Srđan Tunić

art historian, curator

Pčelar / the Beekeeper, ZMUC “Autogol: od autoironije, do autoistorizacije” (2016.)

zmuc naslovna autogol

Povodom 10-togodišnjice postojanja, ZMUC (Zemunski Mali Umetnički Centar) organizuje seriju umetničkih događaja u Kolarčevoj zadužbini od 27. decembra do 02. januara 2017. Više o tome možete videti na sajtu SEEcult i FB događaju. Bio sam pozvan da učestvujem u panel diskusiji o i formiranju mreže Alternativnih Rezidencijalnih Centara (ARC). Dalje u tekstu pogledajte kustosku intervenciju s kojom sam učestvovao u njihovoj ovogodišnjoj devetoj Mobilnoj Rezidenciji u selu Babe.

Hvala na podršci, pozivu i sve čestitke!

 

ZMUC (Zemun Small Art Center) is celebrating 10 years of existence and for that occasion organizes a series of art event in Kolarčeva zadužbina from 27th December until 2nd January 2017. You can find more about the event on SEEcult and FB page. I was invited to participate in a panel discussion and formation of a network of Independent Residency Centers (ARC). Further below you can see a curatorial intervention text which is my contribution for their 9th Mobile Residency in village Babe.

Thanks for support, invite, and congrats!

No. 1: “Stare ideje” (Old ideas)

 

No. 2: “Mrtva priroda” (Still life)

*u kombinaciji sa umetničkom intervencijom Senke Trivunac / in combination with artistic intervention by Senka Trivunac.

Text

 

PČELAR / the BEEKEPER

SR

 

Kuća Živote Stojanovića (1929-2011.) zvanog Žika, bivšeg vojnog lica i pčelara, danas je deo projekta Mobilne Rezidencije i imanja organizatora ZMUC-a (Zemunskog Malog Umetničkog Centra) u selu Babe. Umetnici iz zemlje i regiona često koriste predmete njegovog pokućstva za izradu svojih radova, posebno sa tavana i iz radionice. U leto 2016. Goran Denić i ja smo, tražeći materijal za rad umetnika, slučajno otkrili jedan do tada nepoznat rad, smešten u košnici, koji ni jedan dosadašnji učesnik rezidencije nije ni potpisao, niti prisvojio. Kasnije je pronađena još jedna kutija-košnica, među starim košnicama iza kuće.

Postoje pretpostavke da je neko od prethodnih (ili aktuelnih) umetnika tvorac ovih radova, ili da ih je neko od pozvanih gostiju krišom doneo. Najsmelija ideja ukazuje na samog Žiku kao potencijalnog autora (umetnika?), što nije pretpostavka bez ikakvih osnova. U kući su, pored opreme za pčelarstvo i erotskih časopisa, pronađene slike (ulja na platnu različitih autora), umetnički časopisi, karte za bioskop i pozorište, kao i blokovi sa skicama. Žika je očigledno bio ljubitelj umetnosti, što su G. Denić i V. Tašić i potvrdili, ali ne i da je njihov komšija imao sklonosti da se bavi umetničkom produkcijom. Prema svedočenju Vesne Tašić, njihovi razgovori su se uglavnom ticali politike.

Uočljivo je da oba rada prate konceptualno promišljanje, kao i da se nalaze na lokaciji za podukciju savremenih umetničkih praksi, koju vodi ZMUC. U prilog pretpostavci da je Žika autor radova govori materijal samih radova, koju čine košnice sa njegovog imanja, da je živeo sam, kao i činjenica da su Mobilne Rezidencije krenule sa radom tek nekoliko godina posle njegove smrti. Zatim, prema sugestiji skulptora i likovnog kritičara Eugena Borkovskog, verovatno kao supstitucija potpisa pčelara, nalaze se u obe kutije loptice od voska. Međutim, originalnog potpisa, kao ni datovanja, nije bilo pre našeg dokumentovanja. Kutije-košnice, ispunjene raznovrsnim pronađenim predmetima, oblikovane su u vidu asamblaža sa snažnom „memento mori“ (seti se smrti) estetikom, u direktnoj vezi sa nazivima radova. Sami natpisi su nam poznati zahvaljujući pismu od 19.07.1979. u kome se Žiki obraća izvesna Ljiljana iz Igala (CG), koja potvrđuje postojanje i referiše na pomenute radove.

Radove čine:

No. 1: „Stare ideje“ se nalazi na ćošku desno od ulaznih vrata, iza ugla i pored oluka. Materijali su: košnica i poklopac od čamovine, slikarsko platno, metalni otpad (ekseri, šrafovi, i dr), blato, razno.

No. 2: „Mirni život (mrtva priroda)“ se nalazi dalje iza kuće, među košnicama, kada se skrene levo pre staze za rad umetnice Dragane Nikoletić „Pogled u kapitalizam…“ iz 2014. Materijali: košnica od čamovine, geološki uzorak čvrstog tla, ogledalo, staklena čaša, drvorez, olovo.

 

Babe, 14.07.2016

Istoričar umetnosti, kustos

Srđan Tunić

 

 

EN

The house of Života Stojanović (1929-2011), also known as Žika, who was a former soldier and a beekeeper, is today part of the Mobile Residencies (Mobilne Rezdencije) project and property of the ZMUC organizers in the village of Babe in Serbia (ZMUC stands for Zemunski Mali Umetnički Centar – Zemun Small Art Center). Artists from around the country and region often use his household items to develop their artworks, especially those from the attic and workshop. During summer 2016, while looking for potential art material, Goran Denić and I discovered an unknown work, placed in a beehive, that was neither signed nor claimed by any of the residency participants. Later, another box-beehive was found, amongst the old beehives behind the house.

There are assumptions that one of the previous (or current) residency artists made these works, or that one of the guests brought them under the radar. One of the boldest theories is that Žika himself is the author of the works, which is not a theory without grounds. In the house one can find, apart from beekeeping equipment and erotic magazines, several oils on canvas (different authors), art magazines, theater and cinema tickets, and sketchbooks. Žika was an art lover, which G. Denić and V. Tašić have confirmed, although they did not know that their neighbor was into art production as well. According to Vesna Tašić’s words, their discussions were mostly about politics.

It is clear that both works follow a conceptual line of thinking, in addition to being located at ZMUC’s grounds, which promotes contemporary art practices. The material itself speaks in favor of seeing Žika as the author – beehives from his property, the fact that he was living alone, as well as the fact that the Mobile Residencies were initiated several years after his death. Additionally, according to suggestions from sculptor and art critic Eugen Borkovsky, each work features a wax ball, probably replacing the beekeeper’s signature. However, before our documentation, there were no signatures or dates. Box-beehives, filled with various found objects, are designed as assemblages with a strong “memento mori” (beware of death) aesthetic, in direct correlation with their titles. The titles themselves are known to us from a letter that Žika received from a friend, Ljiljana from Igalo (Montenegro), on 19th July 1979, which confirms their existence and refers to the works.

Works consist of:

No. 1: “Stare ideje” (Old Ideas), located next to the entrance doors, around the gutter. Materials: white wood beehive and lid, canvas, metal residues (nails, screws, etc), mud, various.

No. 2: “Mirni život” (Still Life) can be found at the back of the house, among the beehives, turning left before the path to Dragana Nikoletić’s “Pogled u kapitalizam…” from 2014. Materials: whitewood beehive, geological sample, mirror, glass, woodcut, lead.

Babe, 14th July 2016

art historian, curator

Srđan Tunić

 

Sa izložbe / from the exposition:

 

 

Razglednice iz Baba / postcards from Babe:

*foto: Senka Trivunac & Srđan Tunić

**illustrations: ZMUC

***Charlotte Whelan, hvala na proofreading!

bokser goran denić zmuc

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