20th International Multimedial Art Festival - IMAF 2018
20. Međunarodni festival multimedijalne umetnosti - IMAF 2018
07. 09. - 9. 9. 2018. Odžaci - Novi Sad
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NENAD BOGDANOVIĆ:
One of the main projects done
by Multimedia Art Studio certainly is the International Multimedial Art
Festival – IMAF. This Festival is an annual event dedicated to the art
of performance. This year’s IMAF is a jubilee, 20 years from the start,
and this is a great rarity to survive for this long on independent art
scene with long term financial difficulties. International Multimedial
Art Festival – IMAF, has grown into a manifestation of major importance
for contemporary art scene, firstly in our country but worldwide as
well.
In the annual programs of IMAF, realized during few last years,
artist, participants have worked on projects of questioning the ethical
principles and problems arising as a byproduct of globalization.
Problems created by accelerated technological advancement in regard of
values created by civilization and esthetics. Programs and artistic
works, within IMAF, are pointing out especially on the relation between
body and technology, through minimalistic physical actions.
Seven
artists from Serbia and nine artists from Germany, Holland, Finland,
Poland, Hungary and Austria are the participants of the 20th anniversary
Festival of multimedia art. Within the Festival we have invited well
known artist and a certain number of young artist from Serbia and
abroad.
Artist will perform on several locations in Odzaci, at the
Hotel Sloboda place and on the town streets. In Novi Sad the Festival
will take place at SULUV Gallery and on the city streets, with
cooperation of the Association of Fine Artists of Vojvodina.
As it
was our practice in the past, IMAF gives a chance to young artists to
present themselves during the official program. This time, two students
of Scene design Faculty of Technical Sciences from University of Novi
Sad, will make their public performances for the first time.
This
year’s selection of artist is the result of several generations of
interdisciplinary approach to live works, by making durational, place
dependant, action, body, situational and experimental art forms.
NENAD BOGDANOVIĆ:
Jedan od glavnih projekata Studija za
multimedijalnu umetnost svakako je Međunarodni festival multimedijalne
umetnosti - IMAF. IMAF je godišnji događaj posvećen
umetnosti performansa. IMAF se ove godine održava jubilarno po dvadeseti
put i velika je retkost, ovako dugog opstajanja, na nezavisnoj
umetničkoj sceni u dugogodišnjim teškim finansijskim uslovima.
Međunarodni festival multimedijalne umetnosti – IMAF je izrastao u
manifestaciju od izuzetnog značaja za savremenu umetničku scenu, kako u
našoj zemlji tako i u svetu.
U godišnjim programima festivala IMAF,
koji su realizovani u poslednjih nekoliko godina, umetnici, učesnici su
radili na projektima preispitivanja etičkih principa i problema koji se
pojavljuju kao nusproizvod opšte globalizacije. Problemi ubrzanog
tehnološkog napretka u odnosu na civilizacijske i estetske vrednosti.
Programima i umetničkim radom, u okviru projekata IMAF festivala, upućuje posebno na odnos tela i tehnologija, kroz minimalističke fizičke akcije.
Sedmoro
umetnika iz Srbije i devet umetnika iz Nemačke, Holandije, Finske,
Poljske, Mađarske i Austrije su učesnici dvadesetog jubilarnog festivala
multimedijalne umetnosti. U okviru festivala, pozvani su afirmisani i
jedan broj mladih umetnika iz zemlje i inostranstva.
Umetnici će nastupati na više lokacija u Odžacima, u prostoru Hotela Sloboda i na ulicama grada. U Novom Sadu festival će se dešavati u galeriji SULUV i ulicama grada, u saradnji sa Savezom Udruženja likovnih umetnika Vojvodine.
Kao
i ranijih godina festival IMAF pruža šansu mladim umetnicima za
predstavljanje u oficijelnom programu. Ove godine po prvi put će
javno izvesti svoje umetničke performanse dvoje studenata Scenskog
dizajna, Fakulteta tehničkih nauka, Univerziteta u Novom Sadu.
Ovogodišnji izbor umetnika predstavlja višegeneracijski međudisciplinarni pristup radu uživo, radeći dugotrajne, zavisne od mesta, akcione, telesne, situacione i eksperimentalne oblike umetnosti.
IMAF 2018 program:
Program 20. Međunarodnog festivala multimedijalne umetnosti - IMAF 2018Programe of the 20th International Multimedial Art Festival - IMAF 2018
07.
09. 2018. Prostor hotela „SLOBODA“ / Hotel „SLOBODA“ place (Studio za
multimedijalnu umetnost / Multimedial Art Studio), ulaz iz Jurija
Gagarina, Odžaci (Srbija / Serbia) 19h Početak programa IMAF 2018 Odžaci / Start the program IMAF 2018- Marta Bosowska (Poljska / Poland) – „Nada i laži“ / „Hop(e) and lie“- Ola Koziol (Poljska / Poland) – „Pokušaj da hodaš u mojim cipelama“ / „Try walking in my shoes“ - Yeanet Poett (Mađarska / Hungary) – „9 suza“ / „9 Teardrops“- MP_art (Predrag Šiđanin & Maja Budžarov) (Srbija / Serbia) – „Slatki život“ / „Sweet life“- Johannes Christopher Gérard (Nemačka / Germany // Holandija / Nederland) – „Povezan“ / „Connected“- Saša Denić-Špena (Srbija / Serbia) – „Ljudske fleke“ / „Human Stains“- Dariusz Fodczuk (Poljska / Poland) – „rukovanje, dodir, šamar, iscediti“ / „skake, touch, slap, squeeze“- Radoslav B. Čugalj (Srbija / Serbia) – „Nepodnošljivi luksuz umetničkog života“ / „Unbearable luxury of an artist's life“ - Maximilian Latva & Katri Kainulainen (Finska / Finland) – „Venustraphobia“ 08.
09. 2018. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih
umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul.
Mihajla Pupina 9, Novi Sad (Srbija / Serbia) 19h Početak programa IMAF 2018 Novi Sad / Start the program IMAF 2018 Novi Sad-
Student scenskog dizajna, Fakultet tehničkih nauka, Univerzitet u Novom
Sadu (Srbija) / Student of Scenical Design, Faculty of Technical
Sciences, University of Novi Sad (Serbia): Milica Cimeša (Srbija /
Serbia) – „Obuci me opet“ / „Dress me again“- Aleksandar Jovanović (Srbija / Serbia) – „Čvor ljubavi“ / „The knot of love“- Yeanet Poett (Mađarska / Hungary) – „9 suza“ / „9 Teardrops“- Maximilian Latva (Finland) & Katri Kainulainen (Finska / Finland) – „Kopophobia“
- Marta Bosowska (Poljska / Poland) – „Marsz-March-Marsh“
- Dariusz Fodczuk (Poljska / Poland) – „Ljubav“ / „Love“
09.
09. 2018. Galerija SULUV / SULUV Gallery (Savez udruženja likovnih
umetnika Vojvodine / Association of Fine Artists of Vojvodina), Bul.
Mihajla Pupina 9, Novi Sad (Srbija / Serbia)
16h
Početak umetničke radionice / Start of an art workshop - Laura Ociepa
(Poljska / Poland) – „Radionica: „Kako postaviti izložbu prema Feng
Šuiju“ / „Workshop: How to set up an exhibition according to Feng Shui“
19h Početak programa IMAF 2018 Novi Sad / Start the program IMAF 2018 Novi Sad
-
Laura Ociepa (Poljska / Poland) – Otvaranje izložbe sa umetničke
radionice „Kako postaviti izložbu prema Feng Šuiju“ / Opening of the
exhibition from an art workshop „How to set up an exhibition according
to Feng Shui“
- Nenad Bogdanović (Srbija / Serbia) – „Igra sa identitetom“ / „Identity Game“
-
Student scenskog dizajna, Fakultet tehničkih nauka, Univerzitet u Novom
Sadu (Srbija) / Student of Scenical Design, Faculty of Technical
Sciences, University of Novi Sad (Serbia): Anja Tasovac (Srbija /
Serbia) – „Naricanje“ / „Lamentation“
- Johannes Christopher Gérard ( Nemačka / Germany // Holandija / Nederland) – „Povezan“ / „Connected“
- Ola Koziol (Poljska / Poland) „54%“ / „54%“
-
Danica Bićanić (Srbija / Serbia) & Bernhard Hansbauer (Austrija /
Austria) „Briga ide preko reke“ / „Worry Crosses The River“
IMAF 2018 review:
SONJA JANKOV:
Performance and/or contemporary art
International Multimedia Art Festival (IMAF)
7 - 9. 9. 2018.
Performance
is the art of presence that can be created anywhere – in artistic or
non-artistic venues, public or private, at non-places – but the
selection of performance location is always of the greatest importance
for the artists. Much like in the disciplines of body art and living
sculptures, performance artists use their body as ready-made, testing
the boundaries of their endurance, self control, pain, risk and
transformation from self and subjective into something else. The
presence of the artist and his „live“ action in front of the audience
(or interacting with it) are of the paramount importance for the
performance. In the performance, the viewer is never isolated like in
the domain of objective art. Besides the specific relation towards the
space and the audience, what separates it from other performative arts
is the duration, e.g. it's ephemerality. According to Amanda Coogan,
performance is „praxis based on time“ (2011: 10). Even when artists are
performing the same performance over and over again, it can not be the
same each time because the space and the relation to the audience are
always changing. That is why the artists often have to improvise and
introduce variations in their actions.
There are several
definitions of performance. Jon McKenzie says it is a social necessity
that manifest relation between knowledge and power and it can be
institutional, technological and cultural (2001: 19). Miško Šuvaković
focuses on artistic performance and sees it as a separate discourse
created by linking body art, happening and certain theatrical
techniques. He interprets it as a form of artistic actions that was
introduced into art history during 1970s, but he also applies the term
of performativity on all forms of artistic events that include movement,
process and action, like experiments, neodada and Fluxus happenings,
events, conceptual artist's actions, processes of art dematerialization,
minimal and postmodern post-theatrical form (2005: 451). The result of a
performance is never a material product, it is the causing of the
catharsis and reaction in the viewers through different emotions
(surprise, revolt, fear, anxiety, sorrow...)
Aleksandra
Jovićević points out that „at the beginning of the 21st century might be
even harder to define the art of performance due to its individual,
fragmented, heterogeneous nature: art of performance is composed of
different, sometimes opposing and incompatible moves, projects,
manifests, individual art acts, which also reflects shapeless complexity
of contemporary postindustrial, liminoid, neoliberal-capitalistic
society“ (2007: 85). This makes it more similar to the wider field of
contemporary art defined by terms such as heterogeneity,
multiperspectivity, procesuality, discontinuity, collage, ephemerity,
anti-material, de-aesthetisation, quote, subversion, pluralism, critical
tone, (auto)reflexivity, temporarity, actuality and, certainly,
multimedia. What is then the position of modern performance, form that
is interdisciplinary and often includes materials and media of other
disciplines? Should we see the performance today as one fluid, hybrid
form of postmodern art or as a form that kept its basic characteristics
transiting from 20th to 21st century? The answers to these questions
were given by the participants of 20th IMAF who created 20 performances
during three days. The program of the first day was traditionally held
held in Odzaci, and then continued in Novi Sad, at SULUV Gallery.
As
performance often deals with cultural problems like identity (sex,
gender, class, age, race, ethnicity, nationality), politics, ideology,
economy, history, tradition, religion, language, so did several artists
on this year’s IMAF tackle these subjects.
Radoslav Chugaly
(Serbia) sat on a chair, took out a slice of bread, smeared some pâté on
it and ate it. That is the food of the poor, many in Serbia and other
countries, that is outing of the private life of an artist directly on
stage. His performance is symbolically titled “Unbearable luxury of an
artist’s life”. Dariusz Fodczuk (Poland) first introduced himself with
the word „Hello“, and then directly approached the audience, covering
their mouth and jaw with his hand. Asking them how they feel, he touched
the problem of oppression and inability of expression. This act is one
of the four segments of his performance and the rest are focused on the
forms of greeting, which is the first interaction among people who don't
know each other. One kind of the greeting was slapping instead of
handshaking, that Fodczuk did in collaboration with other performers.
With this surreal act and initial „hello“, oppression with mouth blocked
seems very easy, more like a common thing, that nobody pays attention
to anymore and it is given as normal.
Ola Koziol (Poland)
firstly presented herself to the audience in Novi Sad by the act of
combing her hair in front of a mirror. As the performance is an
unpredictable form, the audience was unable to guess the rest of the
process. After combing herself neatly, to be presentable to others,
Ola/woman begins to exhibit drastic guilt and self-punishment. Using an
apple as a symbol of the original sin, Ola opens up the question of
guilt imposed on women and the violence done to them every day in milder
and drastic forms. To the audience in Odzaci she has shown another work
showing dreams of happiness and illusion we use to hide the reality
from ourselves. In a comically-tragical cabaret form she portraits a
woman who always wanted to live in Paris and have high heel shoes, but
she cannot afford them so she makes her own out of potatoes and adhesive
tape. Her performance „Try walking in my shoes“ is an allegory on fear
of loneliness, on overcoming misery and weaving the feeling of
happiness.
Marta Bosowska (Poljska) incorporated elements of
national identities through music. In Odzaci, in her performance „Hop(e)
and lies“, she sang adapted verses „Who says, who is lying, hope isn't
small“, occasionally gesticulating towards the church tower. While she
shouted these verses, at the same time she ate apples and jumped on the
trampoline on the playground for children, demonstrating the process of
high self-control needed to avoid choking. In Novi Sad she also stepped
out to public space with her performance, singing Polish and former
Yugoslavia anthems (Serbia and Montenegro later), both almost identical
in melodies. While Polish anthem is still active, Yugoslavian „Hej,
Sloveni“ is not, but people in this region remember it. Multicultural
character of this performance she emphasized with the title
„Marsz-March-Marsh“, and the militant one with a helmet she wore as a
pregnant woman's stomach. In this context, horse-shaped helium balloon
she held looked like a parody note of the horsemen monuments we see on
the central squares in capital cities. At the end of her performance,
when she marched with all the participants back to the gallery, Dariusz
Fodczuk started shooting paintballs on the window of the gallery,
towards the onlookers outside, connecting the dots into word „love“.
While
Sasha Denic – Shpena (Serbia) personifies capitalism into a possessive
monster feeding on money and nullifies social values in his work „Human
stains“, MP_art (Maja Budzarov and Predrag Shidjanin (Serbia) create
modern age Venus of Willendorf . That Venus has the same form as her
ancient predecessor, but is not made only of clay, she also includes
gummy bears – synthetic material built into the Venus as silicone
implants. While Budzarov shaped the Venus, Shidjanin gave the final
shape by burning it, assuming the role similar to a plastic surgeon.
While burning, we could sense how artificial, expendable and toxic
material gummy bears are in comparison to clay, but they fitted into the
desired form. This performance plays on several levels of meaning with
its title „Sweet life“, bringing literal sweetness of the candy,
allegorical sweetness of life brought by beauty and sarcastic comment
during exposing of the procedures humans takes upon themselves to live
sweetly.
Performance of Danica
Bicanic (Serbia) and Bernhard Hansbauer (Austria) was based upon the
sound Bicanic made grinding glass and drilling soft, silver sculpture
she previously made. Their „Worry Crosses The River“ performance point
to the fable „Worry“ by Gaius Hyginus, where Worry, personified in a
figure, sees her reflection in the river and uses it to create a new
being – human. According to this fable, Worry is the creator of Man and
he remains in her possession forever. Continuing with the motive of
reflection, Bicanic and Hansbauer include the motives of reflexion and
echo into their audio-visual experiment, using them as fundamental
materials for creation. Positioned between space and audio installation
(noise art), their performance included musical elements – video
documentation of Bicanic draging her object (worry) over the bridge and a
video of a nuclear bomb.
Performance of Nenad Bogdanovic was
realised on contrasts like soft-hard, silent-loud, slow-sudden. Initial
artistic falling of blue feathers (soft, slow, pleasant to touch)
continued with loud bouncing of marbles over the granite wall and ended
with a bang when Bogdanovic threw a full hand of marbles to break a
mirror to pieces (sharp, loud, unpleasant). Between these abstract and
symbolic gestures was masking into a pig-humanoid person and drawing
the target on the glass instead of drawing the contours of the mask/his
face. This made the whole performance „Identity Game“, as it was titled.
Johannes Christopher Gérard (Germany/Holland) based his poetical
performance „Connected“ on three key moments – space, people and
interaction with them, creating new space by connecting visitors with
white rope and moving among them, and in relation inner-outer space.
Aleksandar Jovanovic (Serbia) uses shoes as a symbol of people to
display interactions between them in a way that is visually and
choreographically very purified and containing the effect of surprise
and humor. A gesture of tying male, female and children's laces to a
joint knot, the artist creates symbolic „The knot of love“ that is also
the title of the performance.
Milica Cimesha and Anja Tasovac,
students of scene design at Faculty of technical sciences in Novi Sad,
also took part on this IMAF with performances “Dress me again” and
“Lamentation”. As Cimesha shows a role play that a girl gives to her
dolls and adds parts of her personality to them, Tasovac is performing
lamentation. Aesthetically very different, these two performances point
out traditional female roles and appearances. A program of the Festival
also included a workshop “How to set up an exhibition according to Feng
Shui” led by Laura Ociepa (Poland) which ended with the exhibition of
the works created during the workshop. That rounded up 20th IMAF
realised with minimal budget. Artists from all over the world came on
their own expenses, placed in a hotel and then in a hostel dormitory.
They didn't receive any fees for their performances, and neither did the
organizers. The audience, on the other hand, received a rich experience
that is for Odzaci as a smaller community, and Novi Sad as a larger
one, of special meaning since it continually reminds the inhabitants
that performance and multimedia art are a constant of the culture for
the past 20 years.
Quoted works:
Coogan, Amanda, “What is Performance Art?,” in: Lisa Moran (ed.), What is…, Dublin: Irish Museum of Modern Art, 2011, 9 - 21.
Jovićević, Aleksandra, „Performans u umetnosti: paradigmatske koncepcije i prakse izvođenja kroz makro koncepcije (umetnosti) 20. veka“, u: Aleksandra Jovićević i Ana Vujanović, Uvod u studije performansa, Beograd: Fabrika knjiga, 2007, 69 – 86.
McKenzie, Jon, Perform Or Else: From Discipline To Performance, London-New York: Routledge, 2001.
Šuvaković, Miško, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005.
IMAF 2018 recenzija:
SONJA JANKOV:
Performans i/ili savremena umetnost
Internacionalni multimedijalni umetnički festival (IMAF)
7 - 9. 9. 2018.
Performans
je umetnost sadašnjosti koja se može odviti bilo gde – u umetničkim ili
ne-umetničkim prostorima, javnim ili privatnim, na ne-mestima – ali
odabir lokacije izvođenja je uvek od velike važnosti za umetnike. Kao u
disciplinama body arta i žive skulpture, umetnici performansa koriste
svoje telo kao ready-made, ispitujući granice
svoje izdržljivosti,
samokontrole, bola, rizika ili transformacije iz sopstva i
subjektivnosti u nešto drugo. Prisustvo umetnika i njegovo delovanje
„uživo“ pred publikom (ili interakcija sa njom) je od ključne važnosti
za performans.
U performansu, gledalac nije nikada izolovan kao u
domenu predmetne umetnosti. Osim specifičnog odnosa prema prostoru i
publici, ono što ga odvaja od drugih performativnih umetnosti je
trajanje, to jest njegova efemernost. Prema Amandi Kogan, performans je
„praksa bazirana na vremenu“ (2011: 10). Čak i kada umetnici izvode
isti performans nanovo i nanovo, on ne može biti isti svaki put jer se
prostor i odnos sa publikom uvek menjaju. Zbog toga umetnici često
moraju da improvizuju i uvode varijacije u svoje delanje.
Postoji
nekoliko definicija performansa. Prema Džonu Mekenziju, performans je
društvena nužnost kojom se manifestuje odnos znanja i modi, i može biti
institucionalan, tehnološki i kulturalan (2001: 19). Miško Šuvaković
se fokusira na umetnički performans i vidi ga kao zaseban diskurs
nastao povezivanjem body arta, hepeninga i određenih pozorišnih tehnika.
Tumači ga kao oblik umetničkog delovanja koji je u istoriju umetnosti
uveden 1970-ih godina, ali i primenjuje pojam performativnosti na sve
vrste umetničkih događaja koji sadrže pokret, proces i akciju, kao što
su eksperimenti, hepeninzi neodade i fluksusa, događaji, akcije
konceptualnih umetnika, procesi dematerijalizacije umetnosti, minimalne i
postmoderne post-teatarske forme (2005: 451). Rezultat performansa nije
nikada materijalni produkt, nego izazivanje kod gledalaca/učesnika
osećaj katarze i reakcije kroz različite osećaje (iznenađenje, gađenje,
strah, teskoba, tuga...).
Aleksandra Jovićević ističe da je
„početkom 21. veka definisati umetnost performansa možda još teže zbog
njegove individualističke, fragmentarne, heterogene prirode: umetnost
performansa se sastoji od različitih, ponekad oprečnih i neuklopljivih
pokreta, projekata, manifesta, individualnih umetničkih činova, što
takođe reflektuje amorfnu složenost savremenog postindustrijskog,
liminoidnog, neoliberalno-kapitalističkog društva“ (2007: 85). On je
time sličan širem polju savremene umetnosti koju određuju pojmovi kao
što su heterogenost, višeznačnost, interdisciplinarnost, procesualnost,
diskontinuitet, kolaž, efemernost, anti-materijalnost, de-estetizacija,
citat, subverzija, pluralizam, kritički ton, (auto)refleksivnost,
privremenost, aktuelnost i svakako, multimedijalnost. Koja je onda
pozicija savremenog performansa, forme koja je inače interdisciplinarna i
koja često inkorporira u sebe materijale i medije drugih disciplina? Da
li performans danas treba da vidimo kao jedan fluidni, hibridni vid
postmedijske umetnosti ili kao formu koja je sačuvala svoje osnovne
karakteristike prelazeći iz XX u XXI vek?
Odgovore na ova pitanja
dali su učesnici 20. IMAF-a koji su u periodu od tri dana izveli 20
performansa. Program prvog dana se tradicionalno održao u Odžacima, a
potom se nastavio u Novom Sadu, u Galeriji SULUV.
Kako se
performans često bavi kulturološkim problemima kao što su identitet
(pol, rod, klasa, starosno doba, rasa, etnicitet, nacionalnost),
politika, ideologija, ekonomija, istorija, tradicija, religija, jezik, i
na ovogodišnjem IMAFu je nekoliko umetnika pristupilo ovim temama.
Radoslav
Čugalj (Srbija) je seo, izvadio komad hleba, namazao paštetu na njega,
pojeo ga. To je obrok siromašnih, mnogih u Srbiji i u drugim zemljama,
to je iznošenje privatnog života umetnika javno na scenu. Svoj
performans simbolično naslovljava „Nepodnošljivi luksuz umetničkog
života“.
Dariusz Fodczuk (Poljska) se prvo predstavio rečju „zdravo“,
a potom je direktno pristupio publici, blokirajući im šakom usta i
vilicu. Pitajući ih potom kako se osećaju, dotakao je problematiku
ugnjetavanja i nemogućnosti izražavanja. Ovaj postupak je jedan od
četiri segmenta njegovog performansa i ostali se fokusiraju na forme pozdravljanja,
to jest na prvu interakciju među ljudima koji se ne poznaju. Jedna
vrsta pozdrava je bila šamaranje umesto rukovanja, koje je Fodczuk izveo
u kolaboraciji sa drugim performerima. Uz ovaj nadrealni čin i početno
„zdravo“, opresija u vidu blokiranih usta izgleda kao „dobar dan“, to
jest kao svakodnevna pojava kojoj niko više ne pridaje pažnju i preuzima
se kao normalno stanje.
Ola Koziol (Poljska) se novosadskoj
publici prvo predstavila činom češljanja pred ogledalom. Kako je
performans nepredvidiva forma, publika nije mogla da pretpostavi
nastavak procesa. Posle urednog češljanja, da bi reprezentativno
izgledala za druge, Ola/žena počinje proces iskazivanja drastične
krivice i samokažnjavanja. Koristedi jabuku kao sredstvo citiranja prvog
greha, Ola otvara pitanje krivice koje se nameće ženama i nasilja koje
se svakodnevno vrši nad njima u blažim i drastičnim formama. Publici u
Odžacima se predstavila drugim radom koji se tiče snova o sreći i
iluzija kojima skrivamo stavrnost od sebe. U komično-tragičnoj
kabaretskoj formi portretiše ženu koja je oduvek želela da živi u Parizu
i da ima cipele sa visokom potpeticom, ali ne može da ih priušti pa ih
pravi od krompira i samolepive trake. Njen performans „Pokušaj da hodaš u
mojim cipelama“ je alegorija o stahu od samoće, o prevazilaženju bede i tkanju osećanja sreće.
Marta
Bosowska (Poljska) je inkorporirala u svoje performanse elemente
nacionalnih identiteta kroz muziku. U Odžacima je u performansu „Nade i
laži“ pevala adaptirane stihove „Ko to kaže, ko to laže, nada nije
mala“, povremeno gestualno pokazujući na toranj crkve. Dok je uzvikivala
ove stihove, u isto vreme je jela jabuke i skakala na trampolini na
dečjem igralištu, demonstrirajući time proces visoke samokontrole
potreban da se ne bi zagrcnula. U Novom Sadu je isto izašla u javni
prostor svojim performansom, pevajući sa učesnicima poljsku himnu i
himnu nekadašnje savezne republike Jugoslavije (kasnije i državne
zajednice Srbije i Crne Gore), obe melodijski gotovo identične. Dok
je poljska himna još aktuelna, jugoslovenska himna Hej, Sloveni nije,
mada je ljudi na ovim prostorima pamte. Multikulturalni karakter ovog
perfomansa je istakla naslovom „Marsz-March-Marsh“, a militantnim šlemom
koji je nosila kao trudnički stomak. U tom kontekstu, helijumski balon u
obliku konjića, koji je držala, izgleda kao parodijska referenca na
spomenike konjanika koje viđamo na centralnim trgovima prestonica.
Krajem njenog performansa, kada je domarširala sa učesnicima nazad u
galeriju, Dariusz Fodczuk je počeo da ispaljuje boje na staklo galerije,
prema posmatračima koji su napolju, povezujući kasnije tačke u reč
„love“.
Dok Saša Denić-Špena (Srbija) personifikuje kapitalizam u
posesivno čudovište koje se hrani novcem i nipodištava društvene
vrednosti u radu „Ljudske fleke“, MP_art (Maja Budžarov i Predrag
Šiđanin, Srbija) stvaraju vilendorfsku Veneru savremenog doba. Ta Venera
ima istu formu kao i njena drevna pretkinja, ali nije napravljena samo
od gline, nego i od gumenih medvedića – sintetičkog materijala koji je
ugrađen u figuru Venere kao silikoni. Dok je Budžarov oblikovala Veneru,
Šiđanin joj je spaljivanjem davao krajnji oblik, uzimajući ulogu sličnu
plastičnom hirurgu. Tokom spaljivanja, osetilo se koliko su gumeni
medvedići veštački, trošan i toksičan materijal u odnosu na glinu, ali
su se uklopili u željeni oblik. Ovaj performans svojim naslovom „Slatki
život“ poigrava se na nekoliko značenjskih nivoa, unoseći bukvalnu
slatkoću slatkiša, alegoričnu slatkoću života koju donosi lepota i
sarkastični komentar tokom ogoljavanja postupaka kojih se ljudi
poduhvataju da bi slatko živeli.
Yeanet Poett (Mađarska) koristi
odlomak iz Limenog doboša Gintera Grasa, scenu iz podruma luka.
Uključuje publiku u performans i daje im da seckaju crni luk, koji i sam
secka, dok ne počnu da im cure suze. Svi sede u rasporedu koji čitav
prizor čini sličan kamernoj verziji Poslednje večere Leonarda da
Vinčija. U ovom slučaju je večera luk, to jest suze, emotivno
pražnjenje, koje je kod Grasa bilo povezano sa nemogudnošću osećanja
krivice kod Arijevaca, te im je trebao luk da bi zaplakali nad zločinima
koje su počinili. Poett se pojavljuje u ulozi lekara/terapeuta koji
isprobava lek na sebi i publici i potom određuje „9 suza“ kao dozu za
uspešno izlečenje. Pitoreskni i alegorični performansi „Venustraphobia“ i
„Kopophobia“ Maximiliana Latve i Katri Kainulainen (Finska) ispituju
odnos slobode, fobije, parališuće žudnje, želje, nemoći, zamiranja.
Koristeći malo pokreta, ritam i velik broj rekvizita (kostim kentaura,
prepariranu pticu, dildo, lutku na naduvavanje, itd.) Latve i
Kainulainen stvaraju simbolične radove u kojima svaki posmatrač može da
se nađe.
Nastupanje Danice Bićanić (Srbija) i Bernharda
Hansbauera (Austrija) bilo je bazirano na zvuku koji je Bićanić
proizvodila bruseći staklo i bušeći srebrnu meku skulpturu koju je
prethodno napravila. Njihov performans „Briga ide preko reke“ upućuje na
basnu „Briga“ Gajusa Higina (Gaius Hyginus) u kojoj Briga,
personifikovana u figuru, ugleda svoj odraz u reci i po njemu stvori
novo biće - čoveka. Prema Higinovoj basni, Briga je tvorac čoveka i on
uvek ostaje u njenom posedu. Nadovezujući se na motiv odraza, Bićanić i
Hansbauer uvode motive refleksije i odjeka u svoj audio-vizuelni
eksperiment, koristeći ih kao osnovne materijale od kojih stvaraju.
Pozicioniran između prostorne i zvučne instalacije (noise art), njihov
performans je uključivao medijske elemente – video dokumentaciju kako
Bićanić vuče svoj objekat (brigu) preko mosta i snimak atomske bombe.
Performans Nenada Bogdanovića
je realizovan na kontrastima meko-tvrdo, tiho-glasno, sporo-naprasno.
Početno likovno upečatljivo padanje plavog perja (meko, lagano, prijatno
na dodir), nastavilo se glasnim odskakanjem klikera o granitni pod i
završilo se praskom kada je Bogdanović punom šakom klikera razbio ogledalo u paramparčad
(oštro, glasno, neprijatno na dodir). Između ovih apstraktnih i
simboličnih gestova je bilo maskiranje u svinjoliko-čovekoliku pojavu i
crtanje mete na staklu umesto iscrtavanja obrisa te maske/svog lica.
Time je čitav
performans bio „Igra identitetom“, kako je naslovljen.
Johannes Christopher Gérard (Nemačka / Holandija) je svoj poetični
performans „Povezan“ bazirao na tri ključna momenta – prostor, ljude i
interakciju sa njima, stvarajući nov prostor povezivanjem posetilaca
belim kanapom i kretanjem između njih i na relaciji
unutrašnji-spoljašnji prostor. Aleksandar Jovanović (Srbija) koristi
cipele kao simbol ljudi da prikaže odnose među njima na način koji je
vizuelno i koreografski vrlo pročišćen i sadrži efekat iznenađenja i
humora. Gestom vezivanja pertli muških, ženskih i dečjih cipela u
zajednički čvor, umetnik stvara simbolični „čvor ljubavi“ po kojem
performans nosi naslov.
Učešće na Festivalu su uzele i Milica
Cimeša i Anja Tasovac, studentkinje scenskog dizajna sa Fakulteta
tehničkih nauka u Novom Sadu, nastupajući sa performansima „Obuci me
opet“ i „Naricanje“. Dok Cimeša prikazuje igru uloga koje dovojčica daje
svojim lutkama i kojima daje elemente svoje ličnosti, Tasovac izvodi
čin naricanja. Estetski vrlo različita, ova dva performansa ističu
tradicionalne uloge i prikaze žena. Program Festivala je uključio i
radionicu „Kako postaviti izložbu prema Feng Šuiju“ koju je vodila Laura
Ociepa (Poljska) i koja je završena izložbom radova nastalih na
radionici. Time je zaokružen 20. IMAF koji je realizovan uz minimalan
budžet. Umetnici iz svih zemalja su došli o svom trošku, a bili su
smešteni u hotelu, potom u hostelskom domu. Honorare za svoje nastupe
nisu dobili, kao ni organizatori. Publika, sa druge strane, dobila je
bogato iskustvo koje je za Odžake, kao manju sredinu, i Novi Sad kao
veću, od posebnog značaja jer u kontinuitetu stanovnike navikava da su
performans i multimedijalna umetnost konstanta u kulturi već 20 godina.
Citirani radovi:
Coogan, Amanda, “What is Performance Art?,” in: Lisa Moran (ed.), What is…, Dublin: Irish Museum of Modern Art, 2011, 9 - 21.
Jovićević,
Aleksandra, „Performans u umetnosti: paradigmatske koncepcije i prakse
izvođenja kroz makro koncepcije (umetnosti) 20. veka“, u: Aleksandra
Jovićević i Ana Vujanović, Uvod u studije performansa, Beograd: Fabrika
knjiga, 2007, 69 – 86.
McKenzie, Jon, Perform Or Else: From Discipline To Performance, London-New York: Routledge, 2001.
Šuvaković, Miško, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005.
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