Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

praksi 1970-ih godina. Tekstualni izvor za
ovaj film su stejtmenti umetnika, kustosa i
kritičara nastali u okviru projekta Oktobar
75 u Beogradskom Studentskom Kulturnom
Centru. SKC je redovno organizovao
alternativne ‘oktobarske događaje’ nasuprot
državnoj manifestaciji Oktobarski
Salon koja je nosila buržoaski prerogativ
‘salon’ i bila uopšteno l’art pour l’art-ističke
orijentacije. Godine 1975, Dunja Blažević,
u to vreme urednica programa za vizuelne
umetnosti predložila je pojedincima i
grupama okupljenim oko ove alternativne
kulturne institucije projekat kolektivnog
promišljanja koncepta samoupravljanja
kroz afirmativno ili kritičko pozicioniranje.
Kino beleške su komponovane od verbalnih
stejtmenta i performativnih gestova
brojnih protagonista Novih umetničkih
praksi. Umetnički stavovi koje ovde vidimo
usmereni su na promišljanje društvene
uloge umetnosti kroz koncepte ‘forme’,
‘autonomije’, ‘ekonomije’, ‘politike’ i ‘institucije’
savremene umetnosti. Polje umetnosti
je u ovom filmu prikazano kao polje
debate kroz koju se oštro profilišu različiti
pristupi i strategije delovanja.
Kino Beleške
IZVOD IZ SKRIPTA ZA FILM
(Učestvuju: Bojana Pejić, Raša Todosijević,
Goran Đorđević, Ješa Denegri, Jasna
Tijardović, Marina Abramović, Dragica
Vukadinović, Slavko Timotijević, Zoran
Popović, Dragomir Zupanc, Biljana Tomić,
Dunja Blažević, Nebojša Filopović, Goran
Trbuljak, Gergelj Urkom )
Dunja Blažević: Rekla bih da se nalazimo
u Jugoslaviji, da se nalazimo u Studenskom
kulturnom centru u Beogradu, da živimo u
samoupravljanju ili da pokušavamo nekako sa
ostalima da ga gradimo. [...]
Dragomir Zupanc: Ovo je velika dvorana
antagonisms.
Artistic proposal no. 2
Lutz Becker, CINEMA NOTES, October 1975
Cinema Notes by Lutz Becker deals with the
relation of the language of art and the system
of art, and, more widely, of society as
a whole. As against the today vital strategy
of the culturalization of politics, this film
takes us back to the burning problem of
the politization of art – a tendency that
is gradually disappearing on the horizon
of contemporary market individualism.
Cinema Notes, just like Partisan Songspiel,
starts off from the analysis of a concrete
situation: in this case the context of
Yugoslav self-managing socialism and the
concept of contemporary art in its critical
mode, as set up within the framework of
the New Artistic Practices of the 1970s.
The textual source for this film lies in the
statements of artists, curators and critics
created in the framework of the project
October 75 in the Belgrade Students’ Culture
Centre. The SCC regularly organized
alternative ‘October events’ set against
the state-managed event the October
Salon, which appropriated the bourgeois
prerogative of salon and was in general of
l’art pour l’art orientation. In 1975, Dunja
Blažević, at that time an editor for a visual
arts programme, proposed to individuals
and groups collected around this alternative
cultural institution a project of
collective thinking through the concept of
self-management via affirmative or critical
positioning. Cinema Notes is composed
of verbal statements and performative
gestures by numerous protagonists of the
New Artistic Practice. The artistic views
that we see here are directed towards
the consideration of the social role of art
through the concepts of form, autonomy,
economy, politics and the institutionalization
of contemporary art. The field of art