Dobrodošli, Bojan Mrđenović

(fotografije, 2007. – 2011.)

Intimni životni prostori ovih slavonskih sela su ostali bez svoje namjene i svojih stanara. Vrata i prozori sa njih nestaju, zidovi se urušavaju pod težinom krovova. Kuća u kojoj se ne živi brzo propadne. Na ulaznim vratima jedne od kuća netko je kredom nacrtao križaljku i napisao riječ Dobrodošli.

Fotografije često navode na krivi zaključak da se radi o posljedicama rata. Ipak, one nisu posljedica izvanrednog ratnog stanja ni brzog razaranja, već sporog i dugog procesa odumiranja zbog ekonomskih i egzstencijalnih prilika. Tamo gdje je nekad postojao život više ga nema, a ono što je bila periferija sada je još više periferija.

Ovaj rad će biti postavljen u galeriji Podroom u Kulturnom centru Beograda od 4.07. do 25.7. u okviru izložbe Tišina je ovde gluvoća / Silence is deafness here.

English below:

Welcome, Bojan Mrđenović

(photographs, 2007. – 2011.)

Intimate living spaces these Slavonian villages were left without their purpose and their tenants. Doors and windows are disappearing, walls are crumbling underneath the weight of the roofs. The house that nobody lives in, quickly decays. At the front door of one of the houses, someone made a drawing of a cross with a chalk and wrote the word Welcome.

The photographs often cite the wrong conclusion that these are the consequences of the war. Nevertheless they are not a consequence of an exceptional state of war, nor a rapid war destruction, but rather a slow and a long-term processes of decay due to economical and existential occasions. Where there once was life, now there isn’t, and what once was a periphery is now even more a periphery.

This piece will be presented in the gallery Podroom at the Cultural Center of Belgrade from 4.07. to 25.7. within the exhibition, Silence is deafness here.

Obećana zemlja, Maja Hodošček

(video, 2010.)

„Obećana zemlja“ je video koji je Hodošček napravila 2010. godine zajedno sa svojim komšijama – radnicima na građevini koji su emigrirali iz zemalja bivše Jugoslavije, i koji su u trenutku snimanja živeli i radili u Sloveniji.

Članstvo Slovenije u Evropskoj uniji označava prosperitet i razvoj, nudeći netačnu sliku realnih ekonomskih i političkih uslova. Slika Evropske unije predstavlja glavni razlog zbog kojeg ljudi sa teritorije bivše Jugoslavije odlučuju da ostave svoje porodice i traže posao u drugim državama.
U Sloveniji, ovi ljudi su eksploatisani na razne načine.

Video „Obećana zemlja“ adresira problem kroz neformalne razgovore tokom ručka između Hodošček i radnika.

http://www.hodoscek.com/index.php/work/promised-land

Maja Hodošček je za ovaj rad 2010. dobila OHO nagradu – Young Visual Artist Award.

English below:

Promised Land, Maja Hodošček

(video, 2010)

Promised Land is a video that Hodoscek made in 2010 together with her neighbors – construction workers that had immigrated from former Yugoslavian countries, at the moment of filming living and working in Slovenia.

Slovenian EU membership signifies prosper and development, delivering an imprecise image of the actual economic and political condition. The image of EU frames the reasons upon why men from ex-Yugoslavian territory decide to leave their families and search for work in another country. In Slovenia, these men are being exploited in many ways.

Video Promised Land addresses the problem by approaching it through an informal conversation that took place during lunch between the workers and Hodoscek.

http://www.hodoscek.com/index.php/work/promised-land

Maja Hodošček won the OHO award in 2010 – Young Visual Artist Award for this video.

Maja_Hodoscek_PROMISED-LAND

Svetska mapa migracija (2010-2015), Doplgenger

(Instalacija na zidu, 2016)

Instalacija je istovremeno apstrahovanje i objektivacija podataka koji reprezentuju globalnu mrežu migracija u periodu između 2010. i 2015. godine.
Za izradu mape su korišćeni podaci Odseka za populaciju UN-a – broj globalnih migranata analiziran prema zemljama prebivališta i zemljama porekla.

Ovaj rad će biti postavljen u galeriji Podroom u Kulturnom centru Beograda od 4.07. do 25.7. u okviru izložbe Tišina je ovde gluvoća / Silence is deafness here.

English below:

World Migration Map (2010-2015), Doplgenger

(Wall installation, 2016)

The installation is at the same time the abstraction and objectification of the data representing the global net migration between 2010 and 2015.
The data for the map comes from the UN Population Division’s estimates for Total Migrant Stock — the number of global migrants, broken down by country of residence and country of origin.

This piece will be presented in the gallery Podroom at the Cultural Center of Belgrade from 4.07. to 25.7. within the exhibition Silence is deafness here.


i u očima gladnih raste gnev, Doplgenger

(četvoro-kanalna audio-video instalacija, 2016)

Za naslov instalacije umetnički duo Doplgenger koristi frazu iz romana Džona Stajnbeka, Plodovi gneva (1939). Roman o nemaštini, egzodusu, eksploataciji i socijalnoj isključenosti porodice farmera tokom Velike depresije iz 1930-ih godina, predstavlja referentnu tačku za pogled ovog umetničkog dua na istorijske i savremene migracije, koje su ekonomski prouzrokovane.

Doplgenger interveniše u snimak jugoslovenske televizije, koja je snimala proces privremenih ekonomskih migracija u Zapadnu Evropu tokom 1960-ih.

Centralni motiv video instalacije „i u očima gladnih raste gnev“ je voz, zajedno sa pokretom. Pokretne slike i slike ekonomski motivisanih mobilnosti reflektuju se jedna u drugoj.

Ovaj rad će biti postavljen u galeriji Podroom u Kulturnom centru Beograda od 4.07. do 25.7. u okviru izložbe Tišina je ovde gluvoća / Silence is deafness here.

English below:

and in the eyes of the hungry there is a growing wrath, Doplgenger

(four-channel sound-video installation, 2016)

The title of video-sound installation “and in the eyes of the hungry there is a growing wrath” takes the phrase from John Steinbeck’s The Grapes of Wrath (1939). The epic novel about the distress, exodus, exploitation, and social exclusion of a family of Midwest farmers during the Great Depression of the 1930s provides the point of reference of Doplgenger’s view of economically caused, historical and contemporary migration movements.
Doplgenger intervened into the footage of Yugoslav television, which had been recording the processes of temporary economic migration to the Western European countries in the 1960s.

“The departing train is the backbone motif of the video installation “and in the eyes of the hungry there is a growing wrath”, and with it the theme of movement. The moving image and the image of economic-driven mobility are reflective of one another.”
– Verena Gamper

This piece will be presented in the gallery Podroom at the Cultural Center of Belgrade from 4.07. to 25.7. within the exhibition Silence is deafness here.


Filmske novosti 63, Nika Autor

video, 39’, 2017.

Filmske novosti 63 koristi format filmskih novosti i nastoji da pozicionira i razume jednu scenu – isečak videa snimljenog na čuvenoj liniji voza Beograd-Ljubljana, kojom migranti sada putuju, ne u kupeima, nego između točkova voza. Filmske novosti 63 se bavi vizuelnim ispitivanjem železničkih pruga i istražuje njihove istorijske, društvene i političke narative. Esejistički i asocijativni elementi Filmskih novosti 63 povezuju ovaj istorijski narativ sa našom potragom za srećom, idejom putovanja u trenutnoj društvenoj konstelaciji, u kojoj je naša čežnja za srećom previše često vezana za ideju putovanja – ili pak za potrebu da se obezbede osnovna sredstva za preživljavanje.

Montaža: Nika Autor, Ciril Oberstar
Muzika: Mateuž Kolenc, Miha Šajina
Narator: Pia Nikolič
Prevod: Maja Lovrenov
Produkcija: Muzej savremene umetnosti, Ljubljana/KGLU-Koroška galerija likovnih umetnosti, Slovenj Gradec

Rad je produkovan za potrebe izlaganja u paviljonu Republike Slovenije na Venecijanskom bijenalu 2017. godine.

Trejler: https://vimeo.com/222230484

Ovaj rad će biti postavljen u galeriji Podroom u Kulturnom centru Beograda od 4.07. do 25.7. u okviru izložbe Tišina je ovde gluvoća / Silence is deafness here.

English below:

Newsreel 63, Nika Autor

video, 39’, 2017.

Newsreel 63 follows newsreel-related practices and tries to position and understand a particular image – a shred of video taken on the once famous Belgrade – Ljubljana rail-line, where refugees now travel not in couchettes but between the train’s wheels. Newsreel 63 drifts into a visual investigation of railways and explores its historical, social and political narrative. The essayistic and associative elements of Newsreel 63 link this historical narrative to our pursuit of happiness, the idea of voyage in the current social constellation, where our longing for happiness is all too often tied to the idea of travelling somewhere – or indeed the need to secure the means for mere basic survival.

Editing: Nika Autor, Ciril Oberstar
Music: Matevž Kolenc, Miha Šajina
Voice: Pia Nikolič
Translation: Maja Lovrenov
Production: MSUM/KGLU

The piece was created for the needs of the exhibition in the Pavilion of the Republic of Slovenia in Venice biennale 2017.

Trailer: https://vimeo.com/222230484


This piece will be presented in the gallery Podroom at the Cultural Center of Belgrade from 4.07. to 25.7. within the exhibition Silence is deafness here.


FORUM RESHAPE, LUBLIN, POLJSKA

Ksenija Đurović je učestvovala ispred Udruženja BRINA na forumu RESHAPE održanom od 1. do 3. aprila 2019. u Lublinu (Poljska). Forum je okupio umetnike/ce i radnike/ce u kulturi iz Evrope i Južnog Mediterana zainteresovane za alternativne prakse i organizacione modele u polju umetnosti i kulture.

Ksenija Đurović participated in front of BRINA Association at RESHAPE forum in Lublin (Poland), 1-3 April 2019. Forum gathered artists and art workers from Europe and South Mediterranean interested in alternative practices and organisational models for the arts and culture.

RESHAPE FORUM IN LUBLIN

Brina je partizansko ime Marte Paulin, jedne od pionirki modernog plesa u Sloveniji, koja se pridružila partizanima u Drugom svetskom ratu. Nažalost, zbog promrzlina za vreme pohoda 14. brigade, morala je završiti svoju karijeru aktivne plesačice. Međutim, fotografije Jože Peteka koje prikazuju Brinu kako pleše pred borcima novoosnovane Rapske brigade, postale su ikonične slike partizanske koreografije.

Brina is Partisan nom de guerre of Marta Paulin, one of the pioneers of modern dance in Slovenia. She joined the Partisans and unfortunately finished her career in modern dance because her legs froze during a campaign that 14th brigade undertook. But photographs made by Jože Petek that show Brina dancing in front of large number of fighters of the newly founded Rab Brigade became iconic images of the Partisan choreography.