronašli način da još jednom stvaraju
izvanredna umetnička dela.
U svoje radove su uložili ogromnan trud da kroz brojne
tehnike iz svojih domova inspirišu, uteše, ohrabre, mo-
tivišu, nauče i pokažu.
Projekat Art Body Art je omogućio umetnicima da razli-
čitim multimedijalnim umetničkim jezicima istražuju,
podstiču i razvijaju umetničke prakse koje se bave feno-
menom pokreta.
Doživljavamo ga kao skup svih tišina koje su autori pro-
življavali tokom samo(izolacije). U njima se produbljuje
potraga za smislom i suštinom samog života, njegovog
trajanja i delovanja. Čovek kao društveno biće je navikao
da se kreće, međutim u ovim ključnim momentima spo-
znaje primorani smo da prve korake napravimo u sebi.
Umetnošću se vraćamo u prošlost, u srž samog detinj-
stva. Posebno je interesantan način na koji se prošlost
trenutno predstavlja, putem virtuelne savremene teh-
nike. Kao da sama digitalizacija koja predstavlja našu
4
Teodora Perović, art historian and theorist
The pandemic, which is not letting up, has stopped all
our regular activities and brought unease and uncer-
tainty into our lives. More than ever, people have turned
to culture, arts and creative industries, and shown how
important for our lives these areas are. Creativity is food
for soul, and thanks to modern technologies, even in
isolation, the artists have found a way to create extraor-
dinary works of art yet again.
They have invested enormous efforts in their works in
order to, using numerous techniques, inspire, comfort,
encourage, motivate, teach and show us something,
from their homes.
The Art Body Art project has given the artists an opportu-
nity to explore, encourage and develop artistic practices
that address the phenomenon of movement through a
variety of multimedia art languages.
The project feels like a collection of all the silences that
the authors experienced during their (self)isolation.
They show a deepened search for the meaning and
quintessence of life as such, its duration and action. Man
as a social being is used to moving around; however, in
these critical moments of gaining understanding, we
are forced to take the first steps inside ourselves. With
art, we travel back to the past, to the core of childhood
as such. The way in which the past is currently present-
ed, through virtual contemporary technology, is par-
ticularly interesting. It is as if the very digitalisation, a
thing of our present everyday life, helps us to extract the
most vivid memories and memorable events that we
lived through without the digital age, and bring them
into the current future we are experiencing. If we were
to try to take a moral from an artwork, it seems that
every time we would stand in front of it, we would take a
completely different sentence, because here, messages
are transmitted just like on our laptops, mobile phones
or tablets, so fast, in sync with and tapped into the rest
svakodnevicu pomaže da iz nje iscrpimo najupečatljivije
uspomene i događaje koje smo preživeli bez digitalnog
doba, i unesemo ih u trenutnu budućnost koju proživ-
ljavamo. Ako bismo pokušali da iz umetničkog dela pre-
nesemo pouku kao da bi svaki put kad stanemo ispred
njega bila neka potpuno druga rečenica, jer ovde se
poruke prenose baš kao na našem lap-topu, mobilnom
telefonu ili tabletu, tako brzo, neometano, umreženo sa
ostatkom sveta. U ovim umetničkim delima svi smo isti,
izjednačeni, stojimo izolovani na istom mestu, ali ono
što nas čini drugačijima je način na koji gledamo kroz
of the world. In these works of art, we are all the same,
prozor, na koji se konektujemo sa prirodom. Jedan isti
equal, we stand isolated in the same place; the thing
pejzaž je hiljadu različitih slika u različitim očima. Video
that makes us different is the way we look out of the
koji traje neće svakog zadesiti na istom kadru, iako je to
window, the way we connect with nature. One and the
isti video u koji dva pojedinca gledaju.
same landscape provides a thousand different images
Od svih radova koji odišu čarima zarobljene slobode, iz- through the lenses of different beholders. A video that
dvaja se Vrpca, iz razloga što u sebi nosi srž celog projek- is running will not catch everyone in the same frame,
ta, ali i suštinu života, koji čine slike zarobljene u sećanju. although it is the same video seen by two people.
Pupčana vrpca kombinovana sa savremenom fotografi-
Among the pieces emanating the magic of confined
jom, ukazuje na primer modernog doba života, svakodne-
freedom, The Cord stands out, due to the fact that it has
vice koja je prožeta prošlošću. Pružamo korak ka buduć-
captivated the essence of the entire project as well as
nosti, ali u nju unosimo celog sebe zajedno sa svim svojim
the essence of life – images immured in memory. The
uspomenama i svime što jesmo, i što smo bili. Upravo
umbilical cord is combined with contemporary pho-
to nas čini onim što smo smo danas stvorili od sebe.
tography, offering an example of modern living where
Izuzetno važan segment je kontakt sa prirodom. Poseb- everydayness is permeated with the past. We are strid-
no u vreme izolacije, zarobljen između četiri zida, jedina ing into the future, taking our entire selves together
priroda koju je čovek nosio sa sobom je on sam. Otuda with all our memories and everything making us who
u delima čitamo tu veliku spoznaju sebe, svojih ideala we are, who we were. These are the very building blocks
i prošlosti. Drugu prirodu poput sebe možemo pronaći we have made our today’s selves with.
samo u drugom čoveku. Tu zapravo dolazi do spoznaje
Contact with nature is an extremely important segment.
sveta i buđenja empatije za sveukupno stanje u kojem
Especially so in times of isolation, confined within four
se svet nalazi, strah za drugo živo biće.
walls, the only nature that man was able to bring in was
Međutim, upravo u tom stanju jedini smiraj i meditacija his own self. Hence, in the works we read arriving at this
se nalazi u prirodi, sa kojom se ne možemo stopiti. Način great self-knowledge, understanding of our ideals and
na koji ova dela savremenom tehnikom prikazuju zov čo- the past. We can find another nature like our own only in
veka za prirodom ukazuju na činjenicu da je i jedan i drugi another human being. This is the birthplace of an under-
segment jako bitan u kreiranju života savremenog čoveka. standing of the world and the awakening of empathy for
Koncept umetnosti koji je ustanovljen 50ih godina proš- the general state in which the world finds itself, fear for
log veka, zagovarao je da je bitan proces stvaranja dela, another living being.
5
a ne sam rezultat procesa. Ovaj projekat nam je pokazao
da je bitan proces stvaranja dela, ali i sam rezultat tog
procesa.
U radovima ovog projekta, pored multimedija, nastaje
nova instnaca, a to je virtuelna realnost. Nju primećuje-
mo u oblikovanju i realizaciji umetničkih dela, i to na taj
način da jedan umetnički interaktivni tehnološki sistem
deluje na različita čula i da ta različita čula bivaju uvede-
na u taj sistem i artikulisana ili deartikulisana.
Dolazimo do pitanja: da li je granica prekoračena?
Odbacivanje tradicionalnog razumevanja umetničkih
disciplina u ovom projektu, rezultiralo je heterogenim
istraživanjima koja su se kretala od avangardnih ekspe-
rimenata, strategije redimejda, preko hepeninga, per-
formansa, multimedijalne umetnosti, sve do umetničkih
instalacija, ambijenata i konceptualne umetnosti. Radovi
su obeleženi nizom umetničkih praksi koje podrazume-
vaju kombinovanje raznorodnih umetničkih metoda.
Umetnici su tragali za novim rešenjima, istraživali mo-
gućnosti kolaža, asamblaža, fotomontaže. Radovima
ukidaju iluziju i podražavanje stvarnosti, proglašavajući
predmet, koji upravo predstavlja sam sebe, za umetnič-
ko delo. Zbog toga umetnost sagledavamo kao ideju,
odluku, kao koncept samog autora koji određeni postu-
pak proglašava umetničkim, pa samim tim dolazimo do
zaključka da realizovani projekat odiše raznom poetikom
mladih, talentovanih ljudi neopterećenih mejnstrimom
savremene umetnosti Srbije.
6
However, it is in this very state that the only serenity
and meditation can be found in nature, which we can-
not unite with. The way in which these works show the
human call for nature using modern techniques points
to the fact that both segments are very important in cre-
ating the life of modern man.
The concept of art established in the 1950s advocated
that the process of creating a work of art is more impor-
tant than the result of the process as such. This project
has shown us that the process of creating a work is as
important as the result of that process.
In this project’s works, in addition to multimedia, a new
component is created, and that is virtual reality. We ob-
serve it in the design and actualisation of artworks, in
such a way that one artistically interactive technological
system affects different senses and that these different
senses are introduced into that system and articulated
or disarticulated.
We arrive at the question: Have we crossed over the
boundary?
The rejection of the traditional understanding of artistic
disciplines in this project has resulted in heterogeneous
explorations ranging from avant-garde experiments,
readymade strategies, happenings, performances and
multimedia art, to art installations, ambiences and con-
ceptual art. The works are marked by a series of artistic
practices that involve combining diverse artistic methods.
The artists have sought new solutions, exploring the
possibilities of collage, assemblage and photomontage.
The works cast off the illusion and imitation of reality,
declaring the object, which represents itself, to be a
work of art. That is why we see art as an idea, a deci-
sion, as a concept of the author who declares a certain
procedure artistic, and, thus, we come to the conclusion
that the actualised project emanates diverse poetics of
the young, talented people unencumbered by the main-
stream of contemporary Serbian art.
7
Teodora Šćepanović
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Grafički dizajn.
Senior undergraduate at the Academy of Arts in Novi Sad,
Module: Graphic Design.
Nastao kao rezultat vizuelnog istraživanja eksperimentalnog
tipa, ovaj rad pokreće temu uloge tehnologije u stvaranju
savremenog umetničkog dela. Kako je u toku stvaralačkog
procesa samo deo faktora bio pod kontrolisanim uslovima,
rezultat eksperimenta uslovljen je digitalnim algoritmom.
Od prve faze – tipografskog plakata, provlačenjem rada kroz
računarske programe za manipulaciju slika, nastaje neoče-
kivani krajnji ishod koji je apstraktan, a tipografski znakovi
dekonstruisani su i dovedeni do neprepoznatljivosti. Fokus se
premešta na nasumično i vremenski neograničeno kretanje
ovih, digitalnim putem generisanih, rasterskih formi.
8
Untitled
video-animacija / video-animation, 2020.
Resulting from visual experimental exploration, this work
focuses on the topic of the role of technology in creating con-
temporary works of art. Due to the fact that the creative pro-
cess was such that only some factors were under controlled
conditions, the result of the experiment was subject to an
algorithm. Starting from a typographic poster, the piece was
processed by image manipulation programs, with a surpris-
ing end result that is abstract, while typographic signs are
deconstructed and made unrecognisable. The focus is shifted
to a random and endless movement of these, digitally gener-
ated, raster forms.
9
Sara Masnikosa
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Senior undergraduate at the Academy of Arts in Novi Sad,
Painting Module.
Mini-serija radova integriše pokret, koncept tela i uključuje
interakciju sa posmatračem, izazivajući tako i njegovu ličnu
koncepciju rada. Radovi se oslanjaju na promenu svog po-
ložaja u prostoru, kao i na promenu vremenskih definicija
početka ili kraja pokreta. U svim situacijama može se reći da
imaju funkciju igračke kao umetničkog dela. U ovoj igri sva-
ko ima mogućnost stvaranja jedinstvenog koncepta radova.
U radu My movement is not just an ordinary dance, na ravnoj
ploči raspoređene su figure u prividno nezavisnim položajima.
One svojom pojavom i pokretom ne upućuju na ozbiljnu radnju,
svaka je opuštena, zanesena ili nezainteresovana. Međutim,
stanje čitave kompozicije menja se uvođenjem pokreta. Figure,
povezane zupčanicima u osnovi, imaju mogućnost da se tako
integrišu u jedinstvenu radnju. Samo nekoliko figura je pokre-
nuto sopstvenom snagom, dok ostale uživaju u korišćenju ener-
gije koja im je pomoću mehanizma preneta sa ostalih figura.
Na kompoziciji možemo uočiti dve različite slike stvarnosti.
Ono što doživljavamo dok su figure u stanju mirovanja pot-
puno se menja u trenutku kada se aktivira pokret. Na nama
ostaje izbor – u okviru koje stvarnosti želimo da posmatramo
ovaj neobični ples.
U radu Solid ground postoje dvadeset četiri kockice, što do-
zvoljava slaganje na različite načine, čime je omogućeno
formiranje različitih kompozicija. Polovina kocaka u svojoj
unutrašnjosti ima integrisane figure; unutar predmeta koji
obično služi za igru, nalaze se zamrznute figure u neodređe-
nim radnjama. Druga polovina kocaka sadrži zapise koji upu-
ćuju na radnju, smisao i delovanje ovih tela.
Rad Jewelrrly box of extraordinary use takođe se bavi relacijom
pokret–interaktivnost–figura.
10
My movement is not just an ordinary dance
objekat (fimo, drvo) / object (polymer clay, wood),
(17 x 21 x 21 cm), 2020.
Solid ground
24 kocke (drvo, fimo, plastika) / 24 blocks (wood, polymer
clay, plastics), (12 x 6 x 2 cm), 2020.
Jewelrrly box of extraordinary use
objekat, tri kutije (drvo, fimo, tkanina) /
object, three boxes (wood, polymer clay, fabric)
(20 x 10 x 10 cm / 10 x 10 x 10 cm x 2), 2020.
This mini-series integrates motion, the concept of the body,
and includes an interaction with the observer, thus causing
his own conceptualisation of the piece. The works rely on
changing their position in space, as well as changing tempo-
ral definitions of where motion starts and where it ends. Their
role can be said to be that of a toy as an artwork in all situa-
tions. In playing this game, everyone is given the opportunity
to create a unique concept of the pieces.
My movement is not just an ordinary dance features seemingly
independently arranged figures on a flat surface. They do not
imply any serious activity; indeed, each is relaxed, captivated
or indifferent. However, the state of the entire composition
changes with the introduction of movement. Connected with
cogwheels at the base, the figures can be integrated into a
joint activity. Only some of the figures are self-driven, while
others use the energy transferred from other figures by the
mechanism.
We can distinguish two different pictures of reality in the
composition. What we experience from the image of station-
ary figures changes completely once the composition is actu-
ated. The choice is ours – which reality we want to observe
this curious dance in.
The piece Solid ground involves twenty-four blocks allowing
various arrangements, forming various compositions. Half of
the blocks feature integrated figures inside; there are figures
frozen in unspecified activities inside the objects commonly
used for playing. The other half of the blocks contain notes
referring to the activity, meaning and action of the bodies.
The work Jewelrrly box of extraordinary use also explores the
movement-interaction-figure relationship.
11
Jelena Bursać
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Senior undergraduate at the Academy of Arts in Novi Sad,
Module: Painting.
Na beloj ploči nalaze se dvadeset četiri pločice prekrivene
piljevinom, a na njima 2D i 3D oblici. Pločice su međusobno
povezane linijom – putanjom – i predstavljaju vrstu slaga-
lice. Posmatrač je stavljen pred izazov da putem pomeranja
delova – pločica – dođe do odgovarajuće celine. Predstav-
ljeno je kretanje geometrijskih tela – kvadara – u jednom
zatvorenom prostoru, kvadratu, koji je statičan oblik i sim-
boliše zaustavljanje, odabrani trenutak. Takođe, preispituju
se granice i sloboda. Kvadrat je simbol materije, ograničenja,
mirovanja. Unutar njegovih granica postoje tela koja se kre-
ću, te to posmatrača primorava na promišljanje: kreće li se
slobodno ili se pak pridržava zadatog puta i zadatih granica.
Data mu je, dakle, sloboda izbora da se prilikom dolaženja
do rešenja pridržava granica koje je postavio autor, ili da raz-
mišlja „izvan kutije“.
12
Steps
interaktivni objekat, kombinovana tehnika /
interactive object, combined technique
(50 x 50 x 6 cm), 2020.
On a white board, there are 24 tiles, covered with sawdust,
on which there are 2D and 3D shapes. The tiles are intercon-
nected by a line – a path – forming a kind of puzzle. The
observer is invited to move the pieces – the tiles – in order
to arrive at a desired whole. What is presented is movement
of geometric shapes – cuboids, within a limited space, a
square, which is a static shape and symbolises stoppage, a
chosen moment. What is also explored are the notions of
boundaries and freedom. Square is a symbol of matter, lim-
itation, stillness. Within the boundaries of the square, there
are objects in motion, inviting us to think about whether
they move freely or follow a predefined path and the bound-
aries set. In solving the puzzle, the observer is given the
freedom of choice to stay within the boundaries set by the
author or to think “outside the box”.
13
Valentin Varga
Apsolvent na Master akademskim studijama Akademije
umetnosti u Novom Sadu, modul Slikarstvo.
Senior master student at the Academy of Arts in Novi Sad,
Module: Painting.
Na šipci koja se okreće (vertikalni ražanj) vrti se skup pred-
meta – belih plišanih igračaka. Nagomilane igračke, koje su u
ulozi životinje ili gomile mesa na ražnju, pored toga što pod-
sećaju na prolaznost fizičkog tela i cikličnost te prolaznosti,
istovremeno predstavljaju vezanost ili privrženost formama
iz prohujalog vremena, emocije, uspomene, misli i od njih
satkanu prošlost.
Istovremeno prisustvo hladne, metalne mehaničke konstruk-
cije i mekih plišanih igračaka koje podsećaju na toplotu, si-
gurnost detinjstva, kao i vizuelna, taktilna sinergija, otvaraju
niz pitanja u vezi sa fizičkim postojanjem, ljudskom civilizaci-
jom, odnosom „živih bića“ i „beživotnih“ predmeta.
14
Imagyros
instalacija, promenljive dimenzije /
installation, varying dimensions, 2020.
A set of object – white plush toys – rotate on a rod (a vertical
rotisserie). The assemblage of toys, in the role of animals or a
chunk of meat on a spit, are suggestive of the physical body’s
transience and the cyclic nature of the transience, at the same
time symbolising fondness for and attachment to the forms,
emotions, memories, thoughts of the bygone times and the
past they are woven into.
The contrasting presence of a cold, metallic mechanical struc-
ture and soft plush toys evoking childhood warmth and safe-
ty, as well as the visual and tactile synergy, open a series of
questions about physical existence, human civilisation, and
the relationship of “living creatures” to “dead” objects.
15
Bojana Prodanović
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student of the Academy of Arts in
Novi Sad, Module: Painting.
Vaspitanje dece usmereno je ka njihovom što bržem infiltri-
ranju u svet odraslih, pri čemu se često odbacuje i zanema-
ruje osnovna ljudska potreba – igra. Svakodnevna izloženost
stresu postaje neraskidiva nit koja se doživotno proteže, bez
jasnog početka. Dosezanje mira postaje obaveza i moranje,
odnosno samo još jedan izvor stresa. Cilj igre jeste pravlje-
nje predaha u svakodnevnom razmišljanju, i fokusiranje na
igru i apstraktne ideje radi postizanja balansa i unutrašnjeg
spokoja.
Going back je interaktivna instalacija, sačinjena od magnet-
nih traka fluidnih oblika, koje nikad ne poprimaju svoj final-
ni izgled. One su deo igre koja nikada ne prestaje, koja kao
takva nema konačan kraj. Interaktivni karakter instalacije bi
aktera igre mogao na trenutak da vrati u doba iskonske igre
geometrijskim telima. U tom smislu, gradi se relacija između
trenutka u kome se akter nalazi i daleke prošlosti u kojoj je
nekada boravio, istovremeno stvarajući fizičku sponu između
geometrijskih tela na zidu.
16
Going back
interaktivna instalacija / interactive installation 2020.
Bringing children up aims at their speedy infiltration into the
world of adults, and in this process, a basic human need –
play – is often rejected and neglected. The daily exposure
to stress becomes a continuous thread extending a lifetime,
without a clear starting point. Achieving serenity becomes an
obligation and a must, transforming it into yet another source
of stress. The aim of the game is to take a break from everyday
frame of mind, focusing on playing and abstract ideas, in or-
der to reach a balance and inner peace.
Going back is an interactive installation, made of magnetic
strips of fluid shapes that never take their final form. They are
part of a never-ending game. The interactive character of the
installation has a potential to transport the player to the time
of original playing with geometric shapes for a moment. In
this sense, a connection is made between the moment the
actor inhabits now and a long gone past the actor used to
inhabit, at the same time creating a physical link between
geometric figures on the wall.
17
Mila Pejić
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Fotografija.
Third-year undergraduate student of the Academy of Arts in
Novi Sad, Module: Photography.
Rad Transfer resistor nastavak je autorkinog promišljanja o
telu kao instrumentu koji funkcioniše kao prevodilac zvuka
u likovni izraz. Istraživanje autorka započinje u okviru kursa
Drawing Lab, na Kraljevskoj akademiji umetnosti u Hagu, u
Holandiji. Osnova ideje je prošireno polje lingvistike i pristup
samom činu prevođenja, drugačiji od onog u klasičnom lin-
gvističkom smislu. U procesu istraživanja srpskog tradicional-
nog zvuka i njegovog uticaja na novije generacije, primećen
je jaz u pomenutom odnosu, kao i u relaciji moderno–tradici-
onalno. Tradicionalna muzika u modernom slušaocu neretko
evocira patriotski prizvuk, kao i nešto prevaziđeno, arhaično,
prvobitno.
Autorka u prvi plan ističe to bogatstvo primitivnog, prvobit-
nog zvuka, njegovu izvornost i autentičnost, sučeljavajući ga
na taj način sa postmodernim diskursom i negativnom ko-
notacijom koju pomenuti pridev u njemu ima. U ovom radu
se zvuk izvornih slovenskih kompozicija smešta u savremeni
kontekst. Autorkino telo, putem pokreta i igre, transferiše
tradicionalan zvuk u autentičan likovni prikaz na platnu.
Autorka je medijator između zvuka i slike, između tradicije i
modernosti, prošlosti i sadašnjeg trenutka.
Cilj rada je pružanje otpora zaboravu i oživljavanje novog
tumačenja vekovima starih nota i stihova, smeštajući ih u
novo, moderno ruho. Spajanjem tradicionalnog zvuka i ap-
straktnog likovnog izraza, autorka novonastaloj apstrakciji
daje novo, slojevito značenje. Publika ima priliku da prati
korake, pokrete i ovu prevodilačku igru putem video-insta-
lacije, koja je svojevrsni prozor u autorkin svet i korak dalje
od izloženog platna.
18
Transfer resistor
kombinovana tehnika na platnu (200 x 200 cm),
video-instalacija / combined technique on canvas
(200 x 200 cm), video-installation, 2020.
Transfer Resistor follows-up on the exploration of the body as
an instrument of translating sound into visual expression. The
author started the exploration within the Drawing Lab course
at the Royal Academy of Art in The Hague, Holland. The idea is
based on an extended field of linguistics and an approach to
translation which is different from the classical linguistic one.
Exploring the Serbian traditional sound and its influence on
the young generations has revealed a gap in this relationship,
as well as in the modern-traditional relation. Traditional mu-
sic often evokes in a modern listener a patriotic tone, a thing
of the past, something archaic, primordial.
The authoress puts in the foreground this exuberance of the
primitive, primordial sound, its originality and authentici-
ty, setting it against the backdrop of postmodern discourse
and the negative connotation this attribute has in it. This
piece sets the sound of the traditional Slavic compositions
into a contemporary context. The authoress’s body, through
movement and dance, transfers the traditional sound into
an authentic visual representation on canvas. The authoress
is a mediator between the sound and the image, between
tradition and modernity, the past and the present moment.
The piece is aimed at offering resistance to oblivion and re-
viving a new interpretation of the centuries old tunes and
lyrics, giving them a new, modern garb. Putting together the
traditional sound and an abstract visual expression, the au-
thoress provides the newly created abstraction with a fresh,
multi-layered meaning. The audience has an opportunity to
follow the steps, movements and this translational game via
a video-installation, which offers a kind of a window into the
authoress’s world and a step beyond the exhibited canvas.
19
Aleksandar Siker
Student treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Painting.
Preopterećenost fizičkim izgledom, kao posledica savreme-
nog načina života, društvenih mreža, mas-medija, fotografija
savršeno oblikovanih tela koje vape za pohvalama, dovela je
do masovnog zanemarivanja duhovnog, mentalnog razvitka
pojedinca. Stalna prisutnost „lakih“ sadržaja, za koje nije po-
trebno nikakvo mentalno naprezanje, utemeljila je mišljenje
da je fizički izgled najvažnija karika u što boljem predstavlja-
nju sebe kao ličnosti. Pokušaj kontrole nad sopstvenim telom
doveden je do bizarnih granica – od slepog praćenja pravila,
dijeta, vežbi, do različitih estetskih korekcija, pri čemu se do-
bijaju „proizvodi“ nalik lutkama, koji postoje samo kao iden-
tični objekti estetske namene. Da li je to idealna predstava
čoveka, primer koji treba slediti? Da li je cilj stvoriti svet bez
različitosti, u kojem će svi pojedinci slušati i pratiti sve in-
strukcije koje su im nametnute?
20
Ideal?
stop motion / video, 2020.
Obsession with physical appearance, which comes as a con-
sequence of the contemporary lifestyle, social networks,
mass media, photographs of perfectly shaped bodies craving
praise, led us to overwhelmingly neglect spiritual and intel-
lectual development of an individual. The constant presence
of “light” contents, requiring no mental effort, has reinforced
the opinion that physical appearance is crucial in maximising
one’s personality presentation. The attempt at controlling
one’s own body has reached its bizarre limits – from blind-
ly following rules, diets and work-outs to different aesthetic
corrective procedures, resulting in doll-like “products”, exist-
ing only as identical object for aesthetic use. Is that an ideal
representation of man, an example to be followed? Is the
goal to create a world without diversity, where all individuals
will follow all the instruction imposed on them?
21
Ivana Jeremić
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Painting.
Postojanje interneta i društvenih mreža stvorilo je novi prostor
ljudske samoaktuelizacije i novi način društvenog delovanja.
Takva situacija ustanovila je nova polja socijalnih odnosa i
društvenih normi, koje su postale obligatorni deo bitisanja
svakog pojedinca, te su svakodnevni realni i virtualni životi
počeli da se prepliću i spajaju u jedan objekat, neophodan u
uobičajenom funkcionisanju.
Serija radova Me + My Phone istražuje odnos tehnologije i
njenog vlasnika. Ona pokušava da demistifikuje još neshva-
ćene emocije prema nečemu što naizgled nije živo, ali što u
sebi skriva, pohranjuje celokupan život pojedinca.
Seriju čine crteži, slike, fotografije i kratki video-formati, koji
su deo angažmana na platformi društvenih mreža kao što su
Instagram i TikTok. Radovi predstavljaju kratke, alegorijske
romantične priče o ljubavnom paru, čiji su životi vidno ispre-
pletani i međusobno zavisni. Teme se vezuju za svakodnevne
situacije koje se iznova ponavljaju i koji oveličavaju odnos je-
dinke i njenog uplovljavanja u realnost.
Istraživanjem virtuelnog i realnog sveta, umetnik, odnosno
subjekat, u radu nikad nije isključivo na jednoj strani, već po-
staje kiborg, oblikovan novim društvenim sistemom.
22
Me + My Phone
video-instalacija / video-installation, 2020.
The appearance of the Internet and social networks has cre-
ated a new platform for human self-actualisation and a new
mode of social activity. This situation provides a ground for
the establishment of new social relations and norms, which
have become a must for each and every individual’s existence,
so everyday real and virtual lives have become intertwined
and fused into a single object, necessary for living normally.
The series of works Me + My Phone explores the relationship
between technology and its owner. It seeks to demystify the
still not fully grasped emotions about something seeming-
ly inanimate, yet holding, storing an individual’s entire life.
The series consists of drawings, paintings, photographs and
short video formats that are part of the engagement on the
social media platforms such as Instagram and TikTok. The
pieces present short, allegorical romantic stories about a love
couple, whose lives are obviously intertwined and interrelat-
ed. The topics are related to everyday situations repeating in
a loop, glorifying a person’s relationship and their immersion
into reality.
By exploring the virtual and real worlds, the artist, that is,
the subject, never takes only one side in the artwork, but be-
comes a cyborg, shaped by the new social system.
23
Darko Sretić
Student druge godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Fotografija.
Second-year undergraduate student at the Academy of Arts
in Novi Sad, Module: Photography.
Ovaj video inspirisan je jednim događajem iz autorovog de-
tinjstva. Radoznao kao i svako dete, on je istraživao predmete
iz jedne vitrine u porodičnom dnevnom boravku – od starih
diploma do porcelanskih čaša, ali jedna velika činija uvek mu
je privlačila pažnju te je napokon odlučio da je otvori. Podizao
je poklopac sa velikim uzbuđenjem, ne znajući šta ga zapravo
čeka. Na dnu činije bio je veoma mali, čudnovat predmet. Ras-
pitujući se, autor-dete tada saznaje da je to njegova pupčana
vrpca, koja se i dalje čuva, prema narodnom običaju o kom se
vrlo malo govorilo. Običaj mu je objasnila majka. Naime, kada
muško dete odraste, njegova pupčana vrpca baca se u reku,
kako bi, kada postane svoj čovek, imalo više sreće u životu.
Kao osobi koja se narodnih običaja ne pridržava posebno,
autoru je ovo sećanje privuklo pažnju, najpre zbog toga što
se o ovoj ustaljenoj praksi ne zna mnogo. Takođe, osećaj klau-
strofobije i iznuđene refleksije tokom skorašnjih dešavanja u
svetu primoravaju ga da se u mislima vraća događaju iz de-
tinjstva, a samim tim i veri u nagovešteni ishod.
24
Vrpca / The Cord
video, 2020.
The video was inspired by an event from the author’s child-
hood. Curious as all children, he explored the objects from a
cabinet in his family living room containing all sorts of things
– from old diplomas to chinaware – but, there was one big
bawl that always attracted his attention, so he eventually de-
cided to open it. He lifted the lid with great anticipation, not
knowing what to expect. On the bottom of the bowl, there
was a small, peculiar object. Enquiring, the author-child
found out that it was his umbilical cord, which is still being
kept following a traditional custom less spoken about. The
custom was explained to him by his mother. Namely, when a
male child grows up, his umbilical cord is thrown into a river
so that he is more lucky in life once he becomes his own man.
As a person who is not particularly observant of traditional
customs, the author found this memory interesting first of
all because this practice is not well known. Also, the feeling
of claustrophobia and enforced reflection during the recent
global events forced him to revisit this childhood event, and
consequently, the faith in the promised result.
25
Dejana Kovačević
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Grafika.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Printmaking
Rad opisuje stanje pojedinca u trenucima dosade. Na ideju
je autorka došla slučajno, beležeći u jednom trenutku da joj
je dosadno. Od tog trenutka počinje da radi sve što dosada
pobudi u njoj, nastavljajući tako, sa namerom da vidi dokle
to stanje može da je odvede, i posmatrajući druge ljude, u
nastojanju da shvati kako oni sami prihvataju i doživljavaju
situaciju kada im se ne dešava ništa važno, ništa što žele.
Bivajući u stanju „dosade“, autorka primećuje pobuđivanje
različitih potreba i zamisli, od kojih neke na kraju i ne bivaju
ispunjene, što izaziva osećanje zbunjenosti, baš kao da se na-
lazi u lavirintu. Namera je da se i posmatrač uključi u izvedbu,
kako bi je time upotpunio. On zapravo mora da prođe kroz
lavirint, i da isprati sva stanja buđenja u tom trenutku. Tu će
zapravo biti prikazani autorkini radovi, tekstovi, fotografije,
crteži, nastali u pomenutim momentima.
26
Lavirint dosade / The Labyrinth of Boredom
instalacija / installation, 2020.
The work describes the state of a person in moments of bore-
dom. The idea came to the authoress by chance, at the mo-
ment when she recorded that she was bored. From that mo-
ment she started doing everything boredom inspires her to
do, pushing it forward to see how far this state can take her;
observing others, she attempted to understand how they
accept and feel in situations when nothing of importance is
happening to them, nothing they want.
Immersed in the state of “boredom”, the authoress notices ap-
pearance of various needs and ideas, some of which fail to be
actualised eventually, causing a feeling of confusion, just like
being in a labyrinth. The intention is to include the audience
into the performance in order to complement it. One must go
through the labyrinth, to follow all the states of awakening
at given moments. This is where the authoress’s works, texts,
photographs, drawings created at the given moments will be
displayed.
27
Vania Janković
Studentkinja druge godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Grafika.
Second-year undergraduate student at the Academy of Arts
in Novi Sad, Module: Printmaking
Autorka je ovu seriju započela sa idejom da predstavi pitanje
sa kojim se susretala tokom (samo)izolacije: Koji je to tre-
nutak u kojem svi delimo zajedničku izgubljenost, trenutak
kada sve gori, i kako to izgleda?
Osećaj straha i neizvesnosti, odnosno pathosa, pronalazila je
u horizontu. Videvši delo Nan Goldin, pod nazivom Narandža-
sti horizont, uvidela je šta za pojedinca znači taj sudar neba i
zemlje koji se, u tih nekoliko trenutka, međusobno proždiru.
Ali, gledala je na taj trenutak kao saznajni i konačni, ne uzi-
majući u obzir činjenicu da iza svakog saznanja u odgovoru
leži pitanje. Želela je da taj horizont bude kraj kojem može
da stremi, da ga smatram idejom o svršenosti i razumevanju,
idealizujući ga i tražeći u njemu utočište. Bilo joj je teško da
se odvoji od te ideje, čineći pauze u istraživanju, u strahu da
neće naći ono za čime traga, da neće u sebi videti ono što vidi
u svetu oko sebe. Pravila je nove fotografije ali se uvek vraćala
prvobitnim. Izdvojivši dve, postavila ih je jednu pored druge,
i tako su ostale, nepromenjene i na sigurnom. U njima je vi-
dela osiromašenu sebe, lišenu pokretačkog žara, tek puku po-
lovinu sopstva, koja bez svoje druge strane postaje apatična
i bleda. Suština autorkine prirode jeste dualitet, i ona nikada
neće biti zadovoljna samim horizontom, već jedino idejom o
potrazi za njim. To bledilo neba koje najavljuje noć, i žarko
sunce koje izbija iz tla, gutajući za sobom tminu, sami za sebe
ne znače ništa. To prostranstvo – koje budi u čoveku osećaj
straha i neizvesnosti, u kojem je moguće lutati pustinjom sve
do ponovnog susreta sa zajednicom, samim sobom i svojim
mogućnostima – univerzalno je sećanje.
28
Narandžasti horizont / Orange Horizon
digitalni print, diptih / digital print, diptych
(200 x 70 cm), 2020.
The authoress started this series with the idea to present the
question she encountered during (self)isolation: what is that
moment where we all share the feeling of being lost; the mo-
ment when everything is on fire, and what does it look like?
She found the feeling of trepidation and uncertainty, that is,
pathos, in the horizon. Having seen the work of Nan Goldin,
entitled Orange Horizon, she realised what the collision of the
sky and earth, devouring each other in these few moments,
mean for a person. But she saw this moment as cognitive and
final, not taking into consideration the fact that behind cog-
nition there is a question lying in each answer. She wanted
this horizon to be the end she can strive for, to see it as an
idea of finality and understanding, idealising it and seeking
refuge in it. Abandoning this idea was hard for her, so she
made pauses in her exploration, fearing she would not find
what she was looking for, fearing that she would not see in
herself the thing she sees in the world around her. She made
new photographs, but she kept revisiting the original idea.
Selecting two of the photographs, she set them beside each
other, and they remained set like that, unchanged and safe.
In them, she saw herself depleted, devoid of her driving force,
just a half of her self, who, without its other half, becomes
apathetic and feeble. The essence of the authoress’s nature
is duality, and she will never be satisfied with the horizon
as such, only with the search for it. The paleness of the sky
announcing the approach of the dark, and the burning sun
emerging from the ground swallowing the darkness as it
advances, mean nothing taken separately. This expanse –
causing a feeling of fear and uncertainty in man, where it is
possible to wonder the desert until one is reunited with the
community, one’s own self and one’s possibilities – is a uni-
versal memory.
29
Jovan Ranković
Apsolvent Master akademskih studija Akademije umetnosti
u Novom Sadu, modul Vajarstvo.
Senior master student at the Academy of Arts in Novi Sad,
Module: Sculpture
„Stadtluft macht frei“ u prevodu sa nemačkog znači: „Gradski
vazduh oslobađa“.
Ova izreka potiče iz 13. veka, kada je važilo pravilo da svako
ko u gradu živi punu godinu i jedan dan biva razrešen svo-
jih kmetovskih obaveza. Kasnije, iz tog slogana izvučena je
ozloglašena parola Arbeit macht frei, koja je kao natpis stajala
na ulazu u nemačke logore smrti u 20. veku.
Autor u ovom radu želi da poznati izraz iskoristi i transponuje
ga u 21. vek, u suočenju sa današnjim gradskim životom – u
Srbiji, u gradu u kom je vazduh najzagađeniji na svetu, tokom
utamničenih zimskih nedelja u magli, da bi već na proleće na-
stupila potpuna zabrana kretanja, kojom smo zaista postali
zatvorenici svojih malih stanova. Međutim, gradovi nude kul-
turnu slobodu, obrazovanje, muzeje, pozorišta...
Autorova ideja je da napravi kutiju nalik svetlećoj reklami, u
koju bi ubacio mašinu za pravljenje pare.
30
Stadtluft macht frei
objekat / object, 2020.
“Stadtluft macht frei” means “Urban air sets you free” in Ger-
man.
This saying dates back to the 13th century, when every person
living in a city for a year and one day was made free from
serfdom. Later, this slogan served as a basis for the notorious
motto Arbeit macht frei, which appeared at the entrance to
the 20th century German death camps.
In this work the author attempts to use this well-known
phrase and transpose it into the 21st century, facing urban life
in Serbia today, in a city with the world’s most polluted air,
the foggy winter months spent trapped inside, only to live
in a complete lockdown in spring, which made us virtually
prisoners of our small flats. However, cities offer cultural free-
dom, education, museums, theatres...
The author’s idea is to make a box similar to illuminated ad-
vertising, where he would insert a fog machine.
31
Aleksandar Danguzov
Student treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Fotografija.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Photography.
Rad Digital Native bavi se samoistraživanjem unutrašnjeg
sukoba umetnika u izolaciji, između fizičke i digitalne stvar-
nosti. On dovodi u pitanje sopstvene postupke i većinu života
provedenog u digitalnom izgnanstvu, pokušavajući da od-
gonetne da li je beg opravdan. To pitanje dodatno podstiče
čudnovata situacija izolovanosti u kojoj se našlo celo čovečan-
stvo i koja je korišćenje digitalnih sredstava – koja sve više
zamenjuju fizička – dovela do ekstrema. Pokušavajući da se
ponovo uzemlji i tako prekine ciklus u kojem je zarobljen, au-
tor se upušta u istraživanje prirode sopstvene zavisnosti: „Da
li je beg opravdan ili je to samo moja priroda?“
32
Digital Native
video, 2020.
Digital Native is a self-exploration of the internal tension of
an artist in isolation, stretched between physical and digi-
tal reality. He re-examines his own actions and most of his
life spent in digital exile, attempting to answer the question
whether the escape is justified. The question is underscored
by the strange situation of isolation the entire mankind has
found itself in, which has brought the use of digital means of
communication – which increasingly substitute the physical
ones as it is – to its extreme. Seeking to ground himself again
and stop the cycle he is trapped in, the author sets off to ex-
plore the nature of his own addiction: “Is the escape justified
or it is just my nature?”
33
Edvard Winters
Student treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Novi likovni
mediji.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: New Media Art
Transhumanizam predstavlja modifikovanje ljudske vrste
kroz bilo koja novodolazeća saznanja. Ovaj rad, kroz procese
genetskog inžinjeringa, ili spajanja čoveka sa tehnologijom,
istražuje estetiku i mogućnost pojave vidljive bioluminescen-
cije kod čoveka. Iako je 2009. u Japanu sprovedena studija
kojom je dokazano da ljudska bioluminescencija u spektru
vidljive svetlosti postoji, intenzitet svetlosti koje telo emituje
hiljadu je puta manji od osetljivosti naših očiju. U istoriji se ta-
kođe spominje Angel’s Glow – fenomen koji se desio u vreme
američkog Građanskog rata, kada je zabeleženo da su nekim
vojnicima rane sijale plavim svetlom. Nakon toga, lekari su
primetili da se ta grupa vojnika znatno uspešnije i brže opo-
ravljala od njihovih drugova kod kojih spomenuti fenomen
nije bio prisutan.
34
Luciferin
video, 3D animacija / video, 3D animation, 2020.
Transhumanism is modification of the humankind through
any emerging discoveries. This work, through processes of ge-
netic engineering, or merging man and technology, explores
aesthetics and possibilities of visible bioluminescence in hu-
man beings. Although there was a study conducted in 2009
in Japan which proved that human bioluminescence in the
visible light spectrum exists, the intensity of the light emitted
by the body is a thousand times lower than the sensitivity of
our eyes. History also mentions Angel’s Glow – a phenome-
non that occurred during the American Civil War, when it was
recorded that wounds of some soldiers glowed with blue
light. After that, doctors noticed that this group of soldiers
was recovering much faster and more successfully than their
companions not exhibiting the same phenomenon.
35
Marija Ranković
Apsolventkinja na Osnovnim akademskim studijama
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Senior undergraduate student at the Academy of Arts in Novi
Sad, Module: Painting
Lavirint je deo serije Noćne sene, započete u periodu od maja
2019, i koja se još razvija. Rad predstavlja svu ljudsku žudnju,
opčinjenost, kreativnost, odvratnost, sentimentalnost, koju
čovek kroz život upozna i zadrži. Dok nas monotonija zadrža-
va, žudnja nas primorava da istražujemo i da igramo na ivici
spoznaje, te prelazimo u nesigurnu zonu i puštamo da nam
mašta kroji novi put. Crteži ispoljavaju viđenje ličnih stvar-
nosti i imaginacije, a ujedno i društveno angažovanje, ma-
nipulaciju od strane cenjenih ličnosti određenog doba, struju
modernizma, a s tim i struju medijskih propagandi. Umetnik
je, usled uzburkanih misli, u sukobu sa bujicom novih neistra-
ženih teritorija. Umetnost se pored društva menja, umetnici
žele da budu jedinstveni, a to ih nekada može „odvući“ u kič.
Umetnik želi da svoju umetnost promeni, ali tako prelazi gra-
nicu lepog. Predstavljene su njegove misli, zvukom emocije,
frustracije. Publika će osetiti konfuziju, skučenost, uznemire-
nost, ogorčenost. Stanje njegovog tela i svesti sukobljeno je
sa novim idejama savremene umetnosti, koja ne mora uvek
da bude dobra i lepa.
Autorka crteže radi na papiru, a krajnji produkt je digitalan –
tako povlači paralelu između tradicionalnog i digitalnog crte-
ža, pitajući se pritom da li u digitalnom dobu treba da postoji
samo digitalna umetnost, ili auru autentičnosti nosi upravo
crtež rađen na papiru, kao i da li je sve što nova umetnost
donosi – dobro, i treba li sve da prihvatamo.
36
Lavirint / Labyrinth
animacija, print / animation, print, 2020.
Labyrinth is part of the series Night Shadows, which has been
developed since May 2019. The work presents all the human
desire, infatuation, creativity, repulsion, sentimentality, en-
countered and kept by a person throughout his/her life. While
monotony holds us up, desire pushes us to explore and play at
the very edge of knowledge, so we enter into a zone of uncer-
tainty and let our imagination set a path for us. The drawings
manifest a view of personal realities and imagination, as well
as social engagement, manipulation by prominent figures of
certain ages, the current of modernism, and, consequent-
ly, the current of media propaganda. An artist is, due to his
turbulent thoughts, in conflict with the overwhelming new
unexplored territories. Art changes under the influence of so-
ciety, artists want to be unique, and this can sometimes lead
them “astray” into kitsch.
An artist wants to change his art, but crosses the border of
the beautiful in doing so. His thoughts are presented through
a sound of emotion, frustration. The audience will feel confu-
sion, being confined, anxiety, bitterness. The state of his body
and mind is conflicted with new ideas of contemporary art,
which is not necessarily good and beautiful.
The authoress does her drawings on paper, while the end
product is digital – making a parallel between the tradi-
tional and digital drawing, posing the question of whether
only digital art has its place in the digital age, or the paper
drawing is the one with a genuinely authentic aura, as well
as whether everything brought about by new art is good and
should be accepted.
37
Milan Marinković
Student četvrte godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Montaža u
audiovizuelnim medijima.
Fourth-year undergraduate student at the Academy of Art in
Novi Sad, Module: Editing in Audio-visual Media
Kratak animirani film govori o krugu bezumlja, čiji se poče-
ci mogu vezati za sam nastanak čoveka. Film prikazuje kako
loši činovi, izvedeni zarad nečeg svetog, nose i dalje epitet
užasnog, i kako je čovek zarad višeg cilja spreman da mačem
nasilja uprlja i ono najčistije. Inspiracija za rad pronađena je u
epskoj poemi Džona Miltona, u kojoj on govori o padu đavola
dok je bio anđeo, i padu čoveka dok je još bio božje dete. Ta-
kođe, ideja za ovaj film potekla je i od Božanstvene komedije
Dantea Aligijerija, u kojoj on ističe da količina dobrote koja
svoj početak nalazi u grehu nikada ne može biti iskrena.
38
The Circle
animacija / animation, 2020.
naracija / narration: Neven Sukara
The short animated film speaks of the circle of madness, the
origins of which can be associated with the evolution of man
as such. The film shows how bad actions, even though they
are carried out for something sacred, still deserve the attrib-
ute of being horrible, and that man is capable of tainting
even the purest things wielding his sword for a higher cause.
The inspiration for the work was found in an epic poem by
John Milton which speaks of the fall of the devil while he was
still an angel, and the fall of man while he was still a God’s
child. Moreover, the idea for this film comes also from the Di-
vine Comedy by Dante Alighieri, implying that the amount of
virtue that finds its source in sin can never be sincere.
39
Anđela Stojanović
Studentkinja treće godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Third-year undergraduate student at the Academy of Arts in
Novi Sad, Module: Painting
Rad predstavlja nevidljivi život reke, provučen i ispoljen kroz
negativ, tek jedan njen fragment. Na trenutke izgleda kao
staklo stavljeno pod mikroskop, naizgled čisto, prozirno, dok
se iza svega toga krije jedan svet sa sopstvenom energijom,
tokom, ritmom, te se mnogo jasnije vidi kretanje reke, svaki
talas, odsjaj i površina ispod nje. Odsjaj sunca, koji se u ovom
radu manifestuje kao mnoštvo crnih tačkica, pojačava osećaj
živosti, oponašajući tako konstantno kretanje mikroorganiza-
ma u prirodi.
40
Nevidljivi život reke / The Invisible Life of the River
animacija / animation, 2020.
The work presents the invisible life of the river, processed and
manifested in a negative, just a fragment of it. At moments, it
appears as glass under microscope, seemingly pure, transpar-
ent, while hiding an entire world of its own, with its energy,
current, pace, so one can see more clearly the movements of
the river, each wave, reflection and the surface underneath.
The sun’s reflection, manifested in this work as a multitude of
black specks, enhances the impression of liveliness, imitating
the constant movement of microorganisms in nature.
41
Maja Marković
Studentkinja druge godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Second-year undergraduate student at the Academy of Arts
in Novi Sad, Module: Painting
Iz fenomena pokreta živog sveta u odnosu na prirodu, proizla-
zi primarno percipiranje okoline. Doživljaj okoliša, životnog
prostora svih bića, dobija smisao tela za ljudsko oko. Iz pove-
zanosti pokretnosti jednog bića sledi neprestano utvrđivanje
njegovog odnosa spram okoline, pomoću opipavanja vidom,
razumom, sluhom...
Autorka inspiraciju za svoj rad prvenstveno pronalazi u feno-
menu povezanosti šire prirode i drugih tela tj. različitih oblika
života. Ona tu povezanost shvata kroz pokret, koji daje podrš-
ku svim životnim procesima. Posmatrajući svoju okolinu i bića
sa kojima deli mesto boravka, ona dolazi na zamisao da svom
radu podari jedan karakterističan oblik života iz prirode. Kroz
traganje za povezanošću opažanja sveta sa čistim umetnič-
kim delovanjem, formu instalacije predstavlja kao stilizaciju
biljke, čije je telo neodvojivo povezano sa zemljom. Sam taj
fenomen jednog oblika života predstavlja jasan odnos izme-
đu primarnih potreba otelotvorenja života, koji ne bi mogao
da opstane bez zemlje, tj. same prirode. Autorka teži prikazu
pojedinačnog života, koji ima uticaj na svet u globalnom smi-
slu, te sam taj uticaj predstavlja kao reakciju. Svoj rad stvara
kao jedan zasebni svet, koji predstavlja telo i doživljaj same
prirode, a nju izmešta u prostor galerije, naglašavajući time
sponu između prirode i života uopšte, u različitim okruženji-
ma. Upravo iz te povezanosti malih pojedinačnih svetova sa
„velikom“ prirodom proističe krajnji zbir, koji odjednom po-
staje celina.
42
Korelativnost tela i prirode / Correlativity of the Body
and Nature
audio-video instalacija / audio-video installation, 2020.
Primary perception of environment stems from the phenom-
enon of living world’s movement relative to nature. The en-
vironment, as a living space of all beings, is experienced as
a body for the human eye. This correlativity of a being’s mo-
bility is the starting point for a continuous determination of
its position relative to its environment, through touch, vision,
mind, hearing...
The authoress finds the inspiration for her work primarily in
the phenomenon of correlations of nature and other bodies,
that is, different forms of life. She understands this correla-
tion through movement, which provides support for all life
processes. Observing her environment and beings that share
their habitat with her, she comes to the idea to give her work
a characteristic life form from nature. Seeking the correlativ-
ity between the world perception and pure artistic action,
she presents an installation in the form of a stylised plant,
whose body is inseparably bound to soil. The very phenom-
enon of one life form shows a clear relationship between
primary needs of embodied life, which would be incapable of
surviving without soil, that is, nature as such. The authoress
seeks to depict an individual life that has an influence on the
world in the global sense, so she presents this influence as
a reaction. She creates her work as a world for itself, which
represents the body and the experience of nature as such,
transporting it into the gallery space, emphasising the bond
between nature and life as such, in different environments. It
is from the very correlation between small individual worlds
with the “great” nature that the final sum stems from, which
suddenly becomes a whole.
43
Aleksa Mitrović
Student druge godine Osnovnih akademskih studija
Akademije umetnosti u Novom Sadu, modul Slikarstvo.
Second-year undergraduate student at the Academy of Arts
in Novi Sad, Module: Painting
Autor ljudsko iskustvo vidi kao svest sabranu u telu i odnos
prema sredini koju nastanjujemo. Mi često zavisimo od nje na
više različitih načina, fizički koliko i psihički, a ona utiče na
naše stanje, podstiče emocije i reakcije, iako tog uticaja često
nismo svesni. Autor smatra da pojave i situacije koje su izvan
čovekove kontrole predstavljaju neuhvatljivu i neshvatljivu
nepoznanicu, i traži način da stavi akcenat na taj spoljašnji
faktor, uzimajući telo/figuru kao subjekat u predstavljenom
ambijentu. Njegova osnovna struktura podseća na vizuelne
informacije iz svakodnevnog života koje, sabrane u šablone,
postoje u našoj podsvesti.
Figura, međutim, nije subjekat u pravom smislu reči, već više
objekat, te je lišena karakteristika koje bi je odredile i dale joj
identitet i ulogu. Na nju utiče situacija, nagoveštena prome-
nama u sredini.
Izmenama i naglašavanjem poznatog kolorita i osvetljenja u
svakodnevnoj sredini, i dekonstrukcijom njenih elemenata,
autor želi da izvede poznate slike u nepoznatu, izmenjenu
sferu i tako stvori utisak nesigurnosti scene i neizvesnosti čo-
vekove sudbine u njoj.
Tok autorovih misli ovde je podstaknut okolnostima u njego-
vom najbližem okruženju (u okviru doma gde deluje dinami-
ka odnosa ljudi koji ga nastanjuju; u okviru situacija i mesta u
kojima je akter ili posmatrač), kao i prirodnim katastrofama,
globalnim događajima, i uticajima informacija na svakodnev-
ni život u savremenom dobu. Subjektivno iskustvo koje stvara
dok reaguje na takve stimuluse često je kompleksno i sači-
njeno od mnoštva isprepletanih informacija. Iščišćavanjem i
biranjem najvažnijih detalja, autor teži stvaranju scene koja
ga direktnije otkriva, ali ne prenosi sve pojedinosti. Narativ
u ovoj seriji radova nastao je kombinovanjem različitih slika i
vizuelnih utisaka u novom rasporedu.
44
Za Stolom / At the Table
digitalna vektorska slika, print / digital vector image, print
(60 x 85 cm), 2020.
Naselje / Town
digitalna vektorska slika, print / digital vector image, print
(60 x 85 cm), 2020.
The author sees human experience as a consciousness con-
tained in the body and the relationship to the environment
we live in. We often depend on it in various ways, both
physically and psychologically, and it affects our condition,
spurring emotions and reactions, although we are often
unaware of this influence. The author believes that the phe-
nomena and situations outside human control are an illusive
and incomprehensible unknown, and seeks to find a way to
put emphasis on this external factor, taking the body/figure
as a subject in a presented environment. Its main structure
resembles the visual information from everyday life existing
in our subconscious, collected as patterns.
The figure, however, is not a subject in the real sense of the
word, but more of an object, so it is devoid of characteristics
that would define it and give it identity and a role. It is affected
by the situation, announced by changes in the environment.
By alterations and emphasising the familiar colours and illu-
mination in everyday environment, as well as by deconstruct-
ing its elements, the author attempts to take the familiar
images into a sphere of the unknown and altered and, thus,
create an impression of the insecurity of the scene and man’s
precarious destiny in it.
The author’s thinking is here inspired by the circumstances in
his immediate environment (at home with the dynamics of
relationships between people inhabiting it; in situations and
places where he poses as an actor or observer), as well as nat-
ural disasters, global events, and influences of information on
everyday life in the contemporary age. The subjective experi-
ence created in responding to these stimuli is often complex
and consists of an abundance of interrelated information. By
distilling and selecting the most important details, the author
seeks to create a scene that reveals him more directly, without
giving out all details. The narrative it this series was created
by recombination of different images and visual impressions.
45
ART BODY ART
SMIC. POKRETNA FORMA / MOTION ART FORM
Organizator / Organizer:
Savez udruženja likovnih umetnika Vojvodine
Program Novih umetničkih praksi, SMIC. pokretna forma /
The Union of Associations of Fine Artists of Vojvodina
The New Art Practices Programme, SMIC. motion art form
Izdavač / Publisher:
Savez udruženja likovnih umetnika Vojvodine
The Union of Associations of Fine Artists of Vojvodina
Bulevar Mihajla Pupina 9, 21000 Novi Sad, Srbija
9 Bulevar Mihajla Pupina, 21000 Novi Sad, Serbia
Tel/phone: +381.21.524.991
suluvkontakt@gmail.com
suluv.org
Kulturna stanica Svilara, 11 - 17. avgust 2020.
Cultural Station Svilara, 11-17th August 2020
Glavni i odgovorni urednik / Responsible Editor-in-Chief
Autor tematskog koncepta Relacije tela u okviru projekta Art Body Art i SMIC. pokretna forma /
Author of thematic concept The Body Relations under the Art Body Art project and SMIC. motion art form:
Dr um. Goran Despotovski, predsednik udruženja / D.F.A., Goran Despotovski, President of the Association
Koordinatori / Coordinators:
Mast. lik. um. Dаnicа Bićаnić / MA, Dаnicа Bićаnić
Dr um. Gоrаn Dеspоtоvski / D.F.A., Gоrаn Dеspоtоvski
Predgovor / Preface:
Goran Despotovski
Autorka teksta, spoljna saradnica Udruženja / Author of the texts, external associate of the Association:
Teodora Perović, istoričarka i teoretičarka umetnosti / Teodora Perović, art historian and theorist
Prevod / Translation:
Lidija Kapičić
Autor fotografije, spoljni saradnik Udruženja / Author of the Photos, external associate of the Association:
Aleksandar Danguzov
Grafičko oblikovanje / Graphic Design:
Studio za dizajn santa2g, Goran Despotovski
Circulation / Tiraž: 400
Štampa / Printed by: Birograf comp d.o.o.
Novi Sad, 2020.
Program se realizuje u okviru projekta „Umetnici.Sad!" Fondacije Novi Sad 2021 - Evropska prestonica kulture
Programme is realised under the programme "Artists. Now!" – European Capital of Culture Foundation

Pokrovitelji / Supported by:

Fondacija Novi Sad 2021 / Novi Sad 2021 Foundation
Grad Novi Sad, Gradska uprava za kulturu / City Administration for Culture of Novi Sad
CIP - Каталогизација у публикацији
Библиотеке Матице српске, Нови Сад
7.038.53-057.87(497.11)”2020”(083.824)
ДЕСПОТОВСКИ, Горан, 1972-
Art body art : СMIC, pokretna forma : Projekat Art Body Art - Relacije tela = Motion art form : The Art Body
Art project - The Body Relations / [autor tematskog koncepta Goran Despotovski ; koordinatori Danica Bićanić,
Goran Despotovski ; autorka teksta Teodora Perović ; prevod Lidija Kapičić ; autor fotografije Aleksandar
Danguzov]. - Novi Sad : SULUV, 2020 (Zemun : Birograf comp). - 45 str. : ilustr. ; 20 x 25 cm
Tiraž 400.
ISBN 978-86-88319-28-7
а) Перформанси -- Студенти -- Србија -- 2020 -- Изложбени каталози
COBISS.SR-ID 20148745
ART BODY ART
SMIC. POKRETNA FORMA / SMIC. MOTION ART FORM