About the exhibition
(Bosanski ispod)
Gallery Manifesto proudly announces ZVONO23: Poetry in expanded field exhibition presenting Zvono award finalists. The exhibition opening will be held on Friday, December 1st, starting at 19:00.
The exhibition of the Zvono Award finalists has always presented divergent artistic practices and revealed a wide range of problematized themes and narratives, while having certain similarities. In the context of this year’s exhibition, distinguishing certain affinity and closeness within the various exhibition setups, begs the question of interesting theoretical discussions.
Apart from visual artists, for the very first time, a poet and a director have been shortlisted for the most stimulating recognition awarded to artists under 35 years of age. Thus, the selection of the expert jury, which included artist Yvonne Petkus and curators Claudia Zini and Mladen Banjac, initiated a somewhat forgotten discussion about what contemporary art practices in Bosnia and Herzegovina truly mean.
Artist Bojan Stojčić, winner of this year’s award, has been continuously contributing to the above discussion with his practice. Engaged in media ranging from film to ephemeral poetic-philosophical interventions in public space, he devotedly plays with the (non)material – historical events and places become the object of poetic analysis and ideological and cultural heritage the object of deconstruction. Wholeheartedly opposing (auto)colonial narratives, Stojčić sometimes cynically and through the voice of people, and sometimes philosophically and analytically writes alternative history of the "other." Complementing such an approach with documentary methodologies, the author not only contributes to the discussion of contemporary Bosnian-Herzegovinian art, but questions the contemporary history of Bosnia and Herzegovina as we know it. That is why, along with other international awards, the Zvono Award validates the most important artist of the younger generation in the country.
Poetry and the poetic which Stojčić weaved into the artistic redefinition of history and the historical have a slightly different resonance in the work of Farah Hasanbegović. A young director working in the field of animation is a novelty on the scene. Apart from the animation, which is almost reduced to peculiarity due to its lack of representation on the stage, the author's practice presents a thematic framework that is both extremely present and neglected – the framework of the phenomenon of memory. The aforementioned paradox stems from a very simple fact: Hasanbegović deals with the memory of childhood, which is not necessarily related to war. Poetic narratives about birthday cakes, childhood traumas and adolescent longings are drawn from the interstices of the subconscious, memory and imagination, and transformed into simple line drawings in motion.
Unlike Stojčić and Hasanbegović who hide poetry where we least expect it, Katarina Gotić purposefully changes her poetic practice to a visual one. Through assemblages, collages and sound installations, this artist replaces meanings that are inevitably political and ideological with different semiotics-resistant artistic forms. The result of such practice is unarticulated visual cries, which from the initial revolt against the existing political structures and power relations grow into a general asemic rebellion against the ideological as such. Gotić drowns her personal anger and frustration in collective social dissatisfaction and, opting for participatory artistic practices, uses art as a space for emancipatory expression.
Denis Haračić, on the other hand, through purely visual representations – drawing, painting and graphics – channels his dissatisfaction with socio-political reality through a deep, self-aware analysis of his own being, spirit and existence. Not at all egotistical, but completely self-critical, he transposes and symbolically shows the state of collective consciousness with visual representations of individuals. Haračić complements the multi-year process of self-deconstruction, which materialized through deformed self-portraits, with a verbal one – audio installations, made up of monologues, introduce the author into the realm of poetry. The artist's monologues, which border on philosophical-psychoanalytical introspection, are actually the result of experimental encroachment into the medium of poetry and sound. Despite his formal escapism, Haračić remains faithful to the visual, thus becoming one of those artists who confirm the relevance of fine arts in the context of contemporary B&H scene.
In addition to presenting practices that emphasize the true media diversity of young B&H scene contemporary scenes and the maturity of the artists' thinking, this exhibition also reveals the intermedial influence of poetry in visual-conceptual practices. Therefore, as an answer to the question outlined in the first part of this text, regarding the common denominator of divergent artistic expressions, the idea of poetry in an expanded field emerges – as an attempt to inscribe as much life as possible into contemporary expression.
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(Bosanski)
O izložbi
Galerija savremenih umjetnosti Manifesto s ponosom najavljuje izložbu ZVONO23: Poezija u proširenom polju, kojom se predstavljaju finalisti_ce Zvono nagrade. Otvorenje izložbe bit će upriličeno u petak 1. decembra s početkom u 19:00 sati.
Izložba finalista i finalistica Zvono nagrade uvijek je na svojstven način prikazivala divergentne umjetničke prakse, te ukazivala na širok spektar problematiziranih tema i narativa. Ipak, svaka od njih sa sobom je nosila specifičnu tačku susreta. Promatranje izvjesne srodnosti i bliskosti unutar raznolikih izložbenih postavki, u kontekstu ovogodišnje izložbe otvorilo je interesantna teorijska pitanja.
Naime, po prvi put u užem izboru za najstimulativnije priznanje, koje se dodjeljuje umjetnicima_cama do 35 godina starosti, osim vizuelnih umjetnika, našle su se jedna pjesnikinja i jedan reditelj. Dakle, odabir stručnog žirija, u čijem su sastavu bile umjetnica Yvonne Petkus, kustosica Claudia Zini i kustos Mladen Banjac, nametnuo je pomalo zaboravljenu raspravu o tome šta zapravo podrazumijevaju savremene umjetničke prakse u Bosni i Hercegovini.
Dobitnik ovogodišnje nagrade, umjetnik Bojan Stojčić, svojom praksom već godinama kontinuirano doprinosi gore navedenoj raspravi. Djelujući u medijskom rasponu od filma do efemernih pjesničko-filozofskih intervencija u javnom prostoru, predano se poigrava sa (ne)materijalnim – historijski događaji i mjesta postaju objektom poetske analize, a ideološko i kulturno naslijeđe predmetom dekonstrukcije. Svesrdno protiveći se (auto)kolonijalnim narativima, Stojčić ponekad cinično i “narodski”, a ponekad filozofski i analitično ispisuje drugu historiju “drugog”. Nadopunjujući takav pristup metodologijama dokumentaristike, autor ne samo da doprinosi raspravi o savremenoj bh. umjetnosti, već provocira savremenu historiju Bosne i Hercegovine kakvu je poznajemo. Upravo zato, Zvono nagrada uz druga internacionalna priznanja legitimira oznaku najznačajnijeg umjetnika mlađe generacije u zemlji.
Poezija i poetsko koju je Stojčić utkao u umjetničko redefiniranje historije i historijskog, u radu Farah Hasanbegović ima nešto drugačiji odjek. Mladi redatelj koji djeluje na polju animacije jedinstveno je osvježenje na sceni. Osim medija animacija, koji je zbog nezastupljenost na sceni gotovo sveden na nivo kurioziteta, autorova praksa predočava tematski okvir koji je istovremeno i izuzetno prisutan i zanemaren – okvir fenomena sjećanja. Navedeni paradoks proizilazi iz vrlo jednostavne činjenice: Hasanbegović se bavi sjećanjem na djetinjstvo, koje nije nužno vezano za rat. Poetski narativi o rođendanskim tortama, dječijim traumama i adolescentskim čežnjama izvučeni su iz međuprostora podsvjesnog, sjećanja i maštanja, te transformirani u jednostavne linijske crteže u pokretu.
Katarina Gotić, za razliku od Stojčića i Hasanbegović koji poeziju skrivaju tamo gdje je najmenje očekujemo, svoju pjesničku praksu ciljano mijenja vizualnom. Kroz asamblaže, kolaže i zvučne instalacije ova umjetnica, značenja koja su neizbježno politična, politička i ideološka, zamjenjuje različitim semiotici opirućim umjetničkim formama. Rezultat takve prakse jesu neartikulisani vizuelni krikovi, koji od inicijalnog revolta postojećim političkim strukturama i odnosima moći prerastuju u sveopći asemični bunt protiv ideološkog kao takvog. Lični bijes i frustraciju utapa u kolektivno društveno nezadovoljstvo, te opredjeljujući se za participativne umjetničke prakse umjetnost koristi kao prostor emancipatornog izražavanja.
Denis Haračić pak kroz čisto vizualne predstave – crtež, slikarstvo i grafiku – nezadovoljstvo društveno-političkom stvarnosti kanališe kroz duboku, samosvjesnu analizu vlastitog bića, duha i postojanja. Nimalo egoistično, a posve samo-kritično vizualnim predstavama individue transponuje i simbolički prikazuje stanje kolektivne svijesti. Višegodišnji proces samo-dekonstrukcije koji se materijalizirao kroz deformisane autoportrete, Haračić nadopunjuje verbalnim – audio instalacije, sačinjene od monologa, autora uvode u sferu poezije. Umjetnikovi monolozi, koji graniče sa filozofsko-psihoanalitičkom introspekcijom, zapravo su rezultat eksperimentalnog zadiranja u medij poezije i zvuka. Unatoč formalnom eskapizmu, Haračić ostaje vjeran vizuelnom, te na taj način biva jednim od onih umjetnika koji potvrđuju relevantnost likovnih umjetnosti u kontekstu savremene bh. scene.
Osim što predstavlja prakse koje naglašavaju istinski medijski diverzitet mlade bh. savremene scene i zrelost promišljanja umjetnika_ica, ova izložba očituje i intermedijski upliv poezije u vizualno-konceptualne prakse. Samim time, kao odgovor na pitanje postavljeno u prvim redcima ovog teksta, o zajedničkom nazivniku divergentnih umjetničkih izražaja, nameće se ideja o poeziji u proširenom polju – pokušaju da se u savremeni iskaz upiše što više života.