This conversation is part of a series of interviews with artists from Eastern Europe who live and work in Berlin. The city has attracted artists from Russia and Eastern Europe for a long time: especially during the Cold War and into the 1990s, its peculiar geo-political situation gave it a unique ambience that attracted artists from all over the world, but especially from the East. How do these artists experience the city today? How do they look back on the hopes and expectations with which they once arrived? Have they settled for good, or are they considering moving elsewhere? Do … Read more
ARTTERROR—Fragments of Duality, Belgrade Cultural Centre, April 5–May 3, 2018
The exhibition ARTTERROR – Fragments of Duality, on view at the gallery space Podroom of the Belgrade Cultural Centre, presented work by the Belgrade-based art association ARTTERROR created during the last few decades. However, as curator Vladimir Bjeličić and the artists themselves stated, the aim was not to show a retrospective of ARTTERROR’s work. Instead, Bjeličić noted that the exhibition should be “regarded as a specific installation or in situ reaction based on the critical self-reflection of this artist duo.”(See the leaflet accompanying the exhibition: Vladimir Bjeličić, ARTTERROR – … Read more
56TH BELGRADE OCTOBER SALON, SEPTEMBER 23-NOVEMBER 6, 2016
The 56th October Salon occupied two major venues in Belgrade: a long-abandoned building on Resavska Street, which was previously the headquarters of ex-Yugoslavia’s Military Academy, and, in the very heart of the city, the Belgrade Cultural Center on Knez Mihailova Street. Entitled The Pleasure of Love: Transient Emotion in Contemporary Art, the 2016 exhibition showcased works by 67 artists from 26 countries, each of which sought to explore the human condition through the prism of love. In focusing on love, curator David Elliot characterized the Salon as taking a forthright stand against … Read more
56th Belgrade October Salon, September 23-November 6, 2016
The October Salon is the flagship event on the Belgrade contemporary art calendar, maybe the entire cultural calendar in the city. It was founded by the City of Belgrade in 1960 as an exhibition of contemporary fine arts, and by 1967 it also included applied arts. It was not until 2001 that an artistic director was engaged to create the concept of the Salon, as prior to that the Salon’s advisory board was responsible for conceiving the exhibition. Until 2005 the Salon was a representation of the Serbian art scene, after which … Read more
APRIL 2-6, 2013. BELGRADE YOUTH CENTER AND OTHER VENUES.
April 2013 marked the 60th year of the Belgrade Documentary and Short Film Festival, which places it among the oldest film festivals of any type in Europe. In light of this unique position within the international film festival landscape, it seems that an investigation into the history of the Belgrade Festival, or “Kratki metar,” and its connection with the unpredictable political winds in the former Socialist Yugoslavia (now post-socialist Serbia) would be a welcome addition to the annals of general film culture.
Towards that, a young researcher named Dunja Jelenkovi? has … Read more
Nikola Dedić/Aneta Stojni?/ARTMargins Online: Recently, you have published the first volume of a book entitled The History Of Art in Serbia, XX Century. Radical Artistic Practices, which is the first detailed and historical study of Serbian art in the last century. How would you evaluate the importance of this project within both the local and the international context?
Miško Šuvakovi?: Your History Of Art In Serbia, XX century– is the first volume of a three volume series that guides the reader through the “long 20th century.” As the editor, I was lucky to gather an extraordinary team … Read more
I was invited by ARTMargins editorial team to write a text and edit a special issue about the art scene that has developed in the past ten years in Serbia. For those readers who are not familiar with the local, political, artistic, and cultural context of Serbian art, I will first point out the historical circumstances that determined the development of the scene, and then I will sketch the theoretical framework that is relevant for the understanding and interpretation of contemporary Serbian art. I will also write about the institutional context in which this art is produced and, finally, I … Read more
Ljiljana Blagojevic, Modernism in Serbia: The Elusive Margins of Belgrade Architecture, 1919-1941. MIT Press in association with Harvard University Graduate School of Design, 2003.
When young Charles-Édouard Jeanneret, who under the name of Le Corbusier became the most influential architect of the twentieth century, arrived in Belgrade in 1911 during his travels across Europe, he did not hide his disappointment with “ridiculous capital, worse even: a dishonest city, dirty, and disorganized .” On a map of his travels he was marking places he visited with an I (industry), a C (culture), or an F (folklore). And while all the … Read more