Igor Bošnjak
Micro Static Cinema
NARODNI MUZEJ CRNE GORE
ATELJE DADO
Micro Static Cinema | Sinematičnost Mikro Statičnog
„... najvažnije mjesto gdje postoji moje djelo nije galerija muzeja, soba za projekcije, ili TV,
ni čak na video platnu, nego u mislima gledaoca koji ga je vidio. Zapravo, ono samo tamo i
može postojati“ - Bill Viola, Stejtment 1989.
Tokom svoje istorije duge više od pola vijeka prisutnosti u savremenoj umjetničkoj praksi
video instalacije su postale jedna od dominantnih formi umjetničkog izražavanja. Iz perspektive
sve veće zastupljenosti i sve brojnijih umjetnika koji su iz drugih medija prešli u video ili su ga
koristili u određenom trenutku svoje karijere kao dominantan ili „pomoćni“ medij, ispostavljaju
se kao istinite davno izrečene proročke riječi umjetnika Nam June Paika da će „katodna cijev
zamjeniti platno“. Formalno, takav je slučaj i sa umjetnikom Igorom Bošnjakom, slikarom po
obrazovanju, koji se kako sam kaže „usled zasićenosti slikarstvom“ usmjerio ka fotografiji
i videu, ali i bavljenju teorijom umjetnosti i kustoskim radom. Da li time njegova umjetnost
može biti tretirana i kao Gesamkunstwerk – totalno umjetničko djelo, koje može biti shvaćeno
kroz nekoliko nivoa percipiranja (kako sugeriše u radu Četiri u jedan), a on sam u potpunosti
odgovoran za njegovo kreiranje i tumačenje – kao umjetnik, teoretičar i kustos? Nije li umjetnik
izborom tema na neki osoben način blizak šamanu po svom vizionarskom, profetskom,
anticipatorskom u promišljanju života, kako to smatra Bil Viola, čiji rad nas čini „svjesnim naše
smrtnosti koja definiše prirodu ljudskog bića“1 a čiji su autorski koncepti i način percipiranja
životnih tema bliski i Bošnjaku?
Micro Static Cinema je kompilacija video radova nastalih tokom poslednjih pet godina u
kojima primjenjuje netipičan tretman videa kao medija, tumačeći ga u direktnoj relaciji prema
fotografiji iz koje je i potekao. “Statičnost pokretne slike koja je lišena pokreta (uslovno rečeno),
mirovanje i kontemplacija javljaju se kao same teme ili lajt-motiv, pokušava da pokrene gledaoca
(u ovom slučaju zaustavi) na diskusiju i promišljanje mnogobrojnih značenja i konsekvenci
koje ova metafora danas može da ima”(I.B.). Izostavljanjem uobičajenih tehničkih postupaka
i upotrebom still kadrova, preispituje relacije između nepomičnosti i pokretnosti slike čime
dovodi u pitanje našu percepciju i provjerava koliko daleko je moguće ići u razumjevanju te
relacije. Tako „zadržavajući vizuelni realizam jedinstven za fotografski proces, film kao rezultat
zadobija plastičnost koja je prethodno bila jedino moguća u slikarstvu ili animaciji.“2 Minimalizam
u primjeni tehničkih sredstava podrazumjeva najčešće izostavljen zvuk, ili je ograničen samo na
usput uhvaćene glasove ili šumove u prolazu, koji kao da su u funkciji razbijanja dileme da li je
u pitanju fotografija ili statični kadar.
Najbolji primjer za takav postupak je rad 13 fotografija (2008) – film koji je direktno proizišao
iz fotografije a koji je “vraćen” nazad ka fotografiji po načinu na koji se scene doživljavaju.
Smjenjivanjem statičnih kadrova subjekata koji poziraju “u vremenski fiksiranoj tačci nekretanja”
po nekoliko desetina sekundi, stvara utisak da se gleda slideshow. Samo zbivanja iz drugog plana,
kretanje prolaznika, zvuci sa ulice – život koji se nesmetano odvija, “remete” našu percepciju.
Ovakav način rotiranja značenja pojma vremena posredno sugeriše koliko je tanka linija
između ova dva medija, a za njihovo razumjevanje je važan kontekst u koji su smješteni. Vrijeme
kao konstantna postavljeno je nasuprot vremenu kao zaustavljenom trenutku u “dvostrukoj
stvarnosti” – jednoj u pozadini koja je nezaustavljiva i drugoj u prvom planu – zamrznutoj a koju
mi doživljavamo kao sliku.
U Bošnjakovom djelu umjetnost je u službi estetizovanja sumorne (balkanske) svakodnevice snažno određene religijom, ratovima, politikom i različitim medijskim manipulacijama
čije nas opojno katkad benigno, a znatno češće maligno dejstvo vrlo često hipnotiše, ali ne
u najboljem maniru velikih hipnotizera, već “bombardujući” nas informacijama i ispraznim
slatkorječivostima koje mase po pravilu pasivno apsorbuju.
1 Otto Neumaier, Space, time, video, Viola; u: The Art of Bill Viola, Thames&Hudson, London, 2004, 47
2 Lev Manovič, Metamediji, izbor tekstova, priredio Dejan Sretenović, Edicija VIR co/No 2 , CSU Beograd, 2001, 90
“Hipnotička seansa svakog filmskog / video autora ispostavlja se kao blagotvoran čin
kojim ovaj univerzum, barem na neko vrijeme, postaje ljepše / teže mjesto za život.” (I.B.)
Neo-krst (2007) je dio kompleksnog projekta Mesija koji objedinjuje radove nastale u
različitim medijima, od fotografije do videa, u periodu 2006-2008. Koristeći različita sredstva
Bošnjak preispituje odnos prema doživljaju religioznih predstava u savremeno doba. Vrijeme
brze konzumacije informacija pretvara sve u potrošnu robu. “Potrošno pseudociklično vreme
je spektakularno vreme, kako u užem smislu, kao vreme proizvedeno u konzumiranju slika,
tako i u opštijem smislu, kao slika potrošnje vremena.”3 A realnost vremena je zamjenjena
“publicitetom vremena”.4 Defragmentirana slika Hristovog tijela predstavlja svojevstan etički
diskurs na temu manipulacije svega i sa svim uključujući i religiju, koja je možda i jedna od sfera
života gdje su zloupotrebe najlakše ostvarive, i na prvi pogled manje primjetne. Izdvajajući
djelove njegovog tijela u posebne ekrane posredno otvara pitanje (zlo)upotrebe ideje o
Hristovoj žrtvi. Nudi nam otklon od uobičajenog tumačenja smrti radi iskupljenja, shvaćene
“kao privremenost” i novom životu koji je doživljen kao jedina konačnost : “Život i smrt (ovde)
nisu polariteti, kontrastne suprotnosti unutar iste sveopšte Celine (polje stvarnosti), već ista
stvar posmatrana iz različitih UNIVERZALNIH stanovišta.“5 Uvodeći priču u medijsku sferu
aktuelnu danas autor upoređuje značenje slike i preispituje njenu ulogu u odnosu na ranije
epohe. „Da li fotografija ili djelo realizovano u savremenom mediju mogu imati istu snagu kao
renesansna slika u ekspresivnosti i opisivanju određenog duhovnog stanja?“ (I.B.)
Neo-krst | Neo Cross, 2007.
3 Guy Debor, Društvo spektakla: Spektakularno vreme; paragraf 153. u: www.crsn.com/debord/drustvospektakla/
drustvo.htm
4 Ibid, 154
5 Slavoj Žižek, Čudovišnost Hrista, Teologija i revolucija, Otkrovenje, Beograd, 2008. 138
Mi nesumnjivo živimo u društvu ekrana - Lev Manovič, kojima smo izloženi na svakom
koraku, bilo da pomoću njih percipiramo svijet, ili smo mi sami predmet gledanja. I koliko
god djelovali naviknuti na uslove koje nameće društvo koje pretpostavlja mogućnosti
prilagođavanja sve većim zahtjevima, “kapitalističkoj etici trgovanja” i življenja, “mi,
kao ljudski subjekti koji su se zadesili u ovom novom prostoru, nismo održali korak sa
evolucijom…još uvek ne posedujemo perceptivni aparat koji bi odgovarao novom
hiperprostoru…delimično zbog toga što su naše navike percepcije formirane u ranijoj
vrsti prostora,(…) prostorom visokog modernizma.”6 To nas dovodi do raskoraka između
nametnutih zahtjeva i stvarnih mogućnosti i želja i gura u “šizofreniju”, ne kao bolest već
kao odraz kontinuiranog stanja presije kojoj je individua izložena i potrebe za udvajanjem
ličnosti, kako bi se dostigle sopstvene ambicije.
Tokom 90-tih godina naglo je poraslo interesovanje kuratora za Zapada za umjetničku
scenu istočne Evrope i Balkana. Za autore mlađih generacija koji su u to vrijeme bili pritisnuti
ratnom stvarnošću izlazak iz uskih domaćih okvira bio je od izuzetne važnosti. Međutim, bilo
je i onih koji su eksploatišući ratne teme gradili karijeru na svjetskoj sceni, nudeći ono što se
“dobro kotira”. Kroz niz radova Bošnjak senzibilnošću angažovanog i analitičnog umjetnika/
kritičara preispituje medijsku ekspolataciju žrtava u Bosni (Savremena groblja, 2010),
oživljavanjem događaja iz vlastite istorije (Re-konstrukcija, 2009), posledice koje su donijele
ratne okolnosti, (Rječnik, 2011), relacije između tržišta umjetnosti i galerijskog sistema sa
pozicije moći u odnosu na istočno-evropskog umjetnika (Pušenje i rolanje duvana, 2010) kao i
odnos kustosa sa Zapada prema umjetnicima i scenama koje su se tokom poslednjih decenija
formirale u zemljama istočne Evrope u znatno drugačijim socio-ekonomskim okolnostima.
Četiri u jedan (2010) i Pušenje i rolanje duvana (2010) pomjeraju granicu u kritici globalnih
sistema umjetnosti i tržišta. Da bi postao “konkurentan” i ustao “protiv takozvanih prirodnih
principa ili, protiv kapitalističkog društva” (Feliks Gatari) umjetnik “patentira” koncept umjetnik
/ kritičar / teoretičar /kustos. Sve u jednom. Svjesno raslojava ličnost sa namjerom da ispuni
sve zahtjeve koje savremeno tržište pred njega stavlja kao i vlastita potreba da izađe iz okvira
lokalne sredine, a istovremeno težeći da demistifikuje ustaljene norme funkcionisanja svijeta
umjetnosti.
Mirjana Dabović Pejović
Savremena groblja | Contemporary Cemeteries, 2010.
6 Frederik Džejmson, Valter Benjamin i presedan doba mehaničke reprodukcije; u: Fotografija, kritički uvod, priredila
Liz Vels, CLIO, 2006, 425
Micro Static Cinema | The Cinematic Nature of the Micro Static
“...The most important place where my work exists is not in the museum gallery, or in the
screening room, or on the television, and not even on the video screen itself, but in the mind
of the viewer who has seen it.” Bill Viola, Statement 1989
In its over half-a-century long presence in contemporary art practice, video installation
has become one of the dominant forms of artistic expression. In the context of its increasing
representation and growing numbers of artists who resort to video from other mediums
or who have used it as a dominant or “supplementary” medium at a certain point of their
career, the prophetic words by artist Nam June Paik that “the cathode-ray tube will replace
the canvas” uttered long ago, turn out to be truthful. In formal terms, this is the case with
Igor Bošnjak, painter by education, who, in his own words, “having had enough of painting”,
turned to photography and video, but also to art theory and curatorial work. Can thus
his art be also treated as Gesamkunstwerk – total work of art, which may be seen through
several layers of perception (as suggested in his work Four in One), and he himself as entirely
responsible for its creation and interpretation – as an artist, theoretician and curator? Isn’t
the artist with his choice of themes in a specific way close to a shaman with his visionary,
prophetic, anticipatory view of life, as Bill Viola maintains, whose work makes us “aware of
our mortality which defines the nature of a human being”1 and whose artistic concepts and
manner of perceiving life issues are close to Bošnjak, too?
Micro Static Cinema is a compilation of video works created over the past five years in
which the artist employs an untypical treatment of video as a medium, interpreting it in direct
relation to photography from which it came. “The static nature of a moving image devoid
of movements (conditionally speaking), inaction and contemplation appearing as themes
themselves or a leitmotif, is aimed at prompting the viewer (in this case stopping them) to
discussion and reflection on multiple meanings and consequences this metaphor may have
today” (I.B.). Avoiding the common technical procedures and using still shots, he examines the
relations between the stillness and the mobility of the image which questions our perception
and tests to what extent it is possible to understand the relation. Thus, “keeping the visual
realism typical of the photographic process, the film gains plasticity formerly possible only in
painting or animation.”2 Minimalism in the application of technical means most often implies
omitting the sound, or reducing it only to accidentally captured voices or noise apparently
serving the purpose of breaking the dilemma if it is a photo or a still shot.
The best example of such a procedure is the work “13 photographs” (2008) – a film which is
a direct product of photography and which was “brought back” to photography in the way
the scenes are experienced. The alternation of similar film frames with subjects posing “in the
point of non-moving fixed in time” lasting for several tens of seconds, creates an impression
of watching a slideshow. It is only the happenings in the background: the passage of passersby, street noise, undisturbed life, that “disturb” our perception. The way the meanings of the
notion of time are rotated indirectly suggests how thin the line between these two mediums
is, and what is of importance for their understanding is the context they are placed in. Time
as a constant stands against time as a stopped moment in “double reality” – one in the
background which is unstoppable and the other in the forefront which is frozen and which
we view as a picture.
1 Otto Neumaier, Space, time, video, Viola; in: The Art of Bill Viola, Thames&Hudson, London, 2004, 47
2 Lev Manovič, Metamediji, selection of texts, edited by Dejan Sretenović, Edicija VIR co/No 2 , CSU Beograd, 2001, 90
In Bošnjak’s works, art serves the purpose of aestheticising the bleak (Balkan) reality strongly defined by religion, wars, politics and various media manipulations, whose intoxicating
effect, sometime benign but more often malign, frequently hypnotizes us, but not in the
manner of great hypnotists but by “bombarding” us with information and worthless oiliness
usually passively absorbed by masses. “The hypnotic session of each film or video author
turns out to be a beneficial act with which this universe, at least for some time, becomes a
better / harder place to live in.” (I.B.)
Neo-cross (2007) is part of the complex project Messiah bringing together works created
in different mediums, from photography to video, in the period 2006-2008. Employing
diverse means, Bošnjak examines the attitude towards religious representations in modern
times. The time of rapid consumption turns everything into consumables. “Consumable
pseudocyclic time is spectacular time, both in the narrow sense as time spent consuming
images and in the broader sense as image of the consumption of time.”3 And the reality of
time has been replaced by the “publicity of time”.4 The defragmented picture of Christ’s body
represents a specific ethical discourse on the theme of the manipulation of everything and
with everything including religion, which might be among the spheres of life where abuse
is the easiest to achieve and less visible at first glance. By showing separate parts of his body
on separate screens, the artist indirectly brings up the issue of (ab)use of the idea of Christ’s
sacrifice. He offers a view departing from the common interpretation of death for the sake
of redemption, understood “as temporality” and new life which is seen as the only finiteness:
“Life and death (here) are not polarities, contrasting opposites within the all-inclusive Whole
(the field of reality), but rather the same thing viewed from different UNIVERSAL standpoints.”5
Introducing the story in the sphere of the media topical today, the author compares the
meaning of the picture examining its role in relation to the previous epochs.
13 fotografija |13 photographs, 2008.
3 Guy Debord, The Society of the Spectacle: Chapter 6 – Spectacular Time; paragraph 153 in: http://theanarchistlibrary.org/HTML/Guy_Debord__The_Society_of_the_Spectacle.html
4 Ibid, 154
5 Slavoj Žižek, Čudovišnost Hrista, Teologija i revolucija, Otkrovenje, Beograd, 2008, 138
“Can a photo or a work realized in a contemporary medium have the same power as a
Renaissance painting in their expressiveness and description of a certain spiritual state?” (I.B.)
We undoubtedly live in a society of the screen - Lev Manovich, which we are exposed
to at every turn, whether in that we perceive the world through the screen or in that we
ourselves become viewing objects. And no matter how accustomed we may seem to the
conditions imposed by society implying the possibilities of adjustment to growing demands,
“the capitalistic ethic of trading” and living, “we, as human subjects who happen to live in
this new space, have not kept pace with evolution…. We still do not possess the perceptive
apparatus which would suit the new hyperspace…partly because our perceptual habits were
formed in the former kind of space, (…) with the space of high modernity.”6 This brings us to
a discrepancy between the imposed demands and real possibilities and wishes, leading us to
“Schizophrenia”, not as an illness but as a reflection of a continual state of pressure individuals
are exposed to and the need for a split personality in order to fulfil our own ambitions.
In the 1990s, the interest of Western curators for the Eastern-European and Balkan art
scene suddenly grew. For younger generations of artists, at that time burdened by a war
environment, crossing the narrow local borders was of exceptional value. However, some
of them built their careers on the world scene by exploiting war themes, offering what
“sells well”. In a series of works, with the sensibility of an engaged and analytical artist/critic,
Bošnjak explores the media exploitation of victims in Bosnia (Contemporary Graveyards,
2010), reliving events from his own history (Re-construction, 2009); then the consequences
of war (Dictionary, 2011); relations between the art market and the gallery system from the
position of power in relation to the Eastern-European artist (Smoking and Rolling Tobacco,
2010); and finally the attitude of Western curators towards artists and scenes formed over
the past decades in Eastern European countries characterised by a significantly different
socio – economic context. Four in One (2010) and Smoking and Rolling Tobacco (2010) shift
the border in the criticism of the global systems of art and the market. In order to become
“competitive” and rise up “against the so-called natural principles or against capitalist society”
(Félix Guattari), the artist “designs” the artist / critic / theoretician / curator concept. All in one.
He splits his personality with the aim of fulfilling all demands imposed on him as his own by
the contemporary market and the need to cross the local borders, simultaneously striving to
demystify the established norms in the functioning of the world of art.
Mirjana Dabović Pejović
Veliki zagrljaj | Big Hug, 2011.
13 fotografija |13 photographs, 2008.
6 Frederik Džejmson, Valter Benjamin i presedan doba mehaničke reprodukcije; in: Fotografija, kritički uvod, priredila
Liz Vels, CLIO, 2006, 425
Born1981inSarajevo,formerYugoslavia.Lives
and work in Trebinje (Bosnia&Herzegovina)
as a conce-ptual artist, video-curator and he
has delved into the area of new media art,
experimental film and video. Also works as
a freelance theorist and reflects on the new
theoretical and art platforms in the domain
of film, video and cyberspace. Curently
works as a asistant professor at Academy of
Fine Arts in Trebinje.
Pušenje i rolanje duvana
Smoking and rolling tobacco, 2010.
SELECTED SOLO EXHIBITIONS:
2011 Messiah / Gallery dr. Vinko Perčić / Subotica / SR (cur. Spartak Dulić)
2011 Image - Time / Museum of Contemporary Art RS / Banja Luka / BA (cur. Nemanja Micevic)
2011 Aesthetics of Politics / Art Centre UBSM - University Library / Belgrade (cur. Selman Trtovac)
2010 Balkanication / Duplex Gallery, Sarajevo, BA (cur. Pierre Courtin)
2010 Smoking and Rolling Tobacco / (3 day performance) in front of Museum of Modern Art,
Ljubljana, SI
2009 PainThings, Gallery Josip Bepo Benković / Herceg Novi, CG (cur. Jasmina Zitnik)
2008 Paintings Of Inner Necessity / Gallery Academy of Fine Arts, Trebinje, BA (cur. Aneta Stojnic)
2007 Untitled / Gallery Most, Podgorica, CG (cur. Dobroslav Mrdak)
2006 Sides Of Life / Space of Britsh Council, Sarajevo, BA
2006 Emotionaly Landscapes / Museum of Herzegovina, Trebinje, BA (cur. Marko Musovic)
2005 Metaphisics Of Shadow / Gallery Koncept, Mostar, BA
2004 Drawing As A Soliloque / Gallery Friends of Arts Atanasije Popović, Trebinje, BA
SELECTED GROUP EXHIBITIONS AND SCREENINGS:
2011 Finalist exhibition for Art of Connecting m: tel Award, Cultural Centre Banski Dvor, Banja Luka, BA
Artist from the 10m2 collection / Duplex/10m2 Gallery, Sarajevo, BA (cur. Pierre Courtin)
Oslo Video Art Symposium / Atopia Film & VideoKunst Gallery, Oslo, NO (cur. Mona Bentzen)
The End And Beyond / 17th Week of Contemporary Art, Art Today Association, Centre for
Contemporary Art, Plovdiv, BL (cur. Vera Mlechevska)
45 Bora’s Week / Exhibition of Contemporary Art, National Museum, Vranje, SR (cur. Jelena Veljkovic)
2010 Heroes Corner-The Best Of The East / Budapest Art Fair, Mucsarnok, Budapest, HU (cur. Pierre
Courtin)
B&H Video Scene / Presentation, Kunst Museum, Bonn, DE (cur. Asja Hafner)
Zvono Finalist Award 2010 Exhibition, Museum of Contemporary Art RS, Banja Luka, BA (cur. Maja
Abdomerovic, Dunja Kukovec, Anja Bogojevic, Amila Puzic, Irena Sladoje, Pierre Courtin)
Exposures / Spa Port Biennial , Biennial exhibition of contemporary art, Cajavec Building, Banja Luka,
BA (cur. Antonia Majaca, Ivana Bago)
Balkan Video-Box / Nuit Blanche, Point Ephemere, Paris, FR (cur. Pierre Courtin)
Festarte Videoart Festival / Spazio Monitor, Macro Testaccio, Museum of Contemporary Art, Rome, IT
Real Presence 2010 / Museum of Belgrade City / Konak Kneginje Ljubice, Belgrade, SR (cur. Dobrila
Denegri)
BH Video Art / Photon Gallery, Ljubljana, SI (cur. Igor Bosnjak)
Keine Angst! / No Fear / Tapetenwerk Halle C, Leipzig, DE (cur. Ruta Virbickaite, Zane Zajančkauska,
Martina Zuzaňáková, Igor Sovilj)
P’silo Project / Festival Images Contre Nature, Théâtre des Chartreux, Marseille, FR
Virion Project / H-Block Gallery, Brisbane, AU
Invent Tura / Interdisciplinary Art Project, Terzic Gallery Banja Luka, BKC Gallery Mostar, BA (cur. Karin
Rolle, Sybilla Hausmann)
Video Loop / CAM Casoria, Contemporary Art Museum, Naples, IT
2009 Streaming Festival / BoekHorststraat 139 Gallery, Hague, NL
SUB Documents / Charlama Depo Gallery project, Skenderija Shopping mall, Sarajevo, BA (cur. Jusuf
Hadzifejzovic)
B&H Contemporary Art In The Fight Against The “Dead Hares” / Cultural Centre Banski Dvor, Banja Luka, BA
Dublin Electronic Arts Festival DEAF / Contemporary Music Centre, Dublin, IR (cur. Vladan Petkovic)
Arte Ciencia Innovacion / Espacio Center Canarias, Tenerife, ES
Art Verona 09 / A+A Galerie from Venice presents Contemporary art scene from Bosnia and
Herzegovina, Verona, IT (cur. Aurora Fonda, Claudia Zini)
III Kratkofil International Short Film Festival / National Theatre Republic of Srpska, Banja Luka, BA
Video Art Festival Miden / Amfeias Square Historic Centre, Kalamata, GR
Query in Situ & On Line Project / Exhibition in Public spaces Query OnLine, Munich, DE
The Imaginary Pavillion of Bosnia&Herzegovina / Galleria d’ Arte Moderna Palazzo Forti, Verona, IT (cur.
Aurora Fonda, Claudia Zini)
ARS Kozara / 3th Art in Nature Laboratorij, Prijedor, BH (cur. Marta Angelini, Claudia Zini)
Minimum Maximum / Gallery Cultural Center Banski Dvor, Banja Luka, BA (cur. UAA!)
Electronic and Sensitive / Visual Container Project, Milan, IT (cur. Silvio De Gracia)
2008 Video Art Festival / Konsthall Gallery, Orebro, SE (cur. Igor Bosnjak)
I Spa Port Biennial / Annual exhibition of contemporary art, Tereza Building, Banja Luka, BA (cur. Ana
Nikitovic)
Balkan House Cinema Festival / Kriterion Foundation, Amsterdam, NL
Alternative Film Video Festival / DKSG, Belgrade, SR
First Kriterion Meetings / Cinema Meeting Point, Sarajevo, BA
7th Kansk Film&Video Festival / City Cinema, Kansk, Moscow, RU
2nd Kratkofil International short film festival / Palace Cinema, Banja Luka, BA
namaTRE.ba 2 / International video exhibition / Academy of Fine Arts, Trebinje, BA
VideoPlay 07 / VII International festival of video & performance, Gallery Instituto de Humanidades,
Santjago de Chile, CL (cur. Silvio De Gracia)
2th International biennial of photography / Gallery of Art Pavillon ULUCG, Podgorica, CG (cur.
Aleksandar Cilikov, Lazar Pejovic)
2007 Real Presence 07 / Gallery Remont, Belgrade, SR (cur. Dobrila Denegri)
Visual Dislocation / International exhibition of contemporary art, Museum of Contemporary Art RS,
Banja Luka, BA (cur. Protok)
Floating Sites Real Presence / Gallery mKm Magacin, Belgrade, SR (cur. Dobrila Denegri, Biljana Tomic)
Clovek Spomenik / 4th Video Salon, City Gallery, Velenje, SI
2006 Alternative Film Video Festival / Festival of Film and New Video, DKSG, Belgrade, SR
V Inport / Polymer Culture Factory, Warm Studio, Talin, ES
Real Presence 06 / Main Exhibiton, Gallery of Legacy House, Belgrade, SR (cur. Biljana Tomic)
XXXVIII Yugoslavien Palette of Youth / Gallery of Cultural Center, Vrbas, SR
The Mediatized Body / Hotel Dada, Buenos Aires, AR (cur. Silvio De Gracia)
Anymous New Media Exhibition / City Gallery of Pilzen, Pilsen, CZ (cur. Michal Crysl)
2005 VI KEF / Exhibition of short electronic forms, Gallery of cultural center REX, Belgrade, SR
In Place of Fear / Student Cultural Center SKC, VIP Art Gallery, Belgrade, SR
IMPORTANT AWARDS AND GRANTS:
2011 BH Finalist for Henkel Art Award, Zagreb, CR
2010 Finalist of ZVONO Young Visual Artist Award 2010, Sarajevo Center for Contemporary Art,
Sarajevo, BA
2008 Grant for Cultural Programe and Scoolarship, Ministry of Culture, Banja Luka, BA
2007 First award for Experimantal Video, 4th Video Salon, Velenje, SI
2006 Grant for Cultural Programe, Pro Helvetia Swiss Cultural Programe, Sarajevo, BA
EDUCATION:
2000-2005 Paintings, BFA, Academy of Fine Arts Trebinje, University of East Sarajevo, BA
2007-2008 Theory of Art and Media, MA, Interdisciplinary Department, University of Arts, Belgrade, SR
2008-2011 undergraduate final year student of Theory of Art and Media, PhD, Interdisciplinary
Department, University of Arts, Belgrade, SR
WORKSHOPS:
2011 Narrative Video Workshop, SCCA/Pro.ba, Sarajevo, BA
2009 XV Sarajevo Film Festival, SFF 3 Talent Campus, Sarajevo, BA
2008 Video art Workshop, Paralel event of Spa Port exhibition, Laktasi, BA
2007 Real Presence, International art workshop for young and emerging artists, Belgrade, SR
2006 Real Presence, International art workshop for young artists, Belgrade, SR
ARTIST TALKS AND PRESENTATIONS:
2011 Presentation of art and theoretical platform, Alternative Cultural Centre, Nis, SR
2010 Presentation of web art project BH Art Map at MOTA Transitory Museum, Ljubljana, SI
2009 Academic Film Centre, AFC, Belgrade, SR
2008 Konsthall Gallery Orebro, Sweden, SE
2008 2nd Land Art Laboratorij, Kozara, BA
2007 University of Arts, Interdisciplinary department, Belgrade, SR
2006 Gallery 063, Real Presence, Belgrade, SR
WORKS IN COLLECTIONS:
Gallery Vinko Perčić, Subotica, SR
Museum of Contemporary Art, Banja Luka, BA
CeKa Charlama Depo, Sarajevo, BA
Duplex / 10m2 Gallery, Sarajevo, BA
BIBLIOGRAPHY SELECTION:
Dobrila Denegri, Art Clue Magazine, pdf version,
Sibylla Hausmann / Karin Rolle, Invent Tura project, Robert Bosch Stiftung, Druckerei Friedrich Pöge,
Leipzig, ISBN 978-3-00-034380-3, 2011 (cat.)
Igor Bosnjak, Slika/Vrijeme, MSURS Banja Luka, ISBN 978-99938-45-56-0, 2011 (cat.)
Delve, Protok, SPAPORT Biennial 2009/2010, Exposures, ISBN 978-953-55786-4-2, Antonia Majaca, Ivana
Bago, 2011 (cat.)
Yellow Cab, Beograd, broj 115, mjesecno, ISSN 1451-4311, COBISS.SR-ID 184830727, 2011
Biljana Bosnjak, NIN, Beograd, broj 3142, ISSN 0027-6685, COBIS.SR-ID 3477762, 2011
Inventure Energije 2004-2010, MSURS Banja Luka, ISBN 978-99938-45-54-6, COBISS.BH-ID 1835800,
2011 (cat.)
Slavko Timotijevic, Art FAMA, mjesecno, broj 50, ISSN 1452-7170, COBISS.SR-ID 136375052, 2011
Milena Marjanovic, Blic, Beograd, broj 5054, ISSN 1451-0936, 2011
Vladan Cerovic, Belef Centar, Beograd, ISBN 978-86-86517-11-1, 2010 (cat.)
Igor Bosnjak, Balkanication, Samizdat, Sarajevo/Trebinje, 2010 (cat.)
Darka Radosavljevic, Remont Art Files 01, Beograd, ISSN 1821-0511, COBISS.SR-ID 155011596, 2009 (cat.)
ArtVerona09, published by Grafiche Siz, Campagnola di Zevio (Verona), 2009 (cat.)
Aleksandra Sekulic, Videography of the region, ISBN 978-86-7933-056-7, 2009
Amra Baksic Camo, 3 Sarajevo Talent Campus, XV SFF, STC Team, Sarajevo, 2009 (cat.)
Igor Bosnjak, namaTRE.ba 4, Samizdat, Trebinje, 2009 (cat.)
Ana Nikitovic, SPAPORT, ISBN 978-99955-617-0-3, 2008 (cat.)
Emir Imamovic, Casopis GRACIJA, Sarajevo, broj 53, ISSN 1840-071X, 2007
Aleksandra Sekulic, Alternative Film/Video, AFC Novi Beograd, ISBN 978-86-7933-047-5, Cobiss.Sr-ID
143603980, 2006 (cat.)
Re-Foto, Br. 26, Časopis za kulturu fotografije, Beograd, ISSN 1450-6394, 2004
Izdavač: Narodni muzej Crne Gore |
Za izdavača: Pavle Pejović |
Tekst: Mirjana Dabović Pejović |
Prevod: Olivera Kusovac |
Dizajn: Branka Vujović |
Štampa: DPC | Tiraž: 300
CETINJE, april, 2012.