Il Montenegro presenta un progetto di Irena Lagator Pejovic, una triangolazione tra immagine-corpo-medium. L'Estonia presenta quello di Denes Farkas ispirato a una novella di Bruce Duffy. L'Asia Centrale reinterpreta la poesia "Winter" di Abay Qunanbayuli per illustrare la situazione socio-politica di Kazakistan, Kirghizistan e Tagikistan. Mladen Miljanovic rappresenta la Bosnia ed Erzegovina con il progetto "The Garden of Delights" costituito da un video, un'installazione e dall'artista stesso.
Irena Lagator Pejović
Pensare attraverso l’immagine
Alla 55. Esposizione Internazionale d’Arte della Biennale di Venezia, il Montenegro sarà rappresentato dal progetto di Irena Lagator Pejović intitolato Image Think | Pensare attraverso l’immagine. Da anni l’artista elabora una sua analisi dell’arte come strategia sociale avendo come obiettivo la riflessione sulle potenzialità della “responsabilità illimitata” di ciascuno di noi. Tramite la sollecitazione di un ampio spettro di emozioni umane, l’artista invoca al contempo la consapevolezza percettuale e cognitiva.
Image Think | Pensare attraverso l’immagine rappresenta la triangolazione tra immagine-corpo-medium che evidenzia le funzioni dell’immaginazione, l’attivazione della percezione e i rapporti tra l’universale e l’architettura poetica dell’Io. “Questi spazi negli spazi esistono per tradurre la visione in pensiero, l’esperienza sensoriale in senso, l’assenza in presenza, sollevando anche questioni rispetto alla responsabilità personale e collettiva in relazione alla creazione dell’immagine.” (Irena Lagator Pejović) L’esposizione a Palazzo Malipiero si estende al piano terreno in un percorso di tre ambienti ed è costituita da quattro opere: Attraverso l’oltre, Pensare attraverso l’immagine, Ecce Mundi e Camera Imaginata. Mezzi per lo scambio del potere dell’immaginazione, intervento dell’artista in catalogo.
Nel primo ambiente troviamo Attraverso l’oltre: fili dorati, tesi orizzontalmente tra le pareti della stanza, definiscono i volumi di due tetraedri, posti uno di fronte all’altro. I fili appena visibili rimandano ai diagrammi ambientali di Gego, ai Penetrabili di Jesús Rafael Soto – entrambi noti artisti venezuelani –, e, in ambito scientifico, alla teoria delle stringhe, evocando la linea dell ́orizzonte terrestre e il lento apparire dell’Universo – lo spazio della percezione e dell ́immaginazione. Il visitatore, muovendosi nello spazio, si lascia i due tetraedri alle spalle e la particolare illuminazione fa sì che l’opera progressivamente svanisca. Tale passaggio rimanda concettualmente al pensiero decostruzionista derridiano.
Si passa poi ad un secondo ambiente completamente buio. Nell’opera Pensare attraverso l’immagine, la luce, il movimento e gli specchi creano rizomi, congiunzione tra il mondo materiale e quello immateriale, tra la presenza e l’assenza... L’universo artificiale, realizzato con polietilene nero perforato con aghi di diverso spessore, si riflette nello specchio che costituisce il pavimento dell’installazione e, interagendo con la persona che entra nell’opera, si dissolve nello spazio dell’Io e nel processo del pensare l’immagine del nostro mondo, oscillando tra la sfera fisica e quella mentale. Rimandando al concetto base della Neolingua orweliana (la cosidetta Newspeak), il titolo Image Think, con la forma dell’infinito del verbo pensare (“to think”), rappresenta per l’artista un tentativo di dimostrare come il potere dell’immaginazione e delle immagini mentali possa sopravvivere alle degenerazioni del linguaggio (o, estendendo il concetto, di qualsiasi tipo di regime totalitario).
Da questo cubo nero si entra nel terzo ambiente, in un quadrato bianco tridimensionale (Ecce mundi), le cui pareti sono costituite da tele disegnate con una moltitudine rotante di minuscoli pittogrammi raffiguranti l’uomo. In questo “positivo” del cosmo, la figura umana diventa assimilabile a una stella, un universo lontano e vicino sia rispetto alla sua forma disegnata, sia rispetto ai fenomeni ottici che sembrano animare le figure. Si cammina attraverso il medium dell’opera, in mezzo alla moltitudine dei pittogrammi appena visibili. L’azione di attraversare l’opera d’arte continuando a calpestarla, rappresenta la scelta e la responsabilità del visitatore. L’artista rivaluta l’immagine, i motivi della sua esistenza, le categorie dell’interattività, del tempo, dello spazio, della società e della responsabilità. L’architettura dello spazio bianco diventa il medium che trasmette l’immagine, il palazzo che l’umanità, da secoli, è sul punto di costruire.
Nella quarta opera, Camera Imaginata. Mezzi per lo scambio del potere dell’immaginazione, l’immagine diventa parola. Camera Imaginata è un intervento dell’artista pensato per il catalogo della mostra, e si basa sul concetto del medium sociale e sulla partecipazione dei visitatori tramite l’attivazione delle sfere personali e collettive, sulla concezione soggettiva del mondo versus quella collettiva.
I visitatori escono dal palazzo dell’umanità ed entrano nelle camere personali dell’immaginazione per mezzo dell ́intervento di Irena presente in catalogo, intervento che promuove l’azione al posto della rappresentazione e la partecipazione al posto della ricezione. L’artista invita a sentire la presenza... moltiplicare il tempo... ricordarsi di immaginare, intendendo l’arte quale strategia sociale – uno degli aspetti chiave nel lavoro dell’artista montenegrina.
La mostra Image Think | Pensare attraverso l’immagine è quindi un percorso di conoscenza e suggestioni che si sviluppa attraverso vari ambienti. A conclusione del percorso, e attraverso l’opera in catalogo, Camera Imaginata. Mezzi per lo scambio del potere dell’immaginazione, Irena Lagator Pejović dona, a chi lo vorrà costruire attraverso il ritaglio, un ideale luogo poetico. È responsabilità di ciascuno trasformare l’idea in oggetto, l’ideale in realtà.
Accompagna la mostra un catalogo illustrato con saggi di Nataša Nikčević, Irena Lagator Pejović e Bazon Brock. Nel catalogo è pubblicata la risposta di Irena a un lungo e argomentato scambio, tenuto con il filosofo e artista Bazon Brock in merito alla questione se l’arte possa avere valenza di strategia sociale. Il testo di Bazon Brock dal titolo: In the String Forest. Irena Lagator in Conversation with Her Rock Face Bazon Brock, che ha dato origine alla risposta ideale di Irena presente in catalogo e che si conclude con una richiesta di risposta all’artista montenegrina, è consultabile online in: http://irenalagator.net/texts/bazon%20brock.pdf and http://www.bazonbrock.de/werke/detail/?id=2757§id=2440 Un nuovo lavoro di Irena Lagator Pejović sarà visibile in Italia nella mostra The Sea is my Land - artisti dal Mediterraneo, a cura di Francesco Bonami e Emanuela Mazzonis, che si terrà presso il MAXXI, dal 3 luglio al 29 settembre 2013.
Irena Lagator Pejović
Irena Lagator Pejović (www.irenalagator.net) Nata a Cetinje, Montenegro, nel 1976, vive e lavora a Cetinje e Podgorica. PREMI (selezione) 2010, Montenegrin Academy of Sciences and Arts. 2007, Transforming Memory. The Politics of Images: International Biennial of Contemporary Art, 24th Nadežda Petrović Memorial, Čačak, Serbia (con Mariana Castillo Deball). Giuria: Beatrice von Bismarck, Mileta Prodanović, Thierry Destriez. 2003, 4th International Print Triennial, Museum of Modern Egyptian Art, Cairo, Egitto. 2002, Reconstruction, 4th Cetinje international biennial of contemporary art, Montenegro, UNESCO prize for visual arts. Giuria: Bojana Pejić, Henry Meyric Hughes, Petar Ćuković, Edi Muka, Patricia Jerez.
RESIDENZE E WORKSHOP (selezione)
2009, AiR/symposium: ORTung, Salzburger Kunstverein/Deutschvilla, Strobl, Austria. 2007, AiR: Viafarini, Milano. 2006, AiR: Neue Galerie am Universalmuseum Joanneum, Graz, Austria. 2005, Modelmania: workshop con Olafur Eliasson e Yona Friedman, Ar- tExperience Domus Academy, Venezia.
MOSTRE PERSONALI, PROGETTI (selezione)
2012, Società a responsabilità limitata (S. r. l.), Villa Pacchiani, Santa Croce sull’Arno (Pisa). A cura di Ilaria Mariotti; The Society of Unlimited Responsibility. Museum of Contemporary Art, Belgrado, Serbia. A cura di Dejan Sretenović e Una Popović. 2010, Sfere, Irena Lagator & Wendelin Pressl. IG Bildende Kunst, Vienna. 2008, What We Call Real, Atelier DADO-gallery for contemporary art, National Museum of Montenegro, Ce- tinje. 2007, Is It Still Winter Outside?, Museum of Contemporary Art, con Petra Maitz: Lady Musgrave Reef, Banja Luka, Bosnia-Herzegovina; Living Space, ‘Beograd’ Gallery, Belgrado, Serbia. 2006, Living Room, Art Pavilion, Podgorica, Montenegro. 2005, Plea- se Wait Here, Abbazia di San Zeno, Pisa (in collaborazione con Fondazione TESECO per l ́Arte). 2004, Passer-by! Cultural Center gallery, Belgrado, Serbia.
MOSTRE COLLETTIVE (selezione)
2013, The Sea is my Land - artisti dal Mediterraneo. MAXXI, Roma. A cura di Francesco Bonami e Emanuela Mazzonis; Subjective Maps/Disappearances, National Gallery of Iceland, Reykjavik, Islanda; Spring Exhibition 2013, Kunsthal Charlottenborg, Copen- hagen, Danimarca. 2012, Est/Ovest, Museum of Contemporary Art “Palazzo Pino Pa- scali”, Polignano a Mare. A cura di Rosalba Brana, Mariapaola Spinelli e Antonio Frugis; The Land Seen From the Sea, Villa Croce - Museo d’arte contemporanea, Genova. 2011, Untitled (History),12th Istanbul International Biennial of Contemporary Art, Istanbul. A cura di Adriano Pedrosa e Jens Hoffmann. 2010, Geography of Proximity, MCA, Malta Contemporary Art Foundation, Valletta, Malta; Orte/Nicht-Orte. Ortung 2009. Salz- burger Kunstverein, Salisburgo. A cura di Hemma Schmutz e Astrid Wege; Little Con- stellation – A view on Contemporary Art in Geo-Cultural Micro-Areas and Small States of Europe, Careof, Milano. 2009, Little Constellation – A view on Contemporary Art in Geo-Cultural Micro-Areas and Small States of Europe, Neon Campobase, Bologna. 2007, Transforming Memory. The Politics of Images, international biennial of contemporary art/24th Nadežda Petrović Memorial, Čačak, Serbia. A cura di Astrid Wege. 2006, Arti- st-in-residence 2005=2006, Neue Galerie am Landesmuseum Joanneum, Graz, Austria; At the Second Sight, Pavelhaus, Laafeld, Austria. A cura di Mirjana Dabović; Non Place, Röda Sten, Göteborg, Svezia. A cura di Maja Ćirić; Ennui, FACT, Foundation for Art and Creative Technology, Liverpool, UK. 2005, Montenegrin Beauty, Künstlerhaus Betha- nien, Berlin/Motorenhalle, Dresda. A cura di Svetlana Racanović; At the Second Sight, Salon of the Museum of Contemporary Art, Belgrado. 2004, Love it or Leave it, 5th Cetinje international biennial of contemporary art, Montenegro. A cura di René Block e Nataša Ilić; Orchid, 5th Cetinje international biennial of contemporary art, Montenegro. A cura di Petar Ćuković; Articulation, BELEF, Belgrado. A cura di Jovan Čekić. 2003, Lo- gical, BELEF, Belgrado, Serbia. A cura di Jovan Čekić; Montenegrin Beauty, City Theatre, Budva, Montenegro / Pavilion Veljković-CKZD-Centre for Cultural Decontamination of the Town, Belgrado. A cura di Svetlana Racanović; Trash Aesthetics, Trash Ideology, Trash Technology, 25th Moscow international film festival. 2002, Reconstruction, 4th Cetinje international biennial of contemporary art, Montenegro.
Irena Lagator Pejović: The Society of Unlimited Responsibility. Art as Social Strategy. 2001-2011. A cura di Christa Steinle, Karin Buol-Wischenau, Neue Galerie Graz am Uni- versalmuseum Joanneum. Colonia, Verlag der Buchhandlung Walther König, 2012. Irena Lagator Pejović: Società a responsabilità limitata (S.r.l.) / Limited Responsibility Society (L.L.C.). A cura di Ilaria Mariotti. Pubblicato da Villa Pacchiani, Santa Croce
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Evident in Advance
curated by Adam Budak
Center for Contemporary Arts, Estonia is proud to announce that artist Dénes Farkas will represent Estonia at the 55th International Art Exhibition, La Biennale di Venezia with his project Evident in Advance, curated by Adam Budak.
Farkas’s post-conceptual photo-based practice engineers the substructures of society at the moment it renews and remakes its identity. Using minimal means, the artist constructs cinematic spaces of contemplation, where the plot awaits its author and the characters are absent. Silent déjâ vu interiors with no apparent spatial hierarchy become the potential crime scenes of a representation in yet another crisis and decline. Farkas’s social geometry is a cartography of failure and dysfunction. His visually reduced, rebellious spectacle of language announces a new melancholy in a world in doubt.
Conceived for the Estonian Pavilion, Dénes Farkas’s Evident in Advance develops a vast diapason of issues, grouped around the elusiveness of language, the (im)possibilities of translation and the logic of infinite re-translations. Inspired by the adventurous storyline of American writer, Bruce Duffy’s ground-breaking novel, The World As I Found It (1987), a mélange of fiction and reality, truth and fakery, where history, biography and philosophy are intertwined in a witty narrative of the lives of three philosophers, Ludwig Wittgenstein, Bertrand Russell, and G. E. Moore, the exhibition is orchestrated as a composition based on slightly varying sets of a score: the articulations of the same story created from the carefully deconstructed novel and other related sources (the texts of the above-mentioned philosophers, texts of the authors and co-authors of the project) are spatialized within a given physical space and the mental space of the viewer’s perceptive field. Here, we are at the threshold of the construction of a meaning as an ongoing study of repetition and silence. Playing with the fragments and resetting the acknowledged codes of a game, but also desperately trying to decipher the borders—the end and the beginning—and, last but not least, the center—a guarantee of the meaning of the story—a story which might not be constructible, or one which does not exist at all—a phantasmagoria of sorts (but evident in advance…).
Dénes Farkas was born in 1974 in Budapest, and lives and works in Tallinn, Estonia. He graduated from the Estonian Academy of Arts and has received the annual art prize from the Cultural Endowment of Estonia. Farkas has participated in a large number of exhibitions since 1998, including Intimate Immensity (Musterzimmer, Berlin, 2012), Beyond (KUMU Art Museum, Tallinn, 2011) and neverneverland (Kunstlervereinigung MAERZ, Linz, 2011). His recent solo exhibitions include A Day That Does Not Exist (Hobusepea Gallery, Tallinn, 2012) and Images to Words (Napa Gallery, Rovaniemi, Finland, 2012).
Adam Budak has been Curator of Contemporary Art at the Hirshhorn Museum and Sculpture Garden, Washington DC, and Kunsthaus Graz, Austria. He has curated a large number of international exhibitions, including solo shows for John Baldessari, Tatiana Trouvé, Cerith Wyn Evans, and Monika Sosnowska, as well as thematic exhibitions, such as Human Condition, Anabasis. Rituals of Homecoming and Passion of an Ornithologist. Budak has contributed to two editions of the Prague Biennial (2003, 2005) and to the Venice Architecture Biennale (2004). He was co-curator of Manifesta7 (2008). Budak collaborated with Dénes Farkas for the exhibition Beyond within the context of the Fotokuu project (Photography Month) at Kumu Art Museum in Tallinn in 2010.
Evident in Advance has been developed in close collaboration with Studio Miessen, led by Markus Miessen in Berlin.
The exhibition is accompanied by a publication designed by Zak Kyes (Zak Group) and published by Sternberg Press. It will include essays by the philosophers, Daniele Monticelli and Adriana Cavarero, the linguist Martin Prinzhorn, the writer Bruce Duffy, and the architect Markus Miessen, as well as a rich visual report on Evident in Advance by the artist himself. The project will be introduced by a critical text from the curator, Adam Budak.
The Estonian Pavilion is located in the Palazzo Malipiero, San Samuele Square, S. Marco 3199.
The press conference will take place in Tallinn on 18 March at KUMU, Art Museum of Estonia with the participation of artist Dénes Farkas, curator Adam Budak, architect Markus Miessen, designer Zak Kyes, representatives of the Estonian Ministry of Culture and the Center for Contemporary Arts, Estonia.
The Venice Biennale is the oldest and largest international art forum, and Estonia has participated since 1997. The Center for Contemporary Arts, Estonia is the official representative of the Estonian exposition at the Venice Biennale. The commissioner in charge is Johannes Saar, director of CCA, Estonia.
The competition for the 2012 Estonian exposition attracted 13 projects and the evaluation took two rounds of meetings. The winner was chosen by a nine-member panel of artists and representatives from various art institutions, including Sirje Helme (Art Museum of Estonia), Reet Mark (Tartu Art Museum), Andres Kurg (Estonian Academy of Arts), Kaido Ole (artist), Katrin Kivimaa (Estonian Academy of Arts), Johannes Saar (Center for Contemporary Arts), Maria-Kristiina Soomre (Estonian Ministry of Culture), Christian Schoen (Kunst-Konzepte, Germany) and Jan Boelen (Z33, Belgium).
Estonia’s participation at the 55th International Art Exhibition in Venice is supported by the Estonian Ministry of Culture.
More information: Maria Arusoo, deputy commissioner firstname.lastname@example.org.
Full information about the project at www.evident-in-advance.com.
Central Asian Pavilion
Oslo-based artists Ayatgali Tuleubek (Kazakhstan, 1985) and Tiago Bom (Portugal, 1986) have been appointed curators for the Central Asian Pavilion at the 2013 Venice Biennale.
For the fifth time, Central Asia will be represented at the Biennale by artists from Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan, with the Academy of Fine Art/Oslo National Academy of the Arts as the commissioning institution and Hivos (Humanist Institute for Development Cooperation) as partner and main supporter. The project team includes commissioner Vanessa Ohlraun, Dean, and project leader Susanne M. Winterling, Professor of the Academy of Fine Art in Oslo.
The curators will unfold their concept of Winter – inspired by a poem from the influential 19th century Kazakh poet and thinker Abay Qunanbayuli – in the Central Asian Pavilion in Palazzo Malipiero with six artistic statements by eight selected artists. An important part of the programme is the cycle of film screenings, conferences and seminars that will take place in several cities in Central Asia and Oslo, from spring through to autumn 2013, as satellite projects, prior to and during the Biennale. The curators’ programme further includes a website platform for exchange and shared practice, as well as a publication accompanying the exhibition and satellite events.
Abay’s poem ‘Winter’(1888), though commonly read as a depiction of the natural phenomenon and a traditional lifestyle, will be reinterpreted through its elements as a series of metaphors for the current socio-political situations in Central Asia. The curatorial project Winter will stress the complexity of the region’s current context, by employing tools of a poetical and metaphorical language to achieve a deeper understanding of the regional situation, both from within, and in relation to, the rest of the world.
A much-needed light is intended to be shed on historical facts, motivations and desires, represented by the people that inhabit these specific spaces.
As a result of an open call by the curators for artists from Central Asia, the Pavilion will present works by the following:
Visual artists and scenographers Kamilla Kurmanbe-kova (1986) and Erlan Tuyakov (1985), from Kazakhstan. Both artists graduated from Kazakh National Academy of the Arts and will collaborate on an installation for the pavilion.
Ikuru Kuwajima (1984), originally from Japan, but based in Kazakhstan, works with photography and editorial projects focusing on Central Asia and the former Soviet Union.
Kyrgyzstan-raised multidisciplinary artist Aza Shade (1988) is based in London, where she graduated from Central Saint Martins with a BA in Graphics (Moving Image). Her work plays with dark humour and the absurd, based on dysfunctional childhood, mental disorders and poverty.
Anton Rodin (1988) and Sergey Chutkov (1984) both from Tajikistan, will work on a collaboration. Both artists have a background in linguistics and journalism.
Saodat Ismailova (1981) from Uzbekistan studied filmmaking at Tashkent State Art Institute before joining the cinema department of Fabrica, a communication research centre in Italy. Ismailova is interested in the crossover of fiction and documentary observation, with a special focus on sound and cinematic experimentation.
Vyacheslav Akhunov (1948) from Uzbekistan is one of the most distinguished artists in Central Asia today. As an artist, writer and philosopher his work comprises abstract paintings, installation, performance and video art as well as numerous essays and novels. His recent exhibitions include participation in documenta 13 (2012), the Beirut Art Center (2012) and the New Museum, New York (2011).
The project team of the Central Asian Pavilion will further include Venice coordinator Andris Brinkmanis and Central Asia coordinator Yekaterina Serebryanaya.
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The Garden of Delights
The artist Mladen Miljanovic, representing Bosnia and Herzegovina at the 55th International Art Exhibition of la Biennale di Venezia, will present a solo exhibition of new works titled “The Garden of Delights” at Palazzo Malipiero in Venice from June 1 to November 24, 2013. It is after a ten-year intermission that Bosnia-Herzegovina will participate again in the International Art Exhibition of the Venice Biennale. Its attendance in the 55th biennial event in Venice this year bears the heavy load of a new beginning, one that is expected to serve as a precedent for its national participation in the future. The initial impetus came from the Museum of Contemporary Art of the Republic of Srpska, which proposed a model intended to overcome the long-standing impasse at the state level. The participation model proposed by the initiating institution has been approved by the Ministry of Civil Affairs of Bosnia and Herzegovina, in agreement with the relevant ministries of the Republic of Srpska and the Federation of Bosnia and Herzegovina. Political disagreements continually made it impossible for local artists and projects to exhibit in this prestigious internal political and economic impediments it has to encounter. And its art, although practically imperceptible from outside the country, abounds in both people and events.
The Garden of Delights
In that sense, the selected project, The Garden of Delights, is a highly socially engaged work of art, which seeks to create effects from multiple historical perspectives, and with strong connotations drawing on the socio-political, ethical, economic and cultural context of the Eastern European society, which the artists come from. The project ensemble consists of three interconnected smaller ensembles, a marble triptych, a video clip and an installation, and the artist, as its creator, posits himself as an activist whose practice and production impose themeselves as a model in a highly specific way, making possible engagement originating in the local community, i.e. environment. His knowledge of the global world, up-to-the-minute and relevant, filtered through the local context, creates a new, clear artistic insight, which is a significant determinant of the entire ensemble. The idea behind the complete project of The Garden of Delights is that of people’s unbridled desires, of personal truths underneath the collective absurdity of the contemporaneity, as perceived across Bosnia. The conceptual framework of the project is reminiscent of Hieronymus Bosch’s famous Renaissance triptych The Garden of Earthly Delights (c. 1500), and it is firmly rooted in today’s physical world of common people’s various experiences, as the most authentic and the most banal realities of post-transition society. Mystical and provocative even for today’s interpreters, the triptych by Hieronymus Bosch was the initial inspiration for the work of Mladen Miljanović; rather complex and materialised in a way which is, by comparison with contemporary art techniques, quite non-standard and atypical, his ensemble consists of drawings engraved on marble slabs, a stonework tradition commonly used in tombstone decoration in the Balkans.
For this work he said:
-- The work emulates manual tombstone engraving, which I did before enrolling in the Academy of Arts.
- The installation contains more than 100 tombstone motifs found and collected in the Central Balkans.
-- People mainly choose these motifs as illustrations of their indulgences and because they wish to see them immortalised by means of the real.
-- The emergence of this manner of representation coincided with the rise of the kitsch and turbo-folk culture in the 1980’s and 1990’s.
-- The scenery as shown in the painting The Garden of Earthly Delights by the Renaissance painter Hieronymus Bosch provided the foundation for this work.
-- The work is the outcome of a five-hundred-year-long debate and revises the notion of pleasure and its different contemporary representations as a stereotypical and pessimist vision of society.
-- The form of the image of a personal indulgence becomes an expression of the collective absurd and disharmony.
-- In this case, the graveyard is an area storing an encyclopaedia of images of individual lives joined into a garden of a collective eternity.
What awaits us in the future, what our reality is and how it is represented are the major issues found in this artificial post-communist paradise, in which art, according to Boris Groys, often appears innocent, insufficiently critical or radical, following the utopian logic of inclusion rather than the realist logic of exclusion, struggle and criticism. Spatial and temporal relations, their homogeneity and heterogeneity, are but formal aspects constituting the social particularities against which real life happens. The inherent idea of afterlife representation as Miljanović sees it is conveyed using the ready-made aesthetics, borrowed from the mass media, the everyday and some popular aspects of life of Bosnian people. Their subversive sociological, ethnological and ritual characteristics are an image of the existent representations of a mass culture that has taken over post-transition society, reflecting the failure of its economy and privatisation, political paradoxes and intolerance, and the nontransparent nature of the new models of private ownership.
While realising his concept, Miljanović made a video to be used as an accompaniment to the exhibit, which he called Sweet Harmony of the Absurd and in which members of the Banja Luka Philharmonic simultaneously play their favourite pieces. The multiplicity of this melodious plurality, tinted with personal wishes, interests and lifestyles as found in society, reflects the heterogeneity of Bosnia and Herzegovina and its cultural dynamics, at times synchronous and stimulating, at others crippling and disasterous to utter ruin. Sweet Harmony of the Absurd is an authentic representation of the ambivalent makeup of Bosnian and Herzegovinian society, marked by conflicting sentiments and attitudes. Integrated with The Garden of Delights, it rounds off Mladena Miljanović’s peculiar artistic discourse, strongly marked by an awareness of constant affirmation, according to which human creativity is best stimulated by desire.
An extensive exhibition catalog will present reproductions of many earlier works of Mladen Miljanovic and provide artist’s biography and professional texts.
Born in Zenica in 1981, completed the secondary school in Doboj. After the secondary school he attended the Reserve Officer School where he earned the rank of sergeant. As a sergeant he trained 30 privates. After completion of the military term he enrolled at the Academy of Arts (Department of Painting, BA-MA) in Banja Luka. Lives in Banja Luka and works at Academy of Arts University of Banja Luka.
Born in Banja Luka in 1972. Holds a degree in the history of art from The Faculty of Philosophy, University of Belgrade. In 2008, she completed an interdisciplinary postgraduate course in the theory of art and media at The University of Arts in Belgrade, winning a master’s degree. In 2011, she defended a doctoral dissertation entitled „Ideological, Aesthetic and Art Models in the Artworks of Bosnian and Herzegovinian Female Artists from 1945 until 2005” at The Faculty of Philosophy, University of Belgrade. Works at The Museum of Contemporary Art Republic of Srpska as a Museum Consultant in the Records and Exhibition Department. Author, curator and selector in a number of projects on contemporary art, media and gender. Author of professional and academic papers in the fields of museology, gender theory and contemporary art. Author of the books In the Civic Mirror: Female Identities in Bosnia and Herzegovina’s Civic Culture 1878–1941, MSURS, Banja Luka, 2009; and together with Bojana Pejić „Mirostories: Contemporary female art and its post-2000 contexts, MSURS, Banjaluka, 2012. Professor at The Faculty of Information Technology and Design Banja Luka. President of the ICOM National Committee Bosnia and Herzegovina.
Born in Bihać in 1977. Holds a bachelor’s degree from The Academy of Arts in Sarajevo and a master’s and doctoral degrees from The Faculty of Philosophy, University of Zagreb, Department of History of Art. Currently teaches a group of subjects in the field of humanities at the Department of Textile Design of The Technical Faculty of Bihać University (Art History; History of Textile and Clothing; Sociology of Culture and Fashion). His research interests include contemporary art, architecture and clothing in conflict contexts, with a special focus on Bosnia and Herzegovina. Apart from academic work and research, author of a number of art reviews and texts published in magazines in Bosnia and Herzegovina and Croatia. From 2010 to 2012, Irfan Hošić wrote art reviews and texts for the Sarajevo weekly DANI, one of which won him the BIRN Award (Belgrade, Serbia). Curator and author of several curatorial projects. As an assistent curator he was part of the second cycle of Biennale of contemporary art D-0 ARK Underground in Konjic.
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In occasione dell'inaugurazione del Padiglione della Bosnia ed Erzegovina alla 55. Esposizione Internazionale d’Arte – la Biennale di Venezia l'artista Mladen Miljanović eseguirà una performance speciale dal titolo "Il peso dei desideri" per celebrare il ritorno del suo Paese a Venezia dopo dieci anni d'assenza.
ll primo e ultimo padiglione della Bosnia ed Erzegovina alla Biennale di Venezia risale infatti al 2003.
La performance si terrà giovedì 30 maggio 2013 alle ore 19.30 presso la sede del padiglione della Bosnia ed Erzegovina a Palazzo Malipiero 3198, Venezia. Seguirà l'inaugurazione ufficiale.
Immagine: Irena Lagator Pejović, The Society of Peaceful Co-existence, Santa Croce sull´Arno, 2012. Floor installation, prints 300 x 560 cm. Photo Andrea Abati ©. Courtesy the artist
Inaugurazione: 30 maggio 2013, ore 18:30 con l’intervento di Bazon Brock, artista e professore di Estetica e Educazione culturale presso la Bergische Universität di Wuppertal
S. Marco 3199, San Samuele - Venezia
10:00 – 18:00
chiuso il lunedi, escluso lunedì 3 giugno e lunedì 18 novembre 2013