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Airport City Belgrade newsletter

AIRPORT CITY BELGRADEAwarded as THE BEST OFFICE DEVELOPMENT PROJECT of the year IN SOUTHEAST EUROPE

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April / 2016 n ° 19

Liberation through dance

Somehow over time Avenue has become a hallmark of our City within the city: as place for our events, but also as an inspiration for the camera lens, as a place of inexhaustible positive energy for all those who spend rare moments of relaxation during their workday in our gardens. Rami Wimmer ACB architect, speaks in his interview about the importance of Avenue as a communicational backbone of the complex, and how the architecture supports the entity of ACB city, which in this fourth phase is also seri-ously conquering the heights. And he also talks about the next phase, in which we will grow more…

Avenija je nekako vremenom postala zaštitni znak našeg grada u gradu: kao mesto događanja ali i kao inspiracija za oko kamere, kao mesto pozitivne energije za sve one koji provedu retke trenutke opuštanja u toku radnog dana u našim baštama. Rami Wimmmer, arhitekta ACB-a, u svom intervjuu u ovom broju govori o njenoj važnosti kao okosnice, kičme, kompleksa i o tome na koji način arhitektura podržava celinu ACB grada koji u ovoj četvrtoj fazi ozbiljno osvaja i visinu. I o sledećoj fazi u kojoj ćemo rasti još...

> Interview G

uy Weizm

an02 03Airport City Belgrade newsletter Airport City Belgrade newsletter

Dance has always been the best kept secret for liberation. By liberating the body, the magic of dance permeates and opens room for debate on important issues, thereby push-ing back certain borders within society. This is exactly what Netherlands-based international dance company Club Guy & Roni, led by Israeli artist Guy Weizman, has been doing since it was founded in 2002. Already known to Serbian audiences for its previous performances with BITEF and at the Serbian National Theatre in Novi Sad and the Belgrade Dance Festi-val, this company brought its magic back to Belgrade for the major celebration of BITEF’s Birthday on 4th March, with the premiere of its show “L’histoire du soldat” – The Soldier’s Tale. In this interview for What’s Up prior the premiere per-formance, which was supported by Airport City Belgrade, Weizman spoke about freedom, identity, happiness, support and pervading dance.

How does it feel to be back in Belgrade?It feels like coming home. I think Belgrade is the only city in Europe that kind of reminds me somehow of Tel Aviv. I don’t really know why… is it the link of mentality, culture, flavours, noise and a healthy amount of anarchy? In any case, it’s some kind of interaction and something that has come out of the clash of cultures, the combination of East

Liberation through dance“Dance is the best kept secret for liberation and Belgrade is the best kept secret of Europe”

from business, which is not the case in Western Europe, where culture is only on the market, left without any sup-port. I believe that those who support this idea are just as important, if not more important, than the holders of that idea. How many talented artists did not get a chance to implement their ideas due to a lack of adequate support?

Personal liberation is an omnipresent theme in your work. How do you achieve that through dance?

I think you can achieve it quickest with dance, because you have to kind of liberate yourself from your body when dancing. The essence of dancing is doing the im-possible with your body -- telling a story with muscles and skin and cells, and not with words. We pick a sub-ject and then try to cross a couple of borders. Before this, we did a project in Holland called Phobia… That one was really about terror and how you perceive the idea of people just blowing themselves up. What we are trying to do is really understand how one comes to the point at which one has such belief that they are will-ing to destroy everything around them. After being so intensely busy with something like this for so long, you stand on the other side of fear. You are not the same man and, in a way, this is how we deal with it.

Your company is also engaged in humanitarian work...As an artist, you have a duty to tell people something that is significant to their daily life. I’m not a preacher and cannot change their life, but I can perhaps push this huge rock a little bit and eventually it will start rolling. Encour-aging debate is very important in our work and whenever we have a performance addressing actual things, we also make sure that we bring together philosophers, doctors, scientists and artists from other disciplines and make sure that discussion begins. There is a lot to do in this world.

Israel - Mecca of contemporary danceContemporary dance has been mainly associ-ated with Israel in recent years. Tel Aviv has become a Mecca for contemporary dance and dancers. Folklore has always been an important part of Jewish culture and Orthodox Jews dance a lot. Dance represents an escape from reality and the only thing a man can do without speak-ing about politics directly. It has a universal un-derstanding… you are no longer required to speak the same language. However, the rise of modern dance in Israel only began with those who were born in freedom. Dancing requires liberty and the pursuit of free expression. This is largely thanks to the hard work of Ohad Na-harin with the Betsheva Dance Theatre. He ap-peared at the right time and raised dance to another, higher level. Thanks to him, Tel Aviv’s art scene is more international and open to ex-changes with other cultures.

Izrael -- Meka savremenog plesaPoslednjih godina se savremeni ples najviše ve-zuje za Izrael. Tel Aviv je postao Meka za savre-meni ples i plesače. Folklor je oduvek bio važan deo jevrejske kulture. Ortodoksni Jevreji dosta plešu. Ples je bekstvo od stvarnosti i jedina stvar koju čovek može da radi, a da ne govori direktno o politici. Pokret ima univerzalno ra-zumevanje, nije vam više potreban isti jezik. Međutim, uspon savremenog plesa u Izraelu je počeo tek sa onima koji su rođeni u slobodi. Ples iziskuje slobodu i traženje slobodnog izraza. To je najvećim delom zasluga onoga što je godi-nama radio Ohad Naharin sa Betsheva Dance teatrom. On se pojavio u pravo vreme i podigao ples na jedan drugi, viši, nivo. Umetnička scena Tel Aviva je nakon njega internacionalnija i ot-vorenija za razmenu s drugim kulturama.

Editor’ s wordDear readers,

In this issue of What’s up there is one topic, please

allow me a personal remark, which is extremely im-

portant to me, and which, in a certain way, distingu-

ishes us from other business centres of the kind: The

Soldier’s Tale.

I’m really proud of the exclusive interview with Guy Weiz-

man, what he said about us and L'Histoire du Soldat and

the fact that our donation helped to bring this extraor-

dinary play to life on Belgrade’s stage. I am proud that

the Belgrade audience so maturely and unreservedly re-

cognised the anti-war and very sophisticated, yet heavy

message that is carried by this show. I was also glad that

we were mentioned in humbly and appropriate manner,

within the boundaries of good taste, while keeping in

focus the importance of concept of giving per se and

what this can contribute to the arts in the long run. And

in the end I have to admit that I’m proudest of my colle-

agues in ACB and the team of What’s up who recognized

the same values and points to be proud of.

I know that we are surrounded by the dictates of qua-

si-modern cynicism, which likes to claim that money is

everything, that all values have been lost, that decency is

‘out’ and discourtesy and rudeness are ‘in’, and that art is

‘out’ and reality-show ‘in’. I don’t know whether I dare to

still be so optimistic (some would say deliberately naïve),

but I honestly believe that most of us need to know and

believe that decency is still ‘in’ and that values like beauty,

knowledge and art still reside in this time – quite legiti-

mately, in different forms than in the last century, but still

with the same positive connotation.

And in the end we are so happy that we have succee-

ded in implementing this project in one business envi-

ronment, in a real estate company for which this is not

typical project.

This spring we will organise, as promised, a special per-

formance of The Soldier’s Tale just for us at ACB. We

believe that it will succeed in contributing to some other

future performance coming to life on the stage of the

Bitef Dance Theatre.

Next issue of Whats up would be completely dedica-

ted to architecture and builders.

Yours sincerely,

Marina Deleon Communication Advisor

Rec urednikaV

Dragi čitaoci,

U ovom broju Whats up-a postoji tema koja je, do-

zvolite mi da budem lična, meni izuzetno značajna, a

koja nas na odredjeni način izdvaja od ostalih poslovnih

mesta u gradu: Priča o vojniku.

Ponosna sam na stranice posvećene Guy-u Weizmanu

i Priči o vojniku i na činjenicu da smo našom do-

nacijom pomogli da ova izvanredna predstava zaživi

na beogradskim daskama. Ponosna sam što je beo-

gradska publika tako zrelo i bez rezerve prepoznala

antiratnu, vrlo sofisticiranu i tešku poruku koju ova

predstava nosi. Izuzetno mi je drago što smo bili

spomenuti skromno i primereno, onoliko koliko spada

u meru dobrog ukusa, podržavajući svest o znača-

ju davanja kao takvog i onoga što njegov doprinos

umetnosti može da učini na duže staze. I moram

priznati na kraju da sam najviše ponosna na kolege u

ACB-u i saradnike Whats up-a i koji su svi, bez rezer-

ve, prepoznali iste te momente i vrednosti.

Znam da smo okruženi diktatom kvazi modernog ci-

nizma koji voli da tvrdi da je profit sve, da su se sve

vrednosti izgubile, da je pristojnost out a necivilizo-

vanost i grubost in, da je umetnost out a rijaliti in.

Ne znam smem li da još uvek budem toliki optimista

(neko bi rekao svesno naivna), ali verujem da je većini

nas potrebno da znamo i da verujemo da je pristoj-

nost još uvek in i da vrednosti kao lepota, znanje i

umetnost još uvek stanuju u ovom vremenu – sasvim

legitimno u drugačijem obliku nego u prošlom veku

ali još uvek s istom pozitivnom vrednosnom konota-

cijom.

I na kraju, veoma nam je dragoceno što smo u jednom

potpuno poslovnom ambijentu , u real estate kompaniji

kojoj to nije primarni interes, uspeli da iznesemo ovaj

projekat.

Kao što smo obećali ovog proleća organizovaćemo

donatorsku predstavu Vojnika samo za nas u ACB-u.

Verujem da ćemo uspeti da doprinesemo da još neka

buduća predstava zaživi sa našim igračima na sceni Bitef

dens teatra.

A naredni broj posvetićemo arhitekturi i graditeljima,

Srdačno Vaša,

Marina Deleon Communication Advisor

EXCLUSIVE INTERVIEW WITH GUY WEITZMAN

and West. Yugoslav culture is fascinating and you are hos-pitable people like us [Israelis]. There is also this constant fight for your pride, though I’m not sure how good that is (laughs), and there is generosity and friendship. I think Belgrade is Europe’s best kept secret. The West does not have all this in one place, and this is probably the westernmost point at which the East has arrived.

What about the Netherlands, where you live?It’s beautiful, but it doesn’t have that something. People are trying to determine what is the new Europe and the new identity. The integration process and the clash of East and West have been underway there, but it’s something that is quite new and has yet to yield results. This inter-weaving here has been going on for very long time, 500 years, and it has brought great results.

This time you are coming to Belgrade with L’histoire du soldat. You had a few versions of this libretto, written by famous Dutch Jewish poet Judith Herz-berg. What is the final version?

That’s an interesting story. I have been waiting for this piece for a long time. It took me four different versions before we came to this one, and I have been working on it now for about four years. Judith Herzberg, who was hiding in Holland in World War II, wrote a story about a soldier who returns home after hiding for a long time. Her text

was very moving from this hiding perspective, but I decided I wanted it to be a little more concrete and modern. I was curious to find out what someone asks when they come back home after years of fighting… Based on that, we started interviewing soldiers who returned from war and this text is a literally transcript of those stories.

There are Serbian dancers in the play (Ana Ignjatović Zagorac, Nataša Gvozdenović, Luka Mihovilović, Vladimir Čubrilo, Nikola Tomašević and Luka Lukić). How important are collaborations with other artists and institutions in the dance world?

They are very important. The nice thing about dance is that it’s language-free, so we can work anywhere with any group. I think it’s very important that we show other young artists through our work/projects what is new in the dance world and I think such exchanges are closing the circle. Our work here has somewhat changed and inspired artists here to make works that are daring, and that is important. That is the greatest acknowledgement I could receive. We tried to use donor money to help young people have a slightly more normal life, enriched with art. So we came up with this project. I noticed that there is significant help and support to artists here that you might not be aware of... I see that here people from the world of business do that, like Airport City, which supported our project... It’s very special when there is a support system for culture

04 05Airport City Belgrade newsletter Airport City Belgrade newsletter

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Cancer research is also something I find really important and we try to use this stage not only to make ourselves bigger, but also to try to convince other people to try to do good things.

You have received several prestigious awards. How important is that for your work?

They are really good for PR, but they don’t really change anything in real life. It’s beautiful to be acknowledged for what you do and it’s flattering, but we are not doing this for awards.

Could you reveal some of your upcoming projects?After making Phobia, which was a very dark piece, the next project is called Happiness. It’s a little bit about the “I want it all / I want it now” mentality, and the culture in which the number of likes you get defines your happiness... With kids saying they want to be famous when they grow up. The question is whether that is really happiness or not. An-other next big thing for me is taking over this big theatre company of the north in The Netherlands. The idea is that from that moment we are going to make interdisciplinary projects. It’s kind of a big step, but it’s exciting and some-thing I’m looking forward to.

Ples je uvek bio najbolje čuvana tajna oslobađanja. Oslobađanjem tela, ples širi magiju i otvara prostor za debatu o važnim pitanjima pomerajući tako određene granice u društvu. To je upravo ono što međunarodna plesna kompanija Club Guy & Roni, koju predvodi izrael-ski umetnik Guy Weizman, radi u Holandiji od svog osni-vanja 2002. godine. Svoju magiju doneli su i u Beograd, na BITEF-ov rođendan, koji su obeležili 4. marta premi-jernim izvođenjem “Priče o vojniku”. Weizman i njegova plesna kompanija dobro su poznati ovdašnjoj publici po prethodnim aranžmanima sa BITEF-om, Beogradskim festivalom igre, kao i Srpskim narodnim pozorištem u Novom Sadu. U razgovoru za What’s up pred premijeru koju je pomogao Airport City, Weizman govori o slobodi, identitetu, sreći, podršci i sveprožimajućem plesu.

Kakav je osećaj biti ponovo u Beogradu?Imam osećaj kao da dolazim kući. Mislim da je Beograd jedini grad u Evropi koji me na neki način podseća na Tel Aviv. Ne znam zašto je to, da li je to veza mentaliteta, kulture, mirisa, buke ili jedne zdrave doze anarhije. U svakom slučaju, to je interakcija i nešto što je nasta-lo iz sudara različitih kultura, iz dodira istoka i zapada. Jugo-kultura je fascinatna… Vi ste gostoljubivi kao i mi (Izraelci), tu je i ta stalna borba za svoj ponos za šta baš i nisam siguran koliko je dobra (smeh), tu su velikoduš-nost, prijateljstvo… Mislim da je Beograd najbolje čuvana tajna Evrope. Za-pad nema sve ovo na jednom mestu, a ovo je verovatno najzapadnije dokle je istok stigao.

A Holandija u kojoj živite?Lepa je, ali nema tu crtu. Tamo se traga za odgovorom na to šta je nova Evropa, šta je taj novi identitet. I tamo

sam da ovde postoji značajna pomoć i podrška umetnicima koje vi možda i niste toliko svesni… Ovde vidim da to rade ljudi iz sveta biznisa, ljudi kao što je Airport City… To je veoma posebno kada postoji sistem podrške biznisa kulturi, a ne kao u Zapadnoj Evropi gde je kultura samo na tržištu, bez ikakve pomoći. Oni koji podržavaju ideju su isto toliko, ako ne i važniji, od nosilaca same ideje. Koliko talentovanih umetnika nije ni došlo u priliku da sprovede svoju ideju u delo usled nedostatka adekvatne podrške.

Lično oslobođenje je sveprisutna tema u vašem radu. Kako se to postiže kroz ples?

Mislim da se to plesom najbrže postiže, jer kada igrate mo-rate nekako da se oslobodite tela. Suština plesa je da učini nemoguće s vašim telom - da ispričate priču mišićima, ko-žom i ćelijama, a ne rečima. Mi odaberemo temu, pa onda pokušamo da preskočimo nekoliko granica. Pre ovoga smo radili jedan projekat u Holandiji pod imenom Fobija... To je o priča o teroru i kako uopšte gledamo na ideju da se čovek raznese... Ono što smo pokušali da uradimo je da zaista razu-

je na delu intergracija i sukob istok-zapad ali je to ne-što što je novijeg datuma i nije još dalo rezultat. Ovde preplitanje traje već jako dugo, 500 godina, i stvorio se prepoznatljiv rezultat.

Ovog puta dolazite u Beograd sa Pričom o vojniku. Imali ste nekoliko verzija libreta i pisala ih je poznata holandsko-jevrejska pesnikinja Džudit Herzberg. Koja je konačna verzija?

To je zanimljiva priča. Ovo je jedan od onih komada koje čekate dugo vremena. Bile su potrebne četiri ra-zličite verzije pre nego što smo došli do ove, da bih ja onda radio na tome još četiri godine. Džudit Herzberg, koja se za vreme Drugog svetskog rata krila u Ho-landiji, napisala je priču o vojniku koji se vraća nakon višegodišnjeg skrivanja. Njen tekst je bio vrlo dirljiv iz perspektive skrivanja, ali ja sam shvatio da želim da tekst bude još konkretniji i savremeniji. Moja upitanost i istraživanje se kretalo u pravcu šta je to što pitaš kada se vratiš u svoje okruženje posle godina ratovanja... Na

tom tragu smo počeli da vodimo razgovore sa vojnicima koji su se vratili iz rata i ovaj tekst je bukvalno tran-skript tih priča.

Trupu čine plesači iz Srbije -- Ana Ignjatović Zagorac, Nataša Gvozdenović, Luka Mihovilović, Vladimir Čubri-lo, Nikola Tomašević, Luka Lukić. Koliko je saradnja sa drugim umetnicima i institucijama važna u svetu plesa?

Veoma je važna. Lepa stvar u vezi sa plesom je što je njegov jezik slobodan tako da možemo da radimo bilo gde i sa bilo kojom trupom. Mislim da je to stvarno važno da kroz naš zajednički rad/projekat omogućimo drugim mladim umetni-cima ovde da vide šta je novo u svetu plesa i mislim da je ta razmena nešto što zatvara krug. Ono što radimo ovde je donekle promenilo i inspirisalo umetnike u Srbiji da rade stvari koje su važne i smele. Za mene je to najveće priznanje koje mogu da dobijem. Pokušali smo da upotrebimo donatorski novac da pomogne-mo mladim ljudima da imaju delić normalnog života oboga-ćenog umetnošću. Tako smo došli do ovog projekta. Primetio

Poimanje sreće

Weizman je oštar protivnik dominantne kul-ture ulepšavanja svega i negiranja bola, onog oblika savremene kulture u kojoj vlada teror pozitivnosti, gde nas uče da svaku rečenicu za-počinjemo sa “da”. On smatra da nikakve pilu-le ne pomažu ulepšavanju stvarnosti već samo doprinose našem padu. Stoga se trudi da nauči svog 15-godišnjeg sina Joava da se ne može baš uvek biti srećan. Da treba i da padne i da nauči da ustane. Da ponekad treba otrpeti glavobolju jer se i kroz bol raste. Bol je važan i zdrav. A Guy kao otac može samo da mu pomogne da prođe kroz ceo proces učenja da izdrži I preva-zidje bol.

The notion of happiness

Weizman is a strong opponent of the dominant culture, the beautification of everything, the de-nial of pain and the form of contemporary cul-ture in which the terror of positivity prevails, where we are taught to start a sentence with “yes”. He believes that no pills can help beautify reality, but rather can only contribute to our fall. That is why he strives to teach his 15-year-old son Joav that he cannot always be happy, that he needs to fall and learn to stand up and that so-metimes one has to have a headache because we also grow through pain. Pain is important and healthy. As a father, Guy can only help him go through the whole process of learning to endure and overcome pain.

memo kako se dolazi do te tačke u kojoj se u nesto tako fa-natično veruje, u kojoj su ljudi spremni da unište i sebe i sve oko sebe. Kada se tako dugo bavite ovakvim fenomenom, vi zapravo stojite na drugoj strani straha. Niste više isti čovek i to je jedan od načina suočavanja sa strahom.

Vaša kompanija spada u socijalno odgovorne...Umetnik ima obavezu da kaže ljudima nešto što je važno za njihov svakodnevni život. Ja nisam propovednik i ne mogu da im promenim život, ali možda mogu malo da pomerim ovu veliku stenu i tako pokrenem stvari. U našem radu je jako važno da ohrabrimo debatu. Kad god pravimo perfor-manse u kojima se obrađuju neka aktuelna pitanja okupimo filozofe, doktore, naučnike i umetnike iz drugih oblasti i tako započnemo razgovor. Postoji toliko mnogo toga što treba da se uradi na ovom svetu. Verujem, na primer u veliku važnost istraživanja kancera i zato se trudimo da iskoristimo ovu pozornicu koju imamo ne da bi se proslavili, već i da pokušamo da ubedimo ostale ljude da urade neke dobre stvari.

Dobili ste nekoliko prestižnih nagrada. Koliko je to značajno za vaš rad?

Važne su za PR, ali zapravo uopšte ne menjaju svakodnevni život. Jako je lepo da neko nagradi vaš radi i to svakako laska, ali nismo radili zbog priznanja.

Šta će biti vaši sledeći projekti?Nakon Fobije, koja je jedan veoma mračan komad, sledeći projekat zove se Sreća. Tu se obrađuje mentalitet “hoću sve, i to hoću odmah” kao i kultura u kojoj broj lajkova koji dobi-jate definiše sreću i gde deca kažu da žele da budu poznata kad porastu. Postavlja se pitanje da li je to zaista sreća. Druga važna stvar za mene je što preuzimam jednu veliku pozorišnu trupu na severu Holandije. Ideja je da pravimo interdisciplinarne projekte. To je veliki korak, ali je istovre-meno uzbudljivo i veoma se radujem tome.

Bojana Barlovac

> Two Reflections / D

va viđenja predstave

> Interview06 07Airport City Belgrade newsletter Airport City Belgrade newsletter

There is no lowering of a curtain and no high stage that would separate the audience from the magic created on the stage. Only an imaginary line represents the edge of the white carpet.Visitors to Bitef Theatre take their seats and discuss traffic congestion in the city and the wind that has blown relentlessly all day, not noticing that the performance has already begun for some. Sitting in the dark corners of the stage, actors silently stare at one point. No, they are not replaying dance steps in their mind so as not to make a mistake. They have long since become the bewildered unconscious of a boy who has returned from the senselessness of war. Seemingly to even greater absurdity.The main protagonist is Sasha, a young sol-dier who leads us through his life before and after the war. At some moments he speaks so calmly, almost nonchalantly, in order to show us in the best possible way what is left in the soul of a man who has headed into the trenches and, in the name of his country, killed those he believed to be his enemies. However, in his subconscious mind nothing is tranquil. And how could it be? He killed someone! It’s not easy to live with that. Society understands at that time. Wars, conquests and cruel murders are everywhere around. But the man, the soldier, does not.We best see how he actually feels through the music composed by Igor Stravinsky and through the energetic, precise and at certain moments cutting movements of the danc-ers. The choreography ranges from fully syn-chronous to parts that represent the dark side of his personality, marked by the disu-nity of the movements of the dancers. On a slightly raised part of the stage, with three metal poles, dancers illustrate the power and speed of thought running through the mind of the main character, from which he is un-able to free himself.The same role is also played by the light-ing. For the majority of the performance the lighting is subdued, helping the audience to

feel like it’s in some faraway place, among the trenches.A very bright light only crosses the soldier’s face in those moments when he speaks about the time when he joined the army, everything he saw during the war and how he returned home. His monologues gain weight when we know that they represent authentic testimonies recorded by playwright Judith Herzberg after talks with returning Dutch war veterans.Sasha also recalls the time before the war, French bread, blue gloves, mother’s gaze as she awaited him in front of school. He shows us that he was a completely ordinary boy; that war was not his choice; that he did not himself choose what he became.With this work, choreographers Guy Weiz-man and Roni Haver have overcome limita-tions of genre by merging dance, drama and music. Each one of these elements helped the audience to better penetrate the sub-conscious of a soldier.“The Soldier’s Tale” is the third project real-ised by the Bitef Dance Company in collabo-ration with Dutch-Israeli authors Guy Weiz-man and Roni Haver. It follows the dance shows “Myrrh and Cinnamon” (2010) and “Alpha Boys” (2011).

Nema spuštene zavese, nema visoke pozor-nice koja odvaja gledaoce od magije koja se na sceni stvara. Zamišljenu granicu predstav-lja rub belog tepiha.Posetioci Bitef teatra smeštaju se na svo-ja mesta i razgovaraju o gužvi u saobraća-ju i vetru koji je nemilosrdan čitavog dana neprimećujući da je za neke predstava već počela. Dok sede u mračnim uglovima bine glumci nemo gledaju u jednu tačku. Ne, ne premotavaju plesne korake u glavi kako ne bi pogrešili. Oni su odavno postali unezverena podsvest momka koji se vratio iz besmisla rata. U još veći besmisao čini se.Glavni protagonista je mladi vojnik Saša koji nas vodi kroz svoj život pre i posle rata. U nekim trenucima govori toliko smireno, go-tovo ravnodušno, da nam na najbolji način

We have very nice cooperation with Airport City and with Mrs Marina Deleon. I hope this cooperation will continue and bring more good projects, says Jelena Kajgo, artis-tic director and founder of the Bitef dance company, speaking at the beginning of this interview for What’s Up.We spoke to Mrs Kajgo on the eve of the premiere of the ballet “The Soldier’s Tale”, in the production Bitef Theatre and Airport City, which is one in a series of joint proj-ects. Another one of them is the calendar for 2016, which is very special not only be-cause it is a leap year, but also because the photos, each of which represents a month or a day, show Airport City joyous, playing and dancing.“We created the calendar and exhibition of dance photographs that emerged in this specific architectural ambience together with our prima ballet dancer Ašhen Ataljanc and Slavimir Stojanović. This is a blend of modern construction and modern move-ment, which is associated with virtuosity, precision and harmony. The title of this proj-ect is Inspiring Excellence, and I really think it acts inspiringly and exudes good energy,” says our interlocutor.

What does your new joint project bring?

Airport City is also our partner in the realisa-tion of the show “The Soldier’s Tale”, which – following its premiere – we also plan to implement within the context of this busi-ness complex. I think such shows can appear very interesting when they are relocated to an environment that is not the theatre, and I look forward to this special performance.

Why did you choose Šabac to present The Soldier’s Tale?

Šabac is in some way a symbolic link with the theme of The Soldier’s Tale, given that it is a city whose population has fought and died in wars. It was in the vicinity of this city that the Battle of Mišar took place, and in the Great War Šabac lost half of its popu-lation, which is why it is called the Serbian Verden. In its immediate vicinity the famous Battle of Cer was also fought.

How much is this story about war and its consequences relevant here and at this moment?

Unfortunately, there has been no time in human history when this topic has not been relevant. On planet Earth the flames of a war are always burning, some people are suffering and some soldiers are returning home with broken minds. We recently had such an experience and I hope sincerely that conflicts will pass us by in the future. But the whole world is now in some strange fer-mentation, in tension.

What is the remedy for the consequenc-es of the war; does one even exist? How can that be danced, sang and told?

I don’t know if there is a remedy – for some there is, for others there’s not. It is well said that a gun is always fired in both di-rections. Can an honest man live normally with the knowledge that he has killed other people? That’s not even easy when you’re in the role of a man who defends his country, but imagine how hard it is for those whose country sent them to war, to a land they do not know, in a war being fought for reasons they do not understand fully. As for dance, movement, music and light can often create a far more impressive theatrical scene than a scenic monologue or dialogue.

Is the Soldier’s Tale sad or happy; does it

Premiere performance of contemporary dance show “The Soldier’s Tale”

“It’s not easy to kill someone”

Jelena Kajgo, Artistic Director of the Bitef Dance Company

Airport City is also able to dance and play

Belgrade at your fingertipsI went out into the light;behind me was left darkness.A word, a look, an exhale, movement,shadows danced behind us.I am the soldier of my soul,honorably opposed to my reflection I stand,and battles I neither write nor count.I went out into the light,The soul saw into the day.

A bloodcurdling theme. Pain is born of loss, loss gives birth to pain. By inflict-ing pain on others, we inflict it on our-selves. Does war begin at that moment when it officially ends?“The Soldier’s Tale”, the dance show, is a unique combination of movement, mu-sic and drama. The theme of the piece is the return of a soldier from war, his feelings, thoughts and the memories he confronts. Choreographers Guy Weiz-man and Roni Haver have created a complex and exciting theatrical scene, which was wonderfully presented to us by the masterful performance of the dancers of the Bitef Dance Company. Belgrade emerged from the darkness, shone and became more beautiful for a moment. From the accidental passer-by to the intentional traveller, almost eve-ryone was able to treat themselves to this unique spectacle at Bitef Theatre, as the tickets were priced at only 250 dinars. Thanks to Airport City and Ma-rina Deleon, one idea has experienced its realisation.

Beograd na vrhovima prstijuIzašla sam na svetlost,iza mene ostala je tama.Reč, pogled, uzdah, pokret,senke plesale su sa nama.Ja sam vojnik svoje duše,časno spram odraza svoga stojim,a bitke niti pišem, niti brojim.Izašla sam na svetlost,duša je ugledala dan. Tema od koje se ledi krv u žilama. Bol rađa gubitak, gubitak rađa bol. Nano-seći ga drugima, nanosimo ga samome sebi. Da li rat počinje onog trenutka kada se zvanično završi? "Priča o vojniku", plesna predstava, je-dinstveni je spoj pokreta, muzike i dra-me. Tema komada je povratak vojnika iz rata, njegova osećanja, misli i sećanja sa kojima se suočava. Koreografi Guy Weizman i Roni Haver kreirali su kom-pleksni i uzbudljivi scenski prizor, koji su nam svojom maestralnom izvedbom dočarali igrači Bitef Dance kompanije. Beograd je izašao iz tame, zasijao i na trenutak postao lepši. Od slučajnog prolaznika do putnika namernika, goto-vo svi mogli su da priušte sebi da pri-sustvuju ovom jedinstvenom spektaklu u Bitef teatru, pošto je cena karte bila samo 250 dinara. Zahvaljujući Airport City-ju i Marini Deleon, jedna ideja do-živela je ostvaranje.

Marija Opalić-Vučević

Belgrade, 4th March

prikazuje šta ostaje u duši čoveka koji je po rovovima, u ime svoje zemlje, ubijao one za koje se verovalo da su neprijatelji. Ipak, u njegovoj podsvesti ništa nije mirno. A kako i da bude? Ubio je nekog. Nije lako živeti sa tim. Društvo u tom vremenu razume. Ratovi, osvajanja, svirepa ubistva svuda su okolo. Ali čovek. Vojnik. On ne.Kako se zapravo oseća najbolje vidimo kroz muziku koju je komponovao Igor Stravinski i energične, precizne i u pojedinim trenucima odsečne pokrete plesača. Koreografije idu od potpuno sinhronih do delova koji predstavlja-ju mračnu stranu njegove ličnosti obeleženu neujednačenim kretanjem plesača. Na malo izdignutom delu bine, sa tri metalne šipke, plesači su dočarali snagu i brzinu misli koje prolaze kroz glavu glavnog junaka, kojih on ne može da se oslobodi.Istu ulogu imalo je i osvetljenje. Tokom većeg dela predstave prigušeno, pomoglo je publici da se oseća kao da se nalazi na nekom dale-kom mestu, među rovovima.Jako svetlo prelazilo je preko vojnikovog lica jedino u trenucima kada je govorio o tome kada je otišao u vojsku, šta je sve video u ratu i kako se iz njega vratio. Njegovi monolozi dobijaju na težini kada znamo da predstavlja-ju autentične iskaze koje je nakon razgovora sa holandskim povratnicima iz rata zapisala dramska spisateljica Džudit Herzberg.Saša se seća i onog pre rata, francuskog hle-ba, plavih rukavica, majčinog pogleda dok ga čeka ispred škole. Pokazuje nam da je bio sasvim običan dečak. Da rat nije njegov izbor. Da ovo što je postao nije sam birao.Koreografi Gaj Vajcman i Roni Haver u ovom delu prevazišli su žanrovska ograničenja spa-janjem plesa, glume i muzike. Svaki od ovih elemenata pomogao je publici da što bolje pronikne u podsvest jednog vojnika.„Priča o vojniku“ je treći projekat koji Bitef dens kompanija realizuje u saradnji sa izra-elsko – holandskim autorima Gajom Vajcma-nom i Roni Haver, a posle predstava „Mirisi cimeta“ (2010) i „Alfa bojsi“ (2011).

Tatjana Sajkovic

08 09Airport City Belgrade newsletter Airport City Belgrade newsletter> Photo new

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have phases or is it linear, and is it pos-sible for such a story to have a happy ending? Is it a happy mix of the music of Stravinsky and the libretto of Judith Herzberg?

It is good that Guy Weizman and Roni Haver decided to do a piece based on the original music of Igor Stravinsky, because his work is complex and exciting. Of course, the libretto had to be done in such a way that it corresponds with our times and with the contemporary theatre audience. Judith Herzberg interviewed soldiers in the Neth-erlands and spoke with them about how they adapted to normal life after the war. Parts of these answers form the show’s li-bretto. Thus, they are both authentic and true. Of course, a happy ending is not possi-ble. These people carry within them trauma for life.

Who are the artists?Performing in the show are Nikola Tomašević, Vladimir Čubrilo, Luka Mihovi-lović, Ana Ignjatović Zagorac, Luka Lukić and Nataša Gvozdenović. The work process is very inspiring, as is the case each time with Guy Weizman. He is such an intelligent and intuitive artist that it is a pleasure to watch how much attention he pays to working with dancers on the details, on some inner dance monologues.

Do you expect that Belgrade’s Soldier’s Tale will endure and perhaps move be-yond the borders of this country?

I hope it will, because it really has the kind of quality that can compete with the best international productions. We have toured a lot so far and have been at almost all rele-vant festivals in the region, in Poland, Swe-den and Hungary. In July we have a tour to Japan. I hope this show will also enjoy a rich life on the road.

You’ve already collaborated with fa-mous choreographers Weizman and Haver. What is it that makes them so exceptional? Do you also feel the rich-ness of Jewish culture and tradition?

You feel an exciting blend of cultures, Jew-ish on the one side and Dutch on the other. You feel that spiritual base that they got by playing in Batshevi with the famous Ohad Naharin. Israel is a nursery for excellent cho-reographers and has a very rich and high quality contemporary dance scene. In this sense it is really a kind of phenomenon.

„Imamo veoma lepu saradnju sa Airport Citijem i sa gospođom Marinom Deleon. Nadam se da će se ta saradnja nastaviti i doneti nam još lepih projekata“, izjavila je na početku razgovora za Whats up, umetnička direktorka i osnivač Bitef Dance Company, Jelena Kajgo. Sa gospođom Kajgo razgovarali smo uoči premijere baletske predstave „Priča o vojni-ku“ u produkciji Bitef tetra i Airport Citija, jednom u nizu zajedničkih projekata. Jedan od njih je i kalendar za 2016. godinu, sa-svim poseban ne samo zato što je i godina prestupna nego što se na fotografijama od kojih svaka predstavlja mesec Airport City raduje, igra i pleše.„Kalendar i izložbu plesnih fotografija nasta-lih u ovom specifičnom arhitektonskom am-bijentu realizovali smo zajednički sa našom primabalerinom Ašhen Ataljanc i Slavimirom Stojanovićem. To je spoj moderne gradnje i modernog pokreta, koji asocira na virtu-

oznost, preciznost, harmoniju. Naslov tog projekta je Insiring excellence, i mislim da zaista deluje inspirativno i odiše dobrom energijom“, kazala je naša sagovornica.

Šta donosi vaš novi zajednički projekat?Airport City je naš partner i u realizaci-ji predstave „Priča o vojniku“, koju nakon premijere planiramo da izvedemo i u okviru ovog poslovnog kompleksa. Mislim da pred-stava može da deluje vrlo zanimljivo kada se izmesti u neki ambijent koji nije pozorišni, i radujem se tom specijalnom izvođenju.

Zašto ste izabrali baš Šabac za predstav-ljanje “Priče o vojniku“?

Šabac je na neki način simbolička kopča sa temom predstave „Priča o vojniku“, budući da je to grad čije je stanovništvo vojevalo i stradalo u ratovima. U njegovoj blizini odi-grao se boj na Mišaru, a u Velikom ratu Ša-

Young audienceThe field of contemporary dance art is wide and almost impenetrable. There are so many styles and techniques, from neoclassicism to performance art, conceptual art that uses movement to multimedia productions… I personally root for interdisciplinary styles, expan-sion and the erasing of stylistic barriers.In Serbia one feels progress in relation to this art, primarily on the educational front. Until ten years ago, contempo-rary dance performances were produced sporadically and by the first rerun there was already a problem with attendance figures. Today, our shows play for a few seasons are auditoriums are filled to the last seat. A new, young audience has formed, which I am very happy about.

Mlada publikaŠiroko je i gotovo nepregledno polje savremene plesne umetnosti. Toliko tu ima stilova i tehnika, od neoklasike do umetnosti performansa, konceptulane umetnosti koja koristi pokret, multime-dijalnih produkcija. Ja lično navijam za interdisciplinaranost, prožimanja, brisa-nja stilskih barijera. U Srbiji se oseća napredak u odnosu na ovu umetnost,na prvom mestu na edukativnom planu. Do pre desetak godina savremene plesne predstave bile su sporadično producirane i već na prvoj reprizi bilo je problema sa pose-ćenošću. Danas su naše predstave koje igramo po nekoliko sezona popunje-ne do poslednjeg mesta. Formirala se nova, mlada publika, čemu se veoma radujem.  

bac je izgubio polovinu svog stanovništva, pa je nazvan Srpski Verden. U njegovoj ne-posrednoj blizini odigrala se i slavna Cerska bitka.

Koliko je priča o ratu i njegovim posledi-cama aktuelna ovde i u ovom trenutku?

Nažalost, nije bilo trenutka u ljudskoj isto-riji, a da ova tema nije bila aktuelna. Uvek na planeti Zemlji plamti neki rat i neki ljudi stradaju, a neki vojnici se vraćaju kućama sa razorenom psihom. Mi smo nedavno ima-li takva iskustva i iskreno se nadam da će nas sukobi u budućnosti zaobilaziti. Ali ceo svet je trenutno u nekom čudnom vrenju, u tenziji.

Šta je lek za posledice rata i da li ga uopšte ima? Kako se to može odigrati, otpevati, ispričati?

Ne znam da li ima leka. Za nekog da, za nekoga ne. Lepo kažu da pištolj uvek opali u oba pravca. Da li pošten čovek može živeti normalno sa saznanjem da je ubijao druge ljude? To nije lako čak i kada ste u ulozi čoveka koji brani svoju zemlju, a zamislite koliko je teško onima koje država pošalje u rat, u zemlju koju ne poznaju, u rat čije razloge ne razumeju do kraja. A što se tiče igre, često pokret, muzika, svetlo, mogu da stvore daleko upečatljivije scenske prizore nego scenski monolog ili dijalog.

Da li je Priča o vojniku tužna ili vesela, ima li faze ili je linearna i da li je moguć srećan kraj? Da li je srećan spoj muzike Stravinskog i libreta Džudit Herzberg?

Dobro je što su Gaj Vajcman i Roni Haver odlučili da rade komad na originalnu muziku Igora Stravinskog, jer je njegovo delo kom-pleksno i uzbudljivo. Naravno, libreto je mo-rao biti urađen tako da korespondira sa na-šim vremenom i sa savremenom pozorišnom publikom. Džudit Herzberg je intervjuisala vojnike u Holandiji i pričala sa njima o tome kako se posle rata adaptirati na normalan život. Delovi tih odgovora čine libreto pred-stave. Dakle, autentični su i istiniti. Naravno, nije moguć srećan kraj. Ti ljudi u svom habi-tusu nose traumu do kraja života.

Ko su izvođači? U predstavi igraju Nikola Tomašević, Vladi-mir Čubrilo, Luka Mihovilović, Ana Ignjatović Zagorac, Luka Lukić i Naraša Gvozdenović. Proces rada, kao i svaki puta sa Gajem Vajc-manom, je vrlo inspirativan. On je toliko inteligentan i intuitivan umetnik, da je za-dovoljstvo gledati sa koliko pažnje radi sa igračima na detaljima, na nekim unutrašnjim plesnim monolozima.

Da li očekujete da će beogradska „Priča o vojniku“ trajati i možda preći granice ove zemlje?

Nadam se da hoće, jer zaista ima kvalitet koji može da parira najboljim internacional-nim produkcijama. Mi smo i do sada puno gostovali, bili smo na gotovo svim relevan-tnim festivalima u regionu, u Poljskoj, Šved-skoj, Mađarskoj. U julu imamo turneju u Ja-panu. Nadam se da će i ova predstava imati bogat život na gostovanjima.

Već ste saradjivali sa slavnim koreogra-fima, Vajcmanom i Haverom. Šta je to što ih čini tako izuzetnim? Da li se oseća i bogatstvo jevrejske kulture i tradicije?

Oseća se uzbudljiv spoj kultura, jevrejske sa jedne i holandske sa druge strane. Oseća se ta spiritualna baza koju su dobili igrajući u Batshevi sa čuvenim Ohadom Naharinom. Izrael je rasadnik odličnih koreografa, ima jako bogatu i kvalitetnu savremenu plesnu scenu. Po tome je zaista jedna vrsta feno-mena.

Exhibition Inspiring Excellence

December 28th, 2015It was …inspiring!

And everybody enjoyed…

Authors of calendar Slavimir Stojanović/Sonja Žugić

010 011Airport City Belgrade newsletter Airport City Belgrade newsletter

> Interview

“One of the main factors you use when examining ar-chitecture is time. If you come to a building after 15 or 20 years, you might often conclude it’s not up-to-date and has already passed its time. But that doesn’t happen here, because it works,” says architect Rami Wimmer, who speaks for this issue of What’s Up about why Airport City “works”, and will continue to do so in the future...The original concept was to establish sort of a business park in the middle of nowhere, because at the beginning, when I was here the first time it was site on remains of abandoned factory, with nothing around; the end of no-where. That was right after I finished my first project in Belgrade – now the NLB Bank building – and I was quite happy with the result. Then, all of a sudden, I had to start something new, which was in the middle of nowhere. We started with the first building, then slowly but surely the concept developed.

And now the area around Airport City has developed alongside the business park.

Yes. It is important to emphasise the development of the urbanistic area. I’m actually so happy to see that the pro-ject itself has influenced the neighbourhood, and around this project we now see commercial points and centres, and now even – which came as a surprise to me – there is also the residential part. And this is actually what a city is all about – mixed use, with a little bit of this and a lit-tle of that. This ensures a place isn’t deserted after five o’clock, after which people still come and gather.

Airport City also has a concept that naturally brings people together, with the central avenue that acts as a venue for outdoor events, but also a pleasant environment for people to meet and interact during their breaks and in the evenings.

In the beginning, if I wanted to take a taxi to Airport

City Belgrade, I had to explain to the driver exactly where I wanted to go. Now if I’m telling a driver I need to go to Airport City he knows immediately what I’m talking about. It’s already a landmark in the city. And I’m so happy to see that, even after so many years, the place is still beautifully maintained, clean and very neat. The people here are using it very wisely.

I find the concept of the Avenue, with the plane at the head, is inviting to passers-by, unlike many un-approachable business parks, which appear closed, private and intimidating. How did you achieve that?

We spent a lot of time thinking about and trying to re-solve one of the main issues in architecture: finding the right ratio between the width of a pedestrian street and the height of the buildings to the sides. It’s not so simple. It’s obvious when it works, but it’s not so obvious when it doesn’t work. When the amount of sunlight in a pedes-trian area is balanced by the width of the street and the height of the buildings, this is the right ratio, and it is this that invites you. If you go into a shopping mall where the main street is too wide, it always seems deserted. The more you close it, the more intense it becomes, and people are invited inside.It is important that the central avenue is still working after all this time. You may have noticed that on the ground floor I took all the units, the businesses, restau-rants and cafés, and brought them back, so that you have a colonnade parallel to the street, and people like that and it works.

What novelties and innovations are being brought to Airport City by the new phase of the development?

First of all, that would be the fact that we have expanded upwards. While the existing buildings are all six or seven floors, now we’re dealing with eleven and twelve floors.

It makes a difference. The Avenue is still communicational focal point of city within a city. There is a natural border in the form of the hill behind ACB and the roads which make this a closed space, but we will also denote this full totality of concept through the buildings.

Is the evolution of construction materials and tech-nologies such that the original buildings are now outdated?

Not at all. I can tell you that I am now involved in the designing of two new buildings to be positioned at the front, at the entrance. We actually left the entry until the end. I’m now in the middle of my work on designing those two buildings and I’m trying to introduce a little bit of something innovative in the project: keeping the idea of the original, but introducing something new. So, basi-cally, the original architecture is still valid, still good, still working in any of the new buildings that I design.

Is Airport City still unique as a business park in this region and what, if anything, would you have done differently if you could have gone back to the draw-ing board?

There is a project in Israel called Airport City Ben Gurion, which is basically the same business park model as Airport City Belgrade, yet all the buildings in that project in Is-rael are completely different. There is no clear, solid, com-mon language that defines its identity as a business park. There, each building is different, with different architec-ture, while here there is a common language, in terms of the main street/Avenue, the fact that the parking areas are to the outside, so you don’t see cars when you walk inside; there is also the same material from building to building, although I made some very slight changes in the architecture, but the language is the same. This is what is unique about this place. I wanted to establish a language

Rami Wimmer, architect of Airport City Belgrade to represent the identity of Airport City and I see that has worked and is still working, nothing has changed.

Do you think there is a good marriage of Serbian construction knowhow and Israeli expertise in ar-chitectural engineering, and could this be exploited more internationally?

Yes and yes. I think that one of the most positive points about Airport City is that nothing has changed in all the years since we constructed the first building. One of the main factors you use when examining architecture is time. If you come to a building after 15 or 20 years you might often conclude it’s not up-to-date and has already passed its time. But that doesn’t happen here, because it works.What’s important to me is that the maintenance of such a project, which is complicated, has to be kept very strict, because otherwise you can come to a building and see things are shabby, broken and rundown. Here that is not the case. Everything is beautiful, and that is due to the pos-itive roles of the people who maintain this entire project in the broadest sense of the word: they maintain the unique and superior concept as well as place itself; so Airport City owes its success to the fact that it is run by a great team.

„Jedan od glavnih faktora koji se koriste za ispitivanje arhitekture je vreme. Ako dođete u zgradu posle 15 ili 20 godina možete če-sto zaključiti da nije aktuelna i da je njeno vreme prošlo. Međutim to ovde nije slučaj zato što zgrada ispunjava svoju namenu“, kaže arhitekta Rami Wimmer, koji govori za ovaj broj What’s up magazina o tome zašto Airport City „funkcioniše“ i zašto će tako na-staviti u budućnosti.„Prvobitna ideja je bila da se izgradi nekakav biznis park usred ničega, jer u početku, kada sam prvi put bio na lokaciji sa ostatcima stare fabrike na ledini, izgledalo je kao na kraju sveta. To je bilo odmah nakon što sam završio svoj prvi projekat u Beogradu, sada je to zgrada NLB banke, i bio sam veoma zadovoljan rezultatom. Onda sam odjednom morao da počnem nešto novo usred nedođije. Počeli smo sa prvom zgradom, a zatim se koncept polako ali sigurno razvijao.

A onda se područje oko Airport City-ja razvijalo pa-ralelno uz biznis park.

Tako je. Važno je naglasiti razvoj urbanističke oblasti. Zapravo mi je jako drago da vidim da je sam projekat uticao na okolinu i u blizini vidimo komercijalne tačke i centre, a sada čak postoji i stambeni deo što je za mene bilo iznenađenje. I to je ono što čini jedan grad – mešo-vita upotreba, sa malo ovoga i malo onoga. To osigurava da mesto nije napušteno posle pet sati i da ljudi i dalje dolaze i okupljaju se.

Airport City takođe ima koncept koji prirodno zbli-žava ljude, ima centralnu aveniju koja služi kao me-sto za događanja na otvorenom, ali i prijatan am-bijent gde se ljudi susreću i razgovaraju za vreme pauze i tokom večeri.

U početku, ako sam hteo da taksijem dođem do Airport City-ja, morao sam da objašnjavam taksisti tačno gde želim da odem. Sada ako kažem taksisti da želim da odem do Airport City-ja, on odmah zna o čemu pričam. Airport City je već postao obeležje grada. Veoma mi je drago što to vidim. Čak i posle toliko godina, ovo mesto se lepo održava, čisto je i veoma uredno. Ljudi ga koriste veoma mudro.

Smatram da koncept Avenije, sa ravni na čelu, pri-vlači prolaznike za razliku od brojnih nepristupačnih biznis parkova koji izgledaju zatvoreno, privatno i zastrašujuće. Kako ste to postigli?

Proveli smo dosta vremena razmišljajući i pokušavaju-ći da rešimo jedan od glavnih problema u arhitekturi – nalaženje pravog odnosa između širine pešačke ulice i visine zgrada pored. To nije tako jednostavno. Očigled-

Standing the test of timeno je kada je uspešno, ali nije tako očigledno kada nije uspešno. Kada je količina sunčeve svetlosti u pešačkoj zoni izbalansirana širinom ulice i visinom zgrada, onda je to pravi odnos i to je ono što vas privlači. Ako uđete u tržni centar gde je glavna ulica preširoka, on uvek deluje napušteno. Što je više zatvorite to je intenzivnija i ljudi su privučeni da uđu.Važno je da centralna Avenija i dalje funkcioniše posle toliko vremena. Možda ste primetili da sam u prizemlju vratio unazad sve jedinice, radnje, restorane i kafiće i tako sada imate kolonadu koja je paralelna sa ulicom i ljudima se to sviđa i to funkcioniše.

Koje novine i inovacije ova faza razvoja donosi Ai-prort City-ju?

Pre svega, to bi bila činjenica da smo se proširili vertikal-no. Dok postojeće zgrade imaju šest ili sedam spratova, sada radimo sa zgradama koje imaju jedanaest ili dvana-est spratovaAvenija je još uvek u komunikacionom smislu kičma na-šeg grada u gradu čija lokacija je fizički omedjena posto-jećim brdom i ulicama koje ga čine zatvorenom celinom što će naglasiti nove zgrade.

Da li su prvobitne zgrade sada zastarele zbog razvoja građevinskog materijala i tehnologija?Nimalo. Mogu vam reći da sam sada uklju-čen u projektovanje dve nove zgrade koje će se nalaziti na prednjem delu, na ulazu. Zapravo, ostavili smo ulaz za kraj. Trenutno sam usred rada na projektovanju ove dve zgrade i pokušavam da uvedem malo buduć-nosti u projekat - držeći se originalne ideje, ali uvodeći nešto novo. Dakle, u osnovi, ori-ginalna arhitektura je i dalje aktuelna, i dalje je dobra, i dalje funkcioniše u svim novim zgradama koje projektujem.

Da li je Airport City i dalje jedinstven po-slovni park u ovom regionu i ako biste uradili nešto drugačije da možete da se vratite na početak, šta bi to bilo?

U Izraelu postoji projekat pod nazivom Airport City Ben Gurion koji je u suštini isti model biznis parka kao Air-port City Belgrade, a ipak sve zgrade u ovom projektu u Izraelu su potpuno drugačije. Ne postoji jasan, čvrst, zajednički jezik koji definiše njegov identitet kao poslov-ni park. Tamo je svaka zgrada drugačija, sa drugačijom arhitekturom, dok ovde postoji zajednički jezik u smislu glavne ulice – Avenije, činjenice da je parking zona sa spoljne strane da ne biste videli automobile kada uđete; takođe je i materijal isti u svim zgradama, iako sam na-pravio neke male promene u arhitekturi, jezik je ostao isti. To je ono što čini ovo mesto jedinstvenim. Želeo sam da uspostavim jezik koji predstavlja identitet Airport City-ja i vidim da je to funkcionisalo i da i dalje funkcio-niše – ništa se nije promenilo.

Da li mislite da postoji dobar brak između znanja i iskustva srpskog građevinarstva i izraelske stručno-sti u arhitekturi i da li se to može više koristiti na internacionalnom nivou?

Da i da. Mislim da je jedna od najpozitivnijih stvari oko Airport City-ja to što se ništa nije promenilo tokom svih godina od kada smo izgradili prvu zgradu. Jedan od glavnih faktora koji se koriste za ispitivanje arhitekture je vreme. Ako dođete u zgradu posle 15 ili 20 godina možete često zaključiti da nije aktuelna i da je njeno vre-me prošlo. Međutim to ovde nije slučaj zato što zgrada ispunjava svoju namenu. Kod ovako zahtevnih projekata najvažnije je kontinui-rano održavanje, koje je komplikovano i mora da bude veoma strogo, jer u suprotnom možete doći u zgradu koja izgleda otrcano i zapušteno. Ovde to svakako nije slučaj. Sve je i dalje prelepo, a to je ponajviše zasluga lju-di koji održavaju ovaj projekat u najširem smislu te reči: održavaju njegov jedinstven i superioran koncept kao i kompleks sam po sebi. Jednom rečju Airport City duguje svoj trajni uspeh sjajnom timu koji upravlja projektom.

013Airport City Belgrade newsletter

> Press clipping – ACB in the new

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> Adir El A

l – TGI Conference on the developm

ent of real estate

TV Studio B, Vesti u 19 22. 03. 2016

Doseg / Reach: /Država / Country: SerbiaČas / Time: 19:41Trajanje / Duration: 1 min 1

Vesić obišao Biznis park

SPIKER: Gradski menadžer Goran Vesić i član gradskog veća Aleksandar Marković obišli su prvi biznis

park u Srbiji Airport City na Novom Beogradu u okviru koga se završavaju dve nove poslovne zgrade po

15.000 metara kvadratnih. Vesić je izrazio zadovoljstvo što je u prilici da se upozna sa četvrtom fazom

izgradnje ovog velikog projekta na kome je svakodnevno angažovano 200 radnika i istakao da je ovo lepa

slika Beograda jer je cilj ove gradske vlasti da se što više gradi. Vesić je podsetio da Airport City u ovom

trenutku ima 110.000 kvadratnih metara, a da je namera vlasnika da taj broj kvadrata bude duplo veći.

Vesić: Our intention is to build up Belgrade

Belgrade City Manager Goran Vesić visited Airport City Belgrade business park in New Belgrade today, where,

as he said, the fourth phase of construction is in progress and will see two new buildings constructed.

Mr Vesić explained that the new buildings will each have 15,000 square metres, adding that one of them will

soon be completed.

“Approximately 200 workers are working here every day and this is a truly beautiful image of the Belgrade we

want,” Vesić told reporters after visiting the company.

Noting that the intention of the City of Belgrade is to build up the capital, he said that the city authorities are

trying to help all investors obtain building permits quickly, in order to achieve this goal.

“Every square metre built means more money for the construction of the infrastructure that is lacking in Bel-

grade, more money for our construction companies and more jobs,” stated Vesić, emphasising that Airport City

currently has 110,000 square metres and that this is the first business park in Serbia to have exemplified itself

as the most prestigious office space projct in Serbia, with its “city within a city” concept. Vesić said that he had

learned from the representatives of the Israeli company constructing Airport City Belgrade that more than 95

per cent of this space is presently occupied.

“This is indeed fascinating… We are truly grateful to our Israeli partners who are here with us for believing in

this city and for investing in it,” added the City Manager. He pointed out that the Israeli company responsible

for Airport City is the largest investor in Belgrade when it comes to real estate. “The fact that they continue

to construct new buildings shows that there is a market, and if there is a market that means that there are

foreign and domestic companies willing to build here, which is a good sign for our economy and the City of

Belgrade,” said Vesić.

Vesić visits business park

Belgrade City Manager Goran Vesić and City Council member Aleksandar Marković visited Serbia’s first business park, Airport City Belgrade, which is in a new phase of construction that is seeing two new commercial buildings, covering 15,000 square metres each, being completed. Vesić expressed his satisfaction with the fact that he was familiarised with the fourth phase of the construction of this large project, which engages 200 workers every day, and pointed out that this is a beautiful image of Belgrade, as the aim of the City Government is to develop the city. Vesić emphasised that Airport City already covers 110,000 square metres and that the owners intend is to double its size.Captions: Vesić visits the office of ACB CEO Adir El-Al

The biggest foreign investor in real estate in Belgrade at present is Israeli company AFI Europe, which was also dem-onstrated by the first conference on the development of real estate that was held recently in Belgrade. The patron of the event was the Embassy of Israel in Serbia, while the conference itself, which was similar to those that have been held in Greece for the last 16 years was organ-ised by Tsomokos Group International (TGI), which is owned by Simeon Tsomokos, a Greek businessmen with longstand-ing personal links to Serbia. The conference, which was organised ambitiously and thor-oughly, brought together more than 400 participants, in-cluding experts and investors from the country and abroad, representatives of the state, financial and construction sec-tors, as well as the leadership of the City of Belgrade. The Serbian capital was also in the focus of the conference as the most promising real estate market in Serbia, with far-reaching consequences precisely because foreigners come to the city.Aleksandra Damjanović, State Secretary at the Ministry of Construction, Transport and Infrastructure, recalled that, as of 1st January 2016, Serbia has introduced e-building per-mits. She pointed out that in the context of the reform of this sector, which was launched by both the Serbian con-struction industry and the building materials industry, and which has increased the number of workers on construc-tion sites, three important pieces of legislation have been brought: amendments to the Law on Planning and Con-struction, introduction of the new Law on Land Conversion and the Law on the Legalisation of Buildings, as well as 37 bylaws to enable their implementation. The adoption of the Housing Act has also been announced.

Ownership rights: she announced that another important reform is underway that will create the possibility of trans-forming land usage rights into the right of ownership over construction land, which will enable investors to become the owners of the land on which they are building. Belgrade City Manager Goran Vesić noted that Belgrade has more than 200 kilometres that are not utilised, while only a few kilometres have been landscaped. Vesić also announced the launch of the implementation of the Block 18 project, followed by the Makiš Field project, the development of the left bank of the Danube, which is set to become the Third Belgrade, as well as investments in the location below Višnjička Banja, from the Port of Belgrade to Ada Huja. He added that in the next four years the city centre will be transformed into a pedestrianised walking zone, which will increase the attractiveness of that area for investment. “We are ready to solve every problem,” said Vesić, addressing foreign investors.

General urbanisation plan: Belgrade’s chief urban planner, Milutin Folić, announced that the General Regulatory Plan of Belgrade would be adopted at the end of March this year. The plan relies on four pillars of urbanisation: traffic, pedestrians, cyclists and public transport. According to Folić, infrastructure projects are also awaiting urbanisation and funding. He said the City Planning Committee has been es-tablished and comprises seven experts. Some 50 plans were adopted in Belgrade during 2014 and 2015 which fit into the concept: identity, mobility and the natural environment. Folić presented a map of planned projects which, as he ex-plained, “shows that the majority of development projects head towards the rivers.”Xenofon Damaskos, CEO of Vojvođanska Banka (part of the

Israelis invest the most in BelgradeThe most construction in Serbia is in the capital, and the real estate market is beginning to record growth, according to the findings of the first conference on real estate development

Adir El Al: Good offer for investorsSerbia offers good opportunities for investors and exerts great efforts in continuity to improve the real estate sector, says CEO of AFI Europe Serbia, Adir El Al, speaking at the first conference on real estate development held in Belgrade.Israeli company AFI Europe Serbia is one of the biggest investors in Serbia. After its initial investment in the largest business park in Belgrade, Airport City, the company continued to invest here, and its top man is considered an expert who is well-acquainted with the situation on the Serbian real estate market.He stressed the importance of infrastructure and other major construction projects and facilities to the Serbian economy and economic growth. “Real Estate encourages the development of other branches, while cranes bring growth and economic development,” said El Al, before pointing out the contribution of the Ser-bian government and the Belgrade city authorities in opening up to investors and helping them to dealing with problems, or the “challenges” of the real estate sector.El Al believes that only those investors who are willing and able to adapt to change will succeed and survive in Serbia.“For us, legal procedures are one of the biggest chall-enges. Given that Serbia is a country in transition that is working on preparations for membership in the Eu-ropean Union, legal amendments come often. It is necessary for the transition period to be conducted smoothly, in order not to block investments,” says the AFI Europe Serbia CEO.

units in Serbia provides the basis for such an assessment. As he said, greater demand among tenants is responsible for the rise of the real estate market, but also the efforts of the Government to ease the operations of investors through the resolving of issues such as a complex administration and legal procedures. He cited the fact that 18 months ago the rate of availability of office space in New Belgrade, which has become Belgrade’s central business district, was about 30 per cent and is currently about five per cent. The growth in the number of tenants is the result of the arrival of new companies in Serbia, while higher demand has led to an increase in lease rates in this part of the city.

U ovom trenutku najveći strani investitor u nekretnine u Beogradu je izraelska kompanija AFI Europa, što je pokazala i Prva konferencija o razvoju nekretnina održana prošle ne-delje u Beogradu. Pokrovitelj skupa bila je Ambasada Izraela u Srbiji, a kon-ferenciju sličnu onima kakve se u Grčkoj održavaju već 16 godina organizovala je Tsomokos Group International (TGI) čiji je vlasnik Simeon Tsomokos, grčki biznismen sa višego-dišnjim ličnim vezama u Srbiji. Konferencija,organizovana ambiciozno i temljeno, okupila je više od 400 učesnika, stručnjaka i investitora iz zemlje i sveta, predstavnika države, finansijskog i građevinskog sektora kao i beogradske čelnike.Beograd je i inače bio u fokusu kao najperspektivnije tržište nekretnina u Srbiji sa dalekosežnim posledicama jer upravo ovde dolaze stranci.Državna sekretarka u Ministarstvu građevinarstva, saobraća-ja i infrastrukture Aleksandra Damnjanović podsetila je da je Srbija od 1. januara 2016. uvela elektronske građevinske do-zvole. Ona je istakla da su u okviru reforme u ovom sektoru koja je pokrenula i srpsku građevinsku industriju i industriju građevinskog materijala i povećala broj radnika na gradilišti-ma doneta tri važna zakona: izmene Zakona o planiranju i izgradnji, Zakon o konverziji zemljišta i Zakon o ozakonjenju objekata, kao i 37 podzakonskih akata za njihovo sprovođe-nje. I najavila usvajanje Zakona o stanovanju. Pravo svojine: Ona je najavila da je u toku još jedna važna reforma, mogućnost transformacije prava korišćenja zemlji-šta u pravo na svojinu nad građevinskom zemljištem što će omogućiti i investitorima da postanu vlasnici zemljišta na kome grade. Gradski menadžer Goran Vesić podsetio je da Beograd ima više od 200 km obala koje se ne koriste, kao i da je uređeno svega nekoliko kilometara. Vesić je najavio početak realiza-cija projekta Blok 18, zatim Makiško polje, razvoj leve obale

National Bank of Greece), expressed the assessment that the real estate market in Serbia will grow thanks, among other things, to the legalisation of illegally constructed ob-jects – of which there are currently about 1.5 million in Serbia, which is equal to the number of legal objects. Dam-askos believes that legalisation will increase the value of property, as well as demand for loans, which has declined sharply in recent years. He said that this property could become better collateral for doing business, which will, on the other hand, also have a positive effect on growth in the banking sector.

Growth market: Showing optimism in terms of the devel-opment of the Serbian real estate market is CEO of com-pany Atrium, Roman Klott. After a period of stagnation, a cycle of development has been launched in the real estate in Serbia, while the next three to five years will be crucial for the construction of new projects, assessed Klott.He said that the intensive trend of building office and retail

014 015Airport City Belgrade newsletter Airport City Belgrade newsletter> PR space

Our world loves cars that last. German vehicles, primarily Opel and Volkswagen, are the two most popular brands on the Serbian market. People definitely love cars that will last and they love cars that they will be able to sell after a certain period. They also love, and select, cars that have a good service network. These are precisely the things that we offer, says General Manager at PSC Komnenović, Milan Komnenović, speaking for What’s Up.

Key Partner Program (KPP)The Key Partner Programme (KPP) is an Opel programme that is very in-teresting for all those employed at large companies. A company applies for the programme without having to purchase anything from us. The only requirement is that the company al-lows us to distribute informative bro-chures to employees, who will receive the same conditions we provide to companies through this programme, which includes a discount of 28 per cent for certain models that are cur-rently on sale.

The easiest way for me to explain how this programme works is through this example: If a company applying for the Key Partner Programme has twenty employees who own cars, for us this represents potential of twenty cars and they receive a discount as if they were purchasing twenty cars, and not only one vehicle.

Promotion of the programme on ACB AvenueWe believe that this programme, as well as our offer of vehicles, is very interesting, and that’s why we will organise a promotion on the Avenue at Airport City dur-ing April and May for all companies and all employees and visitors of ACB. We want to familiarise and inform HR managers, people who deal with personnel affairs, and the whole management, about what is required to apply for our special offer. Our duty is to inform every interested individual about the conditions. After the initial application, a company has no further obligations regarding the programme or any formal legal respon-sibility, nor does it have to to sign any contracts. All a company needs to do is state whether it is interestedIn permitting us to offer this programme to their em-ployees. Our part of the job will be to present the pro-gramme, present the vehicles and the special conditions and benefits for purchase, as well as the maintenance of the vehicle – all of which depends on the number of applications.

Nothing without a touch and a lookA car is not purchased online. Ten years ago it seemed that cars would be sold online, but no matter how im-portant electronics are to us in every sphere of life, nothing can replace a touch and a look. People want to touch and see cars, to sit in them… that’s because buy-ing a car is a major investment. You may purchase shoes or a scarf online, but these are small purchases.The male part of the population connects to the brand, while the female part of the population does not con-nect to anything but the beauty of a car. When it comes

to women, Skoda is in focus one day, Opel or Peugeot the next. The brand is not of primary importance at all – unlike men, women are not loyal to brands when it comes to cars. This was proven by global surveys lasting several years. What both genders have in com-mon is that they love cars that will last and that they will be able to sell for a good price after three to five years of use. All drivers, regardless of gender, love cars that have a developed service network and available spare parts.

Seven-year warrantyWhen you are buying a car, you are buying safety, se-curity, durability and reliability – these are the things you invest in as a buyer. A warranty is very important and its value increases as time goes on. At first, we sold Opel vehicles with a two-year warranty, and then Opel introduced a four-year warranty, while we as a dealer provide a seven-year warranty. This means that we give our customers a bonus and add three years of warranty to Opel’s standard four years. This in itself speaks of quality and reliability, because no one would dare give a long-term warranty for an unreliable car.

Naš svet voli automobile koji će da traju. Pre svega, nemačka vozila a Opel i Volksvagen su dva najpopu-larnija automobila na srpskom tržištu. Definitivno, ljudi vole automobile koji će da traju i vole automobile koje će posle određenog vremena moći lako da prodaju. I naravno, vole i biraju automobile koji imaju dobru ser-visnu mrežu. A baš sve to im mi i nudimo, izjavio je za Whats Up, generalni menadžer PSC Komnenović, Milan Komnenović.

Key Partner Program (KPP) Key Partner Program (KPP) ili Program ključnih partnera je Opelov program koji je jako interesantan za sve zaposlene u velikim firmama. Firma se prijavljuje za program, ali sama ne mora ništa da kupi od nas. Potrebno je samo da nam dozvoli da podelimo informativni materijal zapo-slenima, a zaposleni će zahvaljujući ovom programu imati iste uslove koje dajemo kompanijama, što znači popust i do 28 odsto za određene modele koji su u ovom trenutku na akciji.

Kako program funkcioniše najlakše mi je objasnim na primeru: ako postoji firma koja se prijavila za Key par-tner program, koja ima dvadeset yaposlenih koji imaju automobile za nas je to kao potencijal od 20 automo-bila I dobijaju popust kao da kupuju 20 automobila, a ne jedno vozilo.

Promocija programa u ACB AvenijiVerujemo da je ovaj program kao i naša ponuda vozila vrlo interesantna i zato ćemo oganizovati promociju na Aveniji u Airport Citiju tokom aprila i maja za sve kompanije i za sve zaposlene i posetioce ACB-a. Želimo da upoznamo i informišemo HR menadžere, ljude koji se bave kadrovskim poslovima i celokupan menadžment

Milan Komnenović, Managing Director at PSC Komnenović

People love cars that last

Dunava koja bi trebalo da postane Treći Beograd, kao i da će se ulagati u lokaciju ispod Višnjičke Banje odnosno od Luke Beograd do Ade Huje. On je dodao da će u naredne četiri godine centar grada biti pretvoren u pešačku zonu, što će povećati atraktivnost tog prostora za investicije.”Svaki problem smo spremni da rešimo”, poručio je Vesić stranim investitorima.

Generalni urbanistički plan: Glavni urbanista Beograda, Milutin Folić, najavio je usvajanje Plana generalne regulacije Beograda krajem marta ove godine koji počiva na četiri stu-ba urbanizacije: saobraćaj, pešaci, biciklisti i javni prevoz. I dodao da infrastrukturni projekti čekaju urbanizaciju i novac. On je kazao da je osnovan gradski Komitet za planiranje u kome se nalazi sedam stručnjaka i da je u toku 2014. i 2015. godine u Beogradu usvojeno 50 planova, a da se oni uklapa-ju u koncept: identitet, mobilnost i prirodno okruženje. Folić je prikazao mapu planiranih projekata koja, kako je istakao “pokazuje da većina razvojnih projekata ide prema reci”.

Direktor Vojvođanske banke (u sastavu National bank of Greece) Xenofon Damaskos izneo je procenu da će tržište nekretnina u Srbiji rasti zahvaljujući između ostalog i lega-lizaciji nelegalno izgrađenih objekata, kojih u Srbiji u ovom trenutku ima oko 1,5 miliona što je jednako broju legalnih objekata. Legalizacija će povećati vrednost nekretnina, kao i tražnju za kreditima koja je veoma opala u poslednjim go-dinama, smatra Damaskos. On je ocenio da ove nekretnine mogu postati i bolje kolaterale za poslovanje što će sa druge strane uticati pozitivno i na rast u bankarskom sektoru.

Rast tržišta: Optimizam u pogledu razvoja srpskog tržišta nekretnina pokazao je i generalni direktor kompanije Atri-um, Roman Klott. U Srbiji je nakon perioda stagnacije pokre-nut ciklus razvoja nekretnina, a narednih tri do pet godina će biti ključne za izgradnju novih projekata, ocenio je Klott. On je kazao da se osnova ove ocene intenzivan trend iz-gradnje poslovnog i maloprodajnog prostora u Srbiji. Kako je naveo, za uspon tržišta nekretnina zaslužna je veća po-tražnja zakupaca, ali i napori Vlade da olakša poslovanje in-vestitorima kroz rešavanje problema kao što su kompleksna administracija i zakonske procedure. On je naveo podatak da je stopa raspoloživosti kancelarijskog prostora u Novom Beogradu koji je postao biznis centar Beograda, pre godinu i po dana bila oko 30 odsto, dok je trenutno oko 5 odsto. Rast broja zakupaca je rezultat dolaska novih kompanija u Srbiju, a sa većom potražnjom su porasle i cene zakupnina u ovom delu grada. Ljiljana Lukić

Ništa bez dodira i pogledaAutomobil se ne kupuje on line. Pre desetak godina činilo se da će to biti slučaj. Ali koliko god da je elek-tronika nama važna u svakoj sferi, ništa ne može da zameni dodir i pogled. Ljudi žele da dodirnu i pogle-daju automobile, da sednu… jer automobil je velika investicija. Možda ćete kupiti patike ili šal on-line. Ali to su ipak nabavke male vrednosti. Muški deo populacije se vezuje za marku. A ženski deo populacije se ne vezuje ni za šta osim za lepotu auto-mobila. Ženama je danas u fokusu Škoda, sutra Opel, prekosutra Pežo. Uopšte nIje primarna marka. Kada su automobili u pitanju, one nisu lojalne brendu, za razliku od muškog kupca. To su pokazala višegodišnja globalna

istraživanja. Zajedničko i jednom i drugom polu je da vole automobile koji će da traju i koje će moći posle tri do pet godina da prodaju za solidnu cenu. Svi vozači, bez obzira na pol, vole automobile koji imaju razvijenu servisnu mrežu i prodaju rezervnih delova.

Sedam godina garancije Kad kupujete automobile vi kupujete sigurnost, bez-bednost, dugotrajnost i pouzdanost - to je ono u šta kao kupac investirate. Garancija je izuzetno važna i kako vreme prolazi njena vrednost je veća.Mi smo Opele prodavali prvo sa dve godine garancije, pa je kompanija Opel uvela garanciju na četiri godine, a mi kao diler dajemo sedam godina garancije. Znači mi svojim kupcima dajemo bonus na Opelove četiri mi dodajemo još tri godine garancije. To samo po sebi govori o kvalitetu i pouzdanosti jer se niko ne bi usudio da daje dugoročnu garanciju na nepouzdan automobl.

Dobar servis Dobar servis je preduslov uspešne kupovine i zado-voljnog kupca. Zamislite da kupite auto koga nema na ovom tržištu, pa nema rezervnih delova, pa nema ko da ga popravi… Tako nešto na razvijenim tržištima praktično ne postoji, auto uglavnom može da se proda u svakom trenutku bilo kome za razumnu cifru, jer su tržišta daleko veća i razvijenija. U Srbiji je prošle godi-ne prodato samo 20.000 novih vozila, a u razvijenim zemljama prodaje se na stotine hiljada svake godine.PSC Komnenović ima dobar servis koji je ustanovio moj otac Pavle, osnivač kompanije i reli šampion eks-Jugo-slavije. Mi smo prošle godine ostvarili partnerstvo sa nemač-kom korporacijom AVAG Holding iz Augsburga. Oni su inače najveći distributeri Opela na preko 140 lokacija u Evropi. Napravili smo zajedničko ulaganje, oni su sada većinski vlasnici, a mi smo uložili znanje, reputaciju, klijente i vodeću poziciju na našem tržištu.

Komnenovic Company, which is part of the largest

Opel dealership in Europe AVAG, offers the best

conditions to the employees of Airport City for the

purchase of vehicles of this brand with a discount for

companies and with the extended warranty.

Kompanija Komnenović u sastavu najveće dilerske

kuće Opelovih automobila u Evropi AVAG samo za

zaposlene u Airport Citiju nudi najpovoljnije uslove

za kupovinu vozila ovog brenda sa popustom koji

inače važi za kompanije i uz najdužu garanciju.

šta je sve potrebno da bi se prijavili za našu akciju. Naša obaveza je da svakog pojedinca koji je zainteresovan obavestimo o uslovima. Posle inicijalnog prijavljivanja kompanija nema više nikakvih obaveza u vezi s progra-mom, nema nikakvu formalno pravnu obavezu, niti treba da potpisuje ugovor. Samo treba da se izjasni da je za-interesovana da nam odobri da zaposlenima ponudimo ovaj povoljan program. Naš deo posla biće prezentaci-ja, predstavljanje automobile i naravno specijalni uslovi i pogodnosti za sve kupce za kupovinu samu kao i za održavanje automobila.

NOVO u ACB-u

predstavljanje automobile

godine

Adir El Al: Dobra ponuda investitorima Srbija nudi dobre prilike investitorima i u kontinuitetu čini velike napore da unapredi sektor nekretnina, izjavio je generalni direktor kompanije AFI Europ, Adir El Al na Prvoj konferenciji o razvoju nekretnina održanoj u Beogradu. Izraelska kompanija AFI Europ jedan je od najvećih in-vestitora u Beogradu i Srbiji koja je posle početne in-vesticije u najveći biznis park u Beogradu, Airport City, nastavila ovde da ulaže, a njen prvi čovek važi za poz-navaoca prilika na srpskom tržištu nekretnina. On je ukazao na značaj infrastrukturnih i drugih ve-likih građevinskih radova i objekata za privredu Srbije i ekonomski rast. "Nekretnine podstiču razvoj drugih grana, a kranovi donose rast i razvoj privrede", rekao je Adir El Al, ukazavši na doprinos Vlade Srbije i gradskih vlasti u Beogradu da širom otvore vrata investitorima i pomognu im u suočavanju sa problemima, odnosno "izazovima u sektoru nekretnina" El Al smatra da će u Srbiji uspeti i opstati samo oni in-vestitori koji umeju i mogu da se prilagode promenama. "Za nas su zakonske procedure jedan od najvećih iza-zova. Budući da je Srbija zemlja u tranziciji, te radi na pripremama za članstvo u Evropsku uniju, dolazi do čestih promena zakona. Neophodno je da se tranzicioni period obavi glatko da ne bi blokirao investicije", smatra prvi čovek AFI Europe Serbia.

Koncept i urednik / Editor in Chief: Marina Deleon Novinari saradnici / Journalist contribution: Ljiljana Lukić, Bojana Barlovac Prevod / Translation: Mark Pullen Foto / Photo: Miodrag Trajković, Nemanja Jovanović, Sonja Žugić i Predrag TodorovićPriprema / Prepress: Ana Jovanović