Galerijski i izložbeni prostori savremene vizuelne umetnosti u Srbiji

Transcription

i
umetnosti u Srbiji
Galleries and
Exhibition Venues of
Contemporary Visual
Art in Serbia
Dimitrije Tadić
Galerijski i izložbeni prostori
savremene vizuelne umetnosti u Srbiji
Instrumenti podrške Ministarstva kulture, informisanja
i informacionog društva Republike Srbije 2003-2011.
Galleries and Exhibition Venues
of Contemporary Visual Art in Serbia
Instruments of Support of the Ministry of Culture, Media and
Information Society, Republic of Serbia, 2003 – 2011
Dimitrije Tadić
Beograd Belgrade 2012
Recenzije
Reviews
Dr Ph.D. Milena Dragićević Šešić
Fakultet dramskih umetnosti u Beogradu i Univerzitet umetnosti u Beogradu
Faculty of Dramatic Arts, Belgrade and University of Arts, Belgrade
Dr Ph.D. Nenad Radić
Filozofski fakultet Univerziteta u Beogradu
Faculty of Philosophy, University of Belgrade
Sadržaj
Content
Dimitrije Tadić
Uvodna reč 8
Dimitrije Tadić
Foreword 9
Dimitrije Tadić
Galerijski i izložbeni prostori savremene vizuelne
umetnosti i multimedije u Srbiji
Instrumenti podrške Ministarstva kulture,
informisanja i informacionog društva
Republike Srbije 2003-2011. 12
Dimitrije Tadić
Galleries and Exhibition Venues of Contemporary
Visual Art and Multimedia in Serbia
Instruments of Support of the Ministry of
Culture, Media and Information Society,
Republic of Serbia, 2003 – 2011 13
1. Uvod 12
1.1. Prezentacija vizuelnih umetnosti i
multimedije 14
1.2. Funkcije galerijskih i izložbenih
prostora 18
1. Introduction 13
1.1. Presentation of Visual Art and
Multimedia 15
1.2. Functions of the Galleries and
Exhibition Venues 19
2. Ministarstvo kulture, informisanja i
informacionog društva Republike Srbije 22
2.1. Unutrašnja organizacija Ministarstva
kulture, informisanja i informacionog društva
Republike Srbije 24
2.2. Sektor za savremeno stvaralaštvo i
kreativne industrije 24
2. Ministry of Culture, Media and Information
Society of the Republic of Serbia 23
2.1. Internal Organization of the Ministry of
Culture, Media and Information Society of
the Republic of Serbia 25
2.2. Department for Contemporary
Culture and Creative Industries 25
3. Konkurs za sufinansiranje projekata/
programa koji svojim kvalitetom doprinose
razvoju i prezentaciji umetnosti i kulture 26
3.1. Konkurs kao instrument kulturne
politike/ Utemeljenost u zakonodavstvu i
strategijama razvoja 30
3. Call for Applications for Co-Funding Projects/
Programs whose Quality Contribute to Development
and Presentation of the Art and Culture 27
3.1. Call for Applications as Instrument of
Culture Policy/ The Foundation in Legislation
and Development Strategies 31
4. Konkurs za vizuelne umetnosti i multimedije
Ministarstva kulture Republike Srbije 32
4.1. Komisija za vizuelne umetnosti i
multimedije 32
4.2. Opšti kriterijumi u radu komisije za
vizuelne umetnosti i multimedije 36
4.3. Posebni kriterijumi u radu komisije za
vizuelne umetnosti i multimedije 46
4.4. Kategorizacije galerija i izložbenih
prostora 54
4.5. Finansiranje godišnjih programa
galerija i izložbenih prostora 56
4.6. Finansiranje pojedinačnih projekata 58
4.6.1. Finansiranje projekata u organizaciji
Dgalerija i izložbenih prostora 58
4.6.2. Finansiranje projekata čiji su
podnosioci umetnici ili pak drugi profesionalci u kulturi, kao i udruženja građana 58
4. Public Call for Applications for Visual Art and
Multimedia of the Ministry of Culture, Media and
Information Society of the Republic of Serbia 33
4.1. Committee for Visual Arts and
Multimedia 33
4.2. General Criteria Applied in the Work
of the Committee for Visual Arts and
Multimedia 37
4.3. Special Criteria Applied in the Work
of the Committee for Visual Arts and
Multimedia 47
4.4. Classification of Galleries and
4.5. Financing Annual Programs of the
Galleries and Exhibition Venues 57
4.6. Financing of Individual Projects 59
4.6.1. Financing Projects Organized by the
5. Drugi oblici podrške 60
5.1. Posredovanje u saradnji i umrežavanju
galerija i izložbenih prostora u zemlji, kao i na
međunarodnom planu 60
5.2. Izdavanje preporuka i pisama podrške 60
5.3. Finansiranje likovnih kolonija 60
5.4. Finansiranje projekata iz oblasti
vizuelnih umetnosti i multimedije koje inicira
Ministarstvo kulture Republike Srbije 62
5.5. Finansiranje profesionalnog usavršavanja kustosa i drugih profesionalaca vezanih za
galerije i izložbene prostore 64
6. Pregled dosadašnjih rezultata konkursa/
statistička analiza 64
7. Zaključak 72
Bibliografija 78
4.6.2. Financing Projects for which the
Applications are submitted by the Artists,
other Culture Professionals or Civil Society
Organizations 59
5. Other Forms of Support 61
5.1. Mediation in Cooperation and
Networking of the Galleries and Exhibition
Venues in Serbia and internationally 61
5.2. Recommendations and Letters of Support 61
5.3. Financing Art Colonies 61
5.4. Financing Projects in the Area of Visual
Arts and Multimedia that are initiated by the
Republic of Serbia Ministry of Culture, Media
and Information Society 63
5.5. Financing the Professional Training of the
Curators and other Professionals engaged by
Nina Mihaljinac
Izložbeni prostori savremene vizuelne umetnosti i
multimedije – analiza scene
(sa aspekta galerijskog menadžmenta) 80
6. Survey of the Results of Call for Applications/
Statistical Analysis 65
1. Profili galerija 82
2. Odnos galerija i umetnika 86
3. Odnos galerija i publike 92
4. Učešće na sceni/ umetničkom tržištu 96
5. Međunarodna saradnja 102
6. Zaključak 104
Bibliography 78
Bibliografija 106
Biografije 116
1. Galleries’ Profile 83
2. Relation between the Gallery and the Artist 87
3. Relation between the Gallery and the Audience 93
4. Participation in the Scene/ Art Market 97
5. International Cooperation 103
6. Conclusion 105
Prezentacije galerija i izložbenih prostora 120
Bibliography 106
Maida Gruden
Profesija kustos – tranzicija kustoskih praksi 108
7. Conclusion 73
Nina Mihaljinac
Galleries and Exhibition Venues of Contemporary
Visual Art – Analysis of the Gallery System from the
Point of View of Gallery Management 81
Maida Gruden
Profession Curator – Transition of Curator Practice 109
Biographies 117
Presentations of Galleries and
Dimitrije Tadić
ma značajan segment projekta.
Dimitrije Tadić
Uvodna reč
Deo ovog projekta predstavlja i istraživanje o
funkcionisanju galerija i izložbenih prostora
u Srbiji, koje je su koncipirali Nina Mihaljinac i Dimitrije Tadić, a čiji rad Ministarstvo kulture, informisanja i informacionog
društva Republike Srbije podržava. Tokom
tog istraživanja, koje je sprovela Nina Mihaljinac, intervjuisani su mnogobrojni
kustosi i vodeće osobe galerija i izložbenih
prostora u Srbiji, kako bi se prikupila
pojedinačna iskustva i na taj način se dodatno pojasnile okolnosti u kojima se izlagački
programi odvijaju. Ovi intervjui ticali su se
uslova u kojima se njihov rad odvija, problema sa kojima se u svom radu susreću, kao
i njihovih potreba u cilju poboljšanja funkcionisanja galerija i izložbenih prostora.
Zbog obimnosti prikupljenog materijala,
nažalost, nije bilo moguće predstaviti intervjue u ovoj publikaciji. U svakom slučaju,
oni će biti uzeti u obzir prilikom budućih
evaluacija rada i sagledavanja potreba, kako
Ministarstva, tako i galerija i izložbenih
prostora.
Foreword
Osnovni cilj publikacije koja je pred vama
jeste da predstavi i analizira podršku Ministarstva kulture, informisanja i informacionog društva Republike Srbije galerijskim i
izložbenim prostorima u Srbiji, u periodu
od 2003. do 2011. godine. Ova podrška
odvija se prvenstveno kroz konkurs za sufinansiranje projekata/programa koji svojim
kvalitetom doprinose razvoju i prezentaciji
umetnosti i kulture Ministarstva, odnosno
kroz specijalizovani konkurs za vizuelne
umetnosti i multimedije.
Takođe, namera je publikacije da predstavi
i način funkcionisanja galerijskog sistema u
Srbiji. Publikacija treba da omogući akterima
koji učestvuju u kreiranju domaće vizuelne
i multimedijalne scene (galeristi, umetnici,
kustosi, kulturni menadžeri) da steknu uvid
i uporede različite izlagačke prakse i modele
delovanja koji su prisutni u našoj sredini.
Ovaj zajednički projekat Ministarstva kulture, informisanja i informacionog društva
Republike Srbije i Udruženja građana Anonymous said: iz Beograda daje svoj doprinos
u unapređenju vizuelne i multimedijalne
scene u našoj zemlji – upravo iznošenjem
iskustava i načina funkcionisanja samog
Ministarstva i mnogobrojnih galerija i
izložbenih prostora u Srbiji. U tom smislu,
smatramo da je prikupljanje tehničkih pojedinosti, kao i specifičnih detalja i iskustava
svakog galerijskog i izlagačkog prostora veo-
Evaluacija rada i sagledavanje potreba galerija i izložbenih prostora u Srbiji, ali i
načina i instrumenata podrške Ministarstva
neophodni su i sa stanovišta lociranja problema u funkcionisanju podržanih projekata
na konkursu Ministarstva za vizuelne umetnosti i multimedije. Stoga tekst analize,
načinjen na osnovu upitnika i intervjua,
ukazuje upravo na te tačke. Mapiranje problema sa kojima se vodeći ljudi galerijskih i
izložbenih prostora susreću neophodno je da
bi Ministarstvo na njih adekvatno odgovorilo
u budućnosti, jer ovi problemi ne samo što
ukazuju na okolnosti u kojima funkcionišu
galerije i izložbeni prostori, već i cela domaća
vizuelna i multimedijalna scena.
Tekstovi u ovoj publikaciji delom se odnose
na vizuelnu i multimedijalnu scenu, tj. prvenstveno na galerijski/izložbeni sistem,
međutim, oni se primarno odnose na rad
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collecting technical details as well as specific
details and experiences of each gallery and
exhibition venue are very important part of
the project.
The main goal of the publication which is
in front of you is to present and analyse
the support which the Ministry of Culture,
Media and Information Society, Republic
of Serbia provided for the galleries and exhibition venues in Serbia in the period from
2003 to 2011. This support was mainly provided through the Republic of Serbia Ministry of Culture, Media and Information
Society call for applications for co-funding
projects/programs which by their quality
contributed to development and presentation of the arts and culture i.e. is by means
of special call for applications for visual arts
and multimedia.
Part of this project is also a research on the
manner the galleries and exhibition venues
in Serbia function (outlined by Nina Mihaljinac and Dimitrije Tadić) whose work is
supported by the Republic of Serbia Ministry of Culture, Media and Information
Society. During this research, conducted by
Nina Mihaljinac many curators and leading persons of the galleries and exhibition
venues in Serbia were interviewed in order
to collect their individual experience and
to provide additional explanation of the
circumstances in which the exhibition programs are carried out. These interviews addressed conditions under which their work
was done, problems they faced as well as
their needs/requirements aimed at improvement of functioning of the galleries and
exhibition venues. Due to the amounts of
the gathered material, unfortunately, it was
not possible to present the interviews in this
publication. In any case, they will be taken
into consideration in future evaluations of
the work and needs of both the Ministry
and galleries and exhibition venues.
Besides, this publication is intended at presenting also the way of functioning of the
galleries’ system in Serbia. It should enable
the actors participating in creation of national visual and multimedia scene (gallerists, artists, curators, cultural managers) to
get insight and compare different exhibition practices and models of work that exist in our country. This joint project of the
Ministry of Culture, Republic of Serbia and
Citizens’ Association Anonymous said from
Belgrade contributes to improvement of the
visual and multimedia scene in our country
– simply by presenting the experience and
way of functioning of the Ministry itself
and numerous galleries and exhibition venues in Serbia. To this end, we believe that
Evaluation of work and understanding the
needs of the galleries and exhibition venues
in Serbia as well as the ways and support
instruments of the Ministry of Culture are
necessary for the purpose of identifying
the problems regarding functioning of the
projects supported by the Ministry. Consequently the text of the analysis, made
on the grounds of the questionnaires and
interviews, shows exactly these issues. Defining the problems that face galleries’ and
exhibition venues’ staff face is necessary for
the Ministry to address them adequately in
the future. Aside from revealing the circumstances of solely the gallery and exhibition
venues, these indicate the wider conditions
of the entire visual and multimedia scene.
galerija i izložbenih prostora u Srbiji koji
su podržani od strane Ministarstva kulture.
Za ovu priliku odabrani su projekti koji
slikovito i reprezentativno ilustruju ne
samo savremenu vizuelnu i multimedijalnu domaću scenu već i kriterijume i
efekte konkursa, kao i napore Ministarstva
usmerene ka unapređenju funkcionisanja
umetničkog i kulturnog sistema Srbije.
Zato su predstavljene one inicijative koje
je Ministarstvo podržavalo u kontinuitetu.
Broj podržanih programa galerija i projekata na konkursu daleko je veći. Dakle, ova
publikacija nikako ne daje potpun prikaz
galerijskog/izložbenog sistema u Srbiji, jer
ovde nisu predstavljeni važni galerijski i
izložbeni prostori (kao što su npr.: Galerija
Doma omladine, Galerija Kulturnog centra
Beograda, Salon Muzeja savremene umetnosti u Beogradu i sl.), budući da Ministarstvo nije, bar ne iscrpno i kontinuirano, preko konkursa za vizuelne umetnosti i
multimedije, finansiralo njihove programe.
Publikacija pruža sažete informacije o radu
svake galerije i izložbenog prostora, takođe
sadrži kratak pregled razvoja organizacije,
programski koncept, tlocrte, kontakte i fotografije prostora i time ukazuje na raznoliku profilisanost savremene vizuelne scene
u Srbiji.
Tekst Nine Mihaljinac evaluira širi kontekst
funkcionisanja galerijskog sistema u Srbiji,
i rad predstavljenih galerija i izložbenih
prostora u Srbiji.
Tekst Maide Gruden, istoričarke umetnosti, bavi se istorijatom i aktuelnom percepcijom pojma kustos, kao profesije od
vitalnog značaja za rad jedne galerije ili
izložbenog prostora.
Usled česte upotrebe termina galerija i
izložbeni prostor u ovoj publikaciji, potrebno je ukazati na njihovu distinkciju,
The texts in this publication refer partially to
the visual and multimedia scene i.e. to gallery/exhibition system, but they predominantly refer to the work of those galleries and
exhibition venues in Serbia that have been
supported by the Ministry of Culture.
i precizno definisati njihova značenja.
Tako pod „galerijom“ podrazumevamo
one prostore za kontinuiranu prezentaciju
savremene umetnosti i slične aktivnosti
žiriranih programa od strane umetničkog
saveta ili umetničkog direktora, i to bilo
kog sektora (javni, civilni i privatni). Pod
terminom „izložbeni prostori“ podrazumevaju se negalerijski prostori koji se u
kontinuitetu bave istim funkcijama, ali se
u njima shodno uspostavljenom programskom profilu redovno odvijaju i programi drugih umetničkih i neumetničkih
formi, oblasti i sektora (muzika, pozorište,
privreda, prosveta, aktivizam, debatni programi, prezentacije).
Publikacija je štampana kao izdanje udruženja građana Anonymous said: iz Beograda,
što treba sagledavati u svetlu neophodne
saradnje vladinog i nevladinog sektora,
budući da je izrada ove publikacije pod
direktnim pokroviteljstvom Ministarstva
kulture Republike Srbije. Kako Ministarstvo veoma drži do kvalitetne i dinamične
saradnje sa civilnim sektorom, ova publikacija ujedno svedoči i o naporima
Ministarstva usmerenim ka unapređenju
ove vrste saradnje.
Veliku zahvalnost dugujemo Mileni Dragićević Šešić na pomoći u koncipiranju i
strukturiranju tekstova ove publikacije,
kao i Nenadu Radiću na značajnoj stručnoj
pomoći i saradnji.
Želeli bismo i da se zahvalimo Ani Vučetić,
pomoćniku ministra kulture za savremeno
stvaralaštvo i kreativne industrije, Vesni Jokanović, pomoćniku ministra kulture za
ekonomsko-finansijske poslove, kao i Snežani Stojanović-Plavšić, državnom sekretaru bez čije ljubazne pomoći štampa ove
publikacije ne bi bila moguća. Posebnu zahvalnost upućujemo Predragu Markoviću,
ministru kulture u Vladi Republike Srbije.
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The projects selected for this occasion illustrate in a picturesque and representative way
not only the modern visual and multimedia
national scene but also the criteria and effects of the call for applications, as well as the
efforts of the Ministry aimed at improving
functioning of the artistic and cultural system
of Serbia. That is why we present those initiatives that were continually supported by the
Ministry. The number of the supported programs of the galleries and projects responding
to the call for applications is much higher.
Consequently, this publication does not fully
present the gallery/exhibition system in Serbia for it does not present important galleries and exhibition venues (such as Gallery of
Dom omladine, the Cultural centre of Belgrade, Museum of Contemporary Art Salon)
having in mind that the Ministry did not finance their programs at least not thoroughly
and continually via call for applications for
visual arts and multimedia. The publication
provides concise information on the work of
each gallery and exhibition venue and it also
contains a brief review of the development
of its organization, program outline, ground
plans, contacts and photographs of the venue
thus showing the diversification of the contemporary visual scene in Serbia.
Nina Mihaljinac’s text evaluates the wider
context of the gallery system in Serbia as
well as the work of the selected galleries and
exhibition venues in Serbia.
The text of Maida Gruden, art historian, addresses the history and current perception
of the role and term of curator, as a vitally
important profession for a gallery or exhibition venue.
As the terms gallery and exhibition venue
are often used in this publication, it is necessary to point out the distinction between
them and precisely define their meaning.
Thus, the term gallery describes those venues for continual presentation of contemporary art and similar programs selected
by art council or art director in any sector
(public, civil and private). The term exhibition venue describes non-gallery spaces
having the same functions continually but
which are also regularly used for other artistic and non-artistic events (music, theatre,
economics/economy, education, activism,
debates, presentations) in accordance with
their programs.
This publication is edited by Anonymous
said: from Belgrade. It is done within the
cooperation framework between the governmental and non governmental sector
as this publication was issued under the
auspices of the Ministry of Culture, Media
and Information Society, Republic of Serbia (MCMIS). The ministry insists on high
quality and dynamic cooperation with the
civil sector and this publication also shows
the efforts aimed to improve such cooperation.
We are grateful to Milena Dragićević Šešić
for her assistance in drafting and structuring texts of this publication as well as to
Nenad Radić for considerable professional
assistance and cooperation.
We would also like to thank to Ana Vučetić,
Assistant Minister for contemporary culture
and creative industries, Vesna Jokanović,
Assistant Minister for economic-financial
issues and Snežana Stojanović-Plavšić, State
Secretary without whose kind assistance
printing of this publication could not be
possible. Particular gratitude goes to Predrag Marković, Minister of Culture, Government of the Republic of Serbia.
Galerije i izložbeni prostori
savremene vizuelne
umetnosti i multimedije
u Srbiji
Instrumenti podrške
Ministarstva kulture,
informisanja i informacionog
društva Republike Srbije
2003–2011.
1. Uvod
Vizuelne umetnosti predstavljaju veoma
širok pojam koji obuhavata mnogobrojne
umetničke forme, od tradicionalnih, poput
slikarstva ili skulpture, preko primenjenih
umetnosti i umetničkih zanata, do fotografije, video-umetnosti, novih medija i performansa. Ovaj pojam ne objedinjuje samo one
forme koje su nekada bile jasno razgraničene
na likovne (npr. slikarstvo, vajarstvo, crtež)
i primenjene umetnosti (scenografija, dizajn
i sl.) već se on često odnosi i na umetničke
forme koje se ukrštaju sa arhitekturom ili
sa nekim drugim disciplinama, čineći tako
specifične intermedijalne izraze. Ponekad
je veoma teško definisati granice vizuelnih
umetnosti. Stoga možemo ostati u nedoumici da li se radi o performansu ili plesu, o
pozorišnoj scenografiji ili prostornoj instalaciji, o komercijalnom reklamnom spotu
ili o video radu. Iako je još nadrealizam u
umetnost uveo prakse vezane za reklamni
dizajn, a drugi umetnički pravci pre njega
sasvim radikalno prekinuli sa starim podelama na tzv. „popularnu“ i „elitnu“ umetnost,
i danas traju rasprave šta umetnost uopšte
čini umetnošću, što je na primeru vizuelnih
umetnosti veoma vidljivo.
Sa uplivom drugih, tradicionalno neumet-ničkih disciplina, poput psihologije ili
političkog i društvenog aktivizma, stvar je
postala još kompleksnija. To je svakako razlog više zbog kojeg se savremene umetničke
prakse i dalje često dele na primenjene i likovne umetnosti. U toj podeli prvu kategoriju definiše upotrebna vrednost, odnosno
primat zanatskog nad duhovnim, a zatim,
u skladu sa tim i pseudoumetnički karakter,
dok drugu kategoriju krasi čistota „prave
umetnosti”. Terminološka zabuna prisutna
je i u drugim sredinama, te se u francuskom
jeziku npr. uporedo koriste oba termina –
arts plastiques i arts visuels. Kao i kod nas,
oni su ponekad suprotstavljeni, a nekad
se njihovo značenje preklapa ili podudara.
Takođe, treba imati u vidu da oba termina
nose konceptualne razlike u definisanju ovih
umetničkih praksi, a što je u direktnoj vezi
sa kretanjima i promenama u savremenom
društvu. S obzirom na to da se te promene
danas odvijaju daleko brže, treba imati u
vidu da je potrebno određeno vreme kako bi
se ti procesi ispravno razumeli, i samim tim
prihvatili novi termini sa posve drugačijim
značenjem. Zato i ne čudi pojava da su i
sami umetnički i kulturni profesionalci
često u terminološkoj zabuni.
Nažalost, ne samo u našoj kulturi, ove i slične
veštačke podele i dalje su u većoj ili manjoj
meri zastupljene. Tako se i dalje mogu čuti
odbrane „tradicionalnih umetničkih vrednosti” ili sa druge strane, isključivi stavovi
o tome šta čini savremenu umetnost i ko
jeste reprezentativni savremeni umetnik.
S tim u vezi, ovde treba napomenuti i nastanak relativno novih profesija u kulturi,
kao što je npr. kulturni menadžer, kao i
novih značenja reči koje označavaju već
uveliko etablirane profesije, poput kustosa.
Naime i kod ovog termina su prisutne izvesne zabune i nepreciznosti – da li termin
kustos predstavlja osobu potrebnog formalnog obrazovanja koja kustoski posao
oba-vlja u okviru institucije, dok termin
kurator određuje isti profil kulturnog profesionalca koji nije stalnim ugovorom vezan
za neku instituciju, ili je pak pravilno reći
frilens kustos? Zatim, feministički diskurs je
doneo i dilemu – da li je za osobu ženskog
Galleries and Exhibition
Venues of Contemporary
Visual Art and Multimedia
in Serbia
Instruments of Support of
the Ministry of Culture,
Media and Information
Society, Republic of Serbia,
2003 – 2011
1. Introduction
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The term visual arts envelops a variety of artistic forms including traditional ones, such
as painting and sculpture via applied arts
and crafts, to photography, video art, new
media and performance. This notion does
not include only those forms that can be
clearly distinguished in fine arts (e.g. painting, sculpture, drawing) and applied arts
(e.g. set design, graphic design, ceramics)
but also refers to artistic forms interfacing
with architecture or some other disciplines
thus making specific intermedial expressions. Sometimes it is extremely difficult to
define the borders of visual arts. Because of
that we can doubt if something is a performance or dance, theatre set design or installation, commercial advertising video or
video art. Still today there are discussions
about what makes art a real art, which are
increasingly relevant in visual art. These
discussions are not new. They go back to
other art movements such as Dada, which
radically broke with old divisions on the so
called „popular“ and „elite“ art, or to Surrealism which introduced practice related to
advertising design to art or to other art.
With the influence of other, traditionally
non-art disciplines such as psychology or
political and social activism, things became
even more complex. This is also an additional reason because of which the modern
artistic practice is still divided on applied
and fine arts. Thus, the first group is defined
by its application value that is priority of
craft over spirit and in accordance with its
pseudo artistic character while other category is denoted by the purity of „real art“. This
terminology confusion is present in other
countries as well and thus for example in
France two terms are used – arts plastiques
and arts visuels. Same as with us, they are
sometimes opposing and sometimes their
meaning coincide and overlap. Besides, one
should bear in mind that both notions contain conceptual differences in defining those
artistic practices which are directly related
to the movements and changes in the modern world. As those changes nowadays occur much faster one should bear in mind
that one needs certain time to understand
the processes properly and accept new notions with entirely different meaning. That
is why even the artist and culture professionals are often confused when terminology is concerned.
Regrettably, these and other similar artificial
classifications continue to exist in greater or
smaller measure. Thus it is still possible to
hear defence of „traditional artistic values“
or, on the other hand, exclusive positions on
what makes contemporary art and who is
the representative contemporary artist.
To this end, one should mention the emergence of rather new professions in culture
such as cultural managers as well as the new
meanings of the words describing already
well known professions such as curators.
Namely, there is certain extent of confusion
and imprecision – does the term curator denote a person of necessary formal education
which does his/her work within institution.
Shall we use the term curator for the same
type of the professional in culture even if
he/she is not having permanent contract
with specified institution or maybe it is
more appropriate to say freelance curator?
Besides, feminist discourse produced a dilemma – should we address a female person
pola ispravno reći kustos ili kustoskinja. Da
li je reč o kulturnim profesionalcima ili o
kulturnim radnicima? Ovakve dileme mogu
imati, i najčešće imaju – različite ideološke
pristupe.
Termin multimedije takođe može izazvati
zabunu prilikom interpretacije njegovog
preciznog značenja. Paralelno se takođe
koriste termini intermedijalni ili interdisciplinarni projekti. Ukoliko jedan projekat
okarakterišemo kao multimedijalan, pod
tim obično podrazumevamo da se on sastoji
od više umetničkih medija, dok intermedijalni projekat podrazumeva da se granice
korišćenih umetničkih medija prepliću i
brišu, te se sama srž projekta i njegova ideja
nalazi u specifičnom međuprostoru. Ipak,
ova dva termina često se vide kao sinonimi,
ili bar kao termini sa neznatnom razlikom.
Multimedijalan projekat može implicirati i
upotrebu novih medija, odnosno upotrebu
tehnologije (video, zvuk, itd.) u njegovoj
realizaciji, a koja je neodvojivo vezana za
njegov koncept. Interdisciplinarni projekat označava projekat koji se koncipira i
razmatra kroz više disciplina – umetničkih
i neumetničkih. Interdisciplinarni projekat
je najčešće po svojoj ideji i realizaciji multimedijalan, odnosno intermedijalan.
Savremena teorija umetnosti različito tumači i samim tim različito deli umetničke
prakse. Tako neki autori kritikuju čak i pojam multimedijalno, želeći da istaknu podelu na analogno i digitalno. Drugi autori,
pak, ukazuju na potrebu uvođenja novog
značenja i nove kontekstualizacije pojma
likovno i primenjeno.
Bilo kako bilo, u kontekstu delokruga
rada državne uprave ono što je važno jeste
podržati savremene prakse u svim njihovim
formama i umetničkim medijima.
1.1. Prezentacija vizuelnih
as curator or lady curator? Are they cultural
professionals or culture workers? Such dilemmas may and most often do result from
different ideological approaches.
Koncepcijske, a samim tim i terminološke,
promene pratile su i način prezentacije
umetnosti.
U vreme renesanse nastale su prve zbirke
„multimedije”, koje su se nazivale kabineti
umetnosti i kurioziteta. Ovi kabineti nisu se
sastojali samo od umetničkih objekata, već i
od drugih vrsta kolekcija. Mnogi od njih bili
su specijalizovani i fokusirani na određenu
vrstu objekata. Zato se mogu razdvojiti na
prepoznatljive celine: artificialia (umetnički
objekti i antikviteti), naturalia (objekti vezani za prirodu – minerali, školjke, korali
i sl., često sa posebnim akcentom na ljudskim i životinjskim anomalijama), exotica
(figure biljaka i životinja iz egzotičnih zemalja, koje su nastajale posle otkrića novih
svetova u šesnaestom veku), scientifica
(naučni instrumenti). Kabineti kurioziteta
se smatraju pretečama muzeja, međutim,
oni su imali uticaja i na razvitak nauke, iako
su se ponekad oslanjali i na neutemeljena
verovanja, i time sadržali skelete mitskih
bića. Ipak, kabineti kurioziteta predstavljali su svojevrsni mikrokosmos, težeći da
sažmu ljudska dostignuća i tajne prirode.
Neki kabineti bili su svima dostupni, dok
su drugi, poput kabineta kurioziteta Rudolfa Drugog, bili otvoreni isključivo njegovim
prijateljima, umetnicima i istraživačima.
Od sedamnaestog veka u Evropi kolekcionarstvo postaje sve više rasprostranjeno. Kraljevske i aristokratske kolekcije su
veoma značajne jer predstavljaju prve vrste
umetničkih zbirki. Poznate su kolekcije
francuskog plemića i naučnika Reomira
(Réne-Antoine Ferchault de Réaumur), koje
su kasnije postale deo kraljevske kolekcije;
zatim kolekcija Britanca Hansa Sloana (Sir
Hans Sloane), čija je kolekcija pak u osnovi
Britanskog muzeja; čuvene su i kolekcije:
Frederika Trećeg od Danske; Petra Velikog, Kristine od Švedske itd. Međutim,
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The term multimedia may also cause confusion while interpreting its precise meaning.
The terms intermedial or interdisciplinary
projects are used in parallel. If a project is
defined as a multimedia project it usually
means that it consists of several artistic media while intermedial project understands
the borders of the used art media intersect
and erase so that the very core of the projects and its idea lies in specific interspaces.
A multimedia project may suggest the use
of new media, i.e. the use of technology
(video, sound, etc.) in its realization, which
is inevitably linked to its concept. An interdisciplinary project denotes a project which
is designed and elaborated through a number of disciplines – artistic and non-artistic.
An interdisciplinary project is most often,
by its idea and realization, also a multimedia and intermedial one.
Contemporary art theory has different ways
of interpreting and classifying artistic practices. Some authors criticize the very notion
of multimedia, emphasizing instead the distinction between the analog and the digital.
Others, however, stress the need to introduce new meanings and contextualizations
to the terms fine arts and applied arts.
In any case, in the context of the state administration’s purview, it is important to
support contemporary practices in all their
forms and art media.
1.1. Presentation of Visual
Art and Multimedia
Conception and terminology changes followed the way in which the art was presented.
The first collections of “multimedia” were
formed in the Renaissance and they were
called cabinets of arts and curiosities. These
cabinets did not contain only artistic objects but of other types of collections as
well. Many of them were specialized and focused on certain type of objects. That is why
they can be divided into distinctive wholes:
artificialia (artistic objects and antiquities),
naturalia (objects connected to the nature –
minerals, shells, corals and similar, especially
with particular stress on human and animal
anomalies), exotica (figures of the plants
and animals from exotic countries that were
made after discovery of new worlds in the
sixteenth century), scientifica (scientific instruments). The cabinets of curiosities are
considered as forerunners of the museums
but they also influenced the development of
science although they sometimes relied on
ungrounded beliefs and contained the skeletons of the mythic creatures. However, the
cabinets of curiosities were a kind of micro
cosmos trying to present human achievements and secrets of nature. Some cabinets
were accessible to everyone while others,
such as the cabinet of curiosities of Rudolf
II were opened exclusively for his friends,
artists and researches.
As off the seventeenth century collecting
items spread more and more throughout
Europe. The royal and aristocratic collections were very important for they were the
first type of the art collections. The collections of the French nobleman Réne-Antoine
Ferchault de Réaumur were famous and later they became part of the royal collection;
another famous collection was that of Sir
Hans Sloane, a British, which became basis
of the British Museum; the collections of
Frederick III of Denmark, Peter the Great
and Christina of Sweden were also famous,
etc. But the citizens and scientists collected also artistic and other objects and thus
a Frenchman Pierre Pomet or Swede Ole
Worm formed very important collections.
i građani i naučnici takođe su pasionirano
prikupljali različite predmete iz sveta umetnosti i drugih oblasti, kao što je Francuz
Pjer Pome (Pierre Pomet) ili Šveđanin Ole
Vorm (Ole Worm) i tako formirali veoma
značajne kolekcije.
Što se tiče prezentacije, kabineti umetnosti i kurioziteta podrazumevali su jednu
ili više prostorija, a često i posebno napravljen deo nameštaja (kabinet), koji i sam
postaje dragocenost, budući da je pravljen
od finog drveta, sa delovima od plemenitih
materijala i inkrustacija. Zanimljivo je da su
kabineti kurioziteta najčešće imali inventar,
odnosno katalog, obično ilustrovan, kako bi
njihovi vlasnici bili u prilici da svoju kolekciju promovišu i prikažu je u umetničkim,
intelektualnim i naučnim krugovima. Kabineti kurioziteta uglavnom su bili prezentovani na naučni, enciklopedijski način, dok
su neki, poput kabineta Rudolfa Drugog
imali i kustosa. Kustos ovog kabineta (Anselmus de Boodt) bio je minerolog i fizičar,
i sam prirodnjački kolekcionar, te je njegov
pristup prezentaciji kolekcije bio sasvim
naučnog karaktera.
Umetničke kolekcije su nastajale kroz mecenstvo i lični odnos sa umetnicima koje
su mecene podržavale, ali i narudžbinama i
kupovinom umetničkih dela. One tada uglavnom nisu bile striktno podeljene na dela
prošlih i aktuelnih umetnika, a pored slika,
skulptura i crteža, sadržavale su i predmete
od dragocenih materijala (zlato, srebro, porcelan i dr.).
Verovatno najpoznatija, a svakako najveća
privatna kolekcija zapadnog slikarstva jeste
Orleanska kolekcija, sa preko petsto slika,
koju je najvećim delom sakupio (od 1700.
do 1723. godine) francuski princ Filip Orleanski. Kolekcija se sastojala od umetničkih
radova najuticajnijih umetnika kao što su:
Veroneze, Ticijan, Pusen, Rafaelo, Anibale
Karači, Sebastiano del Pjombo, Rubens,
Rembrant, Filip de Šampanj, Van Dajk,
As for the presentation, the cabinets of arts
and curiosities consisted of one or more
rooms and often refer to specially-made furniture (cabinet) which itself became a precious object for it was made of fine wood
with parts made of precious metals and
incrustations. It is interesting to note that
cabinets of curiosities often had an inventory book or a catalogue, usually illustrated
to enable their owners to present and promote their collection in artistic, intellectual
and scientific circles. The cabinets of curiosities were mainly presented in scientific,
encyclopaedic manner but some of them,
like the cabinet of Rudolf II, had a curator. The curator of this cabinet Anselmus de
Boodt who was mineralogist and physicist,
collected natural objects himself and thus
his approach to the presentation of the collection was entirely scientific one.
Koređo itd. Orleanska kolekcija predstavlja
verovatno centralnu pojavu u istoriji kolekcionarstva i dostupnosti umetnosti. Bila je
izložena u Kraljevskoj palati (Palais-Rojal) u
Parizu, i bila je dostupna svim građanima.
Sigurno da je i to jedan od razloga zbog
kojeg je postala toliko poznata. Ono što je
posebno zanimljivo jeste da dela nisu bila
izložena na konvencionalan način, iako su
sale bile ispunjene luksuznom dekoracijom i u skladu sa tadašnjim dobrim ukusom. Naime, slike nisu bile sortirane po
školama slikarstva (rana i pozna renesansa,
flamansko slikarstvo i sl.), niti po temi, već
su bile postavljene u jukstapoziciji, kako bi
se postigao veći efekat. Ovakva postavka
slika izazvala je i brojne pritužbe, koje su se
posebno odnosile na činjenicu da su slike
religioznih tema bile postavljene uz slike
erotske sadržine. Značajno je i to što su u
više navrata štampani katalozi kolekcije,
koji su davali informacije o svakoj slici
ponaosob.
Tradicionalni saloni, odnosno javne izložbe
u Luvru održavaju se još od 1699. godine,
a trajali su sve do 1851. godine, kada su nakon revolucije koncept i procedure za izlaganje znatno demokratizovani. Za prvu galeriju, odnosno javni prostor za prikazivanje
umetničkih radova smatra se upravo Luvr,
koji je posle Francuske revolucije, 1793. godine, otvoren za najšire društvene slojeve,
kada je počela prezentacija umetničkih
dela da se koristi za edukaciju širokog sloja
građanstva.
Tokom devetnaestog veka galerije sa svojim
kolekcijama imaju i funkciju jačanja nacionalnog identiteta, ali i nakon mnogobrojnih arheoloških otrića, počinje procvat
trgovine arheoloških artefakata, posebno sa
prostora Grčke, Turske i Egipta. Muzeji i
galerije postaju mesta, koja slave veličinu i
sjaj država, koje na taj način demonstiraju
svoju moć i prestiž na internacionalnom
nivou, te je i prezentacija umetničkih dela
odražavala ovu težnju. Krajem devetnaestog
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zens. Surely this is one of the reasons why
it was so famous. It is particularly interesting that the works were not exhibited in the
conventional manner although the rooms
were luxuriously decorated according to the
good taste of the times. Namely, the paintings were not sorted by painting style (early
and late Renaissance, Flamish paintings and
similar) nor by subject, but they were juxtaposed to produce better effect. Such presentation of the paintings caused numerous
complaints which specially referred to the
fact that the paintings with religious themes
were placed near the paintings with erotic
themes. It was also important that the catalogues of the collection were printed on a
number of occasions providing information
on each painting separately.
Art collections were established through
patronage and personal relations with the
artists but also by ordering and purchasing
works of art. They did not strictly distinguish the works of the past and contemporary artists and apart from paintings,
sculptures and drawings they also contained
objects made of precious materials (gold,
silver, porcelain, etc.)
Traditional salons i.e. public exhibitions in
the Louvre were organized as early as 1699
and lasted till 1851 when, after revolution,
the concept and procedures for exhibitions
were considerably liberalised. The Louvre is
also considered as the first gallery i.e. public venue for presentation of artistic works,
which after the French Revolution in 1793
was opened for all social strata when presentations of artistic works were used for the
education of citizens.
Probably the most famous and certainly
the largest private collection of the western
painting is Orleans Collection with more
than five hundred paintings, collected mostly by the French prince Phillippe d’Orleans
(in the period from 1700 to 1723). The collection consists of works of art of the most
influential artists such as Veronese, Titian,
Poussin, Raphael, Annibale Carraci, Sebastiano del Piombo, Rubens, Rembrandt,
Philippe de Champaigne, Van Dyck, Correggio, etc. The Orleans Collection can be
regarded as a collection of exceptional importance in the history of art collecting,
which is also notable in terms of its accessibility. It was exhibited in the Palais-Royal
in Paris and it was accessible to all the citi-
During the 19th century the galleries
and their collections had the function of
strengthening national identity. Besides,
after many archaeological discoveries, trade
in archaeological artefacts especially with
those from Greece, Turkey and Egypt began to flourish. Museum and galleries became places celebrating greatness and glory
of the state and in that way demonstrated
their power and the prestige in international
scope and consequently the presentation of
the art works reflected this aspiration. The
end of the 19th century was marked by the
foundation of a large number of both public and private galleries throughout Europe
and worldwide. At that time the visual arts
were finally separated from other collections
veka primetno je osnivanje velikog broja
javnih, ali i privatnih galerija širom Evrope
i sveta. Tada se dešava konačno izdvajanje
dela vizuelnih umetnosti od ostalih delova
zbirki muzeja, i samim tim fokusiranje na
ovu vrstu umetničkog stvaralaštva.
Ovaj procvat, posebno privatnih galerija,
primetan je i u prvoj polovini dvadesetog
veka, odnosno u međuratnom periodu, posebno u Francuskoj. Osnivanjem muzeja
savremene umetnosti, savremena umetnost
se tretira, a samim tim i prezentuje, na isti
način kao što se predstavlja i umetnička i
kulturna baština. Period posle Drugog
svetskog rata, donosi veliku prekretnicu u
funkcionisanju galerijskog i izložbenog sistema, uočljiva je izražena raznovrsnost, u
smislu aktera i načina prezentacije savremene
umetnosti. Za posleratni period tipična je
demokratizacija kulture, i načelno veća dostupnost umetnosti i kulture. Dotadašnji
elitistički odnos prema umetnosti i kulturi
u potpunosti nestaje. Eklatantan primer
modernog doba i novog odnosa prema
umetnosti ostvaren je osnivanjem Nacionalnog centra za umetnost i kulturu Žorž
Pompidu u Parizu (Le Centre national d’art
et de culture Georges Pompidou).
Danas se mogu napraviti različite podele
galerija i izložbenih prostora i to na osnovu: koncepta programa, pravnog statusa,
posedovanja kolekcija itd. Svaka galerija i
izložbeni prostor imaju posebno osmišljen
program, koji je u skladu sa postavljenim
izlagačkim konceptom i njegovim ciljevima,
i samim tim obraćaju se različitim ciljnim
grupama. Jedan od najvažnijih kvaliteta
galerijskog i izložbenog sistema jeste upravo njegova profilisanost i raznovrsnost.
Nekada su se galerije i izložbeni prostori
javnog sektora bavile isključivo pitanjima
od važnosti za samu umetnost i umetnike,
dok su privatne galerije i izložbeni prostori
za primarnu funkciju imali posredništvo
i prodaju umetničkih dela. Posle Drugog
svetskog rata, javne institucije sve više u
in museums which enabled a greater focus
upon visual art works.
svoj program uključuju različite projekte
sa komponentama od važnosti ne samo za
umetničku zajednicu već i za društvo u celini. Tako se danas, ovim pitanjima ne bavi
isključivo civilni sektor. Što se tiče privatnog
sektora i tu postoje galerije i izložbeni prostori koji delaju u pravcu opšteg interesa, a
koji se tiče razvijanja tržišta savremene umetnosti, ali i značajne pomoći umetnicima u
izgrađivanju uspešnih karijera. Privatne galerije i izložbeni prostori takođe su posebno
uticajni faktori na međunarodnom planu,
kroz njihovo umrežavanje. Civilni sektor
pak ne samo da aktivno utiče na pozitivno
menjanje umetničkih i kulturnih okolnosti
već često nastoji da savremenu umetnost
koristi kao sredstvo za različitu vrstu aktivizma, pa čak i političkih izjava.
1.2. Funkcije galerijskih i
izložbenih prostora
I pored sve intenzivnijeg korišćenja interneta i virtuelnog prostora, kao i drugih vidova
prezentacije savremene umetnosti, poput
različitih negalerijskih in situ projekata,
galerije i izložbeni prostori ipak ostaju
najvažniji segment sistema za predstavljanje
vizuelnih umetnosti i multimedije.
Njihove osnovne funkcije mogu biti:
- prezentacija savremene umetnosti
(domaći i internacionalni kontekst),
- podrška umetnicima,
- razvijanje publike,
- edukacija,
- podsticaj razvijanju tržišta vizuelnih umetnosti.
Prezentacija savremene umetničke prakse
jedne sredine značajna je jer se tako stiče uvid
u aktuelna dešavanja na sceni, a vitalnost i
inovativnost umetničkog stvaralaštva jasan
je pokazatelj i vitalnosti društva u kojem to
stvaralaštvo nastaje. Neobično je važno da
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The flourishing of galleries, especially the
private ones were noticeable in the first half
of the 20th century i.e. in the period between the wars, and particularly in France.
With institution of the museums of contemporary arts the modern art was treated
and presented in the same way as artistic
and cultural heritage. After World War II
the functioning of galleries and exhibition
venues faced a turning point in regard to
their functioning, diversification of actors
and way of presenting contemporary arts.
The post-war period is characterized by
democratization of culture and generally
greater accessibility to the art and culture.
The elitist approach to the art and culture
that existed up to that time disappeared
completely. The best example of the modern time and new attitude towards the art
is achieved by foundation of The National
Centre for Art and Culture Georges Pompidou in Paris (Le Centre national d’art et de
culture Georges Pompidou)
Today, galleries and exhibition venues may
be classified in diverse ways in regard to their
programs, legal status, acquired collections,
etc. Each gallery and exhibition venue have
specially devised programs which are in harmony with an established exhibition concept
and goals and consequently they address
diverse target groups. The most important
qualities of the galleries’ and exhibition venues’ system are their types and diversity. In
the past the public galleries and exhibition
venues addressed only the issues of importance for art itself and artists while the function of the private galleries and exhibition
venues was predominantly the mediation
and selling of art works. After World War II
public institutions included various projects
whose components were important not only
for artistic community but for entire society
as well. Thus nowadays civil sector is not the
only one dealing with such issues. As far as
the private sector is concerned there are galleries and exhibition venues, which operate
in the general interest as well address the development of market for contemporary art.
They also provide considerable assistance
to artists in building up their successful careers. Private galleries and exhibition venues
are also influential factors internationally by
means of their networking. The civil sector
actively and positively influences artistic
and cultural circumstances, and it also tries
to use contemporary art as a medium for
diverse types of activist events and even for
making political statements.
1.2. Functions of the Galleries and Exhibition Venues
Despite increased use of internet and virtual
space and other types of contemporary art
presentations, such as diverse in situ projects,
galleries and exhibition venues remain the
most important segment of the system for
presentation of visual arts and multimedia.
Their main functions may be:
- Presentation of contemporary art
(national and international context)
- Support to the artists
- Audience development
- Education
- Support to development of the visual arts
market
Presentation of contemporary art practice
of a specified social setting is important
because it provides insight into a society`s
current artistic developments and innovations and vitality. It is also extremely important to show through the gallery system
the presentation of contemporary artistic
developments in all their aspects – from
institutionalized ones to initiatives coming
from outside institutional framework i.e.
civil and private sector. That is why diversity
se kroz galerijski sistem i prezentaciju savremenih umetničkih kretanja ujedno prikažu
svi njihovi aspekti i segmenti – od institucionalnih do inicijativa koja dolaze iz vaninstitucionalnih okvira, odnosno civilnog i
privatnog sektora. Stoga je raznovrsnost i
profilisanost galerijskog/izložbenog sistema
veoma dragocena.
Isto tako, galerije i izložbeni prostori kroz
prezentaciju umetničkih praksi, ukazuju na
značaj njihove kontekstualizacije i vođenja
kreativne debate o umetničkim pojavama, a
neretko i o društvenim, pa čak i političkim
pitanjima od značaja za širu zajednicu i
društvo u celini. Ove funkcije vrše se kroz
realizaciju godišnjeg programa izložbi, ali
i kroz organizovanje radionica, okruglih
stolova i neformalnih razgovora, manifestacija, projekata, izdavanje publikacija,
pokretanje edicija itd. Galerije i izložbeni
prostori su javni prostori susreta, a samim
tim i mesta u kojima se i preko kojih se komunicira.
Kroz realizaciju projekata međunarodne
saradnje, galerije i izložbeni prostori nastoje
da internacionalizuju svoj rad, uvećajući
njegovu vidljivost, jačaju svoje kapacitete i
partnerstva, što doprinosi daljoj afirmaciji
i izgradnji uspešnih karijera umetnika koje
predstavljaju. Važan segment međunarodne
saradnje jeste i pozitivno predstavljanje
domaće umetničke scene, a time i celog
društva, što je za Srbiju posebno značajno,
zbog loše medijske slike koja je o njoj postojala i još uvek postoji u izvesnoj meri.
Međutim, ovde ne mislimo na međunarodnu
saradnju koja se sprovodi državnim ugovorima i aktima o saradnji, već pre svega
mislimo na umrežavanje domaćih i inostranih galerija i izložbenih prostora kroz
kooperacione projekte bazirane na stvarnim
profesionalnim potrebama i interesima.
Praksa nedvosmisleno potvrđuje da su efekti
ovakve međunarodne saradnje često daleko
veći. Takođe, kulturna saradnja koje se re-
alizuje na osnovu međudržavnih ugovora
ne finansira se putem konkursa za vizuelne
umetnosti i multimedije, te stoga ona nije
predmet ove publikacije.
and specialization in the galleries/exhibition
system are very precious.
Besides, galleries and exhibition venues,
presenting artistic practices point out the
importance of their contextualization and
carries out a creative debate on artistic phenomena and often on social, even political
issues of importance for the wider community and entire society. These functions are
achieved through realization of the annual
exhibitions program but also through organization of workshops, round tables and
informal discussions, projects, publications
printing, starting editions, etc. Galleries and
exhibition venues are public meeting places
and consequently they are places in which
communication is maintained.
U prošlosti se često pogrešno naša kultura
predstavljala kao egzotična, ruralna, i u
tom kontekstu kao „drugačija”. Prezentacijom naše kulture u inostranstvu, dugo
su dominirali sadržaji koji se tiču kulturne
baštine (često na niskom profesionalnom
nivou, a kulturna baština mora se prezentovati u duhu savremenih izlagačkih praksi),
dok su, nažalost, projekti savremene kulture
često bili zanemareni. Stoga je veoma važno,
voditi računa o ujednačenom predstavljanju
kulture.
Galerije i izložbeni prostori nisu, dakle,
samo mesta na kojima se prosto prezentuju ostvarenja umetnika, već su to i prostori koji aktivno učestvuju u životu jedne
sredine. Zato je važno istaći značaj rada sa
što većom i raznovrsnijom publikom (godište, profesionalci, ljubitelji umetnosti i
dr.) kroz posebno osmišljene aktivnosti.
Projekti osmišljeni i realizovani u cilju razvijanja publike posebno su česti u Velikoj
Britaniji, gde se mogu naći izvrsni primeri
dobre prakse. Prateći kulturne potrebe i
navike građana, razvijeni su mnogobrojni
projekti koji na različite načine uključuju
široke slojeve društva, te umetnost i kultura
postaju deo svakodnevnog života.
Galerije i izložbeni prostori daju svoj doprinos i na polju edukacije, ne samo dece
i mlađe populacije, kao buduće publike i
budućih kulturnih profesionalaca, već i u
radu sa publikom u cilju pojašnjavanja i
popularizacije savremene umetnosti, koju
često prati stereotip da je njen jezik i način
izražavanja nerazumljiv.
Veoma je značajna i podrška umetnicima,
koji kroz realizaciju svojih projekata u galerijama i izložbenim prostorima dobijaju
neophodnu institucionalnu pomoć, koja
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21
By realizing projects of international cooperation, galleries and exhibition venues try
to make their work international, increase
their visibility, strengthen their capacities
and partnerships which contribute to further recognition and building up of the successful careers of the artists they represent.
An important part of international cooperation is the positive presentation of the national artistic scene and with this the entire
society, which is of particular importance for
Serbia because of its bad media image which
existed and to some extent still exists.
However, we do not have in mind international cooperation carried out through state
contracts and documents on cooperation,
but we have in mind the networking of the
national and foreign galleries and exhibition
venues through cooperation projects based
on real professional needs and interests. No
doubt practice confirms that effects of such
international cooperation are often greater.
Besides, cultural cooperation which is carried out on the grounds of the agreements
reached between the states is not financed
via call for applications for visual arts and
multimedia and that is why it is not presented in this publication.
In the past, Serbia`s culture was often presented as exotic, rural and to this end „different“. For a long time presentations of our
culture abroad involved mainly content related to cultural heritage (often at a low professional level since cultural heritage must be
presented within the framework of modern
exhibition practice) while, regrettably, projects of contemporary culture were often neglected. That is why it is very important to
have a balanced presentation of culture.
Galleries and exhibition venues are not only
places in which artists’ works are simply presented but they are places which participate
actively in the life of a society. That is why
it is very important to address a larger and
diverse audience as possible (age, professionals, art lovers) through specially devised activities. Projects devised and realized for the
purpose of audience development are particularly frequent in Great Britain where it
is possible to find excellent examples of that
practice. Following cultural needs and habits
of the citizens, numerous projects were developed in various ways, involve a wide social strata, thus making art and culture part
of everyday life.
Galleries and exhibition venues contribute
also to education and not only to education
of children and younger population as a future audience and future cultural professionals, but they also work with the audience in
order to explain and popularize contemporary art whose language and forms of expression are often described as incomprehensible.
The support provided through realization
of projects in galleries and exhibition venues enables artists to have institutionalized
assistance not only financial one but aimed
at quality presentation of the works, promotions of exhibition and the author himself,
etc. The promotion of the artist is done
through the relation between the gallerists
and curators with professional critics and
nije samo finansijska, već je usmerena i na
kvalitetnije prezentacije dela, promocije
izložbe i samog autora i sl. Što se tiče promocije umetnika, ona se odvija kroz odnos
galerista i kustosa sa stručnom kritikom i
novinarima koji prate vizuelne umetnosti i
multimedijalne projekte.
Rad sa lokalnim zajednicama sprovodi se
putem posebnih projekata u skladu sa potrebama tih zajednica, i oni se često odnose
na njihovu podršku i uključivanje u programe galerija i izložbenih prostora, takođe
su usmereni na sprečavanje delikventnog
ponašanja mladih, na promociju interkulturnog dijaloga, inkluzije i sl. Ono što je
posebno značajno sa aspekta razvijanja potencijala kreativnih zajednica unutar jedne
(gradske) sredine, jeste to što galerije i
izložbeni prostori okupljaju različite vrste
kulturnih profesionalaca, publike i zainteresovanih amatera, odnosno osoba koje
se bave umetnošću, a ne poseduju formalno
umetničko obrazovanje. Tako i kod nas postoje izuzetno dobri primeri pozitivnog uticaja programa galerija i izložbenih prostora
na razvijanje potencijala kreativnih zajednica.
Razvijanje umetničkog tržišta poseban
je segment delatnosti galerija. Galeristi i
kustosi služe kao posrednici između umetnika, njihovih dela, kupaca i kolekcionara
savremene umetnosti.
Funkcije galerijskih i izložbenih prostora
nisu, dakle, vezane isključivo za prezentaciju savremene umetnosti, već i za čitav
niz drugih aktivnosti koje se sprovode kroz
posebno osmišljene projekte. U tom smislu,
nije prihvatljivo da galerije i izložbeni prostori ustaljenim postupcima sastave godišnji
izlagački plan, koji se prosto sastoji od spiska
samostalnih i grupnih izložbi. Neophodno
je da godišnji program bude kompleksnije
koncipiran. Takođe, ne treba zaboraviti da
godišnji programi ne prate samo potrebe
umetnika, drugih profesionalaca iz oblasti
vizuelnih umetnosti i izgrađene publike,
već su oni podjednako značajni i sa aspekta potreba lokalnih zajednica i društva
u celini. Važnost ove specifične funkcije
programa galerija i izložbenih prostora
posebno je prisutna usled procesa dostupnosti i demokratizacije kulture u savremenom društvu. Stoga su danas uspešne
organizacije okrenute ne samo ka publici
istančanog, znalačkog ukusa već se one
ujedno direktno obraćaju i svim drugim
vrstama publike i nepublike. Ovi procesi i
tendencije su u skladu i sa sve većom upotrebom kompjutera, mobilnih telefona, a
posebno interneta u sferi umetnosti i kulture, a od strane amatera, kreativnih osoba
bez formalnog obrazovanja iz oblasti vizuelnih umetnosti i multimedija, kao i ljubitelja umetnosti.
2. Ministarstvo kulture, informisanja i informacionog
Ministarstvo obavlja poslove državne uprave koji se odnose na: razvoj i unapređenje
kulture i umetničkog stvaralaštva; praćenje i
istraživanje u oblasti kulture; obezbeđivanje
materijalne osnove za delatnosti kulture; razvoj i unapređenje umetničkog stvaralaštva;
zaštitu kulturnih dobara; bibliotečku, izdavačku, kinematografsku i muzičko-scensku
delatnost; zadužbine, fondacije i fondove; sistem javnog informisanja; praćenje
sprovođenja zakona u oblasti javnog informisanja; praćenje rada javnih preduzeća
i ustanova u oblasti javnog informisanja;
praćenje delatnosti stranih informativnih
ustanova, stranih sredstava javnog informisanja, dopisništava i dopisnika u Republici
Srbiji; informisanje nacionalnih manjina;
registraciju stranih informativnih ustanova
i pružanje pomoći u radu stranim novinarima i dopisnicima; saradnju u oblasti zaštite
kulturne baštine, kulturnog stvaralaštva i
informisanja na jeziku i pismu pripadnika
journalists dealing with visual arts and multimedia projects.
The work with local communities is conducted through special projects in accordance
with the needs of these communities and they
often refer to their support and inclusion
into programs of the galleries and exhibition
venues. They are also aimed at preventing
delinquent behaviour of the young people,
promotion of cultural dialogue, inclusion,
etc. What is particularly important, from the
point of view of developing creative communities within one social setting is the fact that
galleries and exhibition venues gather diverse
types of cultural professionals, public and
amateurs, i.e. individuals who are involved
in art but do not have formal artistic education. Thus we also have very good examples
of the positive influence of the galleries and
exhibition venues’ programs on developing
the potentials of creative communities.
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23
Developing on arts’ market is a separate part
of galleries’ work. Gallerists and curators act
as mediators between artists, their works,
buyers and collectors of contemporary art.
Functions of galleries and exhibition venues
do not involve exclusively presentation of
contemporary art but also a number of other
activities that are carried out through specially designed projects. To this end, it is not
acceptable that galleries and exhibition venues make annual exhibition plan in a regular
manner which simply consists of a list of solo
and group exhibitions. An annual program
needs to be designed in a more complex
manner. One should not forget that annual
programs do not follow only the needs of the
artists, other professionals in the field of visual arts and connaisseur audience, but they
are also important in regard to the needs of
the local community and entire society. The
importance of this specific function of the
galleries and exhibition venues’ programs is
particularly present due to the greater accessibility and democratization of culture
in modern society. Consequently, today
successful organizations are addressing not
only the audience of fine connaisseur taste
but they also address all other sorts of audience and non- audience. These processes and
trends are in harmony with increasing use of
computers, mobile phones and especially internet in the field of culture by amateurs and
creative persons without formal education in
the area of visual arts and multimedia as well
as by arts lovers.
2. Ministry of Culture, Media
and Information Society of
the Republic of Serbia
Ministry of Culture, Media and Information
Society performs administrative work in regard to the following: development and improvement of culture and artistic production
work; research in the area of culture; securing
the financial basis for cultural activities; development and improvement of artistic creation;
protection of the cultural property; libraries,
publishing, cinematographic and music and
theatre activities; endowments, foundations
and funds; system of public information;
monitoring implementation of laws regarding
public information; monitoring of the public
companies and institutions in the area of public information; having insight into activities
of the foreign information institutions, foreign
mass media and correspondents in the Republic of Serbia; information of national minorities; registering foreign information institutions
and providing assistance in the work of foreign
journalists and correspondents; cooperation
regarding protection of cultural heritage, cultural creation and information in Serbian language and writing of the Serbian population in
the region; foundation and development of the
culture-information centres abroad and other
activities stipulated by law.
1 From the Law on Ministries (Official Gazette of the
Republic of Serbia, No. 65/2008)
srpskog naroda u regionu; osnivanje i
razvoj kulturno-informativnih centara u
inostranstvu, kao i druge poslove određene
zakonom.1
2.1. Unutrašnja organizacija Ministarstva kulture, informisanja i informacionog
Kabinet ministra
Sektor za savremeno
stvaralaštvo i kreativne industrije
Sektor za kulturno nasleđe
Sektor za medije
Sektor za ekonomsko-finansijske
poslove
2.2. Sektor za savremeno
stvaralaštvo i kreativne
industrije
U Sektoru za savremeno stvaralaštvo i kreativne industrije obavljaju se poslovi koji se
odnose na: praćenje i analiziranje stanja u
oblasti književnosti i izdavaštva, savremene
vizuelne umetnosti i multimedije, muzičke
umetnosti i diskografije, scenske i muzičkoscenske umetnosti, kinematografije i predlaganje mera za njihovo unapređivanje
i finansiranje; proučavanje jezičkih prilika u oblasti kulture; pripremanje analiza, izveštaja i informacija o stanju i razvoju savremenog stvaralaštva, kreativnih
industrija i predlaganje mera za njihovo
unapređivanje; nadzor nad stručnim radom ustanova kulture iz oblasti stvaralaštva;
amatersko stvaralaštvo; međunarodnu saradnju u oblasti savremenog stvaralaštva i
kreativnih industrija; praćenje i iniciranje
međunarodnih kulturnih manifestacija u
oblasti savremenog stvaralaštva; staranje
o unapređivanju savremenog stvaralaštva
nacionalnih manjina i etničkih zajednica,
razvoj raznolikosti kulturnog izraza, kao
i međuetničke kulturne saradnje; staranje
o unapređivanju kulturnog života u nerazvijenim sredinama; saradnju u oblasti kulturnog stvaralaštva na jeziku i pismu pripadnika srpskog naroda u inostranstvu, kao
i druge poslove iz delokruga Sektora.
U okviru Sektora za savremeno stvaralaštvo
i kreativne industrije postoje sledeće uže jedinice:
1. Odeljenje za savremeno stvaralaštvo, kretivne industrije i menadžment u kulturi;
Sekretarijat Ministarstva
1 Iz Zakona o ministarstvima (Službeni glasnik RS
br. 65/2008)
2.1. Internal Organization
of the Ministry of Culture,
Society of the Republic of
Serbia
Minister
Department for
Contemporary Culture and
Creative Industries
Department for
Cultural Heritage
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25
Department for Media
Department for
Financial Management
The department for Contemporary Culture
and Creative Industries deals with the following issues: comprehends and analyses
the situation on literature and publishing,
contemporary visual art and multimedia,
music and discography, stage and musicalstage arts, cinematography; proposes measures for their improvement and financing;
studies language issues in the field of culture;
prepares analysis, reports and information
about the status and development of contemporary creation, creative industries and
proposes measures for their improvement;
monitors the professional work of the cultural institutions; amateur creation; international cooperation in the field of contemporary artistic creation and creative industries;
monitors and initiates international cultural
events related to contemporary creation;
improves contemporary cultural creation of
national minorities and ethnic communities, develops diverse cultural expression as
inter- ethnic cultural cooperation; improves
cultural life in underdeveloped areas; cooperates in the field of cultural creation in
language and literature of the Serbian population abroad and performs other activities
within the framework of its responsibilities.
Department for Contemporary Culture and
Creative Industries consists of the following
units:
1. Section for Contemporary Culture, Creative Industries and Management in Culture
2. Group for International Cooperation in
the Field of Contemporary Culture
2. Grupa za međunarodnu saradnju u oblasti savremenog stvaralaštva.
U Odeljenju za savremeno stvaralaštvo,
kreativne industrije i menadžment u kulturi
obavljaju se poslovi koji se odnose na: sufina-
2.2. Department for Contemporary Culture and
Creative Industries
Secretariat
The Section for Contemporary Culture, Creative Industries and Management in Culture
deals with co-funding of projects, following
the situation in the field of literature and
nsiranje projekata; praćenje stanja u oblasti
književnosti i izdavaštva, savremene vizuelne
umetnosti i multimedije, muzičke umetnosti i diskografije, kinematografije; amatersko
stvaralaštvo; pripremanje analiza, izveštaja i
informacija o stanju i razvoju savremenog
stvaralaštva i kreativnih industrija i predlaganje mera za njihovo unapređivanje; normativni poslovi iz delokruga Odeljenja;
nadzor nad stručnim radom ustanova kulture iz oblasti savremenog stvaralaštva, kao i
drugi poslovi iz delokruga Odeljenja.
U Grupi za međunarodnu saradnju u
oblasti savremenog stvaralaštva obavljaju
se poslovi koji se odnose na: postupak zaključivanja međunarodnih sporazuma u
oblasti savremenog stvaralaštva i programa
kulturne saradnje na nivou Republike Srbije; pripremu administrativnih ugovora
za primenu međunarodnih sporazuma;
analizu i pripremu informacija i izveštaja o
međunarodnoj saradnji u oblasti savremenog
stvaralaštva; praćenje stanja i preduzimanje
mera za unapređivanje saradnje u oblasti
kulturnog stvaralaštva pripadnika srpskog
naroda u inostranstvu; međunarodnu saradnju u oblasti jezičke kulture i književnog
stvaralaštva-prevodilaštva; iniciranje i programiranje međunarodne aktivnosti u
oblasti stvaralaštva; praćenje i iniciranje
međunarodnih kulturnih manifestacija u
oblasti savremenog stvaralaštva; praćenje
postojeće zakonske regulative kao i priprema
stručnih osnova za izradu nacrta zakona i
predloga drugih propisa iz delokruga Grupe,
kao i drugi poslovi iz delokruga Grupe.2
2 Iz Pravilnika o unutrašnjem uređenju i sistematizaciji
radnih mesta u Ministarstvu kulture, 2010. godina.
3. Konkurs za sufinansiranje
projekata/programa koji
svojim kvalitetom doprinose razvoju i prezentaciji
umetnosti i kulture
publishing, modern visual arts and multimedia, music and discography, cinematography, amateur creation; prepares analysis,
reports and information on the situation
and development of contemporary creation
and creative industries and proposes actions
for their improvement; deals with normative
issues within the section`s scope of work;
supervises professional work of the cultural
institutions in the field of contemporary
culture and addresses other issues within its
scope of work.
Konkurs Ministarstva kulture, informisanja
i informacionog društva Republike Srbije
za sufinansiranje projekata/programa koji
svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture pokrenut je
2003. godine. Posle perioda veoma teškog
za celu državu, tadašnji saziv Ministarstva
uveo je sistemska rešenja u funkcionisanje
da bi se rad Ministarstva unapredio i osavremenio. Između ostalog, to je značilo i promovisanje sasvim drugačijih procedura finansiranja projekata, u skladu sa savremenim
evropskim standardima u kulturi. Jedna
veoma važna, tada uvedena procedura, jeste
konkurs za finansiranje projekata.
Ministarstvo kulture, informisanja i informacionog društva Republike Srbije kroz
konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose
razvoju i prezentaciji umetnosti i kulture,
koji se odnosi na jednu kalendarsku godinu,
finansira veliki broj različitih projekata.
Ovaj konkurs raspisuje se u okviru Sektora za savremeno stvaralaštvo i kreativne
industrije i u skladu je sa Zakonom o kulturi („Službeni glasnik RS” br. 72/2009).
Konkurs je otvoren za sve umetničke oblasti, kao i za projekte koji se tiču naučnoistraživačkog rada u oblasti savremene umetnosti i kulture.
Pravo učešća imaju institucije kulture,
udruženja građana, neformalne grupe, kao i
pojedinci sa teritorije Republike Srbije, dok
ustanove kulture i institucije čiji je osnivač
Republika Srbija nemaju mogućnost učešća
na konkursu, jer se rad ovih institucija finansira sa drugih budžetskih pozicija, i to
u celosti. U tu grupu kulturnih institucija,
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27
The Group for International Cooperation in
the Field of Contemporary Culture addresses the following issues: procedures for signing international agreements in the field of
contemporary creation and programs of cultural cooperation of the Republic of Serbia;
preparation of arrangements for implementation of international agreements; analysis
and preparation of reports on international
cooperation in the field of contemporary
culture; following the situation and undertaking measures for improving cooperation
in the field of contemporary culture of the
Serbian people abroad; international cooperation in the field of language culture and literature and translations; initiating and programming international activities in the field
of production; examining existing legal regulations as well as preparing the professional
basis for drafting laws and other regulations
within the group’s scope of work, etc.2
2 From Rules on internal organization and systematization of working posts in the Ministry of Culture, 2010
3. Call for Applications
for co-funding Projects/
Programs whose quality
contribute to Development
and Presentation of the Art
and Culture
The Ministry of Culture, Media and Information Society of The Republic of Serbia
announced in 2003 its open contest for the
co-financing of projects/programs which
contributes to the development and presentation of art and culture. After a period that
was very difficult for the entire country, the
newly elected department introduced framework solutions to enhance and modernize
the work of the department. Amongst other
things, this entailed the promotion of completely different procedures for financing
projects in accordance with contemporary
European standards in culture. A very important, new procedure is the open contest
for financing projects.
Ministry of Culture, Media and Information
Society of the Republic of Serbia through its
call for applications for co-funding projects/
programs whose quality contributes to development and presentation of art and culture and which is opened annually finances
large number of diverse projects.
This call for applications is launched by the
The Department for Contemporary Culture and Creative Industries pursuant to the
Law on Culture („Official Gazette RS“No.
72/2009). The call for application is open
for all art fields and projects related to scientific work and research in contemporary
art and culture.
The application may be submitted by cultural institutions, civil society organizations, informal groups and individuals from
the Republic of Serbia. Culture institutions
whose founder is the Republic of Serbia cannot submit applications for they are in total
odnosno ustanova kulture spadaju: Muzej
savremene umetnosti u Beogradu, Narodni
muzej u Beogradu, Muzej primenjene umetnosti u Beogradu i Muzej istorije Jugoslavije u Beogradu. Usled toga, u ovoj publikaciji
nije predstavljen rad ovih institucija kulture koje se bave vizuelnim umetnostima,
budući da se njihov rad ne podržava putem
ovog konkursa.
U ovoj publikaciji, takođe, nisu predstavljene i neke relevantne galerije i izlagački
prostori, koje Ministarstvo kulture Republike Srbije nije podržalo zbog toga što
njihove konkursne prijave nisu ispunile kriterijume i prioritete za finansiranje, ili stoga
što te galerije/ izlagački prostori nikada nisu
konkursali za finansijsku podršku Ministarstva.
Godišnji konkurs Sektora za savremeno
stvaralaštvo i kreativne industrije pokrenut
je radi sistematičnosti i transparentnosti
rada Ministarstva kulture.
Sistematičnost u radu Ministarstva ogleda se
kroz mogućnosti koje konkurs pruža, a to je
pregled projekata koji se realizuju tokom godine, kao i čitav niz mera kulturne politike
koje se putem konkursa sprovodi. Mnogi
neprofesionalni postupci, nelogičnosti i nedoslednosti u radu prevaziđeni su uvođenjem
konkursa. Na taj način donosioci odluka u
prilici su da uporede i valorizuju umetničku
i kulturnu produkciju u jednoj kalendarskoj
godini. Ceo proces dopušta i poređenje unutar jednog tipa projekta. Ova kategorizacija
je višeslojna i odnosi se na različite vrste
podela projekata – jednokratni (npr. samostalna izložba) ili dugoročni (npr. dvogodišnji
projekti, godišnji programi galerija); strip
ili fotografija (po umetničkom mediju koji
tretiraju); domaći ili međunarodni projekti; projekti čiji su podnosioci udruženja
građana ili tzv. „budžetske institucije” itd.
Razvrstavanje projekata daje širu, ali i precizniju sliku o godišnjoj umetničkoj ponudi
u oblasti savremenog stvaralaštva.
Transparentnost funkcionisanja konkursa,
odnosno Ministarstva kulture, informisanja i
informacionog društva Republike Srbije prepoznaje se u činjenici da su procedure i rezultati konkursa javni. Veoma je značajno i što su
u proces odlučivanja uključeni i profesionalaci (članovi komisije). Dakle, pored transparentnosti u proceduri i uključivanja u proces
odlučivanja osoba van Ministarstva, potrebno
je podvući činjenicu da su odluke o finansiranju umnogome prepuštene profesionalcima
iz svake oblasti umetničkog stvaralaštva.
financed from the other state budget line.
These institutions are: Museum of Contemporary Art in Belgrade, National Museum
in Belgrade, Museum of Applied Arts in
Belgrade and Museum of Yugoslav History
in Belgrade. Consequently, this publication
does not present the work of these institutions which address the visual arts because
their work is not supported by the means of
the open call.
This publication also does not present some
relevant galleries and exhibition venues
which were not supported by the Ministry
of Culture, Republic of Serbia, either because their application forms did not meet
criteria and priorities for co-funding or because they never applied for the Ministry’s
financial support.
Ništa manje značajno nije pitanje načina
planiranja i trošenja budžetskih sredstava
kojima Ministarstvo raspolaže u jednoj godini. Uvođenjem konkursne procedure ne
samo da je potvrđen značaj transparentnosti
i javnosti u radu već je zbog dobrog pregleda umetničke i kulturne produkcije uveliko
olakšano i planiranje finansijskih sredstava
Ministarstva, ali i organizatora projekata.
Dokumentacija potrebna za apliciranje na
konkursu je sledeća:
1. popunjen konkursni formular,
2. detaljan opis projekta,
3. detaljan predračun troškova,
4. podaci o instituciji (udruženju) koja podnosi prijavu, odnosno u slučaju pojedinca
dostavlja se profesionalna biografija,
5. dokument o pravnom statusu (ukoliko
postoji),
6. pisane preporuke dve osobe koje preporučuju projekat,
7. katalozi i druga vizuelna dokumentacija o
prethodnim projektima (ako postoji), kao i
za projekat sa kojim se konkuriše,
8. dokaz o uplati republičke administrativne
takse.
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The annual call for applications of the Department for Contemporary Culture and
Creative Industries has been instituted to
provide a systematic approach and transparency in the work of the Ministry of Culture.
The systematic work of the Ministry is reflected in the possibilities provided by this
call for applications and that is a survey of
projects realized during the year, as well as
numerous measures of cultural policy implemented by means of the call for applications.
It has helped in overcoming many unprofessional procedures, inconsistencies and
irregularities. In this way decision makers
can compare and evaluate artistic and cultural production in one calendar year. This
process allows also comparison within one
type of project. This classification is multilayered and it can be applied to various
kinds of projects: short term (for instance,
an independent exhibition) or long term
(two year projects, annual gallery programs);
comics or photography (as to the type of
media they treat); national or international
projects; projects submitted by civil society
organizations or “budget institutions” etc.
The classification of projects offers a wider,
yet more precise picture about the annual
art production in the field of contemporary
production.
The transparency of the MCMIS is seen in
the fact that the procedures and results are
made public. Another important fact is that
professionals (committee members) are included in the decision making process. Apart
from the transparency in the procedure and
the involvement of persons outside the Ministry in the decision making process, it is
worth mentioning the fact that decisions on
funding are mostly made by the professionals from each field of art production.
The issue of annual planning and expenditure of the Ministry’s budget is of no lesser
importance. The introduction of the call for
applications procedures confirmed the importance of transparent and public work and
at the same time greatly simplified process of
planning financial means both by the Ministry of Culture and the project organizers
because of the good overview of artistic and
cultural production.
Documents required for application are as
follows:
1. A filled out application form
2. A detailed description of the project
3. A detailed estimated budget
4. Information on the institution (association) submitting application; individuals
submit professional curriculum vitae
5. A document stating legal status (if any)
6. Two written recommendations by persons who are supporting the project
7. Catalogues and other visual documents
on previous projects (if any), as well as on
the submitted project
3.1. Konkurs kao instrument
kulturne politike/Utemeljenost u zakonodavstvu i
strategijama razvoja
Rad Ministarstva kulture, informisanja i
informacionog društva Republike Srbije,
kao i kriterijumi za podršku projektima,
utemeljeni su u domaćem zakonodavstvu,
u aktima Saveta Evrope, čiji je Republika
Srbija punopravni član, kao i u različitim
domaćim i evropskim strategijama razvoja.
Na prvom mestu, rad Ministarstva baziran
je na Zakonu o kulturi („Službeni glasnik
RS” br. 72/2009). U ovom zakonu dat je
opšti okvir za delovanje u kulturi.
Kriterijumi i funkcionsanje konkursa za vizuelne umetnosti i multimedije, u skladu
su i sa domaćim strategijama, kao što su
Strategija za smanjenje siromaštva u Srbiji (usvojena 2003. godine) i Nacionalna
strategija Srbije za pristupanje Srbije i Crne
Gore Evropskoj uniji (2005).
Od velikog značaja je i utemeljenje u
Srednjoročnom planiranju (nekadašnji naziv bio je Generalno operativni plan), iako,
nažalost, postoje izvesni problemi u njegovoj
punoj primeni, smatramo da je usklađivanje
u okviru Srednjoročng planiranja, kao i njegova potpuna primena u osmišljavanju, procedurama i uopšte funkcionisanju konkursa
neophodna. Time se i kriterijumi za dodelu
finansijske podrške uklapaju u postavljene
ciljeve Ministarstva (socijalna kohezija,
održivi razvoj, program kulturnog razvoja).
Neki od važnijih evropskih dokumenata na
koje se takođe pozivamo, su sledeći:
Deklaracija o kulturnoj različitosti (Declaration on Cultural Diversity, 2000);
Deklaracija o interkulturnom dijalogu i
prevenciji sukoba (Declaration on Intercultural Dialogue and Conflict Prevention,
2003); Faro deklaracija o strategiji Saveta
Evrope o razvoju interkulturnog dijaloga
(Faro Declaration on the Council of Europe’s Strategy for Developing Intercultural Dialogue, 2005); Evropska kulturna
konvencija (European Cultural Convention 1954); Firentinska deklaracija „Kultura i regioni: kulturne aktivnosti u regionalnom kontekstu“ (Florence Declaration
„Culture and Regions: Cultural Action in
the Regional Context”, 1987); Evropska
deklaracija o kulturnim ciljevima (European Declaration on Cultural Objectives,
1984); Ark-e-Senans deklaracija (Arc-etSenans Declaration, 1972); Friburška deklaracija o kulturnim pravima (Fribourg
Declaration on Cultural Rights, 2007);
Evropska konvencija o ljudskim pravima
(European Convection on Human Rights,
1950); Konvencija o zaštiti i unapređenju
raznolikosti kulturnog izraza (UNESCO
Convention on the Protection and Promotion of the Diversity of Cultural Expessions, 2005); itd.
Vidljiva je, dakle, potreba za usklađenošću
kulturne politike sa zakonskim okvirom
i strateškim dokumentima. Važnost utemeljenja rada Ministarstva u zakonu i
različitim domaćim i međunarodnim
strategijama i deklaracijama leži i u tome
što je neophodno istaći doprinos kulture
u pozitivnim društvenim promenama.
Pozitivan uticaj Ministarstva na razvoj
kulturne scene, ne ogleda se isključivo
u unapređenju položaja profesionalaca i
rada kulturnih institucija i organizacija,
kako se često misli. Naprotiv, kultura direktno utiče na opšte blagostanje, dobrobit
i na kvalitet života građana. Zbog toga je
viđenje kulture kao „potrošača budžetskih
sredstava“ u potpunosti pogrešna.
8. Evidence of payment of the state administrative tax
3.1. Call for Applications as
an Instrument of Cultural
Policy/The Foundation in
Legislation and Development Strategies
The work of the MCMIS and the criteria
for decision making process concerning the
support of projects is founded in national
legislation and acts of the Council of Europe
of which the Republic of Serbia is a rightful
member, as well as in various national and
European development strategies.
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The work of the Ministry of Culture is based
on the Law on Culture („Official Gazette
RS“ No. 72/2009). This Law defines general
framework for activities in culture.
The criteria and procedure of the call for
applications for visual arts and multimedia
are in harmony with national strategies such
as the Strategy for Reduction of Poverty in
Serbia (2003) and The National Strategy for
Serbia and Montenegro’s Accession to The
European Union (2005).
It is also very important that it is based on
the project Medium Term Planning (formerly General Operational Plan which deals
with the Ministry`s organization). Regrettably, there are certain problems in regard to
its full implementation. We believe that is
necessary to synchronize the Medium Term
Planning objectives with the designing, procedures and general functions of the call for
applications. Thus the criteria for allocation
of financial means should be synchronized
with the Republic of Serbia Ministry of
Culture goals (social cohesion, sustainable
development, and a program for cultural development).
Some of the more important European documents which we call upon are:
The Declaration on Cultural Diversity,
2000; The Declaration on Intercultural Dialogue and Conflict Prevention, 2003; The
Faro Declaration on the Council of Europe’s
Strategy for Developing Intercultural Dialogue, 2005; The European Cultural Convention, 1954; The Florence Declaration
„Culture and Regions: Cultural Action in
the Regional Context“, 1987; The European
Declaration on Cultural Objectives, 1984;
The Arc-et-Senans Declaration, 1972; The
Fribourg Declaration on Cultural Rights,
2007; The European Convention on Human Rights, 1950; The UNESCO Convention on the Protection and Promotion of the
Diversity of Cultural Expressions, 2005.
The need for balanced cultural policy together with a legal framework and strategic
documents is obvious. It is important that
the Ministry of Culture work is based on the
law and various national and international
strategies and declarations because it is necessary to stress the contribution of culture
to positive social changes. The positive influence of the Ministry on the development of
a cultural scene is not reflected exclusively
in the improvement of cultural professionals` position and work of the institutions
and organizations as it is often believed. On
the contrary, culture has direct influence on
the common welfare and wellbeing, and also
on quality of life of citizens. This is why the
perception of culture as a „budget spender“
is completely wrong.
4. Konkurs za vizuelne
Ministarstva kulture
Republike Srbije
ve, a ne stručna institucija poput muzeja
na primer, te stručna služba Ministarstva
koordiniše rad komisija, ali su odluke o finansiranju projekata prepuštene članovima
komisije.
Poseban segment godišnjeg konkursa Ministarstva jeste konkurs za projekte iz oblasti
vizuelnih umetnosti i multimedije. Ovaj
segment konkursa takođe se odnosi na projekte u jednoj kalendarskoj godini i otvoren je za sve vrste projekata – samostalne,
autorske i grupne izložbe, učešće umetnika
u međunarodnim projektima, godišnji programi galerija itd. Od galerija/izlagačkih
prostora se očekuje da svoje aktivnosti
planiraju bar godinu dana unapred te se
smatra da je upućivanje na godišnji konkurs
Ministarstva sasvim prikladno.
Međutim, neobično je važna interakcija,
dinamična i kreativna saradnja članova
komisije i stručne službe Ministarstva.
Tako se radi što boljeg i svrsishodnijeg sprovođenja mera za unapređenje
umetničkog i kulturnog sistema u zemlji
članovima komisije predočavaju kriterijumi
i očekivanja Ministarstva. Sa druge strane,
pre početka rada komisije, ovi kriterijumi
rada, ukrštaju se sa mišljenjima i kriterijumima članova komisije, i na taj način se
oblikuje jasno definisana strategija odabira
projekata za sufinansiranje.
Prilikom razvrstavanja i kategorizacije pristiglih projekata, kao posebna celina izdvajaju se konkursne aplikacije koje se tiču
godišnjih programa domaćih galerija i
izlagačkih prostora.
Takođe, važno je napomenuti da komisija
formira kriterijume umetničkog kvaliteta
projekata i umetničkih dometa umetnika
koji konkurišu, što nije uvek lako. Nije uvek
moguće pravilno suditi o ponuđenim projektima, naročito ukoliko je reč o mladim
i nedovoljno afirmisanim stvaraocima, jer
u tim slučajevima, ni biografski podaci
nisu sasvim rečiti. Zbog svega ovoga, od
suštinskog je značaja upravo odabir članova
stručne komisije, budući da je tu reč o arbitriranju nad ne uvek precizno merljivim
kvalitetima.
Podrška
Ministarstva
galerijskim
i
izložbenim prostorima, na prvom mestu,
podrazumeva finansijska sredstava, koja
treba da budu usmerena ka boljem funkcionisanju i uopšte ka održavanju programa, ali neretko ona je i u vidu logističke
pomoći: izdavanja pisama podrške u cilju
obezbeđivanja sponzorstva; profesionalnog usavršavanja kustosa putem seminara i
konferencija; ostvarivanja bolje povezanosti
sa domaćim i inostranim profesionalcima;
prezentacija rada i umrežavanja galerija i
izložbenih prostora na međunarodnom nivou i sl.
4.1. Komisija za vizuelne
Ministarstvo kulture, informisanja i informacionog društva je organ državne upra-
Ovo je tim pre značajnije ukoliko se uzme u
obzir činjenica da komisija za vizuelne umetnosti i multimedije često donosi zaključke
o veoma raznorodnim projektima koji
spadaju u oblasti savremenog stvaralaštva:
slikarstvo, dizajn, vajarstvo, novi mediji,
video umetnost, crtež, performans itd. Kako
se u savremenom svetu oštre kategorizacije
ovakve vrste prevazilaze, ili čak sasvim brišu,
neophodno je razumevanje i poznavanje
savremenih interdisciplinarnih umetničkih
tendencija.
Danas je kontekstualizacija umetničkih
4. Public Call for Applications for Visual Arts and
Multimedia of the Ministry
of Culture, Media and Information Society of the
Republic of Serbia
A separate part of the Ministry’s annual call
for applications refer to projects involving
visual arts and multimedia. It involves the
projects in one calendar year and it is open
for all types of projects – independent, authors’ and group exhibitions, artists’ participation in international projects, annual
programs of the galleries, etc. The galleries/
exhibition venues are expected to plan their
own activities at least one year in advance
and it is considered as appropriate that they
should submit their application via Ministry’s annual call for applications.
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33
When classifying received projects, applications referring to the annual programs of
galleries and exhibition venues are gathered
in a separate group.
The ministry’s support to galleries and exhibition venues implies first of all, financial
means aimed at their better functioning and
realization of programs but it often includes
logistical support as well: publishing of letters of support in order to secure sponsorship; professional education of curators at
seminars and conferences; establishing better links with national and foreign professionals; presentation of work and networking of galleries and exhibition venues at
international level, etc.
4.1. Committee for Visual
Arts and Multimedia
The Ministry of Culture is a state authority
not a specialized institution such as a museum. Consequently, the Ministry of Cul-
ture’s department coordinates the work of
its committee members, who make the decisions about the projects’ financing.
However, the interaction and dynamic, creative cooperation among the members of
the committee and the ministry’s specialists are very important. In order to implement measures for the improvement of the
art and culture system in the country in the
best and most efficient way, the members of
the committee are made aware of the criteria and expectations of the Ministry of Culture. On the other hand, before the committee begins its work, its members discuss
and compare these criteria with their own
thus clearly defining the strategy for selecting projects for co-funding.
It is also important to mention that the
committee defines criteria for projects’ artistic quality and artistic achievement of the
artists submitting the applications which
is not always an easy thing to do. It is not
always possible to properly judge the submitted project especially if one deals with
young non-established artists for in those
cases even biographic data do not tell a lot.
Because of all this the selection of the committee members is of key importance for
they have to judge the quality which cannot
be always precisely measured.
This is even more important if we take into
account that the committee for the visual
arts and multimedia brings conclusions
about the diverse projects that belong to
the category of contemporary production
(fine arts and applied arts, painting, sculpture, new media, video art, drawing, performance, etc.). Having in mind that classification of this sort in the modern world is
outgrown or even completely discarded, an
understanding of contemporary interdisciplinary art trends is necessary.
Today, the contextualization of artistic practices is necessary, as contemporary art is be-
praksi neophodna, budući da se savremena
umetnost promatra i kroz neumetničke
discipline, poput psihologije, sociologije,
feminizma, nauke, politike ili aktivizma.
Stoga je neophodno promišljeno formirati
komisiju od stručnjaka koji prate teorijsku
misao, ali i dešavanja i razvoj vizuelne i multimedijalne scene u zemlji i inostranstvu.
Pored ovih stručnih kompetencija, važno
je da članovi komisije poseduju i izvesnu
širinu u sagledavanju i ocenjivanju pristiglih
projekata. Načelno nije uvek dovoljno da
članovi komisije budu uskostručno uspešni
(najčešće umetnici ili istoričari umetnosti),
već im je potrebna i specifična lucidnost u
sagledavanju pristiglih prijava. Nije uvek
lako uočiti potencijale projekata sa loše sastavljenim prijavama, ali i obrnuto, podnosioci projekata sa iskustvom u apliciranju,
mogu da atraktivno predstave skromne
domete svojih zamisli i koncepata.
Prilikom formiranja komisija, kolegijum
Ministarstva uzima u obzir još jedan problem, podjednako važan: izbeći konflikt
interesa. Teško je, međutim, pronaći profesionalce koji se ozbiljno bave profesijom
a da nisu aktivni u svojoj delatnosti, što
podrazumeva i angažman u apliciranju za
finansijska sredstva. Članovi komisije koji
su eventualno predali svoju aplikaciju na
konkurs pre nego što su bili pozvani za tu
funkciju, zvanično su povukli svoj projekat.
Komisije se formalno sastavljaju (ministar
potpisuje Rešenje o formiranju komisija)
posle zatvaranja konkursnog roka, kada su
aplikacije već predate, a sastav komisije javno je poznat po zvaničnom donošenju odluka o tome koje će projekte Ministarstvo
finansirati te godine.
Mandat komisija je jednogodišnji, ali ukoliko se smatra da je potrebno, uobičajeno je
da se ponovi naredne godine, ili da jedan
član komisije nastavi sa radom i naredne
godine. Na taj način komisija je u prilici
da evaluira rezultate podržanih projekata.
Takođe se vodi računa i o raznorodnom sastavu komisije, što znači da se odabir članova
vrši i na osnovu njihovih interesovanja i
iskustava (novi mediji, slikarstvo i dr.), profesija (umetnici, istoričari umetnosti, novinari koji stručno prate vizuelne umetnosti i
multimedije i dr.), ali i godišta.
ing viewed through non artistic disciplines
such as psychology, sociology, feminism,
science, politics and activism. Hence, it is
necessary to form a committee of experts
who are in touch with theoretical thought,
as well as with events and developments
in the visual and multimedia scene in the
country and abroad.
Apart from their professional competence,
the members of the committee should express a certain openness in their evaluation
of submitted projects. In principle, it is not
sufficient that the committee members are
successful in just one area (most often artists or art historians), but they also need to
possess a specific lucidity in the evaluation
of applications. It is not always easy to see
the potentials of projects because of poorly
written applications or because an experienced applicant may present his/her modest
ideas and concepts in an attractive way.
Dosadašnji sastav komisija bio je sledeći:
2003. godine
Lidija Merenik, Jovan Čekić i
Zoran Dimovski;
2004. godine
Lidija Merenik, Jovan Čekić i
Zoran Dimovski;
2005. godine
Jasmina Čubrilo, Zoran Dimovski i
Bojana Burić;
2006. godine
Dušan Otašević, Jasmina Čubrilo i
Marina Andrić;
2007. godine
Milan Aleksić, Savo Peković i
Aleksandra Vasović;
2008. godine
Milica Tomić, Jelena Vesić i Zoran Pantelić;
2009. godine
Ješa Denegri, Katarina Živanović i
Sava Ristović;
2010. godine
Ljiljana Ćinkul, Čedomir Vasić i
Sava Ristović.
2011. godine
Ljiljana Ćinkul, Čedomir Vasić,
Sava Ristović, Zoran Erić i Marko Miletić.
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35
During the formation of the committee, the
collegium of the Ministry takes into consideration another equally important problem:
avoiding conflicts of interests. However, it is
difficult to find professionals which are deeply
engaged in their field and who are not active
in it, which also implies their own application
for financial support. The committee members
which may have applied to the contest prior to
being invited to participate in the committee,
withdrew their own projects.
The committees are formally assembled (the
minister signs the committee decree) after
closing the contest deadline, when the applications have already been submitted,
and the makeup of the committee is publicly disclosed after the official decision on
which projects the Department will finance
that year was made.
The committee mandate lasts for one year,
but if it is deemed necessary, it can be extended for another year, or at least one member of the committee may continue working
for another year. In this way the committee
has the opportunity to evaluate the results
of supported projects. The diversity of the
committee is also taken into account, which
means that committee members are selected on the basis of their interests experience
(new media, painting, etc.) and professions
(artists, art historians, or journalists covering visual arts and multimedia). Age groups
are also taken into account.
So far the members of the committees were:
2003
Lidija Merenik, Jovan Čekić and
Zoran Dimovski;
2004
Lidija Merenik, Jovan Čekić and
Zoran Dimovski;
2005
Jasmina Čubrilo, Zoran Dimovski and
Bojana Burić;
2006
Dušan Otašević, Jasmina Čubrilo and
Marina Andrić;
2007
Milan Aleksić, Savo Peković and
Aleksandra Vasović;
2008
Milica Tomić, Jelena Vesić and
Zoran Pantelić
2009
Ješa Denegri, Katarina Živanović and
Sava Ristović;
2010
Ljiljana Ćinkul, Čedomir Vasić and
Sava Ristović.
2011
Ljiljana Ćinkul, Čedomir Vasić, Sava Ristović,
Zoran Erić i Marko Miletić.
4.2. Opšti kriterijumi u radu
komisije za vizuelne umetnosti i multimed
8. podrška projektima koji doprinose jačanju
kapaciteta, umrežavanju i profesionalizaciji
rada kulturnih institucija, organizacija i
udruženja građana;
Uspostavljanje kriterijuma i principa rada
neophodno je zbog osnovne strategije delovanja, kao i zbog adekvatne selekcije aplikacija. Ustanovljeni su sledeći kriterijumi u
radu komisije:
9. podrška projektima retrospektivnog karaktera značajnim za kulturnu sredinu i njeno
pamćenje, kao i projektima koji se nadovezuju na već istorizovane umetničke i kulturne pojave i na kulturnu baštinu;
1. visok umetnički kvalitet i profesionalnost
u radu;
10. uravnotežena i optimalna podrška
javnom, privatnom i civilnom sektoru;
2. promocija savremenih umetničkih formi
i izraza i unapređenje razumevanja ideja i
jezika savremene umetnosti, kao i podrška
inovativnim i eksperimentalnim projektima;
11. postojanje više finansijera predloženog
projekta;
3. komunikativnost projekata sa publikom;
13. podrška projektima mladih i neafirmisanih umetnika koji su delimično ili uopšte
nisu finansirani;
4. doprinos socijalnoj koheziji i opštem
blagostanju – borba protiv predrasuda i stereotipova, multikulturalnost, status pojedinca u društvu, rodna pitanja, učešće žena
u javnom životu, ljudska prava, ekološka
pitanja, pitanja tzv. „društveno marginalizovanih grupa“, interkulturni dijalog i dr.;
5. podrška novim inicijativama i novoj
umetničkoj produkciji: kvalitetno i savremeno osmišljeni individualni autorski
projekti (umetnika, kustosa i drugih profesionalaca u kulturi); Podrška projektima
izvan institucija ili organizacija koje već
prethodno nisu obuhvaćeni budžetskim
sredstvima grada/opštine, Republike Srbije
i AP Vojvodine ili značajnim sredstvima iz
ostalih izvora;
6. kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim
okolnostima, kako na lokalnom, tako i na
regionalnom i međunarodnom planu;
7. doprinos decentralizaciji kulture i kulturnoj saradnji;
4.2. General Criteria Applied in the Work of the
Committee for Visual Arts
and Multimedia
Definition of criteria and working principles
is necessary for they provide a basic working
strategy and enable adequate selection of
the applications. The following criteria have
been established:
1. High artistic quality and professional approach to work;
12. kvalitetno i savremeno osmišljena regionalna i međunarodna kulturna saradnja;
36
Visok umetnički kvalitet i
profesionalnost u radu
Osim na visokom umetničkom i koncepcijskom kvalitetu, insistira se i na profesionalnoj realizaciji projekata, to jest na kvalitetnoj produkciji.
Promocija savremenih umetničkih
formi i izraza i unapređenje razumevanja ideja i jezika savremene umetnosti,
kao i podrška inovativnim i eksperimentalnim projektima
Budući da se konkurs u Ministarstvu raspisuje
u okviru sektora koji se bavi savremenom
umetnošću i kulturom, sasvim je očekivano
da se ovi kriterijumi postavljaju kao vitalni.
Iako nije uvek jednostavno sagledati realne
efekte projekata, što naročito važi za inovativne i eksperimentalne inicijative, ovi projekti imaju jedan veoma poseban kvalitet. Taj
37
7. Contribution to the decentralization of
culture and cultural cooperation;
8. Support for projects contributing to capacity building, networking and upgrading
the professional level of culture institutions,
organizations and civil groups;
9. Support for projects of retrospective character which are significant for the cultural
milieu and its memory, as well as projects
which are related to cultural heritage and to
historically recognized artistic and cultural
forms;
2. The promotion of contemporary art
forms and expressions and improvement of
understanding ideas and language of contemporary art, as well as the support for innovative and experimental projects;
10. Balanced and optimal support of the
public, private and civil sector;
3. The ability of the project to communicate
with the audience;
12. Modern and well-conceived regional
and international cultural cooperation;
4. The contribution to social cohesion and
common welfare – struggle against prejudice and stereotypes, multiculturalism, status of the individual in the society, gender
issues, the participation of women in public
life, human rights, ecology, the issue of the
so called socially marginalized groups, intercultural dialogue and so on;
13. Support for projects of young artists
who are partially or poorly financed.
5. Support for new initiatives and new art
production – individual artist’s projects that
possess quality and that have a contemporary concept (of artists, curators and other
culture professionals); Support for projects
made outside institutions or organizations
that have not previously been financed from
the budget of the city/ municipality, Republic and AP Vojvodina, or through considerable assets from other sources;
6. Critical approach to culture in contemporary social, political and media context, on
the local, regional and international level;
11. Existence of several financial resources
for the proposed project;
High artistic level and professional approach to work
Apart from a high level of artistic and conceptual quality, the professional realization
of the project i.e. high quality production is
insisted upon.
Promotion of art forms and expressions
and facilitating the comprehension of
contemporary art ideas and languages,
as well as the support for innovative and
experimental projects
Having in mind that the call for applications is organized by the department of the
ministry which deals with contemporary art
and culture, it is expected that these criteria
are key ones. Although it is not always easy
kvalitet ogleda se ne samo u njihovoj živoj
komunikaciji sa savremenim trenutkom već
i u tome što svedoče o vitalnosti umetničke
i kulturne scene. Zatvorenost u okoštalom
i samozadovoljnom sistemu „proverenih
vrednosti“ dovodi do hermetične inertnosti
i samoizolacije. U krajnjoj instanci, poznato
je, to je i u tesnoj vezi sa kičem, što je uostalom često i u tretiranju kulturne i umetničke
baštine.
Komunikativnost projekata
sa publikom
Neophodno je da projekti poseduju dobru komunikativnost sa publikom. Zato
treba razbijati donekle uvreženu predrasudu
prema savremenoj umetnosti kao nerazumljivoj i elitnoj pojavi, te stoga i namenjenoj
uskom i zatvorenom krugu poznavalaca.
Praksa, nažalost, pokazuje da su ponekad i
sami akteri savremene umetničke scene skloni takvom pretencioznom stavu. Kao posledica toga nastaju projekti koji su sami sebi
cilj, što svakako nije prihvatljivo.
Doprinos socijalnoj koheziji i opštem
blagostanju – borba protiv predrasuda
i stereotipa, multikulturalnost, status
pojedinca u društvu, rodna pitanja,
učešće žena u javnom životu, ljudska
prava, ekološka pitanja, pitanja tzv.
„društveno marginalizovanih grupa“,
interkulturni dijalog i dr.
Nažalost, ne samo u Srbiji, često se kultura
razume kao nešto lepo što dolazi na kraju,
a previđa činjenica je ona dinamična kategorija koja ima veliki potencijal i doprinos
u ostvarivanju otvorenog društva. Samo
otvoreno društvo je u mogućnosti da na
obostranu korist i kvalitetan način komunicira i konstruktivno sarađuje sa drugim
sredinama. Veoma je značajno kroz kulturu tretirati i diverzitet, koji se ne odnosi
neminovno samo na multikulturna pitanja
već i na odrednice koje se tiču različitih
društvenih frustracija, rodnih pitanja, borbe
protiv predrasuda i stereotipa, tzv. društveno
marginalizovanih grupa, statusa pojedinca u
društvu itd. Ništa manje nisu značajna ni
ona pitanja koja se tiču ekologije ili učešća
žena u javnom životu.
to perceive the real effects of projects, which
refer particularly to innovative and experimental initiatives, these projects do have a
very unique quality. That quality is reflected
not only in their vivid communication with
the present moment, but also in the sense
that they testify about the vitality of the
art and cultural scene. Shut within a selfsufficient system of confirmed values leads
to inertia and self-isolation. Eventually, as it
is well known, it is closely related to kitsch,
which is common in the treatment of cultural and artistic heritage.
Kao što znamo, problem učešća žena u
javnom životu nije moguće rešiti njihovom
inkluzijom koja je prosto izražena brojkama
i procentima, stoga praksa pokazuje da je
potrebno izuzetno pažljivo sagledati stvarne
efekte projekata koji se bave takvim pitanjima. Budući da su projekti koji uključuju
komponentu socijalne kohezije veoma
privlačni za finansiranje institucijama i
fondacijama, potrebno ih je valorizovati
sa posebnom pažnjom, budući da podnosioci prijava sa iskustvom poznaju načine za
uspešno predstavljanje projekata.
Tu nije reč samo o progresivnim društvenim
promenama, odnosno o kulturi u funkciji
socijalne kohezije. Podjednako je važno
ukazati i na značaj kulture u razvijanju
kulture življenja, jer ona ne podrazumeva
isključivo posete izložbama ili drugim kulturnim događajima.
Podrška novim inicijativama i novoj
umetničkoj produkciji: kvalitetno i savremeno osmišljeni individualni autorski
projekti (umetnika, kustosa i drugih
profesionalaca u kulturi); Podrška projektima izvan institucija ili organizacija
koji već prethodno nisu obuhvaćeni
budžetskim sredstvima grada/opštine,
Republike Srbije i AP Vojvodine ili
značajnim sredstvima iz ostalih izvora
Veoma je važno podržati nove inicijative
i projekte koji podrazumevaju nastajanje
novih umetničkih radova. Ta vrsta podrške
usmerena je na realizaciju autorskih zamisli,
što je kod nas posebno dragoceno budući
da umetnici i drugi profesionalci u kulturi
Ability of the project to communicate
with the audience
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39
It is necessary for the projects to communicate well with their audience. That is why
prejudice towards contemporary art as an
incomprehensible and elite phenomenon
intended for a small circle of connaisseurs
should be dispersed. Regretfully, experience
has shown that sometimes the participants
of the contemporary art scene themselves
are inclined to such a pretentious attitude.
Consequently projects which are solely selfsatisfying without regards to audience are
unacceptable.
Contribution to social cohesion, and
common welfare – the struggle against
prejudice and stereotypes, multiculturalism, status of the individual in society,
gender issues, the participation of women
in public life, human rights, ecology, the
issue of the so called socially marginalized groups, intercultural dialogue, etc
Regrettably, it is often considered, and not
only in Serbia, that culture is “something
beautiful that comes at the end”, neglecting
the fact that it is a dynamic category with
a great potential to contribute to establishing an open society. For only an open society is in the position to communicate and
constructively cooperate with other societies for mutual benefit. It is very important
that culture address diversity. This diversity
does not refer only to multicultural issues,
but also to issues relative to social frustrations, gender, struggle against prejudice and
stereotypes, so called socially marginalized
groups, the status of the individual in society, etc. The matters of ecology and the
position of women in public life are of no
lesser importance.
As we know, the issue of women’s participation in public life cannot be solved with
their inclusion which is simply expressed
through numbers and percentages. The
practice shows that it is necessary to carefully observe the true effects of projects
dealing with such issues. As the projects
that include a component of social cohesion
are very attractive for the financing by institutions and foundations, it is necessary to
valorise them very carefully, because experienced applicants are skilful in presenting
their projects.
This does not imply only progressive social
changes, i.e. culture serving social cohesion.
It is equally important to stress the importance of culture in developing culture of
living, for it does not mean only visits to
exhibitions and other cultural events.
Support for new initiatives and new art
production: quality and modern individual projects (of artists, curators and other
cultural professionals); support for projects outside institutions or organizations
that have not previously been financed
from the budget of the city/municipality,
Republic and AP Vojvodina, or by significant assets from other sources
It is very important to support new initiatives and projects which imply the creation
of new artistic works. This kind of support
is aimed at realization of author’s ideas,
često nemaju velikih, pre svega finansijskih
mogućnosti za kvalitetnu produkciju projekata. Učešće umetnika u većim, ambicioznijim projektima ne podrazumeva uvek
nastajanje novih umetničkih radova. Zato
Ministarstvo često pruža finansijsku podršku
produkciji novih umetničkih radova.
Ovde je potrebno istaći individualnu ulogu
kulturnih profesionalaca čije delovanje
nije vezano za institucije, kao i njihov doprinos u kreiranju kulturne scene, što je
takođe u skladu sa brigom za pojedinca kao
društvenog subjekta.
Ovi projekti značajni su i za raznovrsnost
umetničke scene, kao i za otvorenost javnih
kulturnih institucija (budžetskih kulturnih
ustanova) u kojima se realizuju.
Kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim okolnostima, kako na lokalnom,
tako i na regionalnom i međunarodnom
planu
U savremenom društvu kultura i umetnost
razmatraju se u sklopu društvenih, političkih
i medijskih okolnosti. S jedne strane, tu je reč
o konceptualnom umetničkom promišljanju,
dok se, s druge strane, savremena kultura sagledava kao veliki potencijal u progresivnom
menjanju društvenih okolnosti. Ova vrsta
projekata može se smatrati svojevrsnim aktivizmom jer kritikuje i pokušava da ukaže na
važne probleme u savremenom svetu. Kultura, dakle, nije izdvojen, zaseban entitet,
nezavisan od konteksta u kojem postoji i
deluje, već je u organskoj vezi sa društvenim
okolnostima, od kojih zavisi.
Iako je umetnost neminovno uvek bila povezana sa društvenim i političkim okolnostima u kojima nastaje, danas je ta veza još
vidljivija, u tom smislu što emancipovana
umetnička praksa sasvim direktno unosi
društveni i naročito politički diskurs.
which are very precious in Serbia as the artists and other cultural professionals often do
not possess financial means for their artistic
production. The participation of artists in
larger, more ambitious projects does not always imply the creation of new art works.
That is why the ministry often provides financial support to the production of new
artistic works.
Doprinos decentralizaciji kulture i kulturnoj saradnji
Ministarstvo kulture, informisanja i informacionog društva Republike Srbije veoma
drži do kulturne decentralizacije. Gradska jezgra vremenom su taložila kulturne
sadržaje koji danas predstavljaju kulturnu
baštinu. Putem konkursa za vizuelne umetnosti i multimedije Ministarstvo nastoji da
kvalitetnu produkciju savremene umetnosti promoviše kao značajnu i nedostajuću
kulturnu ponudu. Međutim, i ovde praksa
pokazuje da je veoma važan način na koji
projekti savremene umetnosti komuniciraju
sa publikom. Postoji izražena opasnost da se
takvi projekti dožive kao kulturna kolonizacija velikog umetničkog i kulturnog centra, obično prestonice. Postavlja se i pitanje
da li je komotna, samozadovoljna pozicija,
na primer umetničkog saveta jedne galerije čiji rad finansira Ministarstvo kulture,
poželjna sa stanovišta lokalnih konzumenata kulture. Tu nije reč samo o kulturnom
i umetničkom elitizmu, ili pak problemima
komunikacije savremene umetnosti generalno, već i o svrsishodnosti postojanja programa galerije koji tretira savremenu umetnost, a koji bi lokalna zajednica morala
da identifikuje kao sebi blizak, intrigantan
i zavodljiv. I u prestonici čak postoje projekti visokog kvaliteta koji veoma slabo
komuniciraju sa publikom, te je i njihova
posećenost loša. Uzrok toga je najčešće
neodgovarajući koncept, loša organizacija i
pogrešan marketinški pristup.
Podrška projektima koji doprinose
jačanju kapaciteta, umrežavanju i profesionalizaciji rada kulturnih institucija,
organizacija i udruženja građana
Rad ustanova kulture u Srbiji dugo je bio
veoma otežan, te je profesionalnost njihovog funkcionisanja bila urušena. Njihov rad
uglavnom je bio obesmišljen zbog duboke
politizacije funkcija, što je za posledicu
It is necessary to point out the individual
role of cultural professionals whose work is
not related to institutions, as well as their
contribution to the creation of the cultural
scene, which is also in harmony with the
care for the individual as a social subject.
These projects are important for the diversity of the art scene, as well as for the openness of public cultural institutions (cultural
institutions financed from the state budget)
in which they are carried out.
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41
A critical approach to culture in contemporary social, political and media
circumstances, on the local, regional and
international level
In contemporary society culture and art
are contemplated within the social, political and media context. On one hand, we
are talking about a conceptual artistic approach, while on the other, contemporary
culture has a large potential to progressively change social circumstances. These
projects can be perceived as a certain kind
of activism as they criticize and point out
important problems in the modern world.
Thus, culture is not an isolated entity, independent from the context in which it exists
and acts, but it is closely related to the social
circumstances surrounding it.
Although art has always been inevitably
linked to the social and political circumstances in which it dwells, this link is obvious today, and in that sense emancipated
artistic practice is directly incorporated into
social and especially political discourse.
Contribution to decentralization of culture and cultural cooperation
The Ministry of Culture of the Republic of
Serbia considers decentralization a very important issue. Historical city centres have
accumulated cultural meaning and contents
which today embody cultural heritage. Call
for applications for visual arts and Multimedia attempts to promote quality production
of contemporary art as an important and lacking cultural offer. However, experience shows
that the manner in which projects of contemporary art communicate with their audience
is very important. There is an acute danger of
these projects being seen as cultural colonization by the large artistic and culture centre,
usually the capital. Emphasis should be given
to the question of what is desirable from the
point of view of the local art consumer. The
audiences should be adjusted to specific local
needs. It does not refer to cultural and artistic elitism or to the problems of contemporary art communication in general, but also
to the necessity of the existence of a gallery
program which deals with contemporary art,
which the local community could identify as
something familiar, intriguing and seductive.
In the capital there are projects of outstanding quality which poorly communicate with
their audience, and hence their attendance is
poor. The reason for this is usually an inappropriate concept, bad organization and the
wrong marketing approach.
Support for projects which contribute
to the capacity building, networking
and upgrading the professional level of
cultural institutions, organizations and
citizens’ associations
For a long time the work of cultural institutions in Serbia has been very difficult, and
imalo mnogobrojne probleme: program
skromnog kvaliteta, nesavremen koncept, loša kadrovska rešenja, lošu tehničku
opremljenost, nemotivisanost zaposlenih i
dr. Međutim, posle 2000. godine jedan broj
kulturnih profesionalaca iz nevladinog sektora uzeo je učešća u radu javnih ustanova, pa čak preuzeo i vodeća mesta u njima.
Oni su preneli svoja dragocena iskustva,
što je rezultiralo novom energijom, novim
strategijama i pristupima radu.
U vezi s tim je i razvijanje međuinstitucionalne saradnje, koja i u sistemima
uređenijim od našeg nije uvek sasvim zadovoljavajuća, ukoliko uopšte i postoji.
Međuinstitucijalna saradnja posebno je
značajna ne samo što širi mogućnosti i
uvećava kapacitete projekata već i što doprinosi otvorenosti kulturnih institucija.
Veoma je poželjna i dugoročnija saradnja
dve ili više kulturnih institucija.
S tog stanovišta, u savremenom društvu
neobično je dragocena i saradnja raznorodnih (kulturnih) institucija u smislu
njihovih primarnih delatnosti. S druge
strane, Ministarstvu kulture, informisanja i informacionog društva Republike
Srbije veoma je stalo do povezivanja, to
jest umrežavanja vaninstitucionalnih, po
obimu manjih inicijativa. To je svrsishodan i uspešan način i za međunarodnu saradnju koja se odvija van institucionalnih,
državnih okvira, budući da tako organizovane mreže pojedinaca, udruženja građana
ili neformalnih grupa šire svoje kapacitete.
Prednosti te saradnje su mnogobrojne – od
neopterećenosti glomaznim, birokratskim
sistemima, do verovatno najznačajnije –
mreže kao čvorišta inovativnosti umetničkog i kulturnog razvoja. Ono zbog čega
je umrežavanje kulturnih institucija i inicijativa važno jeste prenos i razmena znanja
i iskustva, što uvek rezultira boljim rezultatima rada.
hence the professional standard of their
work has been compromised. Their activity has been made pointless because of an
overwhelming political influence, which
resulted in numerous problems: programs
of poor quality, an outdated concept, inadequate staff, poor technical equipment and
lack of motivated employees. However, after 2000, a number of cultural professionals
from the civil sector took part in activities
of public institutions, taking over even the
leading positions in them. They conveyed
their precious experience which resulted in
new energy, new strategies and a new approach to work.
Podrška projektima retrospektivnog
karaktera značajnim za kulturnu sredinu i njeno pamćenje, kao i projektima
koji se nadovezuju na već istorizovane
umetničke i kulturne pojave i na kulturnu baštinu
Ovde je reč ne samo o projektima već priznatih savremenih umetnika koji prikazuju
njihove ostvarene umetničke domete (na
primer, retrospektivne izložbe) već i o projektima koji na savremen način referiraju na
kulturnu baštinu u bilo kom smislu. U našoj
sredini, često rastrzanoj između prošlosti i
budućnosti, projekti ovog tipa imaju veoma
značajno mesto.
Uravnotežena i optimalna podrška
javnom, privatnom i nevladinom sektoru
Ministarstvo kulture Republike Srbije
konkursom za vizuelne umetnosti i multimedije finansijski podržava projekte od
opšte društvene koristi sva tri društvena
sektora. Svaki od njih na svojstven način
doprinosi razvijanju kulturne scene.
Prožimanje njihovog rada neophodno je
stalno razvijati.
Praksa pokazuje tipične problematične
tačke u njihovom delovanju: u radu javnog
sektora, to je komotna pozicija institucije koja je u celosti finansirana (režijski
troškovi, programi, plate i dr.) te pretenciozan i starovremenski stav koji budžetsku
instituciju definiše kao sasvim superiornu i
nedodirljivu; u radu nevladinog sektora, to
je nezainteresovanost za realan i efektivan
uticaj na pozitivno menjanje društvene i
kulturne stvarnosti; u privatnom sektoru,
to je dominacija profita nad kvalitetnim
umetničkim sadržajima, što za posledicu
ima urušavanje postavljenog koncepta delovanja.
Ministarstvu kulture, informisanja i informacionog društva Republike Srbije veoma
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Cooperation amongst institutions was initiated, which even in better organized systems
than the one in Serbia, is not always satisfactory if it exists at all. It is particularly important because it does not only enlarge and
enhance the capacities of the project, but also
contributes to the openness of cultural institutions. Long-term cooperation on projects
of two or more cultural institutions is highly
desirable.
From that point of view, the cooperation of
cultural institutions of a diverse nature in
regard to their primary activities is precious
nowadays. On the other hand, the Ministry
of Culture of the Republic of Serbia appreciates interconnections and networking of
non-institutional and smaller scope initiatives. It is a successful and meaningful way
for international cooperation that occurs
outside institutional, state framework, as
thus organized networks of individuals, civil
or non-formal groups extend their capacities. The advantages of such cooperation are
numerous, from avoiding huge bureaucratic
systems to probably the most important issue
– networking as a starting point of innovation and artistic and cultural development.
The reason why networking of cultural institutions and initiatives is so important is the
transfer and mixture of knowledge and experience, which always produces better results.
Support for projects of retrospective
character which are significant for the
cultural milieu and its memory, as well
as projects which are related to cultural
heritage and to historically recognized
artistic and cultural forms and
This does not apply only to projects of recognized contemporary artists who display
their artistic achievement (for instance retrospective exhibitions) but also projects that
refer to cultural heritage in a modern way.
In our country, often torn between past and
future, the projects of this kind are of special importance.
Balanced and optimal support of the
public, private and civil sector
By means of its call for applications the Ministry of Culture of the Republic of Serbia
supports projects of common social benefit
in all three public sectors by the open contest for visual arts and multimedia. Each of
them, in its own way enhances the development of the cultural scene. The interlacing of their activities should be constantly
stimulated. Experience has shown typical
problems in the work of all three sectors:
the public sector it is a comfortable position of an institution which is completely
funded (production costs, programs, wages,
etc.) with a pretentious and old fashioned
attitude which as a state budget institution
is superior and untouchable; in the activity
of the civil sector it is lack of interest for a
real and effective positive influence on social
and cultural reality; in the private sector it is
domination of profit over quality of artistic
content, which results in the demolition of
the established concept of action.
The Ministry of Culture of the Republic of
Serbia is interested in the quality of relationship and cooperation with the civil sector
in regard to all projects of specific groups,
private initiatives, individuals and informal
je stalo do kvalitetnog odnosa i saradnje sa
civilnim sektorom, to jest sa svim projektima udruženja, privatnih inicijativa, pojedinaca i neformalnih grupa. Ta saradnja
posebno je, čini se, vidljiva u oblasti vizuelnih umetnosti i multimedija, budući da na
tom polju postoji veliki broj inicijativa te
vrste. Uspešna saradnja sa civilnim sektorom
obezbeđuje potrebni širi opseg društvenog
učešća i konsenzusa oko zajedničkih kulturnih interesa, što je jedan od prioriteta u
radu Ministarstva.
Postojanje više finansijera
predloženog projekta
Postojanje više finansijera jednog projekta
ukazuje na ozbiljnost i ambicioznost u
osmišljavanju projekta. Finansijska konstrukcija koja uključuje i druge finansijere
projektu obezbeđuje i svojevrsni kredibilitet, budući da su njegov značaj, dakle,
prepoznale i druge instance.
Izuzetak mogu biti po obimu manji individualni projekti umetnika. Iako se projekti na konkursu za vizuelne umetnosti
i multimedije sufinansiraju, toj vrsti projekata (na primer, samostalne izložbe) često
se upućuje ceo ili skoro ceo traženi iznos.
Razlog je činjenica što su ti projekti često
manje zahtevni za realizaciju pa je i potrebna suma obično manja od one u budžetima
većih projekata. Još jedan razlog za takav
stav jesu lokalne okolnosti, odnosno veoma
teška situacija u kojoj se domaći umetnici
mahom nalaze.
Međutim, i pored toga što je i skromniji
iznos (za razliku od iznosa namenjenih
organizaciono i produkcijski zahtevnijim
projektima) ponekad dovoljan, ova vrsta
podrške Ministarstva veoma je korisna
pri apliciranju kod drugih institucija i fondacija. Ukoliko je Ministarstvo finansijski
podržalo jedan projekat, to je pozitivan signal za druge finansijere, a ponekad i pre-
duslov za obezbeđivanje dodatnih finansijskih sredstava neophodnih za realizaciju
projekta. U smislu decentralizacije kulture,
projekti koji su dobili podršku Ministarstva
lakše dobijaju i podršku lokalne samouprave.
groups. It seems that this cooperation is especially visible in the field of visual arts and
multimedia, because there are numerous
initiatives of such kind in this field. Successful cooperation with the civil sector provides a necessary broader approach towards
social intervention and consensus concerning common cultural interests, which is one
of the priorities of the Ministry of Culture.
Kvalitetno i savremeno osmišljena
regionalna i međunarodna kulturna
saradnja
Existence of several financial resources
for the proposed project
Jedan od osnovnih prioriteta u radu Ministarstva jeste regionalna saradnja. Ta vrsta
saradnje značajna je za razvijanje i produbljivanje (kulturnih) veza sa državama u
regionu, dobrosusedske odnose i stvaranje
kreativne, pozitivne politike prema tim
državama. Dobar primer regionalne saradnje u evropskom kontekstu i prepoznavanja zajedničkog interesa dao je na primer
Nordijski savet (Nordic Council, www.norden.org).
Što se generalno međunarodne saradnje
tiče, na konkursu za vizuelne umetnosti i
multimedije finansiraju se domaći projekti
međunarodnog karaktera i projekti domaćih
umetnika u inostranstvu.
Domaću savremenu kulturu u inostranstvu trebalo bi predstavljati atraktivnim
programima koji uspešno komuniciraju sa
inostranom publikom. Neophodno je i da
sadržaji i koncepcija njihove prezentacije
budu prijemčivi za inostranu publiku. Zato
je veoma važno da se projekti adekvatno dokumentuju i objasne.
Veoma je važno podržati i projekte koji će
savremenim pristupom i konceptom, kao i
izgrađenim profesionalizmom, prikazati visoke domete domaće umetničke i kulturne
produkcije.
The existence of multiple financial resources
for a single project is proof of its ambition
and determination in conceiving the project. The financial framework which includes
other financial resources of projects lends a
certain credibility, because its importance
has been recognized by other bodies.
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An exception can be smaller individual
projects. Although projects selected on the
grounds of call for applications for visual
arts and multimedia are co-funded, they
(e.g. solo exhibitions) are often allocated
all, or almost all of the required funding.
The reason for this lies in the fact that these
projects are often less demanding, so the
necessary amount is usually smaller than
that for the larger projects. Another reason
for this can be found in local circumstances,
i.e. predominantly difficult conditions faced
by our artists.
However, apart from the fact that a rather
modest amount (if compared with the
amounts intended for more demanding
projects from the point of view of organization and production) is sometimes sufficient, this kind of the Ministry’s support is
very useful when applying with institutions
and foundations. If the Ministry of Culture
financially supports a project, it is a positive signal for other financial institutions
and foundations, and this is sometimes prerequisites for obtaining additional funding
which is necessary for the realization of a
project. Regarding decentralization of culture, projects that have been granted the
Ministry’s support have easier access to the
support of local administration.
Good-quality and modern conceived
regional and international cooperation
One of the basic priorities of the Ministry
of Culture of the Republic of Serbia is regional cooperation. This type of cooperation is important for the development and
strengthening (of cultural) links with countries in the region, bilateral relationships
and creation of a productive, positive policy
towards those countries. A good example of
regional cooperation within the European
framework and the recognition of common
interest were provided by the Nordic Council (www.norden.org).
In general, as far as international cooperation is concerned and following the call for
applications for visual arts and multimedia,
the ministry finances national projects of
international character and projects of our
artists that exhibit abroad.
National contemporary culture should be
presented abroad by attractive programs
which successfully communicate with a foreign audience. It is necessary to make the
content and concept of such presentation
interesting for that audience. That is why it
is very important for the projects to be adequately explained and documented.
It is also very important to support projects
that will, by their modern approach and
concept, as well as by developed professional attitude, present a high level of national
artistic and cultural production.
Podrška projektima mladih i neafirmisanih umetnika koji su delimično ili
uopšte nisu finansirani
3. Dostavljenje narativnog i finansijskog
izveštaja.
Uz sve kvalitete koje nesumnjivo poseduje,
kulturni sistem u Srbiji ne funkcioniše u
dovoljnoj meri u svim svojim segmentima,
te se umetnici na počecima svojih karijera
najčešće suočavaju sa različitim problemima.
Zato je veoma važno podržati njihove prve
projekte. Napori da se pomogne mlađim
umetnicima svojevrsna su investicija koja
vremenom nalazi konkretne načine za afirmaciju pozitivnih društvenih vrednosti.
Ne razmatraju se:
Tehnički kriterijumi su sledeći:
1. Istinitost predstavljenih podataka
Projekti prikazani kroz preterane troškovnike
koji ne odgovaraju stvarnim troškovima
bilo kog elementa realizacije, zatim projekti
u kojima nisu navedeni postojeći finansijeri
(iako postoje) i sl. – odbijaju se za finansiranje.
Saradnja i kontakti sa drugim finansijerima (opština, grad, inostrane fondacije)
olakšavaju proveru podataka navedenih
u konkursnim prijavama, što ima velikog
udela u donošenju odluka.
1. projekti koji su vezani za rekonstrukciju
ili izgradnju novih objekata za kulturne
namene;
2. jednokratni projekti koji su već podržani
na prethodnom konkursu Ministarstva;
3. projekti čiji su podnosioci profitabilne
ustanove i projekti sa izrazito komercijalnim efektima;
4.3. Posebni kriterijumi u
radu komisije za vizuelne
2. Ispunjenje formalnih uslova konkursa:
potpuna dokumentacija, sa opisom projekata i detaljno predstavljenim informacijama kao i sa jasno ugovorenim mestom i
vremenom održavanja projekta;
Pored navedenih opštih kriterijuma u radu
komisije za vizuelne umetnosti i multimedije, ustanovljeni su i posebni kriterijumi koji
detaljnije definišu stavove Ministarstva kulture, informisanja i informacionog društva
Despite all its qualities, the culture system
in Serbia does not function in a proper
manner in all its segments, and thus the artists at the beginning of their careers often
face various problems. That is why it is very
important to support their debut projects.
Efforts to assist young artists are a sort of
social investment which will, in time, find a
more concrete way to affirm the future sustainability of the cultural sector.
1. Projects concerning the reconstruction
and construction of new facilities for cultural purposes.
1. The reliability of submitted data
5. projekti vezani za izradu baze podataka,
osim izuzetno.
Informacije dobijene od drugih finansijera
koriste se i kao odrednice koje pokazuju
da li je neki projekat potrebno finansirati,
a ukoliko jeste, u kojoj meri. Komisija će
tako, na primer, projektu koji pozitivno
vrednuje, a koji je već za deo realizacije dobio finansijsku podršku drugog finansijera,
dodeliti sredstva kako bi organizatori bili u
prilici da ga kvalitetno sprovedu.
The following projects will not be taken
into consideration:
Technical criteria are as follows:
4. projekti koji su prethodnih godina već bili
finansirani iz gradskog odnosno republičkog
budžeta, a pri tom nisu realizovani;
Projekti u vezi sa izradom dokumentacije i različite baze podataka neće biti
podržani budući da izrada dokumentacije,
arhiviranje i sređivanje građe spada u permanentnu nadležnost odnosno obavezu
institucija, zbog čega se ne mogu smatrati
kratkoročnim/jednogodišnjim projektima.
Ta vrsta projekata najčešće je vezana za institucije kulturne baštine, čiji programi nisu
predmet ovog konkursa. Izuzetak su projekti ovog tipa koji ne spadaju u permanentnu
nadležnost kulturnih institucija.
Support for projects of young artists who
are partially or poorly financed
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The projects presenting overestimated costs
that do not correspond with real costs of
any element of realization, as well as projects that do not mention existing financial
supporters (if any) will be rejected.
Cooperation and contact with other financial resources (city, municipality, and foreign foundations) facilitate the validation of
the decision making process.
Information gathered from other financiers
is used as indicator showing whether a project deserves funding, and if so, to what extent. Thus the committee will for instance,
grant funds to a project that is positively
evaluated and which has already been granted funding from other resources, so that the
organizers will be in a position of executing
the project in a quality manner.
2. Meeting formal conditions stipulated by
the call for applications: complete documentation containing project’s description and detailed information, as well as a clearly defined
place and time for realization of project.
3. Submitting the narrative and financial
report
2. One-off projects that have been previously supported by the Ministry of Culture.
3. Projects submitted by profitable institutions and those with clearly commercial effects.
4. Projects that in previous years were funded from the city or republic budget, but
were not finished.
5. Projects concerning databases, except for
some specific cases.
Projects regarding documentation making and
various databases shall not be supported because documentation and classifying archives
is a permanent responsibility and obligation
of institutions and because of that they cannot be considered as short term/annual projects. These types of projects are usually related
to institutions that deal with cultural heritage,
whose programs cannot participate in this Call
for Applications. Exceptions are given for projects of this kind whose contents are not the
responsibility of cultural institutions.
4.3. Special Criteria Applied in the Work of the
Committee for Visual Arts
and Multimedia
Apart from the mentioned general criteria
applied in the work of the committee for
Visual Arts and Multimedia, there are also
special criteria which describes more closely
the position of the Republic of Serbia Ministry of Culture i.e. guideline support to the
galleries and exhibition venues.
Republike Srbije, odnosno usmeravaju podršku galerijskim i izložbenim prostorima.
Ovi kriterijumi, dakle, ilustruju očekivanja
Ministarstva i konkursne komisije kada je
u pitanju funkcionisanje i rad galerijskih i
izložbenih prostora u zemlji.
Posebni kriterijumi su sledeći:
1. profilisan i savremeno postavljen koncept
programa,
2. kvalitet i način odabira umetnika i drugih
kulturnih profesionalaca koji učestvuju u
godišnjem programu,
3. raznovrsnost godišnjeg programa,
4. finansiranje produkcije izložbi i umetničke produkcije izlagača,
5. posećenost galerije/izložbenog prostora,
6. broj predviđenih izložbi/aktivnosti godišnjim programom,
7. kvalitet dizajna štampanog materijala
(katalog, plakat, pozivnice i dr.),
8. kvalitetno i savremeno osmišljen prateći
program i aktivnosti,
9. ravnomerna geografska raspoređenost galerija i izložbenih prostora,
10. adekvatno čuvanje i savremeno koncipirana prezentacija dela iz umetničkih zbirki
(kolekcija),
11. doprinos razvijanju umetničkog tržišta.
Profilisan i savremeno postavljen
koncept programa
Prioritet u finansiranju imaju galerije i
izložbeni prostori sa jasno profilisanim pro-
gramom i ciljevima u radu. Nije, dakle, prihvatljivo da se godišnji program galerija i
izložbenih prostora sastoji od prostog broja
predviđenih izložbi, već se očekuje da program bude osmišljen na savremen način,
sa svešću o potrebi pozitivnog uticaja na
umetničku scenu i društvo u celini. Taj uticaj ogleda se, sa jedne strane, u razvijanju
profesionalnih potencijala i uskostručnih
kvaliteta svih zainteresovanih aktera (umetnici, kustosi, novinari, galerije, udruženja
građana, ustanove, itd.) i sa druge strane, u
podršci razvijanju kvaliteta života građana,
jačanju socijalne kohezije, interkulturnog
dijaloga itd.
These criteria illustrate the expectations of
the ministry and the committee, as far as
galleries and exhibition venues’ activities in
Serbia are concerned.
Fokusiranost neke galerije ili izložbenog
prostora na određenu ciljnu grupu, npr.
mlade, može biti prednost, jer takav program, ukoliko je kvalitetno koncipiran,
može doprinositi razvijanju kreativnih potencijala mladih, njihovom profesionalnom
usavršavanju ili imati druge društveno-pozitivne efekte.
4. financing of exhibitions and exhibitors’
artistic production
These special criteria were as follows:
1. contemporary, well-defined and conceptualized program
2. selection process and the quality of the
artists and other cultural professionals participating in the annual program
3. diversity of annual program
5. number of visitors to the gallery/exhibition venue
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6. number of exhibitions/activities planned
in the annual program,
Isti slučaj je i sa galerijom i izložbenim prostorom koji je fokusiran na jedan umetnički
medij, poput npr. fotografije. Takav program pak može ovaj medij istrajno promovisati, sistemski podržavati i predstavljati najviša umetnička dostignuća i njegove
najnovije ili najsavremenije forme, može
sadržati zasebnu ediciju koja bi pružala istorijski pregled i pratila savremena kretanja u
teoriji fotografije i sl.
7. quality of printed material design (catalogue, poster, invitations, etc)
Kvalitet i način odabira umetnika i
drugih kulturnih profesionalaca koji
učestvuju u godišnjem programu
11. contribution to developing the artistic
market
Odabir umetnika koji učestvuju u godišnjem
programu usklađen je sa postavljenim konceptom galerije/izlagačkog prostora. Njihov odabir, međutim, praktično govori i o
načinu sprovođenja tog izlagačkog koncepta.
Contemporary, well-defined and
conceptualized program
8. quality and contemporary accompanying
programs and activities
9. balanced geographic distribution of the
galleries and exhibition venues
10. adequate preservation and modern presentation of works from art collections
Priority in financing is given to the galleries
and exhibition venues with clearly defined
programs and working goals. Consequently,
it is not acceptable that the annual program
of a gallery or exhibition venue consists simply of a number of planned exhibitions but
it is expected that the program is outlined
in a modern manner with the awareness of
having a positive impact on the artistic scene
and entire society. On one hand it should
influence development of professional potentials and professional qualities of all concerned actors (artists, curators, journalists,
civil society organizations, institutions, etc.)
and on the other it should contribute to the
development of citizens’ quality of living,
strengthening social cohesion, intercultural
dialogue, etc.
A gallery or exhibition venues has a greater
advantage if it is focused on a certain target
group. For example, a quality program for
young people could develop their creative
potentials and contribute to their professional development, or other positive social
effects.
The same applies to a gallery or exhibition
venue focusing on one artistic medium such
as photography, for example. Such a program may promote this medium, support
it systematically and may present highest
achievements and its latest or most modern
forms, or may have special edition that can
provide historical survey and follow contemporary developments in the theory of
photography, etc.
Selection process and the quality of the
artists and other cultural professionals
participating in the annual program
The selection of artists to be included in the
annual program is accommodated to the established concept of a particular gallery/exhibition venue. The selection presents and
realizes the exhibition concept.
Besides, it is also important how the artists
are selected – if they are invited directly, by
means of a call for applications or by accept-
Takođe, značajan je i način odabira umetnika, odnosno kako se selekcija vrši –
direktnim pozivom, javnim konkursom ili
prihvatanjem inicijativa umetnika i drugih
kulturnih profesionalaca.
Od značaja je i ko vrši ovu selekciju, to jest
ko su osobe iz umetničkog saveta ili drugog
tela koje o tome odlučuju. Razume se da
kulturni profesionalci iz umetničkog saveta
sa zavidnim biografijama daju dodatni legitimitet usvojenom godišnjem programu.
Raznovrsnost godišnjeg programa
Raznovrsnost godišnjeg programa podrazumeva da on nije sastavljen od prostog
niza samostalnih izložbi umetnika, već da
sadrži grupne i različite autorske izložbe,
odnosno projekte.
Važno je i da neke od tih izložbi/aktivnosti
budu povezane sa drugim projektima i
manifestacijama koje organizuje ta galerija/izložbeni prostor, kao i sa drugim
kulturnim organizacijama i institucijama.
Takođe je važna i međuinstitucionalna,
odnosno intersektorska saradnja – sa srodnim institucijama i organizacijama, ali i
sa institucijama i organizacijama iz drugih
sektora poput prosvete, turizma, nauke,
privrede, komercijalnog sektora i dr.
Umreženost na lokalnom, regionalnom
i međunarodnom nivou takođe je veoma
značajna, i predstavlja jedan od prioriteta
u finansiranju.
Projekti koji se tiču međunarodne saradnje, odnosno kooperacioni projekti sa
inostranim partnerima, i predstavljanja
galerije/izložbenog prostora u inostranstvu, valorizuju se sa posebnom pažnjom.
To znači da se relevantni projekti ovog tipa
podržavaju i finansiraju u što je moguće
većoj meri.
Galerija i izložbeni prostor sa npr. razvijenom,
savremeno koncipiranom međunarodnom
saradnjom takođe može imati prednost,
posebno ukoliko je njen rad prepoznat od
strane relevantnih međunarodnih partnera,
ukoliko se kroz međunarodne projekte promoviše veći broj reprezentativnih domaćih
umetnika itd.
ing artists’ and other cultural professionals’
initiatives.
The persons that carry out selection, i.e. the
members of the art council or other body
deciding on this issue are also important.
Clearly, culture professionals, members of
art councils, with enviable biographies provide additional legitimacy to the adopted
annual program.
Finansiranje produkcije izložbi i
umetničke produkcije izlagača
Diversity of annual program
Prednost imaju one galerije/izlagački prostori koji u većoj meri finansiraju realizaciju izložbi. Ovde se, pored finansiranja
izrade štampanog materijala, transporta
umetničkih radova i koktela (troškovi koji
se najčešće finansiraju), podrazumeva i pokrivanje troškova postavke izložbe, odnosno
dodatnih potreba produkcije izložbi.
Nažalost, tek poneke galerije finansiraju
umetničke radove svojih izlagača.
Posećenost galerije/izložbenog prostora
Ovaj posebni kriterijum povezan je sa
opštim kriterijumom – komunikativnost sa
publikom. Neophodno je, dakle, raditi sa
publikom, i kada je to potrebno približiti joj
sadržaje koje se mogu videti na izložbama.
S toga je neophodno da u galerijima/
izlagačkim prostorima postoji osoba koja
vodi posetice kroz izložbe. U rad sa publikom takođe spadaju i radionice, programi
za decu i mlade itd.
Takođe, neophodno je da galerije/izložbeni
prostori imaju osmišljenu strategiju saradnje sa medijima koji prate kulturna
dešavanja i da se program redovno najavljuje i to na više načina – preko ažuriranog
veb-sajta, pres-klipinga, mejling-liste, oglašavanja na društvenim mrežama poput Fejsbuka i dr. Na taj način se ostvaruje bolja
informisanost o godišnjem programu, a što
Diversity of the annual program means that
it is not composed of a simple sequence of
solo exhibitions of different artists but that
it contains group and diverse authors’ exhibitions or projects.
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It is important that some of these exhibitions are connected with other projects organized by that particular gallery/exhibition
venue, as well as with other cultural organizations and institutions. Besides, it is also
important that there is inter- institutional
or inter-sectorial cooperation – with similar
institutions and organizations but also with
institutions and organizations from other
areas such as education, tourism, science,
economy, commerce, etc.
Networking at the local, regional and international level is also of importance and represents one of the priorities in financing.
Projects involving international cooperation, i.e. cooperation projects with foreign
partners and presentations of gallery/exhibition venue abroad are evaluated with particular care. It means that relevant projects
of this type are supported and financed to
the greatest extent possible.
Gallery or exhibition venue which has developed international cooperation in a
modern way may have advantage, especially
if its work is recognized by relevant inter-
national partners, if through international
projects a large number of national artists
can be promoted, etc.
Financing exhibitions and exhibitors’
artistic production
Galleries/exhibition venues that finance
the realization of exhibitions to a great extent on their own have an advantage. Apart
from financing printed materials, transport
of art works and cocktails (the most often
financed costs) it also involves the cover of
costs for exhibition installation and other
additional needs regarding the organization
of exhibition.
Unfortunately, galleries only rarely finance
the artistic works of their exhibitors.
Number of visitors to gallery/exhibition
venue
This specific criteria is related to the general
one – communication with audience. It is
necessary to work with the audience and
necessary to make the exhibited content
which relate to them. That is why galleries/
exhibition venues should have employees to
show visitors around the exhibition. Workshops and children’s programs are also considered as work with the audience.
Besides, galleries/exhibition venues should
have a meaningful strategy of cooperation
with media doing coverage of culture events.
They should announce their programs regularly and in different manner – by means
of an upgraded web site, press-clippings,
mailing lists, social networks such as Facebook, etc. In this way people will be better
informed about the annual program which
will directly effect in the number of its visitors.
se direktno odražava na posećenost galerije/
izložbenog prostora.
Broj predviđenih izložbi/aktivnosti godišnjim programom
Iako kvantitet ne podrazumeva i kvalitet,
broj predviđenih i realizovanih izložbi/aktivnosti pokazatelj je dinamičnosti godišnjeg
programa. Razume se da je za veći broj aktivnosti neophodna značajnija finansijska
podrška te se i ovaj kriterijum uzima u obzir
prilikom određivanja visine iznosa finansijskih sredstava za galerije/izložbene prostore
koji su odabrani za finansiranje.
Kvalitet dizajna štampanog materijala
(katalog, plakat, pozivnice i dr.)
I ovaj kriterijum postavljen je kao veoma
značajan, budući da je uočeno da program
jednog broja galerija/izlagačkih prostora ne
prati zadovoljavajući kvalitet grafičkog oblikovanja, odnosno dizajna štampanog materijala.
Budući da katalozi i drugi štampani materijali ostaju kao trajni dokumenti o konceptu
i realizaciji programa galerija/izložbenih
prostora, njihova kvalitetna produkcija je
veoma važna. Podrazumeva se da je kvalitetan koncept i godišnji program u saglasju sa
kvalitetno dizajniranim štampanim materijalom. Ovo pitanje značajno je i sa stanovišta
međunarodne saradnje, budući da su katalozi galerija/izložbenih prostora često prvi
kontakt sa njihovim godišnjim programom.
Jedan broj galerija/izložbenih prostora
praktikuje izradu skromnih kataloga za
svaku izložbu tokom godine (često u formi
razglednice ili deplijana), ali krajem godine
izrađuje se ambiciozno koncipiran katalog,
koji uz objašnjenje koncepta godišnjeg programa, opširno predstavlja svaku aktivnost
ponaosob.
Kvalitetno i savremeno osmišljen
prateći program i aktivnosti
Number of exhibitions/activities planned
by annual program
Quality and contemporary accompanying programs and activities
Od galerija i izložbenih prostora se očekuje
kvalitetno i savremeno osmišljen prateći
program i aktivnosti koje dopunjavaju
godišnji program. To mogu biti različite radionice, predavanja, vođenja kroz izložbe,
specijalizovano izdavaštvo, itd.
Although quantity does not mean quality,
the number of planned and realized exhibitions/activities shows dynamics of the annual program. Naturally, a larger number
of activities requires larger financial support and consequently, this criteria is taken
into consideration while deciding on the
amount of financial means for galleries/exhibition venues selected for financing.
Galleries and exhibition venues are expected
to work out quality and modern additional
program and activities which add to the annual program. Those can be various workshops, lectures, guidance through exhibitions, specialized publishing activity, etc.
Ravnomerna geografska raspoređenost galerija i izložbenih prostora
Ukoliko je moguće, prilikom odlučivanja o
finansijskoj podršci galerijama i izložbenim
prostorima, pažnja se obraća i na njihovu
ravnomernu geografsku raspoređenost da bi
se što više uravnotežio kulturni razvoj.
Pošto nije samo reč o projektima koji se
bave decentralizacijom u kulturi (takvi projekti mogu poticati i iz Beograda ili iz većih
gradskih centara), ovaj kriterijum ukazuje
na neophodnost aktivnosti samih galerija i
izložbenih prostora na polju savremene umetnosti koji deluju van Beograda. Međutim,
ne može se po svaku cenu podržati projekat
koji ispunjava ovaj kriterijum, a da pri tom
ne poseduje i druge kvalitete.
Adekvatno čuvanje i savremeno koncipirana prezentacija dela iz umetničkih
zbirki (kolekcija)
Jedan broj galerija poseduje dragocene fondove dela nastajalih godinama, te je pitanje obrade i čuvanja kolekcija veoma važno i,
razume se, ovaj kriterijum odnosi se samo
na takve galerije. To su uglavnom galerije
kojima je osnivač grad ili opština.
Pored obrade i čuvanja dela, podjednako
važno je istaći – poželjan što aktivniji odnos
prema kolekciji i njenoj savremeno koncipiranoj prezentaciji.
Quality of printed material design (catalogue, poster, invitations, etc.)
This is also very important criteria, for it
has been noted that the program of a number of galleries/exhibition venues is not followed by the satisfying quality of graphic
i.e. design of the printed material.
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Having in mind that the catalogues and
other printed materials remain as permanent documents on concept and realization of programs of the galleries/exhibition
venues, the high quality production of the
printed material is of utmost importance.
It is understood that the quality of the concept and annual program correspond with
quality designed printed material. This issue is important from the point of view
of international cooperation, because the
catalogues of galleries/exhibition venues
are often the first contact with their annual
program.
A number of galleries/exhibition venues
print a rather modest catalogue for each
exhibition organized during a year (often
in the form of postcard or brochure) but
at the end of year they usually produce
an ambitiously designed catalogue, which
aside from explaining the concept of the
annual program present each activity separately.
Balanced geographic distribution of the
galleries and exhibition venues
If possible, when deciding on financial support for the galleries and exhibition venues
attention is paid to their even geographic
distribution, to balance cultural development as much as possible.
As these are not only the projects that address decentralization of culture (such projects may originate from Belgrade or from
larger towns as well) this criteria points out
that the galleries and exhibition venues outside Belgrade need to be active as well. However, it is not possible to support a project
meeting this criteria if it does not have other
qualities as well.
Adequate preservation and modern
presentation of works from art collections
Some galleries own precious collections of
art works that were accumulated throughout
the years and thus the issue of cataloguing
and preserving collections is very important
and of course this criteria refers only to such
galleries. These are mainly galleries whose
founder was a city or a municipality.
Apart from cataloguing and preserving the
works, it is desirable to have an active attitude towards the collection and its modern
presentation.
Sa druge strane, prisutan je i problem zbirki
sa zavedenim delima skromnih umetničkih
dometa, budući da selekcija umetnika i njihovih dela nije uvek bila adekvatna.
Doprinos razvijanju umetničkog
tržišta
Iako u Srbiji tržište umetničkih dela nije
razvijeno, Ministarstvo kroz konkurs za vizuelne umetnosti i multimedije pokušava
da promoviše značaj posredništva između
umetničkih dela, kupaca i kolekcionara
savremene umetnosti. Na prvom mestu,
ovo pitanje tiče se sistemskih rešenja, pravne
relagulative i pravnih olakšica.
4.4. Kategorizacije galerija
i izložbenih prostora
Slično drugim kategorizacijama (npr. samostalne izložbe i projekti) i ovde je moguće na
više različitih nivoa izvršiti poređenje ovih
konkursnih aplikacija. Prilikom donošenja
odluka o potrebi podrške, odnosno finansiranja određene galerije, ove podele imaju
veliku ulogu. Poređenje galerija/izlagačkih
prostora prema navedenim kategorizacijama
umnogome olakšava donošenje odluka.
Prva vrsta podela koja se javlja kod ovih aplikacija jeste podela u odnosu na pravni status:
a) Galerije/izložbeni prostori koji imaju
status pravnog lica (npr. gradske i privatne
galerije);
b) Galerije/izložbeni prostori koji funkcionišu u sklopu nekog pravnog lica (npr.
galerija u okviru kulturnog centra);
c) Galerije/izložbeni prostori institucija
kulture, čiji je osnivač republika, grad ili
opština;
d) Galerije/izložbeni prostori čiji je osnivač
udruženje građana ili pojedinac (fizičko
lice).
On the other hand there is the problem
of collections containing works of modest
artistic value as the selection of artists and
their works was not always adequate.
Druga vrsta podela odnosi se na programski
koncept:
Contribution to developing art market
a) Galerije/izložbeni prostori koji se isključivo bave savremenom umetnošću;
b) Galerije/izložbeni prostori koji se pored
savremene umetnosti delom bave i kulturnom baštinom;
c) Galerije/izložbeni prostori koji se bave
eksperimentalnom, inovativnom umetničkom praksom i oni koji su naklonjeniji već
potvrđenim umetničkim vrednostima, kao i
već uveliko afirmisanim umetnicima;
d) Galerije/izložbeni prostori koji se bave
tzv. likovnom umetnošću ili tzv. primenjenom umetnošću, kao i one galerije/izlagački prostori koji ne prepoznaju ovu vrstu
podele;
f ) Galerije/izložbeni prostori čiji je koncept
tako ustrojen da u sebe nedeljivo inkorporira
sve vidove savremenog izražavanja (npr. multimedijalnost, intersektoralnost, aktivizam);
g) Galerije/izložbeni prostori koji su orijentisani na jedan (ili više) umetničkih medija
(npr. fotografija, crtež);
h) Galerije/izložbeni prostori koji su orijentisani na određeno godište umetnika,
a samim tim, najčešće i na godište publike
koju privlači (mlade, srednje i starije generacije umetnika);
i) Galerije/izložbeni prostori koji pored
izložbene delatnosti obavljaju i druge funkcije (edukativni program, rad sa publikom, radionice, saradnja sa drugim kulturnim institucijama, intersektorska saradnja i dr.).
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d) Galleries/exhibition venues whose founders were civil society organizations or individuals (physical entity)
Other type of classification refers to program concept:
Although the market of artistic works is not
developed in Serbia, the Ministry of Culture through its call for applications for visual arts and multimedia tries to promote
importance of mediation between artistic
works, buyers and collectors of modern art.
This issue addresses above all systematic solutions, legal regulations and legal exemptions.
a) Galleries/exhibition venues dealing exclusively with contemporary art;
4.4. Classification of Galleries and Exhibition Venues
d) Galleries/exhibition venues dealing with
fine arts or so called applied arts but also
those galleries/exhibition venues which do
not recognize this kind of classification;
Similar to other classifications (for example
independent exhibitions and projects) here
as well is possible to compare applications at
several different levels. In making a decision
on the need for support i.e. financing of a
certain gallery, this classification is of great
importance. Classification of galleries/exhibition venues following the given parameters enables much easier decision making.
The first type of classification relative to these
applications is the one regarding legal status:
a) Galleries/exhibition venues that have the
status of legal entity (e.g. city or private galleries)
b) Galleries/exhibition venues which function within a specified legal entity (e.g. gallery within cultural centre)
c) Galleries/exhibition venues of the culture
institutions which was founded by a republic, city or municipality;
b) Galleries/exhibition venues which deal
with cultural heritage aside from contemporary art;
c) Galleries/exhibition venues dealing with
experimental, innovative artistic practice
and those inclined towards proven artistic
values and already known artists;
f ) Galleries/exhibition venues whose concept is such that they incorporate all types
of modern expressions (e.g. multimedia
expression, inter-sector cooperation, activism);
g) Galleries/exhibition venues oriented towards one (or more) artistic media (e.g.
photography, drawing);
h) Galleries/exhibition venues oriented towards certain generation of artists which is
followed by specified generation of audience (young, mid age and older generation
of artists)
i) Galleries/exhibition venues which aside
from exhibitions have other functions
(educational programs, work with public,
workshops, cooperation with other cultural
institutions, cooperation with other sectors,
etc.)
Treća podela odnosi se na kvalitet godišnjeg
programa (izlagački koncept i odabir umetnika), kao i na kvalitet njegove realizacije (produkcija svake izložbe/aktivnosti –
kvalitet produkcije umetničkih radova,
štampanog materijala, opreme, tehnička
podrška i sl.):
a) Galerije/izložbeni prostori sa visokim
profesionalnim standardima u radu,
b) Galerije/izložbeni prostori kojima se
podrška upućuje radi daljeg poboljšanja
profesionalnih standarda u radu.
Četvrta podela odnosi se na profil galerija i
izložbenih prostora:
a) Galerije/izložbeni prostori isključivo
izlagačkog profila, sa programom koji se
sastoji od tekućih izložbi;
b) Galerije/izložbeni prostori sa stalnom
postavkom i kolekcijom umetničkih dela.
4.5. Finansiranje godišnjih
programa galerija i izložbenih prostora
Veoma značajno je istaći da su ovom prilikom, sa jedne strane, odabrane one galerije
i izlagački prostori u Srbiji koji su podržavani
u kontinuitetu (iz godine u godinu) i sa
druge strane, one galerije i izlagački prostori
čiji su godišnji program podržavani u celosti, makar samo jedne godine. Ovde, dakle,
nisu predstavljene galerije i izlagački prostori čiji su jednokratni projekti ili izložbe
podržane jednom ili čak više puta. Stoga je
potrebno imati na umu da na godišnjem
konkursu Ministarstva kulture, informisanja i informacionog društva Republike
Srbije neki podnosioci prijava konkurišu sa
jednim projektom/izložbom, dok drugi prijavljuju ceo godišnji izlagački program.
Razlozi mogu biti mnogobrojni, a jedan od
njih je i to što se mnogi galerijski/izlagački
prostori najvećim delom ili pak u potpunosti oslanjaju na budžet lokalne samouprave.
The third classification type refers to the
quality of annual program (exhibition concept and selection of the artists) and the
quality of its realization (production of each
exhibition/activity – quality of production
of work of arts, printing materials, technical
support, etc.):
Zato je značajno napomenuti da Ministarstvo finansijski podržava godišnje programe galerija i izlagačkih prostora i indirektno – kroz pojedinačne projekte. Ova vrsta
podrške pružana je i galerijama/izlagačkim
prostorima koji ovde nisu u fokusu.
Da bi Ministarstvo podržalo ponuđeni projekat, on treba da ispunjava što je moguće
više navedenih kriterijuma. Međutim,
konkursne prijave koje su sastavljene sa
prostim ciljem da se pribave finansijska sredstva, nemaju velikih izgleda za finansiranje.
Netačni podaci u prijavama takođe se lako
otkrivaju budući da Ministarstvo sarađuje
sa drugim institucijama i fondacijama pa
se informacije o podržanim projektima
razmenjuju. Osim toga, članovi komisije
su informisani profesionalci, koji imaju velikog iskustva.
Postavljeni kriterijumi takođe veoma dobro ukazuju na problematične tačke u
osmišljavanju i realizaciji projekata. Kako
je, na primer, jedan od kriterijuma podrška
projektima izvan institucija, tu je, između
ostalog, reč i o podršci onim inicijativama
koje razvijaju otvorenost tih ustanova.
Nažalost, ustanove kulture još uvek, u nekim slučajevima, imaju odbojnost prema
projektima koji se ne realizuju direktno u
njihovoj produkciji, odnosno nisu planirani
njihovim godišnjim programom, već dolaze
spolja. Zato su ponekad takvi individualni
projekti još značajniji jer ukazuju na moguće
drugačije modele u osmišljavanju i realizaciji kulturnih projekata. Podrška manifestacijama i projektima koji omogućavaju
produkciju radova umetnika koji u njima
učestvuju veoma je važna Ministarstvu kulture, informisanja i informacionom društvu
Republike Srbije. U realizaciji projekata
koji se bave decentralizacijom može se
a) Galleries/exhibition venues which have
high professional standards in their work
b) Galleries/exhibition venues to which support is provided for the purpose of further
improvement of the professional standards
in their work.
The fourth classification refers to the profile
of galleries and exhibition venues:
a) Galleries/exhibition venues which are exclusively exhibition spaces with the program
consisting of current exhibitions;
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b) Galleries/exhibition venues with a permanent exhibition and a collection of works
of art.
4.5. Financing Annual Programs of the Galleries and
Exhibition Venues
It is very important to note that on this occasion we chose those galleries and exhibition venues in Serbia that were continually
supported (from year to year) and also those
whose annual programs were supported as
a whole, at least in one year. We did not
present the galleries and exhibition venues
whose projects or exhibitions were supported once or even more times. One should
bear in mind that some applicants submit
an application for one project/exhibition
while others apply for an entire exhibition
program.
The reasons can be numerous; one of them
is that many galleries/exhibition venues rely
largely or completely on the budget of local
governments.
It is important to mention that ministry
supports financially annual programs of the
galleries and exhibition venues indirectly as
well – by supporting individual projects.
This type of support has been provided to
the galleries/exhibition venues that are not
in our focus here.
In order to be supported by the ministry the
proposed project should meet as much of
the mentioned criteria as possible. However,
applications submitted with the simple goal
of acquiring financial means are not likely to
be granted funding. Inaccurate data in the
applications are easily detected due to the
fact that the Ministry of Culture cooperates
with other institutions and foundations,
and information on supported projects is
exchanged. Apart from that, the committee
members are well informed professionals
with great experience.
The defined criteria were created in response
to existing problems in the concept and
the realization of projects in cultural sector. One of these the collaboration between
public and independent organizations with
the aim of increasing the openness of public
institutions. Unfortunately, cultural institutions still, in some cases, oppose projects
they have not produced, i.e. which were
not predicted by their annual programs and
which come from the outside. Due to this
such individual projects are sometimes significant because they show different models
of devising and realization of culture projects. Support for events and projects which
allow the production of works by artists
that participate in them is important to the
MCMIS. While carrying out programs addressing decentralization, the support of local authorities may pose a problem. Some
cities and municipalities in Serbia contrib-
javiti problem sa podrškom lokalnih nivoa
vlasti. Jedan broj gradova i opština u Srbiji
znatno učestvuje u uspešnom sprovođenju
projekata, međutim, to nije uvek slučaj. U
nekim sredinama postoji izrazit problem finansijske i svake druge podrške projektima,
budući da lokalni nivoi vlasti ne prepoznaju
kulturu uvek kao prioritet ili je čak smatraju
skoro sasvim nepotrebnom. Postoje primeri
koji pokazuju da je finansijsko učešće i partnerstvo Ministarstva u projektima, posebno civilnog sektora, podstaklo pozornost na
lokalnom nivou, odnosno finansiranje od
strane lokalnih nivoa vlasti. Zato ne treba
zaboraviti da galerije i izložbeni prostori
finansirani od strane Ministarstva često
mogu lakše privući pažnju drugih finansijera (lokalni nivoi vlasti, međunarodne fondacije, sponzori).
4.6. Finansiranje pojedinačnih projekata
Pored finansiranja godišnjih programa galerijskih i izložbenih prostora u Srbiji, finansijska podrška upućuje se i na druge načine
– finansiranjem pojedinačnih projekata i
aktivnosti, bilo da je reč o projektima koje
pokreću sami galerijski/izložbeni prostori
ili da je reč o projektima koji dolaze na
spoljašnju inicijativu, ali i putem finansira-nja umetničke produkcije autora koji u
njima izlažu svoje radove. Finansiranje projekata čiji su podnosioci umetnici i drugi
kulturni profesionalci veoma je zastupljeno.
4.6.1. Finansiranje projekata u
organizaciji galerija i izložbenih
prostora
Godišnji program npr. Gradske galerije
Užice nije nikada finansiran u celosti, međutim, Međunarodni grafički bijenale Suva
igla redovno je finansiran na konkursu za
vizuelne umetnosti i multimedije Ministarstva. Takođe, finansijska podrška može
se uputiti i manifestacijama i projektima u
organizaciji galerija i izložbenih prostora čiji
se programi finansiraju na godišnjem nivou.
To nije slučaj samo sa tradicionalnim manifestacijama i projektima, već i sa projektima
koji se studiozno bave temama važnim za
umetničku scenu i društvo u celini.
ute to the successful accomplishment of
these projects; however, this was not always
be the case. In some settings financial or
other types of support might be a problem
because local authorities do not always recognize culture as a priority and may even
consider it unnecessary. There are examples
which show that financial participation and
partnership of the Ministry of Culture in
projects, especially those with the civil sector attracted the attention of local authorities and encouraged them to take part in financing. Thus, it is useful to remember that
galleries and exhibition venues funded by
the Ministry may often attract the attention
of other financiers as well (local authorities,
international foundations, sponsors).
Primer: Međunarodni grafički bijenale Suva
igla, Gradska galerija Užice
4.6.2. Finansiranje projekata čiji
su podnosioci umetnici ili pak
drugi profesionalci u kulturi, kao
i udruženja građana
Najveći broj ovih projekata podnose umetnici želeći da dodatno osiguraju kvalitet
svojih izložbi, budući da galerije i izložbeni
prostori ne pokrivaju sve vrste troškova.
Reč je obično o troškovima produkcije
umetničkih radova i štampe kvalitetnih kataloga, a neretko i o troškovima vezanih za
postavku izložbe. Međutim, ako se njihovi
projekti ne nalaze u godišnjim programima
galerija i izložbenih prostora, već se oni realizuju van godišnjeg plana (ili van tih prostora), onda je podrška koja im se upućuje
često od kardinalnog značaja.
Spisak ove vrste projekata koji su podržani
u period od 2003. do 2010. godine zaista
je dugačak. Budući da mnoge galerije i
izložbeni prostori nisu u mogućnosti da finansiraju produkciju radova umetnika čije
projekte prikazuju, Ministarstvo u nekim
slučajevima direktno dodeljuje finansijsku
potporu umetnicima.
Takođe finansiraju se i projekti koji se realizuju u galerijskim i izložbenim prostorima,
a koji dolaze na inicijativu drugih kulturnih
profesionalaca – frilens kustosa, istoričara
umetnosti, menadžera u kulturi. Direktna
finansijska potpora upućuje se i udruženjima
4.6. Financing of Individual
Projects
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Apart from funding annual programs of
galleries and exhibition venues in Serbia,
financial support is provided in other ways
as well – by financing individual projects
and activities either when these projects
are initiated by galleries/exhibition venues
themselves or by some external body or by
financing artistic productions of the authors
who exhibit in them. The Ministry also finances projects of artists and other cultural
professionals.
4.6.1. Financing Projects Organized by the Galleries and
Exhibition Venues
For example the annual program of the
Užice City Gallery has not been financed
completely, however the International
Graphic Biennale Suva igla, which it presented, was regularly financed by the Ministry. Besides, financial support can be given
to projects organized by the galleries and
exhibition venues whose programs are fi-
nanced annually. This is not the case only
with traditional projects but also with those
that seriously address the important issues
for the artistic scene and wider society.
Example: International Graphic Biennale,
Suva igla, Užice City Gallery
4.6.2. Financing Projects submitted by Artists, other Culture
Professionals or Civil Society
Organizations
The majority of these projects are submitted by artists who wish to ensure the quality of their exhibitions because the galleries
and exhibition venues do not cover all the
expenses. These are usually the production costs of works of art, printing of quality catalogues and often costs related to the
installation and display of the exhibition.
However, if their projects are not included
in the annual programs of the galleries and
exhibition venues and if these projects are to
be realized outside the annual plan (or outside these venues) then possible support is of
key importance.
The list of these projects supported in the
period from 2003 to 2011 is extensive. As
galleries and exhibition venues are not in a
position to finance the production of works
of the artists whose projects they present, the
MCMIS in some cases gives artists direct financial support.
Additionally, projects realized in galleries
and exhibition venues but proposed by other cultural professionals – freelance curators,
art historians, cultural managers are also financed. Direct financial support is also given
to citizens’ associations which realize their
projects in galleries and exhibition venues.
These are projects initiated from outside the
gallery system. Usually, these are the projects of citizens’ associations with inadequate
space for exhibitions and other activities.
građana koji svoje projekte realizuju u galerijama i izložbenim prostorima, dakle, projektima koji dolaze na spoljašnju inicijativu.
Obično je reč o projektima onih udruženja
građana koji ne poseduju svoje prostore za
izlaganje i druge aktivnosti.
5. Drugi oblici podrške
Kao što je već napomenuto ovi oblici
podrške ne tiču se, ili bar ne direktno, finan-siranja programa i projekata. Logistička
pomoć galerijama i izložbenim prostorima
često je važna koliko i finansiranje programa i projekata.
5.1. Posredovanje u saradnji i umrežavanju galerija i
izložbenih prostora u Srbiji,
ali i na međunarodnom
planu
Ova vrsta podrške ne podrazumeva uvek finansijska sredstva. Ipak Ministarstvo može
izdvojiti finansijska sredstva za projekat koji
se bavi umrežavanjem kulturnih institucija,
budući da je to jedan od važnih prioriteta u
finansiranju.
Ovde je takođe reč i o medijaciji na
međunarodnom nivou. Upravo je to
jedna od funkcija Ministarstva, koja se
odnosi ne samo na prezentaciju domaće
umetničke produkcije u inostranstvu već i
na umrežavanje i pospešivanje dugoročne
saradnje domaćih galerija i izložbenih prostora i inostranih partnera.
Prezentacija domaće savremene produkcije
funkcioniše u priličnoj meri kroz već postavljene i razvijene kanale, dok dugoročna
saradnja domaćih i inostranih partnera,
odnosno njihovo umrežavanje se, nažalost,
odvija veoma otežano.
Jedan od strateških ciljeva Ministarstva kulture, informisanja i informacionog društva
Republike Srbije u oblasti vizuelnih umetnosti i multimedije jeste pospešivanje projekata koji se realizuju na profesionalnim
osnovama između dve ili više kulturnih organizacija, bilo kroz finansiranje ponuđenih
projekata, bilo na sopstvenu inicijativu.
Pozitivni efekti politizovanih bilateralnih
projekata orkestriranih od strane Ministarstava kulture, a bez suštinskog učešća kulturnih organizacija i profesionalaca, danas
su uglavnom minimalni.
Takođe dešava se i da štamparije, ali i drugi
privredni subjekti, u znatnoj meri snižavaju
cene svojih usluga, ukoliko projekat ima
pisanu podršku Ministarstva.
Međutim, iako ovde nije reč o finansijskim
sredstvima, Ministarstvo ne izdaje načelne
preporuke, te je neophodno da projekat,
svakako, bude valorizovan.
5.3. Finansiranje likovnih
kolonija
Ministarstvo kulture kroz specijalizovani
konkurs za likovne kolonije finansira znantan broj najkvalitetnijih likovnih kolonija
sential, because the positive effects of politicized bilateral projects are negligible.
As mentioned earlier these forms of support do not directly concern, the financing
of programs and projects. Logistical support to galleries and exhibition venues is
often as important as financing their programs and projects.
5.2. Recommendations
and Letters of Support
5.1. Mediation in Cooperation and Networking of
the Galleries and Exhibition Venues in Serbia and
Internationally
5.2. Izdavanje preporuka i
pisama podrške
Izdavanje preporuka i pisama podrške veoma često može dodatno pomoći galerijama
i izlagačkim prostorima da lakše dođu do
drugih izvora finansijske podrške. Ukoliko
je Ministarstvo podržalo jedan projekat, on
postaje zanimljiviji i drugim finansijerima.
Dešava se i da npr. štamparije, ali i drugi
privredni subjekti, u znatnoj meri snižavaju
cene svojih usluga, ukoliko projekat ima
pisanu podršku Ministarstva.
5. Other Forms of Support
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This kind of support does not involve always financial means. However the Ministry may have financial means for a project
dealing with networking of cultural institutions having in mind that it is one of the
priorities in financing.
We also have in mind mediation at an
international level. The Ministry’s role
includes not only the presentation of national art production in abroad, but also
the networking and improvement of long
term cooperation of national galleries and
exhibition venues with foreign partners.
The presentation of national contemporary production is done mostly through
already established and developed channels, while long term cooperation between
national and foreign partners occurs with
difficulty.
One of the strategic aims of the MCMIS
in the area of visual arts and multimedia
to stimulate projects that are realized on
professional terms between two or more
cultural organizations either through financing submitted projects or those initiated by the Ministry. The participation of
professional cultural organizations is es-
Giving recommendations and letters of support may additionally help to the galleries
and exhibition venues to find other sources
of financial support. If the Ministry supported one project it becomes interesting
for other financiers, too. It happens that for
example, printing-works or other companies
decrease the prices of the services they render if the project is given the Ministry’s written support.
However, although these are not financial
assets, the Ministry will not issue general
recommendation so it is necessary that the
project is validated.
5.3. Financing Art Colonies
By means of a call for applications for art
colonies the Ministry of Culture finances a
considerable number of quality art colonies
in the country. It is also occurs annually
and thus each year the committee selects a
number of colonies that will be funded.
There are more than 200 art colonies registered in Serbia. However it is considered
that their number is even larger, because in
Serbia there is a long tradition in organizing fine art colonies. But, for a long time
their form has not been in accordance with
contemporary art needs, so this tradition
should be systematically supported in order to allow its further development and
reshaping to make it more appropriate to
contemporary artistic and cultural tendencies.
u zemlji. Ovaj konkurs takođe funkcioniše
na godišnjem nivou pa se svake godine na
osnovu odluka komisija vrši odabir likovnih
kolonija koje će biti finansirane.
U Srbiji postoji preko 200 registrovanih likovnih kolonija, a smatra se da je njihov
broj zapravo mnogo veći. Dakle, tradicija
organizovanja likovnih kolonija kod nas
i te kako postoji. Međutim, kako njihova
forma već dugo nije u skladu sa potrebama
savremene umetnosti, ovu tradiciju treba
sistematski podržati i dozvoliti joj da se dalje
razvija, ali je i preoblikovati kako bi bila
bliža savremenim kulturnim i umetničkim
tendencijama.
Ministarstvo kulture Republike Srbije je
2002. godine prvi put otvorilo uskoprofilisani konkurs za likovne kolonije, kako bi
se nedefinisana i haotična situacija na ovom
polju uredila na adekvatan način.
Konkurs za likovne kolonije pokrenut je sa
ciljem da se izdvoje najkvalitetnije likovne
kolonije i da se ukaže na važnost ozbiljnog
koncepta kolonije koji određuje selektor,
odnosno umetnički direktor. Značajno je i
da se likovne kolonije mahom održavaju van
većih kulturnih centara, kao što su: Beograd,
Novog Sad ili Niš, te je podrška razvoju likovnih kolonija neobično dragocena, kako
sa stanovišta decentralizacije kulture, tako i
sa stanovišta kulturnog turizma.
Ništa manje nije značajna ni činjenica da
se održavnje likovnih kolonija vezuje i za
produkciju umetničkih radova savremenih
umetnika, što je jedan od najvećih problema
sa kojima se autori kod nas, naročito oni
mlađi, susreću usled teške finansijske situacije. Na taj način organizatori likovnih kolonija
direktno pomažu umetnicima u produciranju
i ostvarivanju njihovih umetničkih zamisli.
Umetnički radovi nastali tokom trajanja
likovnih kolonija uvek se predstavljaju na
izložbama koje se organizuju na samom kraju
ovih projekata.
In 2002 the Ministry of Culture of the Republic of Serbia announced for the first time
the strictly defined call for applications for
art colonies in order to adequately corect the
chaotic and undefined situation in this area.
Primer:
Umetnička kolonija Bakar
Nastali umetnički radovi izlažu se u galeriji
Muzeja rudarstva i metalurgije Bor, takođe,
i sama realizacija ove umetničke kolonije finansijski i logistički tesno je vezana za galeriju Muzeja rudarstva i metalurgije Bor.
The Call for Applications was announced
with the aim of selecting the best art colonies and emphasizing the importance of having a serious concept, which is defined by a
selector or art director. It is very important
that fine arts colonies are organized mainly
outside big cultural centres such as Belgrade,
Novi Sad and Niš. Consequently, supporting development of art colonies is very important from the standpoint of decentralization of culture and cultural tourism.
5.4. Finansiranje projekata
iz oblasti vizuelnih umetnosti i multimedije koje inicira
Ministarstvo kulture, informisanja i informacionog
Ministarstvo kulture, informisanja i informacionog društva Republike Srbije ne samo
da finansira i pomaže prijavljene projekte
na konkursu za vizuelne umetnosti i multimedije već i inicira projekte koji se ciljano
bave važnim temama iz ovih oblasti. Takvi
projekti realizuju su u saradnji sa različitim
partnerima, pri čemu se posebno insistira
na kvalitetnim partnerskim odnosima.
Primer:
Projekat Iz(nova): umetnost u Srbiji od
2002. do 2009.
Projekat Iz(nova): umetnost u Srbiji od 2002.
do 2009. je zajednička inicijativa Ministarstva i Švajcarskog programa za kulturu na
Zapadnom Balkanu. Partneri su bili: Narodni muzej u Kruševcu, Umetnička galerija
Nadežda Petrović, Čačak, Kulturni centar
Sombor i Gradska galerija Užice. Projekat
se sastoji od izložbe, četiri različite diskusije
i publikacije koja prati projekat.
Projekat posebno ukazuje na potrebu razvijanja saradnje i partnerskih odnosa. Takođe
kroz prikazane umetničke radove, projekat
se bavi podrškom umetničkoj i kulturnoj
produkciji, kao i decentralizacijom u kulturi.
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Equally important is the fact that fine arts
colonies also deal with the production of
artistic works by the contemporary artists.
The cost of production is one of the greatest
problems faced by the authors in our country, especially by the young ones. In this way
the organizers of art colonies directly help
artists in the production and realization of
their artistic ideas.
The artistic works made during the course
of colonies duration are always presented at
the exhibitions organized at the very end of
these projects.
Example:
Art colony Bakar
The works are exhibited in the gallery of the
Museum of Mining and Metallurgy in Bor.
The financial and logistical organization of
this colony is closely related to the gallery
of the Bor Museum of Mining and Metallurgy.
5.4. Financing Projects in
the Area of Visual Art and
Multimedia that are initiated by the Republic of
Serbia Ministry of Culture,
Society
The MCMIS finances not only supports projects received through its of call for applications
for visual arts and multimedia but it also initiates projects targeting important themes in this
area. Such projects are realized in cooperation
with different partners in which quality partnership is particularly stressed.
Example:
Project Up(date) with Art Practices: Art
in Serbia from 2002 to 2009
Project Up(date) with Art Practices: Art in
Serbia from 2002 to 2009 is joint initiative of the Republic of Serbia Ministry of
Culture, Media and Information Society
and Swiss Program for Culture in West Balkans. The partners were: National Museum,
Kruševac, Art Gallery Nadežda Petrović,
Čačak, Centre for Culture Sombor and
Užice City Gallery. The project consists of
an exhibition, four different discussions and
publication a related to that project.
This project particularly stresses the need
for developing cooperation and partnership.
By presenting artistic works the project not
only supports artistic and cultural production but also contributes to the decentralization of culture.
The aim of the project Up(date) with Art
Practicies: Art in Serbia from 2002 to 2009
was to present examples of good cooperation
through review of projects supported by the
MCMIS and Swiss Program for Culture in
the period from 2002 to 2009. It also presents partnerships achieved with relevant actors from local artistic communities. In this
Iz (nova): umetnost u Srbiji od 2002. do
2009. ima za cilj predstavljanje primera
dobre prakse, kroz prikaz umetničkih projekata podržanih od strane Ministarstva i
Švajcarskog programa za kulturu u periodu
od 2002. do 2009. godine, kao i prezentaciju partnerstava ostvarenih sa relevatnim
akterima lokalnih umetničkih zajednica.
Namera partnera u ovom projektu bila je da
se doprinese ostvarenju decentralizacije u
oblasti kulture i umetnosti, kao i da se kroz
organizovanje tematskih diskusija, skrene
pažnja javnosti na aktuelna pitanja u kulturi
koja su od značaja za širu zajednicu.
Potrebno je imati na umu da se ovde
isključivo radi o finansijskoj pomoći za
profesionalno usavršavanje na relevantnim
seminarima, konferencijama i programima.
U Narodnom muzeju u Kruševcu tematski
okvir bio je Strateški plan grada i institucija kulture; u Umetničkoj galeriji Nadežda
Petrović u Čačaku akcenat je stavljen na
Savremenu umetničku produkciju; u Kulturnom centru Laza Kostić u Sombor razmatrao se Odnos kulturne baštine i savremene
umetnosti; a u Gradskoj galeriji Užice tema
je bila Umetnost u javnom prostoru i kreativni potencijal gradova. Projekat je trajao od
februara do juna 2010. godine.
Na konkursu 2003. godine, od 10 prijavljenih, finansijski je podržano 9 godišnjih
programa.
Pored finansiranja same izložbe i aktivnosti
u okviru projekta, ova inicijativa doprinela
je jačanju kapaciteta uključenih partnera i
njihovom umrežavanju.
programa.
5.5. Finansiranje profesionalnog usavršavanja
kustosa i drugih profesionalaca vezanih za galerije i
izložbene prostore
Finansiranje profesionalnog usavršavanja
kustosa i drugih kulturnih profesionalaca
neobično je značajno sa aspekta unapređenja
programa i funkcionisanja galerijskih/izlačakih prostora. Novostečena znanja i iskustva
biće dragocena u njihovom daljem radu, a pri
tom ih mogu na formalan ili neformalan način
preneti i na svoje okruženje i partnere.
project the intention of the partners in this
project was to help realize decentralization
in the area of culture and art, to organize
discussions in order to draw the attention of
the audience to the current important issues
in culture for the wider community.
6. Pregled dosadašnjih
rezultata konkursa/
statistička analiza
In the National Museum in Kruševac the
framework was the Strategic Plan of the
Town and Cultural Institutions; in the Art
Gallery Nadežda Petrović in Čačak it was
Contemporary Artistic Production; in Centre for Culture Laza Kostić in Sombor the
discussion was carried out about Relation
of Cultural Heritage and Contemporary
Art and the topic in Užice City Gallery was
Art in Public Space and Creative Potentials
of Cities. The project lasted from February
to June 2010.
Pregled finansiranih godišnjih programa galerijskih i izložbenih prostora na konkursu za
vizuelne umetnosti i multimedije
programa.
programa.
Na konkursu 2007. godine, od 27 prijavljenih, finansijski su podržana 24 godišnja
programa.
Na konkursu 2008. godine, od 22 prijavljena, finansijski je podržano 19 godišnjih
programa.
programa.
programa.
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Apart from financing the project`s exhibition and activities this initiative contributed
to strengthening the capacities of the partners involved and their networking.
5.5. Financing the Professional Training of the Curators and other Professionals
Engaged by Galleries and
Exhibition Venues
Financing the professional specialization of
curators and other cultural professionals is
of extreme importance from the standpoint
of improving programs and functioning of
the galleries/exhibition venues. New knowledge and experience would be precious in
their future work and besides, they may
transfer it in a formal or informal manner
to their environment and their partners.
One should bear in mind that financial assistance is granted for professional specialization at relevant seminars, conferences
and programs.
6. Survey of the Results of
Call for Applications/Statistical Analysis
The survey of the funded annual programs
of the galleries and exhibition venues following the Call for Applications for Visual
Arts and Multimedia:
In 2003: 9 annual programs out of 10 that
applied were financially supported
In 2011: 37annual programs out of 28 that
Statistical analysis shows that the number of applied for, i.e. supported programs
varies from year to year with considerably
increased number of applied for and supported programs in the last year than in the
first one.
This can probably be explained by an increased awareness of the leading persons in
the galleries and exhibition venues about
the call for applications procedure. In the
programa.
Dakle, statistička analiza nam pokazuje da
broj prijavljenih, odnosno podržanih programa iz godine u godinu varira, sa daleko
većim brojem prijavljenih i podržanih programa poslednje godine u odnosu na prvu
godinu konkursa.
To se verovatno može objasniti boljom
informisanošću vodećih osoba galerija i
izložbenih prostora o početku i načinu fun-kionisanja konkursa. Tako su u prvom
mahu daleko više bili zastupljeni pojedinačni
projekti galerija i izložbenih prostora. Može
se zaključiti i da je broj podržanih skoro
identičan broju prijavljenih godišnjih programa, što znači da je razlika tek u nekoliko programa. Ovo pak može ukazivati na više stvari
– da su različiti članovi komisija za vizuelne
umetnosti i multimedije mahom zadovoljni
ponuđenim godišnjim programima, ali i da
su vodeći ljudi galerija i izložbenih prostora
veoma dobro informisani o kriterijumima i
prioritetima podrške Ministarstva.
Na konkursu 2005. godine, od 44 prijavljena,
Od čega 23 domaća, 18 međunarodnih,
3 multimedijalna
Finansijski je podržano 26 projekata
Od čega 14 domaćih, 10 međunarodnih,
2 multimedijalna.
Na konkursu 2006. godine, od 48 prijavljenih,
7 multimedijalnih
2 multimedijalna.
3 multimedijalna
3 multimedijalna.
Od čega 18 domaćih, 21 međunarodni,
6 multimedijalnih
2 multimedijalna.
Pregled finansiranih projekata čiji su podnosioci galerijski i izložbeni prostori na konkursu
za vizuelne umetnosti i multimedije, a koji
nisu već obuhvaćeni finansijskom podrškom
upućenom godišnjim programima:
Od čega 48 domaćih, 23 međunarodna,
7 multimedijalnih
2 multimedijalna.
od čega 37 domaćih, 14 međunarodnih,
12 multimedijalnih
Finansijski je podržano 26 projekata,
7 multimedijalnih.
7 multimedijalnih
Finansijski je podržano 23 projekta
3 multimedijalna.
9 multimedijalnih
3 multimedijalnih.
Od čega 42 domaća, 20 međunarodnih,
8 multimedijalnih
Od čega 11 domaćih, 4 međunarodna,
4 multimedijalna.
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first years there were more individual projects of galleries and exhibition venues. It
can also be concluded that the number of
supported projects is almost identical to the
number of applicants for annual programs,
the difference being just a few programs.
This may indicate few things - that different
members of the committees for visual arts
and multimedia are largely satisfied with offered annual programs and that the leading
persons in galleries and exhibition venues
are well informed about criteria and priorities of Ministry’s support.
In the year 2007 there were 48 submitted
projects - 29 were national, 16 international
and 3 multimedia ones.
The financial support was provided to 19
projects – 7 national, 9 international and 3
multimedia ones
A survey of submitted and financed projects
of the galleries and exhibition venues submit applications (which were not included
in annual programs listed above):
multimedia ones
projects – 10 national, 9 international and
7 multimedia ones
multimedia ones
2 multimedia ones
multimedia ones
multimedia ones
3 multimedia ones
4 multimedia ones
This data includes the galleries and exhibition venues whose annual programs are already financed as well as those whose programs were not financially supported on an
annual basis. This also involves traditionally
organized projects. It can be noted that the
number of project applications and projects
gaining support is almost equal. The number of submitted projects in 2009 and 2010
increased considerably, however the number that were financially supported did not
increase proportionally.
Ovim podacima obuhvaćene su i one galerije i izložbeni prostori čiji se godišnji
programi već finansiraju, ali i one galerije
i izložbeni prostori čijim programima nije
upućena finansijska podrška na godišnjem
nivou. Takođe, ovde su obuhvaćene i
manifestacije i projekti koji se organizuju tradicionalno. Primetan je relativno
ujednačen broj prijavljenih i podržanih
projekata, sa posebnim porastom prijavljenih projekata u 2009. i 2010. godini.
Međutim, broj podržanih projekata nije
srazmerno veći, iako je ponuda projekata
bila veća.
Finansijska podrška galerijskim i izložbenim prostorima kroz finansiranje
pojedinačnih projekata umetnika i drugih
kulturnih profesionalaca, kao i udruženja građana koji se realizuju u galerijskim/izložbenim prostorima u zemlji, na
konkursu za vizuelne umetnosti i multimedije:
24 multimedijalna
finansijski je podržano 35 projekata
Od čega 16 domaćih, 4 međunarodna, 5
multimedijalnih.
Od čega 62 domaća, 20 međunarodnih, 14
multimedijalnih
Od čega 16 domaćih, 4 međunarodna, 5
multimedijalnih.
multimedijalna
Od čega 31 domaći, 7 međunarodnih, 12
multimedijalnih.
14 multimedijalnih
Od čega 18 domaćih, 6 međunarodnih, 2
multimedijalna.
24 multimedijalna
finansijski je podržano 22 projekta
multimedijalnih.
multimedijalna
multimedijalna.
20 multimedijalnih
multimedijalnih.
multimedijalnih
multimedijalnih.
multimedijalnih
finansijski je podržano 33 projekta
multimedijalnih.
Financial support to galleries and exhibition
venues by means of financing individual
projects of the artists, other professionals
and civil society organizations realized in
galleries/exhibition venues in the country:
In 2003 there were 67 submitted projects
– 39 national, 14 international and 14 multimedia ones with 26 financially supported
– 18 national, 6, international, 2 multimedia ones.
– 26 national, 12 international, 8 multimedia ones.
– 45 national, 15 international and 3 multimedia ones with 36 financially supported –
27 national, 6, international, 3 multimedia
ones.
The majority of these projects are done by
the artists who, in that manner, secure additional financial means for quality production of their own exhibition. The number of
submitted international projects is smaller
for they most often imply financing of travel
expenses and realization of projects abroad
but that is not the focus of this publication. The same applies to multimedia projects whose proportion was always smaller if
compared with other two categories. Normally, the majority of projects are national
ones for they are conducted in Serbian galleries and exhibition venues. It can be noted
that the number of registered projects has
increased which might mean that the artists
and other professionals have greater initiative in realization of the projects but also in
being responsible of their financing, or fund
raising for their projects. On the other hand
it can be seen that the number of supported
projects vary from year to year.
– 84 national, 16 international and 9 multimedia ones with 40 financially supported –
27 national, 8 international, 5 multimedia
ones.
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–112 national, 29 international and 24
multimedia ones with 22 financially supported – 11 national, 5 international, 6
multimedia ones.
Financial support to the galleries and exhibition venues by means of financing art
colonies:
In 2002 - 65 art colonies submitted application and 17 were granted financial support
Najveći broj ovih projekata dolazi od strane
umetnika koji na taj način obezbeđuju
dodatna finansijska sredstva za kvalitetnu
produkciju svojih izložbi. Primetan je manji
broj projekata međunarodnog karaktera, jer
se oni najčešće odnose na finansiranje putnih
troškova i uopšte na realizaciju projekata u
inostranstvu, što nije predmet ove publikacije. Slična situacija je i sa multimedijalnim
projektima, budući da je inače broj prijavljenih projekata uvek vidno manji u odnosu na
druge dve kategorije. Sasvim je prirodno da
je najveći broj projekata domaćeg karaktera
jer se oni odvijaju u domaćim galerijama i
izložbenim prostorima. Primećuje se da je
broj prijavljenih projekata sve veći, što može
biti znak da umetnici i drugi kulturni profesionalci preuzimaju sve veću inicijativu u
osmišljavanju i realizaciji, ali i odgovornost
za finansiranje, odnosno fandrejzovanje
svojih projekata. Sa druge strane vidljivo je
da broj podržanih projekata varira iz godine
u godinu.
Finansijska podrška galerijskim i izložbenim
prostorima kroz finansiranje likovnih kolonija na konkursu za likovne kolonije:
Na konkursu 2002. godine, od 65 prijavljenih, finansijski je podržano 17 likovnih
kolonija.
kolonija.
kolonija.
kolonija.
kolonija.
kolonija.
Na konkursu 2008. godine, od 44 prijavljena, finansijski je podržano 12 likovnih
kolonija.
kolonija.
kolonija.
kolonija.
Primetno je da broj prijavljenih i podržanih
likovnih kolonija znatno varira. Jedan od
razloga je i to što se izvesnom broju kolonija podrška upućuje radi poboljšanja njihovog koncepta, ali da njihov kvalitet nije
osiguran u kontinuitetu. Takođe, jedan broj
kolonija ne održava se u pravilnim vremenskim razmacima, odnosno svake godine,
mada organizatori jednog broja likovnih
kolonija i ne očekuju uvek podršku Ministarstva. Još jedan razlog je i to što se svake
godine prijavljuju nove likovne kolonije na
konkurs Ministarstva.
Pregled galerijskih i izlagačkih prostora
po njihovom pravnom status
Galerijski i izložbeni prostori kojima su
osnovači udruženja građana: 17
Centar za kulturnu dekontaminaciju,
Beograd; Grafički kolektiv, Beograd; Artklinika i Šok galerija, Novi Sad; Remont
galerija, Beograd; Kulturni centar Rex,
Beograd; Centar za vizuelna istraživanja
Akademija; Paviljon Cvijeta Zuzorić,
Galleries and exhibition venues whose founders are municipalities, towns and Republic: 11
Gallery Artget of the Belgrade Centre
for Culture; Gallery DK Studentski
grad; Art Gallery Nadežda Petrović,
Čačak; Gallery of the Centre for Culture Pančevo; Gallery of the Faculty
of Fine Arts, Belgrade; Gallery BLOK,
Belgrade; Gallery of Contemporary Fine
Arts, Niš; Gallery of Centre for Culture
Požega; Museum in Smederevo; Gallery
SKC, Belgrade; Multimedia Center Gallery, Cultural Center Novi Pazar.
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71
Belgrade; Gallery Singidunum, Belgrade;
Little Gallery ULUPUDS, Belgrade; Art
Gallery Stara kapetanija, Belgrade; Gallery SULUJ, Belgrade; Exhibition Venue
of the civil society organization Kontekst,
Belgrade; Ozon, Belgrade; ProArtOrg,
Belgrade; Treći Beograd, Belgrade; Gallery ALT, Belgrade.
It can be observed that the number of registered and supported fine arts colonies vary
considerably from year to year. Support was
given for the purpose of improving their
concept and quality, which are not consistent. Besides, some colonies are not organized regularly, i.e. once a year. Organizers
of some colonies do not expect to always
be supported by the Ministry. Also every
year there are new colonies applying for the
Ministry’s support.
Survey of the galleries and exhibition
venues according to their legal status
Galleries and exhibition venues whose founders are the civil society organizations: 17
Centre for Cultural Decontamination,
Belgrade; Gallery Grafički kolektiv, Belgrade; Artklinika and Šok Gallery, Novi
Sad; Gallery Remont, Belgrade; Centre
for Culture Rex, Belgrade; Centre for Visual Research Akademija; Cvijeta Zuzorić
Art Pavilion, Belgrade; Gallery ULUS,
Galleries and exhibition venues whose founders are physical entities/ private initiatives: 5
Gallery Zvono, Belgrade; Gallery Haos,
Belgrade; Atelier Otklon, Belgrade; Gallery Rima, Kragujevac; ITS-Z1, Ritopek.
This statistical data point out that the galleries and exhibition venues supported by
the Ministry’s call for applications for visual
arts and multimedia belong mostly to the
civil sector. This may indicate that the civil
sector culture professionals are more active
in fundraising than their colleagues in the
public sector because financial support for
realization of their annual programs is not
regularly provided. Generally, the civil sector in the area of visual arts and multimedia
is very active so these data should not be
considered as odd. But, in Serbia, due to
insufficient development of the modern art
market, the functions of galleries and exhi-
Beograd; Galerija ULUS-a, Beograd;
Galerija Singidunum, Beograd; Mala galerija ULUPUDS-a, Beograd; Umetnička
galerija Stara kapetanija, Beograd; Galerija SULUJ, Beograd; Izlagački prostor
Udruženja građana Kontekst, Beograd;
Ozon, Beograd; ProArtOrg, Beograd;
Treći Beograd, Beograd; Galerija ALT,
Beograd.
osnovači opštine, gradovi ili Republika: 11
Galerija Artget Kulturnog centra Beograda; Galerija Doma kulture Studentski grad;
Umetnička galerija Nadežda Petrović,
Čačak; Galerija Centra za kulturu Pančevo;
Galerija Fakulteta likovnih umetnosti,
Beograd; BLOK galerija, Beograd; Galerija savremene likovne umetnosti, Niš;
Galerija Kulturnog centra Požega; Muzej
u Smederevu; Velika galerija Studentskog
kulturnog centra, Beograd; Kulturni centar Novi Pazar.
osnovači fizička lica/ privatne inicijative: 5
Galerija Zvono, Beograd; Galerija Haos,
Beograd; Atelje Otklon, Beograd; Galerija Rima, Kragujevac; ITS-Z1, Ritopek.
Ovi statistički podaci pokazuju da su na
konkursu za vizuelne umetnosti i multimedije podržane u najvećem broju galerije i izložbeni prostori civilnog sektora. To
može ukazivati na činjenicu da su kulturni
profesionalci iz civilnog sektora agilniji
u fandrejzingu od svojih kolega iz javnog
sektora, budući da oni nemaju konstantno
obezbeđena finansijka sredstva za realizaciju
svojih godišnjih programa. Inače je civilni
sektor u oblasti vizuelnih umetnosti i multimedija veoma aktivan, te ovi podaci ne
bi trebalo da čude. Upadljivo je manji broj
privatnih inicijativa, odnosno privatnih
galerija i izložbenih prostora. Međutim, u
našoj sredini, zbog nedovoljno razvijenog
tržišta savremene umetnosti, funkcije galerija i izložbenih prostora nisu uvek jasno
razgraničene, delatnost privatnih inicijativa
često se veoma slično civilnom sektoru,
svodi na entuzijazam osoba koje vode te
prostore.
bition venues are not always clearly divided;
often the activities of private entities are just
result of enthusiasm of individuals, running
those venues.
7. Conclusion
7. Zaključak
Ministarstvo kulture, informisanja i informacionog društva Republike Srbije kroz
konkurs za vizuelne umetnosti i multimedije nastoji da na transparentan način,
utemeljen u domaćem i evropskom zakonodavstvu, a sledeći i važeće strategije razvoja,
unapredi stanje u savremenom stvaralaštvu
u ovim oblastima. Ambicija Ministarstva je
i da se uređenjem i poboljšanjem celokupnog kulturnog sistema utiče na progresivno menjanje društvene stvarnosti, koja se
može ticati svakog pojedinca, a galerijski
i izložbeni prostori imaju svoju posebnu
ulogu u tome.
Kako bi se to realizovalo na odgovarajuć i
svrsishodan način, bilo je neophodno da
se jasno definišu kriterijumi, na osnovu
kojih se finansiraju projekti iz oblasti vizuelnih umetnosti i multimedije, a u funkciji
sprovodjenja mera kulturne politike. Od
suštinskog značaja je i evaluacija podržanih
projekata, i u vezi sa tim preispitivanje
načina podrške Ministarstva, kao i strateška
saradnja Ministarstva sa projektnim partnerima. Istraživanje koje je sprovedeno tokom
realizacije ovog projekta, imalo je upravo te
funkcije.
Prilikom odabira projekata za finansijsku
i svaku drugu pomoć, uzimaju se u obzir
i okolnosti pod kojima se razvija lokalna
kulturna scena. Usled problema u funkcionisanju kulturnog sistema u zemlji, nije
uvek moguće osloniti se na očekivanja
koja bi trebalo da se podrazumevaju – od
na primer budžetskih kulturnih institucija.
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By means of the call for applications for visual arts and multimedia the MCMIS tries
to improve the situation regarding contemporary production in these areas, in a
transparent manner, in accordance with the
national and European laws and development strategy. The Ministry has the ambition to influence the progressive change of
social reality by defining and improving
entire cultural system, which can concern
each and every individual and galleries and
exhibition venues have a special role in this
prospect. In order to implement this mission in a proper and meaningful way, it
was necessary to clearly define the criteria
for financing visual arts and multimedia
projects within the framework of cultural
policy. Evaluation of the supported projects, re-examining the ways in which the
Ministry provides its support and strategic
cooperation of the Ministry with the projects partners are of utmost importance. And
the research conducted during the project
realization has that purpose.
In selecting projects for funding or any other
support, the development of local cultural
scene is also taken into account. Because of
the problems of functioning of the culture
system it is not always possible to rely on expectations that should be taken for granted,
for instance, from “state budget cultural institutions”. Although the situation is undeniably better than it was during the 1990s,
various problems still exist in the work of
culture institutions, insufficient professional attention of the media that cover culture,
unclear legal status of institutions or buildings or even lack of understanding for mod-
ern trends and processes in culture, even by
cultural professionals.
As there are not many foundations and institutions which finance cultural activity
and to whom the cultural professionals can
turn to for assistance the Ministry of Culture tries to be flexible. It means that it tries
to understand the actual situation in which
culture professionals and culture institutions
work, to understand their real needs and to
take into consideration all the problems
they face in their work. Many ministries
of culture, even those in better organized
and richer countries have, in a bureaucratic
sense, problems with the classification and
valorisation of projects relative to contemporary art (multimedia, activism, etc.). The
MCMIS attempts in its work to be flexible and sensitive to contemporary culture
movements and trends.
On the other hand, as the Ministry accepted gradually progressive changes in its
own activity it was expected that the leading persons of the galleries and exhibition
venues and cultural professionals should
change in accordance with contemporary
developments. The most common problem
in communication with culture professionals is their archaic perception of culture as
something sublime and untouchable and
romantic image of artists’ and cultural institutions’ mission. This attitude is not
necessarily shared by the Ministry. So, this
attitude can lead to discrepancies between
applicants and the Ministry which will affect the funding of the applicants` project.
This problem partly derives from the incapability to adapt to the circumstances in
which contemporary culture functions, i.e.
to rapid changes in culture and the cultural
system. This problem is present among artists, but it is also typical for cultural institutions which in some cases do not have
the necessary capacity for changes and acceptance of modern trends. Unfortunately,
experience shows that change of mind and
Iako je situacija neuporedivo bolja od one
koja je vladala devedesetih godina, još uvek
postoje različiti problemi, u radu kulturnih
institucija, nedovoljnoj stručnoj pažnji
medija koji prate kulturu, nerazjašnjenom
pravnom statusu institucija i objekata, ili
čak nerazumevanja savremenih tendencija i
procesa u kulturi od strane samih kulturnih
profesionalaca.
Budući da ne postoji veliki broj fondacija
i institucija koje finansiraju kulturne aktivnosti, a kojima se kulturni profesionalci
mogu obratiti za pomoć, Ministarstvo nastoji da u svom radu bude dovoljno fleksibilno. To znači da postoji nastojanje da
situaciju u kojoj kulturni profesionalci i kulturne institucije delaju, sagleda sa razumevanjem stvarnih potreba, te da se uvaže stvarni problemi sa kojima se oni u svom radu
susreću. Kako mnoga ministarstva kulture,
čak i u uređenijim i bogatijim državama od
naše, imaju u birokratskom smislu, problem
klasifikacije i valorizacije projekata iz oblasti
savremene umetnosti (multimedijalnost,
intersektoralnost, aktivizam i sl.), Ministarstvo kulture, informisanja i informacionog
društva Republike Srbije nastoji da u svom
funkcionisanju bude dovoljno fleksibilno i
prijemčivo za savremena kretanja i tendencije u kulturi.
Sa druge strane, kako se Ministarstvo postepeno deetatiziralo i usvajalo progresivne
promene u svom delovanju, tako se i od
vodećih ljudi galerija i izložbenih prostora i
kulturnih profesionalaca generalno, očekuju
promene koje su u skladu sa savremenim
kulturnim tokovima. Verovatno najčešći problem u komunikaciji sa njima jeste uveliko
zastarelo sagledavanje kulture kao uzvišene,
nedodirljive kategorije, i jedne romantizovane misije stvaralaca i kulturnih ustanova.
Ovakvi stavovi neminovno dovode do nesuglasica, koje uvek idu na štetu podnosioca
projekata. Ovaj problem delom proističe iz
nemogućnosti prilagođavanja na okolnosti
u kojima savremena kultura funkcioniše,
odnosno na sve brže promene razvoja kulture i kulturnog sistema. Iako se ovaj problem pojavljuje kod umetnika, veoma je
tipičan i za javne kulturne ustanove koje u
nekim slučajevima nemaju potrebne kapacitete za promene i prihvatanje savremenih
tendencija. Praksa, nažalost, pokazuje da
se proces menjanja svesti, a samim tim i
funkcionisanje ovih institucija uglavnom
veoma sporo odvija. Ipak, postoje uspešni
primeri, koji pokazuju vitalnost tih institucija, kroz intezivniju saradnju (koja se ne
svodi isključivo na finansiranje) i insistiranje Ministarstva na jasno uspostavljenim
kriterijumima te saranje. Bilo kako bilo,
Ministarstvo svakako nema nikakvog interesa da podržava ovako koncipirane projekte, ali je pritom i svesno da njihovo prosto
odbijanje ne vodi uvek do željenog rešenja.
Zbog svega toga Ministarstvu je veoma stalo
da se odnos sa podnosiocima projekata ne
svodi isključivo na njihovo finansiranje,
već pre svega na uspostavljanje dugoročne i
strateške saradnje.
Takođe, posebo je važno da menadžeri u
kulturi što kvalitetnije učestvuju u realizaciji
i profesionalnoj produkciji projekata. S tim
u vezi je i kvalitet pisanja predloga projekata, koji nije uvek zadovoljavajući. Greške
koje se u njima pojavljuju idu od formalnih
(nepotpisane aplikacije, parcijalno popunjeni formulari, nepotpuna dokumentacija,
i sl.) do kardinalnih (projekti koji temom
u potpunosti ne odgovaraju konkursu, neinformisanost podnosioca o kriterijumima
i prioritetima u finansiranju, i sl.). Veoma
česta greška prilikom konkurisanja jeste
i neprilagođenost dužine tekstova, kako
u formularu, tako i u dodatnoj dokumentaciji. Tekstovi su često ili predugački, sa
obično konfuzno predstavljenim informacijama o projektu, ili pak veoma šturi, te u
takvim slučajevima nije moguće zauzeti stav
o potrebi finansiranja tog projekta. Ipak,
ovakve greške su sve ređe kada su u pitanju
aplikacije galerija i izložbenih prostora.
consequently an institution’s activities, usually occurs very slowly. However, there are
successful examples that show the vitality of
these institutions, through intensified cooperation (not only related to financing) and
Ministry’s insisting on clearly defined criteria of this cooperation. The MCMIS does
not have the interest to support out-dated
projects, but it is also aware that the desired
result is not always gained by rejecting them.
Because of this the Ministry insists not only
on financial support, but also on establishment of a long term, strategic cooperation.
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It is of particular importance that cultural
managers participate in the realization of
projects and professional production in a
quality manner. To this end one should also
mention the quality of project written proposal which is not always satisfactory. Mistakes that appear in them range from formal
ones (unsigned applications, partially filled
out forms, incomplete documentation, etc.)
to the serious ones (project’s theme does not
correspond to the given criteria, the applicant is not informed about criteria and priorities in financing, etc.). A common mistake
with applications is inappropriate length of
the texts in the forms or other documentation. Texts are often either too long, with
often poorly presented information about
the project, or very short, and in these cases
it is difficult to assess the complete financial
needs of the project. However, these mistakes rarely occur in case of applications submitted by galleries and exhibition venues.
nect culture and economy. Projects related
to furniture design, industrial or fashion
design result in financial gain. They also
enhance self-organization and contribute
to better and higher employment, which is
very important everywhere. These projects
come through small enterprises, dealing
through partnerships, or clusters. There are
creative clusters gathered at one place – faculty of architecture, design studio or music
studio, etc which may provide creative, innovative atmosphere in a city which is very
important from the standpoint of creative
industries. Galleries and exhibition venues
may contribute to the development of such
centres by organizing residence programs,
workshops and diverse studies.
What is very important for the entire sector
of culture and which should be particularly
stressed is that such programs promote and
stimulate culture as a generally important
part of society, as a sector which, apart from
positive social functions brings also financial
profit, not as „sector that spends the money
from the budget“ as is sometimes said about
culture.
Finally, there is the problem of insufficient
cooperation among diverse sectors. Projects
connecting public, civil and private organizations may exist, but are often insufficient.
The projects connecting art with tourism,
economy, science or education are still missing.
Different societies face different problems
regarding the functioning of the galleries
and exhibition venues and entire visual and
multimedia scene, and some of these problems are very similar. They may address for
example, development of the contemporary
arts market, the position of young artists and
those at the beginning of their careers, audience development for the so called independent scene, art in public space or problems
regarding studios and spaces for the artists’
work. Also, some social settings accommodate, more easily than others contemporary
developments of the cultural policy or to
frameworks the contemporary artistic and
curators’ practice.
The projects addressing the creative industries are unfortunately still very rare in
Serbia. They are important for they con-
To this end, the project attempts to present
the quality and diversity of the country’s visual and multimedia galleries and exhibition
Na samom kraju, potrebno je istaći i problem nedovoljno razvijene intersektorske saradnje. Projekti koji povezuju javne,
civilne i privatne organizacije, iako nedovoljno, ipak jesu zastupljeni, dok projekti
koji kulturu i umetnost povezuju sa drugim
sektorima, poput turizma, privrede, nauke
ili prosvete još uvek vidno nedostaju.
Takođe, u našoj sredini retki su i projekti
koji se bave kreativnim industrijama. Oni
su veoma značajni jer povezuju kulturu
i privredu. Projekti koji se tiču dizajna
nameštaja, industrijskog ili modnog dizajna
razvijaju i finansijsku dobrobit. Oni takođe
pospešuju samoorganizovanost, doprinose
i većoj zaposlenosti, što je značajno u svim
sredinama. Ovi projekti realizuju se po
principu malih preduzeća, poslujući kroz
partnerstvo, odnosno klastere. Poznati su
i primeri kreativnih klastera okupljenih na
jednom mestu – fakultet arhitekture, studio
za dizajn i muzički studio itd., koji tako jednom gradu pružaju kreativnu, inovativnu
atmosferu, što je i sa aspekta kreativnih
industrija veoma značajno. Galerijski i
izložbeni prostori mogu imati ulogu u razvijanju i takvih centara, kroz organizovanje
rezidens programa, radionica i različitih
studija.
Ono što je veoma važno za ceo sektor kulture, i to treba posebno naglasiti, jeste to
što ovakvi projekti dodatno promovišu i
nameću kulturu kao opšteznačajnog činioca
društva, kao sektor koji pored svih pozitivnih
društvenih funkcija donosi i finansijsku dobit, a ne kao „sektor koji troši budžetski novac“, kako se na kulturu ponekad, nažalost,
gleda.
venues system on one hand, while also mapping its problems so that in future Ministry
of Culture, Republic of Serbia may address
them adequately. We believe that continual
re-examining of galleries and exhibition ven-
U različitim društvima postoje različiti
problemi u funkionisanju galerijskog i
izložbenog sistema, kao i čitave vizuelne i
multimedijalne scene, dok su neki od tih
problema zapravo veoma slični. Oni se
mogu ticati npr. razvijanja tržišta savremene
umetnosti, položaja mladih i umetnika na
počecima svojih karijera, razvijanja publike,
tzv. nezavisne scene, umetnosti u javnom
prostoru ili pak problema vezanih za ateljee
i prostore za rad umetnika. Isto tako, neke
sredine se lakše ili teže uklapaju u savremene
tokove kulturne politike, ali i u okvire i
pravce u kojima se savremene umetničke i
kustoske prakse razvijaju.
U tom smislu, ovaj projekat teži da, sa jedne
strane, predstavi kvalitete i raznovrsnost
domaćeg vizuelnog i multimedijalnog galerijskog i izložbenog sistema, ali i da, sa
druge strane, nepretenciozno mapira njegove problematične tačke, kako bi Ministarstvo kulture Republike Srbije moglo u
budućnosti da na njih adekvatno odgovori.
Smatramo da je konstantno preispitivanje
galerijskog i izložbenog sistema veoma
značajno da bi se poboljšao rad njegovih
aktera, ali na prvom mestu način podrške
Ministarstva kulture, informisanja i informacionog društva Republike Srbije.
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77
ues system is very important for improving
their work and for improving, above all, the
way in which Ministry of Culture, Media
and Information Society, Republic of Serbia,
provides its support.
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Leri, Jean-Marc/ Fierro Alfred,
1180 – Le Louvre – 1989, Guides
Historia/ Tallandier, Paris, 1989.
Moulinier, Pierre, Politique
culturelle et décentralisation,
L`Harmattan, 2002.
Moureau, Nathalie/ Sagot-Duvauroux Dominique, Le marché de
l’art contemporain, La Découverte,
Paris, 2006.
Muzej i publika, priredila Klod
Žilber, Clio, Beograd, 2005.
Open to the Winds of Change,
Nordic Region 2000, Nordic Council of Ministers, Copenhagen, 2000.
Pontier, Jean-Marie/ Ricci JeanClaude/ Bourdon Jacques, Droit de
la Culture, Édition Dalloz, 1996.
Tadić, Dimitrije, Savremene
vizuelne umetnosti i multimedije,
Konkurs Ministarstva kulture
Republike Srbije, 2003-2008,
Anonymoussaid:, Beograd, 2009.
Tadić, Dimitrije, Likovne kolonije
u Srbiji, Konkurs Ministarstva kulture Republike Srbije, 2002-2008,
Anonymoussaid:, Beograd, 2009.
Transkulturna Evropa, Kulturna
politika u Evropi koja se menja,
priredile Majhof U. i Triandafilidu
A., Clio, Beograd, 2008.
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Nina Mihaljinac
Izložbeni prostori
savremene vizuelne
umetnosti i multimedije –
analiza scene (sa aspekta
galerijskog menadžmenta)
Inicijativa da se obavi istraživanje domaće
galerijske scene savremene vizuelne umetnosti, došla je od strane Ministarstva kulture, informisanja i informacionog društva
Republike Srbije sa ciljem: a) da se prepoznaju i definišu ključni problemi sa kojima se galerije susreću, kako bi Ministarstvo
moglo da usmeri svoju aktivnost u pravcu
rešavanja tih problema; b) da se prikupe i
prikažu osnovni podaci o profilima i načinu
funkcionisanja galerija, koji mogu služiti
domaćim i inostranim kulturnim profesionalcima u eventualnoj saradnji; c) da se
stvori pregled galerijske scene koji bi koristio
predstavnicima galerija koje su učestvovale
u istraživanju pri evaluaciji svog rada i prepoznavanju svog mesta u okviru galerijskog
sistema. Istraživanje je sprovedeno u periodu od aprila do juna 2010. godine, prema
kriterijumu selekcije galerija i izložbenih
prostora koji je istaknut u uvodnom tekstu
(galerije i izložbeni prostori čiji je godišnji
program podržan u celini od strane Ministarstva kulture, informisanja i informacionog društva Republike Srbije u periodu
od 2003. do 2011. godine, i one galerije i
izložbeni prostori čijih je više pojedinačnih
projekata finansirano u kontinuitetu u istom
periodu).
Tako ovaj tekst treba da predstavi istraživanje
domaće galerijske scene savremene vizuelne
umetnosti, analizirajući odgovore dobijene
Nina Mihaljinac
iz 27 intervjua sa predstavnicima odabranih
galerija ili izlagačkih prostora, i to sa posebnim ciljevima:
1. Utvriditi profile galerija, stepen programske raznovrsnosti koja postoji među
galerijama, meru u kojoj galerije reprezentuju diverzitet scene, kao i stepen
programske raznovrsnosti u okviru programa pojedinačnih galerija – pratećih
programa;
2. Opisati odnos galerija prema umetnicima – prepoznati prakse selekcije umetnika, uslove koji se obezbeđuju izlagačima;
utvrditi trendove u trajanju saradnje između
galerija i umetnika itd.;
3. Odrediti kvantitet i strukturu izlagačkih
programa;
4. Opisati odnos između galerija i publike
– kvantitavno odrediti posećenost programa, utvrditi strukturu i definisanost
ciljnih grupa, proceniti uspeh galerija u
targetiranju i komunikaciji sa publikom,
ustanoviti postojeće prakse rada sa publikom i oblike animacije, prisustvo u medijima, određenost PR i marketing strategija;
5. Istražiti stepen i oblike povezanosti galerija – utvrditi postojeće oblike profesionalne, kao i intersektorske saradnje u
kojima galerije učestvuju;
6. Oceniti aktivnost galerijskog sistema u
pogledu:
- organizacije i učešća u manifestacijama,
- formiranju i vođenju politike cena,
- fandrejzinga,
- saradnje sa stručnom kritikom;
8. Istražiti stavove koje predstavnici galerija imaju u odnosu na scenu i umetničko
tržište;
9. Odrediti intenzitet, oblike i prioritete u
međunarodnoj saradnji.
Upitnik, koji je korišćen u istraživanju, organizovan je u pet tematskih celina:
– Profil galerije,
– Odnos galerije i umetnika,
Galleries and Exhibition
Venues of Contemporary
Visual Art – Analysis of the
Gallery System from the
Point of View of Gallery
Management
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81
Initiative to conduct research into country’s contemporary visual arts galleries was
made by the Republic of Serbia Ministry
of Culture, Media and Information Society
with the following purpose: a) to recognize
and define key problems which the galleries
face so that the Ministry may aim its activity towards resolution of these problems;
b) to collect and present basic information
about types and way of galleries’ functioning which then may be used by the national
and foreign culture professionals in possible
cooperation; c) to make survey of galleries
that could be used by the representatives
of the galleries that have participated in
the research to make own evaluations and
recognizing their own place within galleries
system. The research was made in the period
from April to June 2010 as to the criteria
for selection of the galleries and exhibition
venues that was mentioned in the introductory text (galleries and exhibition venues
whose program as a whole was supported
by the Ministry of Culture, Media and Information Society, Republic of Serbia in the
period from 2003 to 2011 and those galleries and exhibition venues whose individual
programs were financed continually in that
same period.)
Consequently, this text should describe
the research into country galleries presenting contemporary visual arts by analysing
answers acquired from 27 interviews with
the representatives of the selected galleries
or exhibition venues for the following purpose:
1. Establish galleries’ profiles, degree of
program diversification existing among
galleries, degree to which the galleries
represent diversification of the scene, as
well as degree of program diversification
within individual galleries’ programs –
additional program.
2. Describe attitude of the galleries towards the artists – recognize ways of selecting the artists, conditions they provide
to the exhibitors, trends in duration of
cooperation between the galleries and the
artists.
3. Define quantity and structure of the
exhibition programs.
4. Describe the relation between the galleries and the public – define quantity of
visitors, establish structure of the target
groups, evaluate success of the galleries
in targeting and communicating with the
audience, establish existing practice in the
work with the public and forms of animation, media coverage, definition of their
PR and marketing strategies.
5. Research degree and forms of galleries’
links – define existing forms of the professional cooperation as well as inter-sector
one in which the galleries participate.
6. Assess the activities of the galleries’ system in regard to the following issues:
- Organization and participation in the
projects
- Establishing and carrying out prices
policy
- Fund raising
- Cooperation with professional critics.
7. Research the positions which the galleries’ representatives have in regard to the
scene and art market.
8. Define intensity, forms and priorities in
international cooperation.
– Odnos galerije i publike,
– Učešće na domaćoj sceni/umetničkom
tržištu
– Međunarodna saradnja
Segment upitnika koji ispituje profile galerija
bavi se pitanjem njihovog programskog profila, sa ciljem da otkrije u kojoj meri galerijski
sistem reprezentuje diverzitet scene vizuelne
umetnosti, i takođe, nastoji da otkrije druge
funkcije koje galerije preuzimaju (edukacija,
izdavačke, uslužne delatnosti itd.).
Posebno važan za mlade autore je segment
koji se tiče odnosa galerije i umetnika, nastoji da otkrije postojeće principe selekcije
umetničkih radova (u čemu se takođe otkriva
i njihov programski profil) i da prikaže uslove koje galerije pružaju svojim izlagačima.
Kroz analizu tog odnosa, takođe je moguće
prepoznati stepen transparentnosti rada
galerija, kao i stepen njihove otvorenosti
prema umetnicima, ali i prema projektima
koji dolaze na spoljnu inicijativu istoričara
umetnosti, kustosa i drugih profesionalaca u
kulturi.
Set pitanja o odnosu galerije i publike teži da
utvrdi u kojoj meri galerije rade na popularizaciji vizuelnih umetnosti, na koje načine
čine svoje programe prijemčivim i komunikativnim, zatim, koliko učestvuju u edukaciji
publike, u kojoj meri postižu medijsku vidljivost, razvijaju publiku, koliko su uspešne u
funkciji medijatora između publike i radova
savremene vizuelne umetnosti i sl.
Deo upitnika koji istražuje oblike i intenzitet učešća galerija na sceni i tržištu kulture
treba da proceni stepen i kvalitet međusobne
povezanosti galerija i da stekne uvid u njihovu aktivnost pri ostvarivanju saradnje sa
predstavnicima drugih sektora, takođe, pri
učešću u umetničkim manifestacijama, projektima itd.
Poslednji segment upitnika postavlja pitanja
vezana za odnose sa inostranim galerijama i
umetnicima, sa namerom da se objasne oblici, intenzitet i prioriteti u međunarodnoj
saradnji.
Još treba napomenuti da smo u tekstu pod
terminom galerija, radi konciznijeg pisanja,
pored prostora koji su isključivo namenjeni
izlaganju radova vizuelnih umetnosti i čiji su
programi žirirani, podrazumevali i one prostore koji su višenamenski ili neizložbeni, a u
njima se redovno organizuju i izložbe – takvi su primeri: Kulturnog centra REX, Evropskog centra za kulturu i debatu “Grad”, i
tako dalje.
resentatives of other sectors or when participating in artistic projects, etc.
- Gallery profile
- Relation between gallery and the artist
- Relation between gallery and audience
- Participation in country’s scene/art market
- International cooperation.
The last part of the questionnaire refers to
the relations with foreign galleries and artists
with the aim of explaining forms, intensity
and priorities in international cooperation.
Part of the questionnaire addressing galleries’ profile is dealing with their program for
the purpose of finding out to which extent
the gallery system shows diversity of the visual arts and which also tries to understand
other functions of the galleries (education,
publishing, services, etc.)
Profili galerija
Ključne reči: profil, misija, vizija
Identitet jedne galerije se strukturira na osnovu nekoliko elemenata, među kojima je
osnovni njena misija, odnosno: definicija
ustanove i njene svrhe. Izjava o misiji (mission statement) treba da koncizno izlaže
filozofiju i ciljeve ustanove, i da bude jednostavna, prepoznatljiva, nepogodna za
bilo koju drugu ustanovu. Misija određene
ustanove odgovara na pitanja: Ko smo mi?
Čime se bavimo? Kome je naša delatnost namenjena – koje potrebe zadovoljavamo? Šta
je to što nas razlikuje od drugih? Programski
profil galerije direktno proizilazi iz njene
misije – program galerije (umetnost koja
se izlaže, način na koji se ona izlaže i predstavlja, popularizuje, čini vidljivom i razumljivom) treba da reprezentuje misiju
galerije. Iskazujući vrednosti i aspiracije
koje jedna ustanova kulture neguje, vizija se
takođe konstituiše na njenoj misiji, a odnosi
se na željenu poziciju razvoja u budućnosti.
Ono što programski definiše sve galerije
koje su učestvovale u istraživanju jeste predstavljanje i promocija savremenih vizuelnih
umetnosti i multimedije. Međutim, većina
galerija ima specifičan programski fokus
na osnovu kojeg se konstituiše programski
The questionnaire which was used in the research was divided in five parts:
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The part addressing relation between the
gallery and the artist is of particular importance for young artists for it tries to expose
the existing principles of art works selection
(which also reveals their program profile)
and present conditions which the galleries
provide to their exhibitors. The analysis of
that relation shows degree of transparency
of galleries’ work and degree of their openness towards the artists but also towards the
projects initiated by the art historians, curators and other culture professionals.
The questions regarding relations between
the gallery and the audience try to find out
to what extent the galleries work on popularization of visual arts, how do they make
their programs interesting and communicative, to what extent they participate in education of audience, or to what extent they
are covered by media, how they are developing audience, how successful they are as
mediators between audience and works of
contemporary visual arts, etc.
Part of the questionnaire researching forms
and intensity of galleries’ participation in
the scene and culture market should assess
degree and quality of galleries’ mutual connections and to provide insight into their
activity in achieving cooperation with rep-
It is also necessary to mention that the term
gallery in this text was used, apart from denoting venues exclusively used for exhibiting
visual arts and whose programs are defined
by the jury, to denote also multipurpose
venues which are not primarily intended
for exhibitions but which do organize exhibitions, such as Centre for Culture REX,
Centre for Cultural Decontamination, etc.
Galleries’ Profile
Key words: profile, mission, vision
Identity of one gallery is defined on the
grounds of several elements the main one
being its mission i.e.: definition of the institution and its purpose. Mission statement should describe concise philosophy
and aims of the institution and it should
be simple, recognizable and inapplicable to
any other institution. The mission of certain institution should give answers to the
following questions: Who are we? What are
we doing? For whom we intend our activity
to – which needs we satisfy? What make us
different from others? The gallery’s program
profile results directly from its mission –
gallery program (art that is exhibited, way
in which it is exhibited and presented, made
popular, visible and understandable) should
represent the gallery mission by expressing
values and aspirations promoted by one culture institution. Vision is also based on its
mission and it refers to the wanted position
in future.
All galleries participating in the research
profil, i to: a) na određenom umetničkom
mediju, b) na umetničkoj disciplini (grafički
dizajn, nakit, nameštaj itd.), c) na programskoj funckiji (društevni/politički aktivizam, prezentacija produkcije), d) na profilu
umetnika čiji se radovi izlažu (afirmisani/
neafirmisani, amateri/profesionalni umetnici itd.), e) na umetničkim vrednostima
(inovativna, eksperimentalna praksa i već
potvrđene umetničke vrednosti), f ) na
specifičnoj publici, g) na osnovu vlasništva/
menadžmenta (na primer, galerije koje pripadaju strukovnim udruženjima).
a) Tako su Centar za grafiku i vizuelna
istraživanja Akademija i Galerija Grafički
kolektiv specijalizovani za grafiku, Artget
prezentuje fotografiju, Galerija Haos predstavlja crtež, pri čemu ostale galerije uglavnom izlažu sve umetničke medije.
b) Vizuelni program Evropskog centra za
kulturu i debatu Grad fokusiran je na primenjenu umetnost.
c) Art klinika posmatra svet iz utopijske perspektive, što odmah povlači sa sobom kritiku
i aktivizam, umetnost sa etičkim i političkim
predznakom. (Nikola Džafo, Art klinika),
Kontekst galerija zastupa kritički i politički
angažovanu umetnost (Marko Miletić,
Kontekst galerija).
d) Galerija Fakulteta likovnih umetnosti,
Velika galerija Studentskog kulturnog
centra i Galerija Doma kulture Studentski
grad su orjentisane na prezentaciju radova
studenata – mladih i neafirmisanih autora.
Galerija Kulturnog centra Pančevo organizuje delove programa u kojima učestvuju
isključivo pančevački umetnici.
e) Galerija Studentskog kulturnog centra
afirmiše umetnički eksperiment.
f ) Umetnička galerija Stara kapetanija koncipira svoj program u odnosu na potrebe
stanovnika Gradske opštine Zemun.
g) Galerije koje pripadaju strukovnim
udruženjima predstavljaju rad svojih
članova (Galerija ULUS, Galerija ULUPUDS, SULUJ, Galerija Singidunum,
Mala galerija ULUPUDS-a, Umetnički
paviljon Cvijeta Zuzorić.
Treba pomenuti da su pojedine galerije prepoznatljive prema svojim posebnim aktivnostima i manifestacijama koje iniciraju –
Remont galerija i projekat Telenor kolekcija,
Artget i izdavačka delatnost, Umetnička
galerija Nadežda Petrović i Memorijal
Nadežda Petrović, Galerija Zvono i učešće
na međunarodnim sajmovima umetnosti,
Evropski centar za kulturu i debatu Grad i
Refract, Kulturni centar REX i KEF – Festival
kratke elektronske forme.
present and promote contemporary visual
arts and multimedia. However, majority
of them focus on specific elements on the
grounds of which they build their program
profile as follows: a) on specific artistic media, b) on artistic discipline (graphic design,
jewellery, furniture), c) on program function
(social/political activities/activism, production presentation), d) on the profile of the
artist whose works are exhibited (known/unknown, amateur/professional artists, etc), e)
on artistic value (innovative, experimental,
already proved artistic values), f ) on specific
audience, g) on property/management (for
example, galleries belonging to trade associations).
Sve galerije se bave i različitim delatnostima
osim izlagačkih, čime proširuju svoje polje
rada, angažuju veći broj saradnika, postižu
značajniju vidljivost u javnosti i razvijaju
publiku. Interdisciplinarni pristup formiranju programa doprinosi jačanju uloge galerije kao medijatora i delovanja u pravcu
animacije publike, o čemu će biti više reči u
narednom poglavlju.
Najviše galerija pored izlagačkog, realizuje i
edukativne, tribinske i predavačke programe
(20 galerija), a gotovo je podjednako zastupljena i radionička aktivnost (18 galerija). U
manjoj meri se održavaju govorni, scenski i
muzički programi (7 galerija), dok se neznatan broj galerija bavi prodajom umetnickih
radova, pružanjem različitih usluga (konsalting, štampa, uramljivanje radova, ustupanje prostora), izdavaštvom i arhiviranjem.
Proučavanje profila galerija, kao i raznovrsnosti funkcija koje one preuzimaju
prikazuje prva dva kriterijuma za procenu
projekata u radu komisije za vizuelne umetnosti i multimedije – kriterijum visokog
umetničkog kvaliteta i profesionalnosti u
radu, i kriterijum unapređenja i razumevanja
ideja i jezika savremene vizuelne umetnosti.
(Dimitrije Tadić, Savremene vizuelne umetnosti i multimedije – Konkurs Ministarstva Republike Srbije [2003–2008], 2009,
Beograd). Takođe, prepoznatljivost profila
galerije, koja se postiže prevashodno putem
izgradnje jasnog programskog identiteta,
doprinosi izgradnji imidža i brendiranja
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85
a) Thus for example, Centre for Graphic
and Visual Research Akadamija and Gallery Grafički kolektiv are specialized for
graphic, Artget presents photography, gallery Haos presents drawings while all other
galleries exhibit all other artistic media.
b) Visual program of the European Centre
for Culture and Debate Grad is focused on
applied art.
c) Art klinika observes the world from the
utopian point of view which is followed by
criticism and activism, art with ethic and
political sign (Nikola Džafo, Art klinika)
Gallery Kontekst represents art critically
and politically engaged (Marko Miletić,
Kontekst Gallery)
d) Gallery of the Faculty of Fine arts, Gallery SKC and Gallery Dom kulture Studentski grad are oriented towards presentation of the students’ works – of young and
unknown artists. Gallery of the Centre for
Culture Pančevo dedicates parts of its program only to the artists from Pančevo.
e) Gallery SKC promote artistic experiment.
f ) Art Gallery Stara kapetanija designs its
program in regard to the needs of the inhabitants of Zemun Municipality.
g) Galleries belonging to the professional
associations present the works of their
members (Gallery ULUS, Gallery ULU-
PUDS, SULUJ, Gallery Singidunum,
Small Gallery ULUPUDS, Art Pavilion
Cvijeta Zuzorić).
It should be noted that some galleries are
recognizable according to their special
activities and projects – Gallery Remont
and project Telenor Collection, Artget and
publishing activities, Art Gallery Nadežda
Petrović and Memorial Nadežda Petrović,
Gallery Zvono and participation in the
international art fairs, European Centre
for Culture and Debate Grad and Refract,
Centre for Culture REX and KEF – festival of short electronic form.
Aside from preparing exhibitions, all galleries
perform other activities and in that way extend their field of work, engage larger number of associates, become more visible and
develop audience. Interdisciplinary approach
to program forming contributes to strengthening gallery role as mediator and its activities aimed at audience animation which will
be explained more in the next chapter.
The majority of galleries (20 galleries), apart
from exhibitions have educational programs,
discussions and lectures and almost same
number of them (18 galleries) organize
workshops. Spoken programs, stage and music programs are performed in considerably
smaller number of galleries (7 of them) and
only few are involved in selling artistic works,
providing diverse services (consulting, printing, framing the pieces, renting the space),
publishing and doing archive job.
Studying of galleries’ profile as well as diversity of functions they undertake show the first
two criteria for assessment of the projects applied by the Committee for Visual Arts and
Multimedia – criteria of high artistic quality
and professional attitude in work and criterion of improving and understanding ideas
and language of the contemporary visual art
(Dimitrije Tadić, Savremene vizuelne umetnosti u multimedije – Konkurs Ministarstva Republike Srbije /2003-2008/, 2009
galerije, stvaranju osnove za tržišno učešće i
razvoj konkurentnosti.
Zaključak je da, sa određenim istupanjima,
galerije zauzimaju posebne programske niše
– da imaju specifične programske profile
i da u solidnoj meri predstavljaju raznolikost vizuelne i multimedijalne scene. Ipak
je primetan izostanak galerijskih prostora
čiji bi se programi na savremen, inovativan
i kvalitetan način primarno bavili novim
medijima, na primer – interaktivnim instalacijama, multimedijalnim performansima,
video radovima, 3D animacijom i sl.
Odnos galerije
i umetnika
Ključne reči: selekcija, transparentnost,
dugoročna saradnja, uslovi, usluge
Jedan od presudnih faktora za razvoj umetnika jeste pronalaženje galerije s kojom će
umetnici dugoročno sarađivati, na taj način
steći pouzdanog partera i time moći da se
usredsrede na svoj umetnički rad. Stoga galerije treba da usmere svoje napore da sopstvene principe selekcije i mehanizme funkcionisanja učine transparentnim, kao i da
ostvare pun stepen otvorenosti prema umetnicima. Ta otvorenost se u najvećoj meri
ogleda u trajanju, intenzitetu, fle-ksibilnosti,
vidovima saradnje i uslovima koje galerije
obezbeđuju svojim izlagačima, kao i uslugama koje pružaju (gallery services). Najpre
je potrebno promišljati u pravcu ostvarenja
strateške dugoročne saradnje sa umetnicima,
jer se na taj način stiče obostrano poverenje
i privrženost, pa i istovremeni razvoj (umetnika i galerije). Zatim je važno razmišljati
o mogućim vidovima saradnje (organizacija
samostalnih i grupnih izložbi, učešće na
međunarodnim manifestacijama i projektima, prodaja radova, promocija, štampanje
kataloga, davanje preporuka, profesionalno
usavršavanje, vrednovanje radova itd.) i
podršci i uslovima koji se obezbeđuju umetnicima (finansiranje produkcije radova,
kvalitet postavke, dozvola radikalne izmene
prostora itd.).
Profil i identitet galerije su direktno povezani sa osnovnim načelima selekcije radova.
Promišljanje o umetničkom konceptu implicira kreiranje jasnih kriterijuma za odabir
izlagača. Kada je o domaćim galerijama
reč, posebno onim koje pripadaju javnom
i nevladinom sektoru, najčešći instrument
programske selekcije je otvoreni konkurs,
na osnovu kojeg umetnički saveti galerija
određuju program za narednu izlagačku
godinu. Demokratski pristup strukturiranju
izlagačkog programa koji se ostvaruje putem
instrumenta javnog konkursa, i takođe, arm’s
lenght model odlučivanja, koji se postiže
delegiranjem moći donošenja odluka na
nezavisno telo, odnosno umetnički savet –
predstavljaju mehanizme postizanja transparentnosti rada i otvorenosti galerija prema
umetnicima i tako pomažu aktiviranje
scene. Ipak, neretko se javlja problem subjektivnosti članova umetničkih saveta – uticaja
ličnog ukusa na odabir radova, što je donekle
očekivano i prirodno. Da bi se sprečila favorizacija ove vrste, na kustosima je da vode
brigu o očuvanju umetničkog identiteta i
vizije galerije, i takođe, mehanizam smene
članova umetničkog saveta nakon preciziranog vremenskog perioda (uglavnom je to
period od 2 godine), omogućuje otvorenost
galerije prema različitim umetničkim
senzibilitetima. Kada je reč o instituciji
umetničkog saveta, primer Galerije Remont
pokazuje menadžersko promišljanje i dobru
upravljačku politiku. Naime, svake godine,
Remont bira po jednog stručnog novinara,
likovnog kritičara, obično istoričara umetnosti, da bude član saveta galerije. Na ovaj
način, galerija ne samo da dobija kompetentnog člana saveta, već i veću pozornost
domaćih medija.
Raznovrsnost praksi galerijskog delovanja se
takođe ogleda u diverzitetu principa odabira
Belgrade). Besides, possibility to recognize
gallery’s profile, which is achieved predominantly by establishing clear program identity,
contributes to building of gallery’s image and
brand, forming basis for participation in the
market and development of competitiveness.
promotion, printing of catalogues, giving
recommendations, professional specialization, works’ validation, etc.) and about support and conditions provided to the artists
(financing the works’ production, quality
of exhibitions, allowing to change the space
radically, etc).
It can be concluded that with certain work,
galleries take specific program niche – they
have specific program profile and represent
diversity of visual and multimedia scene.
However, it can be noted that there are no
galleries whose programs would address
new media such as inter active installations,
multimedia performances, video works, 3D
animation, etc., in a modern, innovative and
quality manner.
Gallery profile and identity are directly related to the basic principles of selecting the
works. Outlining artistic concept implies creation of clear criteria for selection of exhibitors. When our galleries are concerned, especially those public and civil ones, the most
often instrument of selection is open call for
applications based on which the art council
defines program for the next exhibition year.
Democratic approach to structuring exhibition program which is achieved by public
call for applications and arm’s length model
of decision making which is achieved by delegating power for decision making to independent body, i.e. art council – are mechanisms that enable transparency of work and
openness of galleries towards the artists thus
making the social setting more active. However, there is a problem of subjectivity of the
art councils’ members – influence of personal
taste on selection of works which is expected
and natural. In order to prevent this, the curators have to take care about preservation of
the artistic identity and vision of the gallery.
Besides, the change of the council members
after precisely defined time (usually after 2
years) secures openness of the gallery towards
diverse artistic sensibilities. When speaking
about the art councils, the example of Gallery Remont shows good managerial thinking and policy. Namely, each year Gallery
Remont selects one professional journalist,
art critic, usually art historian to be a member of the Gallery’s Council. In this way the
gallery gets a competent member of its council and better coverage in the media.
Diversity of galleries’ activities is also reflected in the principle of selecting exhibitors. We
shall point out several specific models of artists’ selection which range from public call
Relation between
the Gallery and the Artist
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87
Key words: selection, transparency, long
term cooperation, conditions, services
One of the crucial factors for the artist’s development is finding a gallery with which
he will have long term cooperation, which
will be his reliable partner and enable him
to concentrate on his artistic work. That is
why the galleries should invest their efforts
to make their own selection principles and
functioning mechanisms transparent and
open towards the artists. This openness is reflected in duration, intensity, flexibility, types
of cooperation and conditions provided by
the galleries to their exhibitors as well as in
gallery services. First it is necessary to think
about achieving durable cooperation with
the artists, for this will promote mutual trust
and loyalty and simultaneous development
(both of the artist and the gallery). Then it
is important to think about possible types of
cooperation (organization of the independent and group exhibitions, participation in
the international projects, selling of works,
izlagača. Istaći ćemo nekoliko specifičnih
modela selekcije umetnika koji odstupaju od
korišćenja mehanizma javnog konkursa ili
institucije umetničkog saveta. Galerija Artget svake izlagačke godine bira umetničkog
direktora, koji predlaže svoj koncept na osnovu kojeg će biti osmišljen program galerije.
Obrazloženi koncept, sa pozivom za prijavu,
objavljuje se na sajtu galerije, a umetnički
direktor obavlja selekciju radova. Na taj
način svaka izlagačka godina zadobija važnu
programsku konzistentnost i zastupa jedinstvenu umetničku viziju. Model selekcije
izlagača koji Galerija Zvono primenjuje je
jedinstven u odnosu na ukupan domaći
galerijski sistem i očitava visok stepen profesionalizma u odnosu galerije i umetnika.
Naime, Galerija Zvono prati rad studenata
Fakulteta likovnih umetnosti, još od njihove
druge godine studija, prepoznajući autore
čiji je umetnički senzibilitet kompatibilan
umetničkoj viziji galerije, da bi nastavila sa
aktivnim učešćem u razvoju njihove profesionalne karijere. Galerija Zvono ostvaruje
isključivo dugoročnu saradnju sa svojim
izlagačima, pružajući im sve uslove za njihovo napredovanje – pronalazeći sredstva za
produkciju radova, dozvoljavajući svaku intervenciju u galerijskom prostoru, organizujući
izložbe, i konačno, obezbedjujući im učešće
na prestižnim međunarodnim manifestacijama. Takođe, Galerija Zvono je stalno otvorena, i u skladu sa mogućnostima, realizuje
programe koji su došli na spoljnu inicijativu
umetnika i kustosa.
Osim putem otvorenog konkursa, galerije biraju svoje izlagače po pozivu, a prepoznati su
i posebni oblici selekcije: umetnik koji bude
nagrađen na manifestaciji koju određena
galerija inicira i realizuje, dobija pravo da
mu bude organizovana samo-stalna izložba
u narednoj izlagačkoj godini (Galerija Artget i Nagrada Oktobarskog salona, Galerija
Doma kulture Studentski grad – Bijenale studentskog crteza i grafike), odnosno, da otputuje na artist in residence program (Kontekst
galerija, Nagrada Dimitrije Bašićević Ma-
ngelos). Još jedan jedinstven oblik prakse na
domaćoj sceni ogleda se u modelu selekcije
umetnika koji sprovodi Galerija Ozon, čiji
je deo programa otvoren za komercijalne
inicijative, kada autori mogu održati izložbe
uz novčanu naknadu. Takođe su specifični
primeri galerija koje pripadaju strukovnim
udruženjima ili likovnim školama, čija je
mislija da predstavljaju rad svojih članova,
odnosno studenata, pa tako članstvo, odnosno, pohađanje likovne škole, predstavlja osnovni kriterijum selekcije izlagača.
Važno je istaći da su sve galerije, nezavisno
od toga koje modele selekcije primenjuju, otvorene za različite spoljašnje inicijative – predloge izložbi kustosa, umetnika,
menadžera u kulturi, pa tako svaka galerija
makar jednom godišnje ostvaruje program
koji je došao neplanirano. Pojedine galerije
čak predviđaju slobodne segmente u planovima programa kako bi mogle da uspešno
realizuju projekte koje donose ljudi iznenada (Darka Radosavljević, Remont), dok neke
galerije imaju otvoren konkurs tokom cele
godine (takav je primer Galerije Doma kulture Studentski grad), za razliku od većine
koja raspisuje konkurse u trajanju od mesec
dana.
Uslovi koje galerije obezbeđuju svojim
izlagačima pokazuju standarde poslovanja
galerija i objektivni stepen njihove otvorenosti prema umetnicima. Oni se kreću od osnovnih kategorija, kakve su obezbeđivanje
izlagačkog prostora i potrebne tehničke
opreme, pokrivanje troškova otvaranja,
prevoza, pružanje PR usluga, do dozvoljavanja potpune izmene galerijskog prostora
i obezbeđivanja sredstava za produkciju
umetničkih radova. U proseku, domaće
galerije svojim izlagačima obezbeđuju
izlagački prostor, potrebnu tehniku, katalog
i pokrivaju troškove otvaranja izložbe. Retke
su galerije koje pružaju svojim izlagačim finansijsku podršku za produkciju radova, što
predstavlja jedan od jasnih indikatora razvoja domaćeg galerijskog sistema. Ne znači
88
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for applications to art council. Thus, Gallery
Artget selects an art director each year who
proposes his/her own concept based on which
gallery’s program will be devised. The concept
and call for applications are announced on
the gallery’s web site and art director selects
the works. In this way each year the program
is given consistency and supports a unique
artistic vision. Model of selecting the exhibitor applied by the Gallery Zvono is a unique
one if compared to the country galleries’ system and reflects high degree of professionalism in the relation between the gallery and
the artists. Namely, Gallery Zvono keeps an
eye on the work of the Faculty of Fine Arts
students starting from the second year of
their studies, recognizing the authors whose
artistic sensibility is compatible to the artistic
vision of the gallery so that it can continue
developing actively their artistic career. Gallery Zvono has long term cooperation with
its exhibitors and it provides all conditions
for their improvement – finding assets for
production of works, allowing any intervention in the gallery, organizing exhibitions and
finally, enabling them to participate in prestigious international projects. Gallery Zvono
is open permanently and in accordance with
its possibilities realizes programs initiated by
other artists and curators.
Galleries may select their exhibitors by means
of call for applications but there are specific
forms of selection as well: the artist who is
awarded at the manifestation initiated and
realized by a certain gallery is entitled to individual exhibition in the next season (Gallery Artget and October Salon Award, Gallery Dom kulture Studentski grad – Biennale
of the Students’ Drawings and Graphics)
i.e. to participate in artist in residence program (Gallery Kontekst, award Dimitrije
Bašićević Mangilos). There is also another
unique practice carried out by the Gallery
Ozon which has one segment of its program
open for commercial initiatives when the authors may have exhibition if they pay. Specific examples are also the galleries belonging
to some professional associations or fine arts
schools whose mission is to present the works
of their students and thus membership or being a student of some art school is main criteria for selection of the exhibitors.
It is important to point out that all galleries,
regardless the model of selection they apply,
are open to diverse external initiatives – suggestions by the curators, artists, culture managers and so each gallery has, at least once
a year, a program which was not planned.
Some galleries even predict the free segments
in their planned programs to be capable of
realizing projects which are brought suddenly (Darka Radosavljević, Remont) while
some galleries have open call for applications
throughout the year (for example Gallery
Dom kulture Studentski grad) contrary to
the majority ones whose call for applications
is open for one month only.
The conditions provided by the galleries to
their exhibitors show standards of galleries’
work and objective degree of their openness towards the artists. They range from
basic categories such as providing exhibition
venue and necessary technical equipment,
covering opening expenses, providing PR
services to approval for complete change of
the space and providing means for artistic
works production. Generally, our galleries
enable their exhibitors to have space for exhibition, necessary technical support, catalogue and cover the expenses of exhibition
opening. Only rarely galleries secure financial support to their exhibitors for the production of works which is clear indicator of
development of the country galleries’ system.
It does not mean that financing production
of works and the exhibition are indicators of
success and professionalism of one gallery (as
the examples of some world prestigious galleries show exactly the opposite). However,
taking into consideration general and predominantly economic conditions in which
our system functions we are of the opinion
that financing production of works is of im-
da je finansiranje produkcije radova i postavke same izložbe indikator uspeha i profesionalizma jedne galerije (pošto pojedini
primeri svetskih prestižnih galerija pokazuju
suprotno). Međutim, uzevši u obzir opšte,
a prevashodno ekonomske uslove u kojima
naš galerijski sistem funkcioniše, mišljenja
smo da je finansiranje produkcije radova
značajno pitanje za kvalitet razvoja domaćih
umetnika. I zaista, nepovoljan materijalni
status umetnika prvenstveno zahteva ovakav
oblik saradnje, odnosno
zadovoljenje
primarne umetničke potrebe – potrebe
za stvaralačkim činom. S druge strane, i
domaće galerije se nalaze u finansijskim
nedaćama, koje su posledica šireg društvenoekonomskog uređenja, pa jedva uspevaju
da izdrže svoje bazične izdatke (održavanje
zgrade, nabavka tehničke opreme, plate zaposlenih itd.). Samo dve galerije po pravilu
pomažu produkciju radova (Galerija Zvono,
u slučaju umetnika s kojima sarađuje duži
period, i Galerija Nadežda Petrović), a pojedine galerija to čine sporadično, u zavisnosti
od složenosti izložbe, finansijskog položaja
autora, raspoloživih sredstava, važnosti projekta (Galerija Artget, Galerija Doma kulture Studentski grad, Galerija Haos, Evropski
centar za kulturu i debatu Grad, Galerija
Kulturnog centra Pančevo, Kontekst galerija,
Galerija Remont, Galerija Studentskog kulturnog centra Beograd). Kada je reč o izmeni
prostora, većina galerija dozvoljava gotovo
sve intervencije, ali uz obavezu umetnika da
vrati galerijski prostor u prvobitno stanje.
Galerije koje dozvoljavaju radiklanu izmenu
prostora (na primer, rušenje ili krečenje zidova) ili ne obavezuju umetnike da vrate
prostor u prvobitno stanje, predstavljaju
izuzetke u domaćem galerijskom sistemu.
Navedeni primer Galerije Zvono, a tiče se
praćenja i razvoja pojedinih autora još od
njihove druge godine studija, važan je i za
pitanje permanetne saradnje koja postoji
između galerije i njenih izlagača. Na pitanje:
Da li ostvarujete kratkoročnu i/ili dugoročnu
saradnju sa umetnicima? – visok procenat
intervjuisanih predstavnika galerija je odgovorio da poznaju oba vida saradnje, s tim
da je većina pod dugoročnom saradnjom
podrazumevala praksu da se radovi jednog
samostalnog izlagača uvrste u odgovarajuću
grupnu izložbu, ili da se određenom samostalnom izlagaču omogući da otputuje na međunarodnu izložbu. Stoga se
nameće zaključak da ozbiljna, sistematična,
strateška, dugoročna saradnja između umetnika i galerija izostaje na domaćoj vizuelnoj
sceni. Neretko se nailazi na mišljenje da bi
obnavljanje saradnje značilo favorizaciju jednog ili grupe umetnika, a neke galerije precizno predviđaju periode koji treba da prođu
između dve izložbe istog autora (3–5 godina).
Takva pravila su, između ostalih, branjena
argumetnom da je umetniku potrebno najmanje 2 do 3 godine da pripremi kvalitetnu
izložbu. Međutim, čini se da galeristi ne prepoznaju uvek širinu odnosa galerija – umetnik. Dugoročna saradnja galerije i umetnika ne znači samo organizaciju izložbi, već i
dugotrajni rad na razvoju njihovog talenta i
profesionalnih veština, pri čemu se ostvaruje
obostrani interes (i galerije i njenih izlagača)
i, takođe, stvaraju kreativna čvorišta na likovnoj sceni.
Broj realizovanih izložbi na godišnjem nivou neposredno utiče na obim produkcije
umetničkih radova koji će biti javno predstavljeni. Ipak, velika galerijska produkcija
ponekad može ići na štetu rada galerije. U
slučajevima kada galerije organizuju preko
30 izložbi/kratkoročnih programa godišnje,
susreću se sa problemom nedostatka vremena za bavljenje drugim galerijskim aktivnostima, odnosno, sa nedostatkom vremena za
dublje osmišljavanje, kvalitetnu realizaciju
i promociju svojih izložbi. Takođe, kvantitet realizovanih izložbi ne bi smeo da umanjuje njihov kvalitet. Tako galerije treba
da pronađu odgovarajuću meru između
produkcionih mogućnosti (vreme, ljudstvo,
finansijska sredstva i tako dalje) i željenog
broja realizovanih projekata, pri tom se
trudeći da ostvare što bogatiju programsku
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portance for the quality development of artists. Naturally, unfavourable material status
of the artist requires such form of cooperation that is meeting primary artistic need –
a need for artistic act. On the other hand,
domestic galleries are also facing financial
problems which are the consequence of
wider social-economic establishment and
they hardly manage to meet their basic
expenditures (maintaining of building, acquiring technical equipment, employees’
wages, etc.). Only two galleries support the
production of works (Gallery Zvono in case
of artists with whom it has long term cooperation and Gallery Nadežda Petrović)
while other galleries do that occasionally
depending upon the complexity of the exhibition, author’s financial status, available
means, importance of project (Gallery Artget, Gallery Dom kulture Studentski grad,
Gallery Haos, European Centre for Culture
and Debate Grad, Gallery of Centre for
Culture Pančevo, Gallery Kontekst, Gallery
Remont, Gallery SKC, Belgrade). When
change of space is concerned, majority of
galleries allow almost any intervention but
with an obligation of an artist to restore the
original state. Galleries which allow radical
change of space (e.g. demolishing or painting of walls) or which do not make an obligation for the artist to restore everything to
original state are exceptions in the country
galleries’ system.
The mentioned example of Gallery Zvono
concerning following and development of
specific authors starting from their second
year of studies is important for the permanent cooperation which exist between the
gallery and its exhibitors. The question Do
you have short term and/or long term cooperation with the artists? was answered by
the high percentage of the interviewed galleries’ representatives that they knew both
types of cooperation. But by the long term
cooperation majority understands the practice of including works of one individual
exhibitor into relevant group exhibition or
to enable an exhibitor to travel to an international exhibition. Consequently it is possible to conclude that serious, systematic,
durable cooperation between the artists and
the galleries does not exist in the domestic
visual scene. It is often believed that renewal
of cooperation would mean favouring one
or group of artists, and thus some galleries
precisely define time which has to elapse in
between the two exhibitions of the same author (3-5 years). These rules are supported
by the position that the artist needs at least
2 to 3 years to prepare quality exhibition.
However, it seems that the gallerists do not
always recognize the scope of the relation
gallery-artist. Long term cooperation between a gallery and an artist does not mean
only organization of the exhibitions but
long lasting work on developing his/her talent and professional skills in which mutual
interest (both of the gallery and the artist) is
achieved and it also enable establishment of
creative points in fine arts scene.
The number of realized exhibitions annually
influences directly the scope of artistic works
production that will be publicly presented.
However, huge gallery production may be
on the expense of the gallery. In the situation when galleries organize over 30 exhibitions/short term programs per year they will
not have time for addressing other activities, i.e. they will lack time for more careful
planning, quality realization and promotion
of their exhibitions. Quantity of realized exhibitions should not diminish their quality.
The galleries should find balance between
production possibilities (time, emlpoyees,
financial means, etc) and wished number
of realized projects and in doing this they
should try to produce richer programing as
possible program production. Important,
maybe even crucial factor in this planning
is structure and number of available personnel permanently or occasionally employed
by the galleries. Usually, galleries employ
two people (two curators or a curator and
a person in charge of administrative issues,
produkciju. Bitan, ako ne i presudan faktor
pri ovom planiranju čini sruktura i obim
raspoloživog kadra koji je zaposlen, ili povremeno angažovan u galerijama. Obično je
u galerijama stalno zaposleno po dvoje ljudi: dva kustosa ili kustos i osoba zadužena za
vođenje određenih administrativnih poslova,
mada nisu retki slučajevi galerija u kojima je
zaposlen samo po jedan kustos koji vodi sve
galerijske poslove (programske aktivnosti,
marketing, finansije i sl.). Na primer, Centar
za vizuelna istraživanja Akademija angažuje
osobu koja je specijalizovana za PR, tako da
Akademija ima razvijeniji sistem vođenja
odnosa sa javnošću (diverzifikovana mejlinglista, selekcija bitnih informacija za posebne
ciljne grupe – targetiranje itd.). Pojedine
galerije su uvele praksu angažovanja volontera ili stažista, što značajno utiče na razvoj
samih galerija, a takođe i doprinosi napredovanju i usavršavanju novog stručnog
kadra (Umetnička galerija Stara Kapetanija,
Galerija FLU, Kulturni centar REX, Galerija Zvono).
Struktura izložbi sa aspekta broja izlagača i
autora projekata ukazuje na nivo programske kompleksnosti, koja je ipak uslovljena
finansijskim mogućnostima galerija. Generalni trend je da većinu programa galerija čine
samostalne izložbe, ali broj grupnih, koje su
složenije za postavku i izvedbu, i izisukuju
veći kustoski angažman u smislu konceptualizacije i umetničkog promišljanja, ukazuje
na programsku razvijenost galerije. Isto je i
sa autorskim projektima (bilo da je reč o kustosu same galerije ili pozivu frilens kustosa ili
kustosa neke druge galerije). Dakle, domaće
galerije ostvaruju najviše samostalnih izložbi,
a na drugom mestu su grupne. Mada je to od
velike važnosti za galerije, autorske izložbe su
najmanje zastupljene u programima, što ukazuje – ili na skromnost korpusa ovlašćenja
koja kustosi galerija imaju, ili na nedostatak
njihove inicijative da samostalno osmišljavaju
i realizuju projekte, ili, konačno – na otežanu
ekonomsku poziciju galerija.
but there are cases when the galleries have
only one curator employed who is dealing
with all jobs in the gallery (activities related
to the program, marketing, finances, etc.)
For example, Centre for Visual Research,
Akademija employees a person specialized
for PR and thus Akademija has developed
system of maintaining relations with the
audience (diversified mailing list, selection of important information for target
groups - targeting, etc.). Some galleries engage volunteers or interns, which influence
considerably the development of the galleries and it also contributes to improvement
of new professional personnel (Art Gallery
Stara Kapetanija, Gallery of the Faculty of
Fine Arts, Centre for Culture REX, Gallery
Zvono).
Odnos galerije
i publike
Ključne reči: animacija, medijacija,
razvoj publike, marketing, PR
Poželjno je da koncept savremene umetnosti
kao „elitne”, jasne i dostupne samo odabranom krugu ljudi bude prevaziđen medijacijom – posredovanjem između (ne)publike i
umetničkih dela. Ulogu medijatora između
dela savremene vizuelne umetnosti i publike pre svega treba da preuzmu galerije,
i to kroz animacione programe, pri čemu
ćemo animaciju odrediti kao kreativno delovanje kojim se uspostavlja živ odnos između
primaoca i kulturnih aktivnosti (Mišel Simon). Suštinu animacionih programa čini
podsticanje i stvaranje mogućnosti da se prihvate i razumeju umetnička dela, kao i da
se razvije svest o potrebi kritičkog mišljenja
i odlučivanja, aktivnog i stvaralačkog učešća
u društvenom i kulturnom okruženju. Termin razvoj publike potiče iz marketinškog
diskursa, a opisuje aktivnost koja ima za cilj
da odgovori na kulturne potrebe postojeće i
potencijalne publike jedne organizacije, kao
i da dugoročno unapređuje njihov odnos.
Osnovni fokus te aktivnosti je da se pronađe,
zadrži i razvija nova publika – da se prošire
postojeće i uvedu nove grupe korisnika.
Kriterijum komunikativnosti (D. Tadić,
Savremene vizuelne umetnosti i multimedije – Konkurs Ministarstva Republike
Srbije [2003–2008], 2009, Beograd) je
prvenstveno merljiv u odnosu na para-metar
posećenosti izložbi. Taj kriterijum je imanentan samim umetničkim radovima, međutim,
misija galerija je da umetnička dela približe
što široj publici, da otvore pro-stor za susret
umetničkog dela i javnosti, da stvore uslove
da dela komuniciraju. Bavimo se umetnošću
koja će se približiti mas populiu. U tvrdnji da se
zastupa elitistička umetnost ogleda se suštinsko
nerazumevanje sadržaja savremene umetnosti.
Mi se trudimo da umetnost približimo i ne-
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Exhibitions structure in regard to the number of exhibitors and authors shows level
of program complexity which depends on
financial possibilities of the galleries. Generally, majority of galleries’ programs consist of the independent exhibitions. But the
number of group exhibitions, which are
more complex for realization and presentation, require greater curators’ engagement
in the sense of conceptualisation and artistic deliberation shows degree of gallery development in regard to program. The same
is applied to authorial projects (whether it
is a curator from the gallery, free-lance curator or the one from some other gallery).
Consequently, the galleries in our country
have mostly independent exhibitions and
the group exhibitions come as second. Although the authorial exhibitions are of great
importance for the galleries they take smallest part of the program which may indicate
the following: either curators’ authorizations are very modest or they lack initiative
to work out and realize a project individually or the galleries are facing hard economic
position.
Relation between the
Gallery and the Audience
Key words: animation, mediation,
audience development, marketing, PR
It is desirable that the idea of contemporary
art as “elite one”, clear and accessible only
to selected few is overcome by mediation
between (non) audience and art works. The
role of mediator between the works of contemporary visual art and audience should
be played by the galleries and this should be
done through animation programs and animation is defined as creative action which
establishes vivid relation between the receiver and cultural activities (Michael Simon).
The point of such programs is stimulation
and creation of possibilities to accept and
understand artistic works and to develop
awareness about need for critical opinion
and decision making, active and creative
participation in social and cultural environment. The term audience development
originates from marketing discourse and it
describes activity whose aim is to respond
to the cultural needs of the existing and potential audience of one organization as well
as to improve their relation for a long term.
This activity focuses on finding, maintaining and growing new audience – to extend
the existing and introduce new groups of
users.
Criteria of communication (D. Tadić,
Savremene vizuelne umetnosti i multimedije – Konkurs Ministarstva kulture Republike Srbije /2003-2008/, 2009, Belgrade) is
above all defined as to the number of visitors to the exhibition. This criteria is imminent to the art works, but, the mission of
the galleries is to make art works as closer to
the wider public as possible, to open space
for the meeting of the art work and audience,
to create conditions so that the works can
communicate. We deal with the art that will
make us closer to mass populi. The statement
kim drugim ljudima, čije polje interesovanja
ili profesionalna opredeljenost nisu usko vezani
za vizuelno stvaralaštvo. (Željka Momirov,
Blok galerija). Rad sa publikom je od vitalnog značaja za razvoj galerija i umetnika koji
u njima izlažu. Mnogi teoretičari umetnosti
smatraju da delo postaje umetničko tek kada
dospe u javnost i bude javno priznato. Organizacija radioničkih, tribinskih i drugih
edukativnih programa, razgovora sa umetnicima, redovnih vođenja kroz izložbe,
neki su od metoda kojima se umetnost
demokratizuje. Učiniti delo savremene umetnosti čitljivim širem delu javnosti, jedan je
od imperativa kustoskom radu, pa se tako
galerije koje postižu ovaj cilj mogu smatrati
uspešnim. Animacioni projekti Galerije
Nadežda Petrović, čiju ciljnu grupu učesnika
čine deca i njihovi roditelji, podstalkli su
mlade čačanske autore da se organizuju u
Letnji klub mladih, koji je koncepcijski i
tehnički osmislila i podržala Galerija.
Paralelno sa kreiranjem uslova u kojima
delo može komunicirati sa publikom, pred
galerijama je zadatak da informišu javnost
o programima koje realizuju i da osmisle
adekvatne oblike animacije publike. Tako
su saradnja sa medijima, oglašavanje putem
interneta, organizacija promotivnih akcija i
projekata animacije od vitalnog značaja za
popularizaciju programa.
Dominantna praksa je da kustosi obavljaju
poslove PR-a i marketinga, a samo galerije
koje su u sklopu većih institucija, kakve su
Galerija Artget, Galerija Doma kulture Studentski grad i Galerija Studentskog kulturnog
centra Beograd, imaju zasebne PR i marketing službe. Tako u većini galerija kustosi sastavljaju pres-materijal, uglavnom se služeći
tekstovima dobijenim od autora izložbi.
Osnovne kanale komunikacije sa publikom
predstavljaju: mediji (elektronski, dnevna
štampa i retki specijalizovani časopisi),
mejling-liste (pri čemu samo pojedine galerije imaju diversifikovane mejling-liste, kao
npr. Centar za grafiku i vizuelna istraživanja
Akademija) i internet prezentacije galerija.
Često galeristi imaju poteškoća da precizno
definišu ciljne grupe svojih programa, što
rezultuje izostankom strategija medijskog
plasmana, te neadekvatnim informisanjem
i animiranjem javnosti. Saradnja sa novinarima se u najvećoj meri ostvaruje putem
ličnih kontakata. Sa druge strane, prepoznati
su veliki problemi nedovoljnog broja specijalizovanih emisija/rubrika/časopisa/internet
sajtova, to jest, izostanka stručne kritike koja
bi pratila vizuelnu i multimedijalnu scenu,
i takođe koncentracije medijskih kuća u
glavnom gradu, pa tako galerije van Beograda
oglašavaju svoje programe gotovo isključivo
na lokalnim medijima. Ipak, po pravilu,
mediji prate aktuelna, značajna, popularna
događanja. Da li galerije ne realizuju programe koji su bitni za širu javnost, da li se
nisu nametnule kao važne, nisu uspele da
privuku pažnju, i zbog toga dele krivicu za
slabu propraćenost u medijima, ili je krivica
samo do medija koji zanemaruju kulturu, a
posebno vizuelnih umetnosti, i bave se senzacionalizmom, površno se odnose prema
svom poslu, i slično? Mnogi predstavnici
galerija su izneli misao da mediji obraćaju
mnogo veću pozornost na druge umetnosti
kao što su pozorište i film. Nesumnjivo je da
ove grane umetnosti imaju veće tržište, masovniju publiku, prihoduju više sredstava, ali
je jednako izvesno da galerije ne rade dovoljno na razvoju i animaciji publike, osvajanju
medijskog prostora, i to putem realizacije
značajnijih i raznovrsnijih, naposletku –
popularnijih programa, uključivanja većeg
dela zajednice u svoje aktivnosti, vođenja
marketiških strategija, strategija medijskog
plasmana i PR-a itd. Ipak treba istaći problem koji dodatno otežava napore galerija
da predstavljaju svoj rad, a to je problem
medijskog praćenja programa savremene vizuelne umetnosti, koji se uglavom svodi na
formu najave, odnosno, problem izostanka
analitičkog i kritičkog, stručnog prikazivanja
ovih programa. Svi su izgledi da galerijama
u znatnoj meri nedostaje prodornog pristupa javnosti, umeća strateškog promišljanja
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that elitist art is presented reflects the essential misunderstanding for the contemporary
arts contents. We try to make the art closer
to some other people whose areas of interests
and professional work are not closely related
to visual arts (Željka Momirov, Gallery Blok).
Work with audience is of vital importance
for development of both galleries and artists
that exhibit in them. Many art theoreticians
believe that a work becomes art only when
it comes into audience and when it is publicly recognized. Organization of workshops,
discussions and other educational programs,
conversations with the artists, regular guidance through the exhibitions are some of the
methods by means of which the art is democratized. To make the work of contemporary
art understandable by wider audience is one
of the imperatives in the curators’ work and
thus the galleries which achieve this goal can
be considered as successful. Projects of Gallery Nadežda Petrović whose target group are
children and their parents, stimulated young
authors from Čačak to organize Summer
Club for the Young (Letnji klub mladih)
which was technically devised and supported
by the Gallery.
Together with creating conditions in which
the work may communicate with audience,
the galleries have task to inform the audience
about the programs they realize and to devise
adequate forms for audience animation. Thus
the cooperation with media, announcements
via internet, organization of promotion actions and projects of animation are of vital
importance for program popularization.
In practice the curators often perform the
jobs of PR and marketing and only the galleries which are within larger institutions
such as Gallery Artget, Gallery Dom kulture
Studentski grad and Gallery SKC, Belgrade
have special PR and marketing service. In the
majority of galleries the curators prepare press
material, using mainly the texts obtained
from the authors of exhibitions. The main
communication channels with the audience
are media (electronic, newspapers and rare
specialized magazines), mailing lists (only
some of the galleries have diversified mailing
lists, for example Centre for Graphics and
Visual Research Akademija) and galleries’ internet presentations. The gallerists often have
difficulties in defining precisely their target
groups which leads to lack of strategies for
media coverage and inadequate informing
and animation of public. The cooperation
with journalists is mainly achieved via personal contacts. On the other hand, there is
a problem of insufficient number of specialized broadcasts/columns/magazines/internet
sites i.e. absence of professional critique that
will address visual and multimedia arts. In
addition, the media are mostly concentrated
in the capital and thus the galleries outside
Belgrade announce their programs mostly in
local media. However, media do cover current, important, popular events. Maybe the
galleries do not realize programs of importance for wider audience, maybe they do
not impose themselves as important, or do
not manage to attract the attention and because of that they are to be blamed for poor
coverage in media or maybe only the media
should be blamed for their neglect of culture, especially visual arts and address only
sensations, they are superficial in their work,
etc.? Many galleries’ representatives pointed
out that media pay greater attention to other
arts such as theatre and film. No doubt, these
kinds of art have larger market, more massive
audience, earn more but it can be also noted
that galleries do not work enough on growing and animating audience, wining media
coverage by means of carrying out more important and diversified and more popular
programs, including major part of community in their activities, pursuing marketing
strategies, strategies for media coverage and
PR, etc. It should be mentioned that there
is another problem which makes the efforts
of the galleries to present their work even
more difficult. That is media coverage of the
programs relative to contemporary visual
arts which mainly involves announcements.
i delovanja, znanja o pozicioniranju na
tržištu umetnosti i kulture, marketingu i
menadžmentu u kulturi.
Učešće na sceni/
umetničkom tržištu
Sadržaj programa – koncepti izložbi se u
najvećoj meri objašnjavaju u katalozima,
pojedine galerije organizuju redovna vođenja
kroz izložbe, odnsono, povremena vođenja
u slučaju kompleksnih i značajnih izložbi,
razgovore sa umetnicima, dok je najčešća
forma neposredne interakcije sa publikom
u razgovoru/ eksplikaciji/ komentarima koje
kustosi pružaju zainteresovanim posetiocima
galerija.
Ključne reči: partnerstvo, koprodukcija,
intersektrosko povezivanje, sponzorstva
Zaključak je da, generalno posmatrano,
domaći galerijski sistem ne praktikuje inovativne i kreativne metode animacije i
popularizacije programa, ili šire – nema
sposobnosti da se aktivno plasira na tržištu
i time poveća konkurentnost. Uzroci ovom
nedostatku mogu biti sagledani u problemima izostanka stručnog kadra, finansijskih
ograničenja ili nemogućnosti galerista da
usled obimne galerijske produkcije posvete
vreme ovom pitanju. Sa nekoliko izuzetaka,
galeristi ističu kako su programi namenjeni
široj publici, a na pitanje o strukturi publike,
najčešće se dobija odgovor da većinu posetilaca galerija čini stručna javnost – umetnici, istoričari umetnosti, studenti umetnosti itd. U ovome se otkriva uzrok za slabu
medijsku propraćenost, ali i za poteškoće pri
pokušajima ostvarivanja finansijske podrške.
Dublja posledica izostanka strateški vođenih
projekata animacije i razvoja publike mogla
bi da bude stvaranje jaza između savremene
vizuelne umetnosti i publike, a tako nepovoljan razvoj je neophodno preduhitriti
različitim mehanizmima – povezivanjem
sa obrazovnim i kulturnim ustanovama,
uvođenjem oblika permanentne edukacije u
oblasti kulturne medijacije, koji bi bili namenjeni kustosima, decentralizacijom delovanja, itd.
Suštinu svake saradnje čini podizanje kapaciteta organizacija koje u toj saradnji učestvuju.
Usled brojnih nepovoljnih okolnosti koje
otežavaju razvoj domaćih ustanova kulture,
javila se poterba za uspostavljanjem partnerskih odnosa i aktivnog pristupa postojećim i
potencijalnim učesnicima na kulturnoj sceni,
tako da brojne organizacije biraju strategije
povezivanja za svoje razvojne strategije. Kada
je reč o galerijama, prvenstveno se misli na
profesionalnu saradnju sa drugim galerijama
ili kulturnim ustanovama, koja nije na nivou jednostavne razmene programa ili pozajmljivanja tehničke opreme, već koja podrazumeva zajedničko osmišljavanje i vođenje
projekata (partnerstvo/koprodukcija), kao i
udruživanje sa ciljem rešavanja prepoznatih
problema koji pogađaju čitavu scenu (javno
delovanje, lobiranje, edukacija i transfer znanja). Zatim, za razvoj galerijskog sistema, kao
i same scene vizuelnih umetnosti, od vitalnog
je značaja povezivanje sa drugim sektorima
– turizmom, obrazovanjem, privredom, naukom, zdravstvom itd. Konačno, ostvarivanje
sponzorstava može biti merilo aktivnosti i
uspeha galerija pri dejstvovanju (i povezivanju) na tržištu kulture. Oslanjanje isključivo
na budžetsko finansiranje, dakle, bez razvijanja sponzorskih strategija je čest uzrok
nepovoljnog finansijskog položaj domaćih
galerija. Sponzorski modeli sponzora-korisnika ugleda i sponzora-kolekcionara pretpoznati
su kao modeli prijemčivi za ostvarivanje sponzorstava u oblasti vizuelnih umetnosti.
Kako smo u uvodu rekli, učešće na sceni
podrazumeva povezivanje sa što većim
brojem različitih aktera koji bi mogli da
doprinesu njenom razvoju, a koji vide interes u takvoj vrsti saradnje. Ti akteri mogu
pripadati istom sektoru – sektoru kulture
In fact there is no analytical and critical, professional presentation of the programs. Obviously, the galleries lack strong presence in
public, skill of strategic deliberation and acting, knowledge on positioning in the art and
culture market, marketing and management
in culture.
The contents of the programs – exhibition
concepts are predominantly explained in the
catalogues. Some galleries organize regular
guiding through their exhibitions or occasional guiding in case of complex and significant exhibitions, conversations with the
artists while the most often form of inter action with audience is curators’ conversation/
explanation/comments with/to interested
visitors.
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Generally, it can be concluded that galleries’
system in the country does not apply innovative and modern methods of animation
and popularisation of programs and there
are no capabilities to place itself actively in
the market and increase competitiveness.
The reasons for this may be lack of qualified
personnel, financial limitations or incapability of the gallerists to address this issue due
to extensive gallery production. Apart from
a few exceptions, the gallerists stress that the
programs are aimed at wider audience but
when asked about the structure of the visitors
they say that majority of them are professionals – artists, art historians, art students etc.
This is also the reason for poor media coverage but also for difficulties in attempts to get
financial support. More serious consequence
of lack of strategically guided animation and
development of audience may be making of
gap between the contemporary visual art and
audience. This unfavourable development
should be prevented by different mechanisms – by establishing connections with
educational and cultural institutions, by introducing forms of permanent education in
the area of cultural mediation aimed at curators, decentralization of activities, etc.
Participation in the Scene/
art Market
Key words: partnership, coproduction,
inter-sectorial cooperation, sponsorships
The key to any cooperation is increase of
capacity of organizations participating in
that cooperation. Due to a number of unfavourable circumstances which make the
development of domestic cultural institutions difficult, a need arose for establishing
partnerships and active approach to existing
and potential participants in cultural scene.
Thus numerous organizations decide that
connecting strategies will be their development strategies. In case of galleries it denotes
predominantly professional cooperation with
other galleries or culture institutions which
does not mean simple exchange of programs
or borrowing technical equipment but it understands joint planning and carrying out
of projects (partnership/coproduction) as
well as association with the aim of resolving
the problems that have impact on the entire
scene (public activities, lobbying, education,
transfer of knowledge). For the development
of galleries system and the very scene of visual arts it is of vital importance to link up with
other sectors – tourism, education, economy,
science, health care, etc. Finally, sponsorship
may be criteria of activity and success of the
galleries in acting in the art market. Relying
only on budget financing, without developing sponsor strategies is often the reason for
unfavourable financial position of our galleries. Sponsor models such as sponsor –
user of reputation and sponsor – collector
are accepted models of sponsorship in the
area of visual arts.
As mentioned in introduction, participation in the scene means linking up with as
greater as possible number of different actors who can contribute to its development
and who are interested in that type of cooperation. They may belong to the same sector
(druge galerije, muzeji, kulturni centri, ostale ustanove kulture – pozorišta, muzička
udruženja i sl.), ali i drugim sektorima –
nauka, obrazovanje, turizam, privreda i tako
dalje. Najzastupljeniji oblik saradnje na sceni
je međugalerijska razmena programa, i to
najčešće jednosmerna, na relaciji Beograd–
Srbija. Ovo ukazuje na dva problema: prvi
je centralizacija, a drugi je nedostatak koprodukcionih projekata, koji predstavljaju
pokretačke, daleko kreativnije i učinkovitije
oblike saradnje, nego što je slučaj sa jednostavnom razmenom programa. Iz ovog
razloga Ministarstvo kulture, informisanja i
informacionog društva Republike Srbije prioritetno podržava projekte koji doprinose decentralizaciji kulture i kulturnoj saradnji. (D.
Tadić, Ibid). Galerije dinamično sarađuju i
sa inostranim kultunim centrima, mada se i
ova saradnja mahom ostvaruje u Beogradu.
Kada je reč o saradnji sa organizacijama
koje se bave produkcijom drugih umetičkih
oblasti, zbog sličnosti u medijskom izrazu,
galerije najčešće realizuju filmske programe,
čitalačke večeri, različite vrste prezentacija,
muzičke događaje i sl. Zanimljiv je primer
Galerije SULUJ, koja nagrađuje umetničkim
radovima pobednike takmičenja koje organizuje Društvo muzičke omladine.
Najuspešnija intersektorska saradnja je sa
obrazovanjem – većina galerija ima dogovor
o posetama škola i studijskih grupa, organizuje izložbe radova dece školskog uzrasta
(Umetnička galerija Stara kapetanija, Galerija
Kulturnog centra Pančevo) i angažuje stažiste
– studente istorije umetnosti. Osim onih
kojima je u misiji da se bave radom studenata
likovnih i primenjenih umetnosti, određen
broj galerija ima permanentne oblike saradnje sa umetničkim akademijama (na primer,
Art klinika, Galerija Zvono, Galerija Haos).
Galerija SULUJ ima neformalnu saradnju
sa Centrom za bolesti zavisnosti, koja podrazumeva da se u galeriji održavaju segmenti
art-terapije. Mada vrlo razvijen u stranim
zemljama, kod nas je kulturni turizam na
rudimentarnom nivou – uprkos različitim
pokušajima, galerije nisu postigle ozbiljnu
saradnju sa turističkim organizacijama, a
samo su neke uspele da postanu relevantne za
turističke posete, i to uglavnom zahvaljujući
poziciji u samom gradskom jezgru. Iako na
neuglednom mestu, zahvaljujući kvalitetnoj
promociji i atraktivnosti muzičkog i drugih
programa, Evropski centar za kulturu i debatu
Grad okuplja veliki broj turista koji posećuju i
njihove vizuelne programe. Eklatantan primer
Galerije Remont, koja je inicirala i vodi projekat Telenor kolekcije, pokazuje mogućnost i
uspeh saradnje sa privatnim sektorom. Galerija Haos ostvaruje dugoročnu saradnju sa
SBB kablovskom mrežom, Galerija Zvono sa
ERSTE Bankom, Galerija Nadežda Petrović
sa Čačanskom bankom, a Galeriji Ozon generalni sponsor je Rajfajzen banka. Ostale galerije ili ne fandrejzuju sredstva (ovo se odnosi
na one galerije koje imaju svog osnivača koji
im pokriva osnovne troškove), ili to čine u
odnosu na zahteve zasebnih projekata. Galerija Studentskog kulturnog centra Beograd za
svaku izložbu fandrejzuje dodatna sredstva,
pa je tako ostvarila sponzorske ugovore sa Fabrikom lekova Galenika, Javnim preduzećem
Gradsko zelenilo, i tako dalje. Budžetsko finansiranje je najzastupljeniji oblik finansiranja gotovo svih galerija (konkursi opština,
gradova i republike), dok samo pojedine
galerije dobijaju sredstva konkurišući kod
domaćih i inostranih fondacija. Ipak, generalni zaključak je da galerije nisu dovoljno aktivne po pitanju ostvarivanja većih novčanih
prihoda, niti spremne da postižu finansijsku
samoodrživost, a u domaćem galerijskom
sistemu nesumnjivo nedostaje kadra koji bi
bio obučen da prepozna i iskoristi raspoložive
izvore finansiranja. Bitno je naglasiti da
višestrukost izvora finansiranja pokazuje
da je veći broj aktera prepoznao vrednost
određenog projekta, što ukazuje na njegovu
važnost i olakšava dobijanje novih sredstava.
Otud Ministarstvo kulture, informisanja
i informacionog društva Republike Srbije
podržava predloge projekata koji imaju više finansijera. (D. Tadić, Ibid)
– sector of culture (other galleries, museums,
cultural centres, other cultural institutions
– theatres, music associations, etc.) but also
to other areas – science, education, tourism,
economy, etc.
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Most often form of cooperation is intergalleries exchange of programs, usually one
way from Belgrade to Serbia. This indicates
two problems: the first one is centralization,
and the second is lack of co-production projects which are driving force, more creative
and effective forms of cooperation than one
way cooperation. Consequently, Republic of
Serbia Ministry of Culture, Media and Information Society supports the projects which
contribute to decentralization of culture and
cultural cooperation (D. Tadić, Ibid). Galleries have dynamic cooperation with foreign
cultural centres, although this cooperation is
mainly carried out in Belgrade. When speaking about cooperation with organizations
dealing with production of art in other areas,
the galleries most often organize film programs, reading nights, diverse sorts of presentations and music events predominantly
because of similarities in media they use. The
example of gallery SULUJ is interesting for
it rewards with artistic works the winners of
the competition organized by the Jeunesses
Musicales.
The most successful inter-sector cooperation
is the one with education – majority of galleries have agreements regarding schools’ and
study groups’ visits, they organize exhibitions
of school children’s works (Art Gallery Stara
kapetanija and Gallery of Centre for Culture
Pančevo) and they engage students of art history as the interns. Apart from the galleries
whose mission is to deal with the works of the
fine and applied arts students, certain number
of them has permanent forms of cooperation
with the art academies (e.g. Art klinika, Gallery Zvono, Gallery Haos). Gallery SULUJ
has informal cooperation with the Centre for
Substance Abuse and some parts of art-therapy are taking place in this gallery. Although
highly developed in foreign countries, cultural
tourism in our country is on rather rudimentary level – despite diverse attempts the galleries did not achieve serious cooperation with
the tourist organizations and only some became relevant for tourist visits mainly due to
their position in the heart of the city. Although
located at unattractive position, thanks to
quality promotion and attractive music and
other programs European Centre for Culture
and Debate, Grad, attracts large number of
tourists who visit its visual programs. Gallery Remont initiated and carries out project
Telenor Collection thus showing possibilities
and success in cooperating with private sector. Gallery Haos has long term cooperation
with cable network SBB, Gallery Zvono with
ERSTE Bank, Gallery Nadežda Petrović with
Čačanska banka and general sponsor of the
Gallery Ozon is Raiffeisen Bank. Other galleries either do not carry out fund rising (this
refers to the galleries which have their founder
who pays for basic expenses) or do it only in
case of some projects. Gallery SKC Belgrade
do fund raising for each particular exhibition and thus it has contracts with Pharmaceutical Company Galenika, public company
Gradsko zelenilo, etc. Financing from budget
is most often form of financing of almost all
galleries (calls for applications of the municipalities, cities and republic) and only few of
them acquire the means by applying with our
or foreign foundations. Generally, it can be
concluded that galleries are not active enough
in acquiring larger amounts of money, nor
they are ready to achieve financial viability.
National galleries’ system is lacking personnel that would be trained to recognize and use
available financial sources. It is important to
point out that multiple sources of financing
prove that a number of actors have recognized
value of certain project which indicate its significance and facilitate acquisition of new assets. That is why Ministry of Culture, Media
and Information Society, Republic of Serbia
supports the projects which have more financiers. (D. Tadić, Ibid)
Specifičan i važan oblik međugalerijske
sara-dnje odigrava se u sklopu manifestacija vizuelnih umetnosti. Učešće u manifestacijama ne samo da angažuje galeriju u
smislu pripreme i koncipiranja novih programa, već je dovodi u dinamičan kontakt sa
drugim institucijama koje se bave vizuelnom
umetnošću, i presudno – čini je vidljivijom u
javnosti. Ovde ćemo nabrojati manifestacije
u koje su domaće galerije uključene i to u redosledu od onih manifestacija koje aktiviraju
najveći broj galerija: Noć muzeja, Oktobarski
salon, Belef, Nedelja arhitekture, Dani Beograda, Majska izložba, Zlatno pero, Beogradska
nedelja dizajna, Jevremovi susreti, Studentski
art festival umetničkih fakulteta podunavskih
gradova STARTFES, Festival stripa Turbo
comics, Real presance, Bijenale studentskog
crteža i grafike, Aprilski susreti, Salon umetnosti Pančeva, Godišnja izložba FLU i FPU,
Mixer Expo Design, BITEF, BEMUS, Dan
zaštite životne sredine, Fashion design. Ipak,
osim prve tri manifestacije iz gornjeg niza,
sve ostale angažuju skroman broj galerija, i
primetno je takođe da se u više slučajeva saradnja sa manifestacijama odvija sporadično.
To je ili zato što manifestacije ne vide potrebu za saradnjom, ili zato što galerije pružaju
otpor prema određenim manifestacijama iz
različitih razloga, ili jednostavno ne postižu
da se pripreme za takvo učešće (nedostatak
vremena, prostora, zaposlenih itd.). Galerije
koje pripadaju strukovnim udruženjima ili
im je osnivač grad ili opština obavezno i permanentno učestvuju u manifestacijama koje
organizuju njihovi osnivači.
Jedno od pitanja iz upitnika se ticalo problema
učešća galerija u kreiranju i vođenju politike
cena. Opšti zaključak je da galerije nemaju
gotovo nikakvog uticaja na formiranje cena
umetničkih radova. Tu funkciju su preuzeli
privatni kolekcionari, a trgovina se obavlja
gotovo bez ikakvog posredništva galerija, što
ukazuje na izostanak zakonskog uređenja
tržišta umetničkih dela, odnosno pravne regulacije prodaje radova. Dakle, prema mišljenju
gotovo svih predstavnika galerija, u domaćoj
sredini postoji crno tržište, i galerije nemaju
ingerencije, prevashodno pravne, da dejstvuju
pri formiranju politike cena. Istovremeno,
galerije imaju različitih poteškoća pri saradnji
sa umetnicima, kada je reč o prodaji njihovih
radova. Primetna je podela na umetnike koji
drže previsoke cene radova (takozvani ekskluzivci) i na umetnike koji svoje radove potcenjuju, što rezultuje izostankom opštevažećih
kriterijuma procene dela. Neretko se dešava da
galerija utvrdi sa kupcem jednu cenu rada, a da
potom taj iznos bude drastično umanjen pri
direktnom dogovoru kupca i umetnika. Osim
toga, predstavljen je problem nerazumevanja
savremene umetnosti među kupcima, pa je
tako najintenzivnija prodaja radova etabliranih
umetnika, koji su stvarali u periodu između
dva rata. Stevan Vuković, predstavnik Galerije Studentskog kulturnog centra Beograd je
koncizno opisao stanje domaćeg umetničkog
tržišta: „Glavni probelmi tržišta su nedostatak
kriterujma za procenu, […], kao i relativno
niske cene, koje su diktirane potražnjom, u
smislu da kolekcionari znaju da mogu da kupe
radove po simboličnim cenama”.
Stavovi o sceni savremene vizuelne umetnosti
su relativno podeljeni. Neki predstavnici galerija smatraju da je scena bogata, raznovrsna,
aktivna, vitalna, da joj ne fali entuzijazma, dok
drugi ističu probleme izostanka velikih iskoraka, imena i pojava, preobimne produkcije
radova prosečnog kvaliteta, apatije koja vlada
među umetnicima i kustosima, čestih raskoraka koji zbog finansijskih ograničenja nastaju između dobre ideje i osrednje realizacije.
Izvesno je da oba pravca razmišljanja imaju
uporište u realnoj, objektivnoj situaciji u kojoj se scena danas nalazi. Osim problema koji
se javljaju usled daleko širih nepovoljnih faktora (na primer ekonomske nerazvijenosti),
globalno stanje ili takozvana kriza umetnosti,
vreme (post)postmoderninteta, koje ukida
kriterijume vrednovanja umetničkih dela, i
izostanak tržišta koje bi moglo da donosi sudove o umetničkoj vrednosti dela – jednako
otežavaju rad onih koji treba da razvijaju
umetničku scenu.
100
101
Specific and important form of cooperation
among the galleries takes place at the projects
of visual arts. Participation in some project not
only engage gallery in the sense of preparation
and designing new programs but it brings it in
dynamic contact with other institutions dealing with visual arts and, crucially, it makes it
more visible for the audience. We shall mention here projects in which our galleries are included specifically those that engage the largest
number of the galleries: The Night of the Museums, October Salon, Belef (Belgrade Summer Festival), Architecture Week, Days of Belgrade, May Exhibition, Zlatno pero (Golden
Quil), Belgrade Design Week, Jevremovi susreti, STARTFES – Students Art Festival of Art
Faculties of the Danube Cities, comics festival
Turbo Comics, Real Presence, Biennale of Student Drawings and Graphics, April Meetings,
Pančevo Art Salon, Annual Exhibition of the
Faculty of Fine Arts and Faculty of Applied
Arts, Mixer Expo Design, BITEF (Belgrade
Theatre Festival), BEMUS (Belgrade Music
Festival), Day of Environment Protection,
Fashion Design, etc. However, apart from the
first three projects all others engage a modest
number of the galleries and it is noticeable that
in a number of cases that is done occasionally.
The reason for this is that either the projects
do not have a need for cooperation or because
galleries themselves oppose some projects due
to different reasons or simply because they do
not manage to prepare for such participation
(lack of time, space, employees, etc.). The galleries belonging to professional organizations
and whose founder is a city or municipality
participate in projects which organize their
founders regularly and permanently.
One of the questions from the questionnaire
addresses the participation of the galleries in
creating and defining price policy. General
conclusion was that galleries do not have almost any influence on forming the prices of
art works. This function is taken over by the
private collectors and the trade is done almost
without any mediation of the galleries which
indicates lack of legally defined market of
art works i.e. legal regulations for selling the
works. Thus, as to the opinion of almost all
representatives of the galleries, there is black
market in the country and galleries do not
have legal rights to act in regard to prices policy. At the same time, the galleries do have difficulties in cooperating with the artists when
selling of their works is concerned. The artists
are divided into those who keep the prices of
their works too high (the so called exclusive
artist) and those who underestimate their
work which is consequence of non-existing,
generally applicable criteria for art works’
evaluation. It often happens that the gallery
determines on one price with the buyer and
that the amount is considerably reduced in
direct contact between the buyer and the artist. Besides, buyers often do not understand
contemporary art and thus the most intensive is the selling of works of well-known artists that worked in between two world wars.
Stevan Vuković, representative of the Gallery
SKC Belgrade described the situation in the
country’s artistic market: “The main problem
of the market are lack of criteria for evaluation (…) as well as rather low prices which are
dictated by the demand, in the sense that collectors knew that the art works can be bought
at symbolic price.”
Views about contemporary visual art scene are
divided. Some representatives of the galleries
believe that the scene is rich, diversified, active,
vital, that it does not lack enthusiasm, while
others stress that there are no great changes,
names and phenomena, that there are too
many works of average quality, apathy among
the artists and curators, frequent discrepancies which due to financial limitations occur
between good idea and realization of medium
quality. Obviously, both ways of thinking are
based on real, objective observation of the contemporary art scene. Apart from the problems
that appear due to unfavourable factors (such
as economic underdevelopment) global situation or the so called crisis of art, time (post)
postmodernism which abolish the criteria
for validation of artistic works and absence
Međunarodna saradnja
Ključne reči: internacionalizacija,
razmena, benčmarking
Internacionalizacija kao razvojna strategija
čiji je smisao da većinu programa i sadržaja
rada organizacija vodi ka otvaranju prema
svetu, izuzetno je važna, posebno za zatvorene sredine. Interakcija sa međunarodnim
kulturnim tokovima, saradnja sa relevantnim
inostranim akterima, delovanje u mrežama,
ili korišćenje lokalnih resursa zarad predstavljanja svetskih kultunih tokova mogu dati
značajne impulse razvoju domaćih galerija
(bilo u formi doedukacije i transfera znanja,
bogaćenja programa, ostvarivanja dodatnih finansijskih sredstava, uključivanja nove publike,
širenja tržišta, izgradnji imidža, jačanja kredibiliteta, stvaranja mogućnosti za autoevaluacije i benčmarking itd.). Retko primenjivan
u domaćoj praksi, benčmarking predstavlja
proces, koji u cilju učenja i organizacionog
razvoja kroz primenu znanja o tome kako
lideri funkcionišu i zbog čega postižu najbolje rezultate, podrazumeva:
1) identifikaciju referentne (obično) inostrane liderske galerije; 2) prepoznavanje kvantitativnih i kvalitativnih indikatora razvoja
(na primer prosek broja posetilaca po izložbi,
relevantnost novinske kritike); 3) merenje
i upoređivanje sopstvenih radnih procesa
i efekata rada u odnosu na radne procese i
efekte rada referentne galerije, pomoću prepoznatih indikatora razvoja.
Međunarodna saradnja se odvija putem
promocije domaćih umetnika u inostranstvu, najbolje učešćem na međunarodnim
izložbama, i izlaganjem radova inostranih
umetnika, pri čemu je ovaj vid saradnje zastupljeniji. Domaće galerije imaju značajnih,
prevashodno finansijskih poteškoća da se bave
afirmacijom svojih umetnika u inostranstvu.
Izvrstan primer je Galerija Zvono, koja šalje
umetničke radove bar na jednu (a često i na
dve ili tri) inostrane manifestacije godišnje, i
to svakog puta radove preko dvadeset umetnika. Podjednako je značajno posredovanje
domaćih galerija u obezbeđivanju samostalnih izložbi u relevantnim inostranim
izložbenim prostorima (Galerija Remont,
Centar za grafiku i vizuelna istraživanja Akademija). Ostali oblici promocije su raznovrsni: najčešće, galerije imaju svoje višejezične
internet prezentacije na kojima su postavljena portfolia umetnika, i takođe, pomažu
izlaganje radova u inostranstvu putem ličnih
kontakata – kustosi daju preporuke, povezuju domaće umetnike i inostrane galeriste, obezbeđuju pozive na inostrane izložbe
i slično, predstavljaju domaće umetnike
na međunarodnim skupovima, u stručnim
posetama, dele promotivne materijale. Galerije koje pripadaju umetničkim akademijama održavaju međuakademijsku saradnju
različitih formi (profesorska razmena, letnje
škole itd.); Kontekst galerija nagrađuje umetnike rezidens programima u Njujorku,
Evropski centar za kulturu i debatu Grad
neguje odnose sa atašeima za kulturu, Galerija Remont, osim što izlaže domaće radove
u inostranstvu i lobira kod inostranih institucija da pojedine izlagače uvrste u program,
pruža konsalting usluge vezane za prezentaciju na međunarodnoj sceni, Galerija Ozon
učestvuje u Japan art projektu, internacionalnom programu razmene umetnika sa Japanom. Mada se galerije angažuju ne bi li stekle
određeni kredibilitet u svetskim, ili makar
evropskim krugovima, čini se da je kvantitet
prezentacija domaćih autora u inostranstvu
nezadovoljavajuć. S druge strane, izlaganje
radova čiji autori dolaze iz inostranstva je
dinamičnije – gotovo sve galerije makar jednom godišnje realizuju izložbe stranih umetnika. Ovo ukazuje na problem reciprociteta,
pa tako pojedine galerije ili po pravilu odbijaju da izlažu inostrane radove jer reciprocitet
izostaje, ili pri organizaciji inostranih izložbi
taj reciprocitet uslovljavaju. Ipak, nameće se
zaključak da takva insistiranja nisu povoljna
po razvoj domaće scene. Bez ikakvog dodira
sa inostranom produkcijom, scena bi se zatvorila, učaurila i nazadovala. Stoga su projekti
of market which could make judgement on
the artistic value of the art works – make the
work of those that should develop artistic
scene equally difficult.
International Cooperation
Key words: internationalization,
exchange, benchmarking
102
103
Internationalization as developing strategy
whose purpose is to lead majority of programs
and contents of organizations work towards
the world, is extremely important, especially
for shut environments. Interaction with international culture developments, cooperation
with relevant foreign entities, acting within
networks or using local resources to present
world cultural developments may give significant impulses to the development of our galleries (either in form of additional education
and knowledge transfer, making the programs
richer, acquiring additional financial means,
including new public, widening the market,
building image, strengthening credibility,
creating possibilities for self-evaluations and
benchmarking, etc.). Rarely applied in domestic practice, benchmarking is a process, which
for the purpose of learning and organizational
development by applying knowledge on how
the leaders function and because of which they
achieve the best results understands: 1) identification of the referent (usually) foreign leading gallery; 2) recognition of quantitative and
qualitative indicators of development (for example, average number of visitors per exhibition, relevancy of newspaper reviews); 3) measuring and comparing own working processes
and effects of work in regard to those of the
referent gallery by means of known indicators
of development.
International cooperation is carried out via
promotion of the national artists abroad, best
by their participation in international exhibitions and by exhibitions of the foreign artists
the latter one being more often. Our galleries
have considerable, predominantly financial
difficulties in promoting their artists abroad.
The excellent example is Gallery Zvono which
sends the works of arts to three or four international manifestations per year, each time these
are the works of more than twenty authors.
It is also important that some galleries enable
individual exhibitions in the relevant foreign
venues (Gallery Remont, Centre for Graphics
and Visual Research Akademija). Other forms
of promotion are diverse: most often the galleries have their multilingual internet presentations containing portfolios of the artists. They
also support exhibitions abroad via personal
contacts – curators give recommendations,
connect national artists and foreign gallerists,
provide invitations for foreign exhibitions and
similar, present our artists in international
gatherings, in professional visits, distribute
promoting materials. The galleries belonging
to the art academies maintain inter-academies
cooperation of diverse forms (exchange of
the professors, summer schools, etc.); Gallery
Kontekst rewards the artists by the residence
programs in New York, European Centre
for Culture and Debate Grad promote relations with cultural attaches, Gallery Remont,
apart from exhibiting domestic works abroad
also lobbies with international institutions to
include some exhibitors in their programs,
provides consulting services related to the presentation in international scope; Gallery Ozon
takes part in Japan Art Project, international
program of artists’ exchange with Japan. Although the galleries do this to gain certain
credibility in the world or at least in Europe,
it seems that the quantity of presentations of
our authors abroad is not satisfactory. On the
other hand, exhibition of works whose authors
come from abroad is more dynamic – almost
all galleries at least once a year organize exhibitions of foreign artists. It points out problem
of reciprocity and thus some galleries either
refuse to exhibit foreign works for there is no
reciprocity or make it prerequisite when organizing foreign exhibition. However, one can
conclude that such insistence is not favourable
saradnje sa inostanstvom od vitalne važnosti
za napredovanje domaćih umetnika i kustosa – ovim putem se otvaraju mogućnosti za
doedukaciju, autoevaluaciju, procenu uspeha,
prednosti i nedostataka domaćeg galerijskog
sistema, razvoja umetničke misli i sl., u odnosu
na inostranu scenu, a takođe i za benčmarking,
ostvarivanje parterstava koji bi doneli finansijsku i drugu podršku i tako dalje.
Zaključak
Vreme širih društvenih i ekonomskih
promena (koje su, između ostalog vidiljive
u profesionalnom diskursu – na primer
likovna/ vizuelna umetnost) doprinose
stvaranju potreba za izmenom rada i aktivnosti umetničkih organizacija. U turbulentnim okolnostima, ustanove kulture
i nevladine organizacije postaju u svakom
pojedinačnom umetničkom sektoru primorane da šire obim svog socijalnog, kulturnog
i obrazovnog delovanja, [...], pa tako i svesne
da se ne može izbeći implenentacija šireg
obima znanja i metoda delovanja iz korpusa
teorijskih i praktičnih koncepata kulturnog
menadžmenta. (Milena Dragićević Šešić,
Sanjin Dragojević, Menadžment umetnosti u
turbulentnim okolnostima, CLIO, Beograd,
2005). Tako je tekst analize nastojao da
prepozna u kojoj meri su domaće galerije
uvidele nužnost „prestrojavanja,” i na koje
načine se razvijaju, postižu održivost i uspeh
u uslovima koje postavlja tranzitivna pozicija u kojoj se Srbija nalazi. Opšti zaključak je
da su predstavnici i upravnci galerija svesni
novih potreba, ali da implementacija znanja
iz korpusa teorijskih i praktičnih koncepata kulturnog menadžmenta iz različitih
razloga izostaje ili biva nepotpuna. Neki
od osnovnih uzroka tog problema jesu nedostatak vremena (na primer, usled obimne
produkcije), finansijskih sredstava ili mehanizama koji uslovljavaju permanentnu
edukaciju zaposlenog kadra u oblasti galerijskog menadžmenta, odnosno, nedovoljnost
školovanog stručnog kadra koji bi pristupio
galerijama i aktivno delovao u pravcu njihog razvoja. Moglo bi se reći da su mnoge
metode galerijskog menadžmenta pristune
u radu domaćih galerija, ali da je neophodno usvojiti ozbiljniji pristup njihovoj primeni, u čijoj je osnovi strateško planiranje.
Osnovni instrumenti za jačanje galerija su
organizacioni razvoj i podizanje kapaciteta.
Prvi instrument se odnosi na proaktivno delovanje u odnosu na novonastale promene u
kulturnom okruženju i nove zahteve kulturne
politike. Primenjujući metodu organizacionog razvoja (koja podrazumeva podizanje
kapaciteta i sposobnost strateškog mišljenja),
galerije treba da budu središta izvrsnosti (i u
programsko-umetničkom i u upravljačkom
smislu) i da postanu adaptivne na promene
u okruženju. Proces podizanja kapaciteta
se prevashodno odnosi na proces edukacije
ljudskih resursa, [...], kako bi oni bili u stanju
da permanentno razvijaju organizaciju i vrše
njeno stalno (re)pozicioniranje u okruženju
(M. Dragićević Šešić, S. Dragojević, Ibid.).
Nesumnjivo je da su upravnici galerija
opterećeni ili osujećeni brojnim, a pre svega
finansijskim problemima, usled čega nastaje određena apatija, o kojoj pojedini predstavnici galerija govore. Ipak, pri realizaciji
istraživanja, nastao je lični utisak da predstavnicima galerija ne nedostaje bazični entuzijazam i volja za radom, reagovanjem na
nove potrebe sredine i uspešnim vođenjem
galerija. Usled činjenice da na sceni postoje
priznati i kvalitetni umetnici, a pojavljuju
se mladi i perspektivni, i usled toga što su
primetna dinamična i pozitivna kretanja –
optimizam u vezi sa povoljnim razvojom
galerijskog sistema je opravdan. Združeni
napori i saradnja javne uprave, obrazovnih
institucija, predstavnika galerija, umetnika
i menadžera u kulturi, koji se tiču mapiranja problema i potreba, a zatim delovanja
u pravcu rešavanja prepoznatih problema
i zadovoljavanja tih potreba, predstavljaju
jedinu realnu mogućnost za unapređenje i
razvoj domaćeg galerijskog sistema.
for the development of national scene. With
no contact with foreign production this scene
would close, withdraw into shell and decline.
That is why the projects of foreign cooperation
are of vital importance for improvement of our
artists and curators – it opens possibilities for
additional education, self-evaluation, assessment of success, advantages and shortcomings
of the country’s galleries, development of artistic thought, etc. in regard to foreign scene and
also for benchmarking, establishing partnership that would brought financial and other
support, etc.
Conclusion
104
105
The time of wider social and economic changes (which are visible in professional discourse
among other things – for example fine arts/
visual art) brings changes in work and activities of art organizations. In the turbulent
circumstances, culture institutions and civil
society organizations are forced in each particular art sector to extend the scope of their
social, cultural and educational activities, (...)
and they become aware that they cannot avoid
implementation of wider scope of knowledge and methods relative to theoretical and
practical concept of cultural management
(Milena Dragićević Šešić, Sanjin Dragojević,
Menadžment umetnosti u turbulentnim okolnostima, CLIO, Beograd, 2005).The analysis
tries to realize to what extent our galleries are
aware of necessity to „change themselves“ and
in which manner they develop, achieve viability and success in transitional Serbia. Generally, it can be concluded that the representatives
and managers of the galleries are aware of the
new needs, but implementation of knowledge
relative to theoretical and practical concepts of
cultural management is lacking or being incomplete due to diverse reasons. Some of the
basic reasons are lack of time (e.g. because of
vast production), financial means or mechanisms requiring permanent education of the
employees in the area of galleries management
i.e. lack of educated, professional personnel
that will approach galleries and work actively
on their further development. One can say
that many methods of galleries management
are present in the work of our galleries but it
is necessary to adopt more serious approach to
their application and the basis for it is strategic planning. Main instruments for galleries’
strengthening are organizational development
and increase of capacities. The first instrument
refers to provocative work in regard to newly
created changes in the cultural environment
and new demands of cultural policy. By applying method of organizational development
(which understands increase of capacities and
capability of strategic thinking) the galleries should be the centres of excellence (in the
program-artistic and managerial sense) and
should become adaptive to the changes in the
environment. The process of rising capacities
refers predominantly to the process of education of human resources, (...) so as to be able to
develop organization permanently and to carry
out its permanent (re)positioning in the environment (M. Dragićević Šešić, S. Dragojević,
Ibid.). No doubt the galleries’ managers are
burdened or impeded by numerous, above
all financial problems, resulting in apathy
which is mentioned by some of the galleries’
representatives. However, in doing research
there was a personal impression that galleries’
representatives do not lack basic enthusiasm
and will for work, reaction to new needs of
the environment and successful management
of the galleries. Due to the fact that there are
recognized and quality artists, that new and
promising ones appear which is in itself dynamic and positive development – optimism
regarding favourable development of the galleries is justified. Joint efforts and cooperation
of the public administration, educational institutions, galleries’ representatives, artists and
cultural managers in defining problems and
needs followed by carrying out activities for
the purpose of resolving those problems and
meeting those needs are the only real possibility for improvement and development of the
galleries’ system in our country.
Bibliografija
Bibliography
Winkleman, Edward, How to start
and run a Comercial Art Gallery,
Allworth press, New York, 2009.
Tadić, Dimitrije, Savremene
vizuelne umetnosti i multimedije
– Konkurs Ministarstva kulture
Republike Srbije [2003–2008],
Anonymous said, Beograd, 2009.
Dragićević Šešić, Milena;
Dragojević, Sanjin, Menadžment
umetnosti u turbulentnim okolnostima, Clio, Beograd, 2005.
Dragićević Šešić, Milena; Stojković,
Branimir, Kultura, menadžment,
animacija, marketing, Clio,
Beograd, 2000.
106
107
Maida Gruden
Profesija kustos –
tranzicija kustoskih praksi
Anketa na temu kustoskih praksi koja je bila
deo projekta prošlogodišnjeg Oktobarskog
salona, sprovedena je među nekolicinom
aktivnih kustosa, mahom mlađe generacije. Rezultati ankete ukazali su na različita
poimanja, iskustva i vrednovanja, kako
samog pojma kustosa, tako i angažmana
i uloge kustoskih strategija u društvenom
polju, ocrtavajući odnose sa umetnicima,
produkcijom i kulturnom politikom. Anketirani kustosi su pokušali da kroz samorefleksiju i refleksiju zatečene situacije odrede
obrise uloge kustosa i kustoskog modela
rada na našoj savremenoj sceni u odnosu
na savremene tokove kulture u svetskim
razmerama, u kojima je profesija kustosa i
njegove uloge u sistemu, već u velikoj meri
prepoznata, razmatrana i problematizovana.
Kao jednom od ispitanika, učinilo mi se da
je širu javnost potrebno bliže upoznati sa
genezom pojma kustos – njegovim ulogama,
istorijskim razvojem, izmeštanjima i promenama koje su nastale u razvoju kustoskih
aktivnosti usled promena paradigme. Time
bi se doprinelo razjašnjavanju aktuelnog
stanja u sistemu umetnosti i kompleksnim
odnosima umetnosti i društva, kao i pokretanja neophodne debate koja bi otvorila
prostor za nastanak novih koncapata delovanja. Razmatranje institucionalnog, kontekstualnog i autorskog razvoja kustoskih
praksi, kao osnovnog polazišta, moglo bi da
pomogne jasnijem sagledavanju sadašnjeg
stanja i mogućih pravaca budućih delovanja
u okviru galerijskih/izlagačkih programa.
Već sam termin kustos, koji je kod nas u većoj
upotrebi nego termin kurator, ima dvojno
značenje. Kustos istovremeno predstavlja
osobu koja je u okviru muzeja zadužena za
prikupljanje, čuvanje, konzervaciju i prezentaciju predmeta muzejske kolekcije, a
takođe i na aktuelnu figuru čije aktivnosti
prevazilaze tradicionalno shvatanje uloge kostosa. Ovaj pojam obuhvata širok dijapazon
delovanja – od generisanja autorskih koncepata, selekcije, kontekstualizacije, interpretacije, menadžmenta i produkcije kulturnih
sadržaja, komunikacije sa umetnicima kao
i medijacije kroz procese edukacije publike.
Promene u ulozi kustosa kroz istoriju su povezane sa promenama u shvatanju funkcije
muzeja, nastankom i razvojem galerijskog
sistema i različitim politikama izlaganja,
prouzrokovanih globalnim pomeranjima u
proizvodnim odnosima društva. Današnji
kustoski model delovanja reflektuje i procese
koji se dešavaju u kompleksnim odnosima
pojedinca i institucija, profesionalnih veza,
spojeva i hijerarhija.
Posao kustosa istorijski ce vezuje za procese
demokratizacije i nastanak prvih muzeja,
kao institucija koje su u XVIII veku, u
doba prosvetiteljstava i tekovina francuske
revolucije, formirane i otvorene za široku
javnost, kako bi preko svojih zbirki komunicirale kulturnu građu, javnim izlaganjima
obezbedile nacionalna čitanja i aktivirale
edukativne potencijale muzejske građe. U
to vreme je definisana i uloga kustosa kao
osobe koja prikluplja i vodi brigu o predmetima kolekcije, osmišljava prezentaciju
baštine i razvija interpretacije u okviru
muzejskog programa. Istorijsko-umetnički
razvoj, hronološki princip i ocrtavanje nacionalnih škola bili su temelji izlagačkih
strategija, što delovanje kustosa povezuje sa
pozicijama političkog usmerenja, koje je, sa
jedne strane, bilo u službi imperijalističkih
težnji velikih sila kao što su Francuska i Ve-
Maida Gruden
Profession Curator –
Transition of Curator Practice
108
109
The survey which has curators’ practice as
its topic and which was part of last year October Salon involved several active curators,
mainly of younger generation. The results
showed diverse understanding, experience
and validation of the notion curator and
curators’ engagement and role of their strategies in the society describing relations with
the artists, production and culture policy.
The curators participating in the survey
tried to define, through self-reflection and
reflection, the role of curator and curators’
model of work within the contemporary
framework in regard to modern culture developments worldwide in which profession
of curator and his/her role within the system has been already recognized, discussed
and problematized to a great extent. As one
of the interviewees I believed that the audience should learn more about the origin
of the notion curator – their role, historical development and changes that occurred
in the development of curator’s activities
due to the changes of paradigm This would
contribute to clarifying current state in the
culture system and complex relations between the art and the society and it would
also open debate that will be followed by
the concept of work. Discussion about institutionalized, contextual and authorial
development of curators’ practices, as starting point, could help in getting clear insight
into present situation and possible future
actions within the framework of galleries/
exhibitions programs.
The term curator (in fact in Serbian language the term kustos is used more often
than the term curator) has double meaning.
It stands for a person employed by a museum to collect, preserve, conserve and present objects from the museum collections
but it also denotes a person whose activities
overcome traditional understanding of the
role of curator. This notion involves wide
range of activities – from generating author’s
concepts, selection, contextualisation, interpretation, management and production of
cultural contents, communication with the
artists to mediation for the purpose of audience education. Changes in the curator role
throughout history are connected with the
changes in understanding function of museum, origin and development of galleries’
system and diverse policies of exhibiting,
caused by global changes of production relations in the society. Today’s curator model
of work reflects also the processes which occur within the complex relations between
individual and institutions, professional
links, connections and hierarchies.
Historically, the curator job is related to the
democratization process and foundation of
first museums as institutions established in
18th century in time of Enlightenment and
as the heritage of French Revolution and
were opened for the audience so that via
their collections they would communicate
cultural materials, secure national understanding and activate educational potentials of museum possessions. That was the
time when the role of curator was a person
in charge of collections, presentations of
heritage and its interpretation. Historicalartistic development, chronology principle
and establishment of national schools were
foundations of exhibition strategies which
related the curator’s activities to political issues which, on one hand, served imperialist
aspirations of great powers such as France
lika Britanija, zemljama u kojma su ustanovljeni prvi muzeji, a sa druge strane, u službi
težnje za formulisanjem i osnaživanjem nacionalnih identiteta u vreme romantičarskih
pokreta, u XIX veku. Uloga kustosa koji
su delovali u muzejima na teritoriji Evrope
dugo nije uključivala razvoj autorskih konceptata kakav danas poznajemo, on je bio
neeksponirana figura u tadašnjem sistemu
kuturnih institucija.
Začetak druge dimenzije slike kustosa,
koji deluje u polju savremene umetnosti,
njegovih novih svojstava koja se odnose
na današnju praksu kustoskog delovanja
pronalazimo u Americi osnivanjem Muzeja
Moderne ume-tnosti Alfreda Bara u Njujorku 1929. godine, gde se takođe po prvi
put istražuje i prezentuje umetnost aktuelnih, živih autora. U tom smislu, direktna
komunikacija pregovaranja na relaciji kustos
– umetnik, ušla je u horizont nove prakse,
a komunikacija sa publikom kao sagovornikom i učesnikom u muzeju, zasnovanom na konceptu eksperimentalne laboratorije, vodi poreklo iz ovog perioda da bi se
kasnije razvila i u Evropi, nakon društvenih
i kulturnih previranja 1968. godine, čime su
generisane dalje potrebe za demokratizacijom kulture. Glavni eksponent u Evropi na
tom polju bio je kulturni centar Bobur, gde
su realizovani novi nehijerarhijski, nelinearni, eksperimentalni, postmodernistički
koncepti izlaganja, edukativnog, interaktivnog i zabavnog rada sa publikom. Dakle, otvaranjem Muzeja Moderne umetnosti
u Njujorku, dijapazon delovanja kustoskih
aktivnosti proširen je (osim pomenutih) i
praksom javnih vođenja, priređivanja kataloga kao i pokretanja kritičkih rasprava o
muzejskim kolekcijama. Američki muzeji
preuzeli su evropski istorijsko-umetnički
pristup sa naglaskom na autobiografskoj i
formalnoj komponenti, ali su se za razliku
od starog kontinenta vrlo rano povezali sa
kapitalističkim tržištem. Ipak, veliko pomeranje ka interdisciplinarnoj strategiji u kustoskom delovanju, sa kompleksnim konte-
and Great Britain, the countries in which
the first museums were established and on
the other, tried to formulate and strengthen
the national identity in time of Romanticism in 19th century. For a long time the
role of curators that worked in the museums in the territory of Europe did not involve authorial concepts as we know today.
The curator was unexposed figure in culture
institutions of the time.
kstualnim čitanjem širokog opsega sadržaja
kulture i umetnosti, desio se i na evropskom
tlu u komunikaciji sa u aktuelnim svetskim
tokovima.
Razvoj menadžerskih, organizatorskih i producentskih aktivnosti kustosa može se posmatrati paralelno kroz istoriju i dovesti u
vezu, sa jedne strane, sa organizacijom velikih internacionalnih izložbi, koje vode poreklo još
od svetskih izložbi i sajmova, ustanovljenih
sredinom XIX veka, koje su se kao i muzeji
tog vremena odlikovale afirmacijom nacionalnog identiteta. Sa druge strane, za razliku
od kustosa, čiji se rad vezuje za muzejske
ustanove i njihovu rigidnu strukturu i administraciju, krajem šezdesetih godina XX
veka, javljaju se nezavisni akteri koji deluju
van institucija kulture, organizujući velike
izložbe, mahom savremene umetnosti, čija
se delatnost pre svega vezuje za menadžerske
i organizatorske aktivnosti, uspostavljajući
nove tipove veza i odnosa. Dodatni autorski
angažman kustosa, u današnjem značenju
tog pojma, direktno je uslovila je pojava jakih figura, njihovim delovanjem u fleksibiloj
vezi sa sistemom galerija, i to pre svega radom istoričara umetnosti Haralda Zemana,
sedamdesetih godina XX veka, koji je u okviru svojih izložbenih aktivnosti predstavio
tokove konceptualne umetnosti i uključio
vrlo fluidne medije umetničkog izražavanja.
Pored dominantne figure kustosa-autora,
glavnog tvorca koncepta ili teme, kustosa
koji postaje zvezda umetničkog sistema,
insistiralo se na podsticanju i osvešćivanju
timskog rada. Kroz zajednički rad umetnika
i kustosa, odlučivalo se o krajnjem ishodu
izloženih radova ili izvedenih akcija, bačeno
je svetlo na mogućnosti korporativnog sponzorstva, na njihov angažman u realizaciji
pratećih programa i proširena je saradnja
sa drugim kustosima. Možemo primetiti
da samom promenom prirode savremene
umetnosti, dematerijalizacijom umetničkih
objekata, kritike postojećih muzejskih struktura, novom fluidnošću života i promenom
proizvodnih odnosa, inkliniranjem ka kul-
110
111
The beginning of another dimension of curator profession who operates in the area of
modern art, his new characteristics relative
to present practice of curator work can be
found in America with foundation of the
Museum of Modern Art of Alfred Barr in
New York in 1929 where, for the first time,
the living authors were researched on and
presented. To this end direct communication between curator and the artist was given new incentive. The communication with
the audience as collocutor and participant in
museum, based on concept of experimental
laboratory originated in this period to be
developed later on in Europe following the
social and cultural turmoil of 1968 which
generated further needs for democratisation
of culture. In Europe the main proponent
of such attitude was cultural centre Bobur
where new, non-hierarchical, non-linear,
experimental, postmodern concepts of exhibiting, educational, interactive and entertainment work with the audience were
applied. Thus with the opening of the Museum of Modern Art in New York, the scope
of curators’ activities was enlarged (apart
from the mentioned ones) also by public
guiding, preparation of catalogues as well
as by initiation of critical discussions about
museum collections. The American museums took over European historic-artistic
approach stressing the autobiographic and
formal component, but contrary to the old
continent they connected to the capitalist
market at an early stage. However, moving
towards interdisciplinary strategy in curator’s work with complex contextual reading
of wider scope of cultural contents and arts
occurred also in Europe in communication
with current world trends.
Development of managerial, organizational
and production activities performed by curators through the history can be related,
on one hand, to organization of great international exhibitions that originated from
world exhibitions and fairs established in
mid-19th century which same as that time
museums were characterised by the promotion of national identity. On the other
hand, contrary to curators whose work is related to museums and their rigid structure
and administration, at the end of sixties of
the 20th century the independent actors appeared, who operated outside culture institutions organizing huge exhibitions, mainly
of contemporary art and whose activities
were predominantly managerial and organizational ones, establishing new types of
communication and relations. Additional
engagement of the curators as the authors,
in the today’s meaning of the term, was
caused by the appearance of strong individuals, their work in flexible relation with the
galleries and above all by the work of the art
historian Harald Zeman, in the seventies of
the 20th century who, within his exhibition
activities presented the courses of conceptual art and included very fluid media of artistic expression. Although a curator became a
dominant figure - the author, main creator
of concept or theme, the star of artistic system - the team work was stimulated and encouraged. The artist and the curator decided
through common work on the final outcome of the exhibited works or performed
actions and this cast light on possibilities of
corporate sponsorship, their engagement in
realization of additional programs and enabled extension of cooperation with other
curators. One can note that with the change
of the very nature of contemporary art, dematerialization of artistic objects, critique
of existing museum structures, new fluid of
life and change of production relations and
turi spektakla, dolazi i do inauguracije nove
uloge kustosa kao odgovora na novo stanje
tokom sedamdesetih i osamdesetih godina
XX veka. Tako da ono, što od devedesetih
godina postaje dominantno u recepciji kustoskog delovanja – a to je je ključna uloga
u procesu generisanja i produkcije kulturnih
sadržaja sa svim menadžerskim, organizatorskim i drugim aktivnostima koje su joj
inherentne, može se pratiti iz paralelnih razvojih linija tokom prethodnih decenija.
Ovakav kustoski model u Srbiji počinje da
se razvija tokom devedesetih godina XX
veka, uporedo sa ulaskom zemlje u procese
tranzicije, a usled promena državne kulturne politike, odnosno finansiranja institucija i organizacija po principu projekatnog
apliciranja, ubrzanog razvoja nevladinog
sektora i pojave inovativnih umetničkih
praksi, zasnovanih na medijskom nomadizmu, koje inkorporiraju sredstva novih
tehnologija i rad sa društvenim kontekstom.
Neophodnost individualnog angažovanja
i inventivnosti, kako kreativnog, tako i
menadžerskog aspekta, postalo je uslov
opstanka u postojećim okolnostima na kulturnoj sceni. Stoga, uloga kustosa dobija
dominantnu ulogu kao aktivnog agenta koji
aktivira postojeće potencijale, generiše polje
za realizaciju kulturnog programa, planira
sturkturu obezbeđivanja finansijskih sredstava i razvija strategije komuniciranja sa publikom. Kustosima, u ovom novom značenju
pojma, mogu se označiti ne samo nezavisni
kustosi, već i kustosi pri galerijama, muzejima, urednici pri kulturnim centrima, delatnici u nevladinim inicijativama, autori iz
različitih oblasti kulture, kreatori raznovrsnih
događaja u realnom i virtuelnom okruženju.
Kustoske veštine predstavljaju široku paletu
aktivnosti interdiscilinarnog karaktera, koja
je mnogo šira od uskostručne profesionalizacije i primenjiva je na procese generisanja
raznolikih sadržaja.
Međutim, nepostojanje definisanog programa kustoskih studija u okviru akademskog
sistema, pa čak ni unutar alternativnih edukativnih inicijativa, jednim delom za posledicu ima nedostatak prostora za debatu i
refleksiju kustoskog rada u oblasti savremene
umetnosti, istorijsku kontekstualizaciju sa
mogućnošću dubljeg uvida u genezu kustoskih praksi i praktičnih pitanja. Kustosko
zvanje pak u formalnom smislu može se
dobiti polaganjem stručnog ispita u Narodnom muzeju u Beogradu, nakon rada od
godinu dana u nekoj od institucija kulture
koja poseduje, pohranjuje i izlaže kolekcije,
ali u pitanju je pre svega verifikacija znanja
vezanih za prakse prikupljanja, čuvanja,
konzervacije i prezentacije kulturne baštine
u smislu tradicionalnog shvatanja aktivnosti
muzejskog kustosa. Takođe, treba istaći da
se u okviru osnovnih, master i doktorskih
studija na Katedri za istoriju umetnosti
Filozofskog fakulteta u Beogradu izučavaju
predmeti iz oblasti muzeologije i heritologije, dok se studenti master studija Kulturne
politike i menadžmenta na Univerzitetu umetnosti u Beogradu mogu upoznati sa predmetima koji se odnose na kulturno nasleđe,
kulturni turizam i menadžment muzeja,
zatim, menadžment festivala i izvođačkih
ume-tnosti. Ipak, ostaje potreba za osnivanjem specijalizovanih kustoskih studija,
kakve u svetu već postoje, sa mogućnošću
razvoja aplikacije kustoskih znanja, stečenih
u okviru studijskog kurikuluma, kroz realizaciju projekata u saradnji sa institucijama
kulture.
Savremene tendencije u planiranju, realizaciji i finansiranju projekata kulture u
evropskim okvirima kreću se upravo kroz
umrežavanje i zajedničko delovanje više
različtih institucija na međunarodnom
nivou. Uspešnost projekta valorizuje se
kroz potencijal povezivanja i kolektivnog
kreativnog delovanja svih učesnika. Tako
je i u modelima kustoskih praksi fokus pomeren ka kolaborativnom radu više kustosa,
kustosa i umetnika kao i kolektivnom kulturnom proizvodu/iskustvu koje se formira
u direktnoj saradnji sa publikom.U tom
inclination towards culture of spectacle, the
curators have been entrusted new role thus
responding to new situation during seventies and eighties of the 20th century. Thus,
what became dominant in regard to curators’ activities during nineties – and that is
the key role in the process of generating and
producing cultural contents with all managerial, organizational and other activities
inherent to it, can be traced back to the developments during previous decades.
112
113
Such curator model in Serbia, begins to develop during nineties of the 20th century
together with country transition process
and due to the change of state culture policy
i.e. financing of institutions and organizations by means of applications for projects,
fast development of civil sector and appearance of innovative artistic practice, based on
media nomadism, which incorporate means
of new technologies and work with social
context. Individual engagement and inventiveness, both creative and managerial one
became prerequisite for survival in the existing circumstances in culture scene. Because
of that the curator is attributed dominant
role as active agent who activates existing
potentials, generates area for realization of
cultural program, plans acquisition of financial means and develops communication strategies with the audience. Curators,
within the framework of this new meaning,
are not only independent curators but also
curators in galleries, museums, editors in
centres for culture, people working in cili
society organizations, authors from various cultural areas, creators of diverse events
in real and virtual environment. Curator’s
skills involve wide scope of activities of
interdisciplinary character which is wider
than narrow profession and is applicable to
processes of generating diverse contents.
But lack of defined program of curator
studies within the university system, or
even within alternative education initiatives
results in absence of debate and thinking
about curators’ work in the area of contemporary art, historical contextualization with
possibility of deeper insight into genesis of
curators practice and practical issues. The
title of curator can be acquired by attending professional exam in the National Museum in Belgrade after working for one year
in a culture institution, which owns, keeps
and exhibits collections. It is in fact verification of knowledge related to collecting,
preserving, conservation and presentation
of cultural heritage in the sense of traditional understanding of museum curator. Besides, it should be pointed out that within
the framework of basic, master and doctor
studies at the Department for Art History
of the Faculty of Philosophy in Belgrade the
students study subjects related to museology and heritology. The students of master
studies of Culture Policy and Management
at the University of Arts in Belgrade may
learn subjects relative to cultural heritage,
cultural tourism and museum management,
festivals and performing arts management.
However, there is a need to establish specialized curators’ studies such they are in the
world with a possibility to develop curators’
knowledge acquired during their studies
and through realization of projects in cooperation with culture institutions.
Contemporary trends in planning, realization and financing culture projects within
the European framework involve networking and joint activities of several diverse
institutions in international level. The success of the projects is validated through
possibilities of connecting and collective
creative activities of all participants. Thus
in curators’ practice focus is shifted to cooperation of a number of curators, curators
and artists as well as to collective cultural
product/experience which is formed in direct cooperation with the audience. To this
end, the key issue in local conditions is the
problem of overcoming perception of curator as the sole arbiter of certain cultural
program and possibility of achieving team
smislu ključno pitanje u lokalnim uslovima jeste problem prevazilaženja recepcije
kustosa kao jedinog arbitra određenog kulturnog programa i mogućnost ostvarivanja
timskog rada u cilju revitalizacije kulturnog
potencijala, podizanja kvaliteta ponude kao
i generisanja i negovanja publike. Na taj
način se insistira na procesualnosti, fokus
pomera od autorstva ili objekta ka iskustvenom edukativnom razvoju ne samo publike
već i svih aktera projekta, kroz povrtanu
spregu kojom je moguće evaluirati proces i
poboljšati budući razvoj. Upravo promenom
paradigme, razvojem mreža, ubrzanjem vremena i proizvodnje kulturnih sadržaja postaje kjučno misliti izvan i iznad ega koji je
opsednut sobom i svojim značenjem, kako
bi se obezbedio kontinuitet i kvalitet delovanja, podstakla razmena znanja, otvorila
mogućnost za produktivnu komparaciju i
evaluaciju. Ovo prevazilaženje podrazumeva
work for the purpose of revitalizing cultural
potentials, increasing quality of offer and
generating and developing audience. In this
way the accent is placed on processing, focus
is shifted from authorship or object towards
experienced educational development not
only of the audience but of all participants
in the project through feedback by means of
which it is possible to evaluate process and
improve future development. By changing
paradigm, developing networks, speeding
up time and production of cultural contents
the key point is to think outside and above
ego which is obsessed with oneself and ones
own meaning in order to provide continuity and quality of activities, stimulate the
exchange of knowledge, open possibility
for productive comparison and evaluation.
It involves active awareness of the audience,
including members of target groups of curators’ projects through cooperation based on
experience, which is one of the most pro-
aktivniju svest o publici, uključivanje pripadnika ciljnih grupa kustoskih projekata kroz
saradnju baziranu na iskustvu, što je jedna
od najproduktivnih strategija procesa edukacije i zasnivanja vitalnog života umetnosti
i kulture. Postaje jasno u kojoj meri dijapazon kustoskih veština i strategija predstavlja značajan izvor funkcionisanja galerija i
oživljavanja izložbenih prostora, izvor koji je
u stalnoj promeni i širenju novih koncepata
i koji može otvoriti mogućnost međusobne
saradnje više galerija i umrežavanju u zanimljive spojeve kroz kooperativne projekte.
Uloga kustosa se od zadatka konzervacije
i prezentacije kulturnog nasleđa kroz istoriju menjala i usložnjavala, dobijajući nove
funkcije i karakteristike. S obzirom na to da
taj proces još uvek traje potrebno je biti u
stanju permanentne otvorenosti kako bi kustosko delovanje moglo na najproduktivniji
način da aktivira potencijale postojećeg
sistema umetnosti i umetničke scene.
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ductive strategies of educational process and
establishing vital life of the art and culture. It
is clear to which extent the scope of curator’s
skills and strategies are important source of
galleries’ functioning and reviving exhibition venues, a source which is undergoing
permanent changes and widening new concepts and which can open possibilities of
mutual cooperation of a number of galleries and establishing networks of interesting
connections through cooperative projects.
The role of curator changed and became
more complex throughout history from doing conservation and presentation of cultural heritage towards new functions and characteristics. Having in mind that the process
still lasts it is necessary to be permanently
open so that curator’s activities could activate the potentials of the existing system of
art and artistic scene in a most productive
manner.
Biografije
Dimitrije Tadić
umetnost u Srbiji od 2002. do 2009,
SULUJ, Beograd (2010); Centar
izvan centra, Galerija Centra za kulDimitrije Tadić je rođen 1973. go- turu Sopot 2007–2009, Centar za
dine u Beogradu. Fakultet prime- kulturu Sopot, Beograd (2010).
njenih umetnosti u Beogradu
završio je 1999. godine. Godine Učestvuje u koncipiranju i orga2010. upisao je Interdisciplinarne nizaciji programa galerija (Galerija
master studije – kulturna politika Centra za kulturu Sopot, od 2002.
i menadžment u kulturi, na Uni- godine predsednik umetničkog
verzitetu umetnosti u Beogradu i saveta, Beograd; Galerija Službeni
na Univerzitetu Lumière u Lionu, glasnik, 2006–2008. član dvočlanog
Francuska.
umetničkog saveta, Beograd; Centar
za kulturu Lazarevac, od 2010. goZaposlen je u Ministarstvu kul- dine umetnički direktor Moderne
ture, informisanja i informacionog galerije, Beograd).
društva Republike Srbije, kao savetnik za vizuelne umetnosti i mul- Vizuelni je umetnik i autor više multimedije, u Sektoru za savremeno timedijalnih projekata. Učesnik je
stvaralaštvo i kreativne industrije. mnogobrojnih grupnih izložbi i proUčestvovao je na mnogobrojnim jekata. Koautor je pet brojeva almaseminarima i konferencijama: Kul- naha, kao pratećih segmenata autorturna industrija i nove tehnologije, skih projekata: Evropizam (2001),
Savet Evrope, Strazbur, Francuska Od sreće i od sna (2004), Istorijska
(2001); Kulturna politika i kultur- čitanka (2005), Zlatni presek opsene
na prava, Univerzitet u Friburgu, (2006) i Velike Strasti (2008). ObjaŠvajcarska (2002); Kulturna sara- vio je knjigu priča Kabineti kuriozidnja sa Jugoistočnom Evropom, Evro- teta, promenade i drugi divertismani
pska kulturna fondacija, Amste- (Albatros plus, Beograd, 2009).
rdam, Holandija (2003); Kulturna
politika i umetnička produkcija,
Univerzitet umetnosti u Beogradu
(2004); Kulturna politika i njena
administracija, Nacionalni insti- Nina Mihaljinac
tut za kulturnu politiku, Grenobl
i Kuća svetskih kultura, Pariz, Nina Mihaljinac je rođena 1987.
Francuska (2006); Ka efikasnijem godine u Beogradu. Pohađa intesprovođenju reformi – Generalno rdisciplinarne doktorske studije
operativni plan, Vlada Republike Teorija umetnosti i medija na UniSrbije, Beograd (2009), i dr.
verzitetu umetnosti u Beogradu, a
marta 2011. godine je diplomirala
Autor je tekstova i urednik neko- na Fakultetu dramskih umetnosti
liko publikacija iz oblasti kulturne u Beogradu, smer menadžment i
politike i umetničke produkcije: produkcija pozorišta, radija i kulture,
Galerija 2003–2006, Kulturni na temu galerijskog menadžmenta,
centar Sopot, Beograd (2006); kod mentora profesorke Milene
Savremene umetničke inicijative Dragićević Šešić.
Remont – nezavisna umetnička
asocijacija, Beograd (2006); Doku- Trenutno je angažovana kao Koormenti: Umetnost i procedure, tri dinator internacionalne konferencipublikacije – Savremene vizuelne je Menadžment kulture i medija u
umetnosti i multimedije, Konkurs društvu znanja na Fakultetu dramskih
Ministarstva kulture Republike Sr- umetnosti u Beogradu. Glavni je probije, 2003–2008, Likovne kolonije u ducent predstave Šekspir:Izgubljeno/
Srbiji, Konkurs Ministarstva kulture nađeno, projekta saradnje između
Republike Srbije, 2002–2008, Vodić Univerziteta Harvard, Doma omlakroz proceduru konkursa za vizuelne dine Beograd i organizacije Kultur
umetnosti i multimedije, i likovne akt, čiji je član. Od oktobra 2010.
kolonije, Konkursi Ministarstva godine učesnik je u projektu Kulkulture Republike Srbije, Anony- tura@Essen, Ustanove kulture Paromoussaid:, Beograd (2009); Nazad brod i Kancelarije za mlade Stari
napred, Maja Josifović i Dimitrije grad. Od februara 2010. godine, bila
Tadić, Beograd (2009); (Iz)nova: je angažovana kao saradnik-volonter
Biographies
u Ministarstvu kulture, informisanja
i informacionog društva Republike
Srbije, kod Dimitrija Tadića, savetnika za vizuelne umetnosti i multimedije, u Sektoru za savremeno
stvaralaštvo i kreativne industrije,
pri čemu je vodila istraživanje galerijskog sistema savremene vizuelne
umetnosti. Bavila se umetničkom
produkcijom i organizacijom kulturnih događaja: E761 – platforme
za razvoj kreativnih industrija Srbije
i Bosne i Hercegovine (2010); bila
je kreativni direktor Festivala internacionalnog studentskog teatra 05,
(2009), Seminar Deset godina postdramskog teatra, BITEF, (2009).
Učestvovala je na Seminaru Dani
Frankofonije Univerziteta Umetnosti
u Beogradu, (2008), Internacionalnoj letnjoj školi Univerziteta Umetnosti u Beogradu, Užice, (2007).
Učestvovala je u međunarodnim
projektima interkulturalne medijacije: Integracija društveno marginalizovanih grupa (SCI i ManCheck),
Berlin, (2008), Internacionalna letnja škola Univerziteta Umetnosti u
Beogradu, Negotin, (2008), Projekat
interkulturalne medijacije u umetnosti, CEMEA, Pozorišni Festival
u Avinjonu (2007) Evropski parlament mladih, Bari, (2005).
Priprema naučnu publikaciju pod
naslovom Osnovni pojmovi galerijskog menadžmenta, čiji je izdavač
Izdavačko
privredno
društvo
TOPY. Autor je tekstova iz oblasti
menadžmenta u kulturi i teorije kulture: Analiza organizacionih kultura
Evropskog centra za debatu i kulturu GRAD i Omladinskog centra
Crna kuća (časopis Kultura), Prikaz
knjige: Šta je, u stvari, radiklano?
Narcizam i njegova lepša polovina
(časopis Gradina), Analiza i strateški
plan Kulturnog centra REX. Dobitnik je stipendije Fonda za mlade talente Republike Srbije, Ministarstva
omladine i sporta, i stipendije Eurobanke za 100 najboljih studenata
Republike Srbije.
Maida Gruden
Maida Gruden je rođena 1975. godine
u Užicu. Diplomirala je 2001. godine
na Katedri za istoriju umetnosti, Filozofskog fakulteta u Beogradu.
Dimitrije Tadić
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117
moussaid:, Belgrade, 2009); Backward, Forward, Maja Josifović and
Dimitrije Tadić (Belgrade, 2009);
Up(Date) with (Art) Practices: Serbia 2002-2009 (SULUJ, Belgrade,
2010); Center out from the Center,
Gallery 2007-2009 (Center for Culture Sopot, Belgrade, 2010).
Dimitrije Tadić born in 1973 in Belgrade. Holds a BA degree from the
Faculty of Applied Art, Belgrade. He
also holds a MA in Cultural Policy
and Management (interdisciplinary
master studies), University of Arts,
Belgrade and University Lumière, Participates in program concepts,
Lyon, France.
selection and organization of art galleries (Gallery of the Cultural Center
Works at the Ministry of Culture, Sopot, since 2002; Službeni glasnik
Media and Information Society, Re- Gallery, 2006-2008; Cultural Cenpublic of Serbia as the Advisor for ter Lazarevac, from 2010) and culVisual Arts and Multimedia in the tural projects: exhibition Emerging
Departement for Contemporary Young Artists, National Museum in
Culture and Creative Industries. Temisoara, Romania, 2008; memParticipant of numerous seminars ber of the Board for donations Cenand conferencies: Cultural Industry trifuga, Erste bank and BCIF, from
and New Technologies, Council of 2009; member of the Art Council
Europe, Strasbourg, France (2001); and the author of side programme
Cultural Policy and Cultural Rights, of the 13th Ceramics Triennial, MuUniversity of Fribourg, Switzerland seum of Applied Arts in Belgrade;
(2002); Cultural Cooperation with member of the Board for choosing
SEE, European Cultural Founda- the facade and staff uniforms for the
tion, Amsterdam, Netherlands national pavilion at EXPO 2010 in
(2003); Cultural Policy and Art Shanghai, China, 2009; exhibition
Production, University of Arts, Modules de la narration visuele/
Belgrade, Serbia (2004); Art Col- Modules of visual narration, Serbian
lections in Various Cultural and Cultural Center in Paris, 2009; exPolitical Circumstances, Contem- hibition Looking Forward, South
porary art fair, Vienna, Austria Eastern Europe Contemporary Art;
(2005); Creative Cities, Great Brit- National Museum, Cetinje, Monteain – SEE, British Council, Plovdiv, negro, 2010; etc.
Bulgaria (2005); Cultural Policy
and its Administration, National In- Visual artist and author of several
stitute for Cultural Policy, Grenoble multimedia projects, participated
and House of World Culture, Paris, in numerous group exhibitions and
France (2006); Towards Efficient projects. Published five issues of
Implementation of Reforms, the almanac, as a accompanying segGovernment of the Republic of ments of artistic projects: Europism
Serbia (2009); Territorial Gover- (2001), From a Happiness, from
nance, University of Poitiers, France a Dream (2004), History Reader
(2010); among others.
(2005), Golden Section of an Illusion (2006) and Great Passions
Author of essays and editor of several (2008). He published the book of
publications on cultural policy and short stories Cabinets of Curiosart production: Gallery 2003-2006 ity, Promenades and other Diver(Cultural Center Sopot, Belgrade, tisments (Albatros plus, Belgrade,
2006); Contemporary Art Initia- 2009), as well as texts in the magatives (Remont, Belgrade, 2006). zines Polja (issue 444, 2007) and
Documents: Art and Procedures, Gradina (issue 23, 2008).
three publications – Contemporary
Visual Art and Multimedia, Open
Contest of the Ministry of Culture,
Republic of Serbia, 2003-2008, Art Nina Mihaljinac
Colonies in Serbia, Open Contest
of the Ministry of Culture, Republic Nina Mihaljinac was born in 1987
of Serbia, 2002-2008 and Guide to in Belgrade, Serbia. She graduthe Open Contest of the Ministry ated from the Faculty of Dramatic
of Culture for Visual Art and Mul- Arts in Belgrade, with a major in
timedia, Republic of Serbia (Anony- Management and Production of
Theater, Radio and Culture. Her
final paper, on the topic of gallery
management, was supervised by
Professor Milena Dragicevic Sesic.
In March 2011, she entered the
Interdisciplinary doctoral studies
Theory of Arts and Media at the
University of Arts in Belgrade.
She is currently working as the
main producer of the play Shakespeare: Lost and Found, a cooperation project between Harvard
University, Belgrade Youth Center
and NGO Kulturakt. She was the
Coordinator of the International
conference Management of Culture and Media in the Knowledge
Society at the Faculty of Dramatic
Arts Belgrade, as well. From October 2010 she has been participating
in the project Kultura@Essen, culture institution Parobrod and Office for the Youth Stari grad. From
February 2010 she was engaged as
associate-volunteer by the Ministry
of Culture, Media and Information
Society, Republic of Serbia with
Dimitrije Tadić advisor for visual
arts and multimedia in the Department for Contemporary Creative
Work and Creative Industries where
she conducted research into galleries’ system for contemporary visual
arts. She worked on artistic production and organization of culture
events - E761Platform for Development of the Creative Industries in
Serbia and Bosnia and Herzegovina
(2010); she was creative director of
Festival of International Student
Theatre 05 (2009), Seminar Ten
Years After Post Drama Theatre,
BITEF (2009). She took part in
the Seminar Days of Francophony
organized by the University of Arts,
Belgrade (2008), International
Summer School, University of Arts
in Belgrade, Užice (2007). Besides,
she took part in international projects of inter-cultural mediation:
Integration of socially marginalized
groups (SCI and ManCheck), Berlin (2008), International Summer
School of the University of Arts in
Belgrade, Negotin, (2008), Project
of Inter-cultural mediation in Art,
CEMEA, Teatre Festival in Avignon (2007), European Parliament
of Young People, Bari (2005)
She is an author of the texts addressing management in culture
Od januara 2007. godine radi kao
urednik likovnog programa Doma
kulture Studentski grad (DKSG)
na Novom Beogradu. Inicijator je
kolaborativnih projekata: Ciklusa
vizuelno-muzičkih događaja Četiri
godišnja doba (2008–2010) u saradnji sa urednicom muzičkog programa DKSG Brankom Popović;
Izložbe i radionice Prošireno polje
knjige kao umetničkog objekta
(2010) u saradnji sa izdavačkom
kućom Kornet iz Beograda. Bila
je autor izložbe Moduli vizuene naracije, Prezentacija Galerije
DKSG u Kulturnom centru Srbije
u Parizu, Francuska (2008). Koordinator je tradicionalne manifestacije Bijenala studentskog crteža i
grafike (2007–2010), kao i kustos
mnogobrojnih izložbi u okviru likovnog programa DKSG.
Takođe, deluje kao deo kustoskog
dua maramaida zajedno sa Marom
Prohaskom Marković sa kojom je
organizovala niz domaćih i internacionalnih izložbi i projekata: Dislokacije: utopijski prostor(i), Galerija O3one, Beograd (2005); Dom
kulture, Sopot (2006); Gradska galerija, Smederevo (2006); Mađarske
igre, Festival mađarske kulture u
Beogradu, Galerija Međunarodnog
kulturnog centra YUBIN, Beograd
(2006); Belgrade in Budapest –
Net of choises, IMPEX Gallery,
Budimpešta, Mađarska (2007);
Belgrade with Budapest, Magacin u Kraljevića Marka, Osmica,
Beograd (2008); (Iz)nova: umetnost u Srbiji od 2002. do 2009,
Partnerski projekat Ministarstva kulture Republike Srbije i
Švajcarskog programa za kulturu,
Narodni muzej, Kruševac; Galerija
Nadežda Petrović, Čačak; Kulturni
centar Laza Kostić Sombor; Gradska galerija, Užice (2010); Time
Packages, 91mQ Art Project Space,
Berlin, Nemačka (2011); Selekcija
36. i 37. Likovne kolonije u Lipovcu kod Topole: Preplitanja (2008)
i Kod komunikacije (2009).
and culture theory: Main terms of
gallery management (in preparation, TOPY Publishing Company),
Analysis of Organizational Cultures
of the European Centre for Debate
in Culture GRAD and Youth Centre Crna kuća (magazine Kultura);
Review of Book: What is radical,
in fact?, Narcism and its better
half (magazine Gradina); Analysis
and Strategic Plan of the Centre
for Culture REX. She was awarded a grant by the Fund for Young
Talents of the Republic of Serbia,
Ministry of Youth and Sport and
grant by the Eurobank.
Od 2003. do 2005. radila je kao
kustos u Narodnom muzeju u
Beogradu na odeljenju za noviju
umetnost. Kroz stručni rad na
istraživanju i katalogizaciji Zbirke
Rastka Petrovića položila je kustoski ispit 2004. godine.
Jedan je od urednika elektronskog časopisa za vizuelne umetnosti (www.dipassage.org). Sarađivala
je sa Remont Art Magazinom,
časopisom za vizuelnu kulturu Galerije Remont iz Beograda.
Autor je brojnih tekstova o radovima savremenih srpskih umetnika
mlađe generacije: Nikad ili sledeći
put: Milena Putnik i Nevena
Popović, katalog izložbe, DKSG
(2007); Terra incognita, Predrag
Terzić, katalog izložbe, Kulturni
centar Novog Sada (2007); Vreme
egzila, Goran Micevski, katalog
izložbe, DKSG (2008); Let –
čudesni svet Anite Bunčić, katalog
izložbe, Umetnička galerija Stara
kapetanija, Zemun (2008); Opake
tulumbe i dalje žele moju smrt,
Marina Marković, katalog izložbe
DKSG (2008); Prelom, Dušica
Dražić, Art centrala br.1, Podgorica
(2009), Mogućnost strukture, Nina
Todorović i Irena Kelečević, katalog
izložbe, DKSG (2010) i dr.
Član je Međunarodnog udruženja
likovnih kritičara AICA.
Maida Gruden
From 2003 to 2005 she worked as
curator in the National Museum
in Belgrade in the section for new
art. In 2004 she passed the curator’s exam by doing research and
catalogue of Collection of Rastko
As of January 2007 she has been Petrović.
working as editor of fine arts program of Dom kulture Studentski She is one of the editors of the elecgrad (DKSG) in New Belgrade. tronic magazine for visual arts (www.
She participated in diverse projects: dipassage.org). She cooperated with
Cycles of visual-music events Four Remont Art Magazin, magazine for
Seasons (2008–2010) in coopera- visual culture published by Gallery
tion with DKSG editor for music Remont from Belgrade.
program Branka Popović; exhibi- He is also the author of the numertion and workshops Extended field ous texts about the works of the
of book as art object (2010) in Serbian contemporary artists of
cooperation with the publishing younger generation: Never or next
company Kornet from Belgrade. time: Milena Putnik and Nevena
She was the author of the exhibi- Popović, catalogue for the exhibition Modules of Visual Narration, tion, DKSG (2007); Terra incognipresentation of DKSG in Serbian ta, Predrag Terzić, catalogue for the
Centre for Culture in Paris, France exhibition, Centre for Culture Novi
(2008). She was coordinator of the Sad (2007), Time of Exile, Goran
traditional manifestation Biennale Micevski, catalogue for the exhibiof Students’ Drawing and Graph- tion, DKSG (2008); Flight – Marics (2007–2010), and curator of velous World of Anita Bunčić, catanumerous exhibitions within the logue for the exhibition, Art Gallery
DKSG fine arts program.
Stara kapetanija, Zemun (2008);
Dangerous Tulumba Wants my
Besides, together with Mara Pro- Death, Marina Marković, catalogue
haska Marković she works as a part for the exhibition, DKSG (2008);
of curatorial duo maramaida with Layout, Dušica Dražić, Art centrala
whom she organized a number of na- No.1, Podgorica (2009), Possibility
tional and international exhibitions of Trade, Nina Todorović and Irena
and projects: Dislocations: utopian Kelečević, catalogue for the exhibispace(s), Gallery Ozon, Belgrade; tion, DKSG (2010), etc.
Centre for Culture Sopot, City Gallery Smederevo (2006); Hungar- She is member of the International Asian Dances, Festival of Hungarian sociation of Fine arts Critics AICA.
Maida Gruden was born in 1975 in
Užice. She graduated in 2001 from
the Department of Art History, Faculty of Philosophy in Belgrade.
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119
Culture in Belgrade, Gallery of International Centre for Culture YUBIN, Belgrade (2006); Belgrade in
Budapest – Net of choises, IMPEX
Gallery, Budapest, Hungary (2007);
Belgrade with Budapest, Magacin in
Kraljevića Marka, Figure of Eigtht
, Belgrade (2008); Iz(nova): Art in
Serbia from 2002 to 2009, a project
carried out by the Ministry of Culture, Republic of Serbia and Swiss
Program for Culture, National Museum, Kruševac; Gallery Nadežda
Petrović, Čačak; Centre for Culture
Laza Kostić Sombor; City Gallery
Užice (2010); Selection 36 and 37.
Art Colony in Lipovac near Topola:
Interweaving (2008) and Code of
Communication (2009).
Prezentacije galerija
i izložbenih prostora
Presentations of Galleries
and Exhibition Venues
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121
Galerija Artget
Artget Gallery
Trg Republike 5, 11000 Beograd
+381 11 3281613
milica.djordjevic@kcb.org.rs
www.kcb.org.rs
Kontakt osoba Contact person:
Milica Stanković Đorđević
Galerija Artget posvećena je predstavljanju,
tumačenju, razumevanju i promovisanju
fotografske slike. Od osnivanja 2002. godine, u tom izlagačkom prostoru, jedinom
u Beogradu koji je namenjen isključivo fotografskoj umetnosti, predstavljena su dela
velikog broja domaćih i stranih autora, u
širokom rasponu od dokumentarne i istorijske fotografije do fotografije u savremenoj
vizuelnoj umetnosti. Radi unapređenja
prakse i razumevanja tog sveprisutnog
medija i sveta savremene vizuelne umetnosti i kulture, 2005. godine pokrenuta je
i specijalizovana izdavačka delatnost koja,
za sada, obuhvata dve biblioteke: Foto Artget – Teorija i Foto Artget – Monografije 5.
Galerija Artget je višenamenski prostor u
kome se, osim fotografskih izložbi, organizuju i koncerti, književne večeri i tribine.
The Artget Gallery is dedicated to presenting, deciphering, understanding and promoting photographic images. Ever since its
founding in 2002, in this exhibition space,
which is the only space in Belgrade dedicated exclusively to photographic images, a
large number of domestic and foreign authors have been presented. The exhibitions
span from documentary and historic photographs to photography in the contemporary visual art sense. Because of the idea to
advance the practice and understanding of
this omnipresent medium and the world of
contemporary visual art and culture, a specialized publication effort has been set in
motion in 2005. This effort contains two libraries: Foto Artget – Teorija and Foto Artget – Monografije 5. The Artget Gallery is
a multi purpose space in which, apart from
the photography exhibitions, concerts, literary nights and tribunals are held.
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Multimedijalni centar Art klinika
Multimedia Center Art klinika
Grčkoškolska 5, 21000 Novi Sad
+381 21 6611207
artklinika@gmail.com
www.artklinika.rs
www.dzafo.com
Nikola Džafo
LED ART osnovan je 1993. godine u Beogradu, na inicijativu Nikole Džafa, slikara.
Tokom deset godina postojanja, u projektima LED ART-a učestvovalo je više od
300 istomišljenika različitih profesija i socijalnih slojeva: umetnici iz svih oblasti
stvaralaštva, sociolozi, istoričari umetnosti,
novinari, naučni radnici, tehničko osoblje, radnici... Januara 2000. godine LED
ART transformiše se u Multimedijalni
centar Led art sa sedištem u Novom Sadu.
Krajem 2002, u podrumskom prostoru u
ulici Grčkoškolskoj 5, startuje utopistički
projekat ART KLINIKA, kao odgovor na
„bolesno društvo u kom živimo“, s uverenjem da umetnost može da leči i menja svet.
U okviru Art klinike radi ŠOK GALERIJA,
najmanja galerija na Balkanu (dva kvadratna
metra, galerija za jednu osobu). ŠOK GALERIJA neguje granična područja različitih
oblasti, podržava autonomni likovni izraz,
eksperiment i provokaciju kao polazišta u
tematskom i izvođačko-prikazivačkom vidu
i afirmiše mlade stvaraoce.
LED ART was founded in Belgrade in 1993,
by the initiative of Nikola Džafo, a painter.
LED ART projects gathered more than 300
participants and like minded people from
various professions and social strata: artists
from different walks of creativity, sociologists, art historians, journalists, scientists,
technical staff, workers... In January 2000,
LED ART was transformed into The Multimedia Center Led Art with its headquarters
in Novi Sad. In late 2002, in the basement
in Grčkoškolska street 5, the utopian ART
CLINIC project was started as an answer to
the “rotten society that we live in”, with the
idea that art can heal and change the world.
SHOCK GALLERY works within the Art
Clinic. It is the smallest gallery in the Balkans (for just one person, measuring 2x2).
SHOCK GALLERY nurtures borderline
fields of various areas, it supports autonomous artistic expression, experiments and
provocation as starting points in the thematic and performative-exhibitional aspect
and promotes young artists.
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Blok Galerija
Blok Gallery
Jurija Gagarina 221, Blok 45,
11070 Novi Beograd
+381 11 2625243
blokgallery@novibeograd.rs
www.novibeograd.rs
Ana Vrbanec, Željka Momirov
Blok galerija osnovana je u maju 2007.godine. Osnivač Galerije je Gradska opština
Novi Beograd. U Galeriji se realizuju
izložbe likovnih i primenjenih umetnosti (iz
oblasti slikarstava, skulpture, grafike, crteža,
fotografija), kao i izložbe drugih medija
(instalacije, multimedija, video umetnost,
performansi…) domaćih i stranih autora.
Zadatak galerije je da promoviše i afirmiše
savremene likovne tendencije i vrednosti,
što uključuje i interdisciplinarne forme likovnog izražavanja.
Blok Gallery was established in May 2007.
The founder was the municipality of New
Belgrade. The gallery exhibits works of fine
and applied arts (sculpture, graphic art,
drawing, photography…), as well as other
art forms (installations, multimedia, video
art, performances…) of Serbian and foreign
artists. The task of the gallery is to promote
contemporary visual art practices, tendencies and values, which includes interdisciplinary forms of visual expressions.
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Evropski centar za kulturu i debatu GRAD
European Centre for Culture and Debate GRAD
Braće Krsmanović 4, 11000 Beograd
+381 11 3282571
dejan.ubovic@culturalfront.net
ljudmila.stratimirovic@culturalfront.net
www.gradbeograd.eu
Dejan Ubović, Ljudmila Stratimirović
Nevladina organizacija Kulturni Front je u
2009. godine u saradnji sa Felix Meritis Centrom iz Amsterdama, a zahvaljujući podršci
Ministarstva inostranih poslova Holandije
kroz program MATRA i beogradske opštine
Savski venac, po prvi put kod nas, jedan
objekat industrijskog nasleđa revitalizovao
u mesto kulturnih dešavanja i otvorio Evropski Centar za Kulturu i Debatu GRAD.
Izlagački program galerije kulturnog centra
predstavlja umetnike koji imaju originalan
pristup u svome radu, koji su prvenstveno
dizajneri, ali i umetnici koji idu korak dalje
i predstavljaju i svoji lični stav. U okviru
ove, pre svega “dizajn galerije”, osnovan je
i savet koji je sačinjen od internacionalnih
umetnika iz domena primenjenog dizajna i
fotografije.
In cooperation with Felix Meritis Centre
from Amsterdam, the Ministry of Foreign
Affairs of Holland (through MATRA program) and with the Belgrade municipality of
Savski Venac, the civil society organization
Cultural Front opened European Centre for
Culture and Debate GRAD in 2009. For
the first time in Serbia a building of industrial heritage was revitalised into a place for
cultural events. The program of the gallery
of the cultural centre presents artists with an
original artistic approach, which are mainly
designers, but with a personal attitude. The
council of this primarily “design gallery“
consists of international artists from the
field of applied design and photography.
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Centar za grafiku i vizuelna istraživanja Akademija
Centre for Graphic and Visual Research Akademija
Pariska 16, 11000 Beograd
+381 11 3282800, 2626622
centar@flu.bg.ac.rs
flu.centar@gmail.com
www.fluc.org
Ljiljana Tašić
Centar za grafiku i vizuelna istraživanja Akademija je organizaciona jedinica Fakulteta
likovnih umetnosti. Osnovan 1995. godine,
Centar za grafiku je, za sada jedina takva, visoko profesionalna institucija u Srbiji. Kroz
svoje programe, i svoju raznovrsnu i slojevitu delatnost, fokusiran na očuvanje grafičke
umetnosti, Centar učestvuje u njenom razvoju, i ukazuje na to šta je grafika danas. Ne
odustajući od svoje prvobitne misije na popularizaciji medija i očuvanju originalnosti
grafičkog lista, Centar promoviše najviše
umetničke i kulturne vrednosti, podržava visoke stvaralačke domete, istraživanje i eksperiment na domaćoj i internacionalnoj sceni
u skladu s duhom i potrebama vremena. U
prostoru Centra, koji čine grafičke radionice, galerijsko-prodajni prostor, poslovne
i prateće prostorije, na 500m2, prepliću
se veoma dinamične izdavačko-uslužne i
izlagačko-prodajne delatnosti sa programima predavanja, seminara i demonstracija.
The Centre for Graphic and Visual Research
Akademija is a division of the Faculty of Fine
Arts in Belgrade. Founded in 1995, the centre is unique in its organization. Through
its program, focused on perserving graphic
art, and through its numerous activities, the
centre presents what graphic art is today.
While not abandoning its original mission
to popularize and preserve the originality
of graphics, the centre promotes high artistic and cultural values, supports creative
achievements, research and experiments in
the domestic and international scene, with
the spirit of the times. The centre offers
500m2 of graphic workshops, gallery and
retail space, offices and auxiliary rooms. In
addition, there is a dynamic publishing service and services for display and sales activities with programs of lectures, seminars and
demonstrations.
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Umetnički paviljon Cvijeta Zuzorić
Art Pavilion Cvijeta Zuzorić
Mali Kalemegdan 1, 11000 Beograd
+381 11 2621 585, 2622 281
natalija@ulus-art.org
ulus@verat.net
www.ulus-art.org
Natalija Cerović
Udruženje prijatelja umetnosti Cvijeta Zuzorić osnovano je 1922. godine, a umetnički
paviljon izgrađen je 1928. godine. U Paviljonu su tokom njegove duge istorije
priređene značajane inostrane izložbe, kao
što su Savremeno francusko slikarstvo - impresionizam 1952. godine i Skulptura Henri
Mura 1955. godine. Programska delatnost
zasnovana je pretežno na studijsko-kritičarskim istraživanjima savremene likovne
umetnosti, izložbama revijalnog tipa i samostalnim izložbama eminentnih stvaralaca. Pored likovnih manifestacija u Paviljonu se organizuju tribine, okrugli stolovi,
predstavljanje knjiga iz oblasti umetnosti,
muzičke, scenske, multimedijalne i druge
aktivnosti koje prate tekuće manifestacije.
U podrumskom delu Paviljona od skoro
deluje Alternativna scena, izložbeni prostor, koji se koristi kao mesto za prikazivanje
umetničkih radova u digitalnoj i video formi, kao i za predavanja, tribine i koncerte
uglavnom elektronske muzike.
Association of Friends of Art Cvijeta Zuzorić
was founded in 1922, and the art pavilion
was built in 1928. During its long history
many significant international exhibitions
were held, such as Contemporary French
painting – Impressionism in 1952, The Henry Moore Sculpture in 1955. Program activity
is based mainly on critical research of contemporary art, review and solo exhibitions
of prominent artists. In addition to visual
art events, panels, roundtables, presentation
of books on art, music, drama, multimedia
and other activities are also organized. In
the cellar of the pavilion is The Alternative
Scene, a newly established exhibition space
which is used as a place to display artworks
in digital form and video, but is also used
for lectures, panel discussions and concerts
of mostly electronic music.
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Centar za kulturnu dekontaminaciju (CZKD)
Center for Cultural Decontamination (CZKD)
Birčaninova 21, 11 000 Beograd
+381 11 3610270, 3610954
info@czkd.org
www.czkd.org
Borka Pavićević
Centar za kulturnu dekontaminaciju
(CZKD) počeo je da radi kao nezavisna i
neprofitna institucija u Paviljonu Veljković
1995. godine, sa ciljem da se umetničkim,
kulturnim i društvenim angažmanom suprotstavi ratnoj politici tadašnjeg režima,
nacionalizmu, ksenofobiji, netoleranciji,
mržnji i strahu, i željom da osnaži otpor
civilnog društva. Bilo da su u pitanju debatni programi, radionice, seminari, konferencije, koncerti, pozorišne predstave ili
izložbe, institucionalna praksa zasnovana je
na nekoliko idejnih tačaka – umetnost i kultura moraju da napuste ono područje (zonu)
samodovoljnosti u kojoj važe ograničenja
hijerarhizovanog, narcisoidnog i elitističkog
sistema; nasuprot tome, umetnička praksa
i kulturni obrasci upravo funkcionišu kao
performativne zone kritike i preispitivanja
neposrednog okruženja. Centar za kulturnu
dekontaminaciju mišljen je i građen kroz
negaciju, suprotstavljanje i nepristajanje,
kroz kritiku i otpor koji su istovremeno
značili emancipaciju, afirmaciju i promociju.
The Center for Cultural Decontamination
(CZKD) began working as an independent
and non profit instituition in the Pavillion
Veljković in 1995. with the aim to confront
the war policy, nationalism, xenophobia,
intolerance, hatred and fear by means of artistic, cultural and social engagement, and
with the will to strengthen the civic resistance. Whether it is concerning debate programs, workshops, seminars, conferences,
concerts, plays or exhibitions, the institutional practice is based on a few ideological
aspects – art and culture must leave behind
the area of self sufficiency in which the hierarchy based, narcissistic and elitist system
are held in esteem; contrary to this, artistic
practice and cultural frameworks function
as performative zones of criticism and the
revision of the immediate surroundings.
The Center for Cultural Decontamination
was conjured and built through the negation, opposition and non-conforming,
through critique and through the resistance
that, at the same time, meant emancipation,
affirmation and promotion.
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Galerija i Velika galerija Doma kulture Studentski grad
Gallery and Big Gallery of Cultural Center Student’s city
Bulevar Zorana Đinđića 179, 11000 Beograd
+381 11 2691442, 3193889
office@dksg.rs
sekretar@dksg.rs
www.dksg.rs
Maida Gruden
Izložbena aktivnost Doma kulture Studentski grad odvija se u dva galerijska prostora, Galeriji i Velikoj galeriji, koje svojim
koncepcijama, međusobno komplementarnim, čine jedinstvenu programsku celinu. Program Galerije usmeren je pre svega ka
afirmaciji rada studenata i mladih umetnika
koji tek stupaju na savremenu umetničku
scenu i koji u svojim istraživanjima na
inovativan način pristupaju umetničkom
mediju. Aktivnost Velike galerije uključuje
realizaciju izložbi afirmisanih vizuelnih
stvaralaca i produkciju projekata nastalih specijalno za tu galeriju ili inspirisanih
njenim specifičnim prostorom. Od 1981.
godine u Domu kulture Studentski grad
u kontinuitetu se održavaju bijenala studentskog crteža i studentske grafike.
The exhibitions in the Student’s City Cultural center take place in two galleries, in
the Gallery and in the Main Gallery. The
concepts of these two galleries are complementary and they form a unified program.
The program of the Gallery focuses mainly
on the affirmation of student’s works and
emerging artists that are just entering the
contemporary art scene and that, through
their artistic exploration, approach the artistic medium in an innovative way. The
activities of the Main Gallery include the
realization of exhibitions of well known visual artists and the production of projects
that were created specially for that gallery or
that were inspired by its specific space. Ever
since 1981 biennials of students drawings
and prints has been held in the Student’s
City Cultural Center.
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Galerija FLU
FLU Gallery
Knez Mihailova 53, 11000 Beograd
+381 11 2630635
galerija@flu.bg.ac.rs
galerijaflu@gmail.com
www.fluc.org
Jelena Spaić
Galerija FLU osnovana je 1979. godine.
Prepoznavanje i promovisanje pojedinačnih
inovativnih inicijativa umetničke prakse i
savremenih stvaralačkih tendencija najvital-
nija je galerijska aktivnost. Važno galerijsko
polje delovanja, pored plasmana u rezultatima i dostignućima savladavanja osnovnog
programa, jesu podsticanje razvoja i realizacija projekata koji tretiraju umetničke
sadržaje bliske eksperimentima, negovanja
savremenosti, inventivnosti i učešća u kreiranju vitalne umetničke scene. Nešto mlađi
izlagački prostor Izlozi, specifičan je galerijski prostor u dijalogu sa posmatračima/
šetačima, izlozima prodavnica i lokala
unutar pešačke zone i namenjen je za (ne)
umetničke konzumente i samim tim često
svojim sadržajem polemički reaguje na pojave na umetničkoj, društvenoj i političkoj
sceni. Galerija FLU i Galerija Izlozi su multimedijalna radna platforma FLU, otvorena
za sve učesnike u kreiranju inovativne i edukativne kulturne i medijske atmosfere.
FLU Gallery was founded in 1979. Its most
vital activity is identifying and promoting
innovative initiatives of individual artistic
practice and creative tendencies of contemporary fine arts. In addition to presenting
the results and achievements of the basic
program, the most important activity of the
gallery is encouraging the development and
implementation of projects that deal with
artistic experimentation, nurturing a contemporary approach and creating a vital art
scene. With a somewhat newer exhibition
space, Izlozi (Shop windows) is a unique
space in dialogue with observers, walkers,
and window shoppers in the pedestrian
zone. It is designed for non-audiences of
art consumption and therefore its content
is often a polemical response to the artistic,
social and political scene. FLU Gallery and
Gallery Izlozi are a multimedia platform of
the Faculty of Fine Arts, which is open to all
participants, working towards the creation
of an innovative educational and cultural
and media atmosphere.
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Galerija Haos
Chaos Gallery
Dositejeva 3, 11000 Beograd
+381 11 2627497
bbozovic@sbb.rs
www.gallerychaos.com
Borka Božović
Galerija Haos je osnovana 1995. godine,
sa idejom da se u njoj predstave one pojave
i poetike u okviru jednog likovnog iskaza – crteža. Primat je sve vreme izložbena
delatnost crteža u najproširenijem pojmu
njegove definicije i predstavljanje umetnika svih generacija, najrazličitijih poetika
ili medija kroz koje realizuju svoj vizuelni
iskaz. Značajne manifestacije posvećene su
takođe stvaralaštvu mladih umetnika i postale su redovni programski sadržaji Galerije
Haos. Ustanovljena je i Nagrada za crtež,
namenjena mladim umetnicima, koja se
dodeljuje svake godine.
Chaos Gallery was founded in 1995, with
the idea to present all phenomena within the
artistic discipline of drawing. Thus, drawing
is primary in all aspects of its broader definition, as well as presenting the artists of all
generations, genres and media. Significant
events dedicated to the creativity of young
artists have become a regular program content of the Chaos Gallery. There is a prize
for drawing given to young artists, which is
awarded annually.
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Kontekst galerija
The Context Gallery
Sala mesne zajednice “Studentski grad”
Narodnih heroja 30, II sprat,
11000 Beograd
+381 65 6771632
kontekst@kontekstgalerija.org
www.kontekst.rs
http://kontekstprostor.wordpress.com
Marko Miletić
Kontekst galerija je samoorganizovan, nekomercijalan alternativni prostor koji se
nalazi u Beogradu. Tokom proteklih pet
godina rada, Kontekst galerija je pre svega
predstavljala radove mladih umetnika/ca,
pokretala diskusije o fenomenima u savre-
menoj umetnosti, kulturi i društvu. Kroz
izložbe, prezentacije, predavanja, panel
diskusije, radionice itd. Kontekst galerija
je težila iniciranju i razvijanju kritičkog
diskursa u savremenoj umetnosti i kulturi.
Rad na koncipiranju programa galerije
i njegovoj realizaciji je za nas ujedno predstavljao i proces samoobrazovanja, refleksije, samokritike i promišljanja. Stoga se
program galerije menjao u pravcu jasnije i
doslednije vizije i profilisanja našeg delovanja u jednom društvenom okviru. Ono
do čega smo, tokom rada i konstantnog
procesa učenja i interakcije sa lokalnim i
internacionalnim, umetničkim i - što je
jako važno - aktivističkim scenama došle/i,
razumevanje je našeg rada kao jedne vrste
prostora za kritičko i političko delovanje
kroz savremenu umetnost i kulturu.
The Context Gallery is a self-organized,
non-commercial alternative space located in
Belgrade. Over the past five years, Context
Gallery presents the works of young artists,
and initiates discussions about trends in contemporary art, culture and society. Through
exhibitions, presentations, lectures, panel
discussions, workshops and so on, Context
Gallery has sought to initiate and develop a
critical discourse of contemporary art and
culture. Work on the programming of the
gallery and its realization is always a process
of self-education, introspection and reflection for participants and employees. Therefore, the program changed towards a clearer
and more consistent vision of the gallery
and the profiling our work in a social framework. Through the constant learning and
working process, with interaction with the
local and international artistic and activist
scene, we came to the idea of understanding
of our work as a kind of space for critical
and political action through contemporary
art and culture.
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Galerija savremene likovne umetnosti Niš
Contemporary Fine Art Gallery Niš
Kej Kola srpskih sestara 1/2, 18000 Niš
+381 18 513701, 512640, 512642
gslunis@gmail.com
www.gslunis.com
Dragica Ćirić Spasojević
Galerija savremene likovne umetnosti je osnovana 1970. godine, a od 1981. godine do danas je samostalna ustanova kulture. Tokom
svog postojanja Galerija je priredila 1055
izložbi i radila na formiranju vlastitog fonda
umetničkih dela koji trenutno ima 1178
eksponata. GSLU ima tri izložbena prostora:
Umetnički paviljon u Tvrđavi - nekadašnji
turski arsenal zidan sredinom devetnaestog
veka od neobrađenog i pritesanog kamena,
Salon 77 - nekadašnja Bali begova džamija,
građena u periodu od 1521-1523. godine,
smeštena u centralnom delu Tvrđave i Galerija Srbija - pripada staroj gradskoj urbanoj celini. Sagrađena je u prvoj deceniji
dvadesetog veka kao prizemni ugostiteljski
objekat koji je revitalizovan 1994. godine i
pretvoren u izložbeni pro-stor.
Contemporary Art Gallery Niš was founded in 1970, and since 1981 functions as
independent cultural institution. In its history, the gallery organized 1055 exhibitions
and worked on creating its own collection
which currently has 1178 items. GSLU
has three exhibition spaces: Art Pavilion at
the Fortress (former Turkish arsenal walled
mid-nineteenth century of raw and dressed
stone), Salon 77 (former Bali Beg Mosque,
built between 1521 and 1523, located in
the central part of the Niš fortress) and Gallery Serbia (in the old part of the city). Gallery Serbia was built in the first decade of
the twentieth century as a ground-floor restaurant, which has revitalized in 1994 and
converted into an exhibition space.
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Remont galerija
Remont Gallery
Maršala Birjuzova 7, 11000 Beograd
+381 11 3223406
remont@remont.net
www.remont.net
Darka Radosavljević
Remont – nezavisna umetnička asocijacija
je osnovana u oktobru 1999. godine, kao
živa i dinamična organizacija čija je misija
uspostavljanje novih profesionalnih standarda i popularizacija savremene umetnosti u Srbiji. Od samog osnivanja rad
organizacije obeležen je iniciranjem i participiranjem u velikom broju umetničkih
i kulturnih projekata kako na lokalnoj
tako i na regionalnoj i evropskoj kulturnoj
sceni. Ono što izdvaja Remont u njegovom angažmanu jeste podrška koju pruža
stvaraocima mlađe generacije. To se, pre
svega, ogleda kroz program galerijske
delatnosti, ali i zastupljenošću mladih umetnika, kritičara, tekstopisaca, art profesionalaca u magazinu koji ova asocijacija izdaje
od 2000-te godine. Operativni tim Remonta
čine istoričari umetnosti i art menadžeri,
studenti i diplomirani. Saradnici su umetnici, umetnički kritičari, književnici, filmski i video autori…
Remont - independent artistic association
was founded in October 1999, as a lively
and dynamic organization whose mission is
to establish new professional standards and
the popularization of contemporary art in
Serbia. Since its founding the organization
was marked by initiating and participating
in numerous artistic and cultural projects
both in local and regional and European
cultural scene. What distinguishes the overhaul of Remont’s engagement is the support
to the artists of the younger generation. It is
primarily seen through the gallery activities,
and representation of young artists, critics,
writers, art professionals in the several publications that this association is issued since
2000. Operational Remont team are art
historians and art managers, students and
graduates. Contributors are artists, art critics, writers, film and video makers...
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Galerija Rima
Rima Gallery
Branka Radičevića 20, 34000 Kragujevac
+381 34 366396
galerijarima@gmail.com
www.galerijarima.com
Aleksandar Milojević
Galerija Rima je po svojoj osnovnoj delatnosti izložbena, ali se istovremeno bavi i
prodajom umetničkih dela. U svojoj zbirci
poseduje dela srpskih autora prve polovine
dvadesetog veka i njen rad se bazira na predstavljanju raznih slikara i slikarskih pravaca tog vremena (impresionizam, kubizam,
konstruktivizam, ekspresionizam, intimizam...). Važan segment delovanja vezan
je za tokove savremenog slikarstva, gde se
prati rad savremenih umetnika i predstavljaju njihova dela putem izložbi i kataloga.
Izložbe se organizuju kroz saradnju vlasnika
galerije i zaposlenog istoričara umetnosti sa
najeminentnijim stručnjacima iz oblasti istorije i teorije umetnosti.
Rima Gallery is in its core an exhibition
space, but also sells works of art. It maintains its own collection, which includes the
works of Serbian artists from the first half of
the twentieth century and its exhibitions are
based on representing different artists and
artistic trends of the time (impressionism,
cubism, constructivism, expressionism, intimism...). An important segment of activity
is linked to contemporary art, where the gallery follows contemporary artists and presents their work through exhibitions and catalogues. Exhibitions are organized through
the cooperation of the gallery owner and art
historian with the most eminent experts in
the field of art history and theory.
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Galerija savremene umetnosti Pančevo
The Gallery of Contemporary Art Pančevo
Trg kralja Petra prvog 8, 26000 Pančevo
+381 13 345088, 346137
panart@panet.rs
kcp@3dnet.rs
www.kulturnicentarpanceva.rs
Jasmina Večanski
Galerija savremene umetnosti funkcioniše
u sklopu Kulturnog centra Pančeva. Program galerije obuhvata izložbe crteža, slika,
fotografija, novih medija, video i digitalnih
radova, keramoskulpture, stripa, arhitekture i urbanih studija, mode... Program
prati i oblikuje pančevačku umetničku
scenu i usmeren je ka obezbeđivanju uslova za istraživanje, produkciju i izlaganje,
kako umetnicima sa lokalne (u užem i širem
smislu), tako i onima sa internacionalne
scene, sa konačnim ciljem preispitivanja,
razvijanja i negovanja produkcije i diskursa
u savremenoj umetničkoj praksi. Galerija
poseduje kapacitet da na kritički način isprati dinamiku odnosa lokalno-globalno, kao
interdisciplinarnu prirodu savremene kul-
ture i procese ukrštanja i umrežavanja koji
je obeležavaju. Prezentovanje različitih
umetničkih formi usmereno je ka razvoju platforme za razmenu ideja, povezivanje umetnika, publike i stručne javnosti
(kritičara, novinara, istoričara umetnosti...)
i negovanju kritičke svesti koja ohrabruje
inovativnost i istraživački duh. Program
vizuelnih umetnosti u okviru Kulturnog
centra Pančeva, pored Galerije savremene
umetnosti, odvija se još u tri izlagačka prostora - Galerija Dvorište, Foaje Kulturnog
centra Pančeva i Galerija Elektrika.
The Gallery of Contemporary Art Pančevo
functions within the Cultural Center of
Pančevo. The program includes gallery exhibitions of drawings, paintings, photography, new media, video and digital works,
ceramic sculptures, comics, architecture
and urban studies, fashion... The program
observes and shapes the Pančevo art scene
and provides facilities for research, production and presentation, for local artists (in
the narrow and broad sense), and those
from the international scene. The ultimate
aim is to question, develop and foster production and discourse in contemporary artistic practice. The gallery has the capacity to
critically contextualize dynamic local-global
relations, as well as the interdisciplinary nature of contemporary culture and processes
of networking. Presentation of different art
forms is directed towards the development
of the platform for sharing ideas, connecting artists, audiences and experts (critics,
journalists, historians, art...) and fostering
a critical consciousness that encourages innovation and pioneering spirit. The program of visual arts in the Cultural Center
of Pančevo, takes place in three exhibition
spaces - Garden Gallery, Cultural Centre
Foyer Gallery Pančevo and Elektrika Gallery.
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Galerija savremene umetnosti Smederevo
Gallery of Contemporary Art Smederevo
Omladinska 4, 11300 Smederevo
+381 26 222138, 223439
info@muzejsd.org
sdgalerija@yahoo.com
www.muzejsd.org
Tatjana Gačpar
Galerija savremene umetnosti Smederevo
je smeštena na glavnom gradskom Trgu.
Zgrada u kojoj se nalazi je podignuta 1929.
godine, a proglašena je za spomenik kulture 1998. godine. Od 2004. godine, Galerija je organizovana kao sektor Muzeja u
Smederevu. Program Galerije je orijentisan
na prezentaciju savremenih umetničkih
formi i izraza i u potpunosti je otvoren za
najrazličitije umetničke medije. Ideja je da
se istovremeno održava umetnički kvalitet i
promoviše kvalitetna produkcija. Okosnicu
rada Galerije čine izložbe po pozivu istaknutih umetnika iz zemlje i inostranstva,
kao i značajnih grupa i pojava na srpskoj
sceni.
Gallery of Contemporary Art Smederevo is
situated on the city’s main square. The building which houses it was built in the 1929,
and was declared a cultural monument in
the 1998. From 2004, the gallery functions
as a department of the Museum of the City
of Smederevo. The gallery program is focused on the presentation of contemporary
art forms and expressions, and is fully open
to a variety of artistic media. The idea is to
simultaneously maintain artistic quality and
promote quality production. The backbone
of the gallery`s program are exhibitions of
invited prominent artists from Serbia and
abroad, as well as significant groups and
happenings in the Serbian scene.
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Galerija Stara kapetanija
Stara Kapetanija Gallery
Kej oslobodjenja 8, 11000 Beograd
+381 11 3285935, 2622785
s.kapetanija@gmail.com
www.artinfo.rs
Vera Vitorović
Galerija Stara kapetanija je osnovana 1985.
godine sa ciljem da organizovanjem samostalnih, grupnih, autorskih izložbi prezentuje, promoviše i afirmiše sve što je aktuelno
i kreativno u stvaralaštvu likovnih i primenjenih umetnika svih generacija ovog regiona, bez želje da favorizuje određene tehnike,
poetike. Osim samostalnih, Galerija organizuje i tradicionalne kolektivne žirirane
izložbe. Galerija sarađuje i razmenjuje
izložbe sa sličnim galerijama iz zemlje i inostranstva. U okviru Posebnih programa, po
koncepciji urednice likovnog programa, u
toku godine priređuju se i revijalne i prodajne izložbe radova likovnih i primenjenih
umetnika, promocije, kamerni koncerti,
predavanja, kao i interaktivne kreativne radionice za decu i mlade.
Stara kapetanija Gallery was founded in
1985, with the aim of organizing solo, and
group exhibitions and thus presents, promotes and affirms all that is current and creative in the work of artists of all generations
of the region, with no desire to favor certain
techniques, genres or styles. In addition to
solo exhibitions, the gallery also organizes
traditional group exhibitions. The gallery
cooperates and participates on exchange exhibitions with similar galleries in Serbia and
abroad. Through specific programs following the concept of the curator, the gallery
organizes exhibitions of artists dealing with
fine and applied art, promotions, chamber concerts, lectures, as well as interactive
workshops for children and young people.
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Galerija Zvono
Zvono Gallery
Višnjićeva 5, 11000 Beograd
+381 11 2625243
galerijazvono@gmail.com
www.galerijazvono.org
Ljiljana Tadić
Program Galerije Zvono fokusiran je na
prvom mestu na mlade i nedovoljno etablirane umetnike, ali galerija sarađuje i
sa već uspešnim umetnicima. Tako je veći
deo programa, u smislu „nekonformističke
pozicije” upravo opredeljen za eksperimente
i „nepotvrđene vrednosti”. Izlagački plan
fokusiran je u pravcu afirmacije savremenih
tendencija i savremenih načina umetničke
komunikacije. Tokom godine, u galeriji se
održava veliki broj kako samostalnih tako
i grupnih, autorskih izložbi. Značajna je i
saradnja sa drugim kulturnim institucijama
u zemlji i inostranstvu. Posebno su zapaženi
nastupi galerije na sajmovima umetnosti
(Berlin, Beč, Franfkurt, Moskva, Majami,
Bolcano, itd).
The program of the Zvono gallery is primarily focused on the young and non-established artists. However, the gallery also
works with the well-known artists. The larger portion of the program is, in the sense of
the “nonconformist position” determined
towards experiments and “unconfirmed
values”. The exhibition plan is focused in
the direction of the affirmation of contemporary tendencies and contemporary ways
of artistic communication. Throughout the
year the gallery hosts a large number of solo
and group exhibitions. Cooperation with
other domestic and foreign cultural institutions is also important. The presentations of
the Zvono gallery at the art fairs in Berlin,
Vienna, Frankfurt, Moscow, Miami and
Bolzano were especially prominent.
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Gradska galerija Požega
The City Gallery Požega
Knjaza Miloša 8, 31210 Požega
+381 31 812421, 816582
kcpozega@gmail.com
www.kcpozega.rs
Slađana Petrović Varagić
Gradska galerija Požega je osnovana 1999.
godine u sastavu Kulturnog centra Požega.
Gradska galerija Požega se bavi organizovanjem samostalih i grupnih izložbi umetnika iz Srbije koji se bave savremenom
umetničkom produkcijom na polju vizuelnih umetnosti, kao i prezentacija bogatih
i kvalitetnih umetničkih zbirki koje su u
vlasništvu renomiranih galerija i muzeja u
zemlji, kao i organizovanjem međunarodnih
izložbi. Od svog osnivanja funkcioniše po
principu uređivanja programa kroz odluke
Umetničkog sveta koji čine istoričari umetnosti, kritičari i umetnici. Pored eksternih
članova saveta u uređivanju programa
učestvuje i urednik likovnog programa galerije.
The City Gallery of Požega was established
in 1999, as a part of the Cultural Center in
Požega. The City Gallery of Požega organizes: solo and group exhibitions of artists from
Serbia dealing with contemporary visual art
production; presentation of high-quality
art collections owned by renowned galleries
and museums in the country; international
exhibitions. Since its establishment, the gallery operates under the curatorial guidance
of the art council, which consists of art historians, critics and artists. In addition to the
external members of the council, the editor
of the program participates in creating programming.
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Galerija Grafički kolektiv
Grafički kolektiv Gallery
Obilićev venac 27, 11000 Beograd
+381 11 3285935, 2622785
graficki@eunet.rs
www.grafickikolektiv.rs
Ljiljana Ćinkul
Od svog osnivanja 1949. godine, Grafički
Kolektiv (GK) je, zajedno sa galerijom, bio
i danas je, jedan od vodećih umetničkih
centara ex-Jugoslavije u Srbiji. Kroz istoriju
Galerije GK može se pratiti razvoj grafike
u drugoj polovini 20. veka i prvoj deceniji 21. veka u nacionalnim okvirima i šire.
GK deluje kao medijator u kritičkoj recepciji
ovog značajnog likovnog fenomena. Isto
tako, Grafički kolektiv prati scenu u ostalnim segmentima vizuelnih umetnosti (fotografija, crtež, grafički dizajn...). Profesionalni ugled GK je zasnovan na raznovrsnom
programu, visokim kriterijumima, tradiciji i
entuzijazmu. GK je otvoren za nove pojave,
pravce, eksperimente. Osnivači Grafičkog
kolektiva su poznati i afirmisani umetnici
prve generacije grafičara beogradske Akademije likovnih umetnosti.
Since its foundation in 1949, Grafički
Kolektiv (GK), along with its gallery, was
and still is one of the leading art centers of
ex-Yugoslavia in Serbia. Throughout the
history of the GK Gallery, one can examine the development of graphic art in the
second half of the 20th century and in
the first decade of the 21st century, both
at the national level and beyond. GK acts
as a mediator in the critical reception of
this important artistic phenomenon. Also,
Grafički Kolektiv monitors the artistic scene
in other segments of the visual arts (photography, drawing, graphic design...). GK’s
professional reputation is based on varied
program, high criteria, tradition and enthusiasm. GK is open to new phenomena, directions, and experiments. Grafički Kolektiv founders are well-known and renowned
graphic artists from the first generation of
the Belgrade Academy of Fine Arts.
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Umetnička galerija Nadežda Petrović
Art Gallery Nadežda Petrović
Cara Dušana 6, 32000 Čačak
+381 32 222375
galerynp@eunet.rs
www.nadezdapetrovic.rs
Milica Petronijević
Umetnička galerija Nadežda Petrović osnovana je 1961, godinu dana posle organizovanja Prvog memorijala Nadežde Petrović, sa
ciljem da prati savremenu aktuelnu likovnu
umetnost i formira zbirke. Od osnivanja do
danas galerija je organizovala više od 300
izložbi (grupnih, samostalnih, tematskih,
edukativnih, istorijskih, međunarodnih) i
24 Memorijala Nadežde Petrović, najstarije
likovne manifestacije u zemlji, koja neguje
tradiciju prvih jugoslovenskih izložbi koje je
inicirala, organizovala i na kojima je izlagala
i Nadežda Petrović. Memorijal prati, predstavlja i afirmiše savremenu likovnu praksu. U
zbirkama galerije smešteno je više od 400
eksponata. Uporedo sa izlagačkom razvijala
se i izdavačka aktivnost galerije.
The Art Gallery Nadežda Petrović was founded in 1961, one year after the organization
of the first Nadežda Petrović Memorial, with
the aim to follow contemporary fine art and
to form collections. From its foundation up
until today, the Gallery has organized more
than 300 exhibitions (group, solo, theme,
educational, historic, international) and 24
Memorials of Nadežda Petrović, the oldest
fine arts manifestation in the country, which
nourishes the tradition of the first Yugoslav
exhibitions which were initiated, organized
by Nadežda Petrović. The Memorial follows
and represents the contemporary artistic
practice. More than 400 exhibits are stored
in the galleries collections. The gallery also
publishes materials.
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Galerija Multimedijalnog centra, Kulturni centar Novi Pazar
Multimedia Center Gallery, Cultural Center Novi Pazar
Stevana Nemanje 2, 36300 Novi Pazar
+381 20 335444, 313069
galerija.mmc.np@gmail.com
www.kcnovipazar.com
Amra Hodžić Jejna
Galerija MMC se nalazi u samom centru
grada u okviru zgrade Kulturnog centra
Novi Pazar. Osnovana je 1963. god, ali je
lokacija tokom godina menjana. Prostor je
renoviran 2008. godine i od tada postoji kao
Galerija Multimedijalnog centra, a sastoji se
od savremeno uređenog izložbenog prostora (120 m2), kluba (kafeterije) i kancelarija
uredništva. U Galeriji MMC Kulturnog
centra Novog Pazara se održavaju kulturni
događaji koji svojim sadržajem odgovaraju
na zahteve ljubitelja likovnog, muzičkog,
književnog, ali scenskog stvaralaštva. Pored
lokalnih likovnih umetnika, u Galeriji
izlažu umetnici iz ostalih delova Srbije, ali i
iz Bosne i Hercegovine, Makedonije, Crne
Gore i drugih zemalja, što celom programu
daje epitete multietničkog i internacionalnog.
MMC Gallery is located in the center of the
city, and it functions within the Cultural
Center of Novi Pazar. The gallery was established in 1963, but has changed its location
over the years. The space was renovated in
2008. Since then, it functions as a Multimedia Center Gallery, which consists of a
modern display area (120 m2), Club (cafeteria) and of the offices. The MMC Gallery
Cultural Centre of Novi Pazar held cultural
events that fit its content to the demands
of art lovers, of various sorts like fine arts
music, literature and theatre. In addition
to local artists, the gallery exhibits artists
from other parts of Serbia and from Bosnia
and Herzegovina, Macedonia, Montenegro
and other countries, which gives the whole
program an international and multi-ethnic
character.
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O3ONE
O3ONE
Andrićev venac 12, 11000 Beograd
+381 11 3238789
info@o3one.rs
www.o3one.rs
Nebojša Babić
O3ONE je nezavistan umetnički projekat, pokrenut 2004. godine, koji deluje u
oblasti kulturne produkcije i savremene vizuelne umetnosti. Osnovna misija jeste da
se podstakne razvoj i eksperiment u savremenoj umetničkoj produkciji, da se pruži
podrška kreativnom potencijalu Srbije, ali
i da se doprinese komunikaciji i razmeni
sa umetničkim centrima u zemlji i svetu.
Bez uzora u već postojećim umetničkim
sistemima, O3ONE predstavlja jedinstvenu
komunikativnu platformu u okviru koje
umetnički sadržaj postaje dostupan najširem
krugu ljudi, i proširuje ideju o tome šta
sve umetnost može da bude. Svestan svoje
uloge u društvu, realizovao je više društveno
odgovornih projekata u samom prostoru,
kao i na ulicama Beograda.
O3ONE is an independent art project,
launched in the 2004, which works in the
field of cultural production and contemporary visual art. Its primary mission is to encourage development and experimentation
in contemporary art production, to support
the creative potential of Serbia, but also to
contribute to greater communication and
exchange with art centers in the country
and around the world. Without role models in the existing art systems, O3ONE is
a unique communicative platform in which
artistic content becomes available to the
widest range of people, and extends the idea
of what art can be. Aware of its role in society, it has implemented several socially responsible projects in its space, as well as on
the streets of Belgrade.
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Atelje Otklon
Atelier Otklon
Dečanska 21, 11000 Beograd
+381 11 3242016
aleksandra@otklon.com
www.otklon.com
Aleksandra Prlinčević Milović
Atelje Otklon su 2007. godine osnovali
Željko Milović i Aleksandra Prlinčević Milović. Atelje izlaže dela savremene likovne i
primenjene umetnosti, a izlagački program
Ateljea Otklon se, pre svega, zasniva na
očuvanju, afirmaciji i promociji tradicionalnih likovnih disciplina. Takođe, značajna
se pažnja posvećuje oblasti autentičnog
likovnog izraza u primenjenoj umetnosti.
2009. godine, koja je bila prva izlagačka godina, realizovano je sedam izložbi. Izložbe
traju od deset do dvadeset dana, a ostatak
godine galerijsku postavku čine unikatni elemeni enterijera koji su deo takođe
značajnog segmenta delovanja ove galerije
na polju dizajna, zajedno sa radovima umetnika koji su izlagali u toku godine.
Atelier Otklon was founded in 2007 by
Željko Milović i Aleksandra Prlinčević
Milović. Atelier presents works of contemporary fine and applied arts, and its exhibition program is primarily based on the
preservation, affirmation and promotion of
traditional art disciplines. Also, significant
attention is paid to the field of authentic
artistic expression in the applied arts. In
2009 there were seven realized exhibitions,
which was Atelier’s first exhibiting year. Exhibitions run from ten to twenty days, and
the rest of the gallery settings are made of
unique elements of the interiors which are
also a significant part of the gallery’s program.
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Kulturni centar Rex
Cultural Center Rex
Jevrejska 16, 11000 Beograd
+381 11 3284534, 3284398, 3284299
rex@b92.net
www.rex.b92.net
Dušica Parezanović
Rex je centar za savremenu, angažovanu umetnost i analitičku kulturnu praksu. Proširujući
polja delovanja savremene kulture i kreativne
primene novih medija, Rex podržava
produkciju i prezentaciju umetnosti i kulture
u kojima se reflektuju aktuelne građanske
potrebe i inicijative; promoviše vrednosti
otvorenog društva; realizuje programe u
Beogradu i gradovima širom Srbije sa težnjom
da postane aktivan deo evropskog kulturnog
miljea – organizuje gostovanja umetnika,
učestvuje u forumima i radionicama, inicira i
realizuje internacionalne projekte, razmenjuje programe i iskustva sa srodnim centrima;
radi sa mladim autorima i publikom ističući
edukativni aspekt delovanja; stvara slobodnu
zonu za diskutovanje o aktuelnim političkim
i društvenim procesima. Rex je član TEH-a,
Mreže nezavisnih kulturnih centara Evrope i
neformalne regionalne platforme Clubture, i
partner je Evropskog volonterskog servisa.
Rex is a center for contemporary, engaged art
and analytical cultural practice. By expanding the fields of exertion of contemporary
culture and the creative application of new
media, Rex supports the production and presentation or art and culture in which current
citizens’ needs and initiatives are reflected; it
produces programs in Belgrade and in cities
across Serbia with the aim to become an active part of the European cultural milieu – it
organizes artist visits, it participates in forums
and workshops, initiates and produces international projects, exchanges programs and
experiences with like minded centers; it works
with young authors and audiences emphasizing the educational aspect of work; it creates
a free zone for discussion about current political and social processes. Rex is a member
of the TEH, a network of independent cultural centers of Europe and informal regional
platforms Clubture, and it is a partner of the
European Volunteer Service.
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Velika galerija Studentskog kulturnog centra (SKC)
Big Gallery of Student`s Cultural Centre (SKC)
Kralja Milana 48, 11000 Beograd
+381 11 3602009, 3602036
stevanvukovic@yahoo.com
www.skc.org.rs
Stevan Vuković
Galerija deluje u okviru programske šeme
Centra, koji se realizuje radom 11 redakcija i
6 pratećih službi. Odlukom Vlade Republike
Srbije, SKC 1992. godine postaje ustanova
studentskog standarda čiji je osnivač Vlada
Republike Srbije, ali se programska šema ne
menja. Ona se realizuje kroz različite forme:
od predavanja, okruglih stolova, seminara,
simpozijuma, izložbi, performansa, koncerata, formalnih i neformalnih scenskih
događaja, radionica, festivala, revija, žurki,
prigodnih okupljanja. Programi su namenjeni uglavnom studentskoj i omladinskoj
populaciji. Iako su fokus rada Galerije SKC
izložbeni programi, i sve druge navedene
forme prezentacije umetničkog rada nalaze tu
svoje mesto.
The SKC Gallery operates under the program schedule of the Center, which runs 11
art and 6 technical departments. Following
the decision of the Republic of of Serbia in
1992, SKC became established as a student
welfare institution, but it does not change the
program schedule. The program is realized in
different forms: lectures, round tables, seminars, symposiums, exhibitions, performances,
concerts, stage of formal and informal events,
workshops, festivals, fashion shows, parties,
and occasional gatherings. Programs are intended mostly for the student and youth
population. Although the SKC Gallery focuses on the exhibitions, the gallery also hosts
all other forms of presentations.
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Galerija SULUJ
SULUJ Gallery
Terazije 26/II, 11000 Beograd
+381 11 2685780
suluj@eunet.rs
www.galerijasuluj.org.rs
Ivona Rajačić Barandovski
Galerija je osnovana 1994. godine u delu prostora koji koristi stara umetnička asocijacija –
SULUJ (Savez udruženja likovnih umetnika
Jugoslavije). Umetnička orijentacija ili koncept galerije je ravnopravno izlaganje široke
aktuelne lepeze umetničkih poetika, tehnika
i orijentacija, obzirom da je galerija nastala
u okviru umetničkog udruženja. Galerija je
otvorena za saradnju sa drugim institucijama,
pojedincima, likovnim kritičarima, i svake
godine ostvaruje se i međunarodna saradnja.
U galeriji se realizuju i manje stručne tribine, prezentacije knjiga i drugi programi. Za
šesnaest godina postojanja i rada, galerija je
realizovala preko 300 izložbi.
The gallery was founded in 1994 in the part
of the space used by the former Art Association - SULUJ (Association of Fine Artists
Association of Yugoslavia). The artistic direction and concept of the gallery is based upon
a broad exposure to a wide range of current
artistic styles and techniques, since the gallery was created within the art association.
The gallery welcomes cooperation with other
institutions, individuals, art critics, and every
year an international cooperation is realized.
In the gallery panel discussions, book presentations and other programs are also realized.
In its sixteen year history, the gallery has completed over 300 exhibitions.
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Mala galerija ULUPUDS-a
ULUPUDS Small Gallery
Uzun Mirkova 12, 11000 Beograd
+381 11 2622582
ulupuds@beotel.net
admin@ulupuds.org.rs
www.ulupuds.org.rs
Gordana Marković
Po osnivanju, 1953. godine, otvorena je
prva Stalna prodajna galerija na Terazijama.
Ova galerija je 1969. godine preseljena u
Uzun Mirkovu ulicu, a danas uspešno radi
pod nazivom Mala galerija ULUPUDS-a.
Od početnog utvrđenog programa prodajnog tipa Mala galerija je od 1982. godine
promenila izgled i koncepciju kada započinje
sa kamernim autorskim izložbama članova
Udruženja. U Galeriji se odvija izlagačka
delatnost i to uglavnom vezana za primenjenu umetnost.
After its founding in 1953, the first permanent
sales gallery was opened in Terazije Square.
This gallery was moved to Uzun Mirko’s street
in 1969, and now successfully operates under
the name ULUPUDS Small Gallery. From
its initial sales program, the Small Gallery
has since 1982 changed its look and concept,
when it started small chamber exhibitions of
the members of the Association. The gallery
exhibition is taking place and this activity is
mainly related to the applied arts.
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Galerija Singidunum
Singidunum Gallery
Kneza Mihaila 40, 11000 Beograd
+381 11 2622582
ulupuds@beotel.net
admin@ulupuds.org.rs
www.ulupuds.org.rs
Zorica Đermanov
U sastavu Galerije nalaze se prodajni prostor u prizemlju i izlozbeni deo u donjem nivou. U prizemlju Galerije odvija se prodaja
dela članova više umetničkih udruženja. U
izložbenom delu odvija se godišnji program
samostalnih, grupnih i autorskih izložbi, od
kojih su neke tradicionalne. Galerija Singidunum je otvorena 1980. godine, i u centru
je kulturnih, turističkih i poslovnih zbivanja Beograda. Pored izlaganja dele članova
udruženja, galerija promoviše povezivanje
likovnog stvaralaštva iz oblasti primenjenih
umetnosti i dizajna, sa interesima široke i
raznovrsne publike. Značajni segment galerije
Singidunum je prodaja dela iz oblasti primenjene i likovne umetnosti.
The gallery is organized on two levels - a retail
space on the ground floor and an exhibition
space on the lower level. Mainly sales of work
by members of several art associations are
located on the ground floor. The exhibition
space presents an annual program which consists of solo and group exhibitions, some of
which are traditional. The Singidunum Gallery opened in 1980, in the midst of cultural,
tourist and commercial events in Belgrade.
In addition to exposing members of the association, the gallery promotes fine and applied
arts and design to a broader and more diverse
audience. The most significant segment of the
gallery is the sale of works in the field of applied and fine arts.
178
179
Galerija ULUS
ULUS Gallery
Knez Mihailova 37, 11000 Beograd
+381 11 2623128, 2621954, 2622281
galerija.jasna@yahoo.com
ulus@verat.net
www.ulus-art.org
Jasminka Plavšić Đerković
Galerijski prostor ULUS-a otvoren je 1988.
godine. Galerija ULUS je reprezentativni
izlagački prostor Udruženja likovnih umetnika Srbije, ali je otvorena i za saradnju sa
drugim kulturnim organizacijama u zemlji i u
inostranstvu. Programski ustanovljene kriterijume Galerija sledi pune trideset i tri godine,
a o nivou njenog likovnog programa svedoči
preko hiljadu likovnih manifestacija. Cilj
izlagačkog programa je i otvorenost za samostalne projekte, autorske projekte istoričara
umetnosti i likovnih kritičara, grupne likovne manifestacije i međunarodnu saradnju.
Dvadeset i četiri realizovane izložbe godišnje
potvrđuju svojevrstan pregled domaće likovne produkcije.
ULUS Gallery was opened in 1988. It is a
representative space of the Association of Fine
Artists of Serbia, but it is open to the cooperation with other cultural organizations in the
country and abroad. The program follows the
criteria it established thirty-three years ago,
and the quality of its visual program is testified by over one thousand art events. The
aim of the exhibition program is also to be
open to the solo projects of artists, art historians, art critics, group exhibitions and to the
international cooperation. Twenty-four exhibitions per year present an overview of local
visual art production.
180
181
Galerijski i izložbeni prostori
savremene vizuelne umetnosti u Srbiji
Instrumenti podrške Ministarstva kulture, informisanja
i informacionog društva Republike Srbije 2003-2011.
Galleries and Exhibition Venues
of Contemporary Visual Art in Serbia
Instruments of Support of the Ministry of Culture, Media and
Information Society, Republic of Serbia, 2003 – 2011
Izdavač Publisher:
Udruženje građana „Anonymous said:”, Cara Nikolaja 61b, Beograd
Citizens’ Association “Anonymous said:”, Cara Nikolaja 61b, Belgrade
Za izdavača For publisher:
Sandra Marković, Anica Tucakov
Autor projekta, urednik publikacije Author of the project, editor:
Dimitrije Tadić
182
Projekat „Galerije i izložbeni prostori savremene vizuelne umetnosti u Srbiji” se sastoji od ove publikacije
i istraživanja zasnovanog na upitnicima i intevjuima sa vodećim osobama galerija i izložbenih prostora u
Srbiji, čiji su programi finansijski podržani od strane Ministarstva kulture, informisanja i informacionog
The project “Galleries and Exhibition Venues of the Contemporary Visual Arts in Serbia” consists of this
publication and a research based on questionnaires and interviews with persons in charge of galleries and
exhibition venues in Serbia, whose programs are financially supported by the Ministry of Culture, Media
and Information Society of the Republic of Serbia
Autori istraživanja Research authors:
Nina Mihaljinac i Dimitrije Tadić
Istraživanje sprovela Research conducted by:
Nina Mihaljinac
Tekstovi Texts: Dimitrije Tadić, Nina Mihaljinac, Maida Gruden
Koordinacija Coordination: Sandra Marković, Anica Tucakov
Dizajn i prelom Design and layout: Mane Radmanović
Lektura Proof reading: Jelena Marić
Prevod Translation: Nataša Petrušić
Tiraž Number of copies: 500
Štampa Printed by: Alta Nova, Beograd
Beograd Belgrade 2012
www.?

Galerijski i izložbeni prostori savremene vizuelne umetnosti u Srbiji

Transcription

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