Boa Katalog PDF

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Belgrade Open Art

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Belgrade Open Art

01|06|2013Pop-up prostor / Pop-up space

Trg Republike 5

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Nova lica na starom putu

Ideja o pokretanju jednodnevne interaktivne man-ifestacije Belgrade Open Art – BOA rodila se jedne zimske večeri na ukrštanju ulica Kralja Petra i Kneza Mihajla, u srcu beogradske urbane zone koja i sama predstavlja autentični crossroads starog i elitnog lica prestonice, ali i onu tačku oko koje su koncentrisane neke od najznačajnijih beogradskih galerija. Trasu kojom moraju da prođu svi umetnici koji teže javnom poznanju i priznanju.

Često se može čuti kako je upravo tim putem najteže proneti umetničko delo od Trga Republike do Kalemegdana, od Kulturnog centra Beograda do galerije „Cvijeta Zuzorić“ u času kada pada kiša ili duva legendarna beogradska košava. Nije mali broj slikara koji je opisivao takav jedan poduhvat u jesenjim mesecima kada klizave ploče glavne gradske ulice u saradnji s vetrom postanu pravo olujno more, a platno u rukama slikara jedro, pa se put ka galeriji pretvori u sudbonosnu, riskant-nu i uzbudljivu „plovidbu“, sličnu onom mističnom stanju koje je morao osećati Kolumbo stojeći na komandnom mostu svoje karavele, u času kada je samo mogao da se nada da je zemlja ipak okrug-la. Sa izazovima na toj fizičkoj stazi umetničkog pada ili uspenja može se meriti jedino i fizički, ali i metafizički susret sa prestoničkom kritikom i pub-likom. I ako je taj put koji svaki ozbiljan umetnik mora da pređe predstavljao kompleksan izazov i u epohi takozvanih zlatnih osamdesetih šta reći kako on izgleda danas u eri promenjene percepcije i recepcije, ekonomske i krize identiteta, u vremenu u kome i jesmo i nismo deo te međunarodne umet-ničke scene.

U želji da pomognemo pozicioniranje mladog umetnika na ovom starom umetničkom putu i utiče-mo na repozicioniranje umetnosti podjednako i u smislu njene komunikacije sa novom publikom, ali i njene ozbiljnije tržišne valorizacije, odlučile smo da pokrenemo BOA.

Ksenija Kastratović, Biljana Jotić, Bojana Ibrajter Gazibara i moja malenkost, četiri istoričarke umetnosti različite opservacije, energije, intuicije, ukrstile smo znanje i volju, a pre svega veliku ljubav prema umetnosti, da spojimo naooko nespo-jivo. Dinamiku beogradskog urbanog okruženja i radoznalost najšire kulturne publike sa elitizmom zatvorenih aukcija i probirljivih kolekcionra umet-ničkih dela. Tako smo definisale Belgrade Open Art kao jednodnevnu sintezu izložbene šetnje glavnom gradskom ulicom – Knez Mihajlovom, originalne postavke izabranih dela u Pop-up pros-toru Kulturnog Centra Beograda sa celodnevnim stručnim tumačenjem i pratećim performansima, i aukcione prodaje na kraju dana pažljivo izabranoj grupi kolekcionara i ljubitelja savremene umetnosti. Na ovakav način smo želele da postavimo temelj nove komunikacije između umetnika i publike, umetnika i kritike, kritike i publike, umetnika, kritike i kolekcionara. Da pokrenemo proces čiji će ključni cilj biti povećavanje kreativne energije sasvim jed-nostavnim deljenjem lepote s drugima.

Tamara Ognjević,umetnički direktor BOA

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New faces on the old road

The idea of starting a one-day interactive event, Belgrade Open Art – BOA, was born on one winter night at the intersection of Kralj Petar St. and Knez Mihailo St, in the heart of Belgrade urban area, which itself represents a genuine crossroads of the old and the elite side of the capital, but also the point around which are concentrated some of the most important galleries in Belgrade. A road that all the artists who aspire to the public recognition have to take.

You can often hear how difficult is to take artwork using that route from Trg Republike (The Republic Square) to Kalemegdan, from the Belgrade Cultural Centre to the “Cvijeta Zuzorić” gallery, at the time when it is raining or when the legendary Belgrade east wind, koshava, is blowing. Not a small number of painters described such a venture in the autumn months when the slippery slabs of the main city street in cooperation with the wind become a real stormy sea, and the canvas in the hands of painters becomes a sail, so the road to the gallery transforms into a fateful, risky and exciting, “navigation”, similar to that mystical state that Columbus must have felt standing on the command bridge of his caravels, at the time when he could only hope that the earth was round. With the challenges on that physical path of artistic decline or ascension, can be compared only physical, but also metaphysical encounter with the capital’s critics and audiences. And if this road that every serious artist must take represented a complex challenge in the so-called golden era of the eighties, what could we say how it looks today in the era of changed perception and reception, economic

and identity crisis, a time in which at the same time we are and we are not part of the international art scene.

In order to help the positioning of a young artist in this old artistic road, and influence on reposition-ing the art both in terms of its communication to new audiences, and its serious market evaluation, we decided to launch the BOA.

Bojana Ibrajter Gazibara, Biljana Jotić, Kseni-ja Kastratović and myself, four art historians with different observations, energy and intuition, have crossed the knowledge and the will, but above all a great love of art, to bring together something that at first glance seems incompatible: the dynamics of the Belgrade urban environment and the curiosity of the general cultural public, and the elitism of closed auctions and picky art collectors. So we defined the Belgrade Open Art as a one-day synthesis of exhibi-tion walk along the main street - Knez Mihailo Street, the original settings of selected works in the Pop-up area of the Cultural Centre of Belgrade with a day-long professional interpretation and background performances, and an auction at the end of the day for a carefully selected group of collectors and fans of contemporary art. In this way, we wanted to set a new foundation for communication between artists and audiences, artists and critics, critics and audiences, artists, critics and collectors. To start a process, whose goal will be to increase creative energy by simply sharing beauty with others.

Tamara Ognjević,Art director of BOA

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BOJANA ATLIJA, akademski vajar

Od koga je ta veština koja prostim dodirom pret-vara zemlju u površinu poput najfinijeg kamena? I za koga je?

Kojim čulima biste osetili ovo delo?Da li ste sigurni da vam je umetnica dala sve? Ili

će jednoga dana doći, samo se pojaviti na vratima da donese još. Ili ih vodom porušiti do proste meke mase, jer nisu pečeni.

I šta sa vremenom? Svaki dan jedan ćupić. Jeste, postojali smo toga dana.

A ako je sve jasno – onda samo stavite cveće.

BOJANA ATLIJA, academic sculptor

Whom from is that mastery that turns earth into the surface of the finest stone with a simple touch? And for whom?

Through which senses would you sense this piece?

Can you be sure that the artist gave you all of it? Or she may come one day, just pop in to bring you more. Or disintegrate them with water into a simple, soft mass, because they are not fired.

And what about the time? A jar per day. Oh yes, we existed on that day.

And if it is all clear – then just put flowers in it.

Tekst | Text Ksenija Kastratović

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Bojana Atlija, akademski vajar | academic sculptor

ŠUMA, instalacija, terakota, svaki segment cc 10x10 cm |FOREST, installation, teracota, every piece cc 10x10cm

Početna cena | Initial price 1400 €

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VALENTINA BROŠTEAN, grafički dizajner i ilustrator

I kada smo skoro sasvim poverovali da današnji mladi ne čitaju i ne pišu ljubavne pesme...evo je upravo ispred nas - Time and Space Between Us.

Serijal ogleda o ljudskom identitetu Out to the Sea - Inside of Me, čiji su motivi pojedinačne figure, završava se upravo ovim radom koji u kom-poziciju uvodi još jednu priliku.

Valentina veruje da smo autentični jedino iznu-tra, dok maske nosimo da bismo bili prihvaćeni bez obzira na to ili unatoč tome ko smo zaista. Ovo verovanje iskazuje beskompromisno: potpun-im mirovanjem likova, posmatranjem onoga što je ispod kože i onoga što se okom u fizičkoj realnosti na koži ne vidi.

Da li ćemo ikada biti u stanju da svoj bol i ranji-vost zagrlimo i poljubimo kao što uživamo u svojoj radosti i imunosti? Valentina poziva da pokušamo. Digitalna grafika i treperavi vlažni sjaj u oku.

VALENTINA BROŠTEAN, graphic designer and illustrator

And just when we have almost completely fallen under the belief that today’s youth do not read nor write love poems...there is one right in front of us – Time and Space Between Us.

The series of essays on human identity Out to the Sea - Inside of Me, whose motives are individual figures, ends with this work that introduces another figure into the composition.

Valentina believes that we are authentic only from inside, while we wear masks in order to be accept-ed, without regard or even despite to that who we really are. This belief is expressed uncompromising-ly: through absolute stillness of the figures, by observ-ing what is underneath the skin and what cannot be seen on the skin in the physical reality.

Will we ever be capable of embracing and kissing our pain and vulnerability as we enjoy our delight and immunity? Valentina is inviting us to make an attempt. Digital graphics and shiny eyes.


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Valentina Broštean, grafički dizajner i illustrator | graphic designer and illustrator

TIME AND SPACE BETWEEN US, digitalna grafika na platnu | digital graphics on canvas | 01/10, 50x70cm

Cena: 580 Evra

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ANA ILIĆ, umetnički fotograf

Kolekcija Ane Ilić “Bitten” (Ujedena), kojoj pripada “Chandelier” (Svetiljka), svojevrsno je vizuelno putovanja u samu esenciju čovekove prirode. Komponovan od izabranih snimaka napravljenih digitalnim foto-aparatom u svetu noćnih senki i utvara – od prvog mraka do svitanja, ovaj ciklus istražuje samoću i pitanje društvene asimilacija kao terapije ili antiterapije u savremenom svetu. Kvalitet da varira senzualne forme i tamu podsvesnih vizija kroz prizmu specifičnog noćnog svetla i artificijel-nog osvetljenja, omogućava Ani Ilić da posmatrača stavi u poziciju duboke, intimne introspekcije.

Ko nas to ujeda? Naša podsvest? Naše ideje, predrasude, lični ugao gledanja koji, krcat nega-tivnim predznacima, deformiše realnost do nepre-poznatljivosti?

Umetnica suptilno uvodi posmatrača u svet jas-nih, a zapravo nepotpuno definisanih fizičkih poja-va stavljajući ga u poziciju individulnog doživljaja slike. Ovakav postupak omogućava da posmatrač neosetno postane deo umetničkog eksperimenta.

ANA ILIĆ, art photographer

Ana Ilić collection “Bitten”, that includes “Chande-lier”, is a unique journey into the very essence of human nature. Composed of selected images made using digital camera in the world of ghosts and shadows of night – from dusk till dawn, these series of photographs explore the issue of loneliness and social assimilation as a therapy or anti-therapy in modern world. A quality to vary sensual forms and darkness of subconscious visions through the lens of a specific night-light and artificial lighting, allows Ana Ilić to put the viewer in position of a deep, intimate introspection.

What is biting us? Our subconscious mind? Our ideas, prejudices, personal perspective, which, crowded with negative signs, distorts reality beyond recognition?

The artist subtly introduces the viewer into a world of clear, and as a matter of fact undefined physical phenomena by putting him in position of individ-ual picture experience. This procedure allows the observer to seamlessly become a part of an artistic experiment.

Tekst | TextTamara Ognjević

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Ana Ilić, umetnički fotograf | art photographer

CHANDELIER, digitalna fotografija, arhivski inkjet | digital photography, archive inkjet, 30x40 cm

Početna cena: 390 Evra

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MILICA JOTIĆ, akademski slikar

Umetnički izraz Milice Jotić može se sagledati iz dva ugla ili dva pravca koji se slivaju u jednu ideju. S jedne strane je vizantijski uticaj i pravoslavni element sa ikona i mozaika, a sa druge intereso-vanje za konceptualnu umetnost kroz kombinovanje slikarskih medija na platnu (pastel, akvarel, ulje). U svim radovima Jotićeve bitna je ideja i samo-dovoljnost umetnosti i izraza. Oblici su naglašeni, geometrizovani, teže krugu kao idealnom obliku. Slika ih širokim potezima i gustim namazima boje tako da deluju izražajno i samodovoljno.

MILICA JOTIĆ, academic painter

There are two angles to observe Milica Jotić’s artistic expression, two directions that conflow into one idea in the end. One is byzantine influence and orthodox element of icons and mosaics and the other is the artist’s interest in conceptual art through combining media on canvas (pastel, aquarelle, oil). The idea and self-sufficiency are central in all her works. The shapes are emphasized, geometrized, aspiring to the circle as the perfect geometric shape. They are rendered in vast brushwork, with colour emphasised and self-sufficient as well.

Tekst | Text Biljana Jotić

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Milica Jotić, akademski slikar | academic painter

LILY AND THE CAT FROM SOMBOR, akril i pastel na platnu | acrylic and pastel on canvas | 40x50 cm

Cena: 350 Evra

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TAJANA KAJTEZ, akademski slikar

Iako među najmlađim umetnicima prve BOA man-ifestacije, slikarka Tajana Kajtez je nedvosmisleno najtradicionalnija i kada je reč o mediju (ulje na platnu), ali i kada je u pitanju stilski iskaz, pa i individualna poetika. Kao da je svoje umeće učila od Pjera Bonara, a osećanje samotnog, intimističk-og i simboličnog „nasledila“ od Ivana Tabakovića ili Stojana Aralice, ova umetnica naoko običnog, a duboko tajnovitog i samosvojnog iskaza osenju-je posmatrača toplinom, mirom i tlapnjom o čaši apsinta.

Tajana Kajtez lako svojim mirnim slikama karak-terističnog kadra navodi na misao da je čitav vek provela na malim pariskim mansardama u epohi u kojoj je sve postalo slika, a slikarstvo način da se pripoveda o sopstvenim snovima, sećanjima i emocijama. Kroz naoko obične predmete, detalje, jednostavne mrtve prirode, lične stvari, kadrove i boje koji imaju izrazito individualno značenje, Tajana Kajtez zapravo podseća na izgubljeno os-ećanje privatnog, sentimentalnog, prolaznog. Čak i duhovit naziv njene slike, „Nered ritma“, sugeriše izrazito ličan doživljaj unutar jedne umetničke mini-jature koja se radije „šapuće“ na uho posmatraču sličnog senzibilteta nego što se izvikuje glasno na velikim vašarima kreativne taštine.

TAJANA KAJTEZ, academic painter

Although among the youngest artists of the first BOA event, a painter Tajana Kajtez is undoubtedly the most traditional one when it comes to the media (oil on canvas), but also when it comes to stylistic statement and individual poetics. As if she learned her skills from Pierre Bonnard, and “inherited” the feeling of lonely, intimate and symbolic from Ivan Tabaković or Stojan Aralica, this artist of seemingly ordinary, but deeply mysterious and distinct expres-sion, enlightens the observers with warmth, peace and illusion about a glass of absinthe.

Tajana Kajtez easily suggests with her peaceful images of the characteristic frame to the thought that she spent her whole life in a small Parisian attic in the era when everything went picture, and paint-ing was a way to tell the story of her own dreams, memories and emotions. Through seemingly ordi-nary objects, details, simple still life, personal items, frames and colors with very individual meaning, Tajana Kajtez actually resembles a lost sense of pri-vate, sentimental, ephemeral. Even a witty title of her paintings, “Rhythm disorder”, suggests an extremely personal experience within the artistic miniatures that are preferred to be “whispered” in the ear of an observer with similar sensibility, than to be shouted loudly at big fairs of creative vanity.

Tekst |TextTamara Ognjević

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Tajana Kajtez, akademski slikar | academic painter

NERED RITMA, ulje na platnu |RHYTHM DISORDER, oil on canvas | 100x70 cm

Početna cena |Initial price 480 €

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LUKA KLIKOVAC, grafički dizajner

Mladi umetnik Luka Klikovac se sa jednakim uspe-hom bavi i eksperimentalnom i fine art fotografi-jom. Posmatraču je već na prvi pogled jasno da je pred njim rad talentovanog umetnika koji nema strah od izazova i zbog toga stalno pokušava da pomeri granice.

Njegove fotografije bojenih fluida kao da pripadaju svetu izvan okvira poznatog, hipnotišu gledaoca i stimulišu asocijativno polje, poput ka-kvih Roršahovih mrlja. S druge strane, realističnim fotografijama iz ciklusa Zaljubljen u tri narandže Narodnog pozorišta u Beogradu, Luka Klikovac uspeva da dokumentuje svaki trenutak života jedne predstave, čime nam omogućava da budemo sved-oci i učesnici njenog nastanka (kreacije) i razvoja.

LUKA KLIKOVAC, graphic designer

A young artist, Luka Klikovac, with equal success deals with both experimental and fine art photogra-phy. At first glance it is clear to the viewer that the work before him is of a talented artist, who is not afraid of challenges, and who is constantly trying to push the boundaries.

His colored fluid photographs seem to belong to the world beyond the familiar, mesmerize the viewer and stimulate associative array, like a Rorschach stain. On the other hand, with realistic photographs from the series “In love with three oranges” of the National Theatre, Luka Klikovac manages to docu-ment every moment in the lifetime of a theatre show, which enables us to be witnesses and participants in its creation and development.

Tekst | TextBojana Ibrajter Gazibara

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Luka Klikovac, grafički dizajner |graphic designer

PILLAR OF CREATION, digitalna fotografija |digital photography| 01/10, 100x67


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TIJANA KOJIĆ, akademski slikar

Figuracije Tijane Kojić spajaju kompleksnim nitima svet privlačne pojavnosti sa onim neumor-nog promišljanja radoznalog, senzibilnog duha. Opredeljujući se za personifikacije kako bi ovom tradicionalnom formom figurativnog slikarstva dala lik raspoloženjima, dilemama, konfliktima, te najrazličitijim stanjim uma i duha, Tijana Kojić je zapravo odabrala polazište stalnog „dijaloga“ podjednako i sa sopstvenom inspiracijom, baš kao i sa publikom.

Virtuozno se poigravajući aluminijumskom pod-logom kao sugestivnim, metafizičkim ogledalom i ikoničnim prostorom, Tijana Kojić aktere svojih dobro komponovanih scena organizuje u poliptihe koji kao i misao ili ugao gledanja na mah mogu da promene svoj fizički raspored, a samim tim i tok radnje, zaplet ili zaključak koji nosi osnovna ideja slike. Tako umetnica neumorno pokreće fantastični kaleidoskop vizuelnog i narativnog principa dela dozvoljavajući nam kao u slučaju triptiha „Saveti“ da pomerimo granicu sopstvenog doživljaja „čitanjem“ slike koja poput neke magi-jske, vizuelne knjige pruža mogućnost različitog svršetka. U zavisnosti od našeg, sopstvenog, izbo-ra. Od našeg viđenja, raspoloženja ili snoviđenja.

TIJANA KOJIĆ, academic painter

Figurations of Tijana Kojić connect with complex threads the world of attractive appearance with that relentless reflection of inquisitive, sensitive spirit. By choosing personifications, so she could use this tradi-tional form of figurative painting to give character to the moods, dilemmas, conflicts, and different states of mind and spirit, Tijana Kojic actually chose a start-ing point of a constant “dialogue” with both her own inspiration, as well as with the audience.

By masterly playing with aluminum backing as suggestive, metaphysical mirror and iconic space, Tijana Kojić organizes actors of her well-composed scenes into polyptychs that just like a thought or a viewing angle can change its physical layout, and thus the course of action, plot or conclusion that carries the basic idea of the painting. So the artist tirelessly runs a fantastic kaleidoscope of visual and narrative principles of the work of art, allowing us, like in the case of triptych “Tips”, to push the bound-aries of our own experience by “reading” the imag-es which, like some magical, visual book provide an opportunity for a different end. Depending on our own choice, our perception, mood or vision.


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Tijana Kojić, akademski slikar |academis painter

SAVETI, ulje na aluminijumskoj ploči, triptih |COUN-CILS, oil on alluminim plate, tryptich |105x100 cm


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MILICA MATOVIĆ, akademski slikar

Slikarstvom Milice Matović dominira tema iskaza-na karakterističnim oblikovanjem čije je središte ljudska figura, samostalna ili u paru. Emocije u tim formama ostaju zarobljene i komuniciraju unutar same slike, kao introvertni dijalog ili monolog

Boju koristi na pomalo kontroverzan način, u jednom trenutku upotrebljava svedenu paletu, dok u drugom intenzivnom bojom provocira na inter-akciju. Njene slike su ekspresivne. Forma i boja se međusobno prožimaju i postaju nerazdvojivi činioci slika. Boja izranja iz forme, a forma je suština, bilo da radi u tehnici akvarela ili ulja na platnu.

MILICA MATOVIĆ, academic painter

Painting of Milica Matović is dominated by the theme expressed in characteristic modulation with the human figure, individually or in pairs, as its cen-ter. The emotions in these forms remain trapped and communicate within the image itself, as introverted dialogue or monologue.

She controversially deals with color, at one point she uses with a scaled range, and then she provokes using strong color that requires interaction. Her paintings are expressive. The form and color interact with each other, and become inseparable element of paintings. Color emerges from the form, and the form is the essence, whether she works in watercolor or oil paintings.

Tekst|TextBiljana Jotić

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Milica Matović, akademski slikar | academic painter

PUT, ulje na platnu | ROAD, oil on canvas |70x100cm


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JAGODA MIĆOVIĆ, akademski slikar

U delima Jagode Mićović jasno se vidi za nju karakterističan pokret koji se manifestiju kako u usavršavanju tehnike, tako i u iskazu. Ova umet-nica je zaokupljena emotivnim trenutcima sopst-venog života što njenom stvaralaštvu daje izrazitu intimnost koja biva posebno naglašena svedenim formama i redukovanom paletom boja. A kada se boja na momente pojavi, postaje dominantna, intenzivna i u njoj se oseti skriveni temperament mlade umetnice. Svi ovi kvaliteti dodatno su naglašeni omiljenim medijima Jagode Mićović - olovka i akvarel ili video zapis. Modernizam, mini-malizam i izražajanost predstavljaju suštinu izraza Jagode Mićović.

JAGODA MIĆOVIĆ, academic painter

In works of Jagoda Mićović it is obvious her dis-tinctive movement that is manifested both in her additional training and in her expression. This artist is preoccupied with emotional moments of her own life what gives a touch of exceptional intimacy that is particularly emphasized in simplified forms and reduced color palette. But when the color at times appears it becomes dominant, intensive and the one may feel temperament of young artist in it. All this qualities are additionally expressed by media that Jagoda Mićović uses - pencil and watercolor or video. Modernism, minimalism and expressiveness present the essence of Jagoda Mićović’s expression.

Tekst | TextBiljana Jotić

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Jagoda Mićović, akademski slikar | academic paint-er

FLY WITH ME, olovka i akvarel na pamučnom papiru | pencil and watercolor on cotton paper |56x76cm


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ANĐELA MUJČIĆ, akademski slikar

Novi intimizam ili čist nestašluk? Da li se ovo pitanje odnosi na Anđelin rad ili na

fotografovu postavku?Razoružavajući odabir predloška. Žensko dete

smešteno u okvir i odeveno u dečje odelce – neka-da se lepo znalo šta je dete i gde mu je mesto. Na krokodilu!

Kakav agens za istraživanje – emotivno ili kognitivno – generacijskog, intimnog, porodičnog, statusnog ili likovnog.

Za svoj rad Anđela je odabrala tehniku stariju od tehnike predloška. Rukom, olovkom, četkicom, potez po potez. Brižljivo data materija. Ništa što su modeli uneli u fotografiju neće im biti oduzeto.

Ohrabrujuće je podsetiti se da ironija i toplina mogu biti u ovakvoj simbiozi.

ANDJELA MUJČIĆ, academic painter

New intimism or plain mischief?Does this question refer to Angela’s piece or to

the photographer’s composition?Disarming selection of the motif. A little girl put

in the frame wearing a little girl’s dress - in the old days we knew what the child was and where its place was. On the crocodile!

What a spark to explore, either emotionally or cognitively, the generational, the intimate, the fami-ly-related, the status-related or the visual and artistic.

Angela opted for the technique older than the technique of the original photograph. By hand, pencil and brush, stroke by stroke. The materials are rendered very carefully. Nothing that the models brought into picture will not be taken away from them.

It is encouraging to be reminded that irony and warmth can exist in the symbiosis like this.


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Anđela Mujčić, akademski slikar | academic painter

SURF, olovka i akvarel na papiru | pencil and water-color on paper |56x76cm


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MARIJANA ORO, akademski slikar

Stvaralaštvo Marijane Oro je kompleksno pogotovu kada je u pitanju složenost tehnike i mnoštva detal-ja. Kao da stalno traži neke nove tehnike u kojima će izraziti svoje nadrealne, fantastične motive i teme. Njenim delima dominira crtež. Često prepun finih detalja i komplikovanih ornamenta. Crtež Marijane Oro deluje pre kao postupak kaligrafa nego slikara. Crtež dominira njenim radovima. Ti detalji se množe i stvaraju mnoštvo sitnih reči kojima ona piše po materijalima na kojima radi. Otuda utisak da umetnica više „piše“ kao da je u pitanju literatura, a ne slikarstvo. Marijana Oro vrlo retko koristi boji i kada je upotrebi ona je podređe-na crtežu.

MARIJANA ORO, academic painter

Creativity of Mariana Oro is complex especially when it comes to the variety of techniques and a multitude of details. As if she is constantly looking for some new techniques in which she will express her surreal, fantastic themes and motifs. Drawing dominates in her works. Often packed with fine details and intricate ornamentation, Mariana Oro drawings looks more like calligraphers then painters procedure. These details can multiply and create many small words that she writes on the material on which she works. Hence the impression that the artist more “writes” like it is more matter of the literature then the one of painting. Marijana Oro uses color rarely and when she does so color is subordinated to drawing.


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Marijana Oro, akademski slikar | academic painter

MIKROKOSMOS, akrilik, tempera i tuš na platnu | acrylic, watercolor and ink on canvas |100x120cm


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SVETLANA RADENKOVIĆ, grafički dizajner

Multidisciplinarna umetnica Svetlana Radenković se bavi grafikom, slikarstvom, crtanjem, ilustrovan-jem, kaligrafijom, dizajnom i street artom. I u svim tehnikama je uspešna, autentična i savremena. Njen opus je intimni dnevnik satkan od dubokih misli, ličnih analiza i ideja. U radovima se prepliću fantastični likovi, pomalo uznemirujući, a bliski i poznati poput kakvih ličnih demona, različiti sim-boli, reči i rečenice.

Svetlana Radenković doslovno prati inspiraciju, skrivene, samo njoj vidljive znakove, kreće se gra-dom noću, upija i beleži na putu. Ova autorka os-eća snažnu vezu sa materijalom u kome i od koga stvara i zato ima potrebu da ga oseti pod rukom.

Radovi Svetlane Radenković su prepoznatljivi upravo po realističnoj, taktilnoj komponenti koju vešto inkorporira u svaki od njih, a uz pomoć koje na najneposredniji način komunicira sa posma-tračem.

SVETLANA RADENKOVIĆ, graphic designer

Multidisciplinary artist Svetlana Radenković does graphics, painting, drawing, illustrating, calligraphy, design and street art. She is successful, authentic and modern in all the techniques. Her work is an intimate diary composed of deep thoughts, personal analysis and ideas. In her works are interwoven fantastic characters, a little disturbing, and yet close and famous like some personal demons, different symbols, words and sentences.

Svetlana Radenković literally follows the inspi-ration, hidden signs, visible only to her, she moves around the city at night, she absorbs and stores along the way. This author feels a strong connec-tion with the material in which and from which she creates and so she has the need to feel the material in her hands.

Works of Svetlana Radenković are known for the realistic, tactile component that she skillfully incorpo-rates into each of them, with the help of which in the most direct way she communicates with an observer.


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Svetlana Radenković, grafički dizajner | graphic de-signer

EULOGIJA, grafika, duboka štampa | EULOGY, graphic, intaglio printing |120x90cm


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LUKA RADOJEVIĆ, akademski vajar

Umetnost za vajara Luku Radojevića predstavlja igru i smisao postojanja. Možda je baš zato ovaj afirmisani mladi umetnik uspeo da se, za relativno kratko vreme, pozicionira na internacionalnoj umet-ničkoj sceni i da živi, vredno stvara i izlaže kako na Zapadu tako i na Dalekom istoku.

Radi u kamenu, metalu i drvetu. Svaki materi-al mu predstavlja novi izazov i postaje kreativna igračka u njegovim rukama. Podjednako je zain-teresovan za realizam i apstrakciju, skulpturu u javnom prostoru i male formate, filozofske prob-leme, svetlo i senke, za čoveka i savremenu umet-nost kao celinu. Tako opus ovog stvaraoca obiluje najraznolikijim formama.

Luka Radojević trenutno radi u Karari, na samom izvoru čuvenog mermera u kome su klesali Mikelandjelo i Roden, a u kome stvaraju i najznača-jniji skulptori današnjice, što ovom mladom umetniku može da bude dobar vetar u leđa.

LUKA RADOJEVIĆ, academic sculptor

For a sculptor Luka Radojević, the art represents a game and the meaning of existence. Maybe that’s why this renowned young artist succeeded in a rel-atively short time, to position himself on the interna-tional art scene and live, create and expose both in the West and in the Far East.

He works in stone, metal and wood. Each mate-rial presents a new challenge to him, and becomes a creative toy in his hands. He is equally interested in realism and abstraction, sculpture in public space and small formats, philosophical problems, lights and shadows, a man and modern art as a whole. So the oeuvre of this creator is full with the most versatile forms.

Luka Radojević currently works in Carrara, at the source of the famous marble in which Michelangelo and Rodin had carved, and in which today generate the most significant sculptors of our time, what can be a good tailwind as for this young artist.


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Luka Radojević, akademski vajar | academic sculp-tor

TRINITY, skulptura, farbani metal | sculpture, painted metal | 45x50x35cm


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IVANA RACKOV, keramičar

Keramičarka Ivana Rackov već deset godina traje na dinamičnoj, beogradskoj stvaralačkoj sceni u okviru koje upravo njen umetnički medijum – kera-mika – u prvoj deceniji novog milenijuma pokazuje zavidan nivo novih i smelih rešenja. Ostajući verna tradicionalnim formama, dinamizmu jednostavnih linija i finim modelacijama, Ivana Rackov ima prepoznatljiv „rukopis“ utemeljen na harmonizaciji elegantnih, svedenih oblika i duhovitih, nenametl-jivih detalja.

Instalacije, poput „Černobilja“, dragocena su retkost u ukupnom opusu ove umetnice, pa samim tim pružaju karakterističan uvid u njene kreativne kontemplacije i njihovo transponovanje u materijal. Stilizovani cvet maka, karakterističan brend Ivane Rackov, ovde biva „sredstvo“ da se iskaže misao o životu i smrti, nestajanju i nastajanju, strahu i veri. Nije li sve zaista deo jednog savršeno planiranog ciklusa u kome samo stvaralac prepoznaje ritam i lepotu dve krajnosti predstavljene elegantnom rešetkom kojom dominiraju crni porcelanski cvetovi, kojima prkosi usamljen cvet jarke boje? Kao posto-jano svetlo u tami koja tek varljivo dominira.

IVANA RACKOV, ceramist

Ceramist Ivana Rackov lasts for ten years on the dynamic Belgrade creative scene, where exactly her artistic medium - ceramics - in the first decade of the new millennium shows a remarkable level of new and brave solutions. By staying faithful to tradition-al forms, the dynamism of simple lines and subtle modeling, Ivana Rackov has a distinctive “signature” based on the harmonization of the elegant, reduced forms, and witty, unobtrusive details.

Installations such as “Chernobyl” are a precious rarity in the total oeuvre of this artist, and therefore provide a distinctive insight into her creative con-templations and their transposition into the material. Stylized world of poppy, characteristic brand of Ivana Rackov, here becomes a “tool” to express the thought of life and death, dissolution and creation, fear and faith. Isn’t it all really a part of a well planned cycle in which only the creator recognizes the rhythm and the beauty of the two extremes rep-resented by the elegant grate dominated by black porcelain flowers, defied by a lone bright colored flower? Like a steady light in the darkness that domi-nates in a tricky way.


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Ivana Rackov, keramičar | ceramist

ČERNOBILJ, instalacija, keramika | CHERNOBYL, installation, ceramics |70x70x5cm


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BOJAN SAVIĆ, akademski slikar

U delima Bojana Savića preovlađuju čiste forme. Boje na njegovim slikama kao da žive neki sopstve-ni život i kada u nekim trenucima apstrahuje formu, boje ostaju pune, bogate, upadljive i primamljive. U sagledavanju njegovih slika i instalacija u celosti, a to su mediji u kojima on stvara, može se primetiti da se jednostavnost forme i boje prepliću i pričaju priču o lepom i razdraganom životu slike. U njima se mogu prepoznati emocije iz detinjstva koje se oslobođaju tokom kreativnog procesa. Bojan Savić na svojim slikama ponekad kombinuje tehnike, ali pretežno radi akrilnim ili uljanim bojama na platnu.

BOJAN SAVIĆ, academic painter

Pure forms are prevalent in the works of Bojan Savić. The colors in his paintings seem to live a life of its own, and at times when he abstracts form, colors remain full, rich, striking and alluring. In consider-ation of his paintings and installations in its entirety, and that is the media in which he creates, it can be noted that the simplicity of form and color intertwine and tell a story of a beautiful and joyful life of the painting. In them we can recognize emotions from childhood that are liberated during creative process. Bojan Savić in his paintings sometimes combines techniques, but mostly works with acrylic and oil paints on canvas.


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Bojan Savić, akademski slikar | academic painter

MORSKI LJUDI, akril na platnu | SEA PEOPLE, acrylic on canvas |50x50cm


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IVAN STOJKOVIĆ, grafički dizajner i animator

Gde je granica i šta je razlika između ilustracije i slike? Ko postavlja granice i ko nameće frag-mentaciju i specijalizaciju ljudskoj nasušnoj potrebi da ispričamo priču i da nam se ispriča priča? I kako naći odnos između onoga što bi bilo savesno jer nas društvo uči da tako treba i onoga što je savesno prema nama samima jer dopire iz našeg najdubljeg bića?

Skica, skica, skica, još jedna, još jedna, još jedna. I potom minuciozno crtanje i bojenje, dokle god je moguće, i istraživanje gde je granica i šta ako je pređeš, kazna ili nagrada, hoćeš li patiti ili slaviti, ili ništa od toga i ništa uopšte, i onda dekonstrukcija, da bi ponovo jurnuo u bitku i da ne može baš svako da vidi svaki tvoj potez, i novi sloj, novi zadatak, nova tehnika. I onda još jednom.

Šta će biti na kraju? Na kraju drveta? Na kraju slike? Na kraju sveta? Na kraju žene? Na kraju ljubavi? Na kraju noći?

Drvo ne zna za pravilnosti, osim da raste na gore, „tu svašta može da se desi“.

IVAN STOJKOVIĆ, graphic designer and animator

Where is the boundary and what is the difference between an illustrator and an artist? Who sets the boundaries and who imposes fragmentation and specialisation on human vital needs to tell a story and to be told a story? How to find a relation be-tween the conscientious, as per what society teaches us, and that what is conscientious to ourselves, as coming from our deepest being?

Sketch, sketch, sketch, and again, and again and again. And then drawing and colouring as minu-tious as possible and exploring where the boundary is, and what if you cross it, a reward or punishment, will you suffer or celebrate, or none of that and nothing at all; and then the deconstruction, so that you can run into the battle and not everyone can see your every move, and a new layer, a new assign-ment, a new technique. And then once again.

What happens in the end? At the end of the tree? At the end of the painting? At the end of the world? At the end of the woman? At the end of love? At the end of night?

A tree knows nothing of the regularity, but to grow upwards, so “anything can happen there”.


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Ivan Stojković, grafički dizajner i animator |graphic designer and animator

KORA, akvarel, akrilik, suvi pastel na papiru | KORE, watercolor, acrylic and dry pastel on paper |25x39cm


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JELENA TIJANIĆ-SAVIĆ, akademski slikar

Stvaralaštvo Jelene Tijanić-Savić jasno definiša naročit odnos crteža i boje. Minuciozan crtež leži kao čvrsta osnova svake njene slike dok se boja pojavljuje kao dodataka koji ima funkciju da podrži crtež, a ne da mu bude ekvivalent. Jele-na Tijanić-Savić najčešće slika motive iz prirode. Njene forme su dobro proporcionisan, tačne, dobro ukomponovane u prostor slike. Ponekad voli da se poigra elementima uz pomoć intenzivne boje i neobičnih torzija što daje utisak zanimljive igre oblika. Izrazita geometrizacija oblika u slikarstvu ove umetnice često podseti na njenu drugu veliku strast – mozaike.

JELENA TIJANIĆ-SAVIĆ, academic painter

The painter’s creativity of Jelena Tijanić Savić is clearly defined by specific relation between the drawing and the color. Meticulous drawing lies as a solid base of each of her paintings until the color appears as edition which function is to support the drawing, not to be its equivalent. Jelena Tijanić-Savić most often paints motifs from nature. Her forms are well proportioned, accurate, well-incorporated into the space of painting. Sometimes she likes to play with elements using vivid colors and interesting tor-sion what results in an interesting game of shapes. The vast geometrization of forms in paintings of this artist, often reminds of her other great passion - mosaics.


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Jelena Tijanić-Savić, akademski slikar |academic painter

ŽARKO JUTRO U MOM SELU, akrilik na platnu | BRIGHT MORNING IN MY VILLAGE, acrylic on can-vas |70x100cm


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TKV, street art umetnica

Neformalna kraljica street arta i stensila. Kreativna i hrabra, neumorna aktivistkinja, i puna optimizma. Magična. Buntovnica sa razlogom. The kraljica vila je prepoznatljiva po živopisnim motivima bajkov-itih bića, kao i stensilima sa likom Virdžinije Vulf, Edgara Alana Poa, Ameli Pulen, Lusi Lu… Njen eklektični output inspirisan je Bolivudom, Indijom, Japanom, Klimtom, a motivi koji se ponavljaju su ruka, srce, lotosov cvet i oko svevideće.

Stensil Ksenije Atanasijević ovu umetnicu neopozivo svrstava u stvaraoce koji misle i rade oz-biljno, čiji izbor motiva je uvek duboko promišljen. Pažljivo bira svoja “platna” intervenišući u skriven-im pasažima, haustorima i na oronulim zidovima, želeći da prenese poruku, ali i da ukrasi urbani pejzaž.

TKV svoj umetnički izraz istražuje pomoću različitih medija, pa je tako ova nadarena umetni-ca uradila i mural inspirisan Borom Stankovićem u Vranju, ali i seriju limenki Guarane.

TKV, street artist

The informal queen of street art and stencils. Cre-ative and brave, tireless activist, and full of optimism. Magic. Rebel with a cause. “The Kraljica Vila (The fairy queen)” is known for colorful motifs of fairy creatures and stencils with images of Virginia Woolf, Edgar Allan Poe, Amelie Poulain, Lucy Liu ...

Her eclectic output is inspired by Bollywood, India, Japan, Gustav Klimt, and the repetitive motifs are hand, heart, the lotus flower and the all-seeing eye.

Stencil of Ksenija Atanasijević irrevocably clas-sifies this artist as the one who thinks and acts seriously, whose choice of motive is always deeply thoughtful. She carefully chooses her “canvas” by intervening in the hidden passages, doorways and crumbling walls, trying to deliver the message, but also to decorate the urban landscape.

TKV explores her artistic expression using a variety of media, so this talented artist did a mural inspired by Bora Stanković in Vranje, and also a series of Guarana cans.


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TKV, street art umetnica |street artist

NO NAME, sprej na plastičnoj ploči | spray on plas-tic plate |100x120cm


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MINA ŠARENAC, umetnički fotograf

Sjajno je kada čovek radi ono što ga čini srećnim i što ga zabavlja, a da pri tom to odlično radi. Mina Šarenac je umetnica koja na svojim fotografi-jama uspešno spaja ljude i situacije, nadrealne, senzualne i ponekad komične elemente. Inspirisana kinematografijom Dalekog istoka, režira scene koje su prožete duhom Japana, Kine i samuraja.

Na svojim fotografijama se uporno poigrava draperijom, bilo da bi dočarala uticaj gravitacije ili naglasila njeno odsustvo; kako bi istakla pokret tela, prirodne sile ili pak da bi načinila aluziju na mermernu skulpturu.

Iako je fotografija po definiciji trenutak uhvaćen okom kamere, zaustavljen u vremenu i prostoru, radovi Mine Šarenac deluju živo, pružaju iluziju pokreta i odlučno prkose zakonitostima fizike.

MINA ŠARENAC, art photographer

t’s great when someone does what makes him happy and what amuses him, and at the same time does it perfectly. Mina Šarenac is an artist who successfully connects people and situations, surreal, sensual and sometimes comical elements in her pho-tographs. Inspired by Far Eastern cinema, she directs the scenes that are imbued with the spirit of China, Japan and samurais.

In her photos she persistently plays with drapery, whether to show the effects of gravity or emphasize its absence, in order to highlight the movement of the body, natural forces, or to create an allusion to the marble sculpture.

Although the photo is by definition a moment caught on camera, suspended in time and space, works of Mina Šarenac seem alive, provide the illusion of movement and resolutely defy the laws of physics.


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Mina Šarenac, umetnički fotograf |art photographer

ŠUM | NOISE, digital photography |50x70cm


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Uslovi aukcije na Belgrade Open Art 2013

Artis Center iz Beograda, ovlašćeni je organizator i posrednik u procesu selekcije, procene, prezent-acije i aukcije umetničkih dela u okviru Belgrade Open Art 2013 manifestacije.

Artis Center organizuje aukciju devetnest (19) originalnih umetničkih dela savremene umetnosti koja su vlasništvo njihovih autora. Aukcija će biti održana 1. juna 2013. kao završni deo BOA 2013 u Pop-up prostoru Kulturnog centra Beograda s početkom u 18 časova.

Katalog BOA 2013 sadrži reprodukcije svih dvadeset umetničkih dela koje su selektovala četiri istoričara umetnosti. Pored svake reprodukcije se nalazi tehnički opis dela (naziv, tehnika, dimenzi-je) i procenjena vrednost dela na osnovu stručne ekspertize i dogovora sa autorom-vlasnikom dela.

Potencijalni kupci će moći sva dela prikazana u katalogu BOA da vide tokom jednodnevne prezent-acije, u subotu 01. juna 2013, u periodu od 12 do 17:30 časova, neposredno uoči aukcije.

Aukcija će biti obavljena licitacijom, na tradicio-nalni način.

Na aukciji mogu učestvovati isključivo ona lica koja su se registrovala kod organizatora najmanje 24 časa pre početka aukcije (petak 31. maj 2013. do 18 časova). Registracija se može obaviti lično ili popunjavanjem onlajn formulara na veb sajtu organizatora www.artiscenter.com.

Na aukciji se može učestvovati lično ili posredo-vanjem organizatora u svojstvu zastupnika. U sluča-ju da organizator zastupa kupca ovaj je u obavezi da u registracioni formular unese najvišu cenu koju je spreman da plati za izabrano umetničko delo.

Ako se dogodi da dve ili više ovakvih, napismeno datih ponuda nude isti iznos novca, prednost će imati ona ponuda koja je stigla prva.

Kupcem se smatra osoba koja je ponudila na-jveću cenu.

Organizator aukcije, Artis Center, zadržava diskreciono pravo da odbije ponudu čiji iznos ne prevazilazi prethodni za najmanje 10 %.

Kupac je dužan da plati organizatoru aukcije postignutu cenu (i eventualni PDV) i preuzme umet-ničko delo u roku od 72 sata po obavljenoj aukciji.

Plaćanje se vrši u gotovini ili na račun Artis Cen-tra, u dinarskoj protvvrednosti prema prodajnom kursu Banca Intesa.

Kupac o svom trošku preuzima umetničko delo i transportuje ga na željenu lokaciju. Delo se može preuzeti tek pošto kupac pruži dokaze da je ispla-tio cenu za umetničko delo kakva je postignuta na aukciji.

Artis Center će preduzeti sve neophodne radnje, u skladu sa zakonom, da namiri svoja potraživanja od kupca koji ne izvrši ugovornu obavezu.

Aukciona skala tokom licitacije je definisana na sledeći način:

- za iznose do 1000 € po 25 €- za iznose od 1000 - 2000 € po 50 €- za iznose od 2000 - 5000 € po 100 €

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Auction terms at Belgrade Open Art 2013

Artis Center from Belgrade is an authorised orga-nizer and mediator in process of selection, evalua-tion, presentation and auction of art works within Belgrade Open Art 2013 (BOA) manifestation.

Artis Center organizes auction of nineteen (19) original contemporary art works that are owned by their authors. The auction will be held on 1st of June 2013 as the final part of the BOA 2013 in Pop-up space of the Belgrade Cultural Center starting at 18 am.

BOA 2013 catalog includes reproductions of twenty original art works selected by four art historians. Next to every reproduction are technical description of the art work (title, medium, dimen-sions) and the estimated value of the work based on professional expertise and agreement with the author-owner of the work.

Potential customers will be able to see all the art works from BOA catalog at display during the one-day exhibition on Saturday 1st of June 2013 in the period from 12 to 17:30 pm, just before the auction.

Only those persons who registered for auction at least 24 hours before the start of the auction (Friday, May 31, 2013, till 18:00 pm) may partic-ipate in it. Registration can be done in person or by filling out an online form at organizer website www.artiscenter.com.

The auction may be participated in person or through the organizer as an authorized representa-tive. In that case customer represented by organizer is required to bid the highest price he is willing to pay for the selected artwork within the registration

form. If happens that two or more of these, written bids offer the same amount of money, priority will be given to bids that came first.

Buyer is the person who offered the highest price.

Artis Center as organizer of auction reserves the right to reject a bid in an amount not to exceed the previous by at least 10%.

The buyer shall pay to organizer of auction achieved price (and VAT, if any) and take art work within 72 hours after auction.

Payments can be made in cash or on account of Artis Center in dinar counter value of the exchange rate of Banca Intesa.

Buyer will organize takeover and transportation of purchased art work from auction space to the desired location at his/her own expense. These actions can be taken only after the buyer provides evidence that he/she paid the price of art work as achieved during the auction.

Artis Center will take all necessary actions according the law to satisfy their claims from the customer who does not fulfill a contractual obliga-tion.

Auction scale during the auction is defined as follows:

- For amounts up to 1000 € to 25 €- For amounts between 1000 - 2000 € to 50 €- For amounts between 2000 - 5000 € to 100 €

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ORGANIZACIJA / ORGANIZATION

ARTIS CENTERBraće Jerkovića 145| Beogradwww.artiscenter.com

IZDAVAČ/PUBLISHER

ARTIS CENTER

ZA IZDAVAČA/FOR PUBLISHER

Tamara Ognjević

UMETNIČKI SAVET/ARTISTIC COUNCIL

Bojana Ibrajter GazibaraBiljana JotićKsenija KastratovićTamara Ognjević

PARTNER NA PROJEKTU/PROJECT PARTNER

Kulturni centar Beograda

DIZAJN

Maja Maksimović

PREVOD NA ENGLESKI/ENGLISH TRANSLATION

Nenad MiloševićKsenija Kastratović

ŠTAMPA/PRINT

ALTA NOVAUgrinovački put 16a| Zemunwww.altanova.rs

TIRAŽ/NUMBER OF COPIES

1000

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©Artis Center

Documents

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