20th International Multimedial Art Festival - IMAF 2018
Tekst najave 20. Međunarodnog festivala multimedijalne umetnosti – IMAF 2018
NENAD BOGDANOVIĆ:
Jedan od glavnih projekata Studija za multimedijalnu umetnost svakako je Međunarodni festival multimedijalne umetnosti - IMAF. IMAF je godišnji događaj posvećen umetnosti performansa. IMAF se ove godine održava jubilarno po dvadeseti put i velika je retkost, ovako dugog opstajanja, na nezavisnoj umetničkoj sceni u dugogodišnjim teškim finansijskim uslovima. Međunarodni festival multimedijalne umetnosti – IMAF je izrastao u manifestaciju od izuzetnog značaja za savremenu umetničku scenu, kako u našoj zemlji tako i u svetu.
U godišnjim programima festivala IMAF, koji su realizovani u poslednjih nekoliko godina, umetnici, učesnici su radili na projektima preispitivanja etičkih principa i problema koji se pojavljuju kao nusproizvod opšte globalizacije. Problemi ubrzanog tehnološkog napretka u odnosu na civilizacijske i estetske vrednosti. Programima i umetničkim radom, u okviru projekata IMAF festivala, upućuje posebno na odnos tela i tehnologija, kroz minimalističke fizičke akcije.
Sedmoro umetnika iz Srbije i devet umetnika iz Nemačke, Holandije, Finske, Poljske, Mađarske i Austrije su učesnici dvadesetog jubilarnog festivala multimedijalne umetnosti. U okviru festivala, pozvani su afirmisani i jedan broj mladih umetnika iz zemlje i inostranstva.
Umetnici će nastupati na više lokacija u Odžacima, u prostoru Hotela Sloboda i na ulicama grada. U Novom Sadu festival će se dešavati u galeriji SULUV i ulicama grada, u saradnji sa Savezom Udruženja likovnih umetnika Vojvodine.
Kao i ranijih godina festival IMAF pruža šansu mladim umetnicima za predstavljanje u oficijelnom programu. Ove godine po prvi put će javno izvesti svoje umetničke performanse dvoje studenata Scenskog dizajna, Fakulteta tehničkih nauka, Univerziteta u Novom Sadu.
Ovogodišnji izbor umetnika predstavlja višegeneracijski međudisciplinarni pristup radu uživo, radeći dugotrajne, zavisne od mesta, akcione, telesne, situacione i eksperimentalne oblike umetnosti.
Text on English:
Text announcements of the 20th International Multimedial Art Festival – IMAF 2018
NENAD BOGDANOVIC:
One of the main projects done by Multimedia Art Studio certainly is the International Multimedial Art Festival – IMAF. This Festival is an annual event dedicated to the art of performance. This year’s IMAF is a jubilee, 20 years from the start, and this is a great rarity to survive for this long on independent art scene with long term financial difficulties. International Multimedial Art Festival – IMAF, has grown into a manifestation of major importance for contemporary art scene, firstly in our country but worldwide as well.
In the annual programs of IMAF, realized during few last years, artist, participants have worked on projects of questioning the ethical principles and problems arising as a byproduct of globalization. Problems created by accelerated technological advancement in regard of values created by civilization and esthetics. Programs and artistic works, within IMAF, are pointing out especially on the relation between body and technology, through minimalistic physical actions.
Seven artists from Serbia and nine artists from Germany, Holland, Finland, Poland, Hungary and Austria are the participants of the 20th anniversary Festival of multimedia art. Within the Festival we have invited well known artist and a certain number of young artist from Serbia and abroad.
Artist will perform on several locations in Odzaci, at the Hotel Sloboda place and on the town streets. In Novi Sad the Festival will take place at SULUV Gallery and on the city streets, with cooperation of the Association of Fine Artists of Vojvodina.
As it was our practice in the past, IMAF gives a chance to young artists to present themselves during the official program. This time, two students of Scene design Faculty of Technical Sciences from University of Novi Sad, will make their public performances for the first time.
This year’s selection of artist is the result of several generations of interdisciplinary approach to live works, by making durational, place dependant, action, body, situational and experimental art forms.
SONJA JANKOV:
Performans i/ili savremena umetnost
Internacionalni multimedijalni umetnički festival (IMAF)
7 - 9. 9. 2018.
Performans je umetnost sadašnjosti koja se može odviti bilo gde – u umetničkim ili ne-umetničkim prostorima, javnim ili privatnim, na ne-mestima – ali odabir lokacije izvođenja je uvek od velike važnosti za umetnike. Kao u disciplinama body arta i žive skulpture, umetnici performansa koriste svoje telo kao ready-made, ispitujući granice
svoje izdržljivosti, samokontrole, bola, rizika ili transformacije iz sopstva i subjektivnosti u nešto drugo. Prisustvo umetnika i njegovo delovanje „uživo“ pred publikom (ili interakcija sa njom) je od ključne važnosti za performans.
U performansu, gledalac nije nikada izolovan kao u domenu predmetne umetnosti. Osim specifičnog odnosa prema prostoru i publici, ono što ga odvaja od drugih performativnih umetnosti je trajanje, to jest njegova efemernost. Prema Amandi Kogan, performans je „praksa bazirana na vremenu“ (2011: 10). Čak i kada umetnici
izvode isti performans nanovo i nanovo, on ne može biti isti svaki put jer se prostor i odnos sa publikom uvek menjaju. Zbog toga umetnici često moraju da improvizuju i uvode varijacije u svoje delanje.
Postoji nekoliko definicija performansa. Prema Džonu Mekenziju, performans je društvena nužnost kojom se manifestuje odnos znanja i modi, i može biti institucionalan, tehnološki i kulturalan (2001: 19). Miško Šuvaković se fokusira na umetnički performans i vidi ga kao zaseban diskurs nastao povezivanjem body arta, hepeninga i određenih pozorišnih tehnika. Tumači ga kao oblik umetničkog delovanja koji je u istoriju umetnosti uveden 1970-ih godina, ali i primenjuje pojam performativnosti na sve vrste umetničkih događaja koji sadrže pokret, proces i akciju, kao što su eksperimenti, hepeninzi neodade i fluksusa, događaji, akcije konceptualnih umetnika, procesi dematerijalizacije umetnosti, minimalne i postmoderne post-teatarske forme (2005: 451). Rezultat performansa nije nikada materijalni produkt, nego izazivanje kod gledalaca/učesnika osećaj katarze i reakcije kroz različite osećaje (iznenađenje, gađenje, strah, teskoba, tuga...).
Aleksandra Jovićević ističe da je „početkom 21. veka definisati umetnost performansa možda još teže zbog njegove individualističke, fragmentarne, heterogene prirode: umetnost performansa se sastoji od različitih, ponekad oprečnih i neuklopljivih pokreta, projekata, manifesta, individualnih umetničkih činova, što takođe reflektuje
amorfnu složenost savremenog postindustrijskog, liminoidnog, neoliberalno-kapitalističkog društva“ (2007: 85). On je time sličan širem polju savremene umetnosti koju određuju pojmovi kao što su heterogenost, višeznačnost, interdisciplinarnost, procesualnost, diskontinuitet, kolaž, efemernost, anti-materijalnost, de-estetizacija, citat, subverzija, pluralizam, kritički ton, (auto)refleksivnost, privremenost, aktuelnost i svakako, multimedijalnost. Koja
je onda pozicija savremenog performansa, forme koja je inače interdisciplinarna i koja često inkorporira u sebe materijale i medije drugih disciplina? Da li performans danas treba da vidimo kao jedan fluidni, hibridni vid postmedijske umetnosti ili kao formu koja je sačuvala svoje osnovne karakteristike prelazeći iz XX u XXI vek?
Odgovore na ova pitanja dali su učesnici 20. IMAF-a koji su u periodu od tri dana izveli 20 performansa. Program prvog dana se tradicionalno održao u Odžacima, a potom se nastavio u Novom Sadu, u Galeriji SULUV.
Kako se performans često bavi kulturološkim problemima kao što su identitet (pol, rod, klasa, starosno doba, rasa, etnicitet, nacionalnost), politika, ideologija, ekonomija, istorija, tradicija, religija, jezik, i na ovogodišnjem IMAFu je nekoliko umetnika pristupilo ovim temama.
Radoslav Čugalj (Srbija) je seo, izvadio komad hleba, namazao paštetu na njega, pojeo ga. To je obrok siromašnih, mnogih u Srbiji i u drugim zemljama, to je iznošenje privatnog života umetnika javno na scenu. Svoj performans simbolično naslovljava „Nepodnošljivi luksuz umetničkog života“.
Dariusz Fodczuk (Poljska) se prvo predstavio rečju „zdravo“, a potom je direktno pristupio publici, blokirajući im šakom usta i vilicu. Pitajući ih potom kako se osećaju, dotakao je problematiku ugnjetavanja i nemogućnosti izražavanja. Ovaj postupak je jedan od četiri segmenta njegovog performansa i ostali se fokusiraju na forme
pozdravljanja, to jest na prvu interakciju među ljudima koji se ne poznaju. Jedna vrsta pozdrava je bila šamaranje umesto rukovanja, koje je Fodczuk izveo u kolaboraciji sa drugim performerima. Uz ovaj nadrealni čin i početno „zdravo“, opresija u vidu blokiranih usta izgleda kao „dobar dan“, to jest kao svakodnevna pojava kojoj niko više ne pridaje pažnju i preuzima se kao normalno stanje.
Ola Koziol (Poljska) se novosadskoj publici prvo predstavila činom češljanja pred ogledalom. Kako je performans nepredvidiva forma, publika nije mogla da pretpostavi nastavak procesa. Posle urednog češljanja, da bi reprezentativno izgledala za druge, Ola/žena počinje proces iskazivanja drastične krivice i samokažnjavanja. Koristedi jabuku kao sredstvo citiranja prvog greha, Ola otvara pitanje krivice koje se nameće ženama i nasilja koje se svakodnevno vrši nad njima u blažim i drastičnim formama. Publici u Odžacima se predstavila drugim radom koji
se tiče snova o sreći i iluzija kojima skrivamo stavrnost od sebe. U komično-tragičnoj kabaretskoj formi portretiše ženu koja je oduvek želela da živi u Parizu i da ima cipele sa visokom potpeticom, ali ne može da ih priušti pa ih pravi od krompira i samolepive trake. Njen performans „Pokušaj da hodaš u mojim cipelama“ je alegorija o stahu
od samoće, o prevazilaženju bede i tkanju osećanja sreće.
Marta Bosowska (Poljska) je inkorporirala u svoje performanse elemente nacionalnih identiteta kroz muziku. U Odžacima je u performansu „Nade i laži“ pevala adaptirane stihove „Ko to kaže, ko to laže, nada nije mala“, povremeno gestualno pokazujući na toranj crkve. Dok je uzvikivala ove stihove, u isto vreme je jela jabuke i skakala
na trampolini na dečjem igralištu, demonstrirajući time proces visoke samokontrole potreban da se ne bi zagrcnula. U Novom Sadu je isto izašla u javni prostor svojim performansom, pevajući sa učesnicima poljsku himnu i himnu nekadašnje savezne republike Jugoslavije (kasnije i državne zajednice Srbije i Crne Gore), obe melodijski
gotovo identične. Dok je poljska himna još aktuelna, jugoslovenska himna Hej, Sloveni nije, mada je ljudi na ovim prostorima pamte. Multikulturalni karakter ovog perfomansa je istakla naslovom „Marsz-March-Marsh“, a militantnim šlemom koji je nosila kao trudnički stomak. U tom kontekstu, helijumski balon u obliku konjića, koji je držala, izgleda kao parodijska referenca na spomenike konjanika koje viđamo na centralnim trgovima prestonica. Krajem njenog performansa, kada je domarširala sa učesnicima nazad u galeriju, Dariusz Fodczuk je počeo da ispaljuje boje na staklo galerije, prema posmatračima koji su napolju, povezujući kasnije tačke u reč „love“.
Dok Saša Denić-Špena (Srbija) personifikuje kapitalizam u posesivno čudovište koje se hrani novcem i nipodištava društvene vrednosti u radu „Ljudske fleke“, MP_art (Maja Budžarov i Predrag Šiđanin, Srbija) stvaraju vilendorfsku Veneru savremenog doba. Ta Venera ima istu formu kao i njena drevna pretkinja, ali nije napravljena samo od gline, nego i od gumenih medvedića – sintetičkog materijala koji je ugrađen u figuru Venere kao silikoni. Dok je Budžarov oblikovala Veneru, Šiđanin joj je spaljivanjem davao krajnji oblik, uzimajući ulogu sličnu plastičnom hirurgu. Tokom spaljivanja, osetilo se koliko su gumeni medvedići veštački, trošan i toksičan materijal u odnosu na glinu, ali su se uklopili u željeni oblik. Ovaj performans svojim naslovom „Slatki život“ poigrava se na nekoliko značenjskih nivoa, unoseći bukvalnu slatkoću slatkiša, alegoričnu slatkoću života koju donosi lepota i sarkastični komentar tokom ogoljavanja postupaka kojih se ljudi poduhvataju da bi slatko živeli.
Yeanet Poett (Mađarska) koristi odlomak iz Limenog doboša Gintera Grasa, scenu iz podruma luka. Uključuje publiku u performans i daje im da seckaju crni luk, koji i sam secka, dok ne počnu da im cure suze. Svi sede u rasporedu koji čitav prizor čini sličan kamernoj verziji Poslednje večere Leonarda da Vinčija. U ovom slučaju je
večera luk, to jest suze, emotivno pražnjenje, koje je kod Grasa bilo povezano sa nemogudnošću osećanja krivice kod Arijevaca, te im je trebao luk da bi zaplakali nad zločinima koje su počinili. Poett se pojavljuje u ulozi lekara/terapeuta koji isprobava lek na sebi i publici i potom određuje „9 suza“ kao dozu za uspešno izlečenje. Pitoreskni i alegorični performansi „Venustraphobia“ i „Kopophobia“ Maximiliana Latve i Katri Kainulainen (Finska) ispituju odnos slobode, fobije, parališuće žudnje, želje, nemoći, zamiranja. Koristeći malo pokreta, ritam i velik broj rekvizita (kostim kentaura, prepariranu pticu, dildo, lutku na naduvavanje, itd.) Latve i Kainulainen stvaraju simbolične radove u kojima svaki posmatrač može da se nađe.
Nastupanje Danice Bićanić (Srbija) i Bernharda Hansbauera (Austrija) bilo je bazirano na zvuku koji je Bićanić proizvodila bruseći staklo i bušeći srebrnu meku skulpturu koju je prethodno napravila. Njihov performans „Briga ide preko reke“ upućuje na basnu „Briga“ Gajusa Higina (Gaius Hyginus) u kojoj Briga, personifikovana u figuru,
ugleda svoj odraz u reci i po njemu stvori novo biće - čoveka. Prema Higinovoj basni, Briga je tvorac čoveka i on uvek ostaje u njenom posedu. Nadovezujući se na motiv odraza, Bićanić i Hansbauer uvode motive refleksije i odjeka u svoj audio-vizuelni eksperiment, koristeći ih kao osnovne materijale od kojih stvaraju. Pozicioniran između prostorne i zvučne instalacije (noise art), njihov performans je uključivao medijske elemente – video dokumentaciju kako Bićanić vuče svoj objekat (brigu) preko mosta i snimak atomske bombe.
Performans Nenada Bogdanovića je realizovan na kontrastima meko-tvrdo, tiho-glasno, sporo-naprasno. Početno likovno upečatljivo padanje plavog perja (meko, lagano, prijatno na dodir), nastavilo se glasnim odskakanjem klikera o granitni pod i završilo se praskom kada je Bogdanović punom šakom klikera razbio ogledalo u
paramparčad (oštro, glasno, neprijatno na dodir). Između ovih apstraktnih i simboličnih gestova je bilo maskiranje u svinjoliko-čovekoliku pojavu i crtanje mete na staklu umesto iscrtavanja obrisa te maske/svog lica. Time je čitav
performans bio „Igra identitetom“, kako je naslovljen. Johannes Christopher Gérard (Nemačka / Holandija) je svoj poetični performans „Povezan“ bazirao na tri ključna momenta – prostor, ljude i interakciju sa njima, stvarajući nov prostor povezivanjem posetilaca belim kanapom i kretanjem između njih i na relaciji unutrašnji-spoljašnji prostor. Aleksandar Jovanović (Srbija) koristi cipele kao simbol ljudi da prikaže odnose među njima na način koji je vizuelno i koreografski vrlo pročišćen i sadrži efekat iznenađenja i humora. Gestom vezivanja pertli muških, ženskih i dečjih cipela u zajednički čvor, umetnik stvara simbolični „čvor ljubavi“ po kojem performans nosi naslov.
Učešće na Festivalu su uzele i Milica Cimeša i Anja Tasovac, studentkinje scenskog dizajna sa Fakulteta tehničkih nauka u Novom Sadu, nastupajući sa performansima „Obuci me opet“ i „Naricanje“. Dok Cimeša prikazuje igru uloga koje dovojčica daje svojim lutkama i kojima daje elemente svoje ličnosti, Tasovac izvodi čin naricanja. Estetski vrlo različita, ova dva performansa ističu tradicionalne uloge i prikaze žena. Program Festivala je uključio i radionicu „Kako postaviti izložbu prema Feng Šuiju“ koju je vodila Laura Ociepa (Poljska) i koja je završena izložbom radova
nastalih na radionici. Time je zaokružen 20. IMAF koji je realizovan uz minimalan budžet. Umetnici iz svih zemalja su došli o svom trošku, a bili su smešteni u hotelu, potom u hostelskom domu. Honorare za svoje nastupe nisu dobili, kao ni organizatori. Publika, sa druge strane, dobila je bogato iskustvo koje je za Odžake, kao manju sredinu, i Novi Sad kao veću, od posebnog značaja jer u kontinuitetu stanovnike navikava da su performans i multimedijalna umetnost konstanta u kulturi ved 20 godina.
Citirani radovi:
Coogan, Amanda, “What is Performance Art?,” in: Lisa Moran (ed.), What is…, Dublin: Irish Museum of Modern Art, 2011, 9 - 21.
Jovićević, Aleksandra, „Performans u umetnosti: paradigmatske koncepcije i prakse izvođenja kroz makro koncepcije (umetnosti) 20. veka“, u: Aleksandra Jovićević i Ana Vujanović, Uvod u studije performansa, Beograd: Fabrika knjiga, 2007, 69 – 86.
McKenzie, Jon, Perform Or Else: From Discipline To Performance, London-New York: Routledge, 2001.
Šuvaković, Miško, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005.
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SONJA JANKOV:
Performance and/or contemporary art
International Multimedia Art Festival (IMAF)
7 - 9. 9. 2018.
Performance is the art of presence that can be created anywhere – in artistic or non-artistic venues, public or private, at non-places – but the selection of performance location is always of the greatest importance for the artists. Much like in the disciplines of body art and living sculptures, performance artists use their body as ready-made, testing the boundaries of their endurance, self control, pain, risk and transformation from self and subjective into something else. The presence of the artist and his „live“ action in front of the audience (or interacting with it) are of the paramount importance for the performance. In the performance, the viewer is never isolated like in the domain of objective art. Besides the specific relation towards the space and the audience, what separates it from other performative arts is the duration, e.g. it's ephemerality. According to Amanda Coogan, performance is „praxis based on time“ (2011: 10). Even when artists are performing the same performance over and over again, it can not be the same each time because the space and the relation to the audience are always changing. That is why the artists often have to improvise and introduce variations in their actions.
There are several definitions of performance. Jon McKenzie says it is a social necessity that manifest relation between knowledge and power and it can be institutional, technological and cultural (2001: 19). Miško Šuvaković focuses on artistic performance and sees it as a separate discourse created by linking body art, happening and certain theatrical techniques. He interprets it as a form of artistic actions that was introduced into art history during 1970s, but he also applies the term of performativity on all forms of artistic events that include movement, process and action, like experiments, neodada and Fluxus happenings, events, conceptual artist's actions, processes of art dematerialization, minimal and postmodern post-theatrical form (2005: 451). The result of a performance is never a material product, it is the causing of the catharsis and reaction in the viewers through different emotions (surprise, revolt, fear, anxiety, sorrow...)
Aleksandra Jovićević points out that „at the beginning of the 21st century might be even harder to define the art of performance due to its individual, fragmented, heterogeneous nature: art of performance is composed of different, sometimes opposing and incompatible moves, projects, manifests, individual art acts, which also reflects shapeless complexity of contemporary postindustrial, liminoid, neoliberal-capitalistic society“ (2007: 85). This makes it more similar to the wider field of contemporary art defined by terms such as heterogeneity, multiperspectivity, procesuality, discontinuity, collage, ephemerity, anti-material, de-aesthetisation, quote, subversion, pluralism, critical tone, (auto)reflexivity, temporarity, actuality and, certainly, multimedia. What is then the position of modern performance, form that is interdisciplinary and often includes materials and media of other disciplines? Should we see the performance today as one fluid, hybrid form of postmodern art or as a form that kept its basic characteristics transiting from 20th to 21st century? The answers to these questions were given by the participants of 20th IMAF who created 20 performances during three days. The program of the first day was traditionally held held in Odzaci, and then continued in Novi Sad, at SULUV Gallery.
As performance often deals with cultural problems like identity (sex, gender, class, age, race, ethnicity, nationality), politics, ideology, economy, history, tradition, religion, language, so did several artists on this year’s IMAF tackle these subjects.
Radoslav Chugaly (Serbia) sat on a chair, took out a slice of bread, smeared some pâté on it and ate it. That is the food of the poor, many in Serbia and other countries, that is outing of the private life of an artist directly on stage. His performance is symbolically titled “Unbearable luxury of an artist’s life”. Dariusz Fodczuk (Poland) first introduced himself with the word „Hello“, and then directly approached the audience, covering their mouth and jaw with his hand. Asking them how they feel, he touched the problem of oppression and inability of expression. This act is one of the four segments of his performance and the rest are focused on the forms of greeting, which is the first interaction among people who don't know each other. One kind of the greeting was slapping instead of handshaking, that Fodczuk did in collaboration with other performers. With this surreal act and initial „hello“, oppression with mouth blocked seems very easy, more like a common thing, that nobody pays attention to anymore and it is given as normal.
Ola Koziol (Poland) firstly presented herself to the audience in Novi Sad by the act of combing her hair in front of a mirror. As the performance is an unpredictable form, the audience was unable to guess the rest of the process. After combing herself neatly, to be presentable to others, Ola/woman begins to exhibit drastic guilt and self-punishment. Using an apple as a symbol of the original sin, Ola opens up the question of guilt imposed on women and the violence done to them every day in milder and drastic forms. To the audience in Odzaci she has shown another work showing dreams of happiness and illusion we use to hide the reality from ourselves. In a comically-tragical cabaret form she portraits a woman who always wanted to live in Paris and have high heel shoes, but she cannot afford them so she makes her own out of potatoes and adhesive tape. Her performance „Try walking in my shoes“ is an allegory on fear of loneliness, on overcoming misery and weaving the feeling of happiness.
Marta Bosowska (Poljska) incorporated elements of national identities through music. In Odzaci, in her performance „Hop(e) and lies“, she sang adapted verses „Who says, who is lying, hope isn't small“, occasionally gesticulating towards the church tower. While she shouted these verses, at the same time she ate apples and jumped on the trampoline on the playground for children, demonstrating the process of high self-control needed to avoid choking. In Novi Sad she also stepped out to public space with her performance, singing Polish and former Yugoslavia anthems (Serbia and Montenegro later), both almost identical in melodies. While Polish anthem is still active, Yugoslavian „Hej, Sloveni“ is not, but people in this region remember it. Multicultural character of this performance she emphasized with the title „Marsz-March-Marsh“, and the militant one with a helmet she wore as a pregnant woman's stomach. In this context, horse-shaped helium balloon she held looked like a parody note of the horsemen monuments we see on the central squares in capital cities. At the end of her performance, when she marched with all the participants back to the gallery, Dariusz Fodczuk started shooting paintballs on the window of the gallery, towards the onlookers outside, connecting the dots into word „love“.
While Sasha Denic – Shpena (Serbia) personifies capitalism into a possessive monster feeding on money and nullifies social values in his work „Human stains“, MP_art (Maja Budzarov and Predrag Shidjanin (Serbia) create modern age Venus of Willendorf . That Venus has the same form as her ancient predecessor, but is not made only of clay, she also includes gummy bears – synthetic material built into the Venus as silicone implants. While Budzarov shaped the Venus, Shidjanin gave the final shape by burning it, assuming the role similar to a plastic surgeon. While burning, we could sense how artificial, expendable and toxic material gummy bears are in comparison to clay, but they fitted into the desired form. This performance plays on several levels of meaning with its title „Sweet life“, bringing literal sweetness of the candy, allegorical sweetness of life brought by beauty and sarcastic comment during exposing of the procedures humans takes upon themselves to live sweetly.
Yeanet Poett (Hungary) uses an excerpt form the „Tin drum“ by Gunther Grass, scenes from the onion cellar. He includes the audience into the performance, giving them onions to cut, as he does it himself, until they all start to cry. Everybody is seated in the pose resembling camera version of „Final supper“ by Leonardo da Vinci. In this case, supper is the onion, tears to be exact, emotional release, that Grass connected to the inability of feeling guilt in Arians, where they needed onions to cry over the crimes they have committed. Poett appears in the role of a doctor/therapist who tries the remedy on himself and the audience, defining „9 tears“ as a dose necessary for successful healing. Picturesque and allegorical performances „Venustraphobia“ and „Kopophobia“ by Maximilian Latva and Katri Kainulainen (Finland) question the relations between freedom, phobia, paralysing desire, wish, inability, dying. Using less movement, rhythm and large number of requisites (centaur costume, stuffed bird, a dildo, inflatable puppet, etc) Latve and Kainulainen create symbolic works in which any bystander can find himself.
Performance of Danica Bicanic (Serbia) and Bernhard Hansbauer (Austria) was based upon the sound Bicanic made grinding glass and drilling soft, silver sculpture she previously made. Their „Worry Crosses The River“ performance point to the fable „Worry“ by Gaius Hyginus, where Worry, personified in a figure, sees her reflection in the river and uses it to create a new being – human. According to this fable, Worry is the creator of Man and he remains in her possession forever. Continuing with the motive of reflection, Bicanic and Hansbauer include the motives of reflexion and echo into their audio-visual experiment, using them as fundamental materials for creation. Positioned between space and audio installation (noise art), their performance included musical elements – video documentation of Bicanic draging her object (worry) over the bridge and a video of a nuclear bomb.
Performance of Nenad Bogdanovic was realised on contrasts like soft-hard, silent-loud, slow-sudden. Initial artistic falling of blue feathers (soft, slow, pleasant to touch) continued with loud bouncing of marbles over the granite wall and ended with a bang when Bogdanovic threw a full hand of marbles to break a mirror to pieces (sharp, loud, unpleasant). Between these abstract and symbolic gestures was masking into a pig-humanoid person and drawing the target on the glass instead of drawing the contours of the mask/his face. This made the whole performance „Identity Game“, as it was titled. Johannes Christopher Gérard (Germany/Holland) based his poetical performance „Connected“ on three key moments – space, people and interaction with them, creating new space by connecting visitors with white rope and moving among them, and in relation inner-outer space. Aleksandar Jovanovic (Serbia) uses shoes as a symbol of people to display interactions between them in a way that is visually and choreographically very purified and containing the effect of surprise and humor. A gesture of tying male, female and children's laces to a joint knot, the artist creates symbolic „The knot of love“ that is also the title of the performance.
Milica Cimesha and Anja Tasovac, students of scene design at Faculty of technical sciences in Novi Sad, also took part on this IMAF with performances “Dress me again” and “Lamentation”. As Cimesha shows a role play that a girl gives to her dolls and adds parts of her personality to them, Tasovac is performing lamentation. Aesthetically very different, these two performances point out traditional female roles and appearances. A program of the Festival also included a workshop “How to set up an exhibition according to Feng Shui” led by Laura Ociepa (Poland) which ended with the exhibition of the works created during the workshop. That rounded up 20th IMAF realised with minimal budget. Artists from all over the world came on their own expenses, placed in a hotel and then in a hostel dormitory. They didn't receive any fees for their performances, and neither did the organizers. The audience, on the other hand, received a rich experience that is for Odzaci as a smaller community, and Novi Sad as a larger one, of special meaning since it continually reminds the inhabitants that performance and multimedia art are a constant of the culture for the past 20 years.
Quoted works:
Coogan, Amanda, “What is Performance Art?,” in: Lisa Moran (ed.), What is…, Dublin: Irish Museum of Modern Art, 2011, 9 - 21.
Jovićević, Aleksandra, „Performans u umetnosti: paradigmatske koncepcije i prakse izvođenja kroz makro koncepcije (umetnosti) 20. veka“, u: Aleksandra Jovićević i Ana Vujanović, Uvod u studije performansa, Beograd: Fabrika knjiga, 2007, 69 – 86.
McKenzie, Jon, Perform Or Else: From Discipline To Performance, London-
New York: Routledge, 2001.
Šuvaković, Miško, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005.
IMAF 2018 programe:
Program 20. Međunarodnog festivala multimedijalne umetnosti - IMAF 2018
Programe of the 20th International Multimedial Art Festival - IMAF 2018
07. 09. 2018. Prostor hotela „SLOBODA“ / Hotel „SLOBODA“ place (Studio za multimedijalnu umetnost / Multimedial Art Studio), ulaz iz Jurija Gagarina, Odžaci (Srbija / Serbia)
19h Početak programa IMAF 2018 Odžaci / Start the program IMAF 2018
- Marta Bosowska (Poljska / Poland) – „Nada i laži“ / „Hop(e) and lie“
- Ola Koziol (Poljska / Poland) – „Pokušaj da hodaš u mojim cipelama“ / „Try walking in my shoes“
- Yeanet Poett (Mađarska / Hungary) – „9 suza“ / „9 Teardrops“
- MP_art (Predrag Šiđanin & Maja Budžarov) (Srbija / Serbia) – „Slatki život“ / „Sweet life“
- Johannes Christopher Gérard (Nemačka / Germany // Holandija / Nederland) – „Povezan“ / „Connected“
- Saša Denić-Špena (Srbija / Serbia) – „Ljudske fleke“ / „Human Stains“
- Dariusz Fodczuk (Poljska / Poland) – „rukovanje, dodir, šamar, iscediti“ / „skake, touch, slap, squeeze“
- Radoslav B. Čugalj (Srbija / Serbia) – „Nepodnošljivi luksuz umetničkog života“ / „Unbearable luxury of an artist's life“
- Maximilian Latva & Katri Kainulainen (Finska / Finland) – „Venustraphobia“
08. 09. 2018. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia)
19h Početak programa IMAF 2018 Novi Sad / Start the program IMAF 2018 Novi Sad
- Student scenskog dizajna, Fakultet tehničkih nauka, Univerzitet u Novom Sadu (Srbija) / Student of Scenical Design, Faculty of Technical Sciences, University of Novi Sad (Serbia): Milica Cimeša (Srbija / Serbia) – „Obuci me opet“ / „Dress me again“
- Aleksandar Jovanović (Srbija / Serbia) – „Čvor ljubavi“ / „The knot of love“
- Yeanet Poett (Mađarska / Hungary) – „9 suza“ / „9 Teardrops“
- Maximilian Latva (Finland) & Katri Kainulainen (Finska / Finland) – „Kopophobia“
- Marta Bosowska (Poljska / Poland) – „Marsz-March-Marsh“
- Dariusz Fodczuk (Poljska / Poland) – „Ljubav“ / „Love“
09. 09. 2018. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia)
16h Početak umetničke radionice / Start of an art workshop - Laura Ociepa (Poljska / Poland) – „Radionica: „Kako postaviti izložbu prema Feng Šuiju“ / „Workshop: How to set up an exhibition according to Feng Shui“
19h Početak programa IMAF 2018 Novi Sad / Start the program IMAF 2018 Novi Sad
- Laura Ociepa (Poljska / Poland) – Otvaranje izložbe sa umetničke radionice „Kako postaviti izložbu prema Feng Šuiju“ / Opening of the exhibition from an art workshop „How to set up an exhibition according to Feng Shui“
- Nenad Bogdanović (Srbija / Serbia) – „Igra sa identitetom“ / „Identity Game“
- Student scenskog dizajna, Fakultet tehničkih nauka, Univerzitet u Novom Sadu (Srbija) / Student of Scenical Design, Faculty of Technical Sciences, University of Novi Sad (Serbia): Anja Tasovac (Srbija / Serbia) – „Naricanje“ / „Lamentation“
- Johannes Christopher Gérard ( Nemačka / Germany // Holandija / Nederland) – „Povezan“ / „Connected“
- Ola Koziol (Poljska / Poland) „54%“ / „54%“
- Danica Bićanić (Srbija / Serbia) & Bernhard Hansbauer (Austrija / Austria) „Briga ide preko reke“ / „Worry Crosses The River“
7th September 2018 (Prostor hotela „SLOBODA“ / Hotel „SLOBODA“ place, Odžaci, Srbija)
Opening of the festival / Otvaranje festivala: Nenad Bogdanovic & Radoslav B. Chugaly (Serbia / Srbija)
Performansi IMAF 2018 / IMAF 2018 performances:
Marta Bosowska (Poljska/Poland)
Odzaci: „Nada i laži“ / „Hop(e) and lie“
Novi Sad: „Marsz-March-Marsh“
Ola Koziol (Poljska/Poland)
Ola Koziol (Poljska/Poland)
Odzaci: „Pokušaj da hodaš u mojim cipelama“ / „Try walking in my shoes“
Novi Sad: „54%“ / „54%“
Yeanet Poett (Mađarska/Hungary)
Yeanet Poett (Mađarska/Hungary)
Odzaci: „9 suza“ / „9 Teardrops“
Novi Sad: „9 suza“ / „9 Teardrops“
MP_art (Srbija/Serbia)
MP_art (Srbija/Serbia)
Odzaci: „Slatki život“ / „Sweet life“
Johannes Christopher Gerard (Nemačka/Germany//Holandija/Nederland)
Johannes Christopher Gerard (Nemačka/Germany//Holandija/Nederland)
Odzaci: „Povezan“ / „Connected“
Novi Sad: „Povezan“ / „Connected“
Saša Denić-Špena (Srbija/Serbia)
Saša Denić-Špena (Srbija/Serbia)
Odzaci: „Ljudske fleke“ / „Human Stains“
Dariusz Fodczuk (Poljska/Poland)
Dariusz Fodczuk (Poljska/Poland)
Odzaci: „rukovanje, dodir, šamar, iscediti“ / „skake, touch, slap, squeeze“
Novi Sad: „Ljubav“ / „Love“
Radoslav B. Čugalj (Srbija/Serbia)
Radoslav B. Čugalj (Srbija/Serbia)
Odzaci: „Nepodnošljivi luksuz umetničkog života“ / „Unbearable luxury of an artist's life“
Maximilian Latva & Katri Kailunainen (Finska/Finland)
Maximilian Latva & Katri Kailunainen (Finska/Finland)
Odzaci: „Venustraphobia“
Novi Sad: „Kopophobia“
Milica Cimeša (Srbija/Serbia)
Milica Cimeša (Srbija/Serbia)
Novi Sad: „Obuci me opet“ / „Dress me again“
Aleksandar Jovanović (Srbija/Serbia)
Aleksandar Jovanović (Srbija/Serbia)
Novi Sad: „Čvor ljubavi“ / „The knot of love“
Laura Ociepa (Poljska/Poland)
Laura Ociepa (Poljska/Poland)
Novi Sad: „Radionica: „Kako postaviti izložbu prema Feng Šuiju“ / „Workshop: How to set up an exhibition according to Feng Shui“
Nenad Bogdanović (Srbija/Serbia)
Nenad Bogdanović (Srbija/Serbia)
Novi Sad: „Igra sa identitetom“ / „Identity Game“
Anja Tasovac (Srbija/Serbia)
Anja Tasovac (Srbija/Serbia)
Novi Sad: „Naricanje“ / „Lamentation“
Danica Bićanić (Srbija/Serbia) & Bernhard Hansbauer (Austrija/Austria)
Danica Bićanić (Srbija/Serbia) & Bernhard Hansbauer (Austrija/Austria)
Novi Sad: „Briga ide preko reke“ / „Worry Crosses The River“
IMAF 2018 artists biographies:
Maximilian Latva (Finska / Finland)
Maximilian Latva je rođen 31.08.1966. godine.
Makimilian Latva radi kao performans i video umetnik. U muzičkoj i zvučnoj umetnosti radi kao muzičar, kompozitor, producent, tehničar i DJ.
Obrazovanje u scenskim umetnostima:
2007-2008.Teatarska akademija i program obuke fizičkog teatra otvorenog univerziteta, Helsinki
2006 Clowning, Taina Maki-Iso
Radovi u zbirkama:
Det nya nya museet, Stockholm, Sweden
Maximilian Latva is born in 31.08.1966 year.
Maximilian Latva works as a performance and video artist. In music and sound art he operates as a
musician, composer, producer, technician and DJ.
Education in performing arts:
2007-2008 Theater Academy and Open University Physical Theatre training program, Helsinki
2006 Clowning, Taina Mäki-Iso
Works in Collections:
Det nya nya museet, Stockholm, Sweden.
Katri Kainulainen (Finska / Finland)
Katri Kainulainen, rođena je 1978. godine, umetnica druge generacije koja živi i radi u Helsinkiju, Finska. Njeni nastupi kombinuju humor i flertuju sa pitanjima društva. Takođe je aktivna kao kustos i organizator performansnih umetničkih događaja. Kainulainen je prikazala svoj rad na festivalima umetnosti performansa kako u Finskoj tako i na mnogim međunarodnim umetničkim projektima. Kainulainen radi u tesnoj saradnji sa umetnikom performansa Maximilian Latvom, takođe umetnikom iz Finske
Od 2014. godine realizovali su više od dvadeset umetničkih performansa, u Finskoj i širom sveta.
Katri Kainulainen, born 1978, is a second generation performance artist who lives and works in Helsinki,
Finland. Her performances combine humor and flirt with issues of society. She is also active as a curator and organizer of performance art events. Kainulainen has shown her work at performance art festivals both in Finland and internationally. Kainulainen works in tight collaboration with performance artist Maximilian Latva. They have given more than twenty performances internationally since 2014.
Marta Bosowska (Poljska / Poland)
Marta Bosowska je rođena 1984. godine.
Bavi se umetničkim instalacijama i performansima. Zainteresovana za pamćenje kao medij i sastavni deo procesa rada dolazaka na početak. Njezine akcije prikazuju neprestanu potragu, razvrstavanje, prikupljanje, temeljeno na emocionalnom sadržaju koji je podstaknut znakom, zvukovima i prostorima. Umetnica udara u jednostavne gestove, situacije, predmete i materijale koji okružuju ljude u svakodnevnom životu, koji ovde, u njenim performans radovima, stiču nova značenja.
Marta Bosowska (born 1984),
Carries out installations and performance. Interested in memory as the medium and component of the process of the work's coming into beginning. Her actions depict incessant searching, sorting, collecting,
based on emotional content evoked through sign, sounds and places. The artist taps into simple gestures, situations, objects and materials surrounding humans in their daily lives, which, here acquire new meanings.
Dariusz Fodczuk (Poljska / Poland)
Rođen 1966. godine i trenutno živi u Katowicama, Poljska. Dariusz Fodczuk se bavi slikarstvom, skulpturom i performans artom. Fodczukovi performansi i ostali umetnički radovi predstavljeni su u više od 100 pojedinačnih i grupnih predstava u Nemačkoj, Češkoj, Slovačkoj, Mađarskoj, Estoniji, Francuskoj, Kanadi i SAD-u, između ostalih. Učestvovao je na svim važnijim prezentacijama i festivalima performans umetnosti u Poljskoj. Takođe je kustos Interakcje Međunarodnog festivala performansa u Bielsko-Biali u Poljskoj.
Radi kao profesor na Slikarskom fakultetu i Novim medijima, Akademije umetnosti u Šćećinu u Poljskoj.
Born in 1966 and currently based in Katowice, Poland, Dariusz Fodczuk works in painting, sculpture and performance. Fodczuk’s performances and other works have been presented in over 100 individual and group shows in Germany, Czech Republic, Slovakia, Hungary, Estonia, France, Canada and the USA, among others. He has participated in all major presentations and festivals of Performance Art in Poland. He is also the curator of Interakcje International Festival of Performance Art in Bielsko-Biala.
Hi works at Faculty of Painting and New Media, Academy of Art in Szczecin.
Danica Bićanić (Srbija / Serbia)
Danica Bićanić rođena je 1985. godine u Novom Sadu. Diplomirala je 2008. godine na Akademiji umetnosti u Novom Sadu, likovni odsek - smer vajarstvo u klasi prof. Gordane Kaljalović. Master studije završila je 2010. godine u klasi iste profesorke. Član je Udruženja likovnih umetnika Vojvodine. Aktivno izlaže od 2006. godine. Imala je sedam samostalnih i više grupnih izložbi i drugih nastupa kod nas i inostranstvu (Rumunija, Bosna i Hercegovina, Velika Britanija, SAD, Bugarska, Rusija, Grčka). Tokom 2008. godine nagrađena je za najuspešniji diplomski rad na smeru vajarstvo, iste godine dobila je nagradu Art Klinike "Perspective" za perspektivnog studenta u disciplini vajanje, a 2009. godine nagradu Univerziteta u Novom Sadu za vrhunske rezultate postignute u oblasti umetnosti. Trenutno je na doktorskim studijama likovnih umetnosti na Akademiji umetnosti u Novom Sadu.
Danica Bicanic was born in Novi Sad, Serbia, in 1985. She acquired the masters degree at the Academy of Fine Arts in Novi Sad - Sculpture Department, in 2010. She is a member of the Association of Visual Artists of Vojvodina. Since 2006, she had seven solo exhibitions and many group exhibitions, as well as several performances in Serbia and abroad (Romania, Bosnia and Hercegovina, United Kingdom, SAD, Bulgaria, Russia, Greece).
She was granted the Award for Most successful graduate work at the Sculpture Department (2008), "Art Clinics" Award "Perspective" for perspective student in category Sculpture (2008), "University of Novi Sad Award for excellent results achieved in the field of arts" (2009). Currently she is student in the PhD program in fine arts at the Academy of Arts Novi Sad.
http://danicabicanic.blogspot.com/
Bernhard Hansbauer (Austrija / Austria)
Bernard Hansbauer (Bernhard Hansbauer), rođen je 1972. u Beču, gde živi i radi. Od 1980-ih učestvovao je u različitim eksperimentalnim muzičkim projektima i aktivnostima. Počevši kao DJ i organizator dešavanja u polju eksperimentalne i post-industrijal muzike. Autor je solo projekta pod nazivom Red Chamber koji je realizovan u nekoliko izdanja od strane austrijsko-nemačke izdavačke kuće Laridae, i kao deo mnogih izdanja - muzičkih kompilacija. Od 2007. god. vodi muzičku izdavačku kuću pod nazivom Bleak pod čijim imenom je realizovao više od šezdeset izdanja (ploča, CD, kaseta) različitih eksperimentalnih muzičkih žanrova. Učestvovao je na mnogim manifestacijama i festivalima poput Wroclaw Industrial festivala ili Exit festivala. Njegova muzika kreće se u polju minimal electronic žanra do mračnih, ritmičnih akustičnih ambijenata…
Bernhard Hansbauer, born 1972 and living in Vienna/Austria, has been involved with experimental music since the late 1980's, in various projects and activities. Starting out as DJ and event organizer in the field of experimental and post-industrial music, he went on with his own project, Red Chamber, where he released two albums on the Austrian/German netlabel Laridae and was featured on a couple of compilations. In 2007, he started his own music label, Bleak, and hat more than 60 releases in various formats (including vinyl and tapes), including rare live recordings, exclusive material from many renowned post-industrial artists. As artist and DJ, he has been invited to many events and festival, such as the Wroclaw Industrial Festival or Exit Festival. His own music ranges from minimal electronica to dark, rhythmic soundscapes.
Ola Kozioł (Poljska / Poland)
Multidisciplinarni umetnik sa sedištem u Lođu, Poljska. Diplomirala je na Akademiji likovnih umetnosti u Strzemiński u Lođu, gde trenutno radi. Suosnivač grupe koja kultivira arhaične tradicije pevanja zvane Miejskie Darcie Pierza, Glazbeni projekt: Mutant Goat, 18 reka, ASP Choir. Od 2015. zajedno sa Suavasom Lewyjem predstavlja umetničku grupu PRZEPRASZAM / (Appologise).
Autor performansa, npr. : Walking artist (2013.), tražim muškarcaa / Blagdan života, Galerija Scena, Koszalin, Poljska, 2014.), Exarchia Athena (Atens, Grčka, 2015.), Floofy (The Social Gallery Studio, Derry , Irland, 2015).
Učestvovala je na festivalima, na pr. : 8. Međunarodni festival vizualne inSPIRACJE / Apokalipse (Szczecin, Poljska, 2012, Grand Prix), Bijenale mladih umetnosti RYBIE OKO (Słupsk, Poljska, 2011, 2013), Međunarodni festival savremenih umetničkih konteksta (Sokołowsko, Poljska, 2014.), Nomadic Art Festival (Rim, Italija, 2015.), PAB OPEN Bergen, Norveška (2015., 2017.).
Organizuje radionice za decu, učestvuje u realizacijama brojnih umetničkih i društvenih projekata, s ciljem aktiviranja ljudi oko sebe.
A multidisciplinary artist based in Łódź, Poland. Graduated from the Strzemiński Academy of Art in
Łódź, where she currently works. A co-founder of a group that cultivates archaic singing traditions
called Miejskie Darcie Pierza, Musical project: Mutant Goat, 18 rivers, ASP Choir. Since 2015
together with Suavas Lewy forms a group PRZEPRASZAM/(Appologise).
Author of performance e.g. : I’m walking artist (2013), I’m looking for a man/ Feast of life, Gallery
Scena, Koszalin, Poland, 2014), Exarchia Athena (Atens, Greece, 2015), Floofy (The Social Gallery
Studio, Derry, Irland, 2015).
Participated in festivals e.g. : 8th International Festival of Visual inSPIRACJE/apocalypse (Szczecin,
Poland, 2012, Grand Prix), Biennial of Young Art RYBIE OKO (Słupsk, Poland, 2011, 2013),
International Festival of the Ephemeral Art Contexts (Sokołowsko, Poland, 2014), Nomadic Art
Festival (Rome, Italy, 2015), PAB OPEN Bergen, Norway (2015, 2017).
A keen walker, went "consciously" 1900 km. Conducts workshops for children, is involved in the
realisation of numerous artistic and social projects, with the aim of activating people around.
Laura Ociepa (Poljska / Poland)
“Kako postaviti izložbu prema Feng Shui”
Za potrebe radionice umetnica Laura Ociepa postaće Feng Shui guru koji će usaglasiti Feng Shui pravila iz knjige Sarah Bartlett Feng Shui for Entertaining. Laura Ociepa poziva zainteresovane za učešće u radionici koja je napravljena za umetnike, kustose, galeriste, studente i bilo koga zainteresovanog za kreativno učešće. Radionica bi pokazala načine za preuzmanje kontrole nad umetničkom predstavom i dovođenje u odgovarajuću atmosferu tokom i do otvaranja izložbe.
Nakon popodnevne radionice rezultati će biti predstavljeni tokom večeri drugog dana IMAF festivala, zajedno sa ranije pripremljenim materijalima – video projekcijom i predmetima smeštenim u prostoru Galerije SULUV.
„How to set up an exhibition according to Feng Shui”
For the need of the workshop artist Laura Ociepa will become a Feng Shui guru who will conform Feng shui rules from the Sarah Bartlett book „Feng Shui for Entertaining” to the Art World realities. The workshop is made for artists, curators, gallerists, students and anybody interested in the subject. It would show the ways of taking control over an art show and bringing on proper atmosphere during the show opening. After the daily workshop, results would be shown during the vernissage together with earlier prepared materials such as video projection and objects situated within the gallery space.
Johannes C. Gérard (Nemačka / Germany // Holandija / Nederland)
Kroz moju životnu situaciju živeo sam i radio na različitim lokacijama i zemljama. Između ostalih, Nemačka, Irska, Španija, Holandija, Argentina, Australija, Indija, Bangladeš, Pakistan, Mijanmar, Kina, Tajvan, Rusija i Armenija. Ovakav stil života i umetnička karijera imali su na kraju veliki uticaj na moju viziju i koncepte kao umetnika. Da bi bili u pokretu, radoznalost prelaznih granica, bez ikakvog osećanja kod kuće i izvesnog nemira postala je važan izvor inspiracija. Teme u mom radu imaju viziju identiteta, odnosa (između ljudi i ljudi-okoline), tranzicije, granica, izgubljenost, usamljenosti, seksualnih tema, unutrašnjeg sukoba, vremena, uništenja, smrti. Shodno tome, platiću nameru iskrenim suptilnim detaljima unutar okruženja koje stvaramo ili živimo. Moje tumačenje je na kraju ugrađeno u eksperimente kroz promenu opservacija i analizu naših vidljivih i nevidljivih okruženja i ljudskog ponašanja.
Through my life situation I lived and worked in different locations and countries. Among others, Germany, Ireland, Spain, The Netherlands, Argentinia, Australia, India, Bangladesh, Pakistan, Myanmar, China, Taiwan, Russia and Armenia. This kind of life style and art career had at the end a great impact about my vision and concepts as an artist. To be on the move, curiosity of crossing boundaries , nowhere feeling home and a certain restlessness became an important source of insperation. Themes in my work have a vision towards identity, relations (between humans and humans-environment) ,transition, boundaries, lost, loneliness, sexualy topics, inner strife, time, destruction, death. Accordingly I pay close intention to the candid subtle details within the environments we create or life in. My interpretations are at the end embedded experiments through changing observations and analysis of our visible and non visible environments and human behavior.
Yeanet Poett (Mađarska / Hungary)
1966. rođen u Rimavskoj Soboti, Slovačka
1991. živi u Budimpešti, u Mađarskoj
1994 diplomirao na Casus Collage of Contemporary Art, Budimpešta
1995. član Opal Physical Theater
1998. član elektrografičke grupe Árnyékkötők
2001. kurator Black-Black Galerije (Budimpešta, Mađarska)
Samostalne izložbe:
2001. Mađarski kulturni centar (Prag, Rep. Češka)
2002. Közelítés Galerija (Pečuj, Mađarska)
2003. Galerija Izba (Novi Sad, Jugoslavija)
1966 born in Rimavska Sobota, Slovakia
1991 live in Budapest, Hungary
1994 graduated at Casus Collage of Contemporary Art, Budapest
1995 member of the Opal Physical Theater
1998 member of the electrogaphic group Árnyékkötők
2001 curartor of the Black-Black Gallery (Budapest, H)
Solo exhibitions:
2001 Hungarian Cultural Centre (Praha, CZ)
2002 Közelítés Gallery (Pécs, H)
2003 Izba Gallery (Novi Sad, YU)
MP_art (Srbija / Serbia)
MP_art je akronim umetničkog para [Maja Budžarov i Predrag Šidjanin] koji smatraju da je njihov zajednički rad važniji od prikupljanja umetničkih biografija - "umetnost se sastoji samo od umetnosti, a ne umetnika". Počevši da žive i rade zajedno u januaru 2003. godine, odlučili su da odbace svoje prethodno zarađene lične istorije, rad pod njihovim ličnim imenom, kao i da su redukovali medije njihovih prethodnog istraživanja. Oni se fokusiraju na istraživanje međusobnih emocija i intimnosti kroz prvenstveno fizičku (umetnost performansa) i meditativnu (sliku/tekst / boja) izraz. U svom radu jednako koriste svoja tela, fotografiju, tekst, video, internet i povremeno kombinacije novih medija sa različitim klasičnim materijalima (slikama, keramikom i staklom). Njihovi radovi obično imaju jaku reference na mesto, vreme i fizičko/meditativni kontekst u kojem lično iskustvo intimnosti i privatnosti odražava univerzalno priznate i prihvaćene pojave. Njihova umetnička praksa/strategija zasnovana je na bliskosti i direktnosti, na interakciji i oslobađanju od ideoloških ograničenja nametnutih masovnom komunikacijom, na estetiku ličnog odnosa prema svetu, post avantgardnim i konceptualnim umetničkim iskustvima u društvenom kontekstu tekućeg trenutka, o kome su otvoreno kritični.
MP_art is an acronym of the artistic couple [Maja Budzarov and Predrag Sidjanin] who regard their joint work as more important than collecting artistic biographies – ‘art consists of art alone, not artists’. Starting to live and work together in January 2003, they decided to reject their previously earned personal histories, the work under their own personal names as well as they reduced the mediums of their previous research. They focus on exploring mutual emotions and intimacy through a primarily physical (performance art) and meditative (painting/text/color) expression. In their work they equally use their bodies, photography, text, video, the Internet, and occasionally combinations of new media with different classical materials (paintings, ceramics and glass). Their works usually have a strong reference to the place, time and physical/meditative context in which a personal experience of intimacy and privacy reflects upon the universally recognized and accepted phenomena. Their artistic practice/strategy is based on closeness and directness, on interaction and liberation from ideological restraints imposed by mass communication, on the aesthetics of a personal attitude towards the world, post avant-garde and conceptual art experiences in the social context of the current moment, which they are openly critical of.
Radoslav B. Chugaly (Srbija / Serbia)
Radoslav B. Chugaly is 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.
Radoslav is a member of the Association of Fine Artists of Vojvodina. He completed his studies at the Faculty of Economics at the University of Edukons in Sremska Kamenica.
Radoslav B. Čugalj je konceptualni umetnik, pesnik, performer, radovi sa umetničkim objektima i instalacijama, učestvovao na mnogim kolektivnim izložbama i festivalima u Evropi, Aziji i Americi. Radi u Odžacima.
Čugalj je član Saveza udruženja likovnih umetnika Vojvodine. Završio je studije na ekonomskom fakultetu univerziteta Edukons u Sremskoj Kamenici.
Nenad Bogdanović (Srbija / Serbia)
Rođen 1955. u Odžacima, Srbija.
Samostalni vizuelni i performans umetnik, izdavač i kurator. Član umetničkih udruženja Vojvodine (SULUV) i Srbije (ULUS). Kurator raznih međunarodnih umetničkih projekata i izložbi od 1980. godine.
1998. godine osnovao je Studio za multimedijalnu umetnost i Galeriju MAS u Odžacima, Srbija.
Organizator i kurator Međunarodnog festivala multimedijalne umetnosti – IMAF, od 1998. godine.
Od 1980. godine Nenad realizuje umetničke performanse i umetničke akcije na mnogim međunarodnim umetničkim projektima i festivalima širom sveta: Pariz, Kasel, Tokio, Hirošima, Minsk, Venecija, Belfast, Monca, Bazel, Ženeva, Lozana, Cirih, Njujork, Kvebek, Istanbul, Varšava, Krakov, Tel Aviv, Jerusalim, Jokohama, Nagano, Toronto, Budimpešta, Marselj, Tuluz, Šenžen, Hong Kong, Prag, Bilbao, Berlin...itd.
Born in 1955 in Odzaci, Serbia.
Independent visual and performance artist, publisher and curator. Member of art societies of Vojvodina (SULUV) and Serbia (ULUS). Curator of various international art projects and exhibitions since 1980.
1998 year he founded of Multimedia Art Studio and MAS Gallery in Odzaci, Serbia.
Organiser and curator of International Multimedial Art Festival – IMAF, from 1998.
Since 1980 Nenad realized his art performances and art actions on many international art projects and festivals worldwide: Paris, Cassel, Tokyo, Hiroshima, Minsk, Venice, Belfast, Monaco, Basel, Geneva, Lausanne, Zurich, New York, Quebec, Istanbul, Warsaw, Krakow, Tel Aviv, Jerusalem, Yokohama, Nagano, Toronto, Budapest, Marseille, Toulouse , Shenzhen, Hong Kong, Prague, Bilbao, Berlin...etc.
Saša Denić – Špena (Srbija / Serbia)
Born on 4. 10. 1971. in Odzaci.
Graduated from the High School of Life. His nationality is Human. Is interested in every form of art, and has an open mind for everything that improves human beings.
Performances:
2017. –„Mea culpa“, 19th International Multimedial Art festival – IMAF, Center Gallery, Odzaci (Serbia)
2016. -„What’s left?“, 18th International Multimedial Art festival – IMAF, Center Gallery, Odzaci (Serbia)
2014. -„Observe, think, react“, 16th International Multimedial Art festival – IMAF, MAS Gallery, Odzaci (Serbia)
Rođen 4. 10. 1971. u Odžacima.
Diplomirao iz Visoke škole života. Njegova nacionalnost je ljudska. Zainteresovan za svaki oblik umetnosti, i ima otvoren um za sve što poboljšava ljudska bića.
Performansi:
2017. –„Moja krivica“, 19. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija Centar, Odžaci (Srbija)
2016. -„Šta ostaje?“, 18. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija Centar, Odžaci (Srbija)
2014. -„Posmatraj, razmisli, reaguj“, 16. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija MAS, Odžaci (Srbija)
Aleksandar Jovanović (Srbija / Serbia)
Aleksandar Jovanović rođen je 1962. godine u Odžacima. On je multimedijalni umetnik koji kombinuje skoro sve načine izražavanja savremene i postmoderne umetničke svesti, kao što su crteži, slike, kompjuterska grafika, fotografija, instalacije i performans knjige.
Sredinom osamdesetih pridružio se međunarodnom meil art pokretu.
Umetnik je takođe bio izdavač i urednik časopisa protiv embarga pod nazivom "Kavez", koji je postao deo umetničke zbirke muzeja Moma u Njujorku i Galerije Tate u Londonu. Autor je nekoliko umetničkih projekata: Snake-Border i Netvorker's Spirit koji je predstavljen u Vršcu na Prvom umetničkom bienalu mladih. Njegova Unblockade knjiga postala je deo umetničke zbirke Muzeja Moma u San Francisku. Takođe je imao samostalnu izložbu u Galeriji Stampart gde je pokazao svoje projekte protiv embarga.
Brojna dela ovog umetnika pripadaju privatnoj umetničkoj zbirci pod nazivom "Kolekcija Trajković", koja je postala deo monografije "Savremene srpske umetnosti druge polovine 20. veka". Monografija je predstavljena u umetničkom paviljonu "Cvijeta Zuzorić" u Beogradu.
Umetnik živi i radi u Odžacima.
Aleksandar Jovanovic was born in 1962 in Odzaci. He is a multimedia artist who combines almost all ways of expression of modern and postmodern artistic awareness such as drawings, paintings, computer graphics, photography, installations and performance book.
In the mid 80s he joined the international mail-art movement.
The artist was also the publisher and editor of anti-embargo magazine called “Cage” which became the part of art collection of the Moma Museum in New York and The Tate Gallery in London. He is also the author of several art projects: Snake-Border and Networker’s Spirit which was presented in Vrsac at the First Youth Art Biennale. His Unblockade Book became the part of art collection of the Moma Museum in San Francisco. He also had one-man exhibition at Stampart Gallery where he put on show his anti-embargo projects.
Numerous works of this artist belong to a private art collection called “Trajkovic Collection”, which became the part of the monograph of “Contemporary Serbian Art of the Second Half of the 20th Century”. The monograph was presented in the art pavilion “Cvijeta Zuzoric” in Belgrade.
The artist lives and works in Odzaci.
IMAF 2018 artists biographies:
Maximilian Latva (Finska / Finland)
Maximilian Latva je rođen 31.08.1966. godine.
Makimilian Latva radi kao performans i video umetnik. U muzičkoj i zvučnoj umetnosti radi kao muzičar, kompozitor, producent, tehničar i DJ.
Obrazovanje u scenskim umetnostima:
2007-2008.Teatarska akademija i program obuke fizičkog teatra otvorenog univerziteta, Helsinki
2006 Clowning, Taina Maki-Iso
Radovi u zbirkama:
Det nya nya museet, Stockholm, Sweden
Maximilian Latva is born in 31.08.1966 year.
Maximilian Latva works as a performance and video artist. In music and sound art he operates as a
musician, composer, producer, technician and DJ.
Education in performing arts:
2007-2008 Theater Academy and Open University Physical Theatre training program, Helsinki
2006 Clowning, Taina Mäki-Iso
Works in Collections:
Det nya nya museet, Stockholm, Sweden.
Katri Kainulainen (Finska / Finland)
Katri Kainulainen, rođena je 1978. godine, umetnica druge generacije koja živi i radi u Helsinkiju, Finska. Njeni nastupi kombinuju humor i flertuju sa pitanjima društva. Takođe je aktivna kao kustos i organizator performansnih umetničkih događaja. Kainulainen je prikazala svoj rad na festivalima umetnosti performansa kako u Finskoj tako i na mnogim međunarodnim umetničkim projektima. Kainulainen radi u tesnoj saradnji sa umetnikom performansa Maximilian Latvom, takođe umetnikom iz Finske
Od 2014. godine realizovali su više od dvadeset umetničkih performansa, u Finskoj i širom sveta.
Katri Kainulainen, born 1978, is a second generation performance artist who lives and works in Helsinki,
Finland. Her performances combine humor and flirt with issues of society. She is also active as a curator and organizer of performance art events. Kainulainen has shown her work at performance art festivals both in Finland and internationally. Kainulainen works in tight collaboration with performance artist Maximilian Latva. They have given more than twenty performances internationally since 2014.
Marta Bosowska (Poljska / Poland)
Marta Bosowska je rođena 1984. godine.
Bavi se umetničkim instalacijama i performansima. Zainteresovana za pamćenje kao medij i sastavni deo procesa rada dolazaka na početak. Njezine akcije prikazuju neprestanu potragu, razvrstavanje, prikupljanje, temeljeno na emocionalnom sadržaju koji je podstaknut znakom, zvukovima i prostorima. Umetnica udara u jednostavne gestove, situacije, predmete i materijale koji okružuju ljude u svakodnevnom životu, koji ovde, u njenim performans radovima, stiču nova značenja.
Marta Bosowska (born 1984),
Carries out installations and performance. Interested in memory as the medium and component of the process of the work's coming into beginning. Her actions depict incessant searching, sorting, collecting,
based on emotional content evoked through sign, sounds and places. The artist taps into simple gestures, situations, objects and materials surrounding humans in their daily lives, which, here acquire new meanings.
Dariusz Fodczuk (Poljska / Poland)
Rođen 1966. godine i trenutno živi u Katowicama, Poljska. Dariusz Fodczuk se bavi slikarstvom, skulpturom i performans artom. Fodczukovi performansi i ostali umetnički radovi predstavljeni su u više od 100 pojedinačnih i grupnih predstava u Nemačkoj, Češkoj, Slovačkoj, Mađarskoj, Estoniji, Francuskoj, Kanadi i SAD-u, između ostalih. Učestvovao je na svim važnijim prezentacijama i festivalima performans umetnosti u Poljskoj. Takođe je kustos Interakcje Međunarodnog festivala performansa u Bielsko-Biali u Poljskoj.
Radi kao profesor na Slikarskom fakultetu i Novim medijima, Akademije umetnosti u Šćećinu u Poljskoj.
Born in 1966 and currently based in Katowice, Poland, Dariusz Fodczuk works in painting, sculpture and performance. Fodczuk’s performances and other works have been presented in over 100 individual and group shows in Germany, Czech Republic, Slovakia, Hungary, Estonia, France, Canada and the USA, among others. He has participated in all major presentations and festivals of Performance Art in Poland. He is also the curator of Interakcje International Festival of Performance Art in Bielsko-Biala.
Hi works at Faculty of Painting and New Media, Academy of Art in Szczecin.
Danica Bićanić (Srbija / Serbia)
Danica Bićanić rođena je 1985. godine u Novom Sadu. Diplomirala je 2008. godine na Akademiji umetnosti u Novom Sadu, likovni odsek - smer vajarstvo u klasi prof. Gordane Kaljalović. Master studije završila je 2010. godine u klasi iste profesorke. Član je Udruženja likovnih umetnika Vojvodine. Aktivno izlaže od 2006. godine. Imala je sedam samostalnih i više grupnih izložbi i drugih nastupa kod nas i inostranstvu (Rumunija, Bosna i Hercegovina, Velika Britanija, SAD, Bugarska, Rusija, Grčka). Tokom 2008. godine nagrađena je za najuspešniji diplomski rad na smeru vajarstvo, iste godine dobila je nagradu Art Klinike "Perspective" za perspektivnog studenta u disciplini vajanje, a 2009. godine nagradu Univerziteta u Novom Sadu za vrhunske rezultate postignute u oblasti umetnosti. Trenutno je na doktorskim studijama likovnih umetnosti na Akademiji umetnosti u Novom Sadu.
Danica Bicanic was born in Novi Sad, Serbia, in 1985. She acquired the masters degree at the Academy of Fine Arts in Novi Sad - Sculpture Department, in 2010. She is a member of the Association of Visual Artists of Vojvodina. Since 2006, she had seven solo exhibitions and many group exhibitions, as well as several performances in Serbia and abroad (Romania, Bosnia and Hercegovina, United Kingdom, SAD, Bulgaria, Russia, Greece).
She was granted the Award for Most successful graduate work at the Sculpture Department (2008), "Art Clinics" Award "Perspective" for perspective student in category Sculpture (2008), "University of Novi Sad Award for excellent results achieved in the field of arts" (2009). Currently she is student in the PhD program in fine arts at the Academy of Arts Novi Sad.
http://danicabicanic.blogspot.com/
Bernhard Hansbauer (Austrija / Austria)
Bernard Hansbauer (Bernhard Hansbauer), rođen je 1972. u Beču, gde živi i radi. Od 1980-ih učestvovao je u različitim eksperimentalnim muzičkim projektima i aktivnostima. Počevši kao DJ i organizator dešavanja u polju eksperimentalne i post-industrijal muzike. Autor je solo projekta pod nazivom Red Chamber koji je realizovan u nekoliko izdanja od strane austrijsko-nemačke izdavačke kuće Laridae, i kao deo mnogih izdanja - muzičkih kompilacija. Od 2007. god. vodi muzičku izdavačku kuću pod nazivom Bleak pod čijim imenom je realizovao više od šezdeset izdanja (ploča, CD, kaseta) različitih eksperimentalnih muzičkih žanrova. Učestvovao je na mnogim manifestacijama i festivalima poput Wroclaw Industrial festivala ili Exit festivala. Njegova muzika kreće se u polju minimal electronic žanra do mračnih, ritmičnih akustičnih ambijenata…
Bernhard Hansbauer, born 1972 and living in Vienna/Austria, has been involved with experimental music since the late 1980's, in various projects and activities. Starting out as DJ and event organizer in the field of experimental and post-industrial music, he went on with his own project, Red Chamber, where he released two albums on the Austrian/German netlabel Laridae and was featured on a couple of compilations. In 2007, he started his own music label, Bleak, and hat more than 60 releases in various formats (including vinyl and tapes), including rare live recordings, exclusive material from many renowned post-industrial artists. As artist and DJ, he has been invited to many events and festival, such as the Wroclaw Industrial Festival or Exit Festival. His own music ranges from minimal electronica to dark, rhythmic soundscapes.
Ola Kozioł (Poljska / Poland)
Multidisciplinarni umetnik sa sedištem u Lođu, Poljska. Diplomirala je na Akademiji likovnih umetnosti u Strzemiński u Lođu, gde trenutno radi. Suosnivač grupe koja kultivira arhaične tradicije pevanja zvane Miejskie Darcie Pierza, Glazbeni projekt: Mutant Goat, 18 reka, ASP Choir. Od 2015. zajedno sa Suavasom Lewyjem predstavlja umetničku grupu PRZEPRASZAM / (Appologise).
Autor performansa, npr. : Walking artist (2013.), tražim muškarcaa / Blagdan života, Galerija Scena, Koszalin, Poljska, 2014.), Exarchia Athena (Atens, Grčka, 2015.), Floofy (The Social Gallery Studio, Derry , Irland, 2015).
Učestvovala je na festivalima, na pr. : 8. Međunarodni festival vizualne inSPIRACJE / Apokalipse (Szczecin, Poljska, 2012, Grand Prix), Bijenale mladih umetnosti RYBIE OKO (Słupsk, Poljska, 2011, 2013), Međunarodni festival savremenih umetničkih konteksta (Sokołowsko, Poljska, 2014.), Nomadic Art Festival (Rim, Italija, 2015.), PAB OPEN Bergen, Norveška (2015., 2017.).
Organizuje radionice za decu, učestvuje u realizacijama brojnih umetničkih i društvenih projekata, s ciljem aktiviranja ljudi oko sebe.
A multidisciplinary artist based in Łódź, Poland. Graduated from the Strzemiński Academy of Art in
Łódź, where she currently works. A co-founder of a group that cultivates archaic singing traditions
called Miejskie Darcie Pierza, Musical project: Mutant Goat, 18 rivers, ASP Choir. Since 2015
together with Suavas Lewy forms a group PRZEPRASZAM/(Appologise).
Author of performance e.g. : I’m walking artist (2013), I’m looking for a man/ Feast of life, Gallery
Scena, Koszalin, Poland, 2014), Exarchia Athena (Atens, Greece, 2015), Floofy (The Social Gallery
Studio, Derry, Irland, 2015).
Participated in festivals e.g. : 8th International Festival of Visual inSPIRACJE/apocalypse (Szczecin,
Poland, 2012, Grand Prix), Biennial of Young Art RYBIE OKO (Słupsk, Poland, 2011, 2013),
International Festival of the Ephemeral Art Contexts (Sokołowsko, Poland, 2014), Nomadic Art
Festival (Rome, Italy, 2015), PAB OPEN Bergen, Norway (2015, 2017).
A keen walker, went "consciously" 1900 km. Conducts workshops for children, is involved in the
realisation of numerous artistic and social projects, with the aim of activating people around.
Laura Ociepa (Poljska / Poland)
“Kako postaviti izložbu prema Feng Shui”
Za potrebe radionice umetnica Laura Ociepa postaće Feng Shui guru koji će usaglasiti Feng Shui pravila iz knjige Sarah Bartlett Feng Shui for Entertaining. Laura Ociepa poziva zainteresovane za učešće u radionici koja je napravljena za umetnike, kustose, galeriste, studente i bilo koga zainteresovanog za kreativno učešće. Radionica bi pokazala načine za preuzmanje kontrole nad umetničkom predstavom i dovođenje u odgovarajuću atmosferu tokom i do otvaranja izložbe.
Nakon popodnevne radionice rezultati će biti predstavljeni tokom večeri drugog dana IMAF festivala, zajedno sa ranije pripremljenim materijalima – video projekcijom i predmetima smeštenim u prostoru Galerije SULUV.
„How to set up an exhibition according to Feng Shui”
For the need of the workshop artist Laura Ociepa will become a Feng Shui guru who will conform Feng shui rules from the Sarah Bartlett book „Feng Shui for Entertaining” to the Art World realities. The workshop is made for artists, curators, gallerists, students and anybody interested in the subject. It would show the ways of taking control over an art show and bringing on proper atmosphere during the show opening. After the daily workshop, results would be shown during the vernissage together with earlier prepared materials such as video projection and objects situated within the gallery space.
Johannes C. Gérard (Nemačka / Germany // Holandija / Nederland)
Kroz moju životnu situaciju živeo sam i radio na različitim lokacijama i zemljama. Između ostalih, Nemačka, Irska, Španija, Holandija, Argentina, Australija, Indija, Bangladeš, Pakistan, Mijanmar, Kina, Tajvan, Rusija i Armenija. Ovakav stil života i umetnička karijera imali su na kraju veliki uticaj na moju viziju i koncepte kao umetnika. Da bi bili u pokretu, radoznalost prelaznih granica, bez ikakvog osećanja kod kuće i izvesnog nemira postala je važan izvor inspiracija. Teme u mom radu imaju viziju identiteta, odnosa (između ljudi i ljudi-okoline), tranzicije, granica, izgubljenost, usamljenosti, seksualnih tema, unutrašnjeg sukoba, vremena, uništenja, smrti. Shodno tome, platiću nameru iskrenim suptilnim detaljima unutar okruženja koje stvaramo ili živimo. Moje tumačenje je na kraju ugrađeno u eksperimente kroz promenu opservacija i analizu naših vidljivih i nevidljivih okruženja i ljudskog ponašanja.
Through my life situation I lived and worked in different locations and countries. Among others, Germany, Ireland, Spain, The Netherlands, Argentinia, Australia, India, Bangladesh, Pakistan, Myanmar, China, Taiwan, Russia and Armenia. This kind of life style and art career had at the end a great impact about my vision and concepts as an artist. To be on the move, curiosity of crossing boundaries , nowhere feeling home and a certain restlessness became an important source of insperation. Themes in my work have a vision towards identity, relations (between humans and humans-environment) ,transition, boundaries, lost, loneliness, sexualy topics, inner strife, time, destruction, death. Accordingly I pay close intention to the candid subtle details within the environments we create or life in. My interpretations are at the end embedded experiments through changing observations and analysis of our visible and non visible environments and human behavior.
Yeanet Poett (Mađarska / Hungary)
1966. rođen u Rimavskoj Soboti, Slovačka
1991. živi u Budimpešti, u Mađarskoj
1994 diplomirao na Casus Collage of Contemporary Art, Budimpešta
1995. član Opal Physical Theater
1998. član elektrografičke grupe Árnyékkötők
2001. kurator Black-Black Galerije (Budimpešta, Mađarska)
Samostalne izložbe:
2001. Mađarski kulturni centar (Prag, Rep. Češka)
2002. Közelítés Galerija (Pečuj, Mađarska)
2003. Galerija Izba (Novi Sad, Jugoslavija)
1966 born in Rimavska Sobota, Slovakia
1991 live in Budapest, Hungary
1994 graduated at Casus Collage of Contemporary Art, Budapest
1995 member of the Opal Physical Theater
1998 member of the electrogaphic group Árnyékkötők
2001 curartor of the Black-Black Gallery (Budapest, H)
Solo exhibitions:
2001 Hungarian Cultural Centre (Praha, CZ)
2002 Közelítés Gallery (Pécs, H)
2003 Izba Gallery (Novi Sad, YU)
MP_art (Srbija / Serbia)
MP_art je akronim umetničkog para [Maja Budžarov i Predrag Šidjanin] koji smatraju da je njihov zajednički rad važniji od prikupljanja umetničkih biografija - "umetnost se sastoji samo od umetnosti, a ne umetnika". Počevši da žive i rade zajedno u januaru 2003. godine, odlučili su da odbace svoje prethodno zarađene lične istorije, rad pod njihovim ličnim imenom, kao i da su redukovali medije njihovih prethodnog istraživanja. Oni se fokusiraju na istraživanje međusobnih emocija i intimnosti kroz prvenstveno fizičku (umetnost performansa) i meditativnu (sliku/tekst / boja) izraz. U svom radu jednako koriste svoja tela, fotografiju, tekst, video, internet i povremeno kombinacije novih medija sa različitim klasičnim materijalima (slikama, keramikom i staklom). Njihovi radovi obično imaju jaku reference na mesto, vreme i fizičko/meditativni kontekst u kojem lično iskustvo intimnosti i privatnosti odražava univerzalno priznate i prihvaćene pojave. Njihova umetnička praksa/strategija zasnovana je na bliskosti i direktnosti, na interakciji i oslobađanju od ideoloških ograničenja nametnutih masovnom komunikacijom, na estetiku ličnog odnosa prema svetu, post avantgardnim i konceptualnim umetničkim iskustvima u društvenom kontekstu tekućeg trenutka, o kome su otvoreno kritični.
MP_art is an acronym of the artistic couple [Maja Budzarov and Predrag Sidjanin] who regard their joint work as more important than collecting artistic biographies – ‘art consists of art alone, not artists’. Starting to live and work together in January 2003, they decided to reject their previously earned personal histories, the work under their own personal names as well as they reduced the mediums of their previous research. They focus on exploring mutual emotions and intimacy through a primarily physical (performance art) and meditative (painting/text/color) expression. In their work they equally use their bodies, photography, text, video, the Internet, and occasionally combinations of new media with different classical materials (paintings, ceramics and glass). Their works usually have a strong reference to the place, time and physical/meditative context in which a personal experience of intimacy and privacy reflects upon the universally recognized and accepted phenomena. Their artistic practice/strategy is based on closeness and directness, on interaction and liberation from ideological restraints imposed by mass communication, on the aesthetics of a personal attitude towards the world, post avant-garde and conceptual art experiences in the social context of the current moment, which they are openly critical of.
Radoslav B. Chugaly (Srbija / Serbia)
Radoslav B. Chugaly is 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.
Radoslav is a member of the Association of Fine Artists of Vojvodina. He completed his studies at the Faculty of Economics at the University of Edukons in Sremska Kamenica.
Radoslav B. Čugalj je konceptualni umetnik, pesnik, performer, radovi sa umetničkim objektima i instalacijama, učestvovao na mnogim kolektivnim izložbama i festivalima u Evropi, Aziji i Americi. Radi u Odžacima.
Čugalj je član Saveza udruženja likovnih umetnika Vojvodine. Završio je studije na ekonomskom fakultetu univerziteta Edukons u Sremskoj Kamenici.
Nenad Bogdanović (Srbija / Serbia)
Rođen 1955. u Odžacima, Srbija.
Samostalni vizuelni i performans umetnik, izdavač i kurator. Član umetničkih udruženja Vojvodine (SULUV) i Srbije (ULUS). Kurator raznih međunarodnih umetničkih projekata i izložbi od 1980. godine.
1998. godine osnovao je Studio za multimedijalnu umetnost i Galeriju MAS u Odžacima, Srbija.
Organizator i kurator Međunarodnog festivala multimedijalne umetnosti – IMAF, od 1998. godine.
Od 1980. godine Nenad realizuje umetničke performanse i umetničke akcije na mnogim međunarodnim umetničkim projektima i festivalima širom sveta: Pariz, Kasel, Tokio, Hirošima, Minsk, Venecija, Belfast, Monca, Bazel, Ženeva, Lozana, Cirih, Njujork, Kvebek, Istanbul, Varšava, Krakov, Tel Aviv, Jerusalim, Jokohama, Nagano, Toronto, Budimpešta, Marselj, Tuluz, Šenžen, Hong Kong, Prag, Bilbao, Berlin...itd.
Born in 1955 in Odzaci, Serbia.
Independent visual and performance artist, publisher and curator. Member of art societies of Vojvodina (SULUV) and Serbia (ULUS). Curator of various international art projects and exhibitions since 1980.
1998 year he founded of Multimedia Art Studio and MAS Gallery in Odzaci, Serbia.
Organiser and curator of International Multimedial Art Festival – IMAF, from 1998.
Since 1980 Nenad realized his art performances and art actions on many international art projects and festivals worldwide: Paris, Cassel, Tokyo, Hiroshima, Minsk, Venice, Belfast, Monaco, Basel, Geneva, Lausanne, Zurich, New York, Quebec, Istanbul, Warsaw, Krakow, Tel Aviv, Jerusalem, Yokohama, Nagano, Toronto, Budapest, Marseille, Toulouse , Shenzhen, Hong Kong, Prague, Bilbao, Berlin...etc.
Saša Denić – Špena (Srbija / Serbia)
Born on 4. 10. 1971. in Odzaci.
Graduated from the High School of Life. His nationality is Human. Is interested in every form of art, and has an open mind for everything that improves human beings.
Performances:
2017. –„Mea culpa“, 19th International Multimedial Art festival – IMAF, Center Gallery, Odzaci (Serbia)
2016. -„What’s left?“, 18th International Multimedial Art festival – IMAF, Center Gallery, Odzaci (Serbia)
2014. -„Observe, think, react“, 16th International Multimedial Art festival – IMAF, MAS Gallery, Odzaci (Serbia)
Rođen 4. 10. 1971. u Odžacima.
Diplomirao iz Visoke škole života. Njegova nacionalnost je ljudska. Zainteresovan za svaki oblik umetnosti, i ima otvoren um za sve što poboljšava ljudska bića.
Performansi:
2017. –„Moja krivica“, 19. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija Centar, Odžaci (Srbija)
2016. -„Šta ostaje?“, 18. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija Centar, Odžaci (Srbija)
2014. -„Posmatraj, razmisli, reaguj“, 16. Međunarodni festival multimedijalne umetnosti – IMAF, Galerija MAS, Odžaci (Srbija)
Aleksandar Jovanović (Srbija / Serbia)
Aleksandar Jovanović rođen je 1962. godine u Odžacima. On je multimedijalni umetnik koji kombinuje skoro sve načine izražavanja savremene i postmoderne umetničke svesti, kao što su crteži, slike, kompjuterska grafika, fotografija, instalacije i performans knjige.
Sredinom osamdesetih pridružio se međunarodnom meil art pokretu.
Umetnik je takođe bio izdavač i urednik časopisa protiv embarga pod nazivom "Kavez", koji je postao deo umetničke zbirke muzeja Moma u Njujorku i Galerije Tate u Londonu. Autor je nekoliko umetničkih projekata: Snake-Border i Netvorker's Spirit koji je predstavljen u Vršcu na Prvom umetničkom bienalu mladih. Njegova Unblockade knjiga postala je deo umetničke zbirke Muzeja Moma u San Francisku. Takođe je imao samostalnu izložbu u Galeriji Stampart gde je pokazao svoje projekte protiv embarga.
Brojna dela ovog umetnika pripadaju privatnoj umetničkoj zbirci pod nazivom "Kolekcija Trajković", koja je postala deo monografije "Savremene srpske umetnosti druge polovine 20. veka". Monografija je predstavljena u umetničkom paviljonu "Cvijeta Zuzorić" u Beogradu.
Umetnik živi i radi u Odžacima.
Aleksandar Jovanovic was born in 1962 in Odzaci. He is a multimedia artist who combines almost all ways of expression of modern and postmodern artistic awareness such as drawings, paintings, computer graphics, photography, installations and performance book.
In the mid 80s he joined the international mail-art movement.
The artist was also the publisher and editor of anti-embargo magazine called “Cage” which became the part of art collection of the Moma Museum in New York and The Tate Gallery in London. He is also the author of several art projects: Snake-Border and Networker’s Spirit which was presented in Vrsac at the First Youth Art Biennale. His Unblockade Book became the part of art collection of the Moma Museum in San Francisco. He also had one-man exhibition at Stampart Gallery where he put on show his anti-embargo projects.
Numerous works of this artist belong to a private art collection called “Trajkovic Collection”, which became the part of the monograph of “Contemporary Serbian Art of the Second Half of the 20th Century”. The monograph was presented in the art pavilion “Cvijeta Zuzoric” in Belgrade.
The artist lives and works in Odzaci.
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