24. Međunarodni festival multimedijalne umetnosti - IMAF 2022

24. International Multimedial Art Festival - IMAF 2022

03. 09. 2022 - 11. 09. 2022. Odžaci - Novi Sad 

At the beginning of this year, when we launched an open competition for the online program, the pandemic is expected to subside, which awakens new optimism. However, at the same time, a crisis in international political relations, on the soil of Eastern Europe, is becoming current. There is an aggression of the Russian military forces on Ukraine and, unfortunately, war. In such a very complicated international situation, the topic of an open competition for online video works comes to mind. We give the name "No Pandemic - No War" which is a reflection of our wish that by the beginning of the 24th International Festival of Multimedia Arts - IMAF 2022, both of these crisis events, which are very difficult for humanity, will end.
30 video works, 37 artists from 18 countries around the world, were selected at the competition for the online presentation of video works, entitled "No Pandemic - No War". The online presentation of video works, on the official YouTube channel of the IMAF festival, will be realized between September 3rd and 8th, 2022.
In addition to the online presentation, on September 3rd, an artistic event called "Day of The Rabbit " will be held in Odzaci for the second time, designed and led by Spike Mclarrity, an artist from United Kingdom. An open children's art workshop will be organized as part of the "Day of The Rabbit " manifestation on September 3rd, on the plateau of the Odzaci Sports Center.
The primary part of the 24th International Multimedia Art Festival - IMAF 2022 will certainly be the presentation of artworks, performances and live art actions. Over 30 artists from all over the world applied for the open competition, which was current at the beginning of the year. 16 artists from Italy, Greece, Germany, Spain, United Kingdom, Hungary and Serbia were selected to participate live this year. The presentation of artistic actions and live performances will be held from September 9th to 11th at two different locations in Odžaci and Novi Sad. On September 9th, the program will be held in the area of the abandoned Motel "Šumice" in Odžaci. On September 10th and 11th, there will be live art performances at the SULUV gallery in Novi Sad.

Nenad Bogdanovic

Početkom ove godine, kada smo pokretali otvoreni konkurs za onlajn program, u najavi je posustajanje pandemije koja budi novi optimizam. Međutim, u isto vreme, postaje aktuelnom kriza u međunarodnim političkim odnosima, na tlu istočne Evrope. Dolazi do agresije ruskih vojnih snaga na Ukrajinu i nažalost do rata. U takvoj, vrlo komplikovanoj međunarodnoj situaciji, tema otvorenog konkursa za onlajn video radove nam se sama nameće. Dajemo naziv "Bez pandemije - Bez rata" koji je odraz naše želje da se do početka 24. Međunarodnog festivala multimedijalne umetnosti - IMAF 2022, završe oba ova, po čovečanstvo veoma teška, krizna događaja.
Na konkursu za onlajn prezentaciju video radova, pod nazivom "Bez pandemije - Bez rata", je odabrano 30 video radova, 37 umetnika iz 18 zemalja širom sveta. Onlajn prezentacija video radova, na oficijelnom  YouTube kanalu festivala IMAF, će biti realizovana u terminu od 03. do 08. septembra 2022. godine.
Pored onlajn prezentacije, 03. septembra će se u Odžacima po drugi put održati umetnička manifestacija pod nazivom “Dan zeca”, koju je osmislio i vodi Spajk Meklariti (Spike Mclarrity), umetnik iz Velike Britanije. U okviru manifestacije “Dan zeca” 03. septembra, na platou Sportskog centra Odžaci, će biti organizovana otvorena dečja likovna radionica.
Primarni deo 24. Međunarodnog festival multimedijalne umetnosti – IMAF 2022 će svakako biti prezentacija umetničkih radova, performansa i umetničkih akcija uživo. Na otvorenom konkursu, koji je bio aktuelan početkom godine, prijavilo se preko 30 umetnika iz celog sveta. Za učešće uživo ove godine je odabrano 16 umetnika iz Italije, Grčke, Nemačke, Španije, Velike Britanije, Mađarske i Srbije. Prezentacija umetničkih akcija i performansa uživo će biti održani od 09. do 11. septembra na dve različite lokacije u Odžacima i Novom Sadu. 09. septembra program će biti održan u prostoru napuštenog Motela “Šumice” u Odžacima. 10. i 11. septembra slede umetnički nastupi uživo  u galeriji SULUV, u Novom Sadu.  

Nenad Bogdanović

IMAF 2023 ONLINE PARTICIPANTS:

Alexandra Holownia, Germany
Alina Tofan, Alina Uşurelu, Ioana Buraga, Georgiana Vlahbei, Romania
AnimaeNoctis (Silvia Marcantoni Taddei & Massimo Sannelli), Italy
Anita Cheng, Hong Kong
Benna Gaean Maris, Italy
Bernardo Stumpf, Brasil
Bill Hill, USA
Calum Eccleston, United Kingdom
Citron - Lunardi (Selene Citron and Luca Lunardi), Italy
Craphone Liu, Taiwan
Dimple B Shah, India
Eva Dabara, Israel
Eva Herczeg & Kende Szabo, Hungary
Guilherme Albuquerque, Brasil
Ique Larica Gazzola, Brasil
Janusz Plota, Poland
Jean-Michel Rolland, France
Johannes C. Gerard, Germany
Julian Scordato, Italy
Khalil Charif, Brasil
Matteo Campulla, Italy
Noel Molloy and Aodha Molloy, Ireland
Paco Justicia Cazorla, Spain
Patrícia Siqueira, Brasil
Satadru Sovan Banduri, India
Showrav Kumar Shaha, Bangladesh
Sinasi Gunes, Turkey
Sreekanta Acharjee, Bangladesh
To K Du, Vietnam
Wayner Tristao, Brasil

IMAF 2022 PROGRAM:

- From September 3rd to September 8th, 2022 video presentation of 30 video works online, 37 artists from 18 countries around the world. You can follow the presentations every day from 19:00 CET, on the following YouTube address:https://www.youtube.com/user/imafoffice/videos

- On September 3rd, 2022, on the plateau in front of the Odzaci Sports Center, the artistic manifestation “Day of The Rabbit”, by Spike Mclarrity from United Kingdom. As part of the “Day of The Rabbit” manifestation, an open children's art workshop will be organized on September 3rd at 10:00 a.m., on the plateau of the Odzaci Sports Center.

- On September 9th, 2022 in the abandoned Motel "Šumice" in Odžaci - live performances. The presentation of the performance begins at 3:30 p.m.
Performances by the following artists:
- Spike Mclarrity, United Kingdom
- AnimaeNoctis (Silvia Marcantoni Taddei & Massimo Sannelli), Italy
- Eugenia Grammenou & Eno Athanasiadou, Greece
- Gaby Bila Gunther, Australia / Germany
- Johannes Christopher Gérard, Germany
- Werther Germondari, Italy
- Jordina Ros & Pere Estadella, Spain
- Saša Denić-Špena, Serbia
- Syporca Whandal and Zopán Nagy, Hungary
 
- September 10th, 2022 at 7pm in the SULUV Gallery in Novi Sad - Opening of the festival: The festival will be opened by Svetlana Mladenov, art historian and art critic.

- September 10th, 2022 at 7:15 p.m. in the SULUV gallery in Novi Sad - presentation of the video and presentation of the participants of the online video program.

- On September 10th, 2022 in the SULUV Gallery in Novi Sad - live performances. Performances start in 7:30 pm.
Performances by next artists:
- NenadBogdanovic, Serbia
- Syporca Whandal & Zopán Nagy, Hungary
- Gaby Bila Gunther, Australia / Germany
- Lena Ljubičić & Gustav Jovanović, Serbia
- AnimaeNoctis (Silvia Marcantoni Taddei & Massimo Sannelli), Italy
 
- On September 11th, 2022 in the SULUV Gallery in Novi Sad - live performances. Performances start in
7 pm.
Performances by next artists:
- Eugenia Grammenou & Eno Athanasiadou, Greece
- Spike Mclarrity, United Kingdom
- Saša Denić-Špena, Serbia
- Werther Germondari, Italy
- Johannes Christopher Gérard, Germany
- Jordina Ros & Pere Estadella, Spain

PROGRAM IMAF 2022:

- Od 03. septembra do 08. septembra, 2022. video prezentacija 30 video radova na internetu, 37 umetnika iz 18 zemalja iz celog sveta. Prezentacije možete pratiti svakim danom od 19 časova, na sledećoj YouTube adresi:https://www.youtube.com/user/imafoffice/videos

- 03. septembra 2022. na platou ispred Sportskog centra Odžaci, umetnička manifestacija DAN ZECA, autor Spajk Meklariti iz Velike Britanije. U okviru manifestacije “Dan zeca” 03. Septembra u 10:00 časova, na platou Sportskog centra Odžaci, će biti organizovana otvorena dečja likovna radionica.

- 09. septembra 2022. u napuštenom Motelu "Šumice" u Odžacima - izvođenje performansa uživo. Prezentacija performansa počinje u 15:30 časova.
Performansi sledećih umetnika:
Spike Mclarrity, Velika Britanija
AnimaeNoctis (Silvia Marcantoni Taddei & Massimo Sannelli), Italija
Eugenia Grammenou & Eno Athanasiadou, Grčka
Gaby Bila Gunther, Australija / Nemačka
Johannes Christopher Gérard, Nemačka
Werther Germondari, Italija
Jordina Ros & Pere Estadella, Španija
Saša Denić-Špena, Srbija
Syporca Whandal and Zopán Nagy, Mađarska
 
- 10. septembra 2022. u 19 časova u galeriji SULUV u Novom Sadu – Otvaranje festivala: Festival će otvoriti Svetlana Mladenov, istoričarka umetnosti i likovna kritičarka.

- 10. septembra 2022. u 19:15 časova u galeriji SULUV u Novom Sadu – prezentacija video zapisa i predstavljanje učesnika onlajn programa prezentacije video radova.

- 10. septembra 2022. u galeriji SULUV u Novom Sadu – izvođenje performansa uživo. Prezentacija performansa počinje u 19:00 časova.
Performansi sledećih umetnika:
- NenadBogdanovic, Srbija
- Syporca Whandal & Zopán Nagy, Mađarska
- Gaby Bila Gunther, Australija / Nemačka
- Lena Ljubičić & Gustav Jovanović, Srbija
- AnimaeNoctis (Silvia Marcantoni Taddei & Massimo Sannelli), Italija
 
- 11. septembra 2022. u galeriji SULUV u Novom Sadu – izvođenje performansa uživo. Prezentacija performansa počinje u 19 časova.
Performansi sledećih umetnika:
- Eugenia Grammenou & Eno Athanasiadou, Grčka
- Spike Mclarrity, Velika Britanija
- Saša Denić-Špena, Srbija
- Werther Germondari, Italija
- Johannes Christopher Gérard, Nemačka
- Jordina Ros & Pere Estadella, Španija

IMAF 2022 review:

Svetlana Mladenov

IMAF 2022.

International Festival of Multimedia Art

The International Multimedia Art Festival - IMAF was created as a result of the enthusiasm, love and persistence of one man, Nenad Bogdanović, who is an artist-performer himself. Starting from the small town of Odžaci in Vojvodina, he managed to perform his performances in different parts of the world, establish numerous relationships with other festivals, artists and experts, which also influenced IMAF, a festival he himself founded and which has managed to operate continuously for 24 years. Numerous domestic and foreign artists passed through it, presenting their artistic strategies realized through performance and artistic actions carried out live, or through video works and photographs. As the global pandemic of Covid-19 imposed new ways of presenting artistic work, the festival itself, in addition to performing performances and artistic actions in situ, which forms the backbone of the festival, adopted new ways of artistic promotion related to the Internet and other online communication possibilities. From last year and the previous Festival, video presentations and exhibitions of documentary photography of performances and artistic actions of those invited artists who were not personally present at the Festival havebegun. Thus, the festival gained in the number of participants and provided a better insight into the international production of performative art forms.

We can still say about the current artistic scene, as stated by Yves Michaud[1], that it takes place in a gaseous state. It is very diverse with numerous intersections of different artistic discourses and much post-media and interdisciplinary research, making a kind of Art mix as concluded by Germano Celant[2]. I would emphasize that observing today's art scene, you have the impression that it operates in an Art Vortex, in an atmosphere of whirlwinds and the parallel and simultaneous development of many different artistic concepts.

These observations were also confirmed by this year's Festival, in the scope of which various performances were performed that could be categorized as intimate-public, ecological, engaged, subjectivist-expressive, neo-conceptual, interactive, etc. This diversity of ideas and actions speaks of the disunity of the art scene and difficulty of its comprehension, but also its wealth of authentic artistic expressions and languages performed in the form of performances and artistic actions.

The specificity of this festival is its mobility, which can be seen in relation to the choice of place (geographic point) and location for its realization. Not only does the festival program take place in two different Vojvodina cities: Odžaci and Novi Sad, but it uses different spaces for its presentation: free public city spaces (streets and squares) and closed alternative and gallery spaces. The diversity of places where performances and artistic actions take place brings with it different contexts, urban and architectural laws, memory, interactivity, all of which affect the performance of performative forms, their meaning and final realization. Architecture, its structure and its forms, as well as the urban solutions of the given location are the basic foundation for executing the performance. They are also not immune to the history of the place and the memory it is interwoven with, as well as to the symbolism it contains. An important factor is certainly the context of the time in which the artistic process takes place, and the technical conditions of the given space must not be neglected either. One of the important factors in the final realization of the entire artistic event is the audience, which can change the course of the artistic action with its passivity or activity. The audience can be the one invited and informed about the event and prepared for interaction or the random (passers-by) who happen to be on the spot, and is surprised and disturbed in their daily routine of movement. Their reaction, positive or negative, is certainly unpredictable and as such introduces a note of instability and uncertainty into the performing flow of the artistic performative form and contributes to its dynamics and exactingness.

Taking place in a time of permanent crisis and the initiation of new war conflicts, IMAF chose the pandemic and war as the topic of its online video competition and titled it Bez pandemije-Bez rata (No Pandemic - No War). 30 video works by 37 artists from 18 different countries of the world were selected for the presentation. In addition to the presentations of these video works on online platforms, the backbone of the festival were the performances and artistic actions carried out live in several locations: in Odžaci in the old abandoned motel Šumice and in a free city space, in Novi Sad in the SULUV Gallery.

The following authors attended and performed live at the 24th IMAF: AnimaeNoctis (Silvia Marcantoni & Massimo Sannelli) from Italy; Eugenia Grammenou & Eno Athanasiadou from Greece; Gaby Bila Gunther from Australia and Germany; Johannes Christopher Gerard from Germany; Jordina Ros & Pere Estadella from Spain; Lena Ljubičić & Gustav Jovanović from Serbia; Nenad Bogdanović from Serbia; Saša Denić-Špena from Serbia; Spike Mclarrity, from Great Britain; Syporca Whandal & Zopan Nagy from Hungary; Werther Germondari from Italy.

A special segment of the Festival dedicated to the citizens and passers-by of Odžaci, called Dan zeca (Rabbit Day), was held in an open public city space, and within it, there was an art workshop for children. The author of this artistic event is the artist Spike Mclarrity, who transferred his positive energy from this event into his performance held in Novi Sad. Through a sophisticated approach, with a lot of measured passion, the artist presented his thoughts about the modern world in a witty and original way. With his enthusiasm and readiness for action, during the Festival, he assumed the role of moderator, and with hishumour and energy, he influenced the more dynamic and active atmosphere of the Festival.

The body, as the basic artefact used by artists in creating performative forms, is used in various ways, all with the aim of realizing the artist's original idea. In some of the performances performed at this year's IMAF, the body serves as a training ground for writing (Silvia Marcantoni & Massimo Saneli) or tattooing messages (Lena Ljubičić & Gustav Jovanović), as a painter's canvas (Jordina Ros & Pere Estadella) or as a model for arranging and piling up different elements, hence losing its original meaning and taking on the role of an object with new messages (Gaby Bila Gunther). Sometimes the body alone is not enough to convey the message and express the artistic concept in the best way, so artists resort to using different props (Nenad Bogdanović: medical and decorative masks; Syporca Whandal & Zopan Nagy: bread, candles, transparent foil, forks; Spike Mclarrity: stickers with printed warning messages and marking the place; Saša Denić Špena: paper, paint, water; Silvia Marcantoni & Massimo Sannelli: knife, carrots) or to the formation of a spatial installation (Johannes Christopher, Eugenia Grammenou & Eno Athanasiadou) within which and by way of which they realize their performance. The artists did not remain immune to the possibilities brought by the post-media era, and in their performances they include video, mobile phones, cockpits, cameras, microphones and speakers and thus add another new, parallel image, a stronger audio impression to their performance (Jordina Ros & Pere Estadella: video, computer; Gaby Bila Gunther: microphone and speaker; Syporca Whandal & Zopan Nagy: mobile phone, electronic sound instruments, microphone, speaker; Werther Germondari: photo set; Eugenia Grammenou & Eno Athanasiadou: microphone, speaker, mobile phone).

Many artists at this festival asked the audience not to be just a passive observer but to get involved in the realization of their performances. The activity of the audience contributed to the quality and dynamics of the performance process, and at the same time made it unpredictable, subject to surprises, and unstable and changeable. Werther Germondari puts opposing parties in his performance: models and photographers, this time the models are volunteers from the audience, and the photographer is the artist himself. He introduces the opposite of the expected situation, and a naked photographer stands in front of the dressed models. Playing with contrasts and stereotypes, he questions some of the relationships of contemporary society. Gaby Bila Gunther, at the beginning of her performance, through the act of shaking hands, establishes direct contact with the audience and through her expressive performance talks about identity, tradition and interpersonal relationships. Jordina Ros & Pere Estadella involve the audience in their complex and layered performance by offering them scissors and instructing them in the action of cutting the painted dress and shirt that covered the bodies of the artists.

The performances performed at this year's festival dealt with various researches in the field of gender, identity, ecology, interpersonal relations, social misconceptions and stereotypes, absurd behaviour, disturbed value system... All of them, regardless of the diversity of the artistic concept, different personal discourses, and different actions, carry in themselves a common humane message directed against the destruction of war, abuse of all kinds and manipulative behaviour, and directed towards free thought, friendship and love.

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[1] I. Mišo, Umjetnost u plinovitom stanju ("L'art a l'etat gazeux"), Naklada Ljivek, Zagreb, 2004.

[2] Đermano Ćelant, Artmiks (‘‘Artmix‘‘), Hesperia edu, Beograd, 2012.

IMAF 2022 recenzija:

Svetlana Mladenov

IMAF 2022.

Međunarodni festival multimedijalne umetnosti

Međunarodni festival multimedijalne umetnosti - IMAF nastao je kao rezultat entuzijazma, ljubavi i upornosti jednog čoveka Nenada Bogdanovića koji je i sam umetnik-performer. Polazeći iz malog vojvođanskog mesta Odžaka, uspeo je da svoje performanse izvede u različitim delovima sveta, uspostavi brojne relacije sa drugim festivalima, umetnicima i stručnjacima što je uticalo i na IMAF, festival koji je sam osnovao i koji je uspeo da  u kontinuitetu deluje već 24 godine. Kroz njega su prošli brojni domaći i strani umetnici koji su predstavili svoje umetničke strategije realizovane kroz performans i umetničke akcije izvedene uživo, ili preko video radova i fotografija. Kako je globalna pandemija Covida 19 nametnula nove načine prezentacije umetničkog rada i sam festival je pored izvođenja performansa i umetničkih akcija na licu mesta što čini okosnicu festivala, usvojio nove načine umetničke promocije vezane za Internet mrežu i druge mogućnosti on line komunikacije. Od prošle godine i prethodnog Festivala otpočelo se sa video prezentacijama i izložbama dokumentarne fotografije performansa i umetničkih akcija onih pozvanih umetnika koji nisu bili lično prisutni na Festivalu. Tako je festival dobio na brojnosti učesnika i omogućio bolji uvid u internacionalnu produkciju performativnih umetničkih formi.

Još  uvek za aktuelnu umetničku scenu možemo reći kao što je konstatovao Iv Mišo (Yves Michaud)[1] da se odvija u plinovitom stanju. Ona je veoma razuđena sa brojnim ukrštanjima različitih umetničkih diskursa i brojnim postmedijskim i interdisciplinarnim istraživanjima čineći svojevrsni Art miks kako je zaključio Đermano Čelant (Germano Celant)[2]. Ja bih naglasila da posmatrajući današnju umetničku scenu imate utusak da ona dejstvuje u Art Vortex-u, u atmosferi vrtloga i paralelnog i istovremenog odvijanja mnogobrojnih različitih umetničkih koncepata.

Ova zapažanja potvrdio je i ovogodišnji Festival u okviru koga su izvedeni različiti performansi koji bi se mogli svrstati u kategoriju intimno-javnih, ekoloških, angažovanih, subjektivističko-ekspresivnih, neokonceptualnih, interaktivnih i sl. Ova raznolikost ideja i postupaka govori o razuđenosti umetničke scene i njenoj otežanoj sagledljivosti ali i njenom bogatstvu autentičnih umetničkih izraza i jezika izvedenih u formi performansa i umetničkih akcija.

Specifičnost ovog festivala je i njegova mobilnost koja se može sagledati u odnosu na izbor mesta (geografske tačke) i lokacije za njegovu realizaciju.

Ne samo da se program festivala odvija u dva različita vojvođanska grada: Odžacima i Novom Sadu, već za svoju prezentaciju koristi različite prostore: slobodne javne gradske prostore (ulice i trgove), zatvorene alternativne i galerijske prostore. Različitost mesta odvijanja performansa i umetničkih akcija nosi sa sobom različite kontekste, urbanističke i arhitektonske zakonitosti, memoriju, interaktivnost, što sve utiče na izvođenje performativnih formi, njihovo značenje i krajnju realizaciju. Arhitektura, njena struktura i njene forme, kao i urbanistička rešenja date lokacije osnovna su podloga za izvođenje performansa. Oni takođe nisu imuni na istoriju mesta kao i njegovu memoriju kojom je protkan, te simboliku koju u sebi sadrži. Važan činilac je svakako kontekst vremena u kome se odvija umetnički proces, a ne smeju se zanemariti ni tehnički uslovi datog prostora. Jedan od važnih činilaca krajnje realizacije čitavog umetničkog događaja je publika koja svojom pasivnošću ili pak aktivnošću može da promeni tok odvijanja umetničke akcije. Publika može biti ona pozvana i obaveštena o događaju te pripremljena za interakciju ili ona slučajna (prolaznici) koja se zatekla na licu mesta, te iznenađena i ometana u svojoj svakodnevnoj rutini kretanja. Njena reakcija, pozitivna ili negativna, svakako je nepredvidljiva i kao takva unosi notu nestabilnosti i neizvesnosti u izvođački tok umetničke performativne forme te doprinosi njegovoj dinamici i uzbudljivosti.

Odvijajući se u vremenu permanentne krize i iniciranja novih ratnih sukoba IMAF je za temu svog on line video konkursa  odabrao pandemiju i rat te ju je naslovio Bez pandemije-Bez rata. Za prezentaciju je odabrano 30 video radova od 37 umetnika iz 18 različitih zemalja sveta. Pored prezentacije ovih video radovi na on-line platformama, okosnicu festivala činili su performansi i umetničke akcije izvedeni u živo i to na nekoliko lokacija: u Odžacima u starom napuštenom motelu Šumice i u slobodnom gradskom prostoru, u Novom Sadu u Galeriji SULUV-a.

24. IMAF-u su prisustvovali i uživo izvodili svoje performanse sledeći autori: AnimaeNoctis (Silvia Marcantoni i Massimo Sannelli) iz Italije; Eugenia Grammenou i Eno Athanasiadou iz Grčke; Gaby Bila Gunther iz Australije i Nemačke; Johannes Christopher Gerard iz Nemačke; Jordina Ros i Pere Estadella iz Španije; Lena Ljubičić i Gustav Jovanović iz Srbije; Nenad Bogdanović iz Srbije;  Saša Denić-Špena iz Srbije; Spike Mclarrity iz Velike Britanije;  Syporca Whandal i Zopan Nagy iz Mađarske;  Werther Germondari iz Italije.

Poseban segment Festivala posvećen građanima i slučajnim prolaznicima Odžaka pod nazivom Dan zeca održan je u slobodnom javnom gradskom prostoru, a u okviru njega i umetnička radionica za decu. Autor ovog umetničkog događaja je umetnik Spike Mclarrity koji je svoju pozitivnu energiju sa ovog događaja preneo i na izvođenje svog performansa u Novom Sadu. Kroz soficistirani pristup, sa puno odmerene strasti  umetnik nam je na duhovit i originalan način predstavio svoja razmišljanaja o savremenom svetu. Svojim entuzijazmom i spremnošću na akciju, u toku Festivala, preuzima ulogu moderatora, te svojim humorom i energijom utiče na dinamičniju i aktivniju atmosferu Festivala.

Telo, kao osnovni artefakt kojim se služe umetnici u izvođenju performativnih formi koristi se na razne načine, a sve u cilju realizacije umetnikove prvobitne ideje. U nekim od performansa izvedenim na ovogodišnjem IMAF-u telo je služilo kao poligon za ispisivanje (Silvia Marcantoni i Massimo Sannelli) ili tetoviranje poruka (Lena Ljubičić i Gustav Jovanović), kao slikarsko platno (Jordina Ros i Pere Estadella) ili kao model za slaganje i nagomilavanje različitih elemenata čime on gubi prvobitno značenje i dobija ulogu objekta sa novim porukama (Gaby Bila Gunther). Ponekad samo telo nije dovoljno da bi se prenela poruka i na najbolji način izrazio umetnički koncept, pa umetnici pribegavaju korišćenju različitih rekvizita (Nenad Bogdanović: medicinske i ukrasne maske; Syporca Whandal i Zopan Nagy: hleb, sveće, providna folija, viljuške; Spike Mclarrity: nalepnice sa štampanim porukama upozorenja i označavanja mesta; Saša Denić Špena: papir, boja, voda; Silvia Marcantoni i Massimo Sannelli: nož, šargarepe) ili formiranju prostorne instalacije (Johannes Christopher, Eugenia Grammenou i Eno Athanasiadou) u okviru koje i sa kojom realizuju svoj performans. Umetnici nisu ostali imuni na mogućnosti koje donosi postmedijska era, te u performanse uključuju video, mobilne telefone, kompjutere, fotoaparate, mikrofone i zvučnike i tako svom izvođenju dodaju  još jednu novu, paralelnu sliku, jači audio utisak (Jordina Ros i Pere Estadella: video, kompjuter; Gaby Bila Gunther: mikrofon i zvučnik; Syporca Whandal i Zopan Nagy: mobilni telefon, instrumenti za elektronski zvuk, mikrofon, zvučnik; Werther Germondari: foto-aparta; Eugenia Grammenou i Eno Athanasiadou: mikrofon, zvučnik, mobilni telefon).

Mnogi umetnici na ovom festivalu zahtevali su od publike da ne bude samo pasivni posmatrač već da se i sama uključi u realizaciju njihovih performansa. Aktivnost publike je doprinosila kvalitetu i dinamici procesa izvođenja, a ujedno ga i činila nepredviđenim, podložnim iznenađenjima, te nestabilnim i promenljivim. Werther Germondari u svoj performans postavlja suprotstavljene strane: modele i fotografa, ovog puta modeli su dobrovoljci iz publike, a fotograf je sam umetnik. On uvodi obrnutu situaciju od očekivane, te naspram obučenih modela stoji nag fotograf. Igrajući se kontrastima i sterotipima preispituje neke od relacija savremenog društva.

Gaby Bila Gunther, na početku izviđenja svog performansa kroz čin rukovanja uspostavlja direktan kontakt sa publikom  te kroz svoje ekspresivno izvođenje progovara o identitetu, tradiciji i međuljudskim odnosima.

Jordina Ros i Pere Estadella u svom složenom i slojevitom performansu uključuju publiku nudeći im makaze i upućujući ih na akciju sečenja oslikane haljine i košulje koje su pokrivale tela umetnika.

Performansi izvedeni na ovogodišnjem festival bavili su se različitim istraživanjima u oblasti rodnosti, identiteta, ekologije, međuljudskih odnosa, društvenih zabluda i stereotipa, apsurdnog ponašanja, poremećenog sistema vrednosti… Svi oni, bez obzira na  različitost umetničkog koncepta, drugačije lične diskurse, različite postupke, nose u sebi jednu zajedničku humanu poruku usmerenu protiv ratnih razaranja, zlostavljanja svake vrste i manipulativnog ponašanja, a okrenute ka slobodnoj misli, prijateljstvu i ljubavi.

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[1] I. Mišo, Umjetnost u plinovitom stanju, Naklada Ljivek, Zagreb, 2004.

[2]Đermano Ćelant, Artmiks, Hesperia edu, Beograd, 2012.

IMAF 2022 sponsor:

                                                        Republic of Serbia                   
                                                        Ministry of Culture and Information
                                                        Republika Srbija                  
                                                        Ministarstvo Kulture i Informisanja

IMAF 2022 partners and support: