‘Belgrade reader’, critical insight in the project

A short critical text I wrote on the subject of The Belgrade reader, a project initiated by three Serbian writers with the intention of placing a new statue in the public space. The idea is to follow European tradition of no-name monuments, sculptures whose main puspose is to be likeable and attractive to tourists. Unfortunately, they achieve no real communication with the audience and remain very shallow, limiting the viewers imagination. In the time when art constantly imposes new questions, these monuments stand ignoring them all – using allways the same instrument to evoke simple enjoyment. I wanted to point out the difference between this kind of art and the one that I find much more profound, sometimes using a very similar form, such as George Segal’s Three figures on four benches. The text was published in tha daily newspaper Politika on January 24th 2015.

BEOGRADSKI ČITAČ – tekst objavljen u Kulturnom dodatku Politike 24. januara 2015


An encounter in Kralja Petra I Street

One of the art history courses I attended in MA studies was led by proffessor dr Jelena Todorović and dealt mainly with the phenomenon of time and the effect of it on the space of the city. Our task was to do a theoretical, historical research on one of the streets from the narrow center of todays Belgrade city and then to do an artwork dealing with the same subject. The project, named Kako grad pamti (The city and it’s memory) resulted with an artistic exhibition shown first in the gallery of the faculty (Galerija FLU) in October 2014, and then in the National museum of Kraljevo (http://nmkv.rs/?p=9450) in February 2015.

The paper I wrote on the subject of the city history focused on Kralja Petra I Street in Belgrade and especially on changes of social relations and structure that made the street what it is today. I found myself fascinated by social dynamics of this city area, which used to be the center of city life in most historical periods. During the existence of Roman empire in the city of Singidunum there was an important street behind the military camp that matches almost entirely with the space of today’s street. Even then it was the place of the greatest societal significance, with the Forum and the Temple of Jupiter. During the Middle Ages there used to be a temple dedicated to Saint Mary and as we get closer to our time, we can find more and more information on important institutions and places of social activity that exhisted in this area. Images I used in this work represent the old hotel building from the 19th century that used to have its own theater and a tavern, the replacement of the old stone cobble, a place called Citizens messroom (Građanska kasina) that had a function similar to today’s cultural centers and many other important places.

The matter that I found most inteesting was the selectivity of collective memory in which hardly remains some place for remembering ‘small’, insignificant moments and events, such as the ordinary encounter of two acquaintances and the appearance of a cat in front of them, an everyday conversation that takes place in the outdoor area of the street. Such events almost never have any great effect on the city’s history, but they always build the social relations a little up, becoming one part of this complex network that will determine the next phase of development of the city and it’s people. I wanted to show the possibility of constant reoccurring of such situations through all the historical times, having in mind the unavoidable uniqueness of each one.

Installation view - altered photographs and the sculpture

Installation view – altered photographs and the sculpture

The authentic document of one encounter (summer 2014)

The authentic document of one encounter (summer 2014)

citaliste talbotipija dmm m

an old talbotypie

žrtvenik mali m

part of the altar from Jupiter’s temple

stub senka mala

pillar from medieval Madonna’s temple


three ‘frames’ from a conversation


Gallery of FFA (Galerija FLU)

ulica kp dmm bolja m staro zdanje dmm 2 m rekonstrukcija kolovoza dmm m ka uzun mirkovoj m ka narodnoj banci m ickova kuca dmm m gospodarski konak dmm m

Installation view - National museum of Kraljevo

Installation view – National museum of Kraljevo

peepbox made for the February exhibition

peepbox made for the February exhibition

look inside the box

look inside the box

Artistic interventions III

Third in the series of workshops in the gallery Magacin took place in december 2014. Faced with the problem of finding space for futher artistic experiments with space and this kind of workshops that encourage free and alternative artistic practice, in this new work I tried to deal with the matter of obstruction of communication.

One work consisted of three photographs representing the “place of lively communication”, using once again chairs as objects that evoke strong associations of human presence, as well as the actual chairs covered in black cloth.

In the other work I used light, in a way, as a substitute for the material form of people conversing with each other. The space between them, on which I tend to look at as on the main area of exchange and forming relations, has now become no more than a shadow, a lack of light.

d IMG_0386m d IMG_0380m

d IMG_0511 m

d IMG_0506m

d IMG_0507 m

d IMG_0512m

Looking at social activity, part III

fiktivna situacija


An installation designed to suggest an imaginary situation with non-existing relations

A group of matching chairs in colours of commonly used in graphic schemes alludes to a situation of a social communication with a higher level of intensity and complexity than the one actually observed in the sampled space. A chair, being an everyday object, designed for human use and constructed in a way that suggests a specific position and orientation of the body, creates an assotiation with human presence. The chairs are arranged in a way to construct disfunctional relations between one another and between them and the space around them in order to underline the fictional aspect, the unfullfilness of the possible social interactions.

magacinopening2  magacinopening1


instalacija koja sugeriše hipotetičku situaciju i nerealne odnose

Grupacija istih stolica u bojama osnovnih šematskih prikaza stvara aluziju na situaciju socijalne komunikacije sa većim intenzitetom i složenošću od one koja je zatečena u realnom okruženju. Stolica kao objekat za svakodnevnu upotrebu, namenjena čoveku i konstruisana tako da predviđa određeni položaj, orijentaciju tela, kada je opažena u prostoru, stvara asocijaciju na ljudsko prisustvo. Položaj stolica, njihova disfunkcionalna orijentacija jednih u odnosu na druge i u odnosu na prostor galerije podvlače fiktivni aspekt, neostvarenost mogućih društvenih odnosa.

Looking at social activity, part II


spatial, sculptoral approach used to enlighten a specific moment of artistic collaboration

The sculptoral form consisting of seven plates with contours of two workshop participants. These seven „frames“ represent the time flow of one specific situation which is actually a part of the only co-authoring process during the creation of artwork in this workshop. Recognizable shapes of two human figures as being observed from one spot emphasize the idea of extracted frames, which happens to be the basis of the method used to create the work – the only source of data was a video that was made during the workshop, representing the actual, spontaneous social interaction in a shared workspace.

konture 2

konture 1   konture 3



prostorno, skulptorsko rešenje  kojim se osvetljava
trenutak najintenzivnije umetni
čke saradnje

Forma sastavljena od „ramova“ sa konturama dva učesnika na radionici oslikava tok jedne, određene situacije vezane za jedini primer koautorske saradnje u nastajanju radova. Koristeći se isečcima, konturama dve figure posmatrane sa iste tačke, ona podvlači utisak niza „frejmova“, isečaka videa, koji je zaista i bio osnovno sredstvo za prikupljanje materijala – snimak razgovora koji se realno i spontano odvijao u prostoru galerije, ispred zajedničkog rada.

Looking at social activity, part I

This was one part of my work at the exhibition in Magacin. Scheme representing social interactions that occured during the workshop was illustrated by five photographs showing some of the conversations. Photographs have been altered to underline phisical aspects of informal communication. Text explaining the idea was also shown as a part of the work and it is given here.

šema sa fotografijama

gallery layout scheme 

 0428 sa linijom  7155 sa linijom S

0421 sa linijom0398 sa linijom S0410 sa linijom

One part of this work was a black line on the floor put exactly in the spot where one conversation took place (the one emphasized by the red line on the third photo).

projekcija razgovora na podu


scheme representing the actual activity

Methodical analisys of the communication that took place in the gallery space „Magacin“ during the workshop represents a simulation of a scientific procedure, but with the goals of putting emphasis on the visual aspect and pointing out artistic work. Method of the analisys retains some of the scientific elements, such as these aspects of the sampling procedure – definite number of subjets (in this particular sample, all participants in the workshop), definite observation period (the duration of the workshop) and specific space considered (represented by the layout of the gallery space). The only interpersonal activity to be analized here is communication considering art –conversations on the matter of arworks, artistic cooperation and collaboration. The scheme can be looked at as a case study made to enligten the process of forming and development of artistic cooperation. Using the map legend, it is possible to „track“ movements of the subjects (allthough with no chronological data, which was not included in the analisys) and their involving in different social situations, usually informal.


šema realne situacije

Metodična analiza komunikacije koja se u prostoru Magacina odvijala tokom trajanja radionice predstavlja simulaciju naučnog postupka, ali sa akcentom na vizuelnom prikazu i na umetničkom delovanju kao ciljevima. Postupak koji je u analizi sproveden zadržava naučnost u pogledu uzorkovanja, baveći se ograničenim brojem subjekata (koje čine svi učesnici ove radionice), u ograničenom vremenskom periodu (trajanja radionice) i konkretnom prostoru (prikazanom planom galerije). Takođe, jedini tip komunikacije koji je uzet u obzir jeste profesionalna komunikacija, umetnička saradnja, razgovor o radu i zajednički rad. Šema se tako može smatrati studijom slučaja koja razjašnjava formiranje i razvoj umetničke saradnje kroz neke njene aspekte. Uz pomoć legende priložene na planu, moguće je pratiti kretanje učesnika (bez hronološkog aspekta koji u ovu analizu nije uveden) i stupanje u različite situacije komunikacije, neformalno konstituisane.