::OKO KUćE::

Galerija Doma omladine Beogra, Makedonska 22

29.11-11. 12. 2011

”U tim novim zgradama je bilo puno stanova koji pripadaju nekoj velikoj firmi, koja još nije napravila raspodelu . Imaju svoje stanove, imaju liste i dok komisija ne odluči, ne sabere bodove, dok se ne reše neke tužbe izmedju dva, tri kandidata ko će dobiti taj stan, stan je bio zaključan i prazan.

I taj moj prijatelj je postao prosto stručnjak da kad vidi zgradu proceni na kojem spratu je neuseljen stan. Na razne načine :da l’ nema zavese, da l’ nema svetlo, on to proverava danima, vidi da niko tu ne dolazi. Stavljao je šibice u vrata ili selotejp, pa dolazi i proverava da li se otvaraju ili ne. Kad vidi da se vrata ne otvaraju nedelju, dve, da nema otirača, nikakvih tragova da tu neko ulazi, pa još ako nema na vratima imena, je l’ , nego čista vrata, on je provaljivao u taj stan.

Da, burgija ili ona klješta pa se ona patent brava odvali i otvore vrata. On je sa sobom nosio rezervnu patent bravu, burence, ključeve da može istog časa da tu bravu zavuče, zašrafi i stavi svoj ključ.

Bio je zakon da ako provalite u stan u kome ima stvari, koji je useljen, to je zakonski kažnjivo. Ali ako provalite u stan koji je potpuno prazan, neuseljen, to nije bilo krivično delo. U slučaju da iz te firme dodje neka porodica i kaže: ”To je naš stan”, on bi bez problema rekao u redu, izvol’te, ja se do sutra iseljavam odavde, odlazim, nisam bušio zidove, nisam uradio nista(stvarno nije urnisao stan ni na koji način, vodio je jako računa da prosto ne dira ništa, da parket ostane zaštićen tepihom) …

On bi se u tom momentu preselio samo na neki sedmi ili četvrti sprat gde je isto tako imao ”svoj”, obeležen stan sa nekim imenom Petrović, Mihajlović, koje je on nalepio na vrata i obeležio kao svoj.”

iz razgovora sa B.K.

ZA MALE I VELIKE

Salon MSUB, Pariska 14

4 Novembar, 2011 – 4 Decembar, 2011

BWA galerija u Vroclavu i Muzej savremene umetnosti u Beogradu predstavljaju:

Salon Muzeja savremene umetnosti
Pariska 14, Beograd

Kustosi: Dušica Dražić, Ana Mitus (Anna Mituś), Una Popović, Joana Stembalska (Joanna Stembalska)

Umetnici: Nikos Arvanitis (Grčka), Hubert Czerepok (Poljska), Marko Crnobrnja (Srbija), Aleksandar Dimitrijević (Srbija), Marija Đorđević (Srbija), Petra Feriancova (Slovačka), Karolina Freino (Poljska), Nenad Jeremić i Dušan Jevtović (Srbija), Alicja Jodko – DWF / Entropia (Poljska), Vladimir Perić (Srbija), Vedran Perkov (Hrvatska), Joanna Rajkowska (Poljska), Milorad Mića Stajčić (Srbija), Janek Simon (Poljska), Kama Sokolnicka (Poljska), Miloš Tomić (Srbija), Vova Vorotniov (Ukrajina), Zorka Wollny (Poljska), Martin Zet (Češka)

Dla dzieci i dla dorosłych. For Kids and Adults

For Kids and Adults

the play exhibition, to be open on September 7, at 7 p.m.

 

Artists:
Nikos Arvanitis, Hubert Czerepok, Marko Crnobrnja, Marija Đorđević, Petra Feriancova, Karolina Freino, Nenad Jeremić, Alicja Jodko (DWF/Entropia), Vladimir Perić, Vedran Perkov, Joanna Rajkowska, Milorad Stajčić, Katarina Šeda, Janek Simon, Kama Sokolnicka, Predrag Terzić, Miloš Tomić, Vova Vorotniov, Zorka Wollny, Martin Zet

Curators: Dušica Dražić, Anna Mituś, Una Popović and Joanna Stembalska

Awangarda gallery, BWA Wrocław
7 Sept – 2 Oct 2011

Wita Stwosza 32

OPENING RECEPTION: 7 Sept from 7 to 9 PM

organizers: BWA Wrocław
Muzeum Sztuki Współczesnej Belgrad
The exhibition continues in Salon of the Muzeum of Contemporary Art in Belgrade: 4/11-4/12/2011

12-15 May, ACTIVATION OF PHERIPHERAL VISION, ART-ATHINA, Greece

Athinorama magazine, the leading weekly city guide of Athens, with a view to initiating a dialogue between contemporary art creation in Athens and that of two neighbouring, though not well known, art scenes, invites two vibrant cultural institutions from Belgrade and Prishtina to curate a video-art screening programme within the frame of ART-ATHINA. Dom Omladine Beograda, a centre that promotes youth programmes in the sphere of contemporary art and culture, and Stacion – Center for Contemporary Art Prishtina, the sole institution for contemporary art and architecture in Kosovo.

Curated by: Despina Zefkili
Participating institutions:
Dom Omladine (Anja Obradovic)
Stacion – Center for Contemporary Art, Prishtina (Albert Heta, Vala Osmani)

VIDEOS:
DOM OMLADINE
Isidora Ficovic, Love Parade, 2009/ Anica Vučetić, Observing, 2008 /Marija Djordjević, Mirna do marta, 2009
Darko Stojkov, Side-Visor – Activation of Peripheral Vision. Test 01, 2009 /Jelena Jureša, Mozarts, 2009 /Miloš Tomić, Spit by a Kiss, 2011
Vladimir Nikolić, Rhythm, 2001/Vesna Tokin, City of Shadows, 2004/Vladimir Milovanović, Manifest, 2010/Dragana Žarevac, Perfect Marriage, 2001
STACION – CENTER FOR CONTEMPORARY ART, PRISHTINA
Lëvizja Vetëvendosje, Demonstration of February 10, 2007 Prishtina, 2007/Alban Muja & Yll Çitaku, Blue Wall Red Door, 2009

Mirna do marta, CAA and ARTspace Media LOunge, New York

7:30AM – 5PM Feb.10 -12 Concourse F, Concourse Level Hilton New York 1335 Avenue of the Americas New York, NY 10010

Not so distant memory,
screening of Mirna do marta as part of hour-long presentation of video works from the territory of what used to be Yugoslavia.
Artists: Danilo Prnjat (Montenegro), Marija Djordjevic (Serbia), Renata Poljak (Croatia), Boris Glamocanin and Sandra Dukic (Bosnia and Herzegovina), Mladen Miljanovic (Bosna and Hercegovina), Borjana Mrdja (Bosna and Hercegovina), Alban Muja (Kosovo), Leban-Kleindienst (Slovenia) and Zoran Poposki (Macedonia).

Not so distant memory, curated by Boshko Boshkovic

MIRNA DO MARTA

exibition of produced works 2008-2009 DB Mangelos Young Visual Artist Award, opening 21.6.2010 ,  Remont gallery, Belgrade

Mirna do marta is a home musical. The main character is a retired woman living in the country. The genre in which there is no situation you cannot sing and dance in ( the market – My Fair Lady, on the fire escape – West Side Story, in the factory during and after a murder – Dancer in the Dark or even in a prison – Jail House Rock)is transferred to a more  „normal“ scenery: with my mother in Lipovica. The starting point of this work is her claim that every day is the same, that there is a pattern to her average day with very little variation. A choir accompanies her while she works in the garden, feeds the animals, takes her afternoon nap and watches TV. The usual beat of performing these actions changes through the rhythm and dance and everyday life becomes… (almost) seductive.

make yourself at home

MAKE YOURSELF AT HOME
Recording location: The city of Belgrade, Presented at BELGRADE:NONPLACES, Salon of Museum of Contemporary Art Belgrade
Period: 31.07 – 6.09.2009

Obradovic’s and Djordjevic’s work begins with ads for a flat/room rental in daily newspapers. They will make an appointment with owners and then visit flats and rooms for rent. Room tone will be recorded. (Room tone is the “sound of a room” without any movement or dialogue, usually used in films, behind dialogue, ADR, to make the scene appear seamless.)

The archive of sounds will be “build” during the exhibition and visitors will be able to listen to these sounds in Salon.

These spaces had many inhabitants who left marks. A mixture of traces that overlap piled and created an independent entity that can be seen and heard only in these empty moments (for-rent-moments). By recording the room tone in this exact moment, expectance and uncertainty for future growth of the space will be “caught” in it too.

Make yourself at home

There is a tense moment in the film “Living in oblivion” by Tom DiCillo while the sound mixer records thirty seconds of room tone. The entire cast and crew manages to remain silent and still resulting that the shot looks almost frozen.

That is the one of most exposed (film) roles that is given to the room tone. room tone is the constant element in all recorded, lived sound and provides the background of all film production audio.  It creates the sound of authenticity in a documented world, provides continuity across edits, smoothes out constructed transitions, moments—we only notice when there is a shift—as room tone relates intimately to the size, acoustics, structure and solidity of a space. The soundtrack “going dead” would be perceived by the audience not as silence, but as a failure of the sound system.

We are finding rooms, within already existing homes around the city, that are (advertised) for rent  treating them as possible film sets or actually recording sets, sound sets. These rooms are provisional, transitory.  The ad in the newspaper (allows anybody to come and visit those partially dwelled homes) makes the private space, temporarily public. Every location has a distinct presence of subtle sounds created by ambient sound sources and the reverberation of those sounds within the location. A microphone placed at two different (empty)rooms will produce different room tone for each. Tones collected like this will make archive, a collection  creating a  map of the city, marking the route with sound, only.

po ovakvom danu /On a day such as this

video rad,22.4-1.5.2009, Galerija DKSG,Beograd

video peace, opening on 22. april  2009, gallery DKSG, Belgrade

video still

Over the course of one month, the subject of this work kept a diary of his daily activities (10:50-
11:06 eating breakfast,11:07 – 11:33 watching TV,16:45 meeting with B.V.) and recorded audio
of some of his daily conversations. He was a perfect spy for himself.
From this collected material I wrote a scenario of his average day. The entire day is planned and
determined from morning until evening. When, where, what and with whom. The person he is
meeting at cafe gets his share of the dialog, the man who stops while he is hitchhiking is there
at the set time and performs his portion of the text, we know what he is eating and when he will
watch TV. Nothing is left to chance. According to this scenario the subject performs his day,
that is fiction (based on reality, as it is sometimes pointed out in movies) with the camera that
follows him as his only witness.

Text by Maida Gruden
The video On a Day Such as This by Marija Đorđević renders a certain view of the pace
of a person’s average day. From waking up till going to sleep, this outline appears to be the
foundation, bare background for the further construction of new narratives, correlations
and perspectives. The linear flow is a composition of discreet, almost stalking sequences
(where the camera is distant, withdrawn) and very intimate, close up shots of a fellow traveler.
It seems that an intruder who enters the subject’s life occasionally turns into a possible
adherent, but the followed person is never aware of the one who is following him. These are
the moments in which we can imagine ourselves in most ordinary activities seen from an outside
point of view – I wake up, brush my teeth, travel by public transportation, hitchhike, walk… – in
order to examine the objectivity of our own view. But does this objectivity exist when lyricism
slides in? Objectivity exists as a matter of agreement, while lyricism emerges from well known
shapes, sounds and situations. The minimalism of fragments contained in this work by Marija
Đorđević, leaves us in the belief that the key moments are deliberately left out, that we are
on the outskirts of things going on – but if the timeline is carefully followed, one will come
to a conclusion that those ephemeral events fill in the pace of the day completely. Even what
is absent is not left unreferenced. On a Day Such as This is a step toward comprehending the
daily routine, it is a melancholic anticipation of potential differences. This very anticipation
opens up other directions for further steps in a day such this.

Subjekat ovog rada je tokom perioda od jednog meseca vodio dnevnik događaja. On revnosno
beleži svoje radnje (od 10:50 doručkujem, 11:o7 – 11:33 gledam TV, 16:45 susret sa B.V.).
Tonski beleži i pojedine razgovore koje je vodio. On je savršeni špijun samog sebe.
Od prikupljenog materijala sastavila sam scenario jednog njegovog prosečnog dana. Ceo dan
je isplaniran, određen od jutra do večeri. Kada, gde, šta i sa kim. Osoba sa kojom se sastaje u
kafani dobija dijalog koji izgovara, čovek koji mu stane pri stopiranju nailazi u tačno vreme i
izgovara svoj deo teksta, zna se šta će jesti, kada će uključiti TV. Skoro ništa nije prepušteno
slučaju. Po ovom scenariju subjekt izvodi svoj dan koji je fikcija (zasnovana na stvarnosti kao
što se naglašava u pojedinim filmovima) jedina publika i svedok ove izvedbe je kamera koja ga
celim putem prati.
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Tekst Maide Gruden

Materijal od koga je sačinjen video rad Marije Đorđević Po ovakvom danu uspostavlja i
ispostavlja jedan pogled u tok običnog dana jednog čoveka. Od buđenja do ponovnog sna, ova
kratka skica deluje kao fon, ogoljena pozadina na osnovu koje je moguće naslućivati i graditi
nove naracije, poređenja i poglede. Montirani linearni tok kombinovan je od diskretnih, gotovo
uhodničkih, sekvanci u kojima se kamera povlači i okoliša do vrlo bliskih saputničkih kadrova.
Kao da se uljez koji ulazi u subjektov život pretvara na trenutke u mogućeg zaštitnika; ali praćeni
nikad nije svestan prisustva pratioca. Ponekad se čini da su to momenti u kojima uspevamo da
zamislimo sami sebe kako izgledamo posmatrani spolja pri najobičnijim radnjama: budim se,
perem zube, vozim se gradskim autobusom, stopiram, krećem se, kupujem u pekari… isprobavamo
objektivnost sopstvenog pogleda. Ali šta je objektivnost, da li ona postoji, da li je istisnuta
ako se poetičnost neprimento uvukla? Obejktivnost postoji kao sporazumna stvar, a poetičnost
je prisutna jer izvire iz prepoznatljivih obrisa, zvukova i situacija, ma koliko ovaj video rad
delovao svedeno, na čudan način repetativno ustrojeno dok je jedini kratki fragment dijaloga
koji se jasno čuje topao. Minimalizam blokova od kojih je komponovan rad Marije Đorđević u prvi
mah stvara utisak da su ključni događaji dana namerno izostavljeni, da se krećemo po obodu,
ali ukoliko se prati vremenski rasopred segmanata, istovremeno se uviđa kako oni potpuno
ispunjavaju vreme i da čak i ono što je odsutno ne ostaje nezabeleženo. Po ovakvom danu je
jedan od koraka ka viđenju dnevne „rutine“, to je melanholično naslućivanje moguće razlike.
Upravo to naslućivanje otvara različite smerove za druge korake po ovakovom danu.

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Mirna do marta, CAA and ARTspace Media LOunge, New York

7:30AM – 5PM Feb.10 -12 Concourse F, Concourse Level Hilton New York 1335 Avenue of the Americas New York, NY 10010
Not so distant memory,
screening of Mirna do marta as part of hour-long presentation of video works from the territory of what used to be Yugoslavia.
Artists: Danilo Prnjat (Montenegro), Marija Djordjevic (Serbia), Renata Poljak (Croatia), Boris Glamocanin and Sandra Dukic (Bosnia and Herzegovina), Mladen Miljanovic (Bosna and Hercegovina), Borjana Mrdja (Bosna and Hercegovina), Alban Muja (Kosovo), Leban-Kleindienst (Slovenia) and Zoran Poposki (Macedonia).

Not so distant memory, curated by Boshko Boshkovic

der blick nach ausen

Der Blick nach ausen

Junge Kunst aus Akademien und Hochschulen.
Die Hochschule für Bildende Künste Dresden zu Gast

Eröffnung	Sa – 18.10.2008 um 11.30 Uhr
Ausstellungsdauer	18.10. bis 09.11.2008
Öffentl. Führung	Termine in Vorbereitung
Führungen auf Anfrage	Tel. 02102 / 550 4180

Die Ausstellung versammelt 8 Künstlerinnen und Künstler, Meisterschüler aus der Klasse von Prof. Peter Bömmels: Marija Djordjevic, Henning Griesbach, Karla Hecker, Ilka Kretzschmar, Markus Lange, Lucas Oertel, Christine Schiewe und Fee Vogler. Sie zeigt damit einen kleinen und qualitätsvollen Ausschnitt aus dem Bereich der Malerei, Grafik und anderen Medien der Bildpoesie der Klasse.