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I Slobodan Tisma je bio deo te ekipe. A u svom romanu Kvatro Stadjione s podsmehom govori o cirkajnu kvasa i koce ispred dragstora, kao vrhunskom performansu u ono vreme. Takodje, ubistvo pandura (oko koga je izgradjen ceo zaplet price) je isto tako ultimativni performans :DIma li sta od konkretne literature o toj novosadskoj sceni, neki naslov?

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Ajd posto smo apsorbovali Vojnu na Art Abortus Klinici, ubuduce vesti o njima na ovom topiku. Elem, ne znam kako sam uspeo da propustim ovo:

How Banksy bailed out Russian graffiti artists VoinaBritish graffiti artist Banksy may never have been seen in public but his nearest Russian equivalents cannot seem to keep out of the news these days - thanks partly to the Russian police.Leonid Nikolayev and Oleg Vorotnikov, members of the radical art collective Voina, were freed from custody last week after nearly four months awaiting trial for overturning police cars in St Petersburg. They held a press conference on Thursday to talk about their ordeal. On their way home, accompanied by Oleg's wife Natalia Sokol and his two-year-old son, Casper, they noticed they were being followed by seven men, who looked like "typical thugs". When Natalia started taking pictures of the men, they tried to grab the camera. In the struggle she was pushed into a puddle and dragged by the hair, so violently that one of her braids was ripped out. "They said they were from the Criminal Investigation department," she said when I eventually reached her by e-mail. "But if they really were police investigators they behaved pretty strangely." Oleg added: "They waved their IDs, but we couldn't examine them. Then they attacked Leonid from behind and rained down blows on my back and my head." The baby pram was given a violent push, knocking Casper's face hard against a wall. St Petersburg police could not be reached for comment but a spokesman told the Russian news agency RIA Novosti that "preliminary investigations" were under way.Full frontalThe news conference was the artists' first public appearance since they walked free from jail - thanks to Banksy paying 300,000 roubles (£6,500) bail for each of them. At the time of their release I received breezy e-mail from Leonid. "We're in excellent spirits," he wrote. "Prison has been a most interesting and revealing adventure." That is not the way most people would describe being locked in a filthy, bug-infested cell for three months. But then most people wouldn't try crossing one of Moscow's busiest roads with a blue bucket over their head. Leonid, also known as Crazy Lenya, pulled off that stunt earlier this year to protest against the widespread abuse of blue emergency lights by bureaucrats and businessmen.The name of the collective, Voina, means war, and its artists delight in full frontal confrontation. Their defining moment came last summer when they painted a giant penis on a St Petersburg drawbridge facing the local headquarters of the Federal Security Service, successor to the KGB. But it was the overturned police cars that proved the last straw for the authorities and landed Lenya and Oleg Vorotnikov behind bars.I met the artists in Moscow a couple months after this exploit, and asked Lenya if he wasn't afraid of being attacked or arrested. "Our society has lived in fear for so many decades, we are trying to wake it by kicking it," he replied. Two weeks later, though, it was the police who did the kicking. At dawn on 15 November, 10 plainclothes policemen broke into the apartment where the group was staying. "The cops laid Oleg and Lenya face down, tied their hands behind their backs and put plastic bags on their heads," Natalia explained later. "They told us they were armed and had the right to use their weapons. Then they flung the guys on to the metal floor of a van and drove to St Petersburg."Bedbugs and fascistsThe artists were accused of aggravated hooliganism, a charge that applies in cases of "incitement of hatred against an ethnic, religious or social group" and carries a maximum five-year prison sentence. It is typically used to protect gays, foreigners and other minorities - the "social group" in this case is the Russian police. Natalia posted the letters Oleg wrote her from St Petersburg's infamous Kresty prison on the art collective's website. He said there were "bedbugs everywhere" in the eight-square-metre cell he shared with five other people. As a newcomer, Oleg had to sleep on the top bunk which inmates call the "palm tree" because it is uncomfortably close to a bare light bulb that shines day and night and is never switched off.Among the inmates he met were fascists who had decapitated their disloyal comrade and kept his head in the fridge. "Diseases are rampant", he added. "In almost every cell there is at least one person with HIV or hepatitis. It's against prison rules to keep sick inmates among the general population, but they do it anyway." It was when Banksy heard my report on Radio 4's From Our Own Correspondent programme, and discovered that the artists had been locked up, that he offered to pay to get them out - but the court initially rejected their bail application.Psychiatric testsI met Natalia with her little boy Casper in Moscow in late January. She told me she was very grateful for Banksy's support. For Voina, she said, the British artist was an "inspirational figure" and they admired his "mystique and unpredictable sense of humour". Last week Leonid's lawyer, Pavel Chikov, filed a case with a the European Court of Human Rights in Strasbourg, claiming that the Russian authorities had neither cited sufficient evidence against the artists nor justified holding them indefinitely in pre-trial detention. The following day (24 February) the Russian judge finally accepted the British artist's bail money. Oleg and Lenya emerged triumphant and boasted that they had recruited some more Voina members inside the pre-trial jail. But the charges against them still stand. In fact, there is a risk that they may be re-incarcerated and subjected to psychiatric tests, which lawyers say the investigator in charge of the case has asked for."This looks like the return of punitive psychiatry," said Igor Ryabchikov, Oleg's lawyer, referring to the Soviet-era tactic of forcibly sectioning dissidents. The lawyer also intends to fight his client's tough bail terms - which include an obligation to give the authorities two hours' notice every time he wants to leave the house. If he is ever deemed to have broken the conditions, he will be rearrested and Banksy's money will be forfeited. Ironically, Voina's penis-on-the-bridge stunt titled A Dick Captured by the FSB was recently nominated for a state prize for contemporary art - only to be mysteriously removed from the shortlist a week ago. Leonid's response was terse: "They can do what they like with the penis - we don't have copyright." Natalia added: "Voina never has and never will participate in any awards or money prizes. Our art touches people. And no-one dares fix a price to it."
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I Slobodan Tisma je bio deo te ekipe. A u svom romanu Kvatro Stadjione s podsmehom govori o cirkajnu kvasa i koce ispred dragstora, kao vrhunskom performansu u ono vreme. Takodje, ubistvo pandura (oko koga je izgradjen ceo zaplet price) je isto tako ultimativni performans :DIma li sta od konkretne literature o toj novosadskoj sceni, neki naslov?
izdanja msub, izdanja muzeja savremene u novom sadu i kuda.org je nesto stampala. konkretno faktografija (stura donekle) se moze naci unova umetnost u srbiji 1970 - 1980 i dekadnim knjigama jese denegrija.kuda.org je imala neke tribine i svasta nesto relativno skoro.
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Salon Muzeja savremene umetnostiPariska 14, Beogradtel/fax: +381 (0)11 2630 940www.msub.org.rsRadno vreme: od 12h do 20h Utorkom je Salon zatvoren za publiku.............................................................................................. Milorad Mladenović: [strah od ništa](29/04 – 29/05/11) Otvaranje izložbe: petak, 29. april 2011. godine u 20.00 časova.............................................................................................. Milorad Maldenović, Strah od nista, print instalacija, 2010. U Salonu muzeja savremene umetnosti biće predstavljena izložba [strah od ništa] beogradskog umetnika Milorada Mladenovića. Mladenović u svojim radovima često prožima vizuelnu umetnost i arhitekturu, kroz višemedijske oblike i instalacije uspostavlja priču upravo o savremenosti, aktuelnim društvenim referencama. Kroz predstavljene radove u Salonu Mladenović pokušava da postavi u ravan naznačene bitnosti, trudeći da na što celovitiji način ukaže na više nivoa sa kojih se može posmatrati pitanje egzistencije u savremenim okolnostima življenja. U tom smislu, izložba se može posmatrati kroz nekoliko celina. Kroz radove Strah od ništa 01 i 02, Večiti format, No title-Gormiti umetnik predstavlja realnost egzistencijalnih okolnosti obuhvaćene simptomima straha. Zatim, kroz radove Nije loše, Pripremna nastava ili Situacija prikazuje ličnu egzistencijalnu nemoć i strah. Potpuno odsustvo društvene komunikacije, pa i prezir prema toj komunikaciji predstavlja se radovima poput Belgrade destructed poem monument ili Destructed belgrade sentences kroz slike pukog uništavanja javnog (uličnog) govora iako taj govor još samo na ulici ima (najčešće) svoju sopstvenu iskrenu autentičnost. Radovima poput FB chronicle (Hronika Facebooka) ili Knjiga opisuje krajnja, šizofrena i potpuno nečitka stanja društvene komunikacije. Sa radovima poput ATS, No title [Deset zapovesti] ili 67/3 Mladenović pokušava da izvrši unos smisla u društvenu komunikaciju i time otkrije mogućnosti za zajedničko izbavljenje od egzistencijalnih strahova koji nas prate. Na izložbi [strah od ništa] možemo uočiti osnovnu dilemu koja se odnosi na vezu između razaranja životne sredine i problema društvene komunikacije. Prema ličnom uverenju umetnika ova veza se bazira na odsustvu široke društvene komunikacije na svim nivoima predstavljaći osnovnu nemogućnost da se čovek suoči sa okolnostima u koje je zapao. U introspekciji ništavnosti svuda oko nas kroz nematerijalne, ništavne, brzo pulsirajuće i prolazne reči, parole, društvene procese, poboljšane uslove komunikacije ali samo kao vid informacije a ne znanja, Mladenović daje personalni stav ali i širu, opštu sliku. Zapravo, jednan od zaključaka ove izložbe može da bude i taj da kada kultura uspostavlja prostor pogodan za razvoj međuljudske razmene informacija, ona uspostavlja isto tako destruktivnu zajedicu, čiji rezultat jeste društvena fragmentacija a kroz to i pražnjenje subjektivnosti. „Za mene, kao autora, bilo koji upis u strukturu rada otvara prostor komunikacije iako je ta komunikacija nužno i razložno skromna. U tom upisu, kao interakciji, nalazi se seme jednog mogućeg boljeg sveta. Za mene bi uspeh ove izložbe bio već bilo kakav oblik dopisivanja ili korespodencije kakvu ova izložba pokušava da inicira.’’-navodi Milorad Mladenović Na inicijativu kustosa Salona Une Popović tokom trajanja izložbe biće upriličen javni program sa umetnikom pod nazivom Umetnik kao publika koji koncipira umetnica Mirjana Boba Stojadinović. Više o forumu Umetnik kao publika na sajtu http://razgovori.wordpress.com/. ......................... Milorad Mladenović je diplomirao na Fakultetu likovnih umetnosti i na Arhitektonskom fakultetu u Beogradu. Magistrirao je iz oblasti Crteža na FLU. Profesionalnu aktivnost započinje nizom likovnih intervencija u galeriji Studentskog kulturnog centra u Beogradu 1994/1996.godine. Nakon toga učestvuje u većem broju grupnih i samostalnih izložbi i radionica iz oblasti vizuelnih umetnosti i arhitekture. Član je Udruženja likovnih umetnika Srbije, Saveza arhitekata Srbije i Društva arhitekata Beograda. Saradnik je u više projekata Radionice 301 na Arhitektonskom fakultetu u Beogradu 1996/1998., i grupe za projektovanje i edukaciju Machin a iz Beograda 1999/2000. Dobitnik je većeg broja nagrada iz oblasti vizuelnih umetnosti i arhitekture. Tri puta je biran u selekciju izložbe Kritičari su izabrali u Kulturnom centru Beograda i to 1997,1998. i 2002. godine. Dobitnik je dve nagrade Oktobarskog salona u Beogradu, 2000. i 2003. godine.Najznačajnije izložbe: Bikinihausu u Berlinu 2003, u bečkoj Secesiji 2004, u Muzeju savremene umetnosti u Beogradu 2005. i na 10. bijenalu arhitekture u Veneciji 2006. Radi na Arhitektonskom fakultetu Univerziteta u Beogradu od školske 1995/1996.godine. Vanredni je profesor na Departmanu za arhitekturu Arhitektonskog fakulteta Univerziteta u Beogradu i član Saveta Fakulteta od 2009. godine.
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Remont - nezavisna umetnička asocijacija, koja je 2000. godine otvorila istoimenu galeriju, nastaviće aktivnosti kroz projekte i gostovanja predviđenih izložbi u prijateljskim prostorima, u nadi da će u pregovorima s lokalnim vlastima, koje je započela još krajem prošle godine, uspeti da pronađe novo, odgovarajuće rešenje za svoju osnovnu - galerijsku aktivnost. Prema navodima Remonta, iako stalno na ivici opstanka, do sada su uspevali da prevaziđu sve ekonomske teškoće i održe programe na profesionalnom nivou, a krajem prošle godine, svesni da više nije moguće obezbediti sredstva za zakup i održavanje prostora (oko 600 evra mesečno, bez komunalija i drugih troškova), započeli su i niz aktivnosti i pregovaranja u vezi sa pronalaženjem drugog, adekvatnijeg, prostora za galerijsku delatnost. Ti napori ostali su, međutim, za sada bez uspeha.“I pored dobre volje predstavnika lokalne samouprave, do danas nismo uspeli da pronađemo odgovarajuće rešenje”, saopštio je tim Remonta. Remont je naveo i da bez sistematskih promena i usklađivanja kulturne politike sa praksom u realnim uslovima, sva lična, pojedinačna zalaganja ostaju, na žalost, potpuno nevidljiva i bez rezultata. Tako je, nkon bezuspešnog trošenja lične energije i znanja, i doneo tešku odluku da otkaže zakup galerijskog prostora od 1. juna.“Sticaj okolnosti i apsurdna situacija da smo primorani da žrtvujemo galerijski prostor, nas sve više usmerava da se posvetimo drugačijim vidovima delovanja u oblasti savremene umetnosti. Sve svoje aktivnosti nastavićemo da realizujemo i dalje. Više međunarodnih, lokalnih i regionalnih projekata, koji se ne tiču direktno galerijskog programa, su u toku. Predviđene a nerealizovane izložbe, ostvarićemo u drugim, prijateljskim, prostorima u Beogradu”, poručio je Remont, koji će o problemima, planovima i idejama konkretnije obavestiti javnost na konferenciji za novinare 19. maja u prostoru galerije u Staklencu.Asocijacija Remont, osnovana 1999. godine, već više od decenije važi za jedno od najznačajnijih i najaktivnijih mesta na beogradskoj i srpskoj kulturnoj mapi. Više od 10 godina Remont asocijacija aktivno sprovodi ciljeve oživljavanja domaće art scene, promocije, popularizacije savremenog umetničkog izraza, povezivanja sa aktuelnim međunarodnim dešavanjima, saradnje i pomoći drugim organizacijama i pojedincima. Od 2000. godine u prostoru galerije Remont održano je više od 300 programa (izložbi, promocija, projekcija, diskusija), u kojima su učestvovali najznačajniji srpski savremeni umetnici svih generacija. U Remont galeriji su se prvi put predstavili mnogi, danas uspešni i međunarodno priznati autori, kako iz Srbije, tako i iz inostranstva. Tim Remont galerije, na čelu sa Darkom Radosavljević Vasiljević, čine i Miroslav Karić, Saša Janjić i Marija Radoš.
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