Srđan Tunić

art historian, curator

Simonida Rajčević – Lanac / The Chain (text)

Simonida Rajčević – LANAC / THE CHAIN

April 2.-25. 2014.

Izložba u G12 Hub, deo festivala Resonate 2014.

Exhibition in G12 Hub, as part of Resonate festival 2014 (English description below).

Online radovi / works

e-pozivnica (1)

 

SR
PUT U NOVO

Na šta prvo pomislite kada ugledate reč lanac? Primeri mogu da se kreću od svakodnevnih predmeta do apstrahovanih odnosa živog sveta predstavljenih simbolima. Negde između se kreće i narativ istoimene izložbe Simonide Rajčević, novonastalih radova predstavljenih u beogradskoj galeriji G12 HUB, kao deo festivala novih medija Resonate. Težeći da izbegava hiperprodukciju i ponavljanja, čini se da umetnica u novim poduhvatima traži izazov, drugačiji način izražavanja i promišljeni pristup upuštanja u novu materiju (konceptualno i materijalno). Izložba Lanac čini taj najnoviji iskorak i eksperiment.

Izložba se sastoji od tri skulpture-instalacije koje čine jednu multimedijalnu ambijentalnu celinu. Tri vrste životinja – bik, gavrani i konj – su tehnikom trodimenzionalne štampe izvedeni u prirodnoj veličini, presvučeni sjajnom crnom bojom. Skulpture podražavaju figure životinja, iako postoji izvesno odstupanje od naturalizma, kroz stilizaciju i brisanje detalja, čemu se doprinosi utisku modela. Moguće je za svaku životinju vezati određenu priču, posmatranu kao samosvojni element i u korelaciji sa ostalima. Po ulazu u galeriju, posmatrači su suočeni sa bikom na ražnju. Bik je jedna od najstarijih dokumentovanih životinja na pećinskim zidovima, korišćen mahom za vuču, ishranu i priplod. Vo, kao sterilisani bik, predstavlja uobičajenu trpezu u našoj sredini gde se visoko ceni meso domaćih životinja (svinje, jagnjeta, teleta, živine, konja) i divljači, a od nedavno i noja, u prazničnim prilikama.

Sa leve i desne strane bika se nalaze dve skupine identičnih gavrana (30), postavljenih na skele. Ovaj segment izložbe poseduje snažan element intertekstualnosti sa animacijama i citatima proze. Gavrani, de facto jedne od najinteligentnijih ptica, imaju bogat „život“ u okviru mnogih mitova, ali ipak zauzimaju mračnu nišu u popularnoj imaginaciji kao lešinari i glasnici smrti. Projekcije u vidu video mapiranja likova mladunca jelena Bambija i ptice Vudstoka (Woodstock) preko oba „jata“ gavrana stoje u oštrom kontrastu, u neobičnom dečje-mračnom, morbidno-nadrealnom sklopu koji oponaša nešto nalik na ples smrti (Totentanz). Oni su takođe zaokruženi formom koja ponajviše nalikuje video igrama treće generacije konzola (8 bita). Cela ova kompozicija je nadopunjena citatima iz knjige Pod jesenjom zvezdom Knuta Hamsuna, koji su ispisani na postoljima svakog gavrana, gde su opisana lutanja po ruralnim područjima Norveške, uživanja u divljini i traženju mira čoveka u prirodi.

Poslednju celinu čini konj koji je postavljen ležeći na podu zasebne prostorije. Konj leži na podu u pozi koja može biti shvaćena dvosmisleno. Poznavajući ponašanje konja, njihov san je moguć kako u stojećem, tako i u ležećem položaju, iako nije jasno da li konj spava ili je mrtav. Prema rečima same umetnice, ovaj rad je inspirisan filmom Melanhonija Laša fon Trira (Lars von Trier), preciznije scenom smrti lika Džona, kao i mnogobrojnim slikama konja Teodora Žerikoa (Théodore Géricault). Ceo prostor je obuhvaćen ambijentalno-eksperimentalnom muzikom autorke Manje Ristić.

Postavka izložbe i sami radovi daju neposredan uvid u sve tri celine, čija kombinatorika i tumačenje mogu da se kreću u nekoliko pravaca. Sam naziv izložbe – Lanac – može da uputi na tehnički predmet i njegovu široku upotrebu, ali i figurativno značenje – od jedinstva i snage, do lišavanja slobode. Kao fizički predmet, može se dovesti u vezu sa dve predstavljane životinje – bikom i konjem – koje su prošle kroz proces pripitomljavanja od strane čoveka, a koji traje već nekoliko hiljada godina. Lanac ovde čini važnu kariku u kontroli i upotrebi obe životinje, odnosno kao sredstvo podjarmljivanja. Takođe, lanac se može protumačiti i kao vid zavisnosti od čoveka, koji predstavlja fizički neprisutan, ali gradivni idejni element izložbe. Poigravajući se sa terminom lanac ishrane, s obzirom da sve tri predstavljene životinje zavise od ili su pod velikim (posrednim, kao ne neposrednim) uticajem i sveprisutnošću čoveka, može se čak reći da se radi o lancu odnosa. Upravo promišljanje odnosa ljudi i „ne-ljudskih“ životinja čini plodno tlo za refleksiju i razumevanje ove izložbe.
KONTINUITET

Stvaralaštvo Simonide Rajčević je pretežno okrenuto ljudima, odnosno antropocentrično. Međutim, pojava životinja kao subjekta/objekta je najprisutnija u njenom prethodnom umetničkom projektu, izložbi Ljudske aktivnosti. Bespomoćni iz 2012. Kroz intertekstualnu mrežu citata i predstava, na belim čaršavima ove celine instalacija, pojavljuju se životinje u svojstvu antičko-hrišćanskih alegorija iz Danteovog Pakla (lav, panter, vučica), kao i dve predstave konja – u kasu i u ležećem položaju. Postoji očigledna paralela sa ležećim konjem, čija je slična postura prisutna i u izložbi Lanac.

Povlačenje par paralela sa drugim savremenim umetnicima može da delimično pojasni upotrebu životinja kroz medij skulpture. Jane Alexander u svojim instalacijama i skulptorama kombinuje predstave životinja i ljudi, nedvosmisleno govoreći o pojmovima „životinjsko“ i „ljudsko“ u post-kolonijalnom afričkom društvu. Cai Guo-Qiang (Heritage, The Allegory Of 99 Wolves) i Karen Knorr pak koriste skulpture koje su doslovne replike životinja, a čija postavka i prisutnost oneobičuje i transformiše ambijent. Katharina Fritsch se kroz monohromne skulpture životinja (Elephant, Rat King, Cock) poigrava sa pojavnošću istih, bilo da je njihova veličina prirodna ili uvećana, koristeći bogatu ikonografiju i očekivanja posetilaca kao sastavne elemente radova. U poređenju sa ovim primerima, radovi Simonide Rajčević se oslanjaju na monohromatiku, korišćenje „originalnih“ modela koji su bliski prirodnim, naglašavajući njihovu vrednost kao umetničkih objekata, a ne reprodukcija. Takođe, kroz intertekstualnost i odustvo čoveka kao sadržaja radova, otvara se prostor za refleksiju publike.

Imajući u vidu crnu boju skulptura, kao i sam trodimenzionalni medij instalacije, moguće je povući još jedno poređenje – sa umetničinom prvom samostalnom izložbom Poslednji preživeli sa Nostroma iz 1995. i skulpturom Tuđina (Alien). Ako pokušamo da pronađemo sličnosti između Tuđina i tri vrste životinja, vratićemo se na nas same kao referentnu tačku. U odnosu na dati subjekt (u ovom slučaju ne-ljudski), kroz psihološki proces traženja sličnosti i razlika, razvijamo svest o sebi i svojoj posebnosti, individualnosti, kao i karakteristikama (naše) vrste. Kroz proces diferencijacije, uspostavljamo odnos koji može da se kreće od generalizovanog do specifičnog, od Mi-Oni do ličnijeg Ja-Ti. Ovakav odnos može da bude jednako važan kako za uspostavljanje relacija prema životinjskom svetu, tako i prema nekim drugačijim („egzotičnim“, „dalekim“) kulturama i narodima, pa čak i bićima iz sveta fantazije i naučne fantastike.
PITANJE ŽIVOTINJA

Samokritična nauka je već odavno prepoznala antropocentrizam u našem ophođenju prema svetu u kome živimo. Pomeranje fokusa sa boga (onozemaljsko) ka čoveku od vremena Renesanse u Zapadnom svetu i razvojem mahom prirodnih nauka je u prethodna dva veka doprinelo i jačanju svesti prema biosferi, odnosno prostoru Zemlje u kojem žive sva živa bića. Sve češće se zagovara biocentrizam, koji je ekološki svesniji centrizam, ali istovremeno uzdrmava povlašćenu ulogu čoveka. Međutim, na taj način se i veća odgovornost za lanac odnosa, uzroka i posledice, takođe pripisuje čoveku, kao i promišljanje drugih oblika života s kojima delimo životni prostor. Sagledano kroz ovu prizmu, čini se da skulpture bika, jata gavrana i konja na izložbi Lanac nadilaze samu pojavnost predmeta i upućuju na činilac koji nije opredmećen – na čoveka.

Čovekovo sagledavanje životinja može da poprimi najrazličitije oblike, a umetnica naglašava da je velika inspiracija za ove radove predstavljala knjiga Vanese Lem (Vanessa Lem) pod nazivom Niče i filozofija animalnog (Nietzsche and the philosophy of animality). Snažan deo filozofske i religiozne tradicije Zapada je smatrao čoveka „razumnom životinjom“ i upravo su razum i duša bili karakteristike koje su ljude odvajale od životinja. Na ovaj način je napravljen ogroman jaz između Nas i Njih. Niče je, prema navedenoj knjizi, smatrao da se ovaj razdor zapravo tiče suprotstavljanja civilizacije i kulture, gde je on smatrao kulturu kao agens uspostavljanja veze sa prirodom, životinjama, odnosno svetom nesvesnog. Posledično, ova psihološka veza se prenosi na prirodu oko sebe i u sebi, kroz animalnost koja predstavlja kontrateg čovekovom razumu. Time se takođe kritikuje čovek koji smatra da je visoko uzdignut od životinja, „civilizovan“, ma šta činio u ime razuma i napretka, ne prihvatajući deo svoje prirode. Ničeov primer je samo jedan u nizu koji je pokušao da decentralizuje čoveka i da ga „pomiri“ sa animalnim, životinjskim svetom.

Formiranje znanja i stava prema životinjama usko zavisi od društveno-istorijskog konteksta i vladajuće paradigme, odnosno pretpostavki i pravila koje uzimamo zdravo za gotovo. Ono što se često gubi iz vida je da su paradigme neprestano podložne promenama. Istorija takođe pokazuje kako jedna ista životinja može da bude prihvaćena od strane čoveka ili ne, sa definisanom ulogom u okviru mitova, svakodnevice, slike sveta i atributima (čak i karakterom) u različitim epohama, kulturama, vremenu i zajednicama. Posledično, ista vrsta može imati drugačiji ili čak kontradiktoran status – od svete životinje, preko saradnika, do „alata“ ili štetočine. Zapravo, ne možemo izbeći da životinje posmatramo kroz prizmu uvreženih shvatanja: kao metafore, (statusne) simbole, protagoniste priča, sujeverja, mitova, i sl, što se u velikoj meri odražavalo kroz sve umetnosti. Tome doprinosi i velika savremena produkcija bajki i dečije literature, koje svoj koren vuku od Ezopovih basni, kao i animirani filmovi i serije, maskote, igračke, gde životinje igraju veliku ulogu. Ovde moramo biti oprezni, jer životinje prolaze kroz bitnu transformaciju od svog prirodnog stanja. Pre svega, kroz brojne narative, suočavamo se sa činjenicom da čovek govori o svom društvu preko životinja koje nalikuju čoveku i imitiraju ga (u govoru, ponašanju, navikama, izgledu i sl.) – ovakva radnja se naziva antopomorfizam. Suprotno tome, postoji opisivanje čovekovog ponašanja dodeljivanjem „životinjskih“ epiteta, u kojem slučaju se radnja naziva zoomorfizam. U oba slučaja, postoji otklon od „pravih“ životinja, i ulazi se u interpretaciju i donošenje suda.

Skulpture na izložbi Lanac ne robuju ni jednom od navedenih morfizama, ali usvajaju nešto što je karakteristično za uopštavanja vizuelnih umetnosti. Naime, u svrhu lakše empatije i uspostavljanja odnosa sa posmatračem, često se pribegava stilizaciji i uopštavanju protagonista. Detaljan izgled navodi da se radi o nekome ko je jedinstven, poseban, na šta posmatrač reaguje kao da vidi fotografiju, dok sa likovima koji imaju pojednostavljene crte lica stičemo okvir – koji ne liče na nas, ali su dovoljno jednostavni da ih prihvatimo, kao imaginarne nosioce priče. Bambi, kao književni i popularni lik iz animiranog filma studija Volt Dizni (Walt Disney), i Vudstok, kao lik iz stripa i animirane serije Peanuts/Čarli Braun i Snupi šou, su dodatno pojednostavljeni, kroz pikselizaciju originalnih „junaka“. Oni su projektovani preko oba jata gavrana, dodajući novi sloj narativa. Konj, bik i gavrani poseduju nešto stilizacije, prateći dominantno naturalizam u svojoj osnovi, ali izbegavajući detalje. Tako su na prvi pogled prepoznatljivi, ali odaju utisak da se radi o predstavama vrsta, a ne pojedinačnih životinja. Na neki način, predstavljaju modele, kao što to čine i igračke životinja. Veštački aspekt je naglašen i činjenicom da gavrani nemaju noge, već postolja, kao i da je svih 30 primeraka izvedeno iz istog kalupa.
REFLEKSIJA

Važan pogled na izložbu predstavlja refleksija publike. Na primer, sagledavajući skulpturu konja koji leži, postoji velika šansa da ćemo poverovati, makar na trenutak, varci umetničke transformacije i prihvatiti da ne gledamo (veštački) predmet, nego sadržaj, tj. da uspostavljamo odnos sa predstavom. Tako samo „čitanje“ izložbe postaje različito u odnosu na posmatrača, što navodi i da se postavi pitanje kakav dodir imamo sa sve tri životinje u našem životu. Bilo da se oslanjamo na kontakt koji je posredan, preko dokumentarnih filmova i serija, vesti iz novina, stripova, priča, mitova, animacija i dr, ili neposrednim ličnim kontaktom, unapred određena znanja nam „smeštaju“ ove životinje u određene uloge. Da li ćemo imati najviše empatije sa životinjom koja je najviše podjarmljena, najkorisnijom, najprisutnijom u našoj okolini, ili sa onom o kojoj najmanje znamo, koja nam je u bilo kom smislu bliska, zapravo, koja nam najviše govori o nama samima?

Srđan Tunić
Istoričar umetnosti, nezavisni kustos
Mart 2014.

 

 

EN

A JOURNEY INTO THE UNKNOWN
What is your first thought when you hear the word “chain”? Examples can range from everyday objects to abstract relationships in the living world as represented by symbols. Somewhere in the middle runs the narrative of the art exhibition Chain by Simonida Rajčević, new works presented in the G12 HUB Gallery in Belgrade as part of the 2014 Resonate media festival. Seeking to avoid hyperproduction and repetition, it seems that the artist was looking for challenge in this new undertaking, for a different way of expression and a well thought-out approach to engaging in new matter (conceptually and materially). Chain is that latest venture and experiment.
The exhibition consists of three sculptural installations that form a multimedia ambient ensemble. Three different animals – a bull, ravens and a horse – are executed in life size by 3-D printing technique and coated in shiny black. The sculptures imitate the animal figures, albeit deviating from naturalism through stylisation and a blurring of detail, which add to the impression that they are models. Each of the animals could be associated with a story, viewed as an element unto itself or in correlation with the others. Entering the gallery, the visitor comes across a bull on a spit. The bull is one of the oldest documented images in cave paintings, used mainly as a beast of burden, as food and for reproduction. The meat of the ox – the sterilised bull – is a staple in our cuisine where the meat of domestic animals (pork, lamb, calf, poultry and horse meat), game and, more recently, ostrich, is highly prized on the finest tables.
To the left and right of the bull are two groups of identical ravens, perched on scaffolding. This segment of the exhibition has a strong element of intertextuality, with animation and prose quotations. The raven, as one of the most intelligent birds, has a rich life in mythology, but occupies a sinister niche in popular imagination as a vulture and a herald of death. Projections in the form of video-mapping of the baby deer Bambi and the bird Woodstock across both flocks of ravens stand in sharp contrast, in a childishly macabre, morbidly surrealistic ensemble that emulates something like the Death Dance (Totentanz). They are rounded off by a form that most resembles video games for the 3rd generation consoles (8 bits). The entire composition is complemented with quotations from Knut Hamsun’s novel Under The Autumn Star inscribed on the stands under each raven, describing wanderings across rural Norway, the delights of wildlife and searching for peace of mind in nature.
The last artifact is a recumbent horse on the floor of a separate room. The horse lies in a pose that is ambiguous: it could be sleeping, as horses can sleep both standing and lying down, or it could be dead. In the words of the artist herself, this work was inspired by Lars von Triers’ film Melancholy, specifically the scene when John dies, as well as by numerous paintings of horses by Theodore Gericault. The whole space is enveloped in experimental ambient music written by Manja Ristić.
The arrangement of the exhibition and the works themselves provide an immediate insight into all the three entities, whose combinatorics and interpretation could take us in several directions. The name of the exhibition – Chain – can make us think of the physical object and its wide use, but also its figurative meanings – from unity and force to the deprivation of freedom. As an object, it can be associated with two of the animals represented – the bull and the horse – with their millennia-long history of domestication by humans. The chain is here an important link in the handling and use of both animals, a tool for their subjugation. It can also be understood as a kind of dependence on human who, while physically absent, remains an intrinsic notional element of the exhibition. Playing on the term food chain, and considering that all the three animals depend on or are largely under the influence (both direct and indirect) of the all-present Man, one could even say it is a chain of relations. Reflecting on relations between humans and non-human animals gives food for thought and clues for understanding this exhibition.
CONTINUITY
Drawing some parallels with other contemporary artists can shed some light on the use of animals through the media of sculpture. In her installations and sculpture, Jane Alexander combines likenesses of animals and humans, unequivocally speaking about the concepts “animal” and “human” in post-colonial African societies. Cai Guo-Qiang (Heritage, The Allegory of 99 Wolves) and Karen Knorr, on the other hand, use sculptures that are literal replicas of the animals whose arrangement and presence transform space, removing it from the commonplace. Katharina Fritsch, with her monochrome sculptures of animals (Elephant, Rat King, Cock) plays with their appearance, making them either natural in size or larger-than-life, and using a wealth of iconography and even the expectations of viewers as component parts of her works. Compared with these examples, the works of Simonida Rajčević rely on monochromatics, on the use of “original” models close to the nature, stressing their value as artifacts, rather than reproductions. Also, through intertextuality and the absence of humans in the content, she opens up room for the viewer’s own reflections.
Bearing in mind the black colour of the sculptures and the tridimensional medium of the installation, it is possible to draw another comparison – with the artist’s own first solo exhibition, The Last Survivor of the Nostromo (1995), and her sculpture The Alien. If we try to find similarities between The Alien and the three animals, we will come back to ourselves as a point of reference. In relation to the subject (non-human in this case), through the mental process of searching for similarities and differences, we develop an awareness of ourselves and our apartness, of individuality and the distinctive features of our own species. Through a process of differentiation, we establish a relationship that can range from the general to the specific, from We-Them to a more personal I-You. This approach could be equally important to establishing a relation not only to the animal world, but also to very different (“exotic” and “remote”) cultures and peoples, and even to creatures from the worlds of fantasy and science fiction.
THE QUESTION OF ANIMALS
Self-critical science recognised long ago that we are anthropocentric in our treatment of the world we live in. The shift of focus from God (out of this world) to Humans from the times of the Renaissance in the Western world, and the flourishing of mainly natural sciences over the past two centuries have also strengthened our awareness of the biosphere, i.e. the space of the Earth that is inhabited by all living creatures. There are ever more voices advocating biocentrism – a more ecologically aware centrism that upsets humans’ privileged role. However, it also places on humans a greater responsibility for the chain of relations, the causes and effects, and leads to reflection on other forms of life with which we share our living space. Viewed through this prism, it appears that the sculptures of the bull, the ravens and the horse at the Chain exhibition go beyond the visual and direct us to a factor that is not embodied – Humans.
Human perception of animals may take a panoply of forms and the artist herself emphasises that a major inspiration for these works was Vanessa Lem’s book “Nietzsche and The Philosophy of Animality”. A mighty part of the Western philosophical and religious tradition considered humans as a “rational animal” whose reason and soul distinguished him from other animals. This created a yawning gap between Us and Them. Nietzche’s view in the aforesaid book was that this rift related in fact to a confrontation between civilisation and culture, wherein he believed culture to be an agent establishing a link with nature and animals, i.e. the world of the “unaware”. Consequently, this psychological connection stretches to the nature around us and inside us, through the animality that is a counterbalance to reason. It also criticises humans for believing to be far above animals, ever so civilised, whatever he might be doing in the name of reason and progress, while failing to accept a part of his own nature. Nietzsche’s example is just one of many attempts to decentralise Humans and reconcile them with the animal world.
The shaping of knowledge about and attitude to animals is dictated by our socio-historical context and the prevailing paradigm, i.e. the premises and rules we take for granted. What is frequently overlooked is that paradigms are subject to constant change. History also shows that one and the same animal may be accepted by humans or not, with a defined role in mythology, daily life, worldview and attributes (even a character) in various eras, cultures, time and communities. Consequently, the same species may have a different – even the opposite – status: from sacred animal and partner to a “tool” or vermin. In fact, we cannot avoid viewing animals through the prism of deep-rooted beliefs: as metaphors, (status) symbols, protagonists in stories, superstition, myths, etc., which is widely reflected in all the arts. Adding to this is the massive contemporary production of fairy tales and children’s books drawing their roots from Aesop’s fables, along with the animation movies and series, mascots and toys, all with animals in prominent roles. Here we should be cautious, because animals undergo a major transformation from their natural state. First of all, through numerous narratives, we face the fact that humans talk about their own society through animals that resemble humans and imitate them (in speech, behaviour, habits, appearance, etc.) – this is called anthropomorphism. The opposite procedure, called zoomorphism, is to describe human behaviour using “animal” epithets. In both cases, there is a departure from “real” animals, and they both involve interpretation and judgement.
The sculptures in Chain are no slave to either of the said morphisms, but they do adopt something that is characteristic of generalisation found in visual arts. To facilitate empathy and rapport with the viewer, they often resort to stylisation and a generalisation of the protagonists. A detailed depiction promotes the perception that this someone is unique and special, and the viewer reacts as to a photograph; with characters whose facial features are simplified we get only a framework – they do not resemble us, but are simple enough for us to accept them as imaginary vehicles of the story. Bambi, as a popular character of a story and the equally popular Walt Disney production, and Woodstock, a character from a comic strip and the animated series Peanuts /The Charlie Brown and Snoopy Show are additionally simplified through a pixelation of the original characters. They are projected across both flocks of ravens, adding a new layer of narrative. The horse, the bull and the ravens have a certain stylisation that follows the underlying naturalism, but avoids detail. They are thus immediately recognisable while giving the impression that they depict species, rather than individual animals. In a way, they represent models, as toy animals do. The artifice is emphasised by the fact that the ravens have no feet, but a stand underneath them, and that all 30 were cast in the same mould.
REFLECTION
An important view of this exhibition is the reflection of the public. For instance, looking at the sculpture of the recumbent horse, we could easily believe, even if only for a moment, the deception of the artistic transformation and accept that we are not looking at an artifact, but at real matter; in other words, establish a relationship with the object of representation. Thus, the very “reading” of the exhibition becomes different in relation to the viewer, which raises the question: what kind of contact do we have with each of these three animals in our life? Whether we rely on the indirect kind of contact, through documentaries and TV series, news articles, comics, stories, myths, animation, etc, or direct, personal contact, our predetermined knowledge places these animals in certain roles. Will we have more empathy for the animal that is the most downtrodden? Or the most useful one? The one most present in our environment? Maybe the one of which we know the least? Or the one that is the closest to us, the one that actually tells us the most about ourselves?
Srdjan Tunić
Art historian, independent curator
March 2014

Translation by Simonida Stosic

 

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Lanac, Ema Szabo

JAVNO VOĐENJE (public guidance – in Serbian)

Pozivamo vas na javno vođenje i razgovor povodom izložbe “Lanac” umetnice Simonide Rajčević koji će se održati 24. aprila u 18 časova u galeriji.

Učesnici javnog vođenja i razgovora su:
Simonida Rajčević
Maria Jelesijević, direktorka festivala Resonate
Srđan Tunić, istoričar umetnosti, nezavisni kustos
Milica Pekić, istoričarka umetnosti, kustoskinja G12 HUB/KIOSK

Foto: Ema Szabo

 

VIDEO (in Serbian)

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