6th International Multimedial Art Festival - IMAF 2004
Nenad Bogdanovic:
Why would a small place in plains of Serbia, district of Vojvodina, called Odzaci be known in international terms? Is it perhaps the title of artistic performance made by Vojvodinian artist Szombathy Balint who lives and works in Budapest? Szombathy participated on first International Multimedial Art Festival – IMAF 1998. and conceptuated a performance titled «Chimneys» which was performed on many international artistic festivals of Europe, Asia and America.
Title «Chimneys» by itself on English or some other language gives no posibilitie for Art Lovers worldwide to even think about real impulse of the author for taking such a title. As I mentioned, six years ago, in Odzaci was started International Multimedial Art Festival by Multimedial Art Studio that stubornally survives our hard conditions.
At the beggining of August this year, Odzaci was center point of a certain number of very distinguished artists from Europe and Asia. Their artistic background is comparable with contemporary art processes of the last decades.
Four days of artistic program were started by a guest from Japan, artist Ryosuke Cohen, with a performance titled “Portrait project”. Cohen`s participation on IMAF was at the same time with his artistic tour across East Europe and Austria. After Belgrade his next station was Odzaci and IMAF Festival, and his tour was continued in Budapest and Wienna. Cohen draws portraits on every place he goes, portraits of artists he meets, in full size or profile. On the floor of MAS Gallery in Odzaci in his performance he draw whole figure of Nenad Bogdanovic.
Franca and Emilio Morandi improvized «open field» outside MAS Gallery for their performance «Transmutation». Fusion of movement, sound and objects, articles important for human diet – bread on one side, and object of political use of nations on other side – flags, used for unpredicted ritual moments. Morandi`s critical revue of political situation of the world gives cause for thinking and birth of new ideas in art and life.
Last IMAF`s «walking tree», Angel Pastor from Spain, came again to «walk». Angel made three different performances, one each day, on three locations in Odzaci. Artist believes in theory of art by act. In his performance «Walk» Angel invited the audience and other participants of IMAF for a collective walk along main street of Odzaci. This joint walking event was not ordinary but, for general surprise of the spectators, backwards.
Young artist from Odzaci Nikola Vukobratovic made sound/ambience performance in natural surrounding of town park titled «Nature vs. Religion». Walking on his knees he traveled twenty centuries of Christ and, on a treshold of 21st century, setting himself free of the chains, decisive walks back to the tolerance and harmony with laws of mother nature.
In his performance «Flight or marking of the teritory» Nenad Bogdanovic selected his habitat, teritory of Odzaci, for an object to perform artistic intervention in certain period of time. Using the ability to fly on a motor povered kite, he marked selected object reffering himself on animal instincts. For this marking he used contemporary technological aid of photo and video camera.
«Karfiol» is a title of a very complex performance made by Uto Gusztav, artist from Transilvania in Romania. Uto uses adhesive tape in his performance on which he tapes used phone cards from all over the world. Phone cards sent especcialy for this performance by artists from America, England, Poland, Bulgaria, Romania, Serbia and several other countries gave this art project marks of difference, natural and social appearance of intelinked and intercaused note.
In «Panon Art» Gallery in Odzaci Andre Stitt, in his provocative performance «Oman», uses pigs head hung on a Gallery ceiling, baseball bat, scalpel to cut bleeding numbers on his arm, etc. Andre focuses his work on traumatic themes, and here he pays attention on recent war conflict and issues of human rights here and in surroundings. His work attempts to open always actuall questions of materialistic dependence, globalisation, and communal conflicts. His brutal art actions are setting countless questions regarding experience of alienation, repression, domination and cruelty. Processes of creation and disintegration are also themes of his performances, at any cost, giving himself physically and emotionally to the last bit.
Performance «What nature abhors: a void (the scapegoat ritual)» made by Roddy Hunter, had flown together with Andre Stitt`s at the same Gallery. Hunter selects themes from ancient time, in his performance, that are yet actuall even after such a long period of time. He uses map of the world (set on tha Gallery wall), briks, glasses, milk...etc. Over the map he installed a cross with nails and string, dominant over the whole performance. His work simbolically represented purification of mutual guilts and fears, and broken glasses of milk represented «ritual sacrifice».
Main street of Odzaci was site of Belfast artist Hugh O`Donnell`s performance titled «Gravity». Author was dressed in female underware and his body was painted with bright colours. During his performance Hugh walked up and down the street carrying tow buckets with water and made hissing noises. He stopped in certain moments, putting his head in a bucket and making typicall sounds called «bucket bark» by the author. In his performancesauthor uses situations bound with processes of digestion and feeding. Combination performed here was a premiere on this festival.
«Voyage» and staing in other worlds are an opsession of Milan Grahovac from Zrenjanin. Milan uses the same materials in continuity with his earlier performances. In MAS Gallery he wrapped himself in horse hive and metaforically travels through time to other worlds. In Milan`s world fish, archetype of water, with feathers becomes transformed into archetype of air – bird. On artist`s travel through his performance bones are material evidence of duration through time.
Nicola Frangione and his sound poetics, in MAS Gallery, caused great interest of the audience present that evening. Sound poetry in «Rapporti orali e trasversalita sonore» are good oposite to so-called «serious» art production. Sometimes his work flies out of the bound of art production as we know it, and he practices for decades, but it has no harmfull effect on the project realisation, but quite oposite, we find quality of understandable poetic word in it.
Irish artist Sinead O`Donnell made «Fe/male, in transition; fuck redemption» performance in several separate segments. She was helped by Nikola Vukobratovic who, specially for this project, grew beard for four weeks. Second part of her project was shaving of that beard without audience present. Sinead glued these hairs on her face carrying a chair on her hands walking along streets of Odzaci singing slogan «I can play the piano». Central theme of her performance are relations between genders which are also earlier preocupation of this, as one colud think, contradictory artist. Complexity of her ideas can seem confusing if you don`t aproach her project analitically and without complexes.
Martin Zet from Chech Republic claims that «Revolution comes from periphery», and he started this performance with lecture at MAS Gallery and then, helped by artists and audience, continued along streets of Odzaci. Martin shared flags of different countries, but made only in revolutionary red colour, inviting everybody on demonstrations on the streets. He offers us a residue of revolutionary ideas consumed through his art projects, and similar feelings for a moment. Enables us to be strenghtened with red and intocsicated with changes in hope of better tomorrow.
Performance «Peace force», made by Austrian artist Katherina Zakravsky, leads us into the story about borders of understanding of certain situations among nations. Katherina does not offer ready solutions but, rather, an abilitie to think about problems happening in problematic regions of the world without high passions. The whole show was played in town park where artist placed a video installation with sound and picture between her and the audience. At the end of the performance Katherina aproaches the audience explaining her idea and the concept of this succesfull project.
Radoslav B. Chugaly in his performance «A quarter: time for sale» works on thematic of economical principles in capitalistic society. Target group of his work are artists and their acceptance or refusal of economical and materialistic principles. Radoslav speaks of apsurd situation made by acceptance of these principles on contemporary art scene. Artist, as a pillar of free way of thinking and acting, comes to situation that his time and creative work becomes a commodity.
Festiva begun at MAS Gallery with opening of international exhibition «Future of performance art». On this exhibition participated more than 60 artists from 21 countrie. Since this is specific way of artistic expression, presentable in many different ways, as a result we had an exhibition made by works used in classical exhibition praxis (scetches, drawings, photos, objects, catalogues, magazines and books( up to use of different technological options in realisation of exhibitions (audio, video, digital photo, CDV, DVD, etc). Generally taken, artistic works partially replied to the subject of this year`s exhibition, and it was the future. Artist were asked by the author of the exhibition (Nenad Bogdanovic) to send, along with works, their textual opservations on the same subject. A large number of participants used this option and, through texts, came closer to the thoughts of the future of performance art.
Serbian text:
Nenad Bogdanović:
Po čemu bi jedno malo mesto u ravničarskom predelu Srbije, pokrajina Vojvodina, pod nazivom Odžaci moglo biti poznato u međunarodnim okvirima? Da li je to možda istoimeni naziv umetničkog performansa vojvođanskog umetnika Sombati Balinta koji živi i radi u Budimpešti? Sombati je svojevremeno uzeo učešće na Prvom međunarodnom festivalu multimedijalne umetnosti – IMAF 1998. i osmislio performans pod nazivom 'Odžaci' kojeg je do danas izveo na mnogim međunarodnim umetničkim festivalima Evrope, Azije i Amerike. Sam naziv 'Chimneys' na Engleskom ili nekom drugom jeziku ne daje nimalo mogućnosti ljubiteljima umetnosti širom sveta da i pomisle o pravom povodu autora za davanje takvog naziva svom performansu. Kao što pomenuh u prethodnim redovima ovog teksta u Odžacima je, pre šest godina od strane Studija za multimedijalnu umetnost, pokrenut Međunarodni festival multimedijalne umetnosti koji na ovom našem trusnom umetničkom području i dalje tvrdoglavo opstaje.
Početkom avgusta ove godine Odžaci su bili stecište jednog broja izuzetno vrednih stvaralaca i afirmisanih umetnika iz Evrope i Azije. Njihov umetnički milje je komparabilan sa savremenim međunarodnim umetničkim procesima poslednjih decenija.
Četvorodnevni umetnički program uživo započeo je gost iz Japana umetnik Ryosuke Cohen sa performansom pod nazivom 'Portret projekt'. Cohen-ovo učešće na IMAF-u se poklopilo tih dana sa njegovom umetničkom turnejom po Istočnoj Evropi i Austriji. Posle Beograda njemu je sledeća stanica bila Odžaci i festival IMAF a kasnije je turneju nastavio ka Budimpešti i Beču. Cohen na svakom mestu crta portrete, umetnika koje sreće na svom putu, u punoj veličini ili profilu. Na podu Galerije MAS u Odžacima u performansu 'Portret projekt' je crtao celu figuru Nenada Bogdanovića.
Franca i Emilio Morandi su u eksterijeru Galerije MAS improvizovali 'otvoreno polje' za peformans 'Transmutacija'. Fuzija pokreta, zvuka i objekata, sa jedne strane artikli od velike važnosti za ljudsku ishranu - hleb i oni koji su u svakodnevnoj upotrebi u političkom životu država i naroda - zastave, koristeći ih tako za nepredviđene ritualne trenutke. Morandijev kritički osvrt na političku situaciju u svetu daje povoda za razmišljanje i rađanje novih mogućnosti i ideja kako u umetnosti tako i u životu..
'Hodajuće drvo' sa prošlogodišnjeg IMAF-a, Angel Pastor iz Španije, došao je ponovo da 'hoda'. Angel je izveo tri različita performansa, svakog dana po jedan, na tri lokacije u Odžacima. Umetnik je zagovornik teorije umetnosti samim činom. U performansu 'Hod' Angel je pozvao prisutnu publiku i učesnike festivala na kolektivno hodanje glavnom ulicom Odžaka. Ovaj zajednički hodajući hepening nije bio običan već, na opšte iznenađenje prolaznika, unazad.
Mladi odžački umetnik Nikola Vukobratović u prirodnom ambijentu gradskog parka izveo je zvučno-ambijentalni performans 'Priroda VS religija'. Hodajući na kolenima prelazi dvadeset Hristovih vekova i na pragu 21. veka, oslobađajući se nametnutih lanaca, odlučno se vraća tolerantnom odnosu i saglasju sa zakonima majke prirode.
U performansu 'Let ili obeležavanje teritorije' Nenad Bogdanović je svoj životni prostor, teritoriju Odžaka, odabrao za objekat nad kojim će vršiti umetničku intervenciju u određenom vremenskom periodu. Koristeći mogućnost letenja motornim zmajem obeležio je odabrani objekat pozivajući se na prirodne instikte u životinjskom svetu. Za obeležavanje odabrane teritorije koristio je savremena tehnološka pomagala foto i video kameru.
'Karfiol' je naslov veoma kompleksnog performansa Uto Gusztav-a, umetnika iz Transilvanije u Rumuniji. Uto u performansu koristi selotejp traku po kojoj celom dužinom lepi iskorišćene telefonske karte iz celog sveta. Telefonske karte poslate specijalno za ovaj projekat od strane umetnika iz Amerike, Engleske, Poljske, Bugarske, Rumunije, Srbije i još nekih zemalja dale su ovom umetničkom projektu, obeležavajuće različitosti, notu prirodne i društvene pojave međusobno povezane i uzajamno uzrokovane.
U odžačkoj galeriji Panon-Art Andre Stitt u svom provokativnom performansu, pod nazivom 'Predznak', koristi svinjsku glavu obešenu o plafon galerije, bejzbol palicu, skalpel kojim do krvi iseca određene brojeve na svojoj ruci itd. Andre inače svoj rad fokusira na traumatične teme a ovde je skrenuo pažnju na nedavne ratne sukobe i probleme ljudskih sloboda kod nas i u okruženju. Njegov rad pokušava da otvori uvek aktuelna pitanja materijalističke zavisnosti, opšte globalizacije i sukoba zajedništva. Njegove brutalne umetničke akcije postavljaju bezbroj pitanja koja se tiču iskustva otuđenja, potiskivanja kultura, dominacije i okrutnosti. Procesi stvaranja i raspadanja su takođe teme njegovih performansa, na koje želi da ukaže po bilo kojoj ceni, dajući se fizički i emotivno do kraja.
Performans 'Šta priroda mrzi: praznina (ritual žrtvenog jagnjeta)' Roddy Hanter-a je tekao paralelno sa performansom Andre Stitt-a u istoj galeriji. Hanter u svom radu obrađuje teme iz pradavnih vremena koje su i danas posle toliko proteklih vekova i te kako aktuelne. Od materijala u performansu koristi geografsku mapu sveta (koja je postavljena na zidu galerije), cigle, staklene čaše, mleko ...itd. Preko mape sveta uz pomoć eksera i kanapa instalira krst koji je bio dominantan celim tokom ove predstave. Njegov performans na simboličan način predstavlja ritual pročišćenja zajedničkih krivica i strahova a razbijene čaše s mlekom u ovom slučaju zamena za 'ritualnu žrtvu'.
Glavnom ulicom Odžaka dešavao se i performans Hugh O'Donnell-a, umetnika iz Belfasta, koji nosi naziv 'Gravitacija'. Autor je bio odeven samo u ženskom kombinezonu a telo mu je bilo obojeno drečavim bojama kao u harlekina. Tokom performansa Hugh je šišteći išao ulicom noseći dve kofe napunjene vodom. Zaustavljao se u određenim vremenskim razmacima i nabijao glavu u kofu s vodom i tom prilikom su se čuli tipični zvučni efekti koje autor naziva lavežom kofe. Hugh u svojim umetničkim akcijama koristi situacije koje su vezane uz procese hranjenja i probave. Kombinacija koju je umetnik realizovao u ovom performansu premijerno je izvedena na ovom festivalu.
'Putovanje' i boravci u drugim svetovima su opsesija zrenjaninskog umetnika Milana Grahovca. Milan nastavlja kontinuirano da upotrebljava iste simbole kao i u predhodno izvedenim performansima. U Galeriji MAS se uvija u štavljenu konjsku kožu i metaforično putuje kroz vreme i boravi u drugim svetovima. Kod Milana riba, opštepoznati vodeni simbol, koristeći perje doživljava transformaciju i putujući prelazi u simbol vazduha pticu. Na umetnikovom putovanju kroz performans kosti su tu kao materijalni dokaz trajanja kroz vreme.
Nicola Frangione i njegova zvučna poetika, u Galeriji MAS, pokazali su veliko interesovanje prisutne publike te večeri. Zvučna poezija u performansu 'Govorni izveštaji i zvučna raznovrsnost' su izuzetan pandan takozvanoj ozbiljnoj umetničkoj produkciji. Ponekad umetnikov rad izleti iz ustaljenih okvira umetničke produkcije, kojom se decenijama uspešno bavi, ali to nimalo ne utiče štetno na realizaciju projekta već naprotiv u njemu nalazimo kvalitet razumljive poetske reči.
Irkinja Sinead O'Donnell radi performans “Fe/Male; u tranziciji; jebeš pokajanje“u više odvojenih segmenata. U tome joj je pomogao umetnik Nikola Vukobratović koji je specijalno za ovaj njen projekat puštao četiri nedelje bradu. Drugi deo njenog projekta je brijanje brade koji je upriličen bez prisustva publike takođe. Sinead je dlake zalepila na svoje lice i noseći stolicu na rukama šetala ulicom Odžaka pevajući slogan 'ja znam da sviram klavir'. Centralna tema njenog performansa su odnosi među polovima koji su i ranija preokupacija ove naizgled kontradiktorne umetnice. Složenost njenih ideja može na gledaoca ponekad delovati zbunjujuće zato se njenim projektima prilazi analitički i bez kompleksa.
Martin Zet iz Republike Češke tvrdi da 'Revolucija dolazi sa periferije', a to je ujedno i naslov njegovog umetničkog projekta, koji je započet predavanjem u Galeriji MAS a potom se uz pomoć publike i umetnika razvio po ulicama Odžaka. Martin je podelio prisutnima zastave raznih zemalja ali u revolucionarnoj crvenoj boji i pozvao na demonstraciju istih na ulicama. On nam nudi ostatak snažnih revolucionarnih ideja, konzumirajući ih kroz njegove umetničke projekte, i slična osećanja bar na trenutak. Bodri nas da bi smo bili osnaženi crvenom bojom i opijeni promenama s'nadom u bolje sutra.
Performans 'Mirovne snage', koji je izvela austrijska umetnica Katherina Zakravsky, uvodi nas u priču o granicama shvatanja određenih situacija među narodima. Katherina nam ne nudi rešenja već mogućnost da neostrašćeno razmišljamo o problemima koji se neodložno dešavaju u problematičnim regionima u svetu. Cela predstava se odigrava u gradskom parku gde je umetnica postavila video instalaciju sa slikom i zvukom između nje i publike. Na kraju performansa Katherina pristupa publici i ukratko pojašnjava svoju ideju i veoma uspešan koncept ovog projekta.
Radoslav B. Čugalj u svom performansu 'Četvrt: vreme za prodaju' obrađuje tematiku ekonomskih principa u kapitalističkom društvu. Ciljna grupa njegovog rada su umetnici i njihovo prihvatanje ili neprihvatanje ekonomskih i materijalističkih principa. Radoslav govori o apsurdnoj situaciji koja se nameće prihvatanjem pomenutih principa na savremenoj umetničkoj sceni. Umetnik kao oličenje slobodnog načina razmišljanja i delovanja, dolazi u situaciju da njegovo vreme i kreativan rad, predstavlja robu.
Festival je inače počeo, u Galeriji MAS, otvaranjem međunarodne izložbe 'Budućnost umetnosti performansa'. Na ovoj multimedijalnoj izložbi svojim radovima je bilo zastupljeno preko šezdeset umetnika iz 21 zemlje. Pošto je u pitanju specifičan vid umetničkog izražavanja, koji se može prezentovati na raznovrsne načine, kao rezultat smo imali izložbu od eksponata koji se koriste u klasičnoj izlagačkoj praksi (skice, crteži, fotografije, objekti, katalozi, časopisi i knjige) pa sve do upotrebe raznih tehnoloških mogućnosti u realizaciji izlaganja (audio, video, digitalna fotografija, CDV, DVD, ..itd.). Generalno uzevši radovi umetnika su delimično odgovorili na temu ove izložbe a ona je budućnost. Od strane autora ovog projekta (Nenada Bogdanovića) umetnici su zamoljeni takođe da pored radova pošalju i svoje tekstualne opservacije na istu temu. Jedan veći broj učesnika je iskoristio ovu mogućnost i tekstovima se mnogo bolje približio razmišljanjima o budućnosti umetnosti performansa.
IMAF 6 participants:
Ryosuke Cohen, Japan
Performance: “Portrait project” (MAS Gallery)
Why would a small place in plains of Serbia, district of Vojvodina, called Odzaci be known in international terms? Is it perhaps the title of artistic performance made by Vojvodinian artist Szombathy Balint who lives and works in Budapest? Szombathy participated on first International Multimedial Art Festival – IMAF 1998. and conceptuated a performance titled «Chimneys» which was performed on many international artistic festivals of Europe, Asia and America.
Title «Chimneys» by itself on English or some other language gives no posibilitie for Art Lovers worldwide to even think about real impulse of the author for taking such a title. As I mentioned, six years ago, in Odzaci was started International Multimedial Art Festival by Multimedial Art Studio that stubornally survives our hard conditions.
At the beggining of August this year, Odzaci was center point of a certain number of very distinguished artists from Europe and Asia. Their artistic background is comparable with contemporary art processes of the last decades.
Four days of artistic program were started by a guest from Japan, artist Ryosuke Cohen, with a performance titled “Portrait project”. Cohen`s participation on IMAF was at the same time with his artistic tour across East Europe and Austria. After Belgrade his next station was Odzaci and IMAF Festival, and his tour was continued in Budapest and Wienna. Cohen draws portraits on every place he goes, portraits of artists he meets, in full size or profile. On the floor of MAS Gallery in Odzaci in his performance he draw whole figure of Nenad Bogdanovic.
Franca and Emilio Morandi improvized «open field» outside MAS Gallery for their performance «Transmutation». Fusion of movement, sound and objects, articles important for human diet – bread on one side, and object of political use of nations on other side – flags, used for unpredicted ritual moments. Morandi`s critical revue of political situation of the world gives cause for thinking and birth of new ideas in art and life.
Last IMAF`s «walking tree», Angel Pastor from Spain, came again to «walk». Angel made three different performances, one each day, on three locations in Odzaci. Artist believes in theory of art by act. In his performance «Walk» Angel invited the audience and other participants of IMAF for a collective walk along main street of Odzaci. This joint walking event was not ordinary but, for general surprise of the spectators, backwards.
Young artist from Odzaci Nikola Vukobratovic made sound/ambience performance in natural surrounding of town park titled «Nature vs. Religion». Walking on his knees he traveled twenty centuries of Christ and, on a treshold of 21st century, setting himself free of the chains, decisive walks back to the tolerance and harmony with laws of mother nature.
In his performance «Flight or marking of the teritory» Nenad Bogdanovic selected his habitat, teritory of Odzaci, for an object to perform artistic intervention in certain period of time. Using the ability to fly on a motor povered kite, he marked selected object reffering himself on animal instincts. For this marking he used contemporary technological aid of photo and video camera.
«Karfiol» is a title of a very complex performance made by Uto Gusztav, artist from Transilvania in Romania. Uto uses adhesive tape in his performance on which he tapes used phone cards from all over the world. Phone cards sent especcialy for this performance by artists from America, England, Poland, Bulgaria, Romania, Serbia and several other countries gave this art project marks of difference, natural and social appearance of intelinked and intercaused note.
In «Panon Art» Gallery in Odzaci Andre Stitt, in his provocative performance «Oman», uses pigs head hung on a Gallery ceiling, baseball bat, scalpel to cut bleeding numbers on his arm, etc. Andre focuses his work on traumatic themes, and here he pays attention on recent war conflict and issues of human rights here and in surroundings. His work attempts to open always actuall questions of materialistic dependence, globalisation, and communal conflicts. His brutal art actions are setting countless questions regarding experience of alienation, repression, domination and cruelty. Processes of creation and disintegration are also themes of his performances, at any cost, giving himself physically and emotionally to the last bit.
Performance «What nature abhors: a void (the scapegoat ritual)» made by Roddy Hunter, had flown together with Andre Stitt`s at the same Gallery. Hunter selects themes from ancient time, in his performance, that are yet actuall even after such a long period of time. He uses map of the world (set on tha Gallery wall), briks, glasses, milk...etc. Over the map he installed a cross with nails and string, dominant over the whole performance. His work simbolically represented purification of mutual guilts and fears, and broken glasses of milk represented «ritual sacrifice».
Main street of Odzaci was site of Belfast artist Hugh O`Donnell`s performance titled «Gravity». Author was dressed in female underware and his body was painted with bright colours. During his performance Hugh walked up and down the street carrying tow buckets with water and made hissing noises. He stopped in certain moments, putting his head in a bucket and making typicall sounds called «bucket bark» by the author. In his performancesauthor uses situations bound with processes of digestion and feeding. Combination performed here was a premiere on this festival.
«Voyage» and staing in other worlds are an opsession of Milan Grahovac from Zrenjanin. Milan uses the same materials in continuity with his earlier performances. In MAS Gallery he wrapped himself in horse hive and metaforically travels through time to other worlds. In Milan`s world fish, archetype of water, with feathers becomes transformed into archetype of air – bird. On artist`s travel through his performance bones are material evidence of duration through time.
Nicola Frangione and his sound poetics, in MAS Gallery, caused great interest of the audience present that evening. Sound poetry in «Rapporti orali e trasversalita sonore» are good oposite to so-called «serious» art production. Sometimes his work flies out of the bound of art production as we know it, and he practices for decades, but it has no harmfull effect on the project realisation, but quite oposite, we find quality of understandable poetic word in it.
Irish artist Sinead O`Donnell made «Fe/male, in transition; fuck redemption» performance in several separate segments. She was helped by Nikola Vukobratovic who, specially for this project, grew beard for four weeks. Second part of her project was shaving of that beard without audience present. Sinead glued these hairs on her face carrying a chair on her hands walking along streets of Odzaci singing slogan «I can play the piano». Central theme of her performance are relations between genders which are also earlier preocupation of this, as one colud think, contradictory artist. Complexity of her ideas can seem confusing if you don`t aproach her project analitically and without complexes.
Martin Zet from Chech Republic claims that «Revolution comes from periphery», and he started this performance with lecture at MAS Gallery and then, helped by artists and audience, continued along streets of Odzaci. Martin shared flags of different countries, but made only in revolutionary red colour, inviting everybody on demonstrations on the streets. He offers us a residue of revolutionary ideas consumed through his art projects, and similar feelings for a moment. Enables us to be strenghtened with red and intocsicated with changes in hope of better tomorrow.
Performance «Peace force», made by Austrian artist Katherina Zakravsky, leads us into the story about borders of understanding of certain situations among nations. Katherina does not offer ready solutions but, rather, an abilitie to think about problems happening in problematic regions of the world without high passions. The whole show was played in town park where artist placed a video installation with sound and picture between her and the audience. At the end of the performance Katherina aproaches the audience explaining her idea and the concept of this succesfull project.
Radoslav B. Chugaly in his performance «A quarter: time for sale» works on thematic of economical principles in capitalistic society. Target group of his work are artists and their acceptance or refusal of economical and materialistic principles. Radoslav speaks of apsurd situation made by acceptance of these principles on contemporary art scene. Artist, as a pillar of free way of thinking and acting, comes to situation that his time and creative work becomes a commodity.
Festiva begun at MAS Gallery with opening of international exhibition «Future of performance art». On this exhibition participated more than 60 artists from 21 countrie. Since this is specific way of artistic expression, presentable in many different ways, as a result we had an exhibition made by works used in classical exhibition praxis (scetches, drawings, photos, objects, catalogues, magazines and books( up to use of different technological options in realisation of exhibitions (audio, video, digital photo, CDV, DVD, etc). Generally taken, artistic works partially replied to the subject of this year`s exhibition, and it was the future. Artist were asked by the author of the exhibition (Nenad Bogdanovic) to send, along with works, their textual opservations on the same subject. A large number of participants used this option and, through texts, came closer to the thoughts of the future of performance art.
Serbian text:
Nenad Bogdanović:
Po čemu bi jedno malo mesto u ravničarskom predelu Srbije, pokrajina Vojvodina, pod nazivom Odžaci moglo biti poznato u međunarodnim okvirima? Da li je to možda istoimeni naziv umetničkog performansa vojvođanskog umetnika Sombati Balinta koji živi i radi u Budimpešti? Sombati je svojevremeno uzeo učešće na Prvom međunarodnom festivalu multimedijalne umetnosti – IMAF 1998. i osmislio performans pod nazivom 'Odžaci' kojeg je do danas izveo na mnogim međunarodnim umetničkim festivalima Evrope, Azije i Amerike. Sam naziv 'Chimneys' na Engleskom ili nekom drugom jeziku ne daje nimalo mogućnosti ljubiteljima umetnosti širom sveta da i pomisle o pravom povodu autora za davanje takvog naziva svom performansu. Kao što pomenuh u prethodnim redovima ovog teksta u Odžacima je, pre šest godina od strane Studija za multimedijalnu umetnost, pokrenut Međunarodni festival multimedijalne umetnosti koji na ovom našem trusnom umetničkom području i dalje tvrdoglavo opstaje.
Početkom avgusta ove godine Odžaci su bili stecište jednog broja izuzetno vrednih stvaralaca i afirmisanih umetnika iz Evrope i Azije. Njihov umetnički milje je komparabilan sa savremenim međunarodnim umetničkim procesima poslednjih decenija.
Četvorodnevni umetnički program uživo započeo je gost iz Japana umetnik Ryosuke Cohen sa performansom pod nazivom 'Portret projekt'. Cohen-ovo učešće na IMAF-u se poklopilo tih dana sa njegovom umetničkom turnejom po Istočnoj Evropi i Austriji. Posle Beograda njemu je sledeća stanica bila Odžaci i festival IMAF a kasnije je turneju nastavio ka Budimpešti i Beču. Cohen na svakom mestu crta portrete, umetnika koje sreće na svom putu, u punoj veličini ili profilu. Na podu Galerije MAS u Odžacima u performansu 'Portret projekt' je crtao celu figuru Nenada Bogdanovića.
Franca i Emilio Morandi su u eksterijeru Galerije MAS improvizovali 'otvoreno polje' za peformans 'Transmutacija'. Fuzija pokreta, zvuka i objekata, sa jedne strane artikli od velike važnosti za ljudsku ishranu - hleb i oni koji su u svakodnevnoj upotrebi u političkom životu država i naroda - zastave, koristeći ih tako za nepredviđene ritualne trenutke. Morandijev kritički osvrt na političku situaciju u svetu daje povoda za razmišljanje i rađanje novih mogućnosti i ideja kako u umetnosti tako i u životu..
'Hodajuće drvo' sa prošlogodišnjeg IMAF-a, Angel Pastor iz Španije, došao je ponovo da 'hoda'. Angel je izveo tri različita performansa, svakog dana po jedan, na tri lokacije u Odžacima. Umetnik je zagovornik teorije umetnosti samim činom. U performansu 'Hod' Angel je pozvao prisutnu publiku i učesnike festivala na kolektivno hodanje glavnom ulicom Odžaka. Ovaj zajednički hodajući hepening nije bio običan već, na opšte iznenađenje prolaznika, unazad.
Mladi odžački umetnik Nikola Vukobratović u prirodnom ambijentu gradskog parka izveo je zvučno-ambijentalni performans 'Priroda VS religija'. Hodajući na kolenima prelazi dvadeset Hristovih vekova i na pragu 21. veka, oslobađajući se nametnutih lanaca, odlučno se vraća tolerantnom odnosu i saglasju sa zakonima majke prirode.
U performansu 'Let ili obeležavanje teritorije' Nenad Bogdanović je svoj životni prostor, teritoriju Odžaka, odabrao za objekat nad kojim će vršiti umetničku intervenciju u određenom vremenskom periodu. Koristeći mogućnost letenja motornim zmajem obeležio je odabrani objekat pozivajući se na prirodne instikte u životinjskom svetu. Za obeležavanje odabrane teritorije koristio je savremena tehnološka pomagala foto i video kameru.
'Karfiol' je naslov veoma kompleksnog performansa Uto Gusztav-a, umetnika iz Transilvanije u Rumuniji. Uto u performansu koristi selotejp traku po kojoj celom dužinom lepi iskorišćene telefonske karte iz celog sveta. Telefonske karte poslate specijalno za ovaj projekat od strane umetnika iz Amerike, Engleske, Poljske, Bugarske, Rumunije, Srbije i još nekih zemalja dale su ovom umetničkom projektu, obeležavajuće različitosti, notu prirodne i društvene pojave međusobno povezane i uzajamno uzrokovane.
U odžačkoj galeriji Panon-Art Andre Stitt u svom provokativnom performansu, pod nazivom 'Predznak', koristi svinjsku glavu obešenu o plafon galerije, bejzbol palicu, skalpel kojim do krvi iseca određene brojeve na svojoj ruci itd. Andre inače svoj rad fokusira na traumatične teme a ovde je skrenuo pažnju na nedavne ratne sukobe i probleme ljudskih sloboda kod nas i u okruženju. Njegov rad pokušava da otvori uvek aktuelna pitanja materijalističke zavisnosti, opšte globalizacije i sukoba zajedništva. Njegove brutalne umetničke akcije postavljaju bezbroj pitanja koja se tiču iskustva otuđenja, potiskivanja kultura, dominacije i okrutnosti. Procesi stvaranja i raspadanja su takođe teme njegovih performansa, na koje želi da ukaže po bilo kojoj ceni, dajući se fizički i emotivno do kraja.
Performans 'Šta priroda mrzi: praznina (ritual žrtvenog jagnjeta)' Roddy Hanter-a je tekao paralelno sa performansom Andre Stitt-a u istoj galeriji. Hanter u svom radu obrađuje teme iz pradavnih vremena koje su i danas posle toliko proteklih vekova i te kako aktuelne. Od materijala u performansu koristi geografsku mapu sveta (koja je postavljena na zidu galerije), cigle, staklene čaše, mleko ...itd. Preko mape sveta uz pomoć eksera i kanapa instalira krst koji je bio dominantan celim tokom ove predstave. Njegov performans na simboličan način predstavlja ritual pročišćenja zajedničkih krivica i strahova a razbijene čaše s mlekom u ovom slučaju zamena za 'ritualnu žrtvu'.
Glavnom ulicom Odžaka dešavao se i performans Hugh O'Donnell-a, umetnika iz Belfasta, koji nosi naziv 'Gravitacija'. Autor je bio odeven samo u ženskom kombinezonu a telo mu je bilo obojeno drečavim bojama kao u harlekina. Tokom performansa Hugh je šišteći išao ulicom noseći dve kofe napunjene vodom. Zaustavljao se u određenim vremenskim razmacima i nabijao glavu u kofu s vodom i tom prilikom su se čuli tipični zvučni efekti koje autor naziva lavežom kofe. Hugh u svojim umetničkim akcijama koristi situacije koje su vezane uz procese hranjenja i probave. Kombinacija koju je umetnik realizovao u ovom performansu premijerno je izvedena na ovom festivalu.
'Putovanje' i boravci u drugim svetovima su opsesija zrenjaninskog umetnika Milana Grahovca. Milan nastavlja kontinuirano da upotrebljava iste simbole kao i u predhodno izvedenim performansima. U Galeriji MAS se uvija u štavljenu konjsku kožu i metaforično putuje kroz vreme i boravi u drugim svetovima. Kod Milana riba, opštepoznati vodeni simbol, koristeći perje doživljava transformaciju i putujući prelazi u simbol vazduha pticu. Na umetnikovom putovanju kroz performans kosti su tu kao materijalni dokaz trajanja kroz vreme.
Nicola Frangione i njegova zvučna poetika, u Galeriji MAS, pokazali su veliko interesovanje prisutne publike te večeri. Zvučna poezija u performansu 'Govorni izveštaji i zvučna raznovrsnost' su izuzetan pandan takozvanoj ozbiljnoj umetničkoj produkciji. Ponekad umetnikov rad izleti iz ustaljenih okvira umetničke produkcije, kojom se decenijama uspešno bavi, ali to nimalo ne utiče štetno na realizaciju projekta već naprotiv u njemu nalazimo kvalitet razumljive poetske reči.
Irkinja Sinead O'Donnell radi performans “Fe/Male; u tranziciji; jebeš pokajanje“u više odvojenih segmenata. U tome joj je pomogao umetnik Nikola Vukobratović koji je specijalno za ovaj njen projekat puštao četiri nedelje bradu. Drugi deo njenog projekta je brijanje brade koji je upriličen bez prisustva publike takođe. Sinead je dlake zalepila na svoje lice i noseći stolicu na rukama šetala ulicom Odžaka pevajući slogan 'ja znam da sviram klavir'. Centralna tema njenog performansa su odnosi među polovima koji su i ranija preokupacija ove naizgled kontradiktorne umetnice. Složenost njenih ideja može na gledaoca ponekad delovati zbunjujuće zato se njenim projektima prilazi analitički i bez kompleksa.
Martin Zet iz Republike Češke tvrdi da 'Revolucija dolazi sa periferije', a to je ujedno i naslov njegovog umetničkog projekta, koji je započet predavanjem u Galeriji MAS a potom se uz pomoć publike i umetnika razvio po ulicama Odžaka. Martin je podelio prisutnima zastave raznih zemalja ali u revolucionarnoj crvenoj boji i pozvao na demonstraciju istih na ulicama. On nam nudi ostatak snažnih revolucionarnih ideja, konzumirajući ih kroz njegove umetničke projekte, i slična osećanja bar na trenutak. Bodri nas da bi smo bili osnaženi crvenom bojom i opijeni promenama s'nadom u bolje sutra.
Performans 'Mirovne snage', koji je izvela austrijska umetnica Katherina Zakravsky, uvodi nas u priču o granicama shvatanja određenih situacija među narodima. Katherina nam ne nudi rešenja već mogućnost da neostrašćeno razmišljamo o problemima koji se neodložno dešavaju u problematičnim regionima u svetu. Cela predstava se odigrava u gradskom parku gde je umetnica postavila video instalaciju sa slikom i zvukom između nje i publike. Na kraju performansa Katherina pristupa publici i ukratko pojašnjava svoju ideju i veoma uspešan koncept ovog projekta.
Radoslav B. Čugalj u svom performansu 'Četvrt: vreme za prodaju' obrađuje tematiku ekonomskih principa u kapitalističkom društvu. Ciljna grupa njegovog rada su umetnici i njihovo prihvatanje ili neprihvatanje ekonomskih i materijalističkih principa. Radoslav govori o apsurdnoj situaciji koja se nameće prihvatanjem pomenutih principa na savremenoj umetničkoj sceni. Umetnik kao oličenje slobodnog načina razmišljanja i delovanja, dolazi u situaciju da njegovo vreme i kreativan rad, predstavlja robu.
Festival je inače počeo, u Galeriji MAS, otvaranjem međunarodne izložbe 'Budućnost umetnosti performansa'. Na ovoj multimedijalnoj izložbi svojim radovima je bilo zastupljeno preko šezdeset umetnika iz 21 zemlje. Pošto je u pitanju specifičan vid umetničkog izražavanja, koji se može prezentovati na raznovrsne načine, kao rezultat smo imali izložbu od eksponata koji se koriste u klasičnoj izlagačkoj praksi (skice, crteži, fotografije, objekti, katalozi, časopisi i knjige) pa sve do upotrebe raznih tehnoloških mogućnosti u realizaciji izlaganja (audio, video, digitalna fotografija, CDV, DVD, ..itd.). Generalno uzevši radovi umetnika su delimično odgovorili na temu ove izložbe a ona je budućnost. Od strane autora ovog projekta (Nenada Bogdanovića) umetnici su zamoljeni takođe da pored radova pošalju i svoje tekstualne opservacije na istu temu. Jedan veći broj učesnika je iskoristio ovu mogućnost i tekstovima se mnogo bolje približio razmišljanjima o budućnosti umetnosti performansa.
IMAF 6 participants:
Ryosuke Cohen, Japan
Performance: “Portrait project” (MAS Gallery)
Franca and Emilio Morandi, Italy
Performance: “Transmutation” (MAS Gallery)
Angel Pastor, Spain
Performance: “Walk” (Main street of Odzaci)
Nikola Vukobratovic, Serbia
Performance: “Nature vs. Religion” (Town park in Odzaci)
Nenad Bogdanovic, Serbia
Performance: “Flight or marking of the territory” (Territory of Odzaci)
Uto Gusztav, Romania
Performance: “Karfiol” (MAS Gallery)
Andre Stitt, United Kingdom
Performance: “Oman” (Panon Art Gallery)
Roddy Hunter, United Kingdom
Performance: “What nature abhors: a void (the scapegoat ritual)” (Panon Art Gallery)
Hugh O`Donnell, Northern Ireland
Performance: “Gravity” (Main street of Odzaci)
Milan Grahovac, Serbia
Performance: "Voyage" (MAS Gallery)
Nicola Frangione, Italy
Performance: "Rapporti orali e trasversalita sonore" (MAS Gallery)
Sinead O`Donnell, Northern Ireland
Performance: "I can play the piano" (Main street of Odzaci)
Martin Zet, Chech Republic
Performance: "Revolution comes from periphery" (MAS Gallery and streets of Odzaci)
Katherina Zakravsky, Austria
Performance: "Peace force" (Town park in Odzaci)
Radoslav B. Chugaly, Serbia
Performance: "A quarter: time for sale" (MAS Gallery)
IMAF 6 biographies:
RYOSUKE COHEN
Ryosuke Cohen, born 1948, Osaka, Japan is a mail artist. He was responsible for the Brain Cell mail art project, which he began in June of 1985 and retains thousands of members in more than 80 countries, e.g. Hans Braumuller, Theo Breuer, Michael Leigh or Litsa Spathi. In August 2001 he began the Fractal Portrait Project. He has taught art to school children for more than 25 years.
Cohen discovered mail art through the Canadian artist Byron Black. Early work by Cohen is a mixture of traditional Japanese imagery, contemporary icons, and numbers, as well as his signature, the letter "C".
Cohen's family name is conventionally romanized as Kōen, but on the advice of a friend, he adopted the English spelling 'Cohen'. He is not a Kohen.
FRANCA & EMILIO MORANDI
Painter, operator of installations and performer.
Emilio Morandi in the last years is present at many international art manifestations, festivals and meetings.
The his investigation expressive is above all concentrate in the poetic behaviour and installation, where he use the his own language, after many years of engagement and artistic relationship with others operators in the experimental art area.
The performance of Morandi is art work mixture of gesture, writing and sound.
Franca Monzani – Fotografa performer collabora con l'Artestudio dal 1980 dove e'curatrice dell'archivio fotografico e video di Art Action Internazionale.
Presente come performer in festival e meeting in Italia e nel mondo.
ANGEL PASTOR
Born 1957 in Barcelona.
Theatre studies, Degree in Art History.
Involved in Performance Art since 1995. I’ve performed in different meetings in Spain, Argentina, Chile, Uruguay, France, Poland and Belarus. My work has diferent lines, essentially one autobiographical with a work with illness and another contextual. Performances are allways a place for experimentation and Freedom, interested in psychological subjects.
Organizer of several Performance meetings.
1999 to 2002 member of Club8 International Festival of Barcelona eBent.
2003 member of Accio Itinerant.
NIKOLA VUKOBRATOVIC
Born 1978. in Odzaci.
Organized rock&roll festivals "Metal Dominion" and "Night of dark flame". Organized many important concerts of affirmated rock bands from Serbia and abroad.
Led cultural programmes on radio station Odzaci. Worked on television in Novi Sad and Odzaci.
Last few years involved in exploration of new art forms and performances.
NENAD BOGDANOVIC
Born in 1955 in Odzaci (Serbia and Montenegro).
Freelance visual and performance artist, publisher and curator.
Member of art societies of Vojvodina and Serbia.
He is a member of IAPAO (International Asociation of Performance Art Organizers).
From 1984 to 1988 founded and published international art magazines "Total" and "Second Manifesto".
Curator of various international art projects and exhibitions (since 1980, ).
Founder and director of Multimedial Art Studio and MAS Gallery in Odzaci (Serbia and Montenegro).
Organiser and curator of International Multimedial Art Festival - IMAF (since 1998, dedicated to performance art).
Realizes his art performances and art actions on many international festivals worldwide (France, Italy, Slovakia, Germany, Japan, Romania, Poland, Hungary, Belarus, United Kingdom, Northern Ireland, Serbia and Montenegro).
Since 1993 begins working on art project Man Gallery. His present art activity reveals itself in this project.
Realised art tours with Man Gallery project in France 1994, Italy 1995, Germany 1996 and Japan 1997.
2003. realised two art performances on 50 International Biennial of Venice (International Art Project: Brain Academy Apartment).
ÜTŐ GUSZTÁV
Artist, organizer, teacher.
1958 - born in Sepsiszentgyorgy, Romania
1973-77 - pupil at the Fine Arts College, Marosvasarhely, Ro
1978-82 - student at the Academy of Visual Arts “Ion Andreescu”, Kolozsvar, Ro
1991 - painting teacher at the High Arts College, Sepsiszentgyorgy, Ro
1991-99 - organizer of the AnnART International Living Art Festival, St.Ann Lake, Ro
1994-97 - curator of the MEDIUM Contemporary Art Triennial, Sepsiszentgyorgy, Ro
1996 - director of the ETNA Living Art Foundation, Sepsiszentgyorgy, Ro
ANDRE STITT
Born in Belfast, N. Ireland, Stitt is considered one of Europe's foremost performance artists. He has worked as a live artist since 1976 creating hundreds of unique performances at major galleries, festivals, alternative venues and sites specific throughout the world.
His artistic output includes performance art, live work, relational activity, installations, digital print, videography, photograhy, painting and drawing.
After living in London for nearly 20 years he relocated to Cardiff in 1999 to become head of the Time Based Art course at Cardiff School of Art. The course focuses on contemporary interdisciplinary practices - performance art, video, installation, sonic, interactive arts and web casting.
In 2000 he opened trace: Installaction Artspace in Cardiff initiating a robust programme of international time based work. It is estimated that by 2005 Trace will have produced around 40 installation/performance exhibitions at the gallery in Cardiff and presented the work of 36 artists in external projects. In total the work of 80 artists.
In 2001 he curated the biggest performance art event in London for over a decade :
Span2 featured a 4 week programme of 21 international artists from all over the world.
Stitt is identified with a strain of performance relating more to visual art and art action
[identified in Stitt's work as "akshun"]. His work focuses on difficult and traumatic themes; issues of oppression, freedom, coercion, subversion, experiences of alienation, appropriation of cultures, globalisation, and communal conflict. His work physically and emotionally embodies the divisive forces of capitalism and materialist addiction; processes of building and disintegration and the resulting journey toward redemption.
Stitt's uncompromising style has been variously described as "..enigmatic and
corruptive..unmissible" [Time Out, London] "..fierce integrity, immediate, spontaneous,
releasing" [High Performance, USA] and Performance Magazine [UK] has described him as "..perhaps our shaman who is prepared to explore what most of us would not care to be let alone try to express" "..the nearest thing Britain has to a genuine indigenous cult performer."
RODDY HUNTER
Artist, lecturer, researcher, curator.
http://www.span2.net/
HUGH O'DONNELL
EDUCATION
1999-2002: B.A Hons Degree-Fine and Applied Art - University of Ulster, Belfast, N.Ireland.
1998-1999: Certificate in Foundation Studies – University of Ulster Belfast, N.Ireland.
1997-1998 N.C.V.A Level 2- Art, Design and Mixed Media.
Ballyfermot Senior College Dublin.
EXHIBITIONS AND PERFORMANCES
Group Show of International Video art.
Nature of cruising – Ormeau Park Belfast, N.Ireland.
Photographic Intervention, investigating gender.
I still Believe – Performance and Installation, Studio8,
Queen Street Studio’s Belfast, N.Ireland.
Father Figure – Installation – Gay Pride exhibition, Catalyst arts Belfast.
Paper tearing performance – As part of ‘Wicca’ night, Grace-n-Groove Bistro and coffee shop Belfast N.Ireland.
Photo shots – Installation, café Lamont education centre, Ballymena
N.Ireland .
Anus bible – Drawing installation in the ‘process room’, Queen Street Studio’s Belfast, N.Ireland
MILAN GRAHOVAC
Born in Zrenjanin in 1958. Graduated classical painting on Art Academy in Novi Sad in 1991. Specialized in graphics - litography on grafical section of Academy of fine arts “Minerva” in Groningen, Holland, 1991. - 1992. in class of prof. Vim Jonkmana. Mastered in 1997. on section for drawing on Art Academy in Novi Sad in class of prof. Milan Blanusha.
Member of Serbian art society since 2003.
Since 1989. has been recognized as free-lance artist.
Since 1985. exhibited on more than 60 various exhibitions.
NICOLA FRANGIONE
Nicola Frangione was born in Forenza (PZ), Italy, in 1953. He has been living and working in Monza since 1972, as an interdisciplinary artist experimenting with several techniques: visual arts, publishing graphic arts, music and sound poetry, video and theatre production, visual poetry and mail art.
As well as being concerned with visual poetry, he is among the main mail artists in Italy. For about 20 years he has been playing a role in developing and spreading this art in Italy, carrying out projects and organizing itinerant exhibitions and workshops.
He has published and produced several art books.
From 1987 to 1995 he directed the publication of the cultural dynamics magazine “Harta” and managed the multimedia art centre, “Osaon”, Milan, in tandem with Luigi Bianco. Since 1996 he has been co-ordinating “edizioni Harta Performing”, concerning Italian performing arts. Research on music and sound poetry has resulted in several records and CDs. Art Director of “ART ACTION” International Festival Performance Art in Monza, Italy.
SINEAD O'DONNELL
Born in Dublin, Ireland. Sinead is currently a member of Queens Street Studios, Belfast, Northern Irelands largest artist collective. Works to date have involved sculptural props theater used in performances, thought of as tempory extentions or armatures for the duration of the process. Viewing the artist as a functional public sculpture.
MARTIN ZET
When he was 42 his birth date became very famous.
He has 1 mother, 2 brothers, 1 sister, 1 wife, 4 children, 1 dog, few friends;
ancestral sculpture in his heart.
Last 11 years he lives and works in Libušín, CZ.
Sometimes he would like to be a better being than he is, sometimes he doesn’t care.
KATHERINA ZAKRAVSKY
Studies of Philosophy in Vienna, 1999 ph.d. with a thesis on Immanuel Kant’s Theory of the University; 1997 – 2001 teaching jobs in film theory and Walter Benjamin’s concept of history in Linz and Vienna; several publications on political and cultural theory.
2001/2 researcher in theory at the Jan van Eyck Academy in Maastricht (NL) with a series of video, conversation and performance projects on biography.
Since 1998 dance and video related performance work solo and in collaboration; 1999 - 2000 collaboration with Lux.Flux (A) and Saira Blanche Theatre (Rus), since 2003 text, concept and dramaturgy for the choreographer Chris Haring (A).
Since 1999 a series of solo works on Vazlav Nijinsky’s “Afternoon of a Faun” (Vienna, Labin, Berlin, St. Petersburg).
1999 Video/Live-Performance “Director’s Cut” (with Oleg Soulimenko; Jack Hauser)
(the video was part of IMAF 2003).
RADOSLAV B. CHUGALY
Conceptual artist, poet, performer, works with artistic objects and instalations, participated on many colective art exhibitions and festivals in Europe, Asia and America. Works in Odzaci.
Selected live participations:
2000. - IMAF 2000, Gallery "MAS", Odzaci
2001. - Gallery "Multimedia Arts", Novi Sad
- Artfort Festival, Komarom, Hungary
- IMAF 2001, Gallery "MAS", Odzaci
2002. - IMAF 2002, Gallery "MAS", Odzaci
2003. - PerformaNS, Gallery "Golden Eye" Novi Sad
- IMAF 2003, Gallery "MAS", Odzaci
2004. - IMAF 2004, Gallery "MAS", Odzaci
Participants of THE FUTURE OF PERFORMANCE ART project - exhibition (curator Nenad Bogdanovic): / Učesnici projekta – izložbe BUDUĆNOST UMETNOSTI PERFORMANSA (autor projekta Nenad Bogdanović):
Milan Kohout (USA), Litsa Spathi and Ruud Janssen (Germany), Godfried-Willem Raes and Moniek Darge (Belgium), Nicola Frangione (Italy), Angelo Pretolani (Italy),Caterina Davinio (Italy), Rod Summers (Holland), Richard Curtis (USA), Valeria Troja (Italy), Gruppo Sinestetico (M. Albertin, M. Perseghin, A. Sassu, T. Shimizu) (Italy), Vincenzo Ceccato and Raffaella Losapio (Italy), Costis Triandaphyllou (Greece), Roberto Scala (Italy), Denis Tomasini (Italy), Die Audio Gruppe / Benoit Maubrey (Germany), Artur Tajber (Poland), Clemente Padin (Uruguay), Renato Meneghetti (Italy), Giovanni and Renata Strada (Italy), Emilio and Franca Morandi (Italy), State of Being (USA), BBB Johannes Deimling (Germany), Martin Ocko (Slovenia), Andre Stitt (United Kingdom), Racquel De Loyola (Philippines), Mideo M. Cruz (Philippines), Cezar Lazarescu (Romania), Luc Fierens (Belgium), Laura Cristin (Italy), Beatriz Albuquerque (Portugal), Alberto Sordi (Italy), Elisabeth Steger (Austria), Petra Dubach and Mario van Horrik (Nederland), Hyun-Joo Min (Finland), Dusan Teropsic (Slovenia), Pablo Assumpcao (Brasil), Nenad Bogdanovic (Serbia), Lexa Walsh (Czech Republic), Paddy Matthews (Nederland), Joan Casellas (Spain), Judith Röthlisberger (Switzerland), Flavia Fernandes (Brasil), Tomas Ruller (Czech Republic), Eugenia Serafini (Italy), Afshin Matlabi (Canada), Martin Zet (Czech Republic), Jörg Köppl & Peter Zacek (Switzerland), Aleksandar Jovanovic (Serbia), NISKA (Fabricio De Giacomi, Giuseppe De Giacomi, Umberto De Martino) (Switzerland), Xavier Sabater (Spain)
IMAF 6 support:
