Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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Revisiting Belgradephotography: Boba Mirjana Stojadinovićdez.orgBoba Mirjana Stojadinović (1977), MA Fine Arts at Belgrade Faculty ofFine Arts and Rotterdam/Plymouth (NL/UK) – Piet Zwart Institute inRotterdam. Her work in different media often explores the nature of place.DEZ.ORG is a fluctuating group of visual artists based in Belgrade, thatfaces problems of expression within art frameworks for each opportunityit creates for itself, as well as questions of production, distribution and interpretationof works, as well as its evaluation. Just as permanently open isthe question of the possibility of cooperation itself within a group of visualartists.Two-day small scale event, space interventionDecember 5-6, 2008.Hotel Kasina, Terazije square, BelgradeThis event is a continuation of an event/project Hotel New York. Inquiry in Locationthat had happened in Hotel New York in Rotterdam in July 2007 as a cooperation ofGunndís Yr Finnbogadóttir, Maja Bekan and Boba Mirjana Stojadinović.Adaptation and realization of the Belgrade event by Boba Mirjana Stojadinović, organization– artist group DEZ.ORGParticipants (authors/performers in capital letters, audience in regular): AleksandrijaAjduković, Divna Bekan, MAJA BEKAN, Dina Belančić, GORDANA BELIĆ, DušicaDražić, Dragan Đorđević, Ivica Geratović, GUNNDIS YR FINNBOGADOTTIR,Nikola Jovanetić, Miroslav Karić, Tijana Knežević, RUTH LEGG, Tanja Marković,Danijela Mršulja, SLAVICA PANIĆ, Milena Pavlović, Žarko Đurić, ANDRIJAPAVLOVIĆ / DRAGAN JOVANOVIĆ, Ljiljana Pavlović, Vesna Perić, PeraPopović, Dragan Protić, Jelena Pušica, Maja Radanović, DRAGAN RAJŠIĆ, MAJARAKOČEVIĆ CVIJANOV, Bojana Romić, Milica Ružičić, SUSAN SCHMIDT,EMILY KYOKO SNOWDEN, BOBA MIRJANA STOJADINOVIĆ, Marija-JoannaStojadinović, Vladimir Stojadinović, BORIS ŠRIBAR, Jelena Šribar, IVANASMILJANIĆ, Spomenka Smiljanić, Slobodan Smiljanić - Bob, Ana Vilenica, NemanjaVišnić, Anica Vučetić, Dejan Vučetić.Revisiting Belgrade was a discrete event that was possible to attend only with ane-mail reservation. Each visitor faced the uncertainty of where something, theydidn’t know what, is going to happen. Arriving at the appointed time the visitorswere escorted and left in front of the door on the seventh floor of Kasina Hotel toface the space mostly on their own and to explore it. All works have been producedfor this event, and they included: performances 1:1, space interventions, photographs,objects, sound, video… (exceptionally, one performance happened on thetelephone line Reykjavik-Zagreb) presented no more than three at the time. Therelation between the visitor, the space and the author became mutually conditioned.works(Boba Mirjana Stojadinović)2008: My Travels With Barry, TENT. Rotterdam,NL; Perfect Society, Schouwburg, Rotterdam, NL;2007:, Hotel New York. Inquiry in Location, HotelNew York Rotterdam, NL; 2006: Entrance, Facultyof Fine Arts Gallery; Autoplay, Kontekst Gallery,Belgrade, organized by DEZ ORG, project participantsODA PROJESI, Turkey; H.arta, Romania;Vizionarsko društvo, B&H; 2005: Gallery, BelgradeYouth Centre Gallery.cONTAcTBoba Mirjana Stojadinović(DEZ.ORG)address: Ravanička 3611000 Belgradetelephone/fax: +381 11 24 11 489telephone: +381 63 34 64 62e-mail: bobaart@gmail.com,dezorg@gmail.comweb: www.dezorg.nethttp://bobaart.wordpress.comr a s [53]t e r
CURVE FOR GAUSSphotography: www.hajdeda.org.rs/okvirtela/hajde da... groupBODY FRAME PROJECTThe Body Frame Project is search for answers to the following question: dodiversities always induce misunderstandings and increase distance betweenpeople, or they can also inspire development and creation of a new quality.Furthermore, the Project also promotes social dialogue, as a way to understandlife context that differs from our own. Body Frame tends to connectsub-cultures that usually function apart from each other: persons withdisabilities and contemporary dance professionals. Within the Body FrameProject, we have organized three sets of workshops in Belgrade, and onein Paraćin. All of these were attended by dancers and contemporary dancechoreographers, persons with disabilities (wheel-chair users, blind andhard-of-seeing persons, deaf and hard-of-hearing persons), as well as all theother individuals who were interested in experiencing something like this.In September of 2008. Five persons with disabilities and four contemporarydancers started working on a professional dance piece.Choreography: Boris Čakširan and Sanja Krsmanović Tasić; Dancers: Ana Živković,Andrijana Lubina, Danijel Todorović, Jelena Stojiljković, Jovana Rakić, Senad Sopnić,Stojan Simić, Svetlana Gogić; Music: Aleksandra Đokić; Voice: Svetlana Gogić;Dramaturgy: Marko Pejović; Costume design: Boris Čakširan; Light design: PaunPavlović; Dance pedagogue: Dejana Budiška; Photography: Nenad MiloševićPremiere December 10, 2008, Belgrade Dance CentreCurve for Gauss is a title based on model of Gaussian ‘bell shape curve’ widely usedin statistics (and other disciplines, as well) to describe normal distributions. Basicassumption is that measuring results of certain trait will be grouped around meanvalue in majority of population. Everyone out of that central distribution area is amember of ‘uncontrollable’ minority (that is, everyone showing either extremelyhigh or extremely low results for measured trait). Our piece is bringing out thequestion of introducing ‘disturbance of average’, that is to say introducing the lifeitself, by these minority groups of society.Marko Pejović* source: www.hajdeda.org.rs/okvirtela/cONTAcTGrupa “Hajde da...”address: Knez Danilova 12/8411000 Belgradetelephone/fax: +381 11 3240 425e-mail: hajdeda@eunet.yuweb: www.hajdeda.org.rs/bodyframe/r a s [55]t e r
Page 2 and 3: Belgrade, january 2009.
Page 4 and 5: Yearbook of the Independent Perform
Page 6: project directory[44/45][46/47][48/
Page 9 and 10: changed when compared to the situat
Page 11 and 12: powerful institutional resources, a
Page 13 and 14: supporting fresh and emerging criti
Page 15 and 16: In alternative terms one could addr
Page 17 and 18: ary “forest artists” neverthele
Page 19 and 20: The impact of the Bitef Festival, a
Page 21 and 22: about is total absence of public th
Page 23 and 24: What was common to Yugoslav retro-a
Page 25 and 26: and tactics of behavior and work wi
Page 27 and 28: Kolekcija 18 (2008), when he attemp
Page 29 and 30: tion and heteronormativization in t
Page 31 and 32: gies in live performances. Example
Page 33 and 34: × ana vujanovićNot Quite-Not Righ
Page 35 and 36: art, body art and happenings of the
Page 37 and 38: at the level of critical re-thinkin
Page 39 and 40: aspect: “Fostering Creativity”,
Page 41 and 42: now!” activity, and nearly anonym
Page 43 and 44: × × × × × × × × × × × ×
Page 45 and 46: In/Visible Cityphotography: Đorđe
Page 47: BLANKSPACE (Međuprostor)photograph
Page 51 and 52: knotphotography: Lidija Antonovićm
Page 53 and 54: photography: The Worstmudra theatre
Page 55 and 56: photography: Villa and Zapata in Pr
Page 57 and 58: AUDITION FOR PARADISEphotography: I
Page 59 and 60: ONE PIECE OF ADVICE - ONE BEERphoto
Page 61 and 62: TOUCHING - BREATHING - WALKINGphoto
Page 63 and 64: photography: Stanislav MilojkovićS
Page 65 and 66: photography: Srđan VeljovićtkhWAL
Page 67: I CAN NOT LEAVE, BECAUSE...photogra

Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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