22. International Multimedial Art Festival - IMAF 2020 

4th - 26th September 2020 Odžaci - Novi Sad 

For the first time, in the organization of the International Multimedia Art Festival - IMAF, there is an unexpected change in the very concept of presentation and creation of works. The IMAF festival is a manifestation known for the works of artists whose works were created live, during the realization of multi-day programs. After twenty-one years, the IMAF festival is facing an insurmountable obstacle, an obstacle in the form of emergency measures throughout the country, adopted to prevent the spread of coronavirus. This year's IMAF festival, the 22nd in a row, is embarking on a new adventure, going into the realm of virtual reality. The entire program of this year's festival, from September 4th, to 9th, will be presented online. We hope that this unwanted transformation will bring some new quality, by digitizing the body and spirit, in the unexplored spaces of the virtuality of social networks.

We do not rule out the possibility that these measures of the authorities will be abolished in the near future. Then it would be possible to realize the IMAF 2020 festival in normal circumstances. In that case, the IMAF 2020 festival would be held on schedule, from September 4th to 6th. The live program would be held with performances by local authors and hopefully with some projects by artists from abroad. The live program of the festival would be held in Odzaci (abandoned Motel "Sumice") and Novi Sad (SULUV Gallery).

Nenad Bogdanovic

 

Po prvi put, u organizaciji Međunarodnog festival multimedijalne umetnosti – IMAF, dolazi do neočekivane promene u samoj koncepciji predstavljanja i nastajanja radova. IMAF festival je manifestacija koja je poznata po delima umetnika čiji su radovi stvarani uživo, tokom realizacije višednevnih programa. Nakon dvadeset jedne godine IMAF festival se nalazi pred nepremostivom preprekom, preprekom u obliku vanrednih mera u celoj zemlji, donetih radi sprečavanja širenja koronavirusa. Ovogodišnji IMAF festival, 22. po redu, kreće u novu avanturu, odlazeći u područje virtuelne stvarnosti. Celokupni program ovogodišnjeg festivala, 4., 5. i 6. septembra, biće prezentovan onlajn. Nadamo se da će ova neželjena transformacija doneti neki novi kvalitet, digitalizovanjem tela i duha, u neistraženim prostorima virtuelnosti društvenih mreža.

Ne isključujemo mogućnost da ove mere vlasti budu ukinute u bliskoj budućnosti. Tada bi bilo moguće realizovati festival IMAF 2020 u normalnim okolnostima. U tom slučaju bi se IMAF 2020 festival održao prema rasporedu, od 4. do 6. septembra. Program uživo bi se održavao uz nastupe lokalnih autora i, nadamo se, uz neke projekte umetnika iz inostranstva. Program festivala uživo biće održan u Odžacima (napušteni Motel Šumice) i Novom Sadu (Galerija SULUV).

Nenad Bogdanović

22nd International Multimedial Art Festival - IMAF 2020
4th - 26th September 2020
Odzaci - Novi Sad

- On September 4th and 5th, 2020 in the Motel "Sumice" in Odzaci - live performances (without an audience) with live stream presentations.
Performances:
- Spike Mclarrity (UK) on Sept. 4th in 15:30 CET and Sept. 5th in 17:00 CET live stream
- Sasa Denic-Spena (Serbia) on Sept. 5th in 17:00 CET live stream
- Nenad Bogdanovic (Serbia) on Sept. 5th in 17:00 CET live stream

- On September 6th, 2020 in the SULUV Gallery in Novi Sad - live performances (without an audience) with live stream presentations. Performances and live stream start in 10:00 CET.
Performances by three artists:
- Spike Mclarrity (UK)
- Sasa Denic-Spena (Serbia)
- Nenad Bogdanovic (Serbia)

- From September 4th to 9th, 2020 video presentation of performances online, artists from around the world.

- From September 21st to 26th, 2020 in the SULUV Gallery in Novi Sad will be held exhibition with the title "IMAF 2020 - Distance time". Exhibition of the photographs, digital prints and presentation of video works.

IMAF 2020 festival participants live, online and live stream performances:

Alexandra Holownia (Poland-Germany)
Amy Guilfoyle (Ireland)
Anita Cheng (Hong Kong-China)
Artur Tajber (Poland)
Calum Eccleston (UK)
Craphone Liu (Taiwan)
Dagmar I. Glausnitzer-Smith (Germany) & Vincenzo Fiore Marrese (Italy)
Dimple B, Shah (India)
Edwin Jimeno (Colombia)
Eva Dabara (Israel)
Fausto Grossi (Italy-Spain)
Heather Warren-Crow (USA)
Hortense Gauthier (France)
Ileana Gherghina (Romania)
Irena Paskali (Macedonia-Germany)
Izabela Brudkiewicz (UK)
Janusz Plota (Poland)
Lavoslava Benčić (Slovenia) & Marcello Lussana (Italy)
Lorenzo Papanti (Italy)
Makoto Maruyama (Japan)
Maura Prosperi (Italy)
Nenad Bogdanovic (Serbia)
Nitesh Kushwaha (India)
OPEN ACTION - John G. Boehme, Madeleine Elia, Brenda Petays, Judith Price, Grace Salez, Jayne Storey (Canada)
Paloma Orts (Spain)
Ras Sankara (Togo)
Ruth Vigueras Bravo (Mexico)
Sanskar Verma (India)
Sarah H. Paulson (USA)
Sasa Denic-Spena (Serbia)
Satadru Sovan (India)
Seiko Kitayama (Japan)
Sofia Vera (Mexico) & Makame Orozco (Mexico)
Spike Mclarrity (UK)
Stephanie Hanna (Germany)
Syporca Whandal (Hungary)
Vaishak Raj (India)
Valeria Barbas (Moldova-Romania)
WWW Johannes Deimling (Germany)

IMAF 2020 review:

Performance art and the posibility of encounter in 2020

The covid-19 virus pandemic has brought about numerous changes in our lives. In many countries, precautionary measures during certain periods in 2020 suspended the possibility of long-distance and international travel, suspended the possibility of moving on weekends, the possibility of moving outside the half-kilometre parameter, and in some cases even the possibility of moving at all except for four hours throughout an entire week. Many activities are paused, both on a social and individual level. People move minimally for months, as much as family and business obligations require them to do so. In this context, cultural and artistic practices are also changing, and it is also the case with the International Multimedia Art Festival (IMAF).

Until now, IMAF has taken place in such way that the artists from different parts of the world were coming to towns Odžaci and Novi Sad in Serbia and were creating in a new environment, with the community or for the community they would encounter there, making new acquaintances and connections with the artists who would participate that year. This year, like most cultural events, IMAF mostly took place on digital platforms, more precisely, the most important segment of the Festival took place on digital platforms – the reception of works by the audience and the meeting between the artists themselves. While so far the performances at IMAF have been documented in order to be preserved in media form, this year most of the performances have been documented or had a live broadcast so that a wider audience can see them. This change, as restrictive as it may seem at a first glance because it reduced the possibility of direct presence of the audience in hope of ending the spread of the pandemic, opens several creative fields for performance art that artists immediately noticed and used. 

One field is presenting the environment in which the artists currently find themselves. As this year the artists did not come to Serbia,[1] but performed in the towns where they are living, we had the opportunity to see small parts of Taiwan, Canada, Japan, the state of Togo, and other places, as well as the parts of those cultures. As the pandemic forced us to spend most of our time at home, a large number of artists used that very home and everyday environment as a place to work and as inspiration for creation. Thus Izabela Brudkiewicz (UK) creates the Semiotics of a Child Kitchen in which she captures her daughter describing various objects in the kitchen, thus reminiscing on the video Semiotics of the Kitchen by Martha Rosler. Craphone Liu (Taiwan) performs on the roof garden of his building, Dimple B. Shah (India) in the house where she lives, Makoto Maruyama (Japan) reads us his poem from his room, while Valeria Barbas (Moldova) puts on the windows of her house big X signs, that is, lines along the diagonals, which we see on the windows of houses where no one lives. Apart from the fact that in this way we meet artists in their living environment, we also see their works from our home, from our personal environment, which makes the effect of the performances far more individual, personal and intimate than while being performed in a public space. Despite the fact that medialization prevents direct presence, the homely atmosphere restores that feeling of individual connection between the artist and the audience.

The second field which the digital distribution of performance art opens is the field of video art. It enables performance art to apply many video techniques such as image and sound editing and manipulation, resulting thus in multimedia works. If we go back to the history of video art, we will see that in its beginnings it was inseparable from performance, artistic actions and procedural art, documenting ephemeral artistic actions in public space and combining them with documentation of material works of art, such as drawings, paintings and installations. This is exactly what happens when, due to a pandemic, performance “moves” into the field of media art. In Girl Intoxicated, Ileana Gherghina (Romania) combines video acceleration, editing, drawings of various facial expressions that become masks and turning on a bridge as semantic elements with which she builds an audio-visual narrative of identity and alienation. Calum Eccleston (UK) in I Understand Only in Human Terms uses blue light and the zoom option on the camera to capture his breathing until it becomes an abstract image. Heather Warren-Crow (USA) creates an audio work combining speech with breakfast sounds, while Syporca Whandal (Hungary) in The Punishment of Cain combines archival photographs of war crimes, an action within which she pulls a stone like people in labour camps, with other visual and audio materials. Sofia Vera and Makame Orozco (Mexico) create a small multimedia theatre play Hamlet-machine, in which the king is represented by a deck card, Ophelia by a Barbie doll, and Hamlet by the artists whose faces digitally disintegrate into pixels during the video/play.

Within these works, one can notice the basic themes to which the artists of this year's IMAF turned. Although IMAF has never been thematically conditioned, the pandemic revitalized some themes that had already been present in art before, and especially in performance art, but the pandemic made them much more present and relevant today. One of these big themes is the question of identity, which is often portrayed in performance art by using masks or by covering faces. In the performance Conversation with an Absent Man, Edwin Jimeno (Colombia) uses the complete medical protective equipment currently used during the pandemic. Janusz Plota (Poland) uses a gas mask to be able to move around the created habitat. Many artists cover their faces as a form of isolation – Satadru Sovan (India), Eva Dabara (Israel), as a form of loss or transgression of identity – Nenad Bogdanović (Serbia), Fausto Grossi (Italy-Spain), Artur Tajber (Poland), as a form of transformation into an animal being – Sanskar Verma (India), or as a symbol of blindness towards the problem of murderous violence against children – Ras Sankara (Togo).

The mask for Amy Guilfoyle (Ireland) becomes a part of the costume, along with magnetic video tapes, which help her transform into an ancient shaman. Artist Ruth Vigueras Bravo (Mexico) creates a medical protective mask from flowers that she attaches to her face using pins, while Johannes Deimling (Germany) at one point uses the violin as a mask, in the process of transforming into an ambivalent creature that has green lungs but pollutes the air; that has its own wings, but needs wheels to move. The performance Candle Face by artist Seiko Kitayama (Japan), which does not originate from this year, is perceived completely differently now, when we look at the mask created by dripping warm wax on the face in the context of the ongoing pandemic. The same different meaning gains a long-term artistic project White Rabbit by Spike Mclarrity (Great Britain), within which he disguise into a white rabbit and takes action in different cities to which he travels, including Novi Sad, which he visits during the pandemic and the Festival, making a contact and cooperation with Nikola Džafo, a local artist who is the creator of the Rabbit Museum.

Another dominant theme in the works presented at this year's IMAF is spending time in nature or integration with it. Connected to the theme of identity and displacement from human nature, the theme of nature appears on the one hand as a logical continuation of artistic reflection on the otherness and the self. However, on the other hand, it is a display of reality in a time of pandemic when people tend to spend as much time in nature as possible, to make up for hours spent in isolation, quarantine and generally indoors during curfews. Stephanie Hanna (Germany) thus creates a video from the perspective of a fish in a lake, Anita Cheng (China) becomes a dryad, a forest nymph, then the goddess Diana, removing the dangers that surround her just by being present in the wounded nature. A group of artists gathers in Canada for a two-day parallel performances in a field of tall grass, while Lavoslava Benčić (Slovenia) and Marcello Lussana (Italy) create a bio-technological art installation in the form of plants that emit different sounds in an interactive relationship with humans and thus become specific musical instruments. Saša Denić Špena (Serbia) performs a chronology of anthropocene destruction of nature including us all within it and making us all responsible, while Paloma Orts (Spain) enters the ocean at low tide, exits it with the high tide, breathes with the ocean and thus purifies her soul. Vaishak Raj (India) also strives for integration with nature, using dance to connect with other beings on the planet, while Satadru Sovan (India) testifies to the disappearance of nature from the urban environment and turns himself into a specific memory of it, a trace of its appearing and disappearing in various forms. Sarah H. Paulson (USA) appears as a witness and initiator of the reincarnation of matter that, as a phoenix, rises from ash and coal into an artistic drawing.

While Nitesh Kushwaha (India) performs Covid 19 axis which directly presents the positions of a body within restricted moving and environment during the pandemic, several artists turn to global themes that concern us at any time, but affect us differently during the pandemic. Lorenzo Papanti (Italy) examines the position of his body by looking at himself through different cameras, in a field of virtual reality that overlaps with physical reality. Seiko Kitayama (Japan) with her performance Moisturing a Body indirectly make us wonder how a body gets soaked by rain if being at all time in the interior, since we cannot go out, but also reminds of all those who, due to various diseases, remain bed-ridden. Alexandra Holownia (Poland-Germany) thematizes the perception of women's sexuality in their golden years, and to the issue of sexuality also turns Maura Prosperi (Italy), although in completely different way. Satadru Sovan (India) creates a new habitat that has utopian features, thus thematizing the environment in which we exist, which we now comprehend differently during the pandemic than usual. The pandemic changes the way we understand dialogue, and this theme of a dialogue is the core of the performance by Irena Paskali (Macedonia-Germany), while collaboration becomes the core of joint performance It's Time by Dagmar I. Glausnitzer-Smith (Germany) and Vincenzo Fiore Marrese (Italy).

An important segment of this year's festival was the exhibition at the gallery of the Union of Associations of Fine Artists of Vojvodina i n Novi Sad, which showed in one place all the performances of artists who participated this year, selected video stills from them, even the props from performances by artists from Serbia – Nenad Bogdanović and Saša Denić Špena, as well as the props form the performance of the guest artist, Spike Mclarrity. This segment of the festival, which took place in the physical space, in which the audience could come following the strict precautionary measures, testifies to the festival's aspiration to enable the audience to see the performance in public space. It also testifies to the aspiration to return art to physical spaces where new encounters and new collaborations are more likely to occur than in the digital environment.

Sonja Jankov,

art theorist and

multimedia artist

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[1] The exception is Spike Mclarrity who resides in Odžaci and Novi Sad, continuing his long-term artistic projects Deep Cleaner and White Rabbit.

IMAF 2020 recenzija:

 

Performans i mogućnost susreta u 2020.

Pandemija virusa covid-19 donela je brojne promene u uobičajenom načinu života. U mnogim zemljama, mere predostrožnosti su tokom određenih perioda 2020. godine obustavile mogućnost međugradskog i međunarodnog putovanja, obustavile su mogućnost kretanja tokom vikenda, mogućnost kretanja van parametra od pola kilometra, a negde čak i mogućnost kretanja uopšte osim na četiri sata tokom cele nedelje. Mnoge aktivnosti su pauzirane, kako na društvenom, tako i na individualnom nivou. Ljudi se mesecima minimalno kreću, onoliko koliko porodične i poslovne obaveze to zahtevaju. U ovakvom kontekstu, kulturne i umetničke prakse se takođe menjaju, što je ove godine slučaj i sa Internacionalnim multimedijalnim festivalom umetnosti (IMAF).

IMAF se do sada odvijao tako što su umetnici iz najrazličitijih delova sveta dolazili u Odžake i Novi Sad i stvarali u novom okruženju, sa zajednicom ili za zajednicu koju tamo zateknu, ostvarujući nova poznanstva i veze sa umetnicima koji te godine učestvuju. Ove godine, kao i većina kulturnih dešavanja, IMAF se najvećim delom odvio na digitalnim platformama, to jest, na digitalnim platformama se odvio onaj najznačajniji segment festivala – recepcija umetničkih dela od strane publike i susretanje između samih umetnika. Dok su do sada na IMAF-u performansi bili dokumentovani kako bi se sačuvali u medijskom obliku, ove godine je većina performansa dokumentovana ili imala uživo prenos da bi šira publika mogla da ih recepira. Ova izmena, koliko god na prvi pogled možda izgledala restriktivnom jer se smanjuje broj direktnog prisustva publike sa ciljem obustavljanja pandemije, otvara nekoliko stvaralačkih polja za umetnost performansa koje su umetnici odmah primetili i iskoristili.

Jedno polje je prikaz okruženja u kojem se umetnici trenutno nalaze. Kako ove godine umetnici nisu došli u Srbiju,[1] nego su izveli performanse u mestima u kojima borave, mi smo imali prilike da vidimo deliće Tajvana, Kanade, Japana, države Togo, i drugih mesta, kao i deliće tih kultura. Kako nas je pandemija primorala da najveći deo vremena provodimo kod kuće, velik broj umetnika je iskoristio upravo to kućno, svakodnevno okruženje kao mesto rada i kao inspiraciju za stvaranje. Tako Izabela Brudkiewicz (Velika Britanija) stvara rad Semiotics of a Child Kitchen (Semiotika dečje kuhinje) u kojem snima ćerku kako opisuje različite objekte u kuhinji, praveći time reminiscenciju na video Semiotika kuhinje Marte Rosler. Craphone Liu (Tajvan) izvodi performans na krovnoj bašti svoje zgrade, Dimple B. Shah (Indija) u kući u kojoj stanuje, Makoto Maruyama (Japan) nam u svojoj sobi čita pesmu koju je napisao, dok Valeria Barbas (Moldavija) na prozore svoje kuće stavlja velike X znake, to jest linije po dijagonalama, koje vidimo na prozorima kuća u kojima niko ne živi. Osim što umetnike na taj način vidimo u njihovom okruženju, mi isto gledamo njihove radove od svoje kuće, iz ličnog okruženja, čime se performansi doživljavaju mnogo individualnije, ličnije i intimnije nego što je to slučaj kada se izvode u javnom prostoru. Uprkos tome što medijalizacija onemogućava direktno prisustvo, kućna atmosfera vraća taj osećaj povezivanja između umetnika i publike tokom sagledavanja nastalog rada.

Drugo polje koje digitalna distribucija performansa otvara je polje video umetnosti sa kojom se performans ovim putem sažima, postajući multimedijalno delo koje primenjuje mnoge video tehnike kao što su montaža i manipulacija slike i zvuka. Ako se vratimo na istoriju video umetnosti, videćemo da je ona u svojim počecima bila neodvojiva od performansa, umetničkih akcija i procesualne umetnosti, dokumentujući efemerne umetničke činove u javnom prostoru i kombinujući ih sa dokumentacijom materijalnih umetničkih radova, kao što su crteži, slike, instalacije. Upravo ovo se dešava i kada se, usled pandemije, performans „preseli“ u medijsko polje umetnosti. U radu Girl Intoxicated (Uzbuđena), Ileana Gherghina (Rumunija) kominuje ubrzanje snimka, montažu, crteže različitih izraza lica koji postaju maske i okretanje na mostu kao semantičke elemente kojima gradi audio-vizuelni narativ o identitetu i otuđenju. Calum Eccleston (Velika Britanija) u radu I Understand Only in Human Terms (Razumem samo na ljudski način) korišćenjem plavog svetla i opcije zoom na kameri prikazuje svoje disanje do momenta kada ono postaje apstraktna slika. Heather Warren-Crow (SAD) stvara audio rad govorom i zvucima konzumiranja doručka, dok Syporca Whandal (Mađarska) u radu The Punishment of Cain (Kainova kazna) kombinuje arhivske fotografije ratnih zlodela, akciju kojom vuče kamen kao ljudi u radnim logorima, sa drugim vizuelnim i audio materijalima. Sofia Vera i Makame Orozco (Meksiko) stvaraju malu kućnu multimedijalnu predstavu La Maquina de Hamlet (Hamlet mašina), u kojoj je kralj predstavljen kartom iz špila, Ofelija barbikom, a Hamlet samim umetnicama čija se lica tokom predstave digitalno dezintegrišu u piksele.

U ovim radovima se uočavaju osnovne teme kojima su se umetnici ovogodišnjeg IMAF-a okrenuli. Iako IMAF nije nikada bio tematski uslovljen, ove godine je pandemija revitalizovala neke teme koje su i ranije bile prisutne u umetnosti, a posebno u umetnosti performansa, i učinila ih mnogo prisutnijim i relevantnijim. Jedna od tih velikih tema je pitanje identiteta koje se u performansu često prikazuje korišćenjem maski ili zaklanjanjem lica. U performansu Conversación con un hombre ausente (Razgovor sa odsutnim čovekom), Edwin Jimeno (Kolumbija) koristi potpunu medicinsku zaštitnu opremu koja se trenutno koristi tokom pandemije. Janusz Plota (Poljska) koristi gasnu masku da bi mogao da se kreće po stvorenom habitatu. Mnogi umetnici prekrivaju lice kao vid izolacije – Satadru Sovan (Indija), Eva Dabara (Izrael), kao vid gubljenja ili transgresije identiteta – Nenad Bogdanović (Srbija), Fausto Grossi (Italija-Španija), Artur Tajber (Poljska), kao vid prerastanja u animalno biće – Sanskar Verma (India), ili kao simbol slepila kada je u pitanju problem ubilačkog nasilja nad decom – Ras Sankara (Togo).

Maska kod Amy Guilfoyle (Irska) postaje deo kostima, uz magnetske trake iz video kaseta, kojima se prerušava u drevnog šamana. Umetnica Ruth Vigueras Bravo (Meksiko) pravi medicinsku zaštitnu masku od cveća koje čiodama prikačava za lice, dok Johannes Deimling (Nemačka) u jednom momentu koristi violinu kao masku, u procesu transformacije u ambivalentno biće koje ima zelena pluća, ali zagađuje vazduh, koje ima svoja krila, ali su mu potrebni točkovi da bi se kretalo. Performans Candle Face (Voštano lice) umetnice Seiko Kitayama (Japan) koji ne potiče iz ove godine, dobija sasvim novo viđenje kada masku nastalu kapljanjem toplog voska na lice sagledamo u kontekstu trajuće pandemije. Isto očuđeno značenje dobija i višegodišnja akcija prerušavanja u belog zeca koju Spike Mclarrity (Velika Britanija) realizuje u gradovima koje posećuje, pa tako i u Novom Sadu u koji dolazi za vreme trajanja festivala i pandemije i pri tome ostvaruje kontakt i saradnju sa Nikolom Džafom, lokalnim umetnikom koji je stvorio Muzej zeca.

Druga dominantna tema u radovima predstavljenim na ovogodišnjem IMAF-u je boravak u prirodi ili integracija sa njom. Nastavljajući se na temu identiteta i izmeštenosti iz ljudske prirode, tematika prirode se sa jedne strane pojavljuje kao logičan nastavak umetničkog promišljanja o drugosti i o sopstvu. Međutim, sa druge strane, ona predstavlja prikaz realnosti u vremenu pandemije kada ljudi teže da provedu što više vremena u prirodi kako bi nadomestili sate provedene u izolaciji, karantinu i generalno u zatvorenom prostoru tokom policijskog časa. Stephanie Hanna (Nemačka) tako stvara video iz perspektive ribice u jezeru, Anita Cheng (Kina) postaje driada, šumska nimfa, potom boginja Diana u obličju košute koja svojim kretanjem i prisustvom uklanja opasnosti koje je okružuju. Grupa umetnika se u Kanadi okuplja u dvodnevnom performansu u polju visoke trave, dok Lavoslava Benčić (Slovenija) i Marcello Lussana (Italija) stvaraju bio-tehnološko umetničko delo u vidu biljki koje u interaktivnom odnosu sa čovekom emituju različite zvuke, te postaju svojevrsni muzički instrumenti. Saša Denić Špena (Srbija) stvara hronologiju uništavanja prirode od strane čoveka, dok Paloma Orts (Španija) ulazi u okean sa osekom, izlazi iz njega sa plimom, diše sa okeanom i tim činom pročišćava dušu. Integraciji sa prirodom teži i Vaishak Raj (Indija) koji uz pomoć plesa ostvaruje vezu sa drugim bićima na planeti, dok Satadru Sovan (Indija) svedoči o nestajanju prirode iz urbanog okruženja i pretvara sebe u specifično sećanje na nju, u trag na njeno pojavljivanje i nestajanje u različitim formama. Sarah H. Paulson (SAD) se pojavljuje kao svedok i inicijator reinkarniranja materije kao feniksa iz gara i ugljena u umetnički crtež.

Dok Nitesh Kushwaha (Indija) stvara rad Covid 19 axis (Kovid 19 osa) koji direktno svedoči o položaju tela tokom restriktivnih kretanja u vreme pandemije, nekoliko umetnika se okreće globalnim temama koje nas se inače tiču, ali nas drugačije pogađaju tokom pandemije. Lorenzo Papanti (Italija) ispituje položaj svog tela sagledavajući sebe kroz različite kamere, u polju virtuelne realnosti koja se preklapa sa fizičkom realnošću. Seiko Kitayama (Japan) performansom Moisturing a Body (Hidratacija tela) indirektno postavlja pitanje kako telo kisne u enteriju, kada ne možemo da izlazimo, ali i podseća na sve one koje zbog raznih bolesti ne mogu da ustanu iz kreveta. Alexandra Holownia (Poljska-Nemačka) tematizuje položaj žene u zlatnim godinama i shvatanje njene seksualnosti, čemu se donekle, ali na potpuno drugačiji način, okreće i Maura Prosperi (Italija). Satadru Sovan (Indija) stvara nov habitat koji ima utopijske odlike, tematizujući time okruženje u kojem postojimo, a koje sada tokom pandemije drugačije shvatamo nego inače. Pandemija menja način na koji shvatamo dijalog, koji tematizuje Irena Paskali (Makedonija-Nemačka), kao i saradnju na šta ukazuje kolaborativni rad It's Time (Vreme je) koji realizuju Dagmar I. Glausnitzer-Smith (Nemačka) i Vincenzo Fiore Marrese (Italija).

Značajan segment ovogodišnjeg festivala predstavljala je izložba u galeriji Saveza udruženja likovnih umetnika Vojvodine koja je na jednom mestu prikazala sve performanse umetnika koji su učestvovali na ovogodišnjem izdanju festivala, fotografske isečke iz njih, kao i rekvizite iz performansa umetnika iz Srbije – Nenada Bogdanovića i Saše Denića Špene, kao i gostujućeg umetnika, Spajka Meklaritija. Ovaj segment festivala koji se održao u fizičkom prostoru, u koji je publika mogla da dođe uz strogo poštovanja mera opreza, svedoči o težnji festivala da publici omogući i sagledavanje performansa u javnom prostoru. On takođe svedoči o težnji da se umetnost vrati fizičkim prostorima gde su novi susreti i nove saradnje ostvarivije nego u digitalnom okruženju.

Sonja Jankov,

teoretičarka umetnosti

i multimedijalna umetnica

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[1] Izuzetak je Spike Mclarrity koji boravi i u Odžacima i u Novom Sadu, nastavljajući svoje višegodišnje projekte Deep Cleaner (Duboki čistač) i White Rabbit (Beli zec).

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