Likovne kolonije u SrbijiArt colonies in Serbia

Konkurs Ministarstva kultureRepublike Srbije

(2002–2008)Open contest of the Ministry of Culture of

the Republic of Serbia(2002–2008)

2009.

Recenzije Reviews

Dr Aleksandra Jovićević, red.prof.La Sapienza, Rim i Fakultet dramskih umetnosti, BeogradLa Sapienza, Rome and Faculty of Dramatic Arts, Belgrade

Dr Milena Dragićević-Šešić, red.prof.Fakultet dramskih umetnosti, Beograd i Univerzitet umetnosti, BeogradFaculty of Dramatic Arts, Belgrade and University of Arts, Belgrade

Uvodna reč

Likovne kolonije u SrbijiKonkurs Ministarstva kulture Republike Srbije(2002–2008)

Dimitrije Tadić

Dislokacije:potencijali umetničkih kolonija u SrbijiMaida Gruden i Mara Prohaska-Marković

Primeri dobre prakse(likovne kolonije)

Biografije

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Foreword

Art colonies in SerbiaOpen contest of the Ministry of Culture ofthe Republic of Serbia (2002–2008)

Dimitrije Tadić

Dislocations:the potentials of art colonies in Serbia Maida Gruden i Mara Prohaska-Marković

Examples of good practice(art colonies)

Biographies

Sadržaj Content

Cilj ove publikacije jeste da predstavi i objasni funkcionisanje i rezultate godišnjeg konkursa Ministarstva kulture Republike Srbije za likovne kolonije. Taj konkurs funkcioniše u sklopu šire koncipiranog konkursa Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose (Konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture), koji obuhvata sve umetničke oblasti savremenog stvaralaštva.

Objašnjenjem konkursne procedure publikacija može pomoći i profesionalcima, a naročito organizatorima likovnih kolonija, u sagledavanju kriterijuma Ministarstva i stručnih komisija koje odabiraju projekte za finansiranje. Na taj način, olakšava se i unapređuje apliciranje na konkursu. Isto tako, važna je i prezentacija rada Ministarstva, kao organa uprave, i u krajnjoj liniji, dela Vlade, a radi transparentnosti procedura, kriterijuma i finansiranja projekata. Na kraju, željeni efekti i rezultati konkursa upućuju i na stavove Ministarstva u smislu kulturne politike.

Da bi se što bolje predstavili kriterijumi odabira projekata za finansiranje, publikacija sadrži i primere dobre prakse. Tu su predstavljene, sa kratkim opisom i kontaktima, likovne kolonije koje Ministarstvo kulture Republike Srbije finansijski podržava. Za ovu priliku odabrani su projekti koji slikovito i reprezentativno ilustruju kriterijume i efekte konkursa, kao i napore Ministarstva usmerene ka unapređenju funkcionisanja umetničkog, kulturnog, ali i društvenog sistema naše zemlje. Broj likovnih kolonija podržanih na konkursu znatno je veći.

Tekst Maide Gruden i Mare Prohaske-Marković, istoričarki umetnosti, pruža uvid u društveni i istorijski kontekst razvoja kolonija i na osnovu organizacionog iskustva razmatra značaj i potencijal likovnih kolonija danas.

The aim of this publication is to present and to explain the functioning as well as the results of the annual contest of the Ministry of Culture of the Republic of Serbia for art colonies. The contest functions within the boundaries of a more widely conceived contest of the Sector for contemporary art, cultural industry and cultural relations (the contest for the co financing of project / programs that contribute to the development and presentation of art and culture) which includes all artistic fields of contemporary production.

By explaining all of the contest procedures this publication will help professionals and especially art colony organizers in understanding the criteria set up by the Ministry and the expert committees which select programs that are to be financed. In this way, applying for the contest is set forward and made easier. The presentation of the Ministry’s work as a part of the government and a governing body is vital and it is also important because of the transparency of procedures, criteria and financing of the project. Eventually, the desired effects and results of the contest point out the positions of the Ministry concerning cultural policy.

In order for the criteria of selection of projects for financing to be presented in an adequate way, the publication also contains examples of good practice. Art colonies that are financially supported by the Ministry of Culture of the Republic of Serbia are presented here along with a short description and contacts. For this occasion projects which depict the criteria and effects of the contest are vividly and accurately selected. These projects also represent the efforts of the Ministry towards the improvement of the art, cultural and social system of our country. The number of art colonies supported by the contest is considerably larger than before.The text by Maida Gruden and Mara Prohaska- Marković, art historians, offers an insight into the

Cilj publikacije jeste i da posle sedam godina kontinuiranog postojanja konkursa za likovne kolonije predstavi i u isto vreme preispita njegove efekte i domete u unapređenju razvoja likovnih kolonija. Iznošenje iskustava u radu Ministarstva, odnosno u finansiranju projekata, takođe može biti od koristi svim profesionalcima iz oblasti kulture. Publikacija je štampana kao izdanje udruženja građana Anonymous said: iz Beograda, što treba sagledavati u svetlu neophodne saradnje vladinog i nevladinog sektora, budući da je njena izrada pod direktnim pokroviteljstvom Ministarstva kulture Republike Srbije. Kako Ministarstvo veoma drži do kvalitetne i dinamične saradnje sa civilnim sektorom, ova publikacija ujedno svedoči i o naporima Ministarstva usmerenim ka unapređenju te vrste saradnje. Stoga, svesrdno zahvaljujemo timu “Anonymous said:” i Manetu Radmanoviću na uspešnoj saradnji na ovom projektu. Veliku zahvalnost dugujemo Aleksandri Jovićević na dugogodišnjoj pomoći i saradnji, kao i Mileni Dragićević-Šešić na značajnoj pomoći u strukturiranju tekstova i same publikacije.

Želeli bismo da zahvalimo i Ani Vučetić, pomoćniku ministra kulture za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose, Vesni Jokanović, pomoćniku ministra kulture za ekonomsko-finansijske poslove, i Nadici Momirov, državnom sekretaru u Ministarstvu kulture Republike Srbije, bez čije ljubazne pomoći štampa ove publikacije ne bi bila moguća. Posebnu zahvalnost upućujemo Nebojši Bradiću, ministru kulture u Vladi Republike Srbije.

social and historic context of the development of colonies and considers the importance and potentials of art colonies today, based on organizational experience.

The aim of this publication is to present and at the same time revise the effects and the range of the contest for art colonies considering the improvement of art colonies even after seven years of their existence. Bringing out the experience in the work of the Ministry concerning the financing of projects can also be useful to all professionals from the cultural field.

The publication is printed as an edition of the citizens association Anonymous said: from Belgrade. This should be viewed in the light of necessary cooperation between the government and non government sector being that its production is under direct auspices of the Ministry of Culture of the Republic of Serbia. Ministry of Culture encourages dynamic and valuable cooperation with the civil sector based on high standards, this publication also testifies about the efforts of the Ministry of Culture directed towards the enhancement of this kind of cooperation. Hence, we are cordially grateful to “Anonymous said:” creative team and Mane Radmanović for the successful cooperation on this project.

We owe a great deal of gratitude to Aleksandra Jovićević for her continuing help and cooperation, as well as Milena Dragićević-Šešić for her considerable help, invaluable for the structure of this publication.

We would also like to express our gratitude to Ms. Ana Vučetić, the Assistant Minister for contemporary art, cultural industry and cultural relations; Ms. Vesna Jokanović, the Assistant Minister for economical and financial affairs, and Ms. Nadica Momirov, the State Secretary in the Ministry of Culture of The Republic of Serbia, whose kind assistance made this publication possible. We give special thanks to Mr. Nebojša Bradić, Minister of Culture in the Government of the Republic of Serbia.

Uvodna reč Foreword

Dimitrije Tadić

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U Srbiji je registrovano više od 200 likovnih kolonija, a smatra se da je njihov broj zapravo mnogo veći. Tradicija likovnih kolonija veoma je izražena. Međutim, kako njihova forma već dugo nije u skladu sa potrebama savremene umetnosti, tu tradiciju trebalo je sistematski podržati i dozvoliti joj da se dalje razvija, ali je i preoblikovati da bi bila bliža savremenim kulturnim i umetničkim tendencijama. Ministarstvo kulture Republike Srbije 2002. godine prvi put je otvorilo usko profilisani konkurs za likovne kolonije kako bi se nedefinisana i haotična situacija na tom polju uredila na odgovarajući način.Konkurs za likovne kolonije pokrenut je ne samo zato da bi se izdvojile najkvalitetnije likovne kolonije i ukazalo na važnost njihovog ozbiljnog koncepta koji određuje savesni selektor već i radi edukacije organizatora kolonija i razvijanja menadžerskog mišljenja, kao i edukacije publike. Veoma je značajno to što se likovne kolonije uglavnom održavaju van većih kulturnih centara kakvi su Beograd, Novi Sad i Niš, te je podrška razvoju tih manifestacija neobično dragocena i sa stanovišta decentralizacije kulture i sa stanovišta kulturnog turizma. Ništa manje nije značajna ni činjenica da se održavanje likovnih kolonija vezuje i za produkciju umetničkih radova savremenih umetnika, što je jedan od najvećih problema sa kojima se autori kod nas, naročito oni mlađi, susreću zbog teške finansijske situacije. Na taj način organizatori likovnih kolonija direktno pomažu umetnicima u produciranju i ostvarivanju umetničkih zamisli.Konkurs za likovne kolonije jedan je od prvih konkursa koje je Ministarstvo pokrenulo posle 2000. godine. Prvi put otvoren je 2002,

There are more than 200 art colonies registered in Serbia, but their number is perhaps larger. This tradition is very pronounced. Their form has not been in accordance with contemporary art necessities for some time, so this tradition should have been systematically supported in order to improve further development and also to reshape it and bring it closer to contemporary artistic and cultural tendencies. The Ministry of Culture of the Republic of Serbia has for the first time opened a profiled contest for art colonies in 2002 in order to rearrange the chaotic and undefined situation.This contest was set in motion not only to select the best art colonies and to emphasize the importance of their serious concept which is defined by a conscientious selector but also to educate colony organizers and to develop the managerial way of thinking as well as education of the public. It is very important that art colonies exist mainly outside of great cultural centers such as Belgrade, Novi sad and Niš so that support of these manifestations is very precious from the point of decentralization of culture and cultural tourism. Equally important is the fact that art colonies are tied with art production of contemporary artists, which is one of the greatest problems which face authors in this country, younger ones in particular. In this way the organizers of art colonies directly help artists in the production of their artistic ideas.The contest for art colonies is one of the first that has been started by the Ministry of Culture after the year 2000. It was announced in 2002, and ever since 2003 it has been functioning within the annual contest of the Sector for contemporary art, cultural

Uvod Introduction

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Likovne kolonije u SrbijiArt colonies in Serbia

Konkurs Ministarstva kulture Republike Srbije (2002–2008)Open contest of the Ministry of Culture of the Republic of Serbia (2002–2008)

Dimitrije Tadić

a od 2003. funkcioniše u okviru godišnjeg konkursa Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose (Konkurs za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture) i odnosi se na likovne kolonije koje se realizuju u jednoj kalendarskoj godini. Konkurs Ministarstva kulture Republike Srbije za sufinansiranje projekata/programa koji svojim kvalitetom doprinose razvoju i prezentaciji umetnosti i kulture pokrenut je 2003. godine. Posle perioda veoma teškog za celu državu, tadašnji saziv Ministarstva uveo je sistemska rešenja u funkcionisanje da bi se rad Ministarstva unapredio i osavremenio. Između ostalog, to je značilo i promovisanje sasvim drugačijih procedura finansiranja projekata, u skladu sa savremenim evropskim standardima u kulturi. Jedna veoma važna, tada uvedena procedura, jeste konkurs za finansiranje projekata.Taj konkurs raspisuje se u okviru Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose, i u skladu je sa Zakonom o delatnostima od opšteg interesa u oblasti kulture („Službeni glasnik RS“ br. 49/92). Konkurs je otvoren za sve umetničke oblasti i projekte koji su u vezi sa naučnoistraživačkim radom u savremenoj umetnosti i kulturi.Pravo učešća imaju institucije kulture, organizacije, udruženja građana, neformalne grupe i pojedinci sa teritorije Republike Srbije, dok projekti/programi ustanova kulture iz člana 2, stav 2 Zakona o delatnostima od opšteg interesa u oblasti kulture („indirektni korisnici budžeta“) nemaju mogućnost učešća na konkursu. Razlog je to što se rad tih institucija finansira sa drugih budžetskih pozicija, i to u celosti. Godišnji konkurs Sektora za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose pokrenut je radi sistematičnosti i transparentnosti rada Ministarstva kulture. Sistematičnost u radu Ministarstva ogleda se u mogućnostima koje konkurs pruža, a to je pregled projekata koji se realizuju tokom godine, kao i čitav niz mera kulturne politike koje se konkursom sprovode. Mnogi neprofesionalni postupci, nelogičnosti

i nedoslednosti u radu prevaziđeni su uvođenjem konkursa. Na taj način donosioci odluka u prilici su da uporede i valorizuju umetničku i kulturnu produkciju u jednoj kalendarskoj godini.Transparentnost funkcionisanja konkursa, odnosno Ministarstva kulture Republike Srbije, prepoznaje se u činjenici što su procedure i rezultati konkursa javni. Veoma je značajno i to što su u proces odlučivanja uključeni i profesionalci (članovi komisije). Dakle, osim transparentnosti u proceduri i uključivanja osoba van Ministarstva u proces odlučivanja, potrebno je naglasiti i činjenicu što su odluke o finansiranju umnogome prepuštene profesionalcima iz svake oblasti umetničkog stvaralaštva. Ništa manje nije značajno ni pitanje načina utroška i planiranja budžetskih sredstava kojima Ministarstvo raspolaže u jednoj godini. Uvođenjem konkursne procedure ne samo što je potvrđen značaj transparentnosti i javnosti rada već je zbog dobrog pregleda umetničke i kulturne produkcije uveliko olakšano i planiranje finansijskih sredstava Ministarstva, ali i organizatora projekata.Za svaku stvaralačku oblast formiraju se zasebne komisije sastavljene od stručnjaka u svakoj oblasti koje odabiraju projekte za finansiranje. Kako je Ministarstvo organ državne uprave, a ne stručna institucija poput muzeja na primer, stručna služba Ministarstva koordiniše rad komisija, ali su odluke o finansiranju projekata prepuštene članovima komisije. Iako oni donose tzv. predlog odluke, važno je napomenuti da se ni ministar ni njegovi saradnici ne mešaju u donete odluke, tj. preporuke stručne komisije. Jedina eventualna intervencija može se odnositi na iznos za svaki projekat predviđen za finansiranje, što zavisi od budžetskih mogućnosti Ministarstva.

Međutim, neobično je važna interakcija i dinamična, kreativna saradnja članova komisije i stručne službe Ministarstva. Tako se, radi što boljeg i svrsishodnijeg sprovođenja mera za unapređenje umetničkog i kulturnog sistema u zemlji, članovima komisije predočavaju kriterijumi

industry and cultural relations (the contest for the co financing of projects/programs which contribute to the development and presentation of art and culture) and relates to art colonies production for the period of one calendar year.The contest of The Ministry of Culture of the Republic of Serbia for the co financing of projects/programs which contribute to the development and presentation of art and culture started in 2003. After a period which was very difficult for the state, the Ministry of Culture introduced system solutions in order to advance and modernize the Ministry. This meant the promotion of completely different procedures of financing projects, in accordance to contemporary European standards in culture. A very important, new procedure is this contest for the co financing of projects. This contest is announced within the Sector for contemporary Art, cultural industry and cultural relations and it is in accordance with the Law on activities of common interest in culture („Službeni glasnik RS“ br. 49/92). The contest is open to all artistic fields and projects connected with scientific research in contemporary art and culture. The right of participation is granted to cultural institutions, citizens associations, informal groups and individuals from the Republic of Serbia, while projects/programs of cultural institutions from article 2, paragraph 2 of the Law on activities of common interest in the field of culture („indirect budget users“) do not have the possibility of participation in the contest. The reason being that the work of those institutions has been financed from other budget sources in its entirety. The annual contest of the Sector for contemporary art, cultural industry and cultural relations was started because of the systematic and transparent work of the Ministry of Culture. Systematic activities of the Ministry are seen in the capacity of the contest to make a survey of projects being realized during one year as well as other measures of cultural policy. Many unprofessional acts, illogical and incoherent, are overcome by introducing this contest. In

this manner decision makers can compare and evaluate the artistic and cultural production in a calendar year. The transparency of the contest and also the Ministry of Culture of the Republic of Serbia, can be recognized in the fact that procedures and results of the contest are made public. It is very important that professionals (committee members) are also included in the decision making process. Apart from procedure transparency and the inclusion of persons outside of the Ministry, it is important to emphasis the fact that decisions regarding the finances are mainly handed over to professionals. Equally important is the question of expenditure and planning which the Ministry has each year. By introducing the contest procedure the meaning of transparency and public work is confirmed as well as a clear survey of artistic and cultural production thus helping the Ministry to plan financial means.Independent committees for each creative field are formed which are consisted of professionals from each respective field to select the projects that are to be financed. The Ministry is a member of state governing and not a professional institution like a museum for instance, its respective body of the Ministry coordinates the work of the committees and the decisions about financing are being left to the members of the committee. Although they decide this so called proposition, it is important to mention that neither the Minister nor his Assistants interfere in the conclusions that are proposals of the committee. A possible intervention regards the sum for each project which depends on the budget of the Ministry.

Interaction and dynamic, creative cooperation of committee members and respective Ministry services is of great importance. In order to improve the artistic and cultural system of the country, members of the committee are informed of the criteria and expectations of the Ministry. Before the committee begins its work, those criteria are being confronted with the opinions and the criteria of the members of the committee 10 11

i očekivanja Ministarstva. S druge strane, pre početka rada komisije, ti kriterijumi rada ukrštaju se sa mišljenjima i kriterijumima članova komisije, te se na taj način oblikuje jasno definisana strategija za odabir projekata za sufinansiranje. Važno je napomenuti da komisija donosi kriterijume umetničkog kvaliteta projekata i umetničkih dometa umetnika koji apliciraju, što nije uvek lako. Nije uvek moguće pravilno suditi o ponuđenim projektima, naročito ako je reč o mlađim i nedovoljno afirmisanim stvaraocima, jer u tim slučajevima ni biografski podaci nisu sasvim rečiti. Zbog svega toga, od suštinskog je značaja upravo odabir članova stručne komisije, budući da je tu reč o arbitriranju nad ne uvek precizno merljivim kvalitetima.Danas je kontekstualizacija umetničkih praksi neophodna, budući da se savremena umetnost posmatra i kroz neumetničke discipline poput psihologije, sociologije, feminizma, nauke, politike ili aktivizma. Stoga je neophodno komisiju formirati od stručnjaka koji prate teorijsku misao, ali i zbivanja i razvoj vizuelne i multimedijalne scene u zemlji i inostranstvu. Osim stručnih kompetencija, članovi komisije treba da poseduju i izvesnu širinu u sagledavanju i ocenjivanju pristiglih projekata. Često nije dovoljno da članovi komisije budu uskostručno uspešni (najčešće umetnici ili istoričari umetnosti) već i da poseduju specifičnu lucidnost u sagledavanju pristiglih konkursnih prijava. Nije uvek sa lakoćom moguće uočiti potencijale projekata sa loše sastavljenim prijavama, ali i obrnuto, podnosioci projekata sa iskustvom u konkurisanju, u prilici su da atraktivno predstave skromne domete svojih zamisli i koncepata. Prilikom formiranja komisija, kolegijum Ministarstva uzima u obzir još jedan problem, podjednako važan: izbeći konflikt interesa. Teško je, međutim, pronaći profesionalce koji se ozbiljno bave profesijom a da nisu aktivni u svojoj delatnosti, što podrazumeva i angažman u konkurisanju za finansijska sredstva. Članovi komisije koji su eventualno predali svoju aplikaciju na konkurs pre nego

što su bili pozvani za tu funkciju, zvanično su povukli svoj projekat.Za članove komisije za likovne kolonije birane su osobe sa profesionalnim integritetom, istoričari umetnosti koji su pratili održavanje takvih manifestacija u Srbiji, kao i umetnici koji su uzimali učešća u radu likovnih kolonija. Tako sastavljena komisija, na osnovu pristiglih aplikacija odabirala je likovne kolonije kojima bi Ministarstvo, po njenoj preporuci, trebalo da pruži finansijsku podršku. Odabrane likovne kolonije u zemlji u celosti su podržane na način na koji je to stručna komisija i očekivala. Komisije se formalno sastavljaju (ministar potpisuje Rešenje o formiranju komisija) posle zatvaranja konkursnog roka, kada su prijave već predate, a sastav komisije javno je poznat po zvaničnom donošenju odluka o tome koje će projekte Ministarstvo finansirati te godine. Mandat komisija je jednogodišnji, ali ukoliko se smatra da je potrebno, uobičajeno je da se ponovi naredne godine, ili da jedan član komisije nastavi da radi i naredne godine. Na taj način komisija je u prilici da evaluira rezultate podržanih projekata.

Vodi se računa i o raznorodnom sastavu komisije, što znači da se članovi biraju i na osnovu njihovih interesovanja i iskustva (novi mediji, slikarstvo i dr.), profesiji (umetnici, istoričari umetnosti, novinari koji stručno prate likovne kolonije i dr), ali i godišta.Nakon što komisija donese Predlog odluke, kolegijum Ministarstva evaluira njen rad i potom ministar potpisuje Odluku o finansiranju projekata. Iznos za svaki projekat takođe predlažu komisije, ali se pre potpisivanja te odluke sagledavaju budžetske mogućnosti Ministarstva.

thus forming a clearly defined strategy for the choice of projects for (co)financing.It’s worthwhile mentioning that the committee creates criteria of artistic quality of the project and the artistic range of the artists that are applying, which is not always easy. It’s not always possible to correctly judge the submitted projects, especially if it’s concerning young and emerging artists, because in these cases not even the biographical data is intelligible. Because of this, the selection of the committee members is of utmost importance since in this case concerns loosely measurable quality. Today the contextualization of artistic praxis is necessary, since contemporary art is observed also through non artistic disciplines like psychology, sociology, feminism, science, politics and activism. This is why the committee should be consisted of professionals who are well informed. Apart from professional competence, members of the committee should possess a considerate horizon in the viewing and evaluation of the submitted projects. It is not always sufficient to be just a one way specialist (most often artists or art historians), it is necessary for them to have specific lucidity in their assessments of the applications. It is not always easy to perceive potentials of a project with badly composed applications and vice versa applicants with experience have the opportunity to present their modest ability very attractively. During the making of the committee the collegiate of the Ministry has in mind yet another equally important problem: how to avoid conflict of interest. It is difficult to find professionals who behave seriously without even being active in their role which implies their engagement in the application for financial means. Members of the committee which may have submitted their application for the contest before they were invited for this function have officially withdrawn their project. For the members of the committee for art colonies persons with professional integrity are chosen, as well as art historians that are well informed on such manifestations in Serbia and artists who have participated in

the art colonies’ activities. The committee formed in this manner, based on the received applications, has chosen art colonies that the Ministry should give financial support to after its recommendation. The selected art colonies are fully supported in the way that the professional committee expected.The committees are formally made (the Minister signs a Decree on the formation of the committees) after the expiration of the contest deadline, when the applications have already been submitted, and the members of the committee are publicly known for the official decisions that have been made concerning which projects the Ministry will finance that year. The committees’ mandate is one year, but if it is deemed necessary it is customary to repeat the mandate next year, or at least for one of the members to continue working in the next year. In this way the committee is capable of evaluating the results of the supported projects. The diversity of the committee members is also taken into account, which means that the members are also selected based on their interests and experiences (new media, painting and so on), professions (artists, art historians, journalists that cover art and multimedia) as well as their age groups. After the committee has decided on the Suggestion, the Collegium of the Ministry evaluates its activity after which the minister signs the Decision on financing of the projects. The sum for each project is also suggested by the committee, but the signing of that decision must be in accordance with budget abilities of the Ministry.

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Dosadašnji sastav komisija:

2002. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul i Mrđan Bajić

2003. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul i Mrđan Bajić

2004. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul i Mrđan Bajić

2005. godinaLjiljana Slijepčević, Svetlana Mladenov i Nenad Radić

2006. godinaMilica Petronijević, Ljiljana Tašić i Nenad Radić

2007. godinaLjubica Jelisavac, Tamara Ognjević i Aleksandra Vasović

2008. godinaVišnja Postić, Milica Pekić-Conev,Darka Radosavljević, Zoran Todorović iLjubiša Simović

Na osnovu dostavljenih narativnih i finansijskih izveštaja, ali i praćenjem realizacije, zajedno sa članovima komisije ti projekti se evaluiraju, što u velikoj meri utiče i na finansiranje njihovih podnosilaca naredne godine.

Dokumentacija potrebna za apliciranje na konkursu:

1. popunjen konkursni formular,2. detaljan opis projekta, program i koncept likovne kolonije, spisak umetnika koji učestvuju u njenom radu i biografija selektora – umetničkog direktora,3. detaljan predračun troškova,4. podaci o pravnom licu koje podnosi prijavu; pojedinac dostavlja profesionalnu biografiju,

5. dokument o pravnom statusu (ukoliko postoji),6. pismena obrazloženja dve osobe koje preporučuju projekat,7. katalozi sa prethodnih saziva kolonije i druga vizuelna dokumentacija (ako postoji), kao i dokumentacija za projekat kojim se konkuriše,8. dokaz o uplati republičke administrativne takse.

RAD KOMISIJE ZA LIKOVNE KOLONIJE MINISTARSTVA KULTURE REPUBLIKE SRBIJE

Imajući u vidu zastareli i danas obesmišljen koncept likovnih kolonija iz perioda socijalističkog uređenja, 2002. godine prvi put je otvoren konkurs za likovne kolonije i formirana stručna komisija radi stimulisanja najkvalitetnijih kolonija, prepoznavanja njihovog edukativnog karaktera i ostvarivanja kulturne decentralizacije.Veoma je važno to što komisija nije isključivo očekivala od Ministarstva da se finansijska pomoć uputi organizatorima odabranih kolonija već je i sama dala sugestije drugačijeg karaktera. Tu je reč o određenim merama za poboljšanje rada kolonija koje je komisija prenela u nadležnost Ministarstva kulture Republike Srbije. Nadležne osobe iz Ministarstva u stalnoj su komunikaciji sa organizatorima likovnih kolonija da bi pratile njihov dalji razvoj i izvršavanje obaveza onih koje su dobile finansijsku podršku. Ministarstvo je u više navrata, po preporuci komisije, upućivalo zvanične dopise organizatorima kako bi prenelo stavove komisije. Tako su istaknute mere za poboljšanje rada kolonija i izdvojeni sledeći problemi:

– izbor selektora kolonije, budući da odabir umetnika nije uvek zadovoljavajući;– za članove komisije nije prihvatljivo da se rad kolonija svodi na ugled koji su nekada imale;– za članove komisije nije prihvatljivo da

Previous committee members:

2002. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul and Mrđan Bajić

2003. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul and Mrđan Bajić

2004. godinaLjiljana Slijepčević, Marina Martić,Ljiljana Ćinkul and Mrđan Bajić

2005. godinaLjiljana Slijepčević, Svetlana Mladenov and Nenad Radić

2006. godinaMilica Petronijević, Ljiljana Tašić andNenad Radić

2007. godinaLjubica Jelisavac, Tamara Ognjević and Aleksandra Vasović

2008. godinaVišnja Postić, Milica Pekić-Conev,Darka Radosavljević, Zoran Todorović andLjubiša Simović

Based on the submitted narrative and financial reports, together with members of the committee, these projects are being evaluated, which greatly influences the financing of the respective applicants in the next year.

Necessary documents for the contest application:

1. A completed contest form;2. Detailed description of the project, program and concept of the art colony, a list of participating artists and biography of the selector – art director;3. Budget estimation;4. Information on the applicant legal body; individual submits professional curriculum

vitae;5. A document regarding legal status (if any);6. Two written recommendations for the project ;7. Catalogues from previous art colonies and other visual documentation (if any), as well as documentation for the competing project;8. Proof about the payment of the state administrative tax.

THE COMMITEES ACTIVITY CONCERNINGTHE COMMITTEE FOR ART COLONIES OFTHE MINISTRY OF CULTURE OF THE REPUBLIC OF SERBIA

Taking into account an outdated concept of art colonies during the socialist era, in 2002 for the first time a contest for art colonies and a professional committee for stimulating the best colonies for envisioning their educative character and for achieving cultural decentralization was introduced. It is very important that the committee did not expect the Ministry of Culture to distribute financial help to the organizers of selected colonies, but it offered suggestions of a different kind. They concern certain measures for improving activities of the colonies which the committee thereafter submitted to the Ministry of Culture of the Republic of Serbia. Respective persons from the Ministry are in a constant state of communication with art colony organizers in order to follow their further development and fulfillment of the obligations of the colonies which were given financial support. On many occasions the Ministry, being advised by the committee, sent official acts to the organizers in order to explain the committee’s decisions. In this way the following problems for improving activities of the colonies were pointed out:

– The choice of colony selectors, being that the choice of artists isn’t always satisfactory;– Members of the committee do not find it acceptable that the activity of the colonies 14 15

se umetnici koji učestvuju u radu kolonije ponavljaju u svakom sledećem sazivu;– neadekvatno čuvanje umetničkih zbirki;– kvalitet dizajna štampanog materijala (katalog, plakat, pozivnice i dr.) i CD prezentacija.

Komisija je ustanovila tri kategorije likovnih kolonija.

1. Likovne kolonije sa jasnom fizionomijom, dugogodišnjom tradicijom i dragocenim fondom umetničkih radova

Tu spadaju likovne kolonije koje su se afirmisale tehnikama koje tretiraju. Tako postoje kolonije akvarelista, slikara, skulptora, ali i kolonije koje se bave keramikom, staklom, tapiserijom i sl. Za odlučivanje su značajne i već postojeće tradicije koje se vezuju za određene gradove i mesta, kakva je, na primer, likovna kolonija zlatarstva u Majdanpeku (Zlatara Majdanpek).

2. Likovne kolonije kojima treba pružiti podršku da bi se ohrabrila lokalna inicijativa, sa napomenom da komisija Ministarstva očekuje dalji ozbiljniji rad organizatora na poboljšanju njihovog koncepta

3. Likovne kolonije koje ne zadovoljavaju kriterijume koje su postavili Ministarstvo kulture Republike Srbije i komisija za likovne kolonije

KRITERIJUMI KOMISIJE ZALIKOVNE KOLONIJE

Uspostavljanje kriterijuma i principa rada neophodno je zbog osnovne strategije delovanja i adekvatne selekcije aplikacija.

Opšti kriterijumi

Budući da rad likovnih kolonija spada u oblast vizuelnih umetnosti, kriterijumi u radu komisije za likovne kolonije uklapaju se u kriterijume komisije za vizuelne umetnosti i multimedije:

1. visok umetnički kvalitet i profesionalnost u radu,2. promocija savremenih umetničkih formi i izraza i unapređenje razumevanja ideja i jezika savremene umetnosti, kao i podrška inovativnim i eksperimentalnim projektima,3. komunikativnost projekata sa publikom,4. doprinos socijalnoj koheziji i opštem blagostanju – borba protiv predrasuda i stereotipa, multikulturalnost, status pojedinca u društvu, rodna pitanja, učešće žena u javnom životu, ljudska prava, ekološka pitanja, pitanja tzv. društveno marginalizovanih grupa, interkulturni dijalog i dr,5. podrška novim inicijativama i novoj umetničkoj produkciji – kvalitetno i savremeno osmišljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi); podrška projektima izvan institucija ili organizacija koje već prethodno nisu obuhvaćene budžetskim sredstvima grada/opštine, Republike i AP Vojvodine, ili značajnim sredstvima iz ostalih izvora,6. kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim okolnostima kako na lokalnom tako i na regionalnom i međunarodnom planu,7. doprinos decentralizaciji kulture i kulturnoj saradnji,8. podrška projektima koji doprinose jačanju kapaciteta, umrežavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruženja građana,9. uravnotežena i optimalna podrška javnom, privatnom i nevladinom sektoru,10. postojanje više finansijera predloženog projekta,11. kvalitetno i savremeno osmišljena regionalna i međunarodna kulturna saradnja.

has been reduced to glory of previous days;– Members of the committee do not find it acceptable that artists participating in activities of economy are repeated in each succeeding convocation; – Inadequate presentation of art collections;– The quality of the printed materials design (catalogue, poster, and invitations) and CD presentation.

The committee has established three categories of art colonies.

1. Art colonies with a distinct physiognomy, long lasting tradition and precious fund of artworks

Art colonies which have been recognized for the techniques they use belong into this category. There are also aquarelle, painters, sculptures colonies, as well as colonies that deal with ceramics, glass and tapestry. In decision making process there were taken important and already existing traditions connected with respective cities and locations, for instance the jewelry art colony in Majdanpek (Jewelry Majdanpek).

2. Art colonies that should be given support in order to encourage local initiative, keeping in mind that the committee of the Ministry expects further serious work of organizers to improve their concept.

3. Art colonies that do not meet the criteria set by the Ministry of Culture of the Republic of Serbia and the committee for art colonies.

THE COMMITEE’S CRITERIA FOR ART COLONIES

Establishing the criteria and principles of work is necessary because of the basic strategy of action and adequate selection of applications.

General criteria

Since the work of art colonies belongs into the field of visual arts, criteria of the committee for art colonies coincide with the criteria of the committee for visual arts and multimedia:

1. A high artistic quality and professional approach to this field;2. The promotion of contemporary art forms and expressions and the development of the understanding of ideas and language of contemporary art, together with the support to innovative and experimental projects;3. The transparency of the project for wider audiences; 4. The contribution to social cohesion and common welfare – the struggle against prejudice and stereotypes, the multiculturalism, the status of the individual in society, gender issues, participation of women in public life, human rights, ecology, the questions concerning socially marginalized groups, inter cultural dialogue etc.;5. The support for new initiatives and new artistic production – a well conceived and presently designed individual authors’ projects (artists, curators and other cultural professionals); the support for non institutional projects which were not supported by budget means of their municipalities, Republic and AR of Vojvodina;6. The critical survey of culture in contemporary social, political and media circumstances on a local as well as on a regional and international level; 7. The contribution to the decentralization of culture and cultural cooperation;8. The support for projects which concern capacity building, networking and professional upgrading of organizations and citizen associations; 9. Well balanced and optimal support for the public, private and non government sectors; 10. Existence of multiple financial resources for the project; 11. A well conceived and contemporary regional and international cultural cooperation.16 17

Visok umetnički kvalitet i profesionalnostu radu

Osim na visokom umetničkom i koncepcijskom kvalitetu, insistira se i na profesionalnoj realizaciji projekata, to jest kvalitetnoj produkciji.

Promocija savremenih umetničkih formi i izraza i unapređenje razumevanja ideja i jezika savremene umetnosti, kao i podrška inovativnim i eksperimentalnim projektima

Budući da se konkurs raspisuje u okviru sektora Ministarstva koji se bavi savremenom umetnošću i kulturom, sasvim je očekivano da se ovi kriterijumi postavljaju kao vitalni. Iako nije uvek jednostavno sagledati realne efekte projekata, što još više važi za inovativne i eksperimentalne inicijative, ovi projekti imaju jedan veoma poseban kvalitet. Taj kvalitet ogleda se ne samo u njihovoj živoj komunikaciji sa savremenim trenutkom već i u tome što svedoče o vitalnosti umetničke i kulturne scene. Zatvorenost u okoštalom i samozadovoljnom sistemu „proverenih vrednosti“ dovodi do hermetične inertnosti i samoizolacije. U krajnjoj instanci, poznato je, to je i u tesnoj vezi sa kičem, što je uostalom često i u tretiranju kulturne i umetničke baštine.

Komunikativnost projekata sa publikom

Neophodno je da projekti poseduju dobru komunikativnost sa publikom. Zato treba razbijati donekle uvreženu predrasudu prema savremenoj umetnosti kao nerazumljivoj i elitnoj pojavi, te stoga i namenjenoj uskom i zatvorenom krugu poznavalaca. Praksa, nažalost, pokazuje da su ponekad i sami akteri savremene umetničke scene skloni takvom pretencioznom stavu. Kao posledica toga nastaju projekti koji su sami sebi cilj, što svakako nije prihvatljivo. Kako se likovne kolonije uglavnom organizuju u manjim sredinama, ovo pitanje neobično je važno.

Doprinos socijalnoj koheziji i opštem blagostanju – borba protiv predrasuda i stereotipa, multikulturalnost, status pojedinca u društvu, rodna pitanja, učešće žena u javnom životu, ljudska prava, ekološka pitanja, pitanja tzv. društveno marginalizovanih grupa, interkulturnidijalog i dr.

Nažalost, ne samo u Srbiji često se ne razume da kultura nije nešto lepo što dolazi na kraju već dinamična kategorija koja ima veliki potencijal i u ostvarivanju onoga što zovemo otvoreno društvo. Samo otvoreno društvo u mogućnosti je da na kvalitetan način i na obostranu korist komunicira i konstruktivno sarađuje sa drugim sredinama. Veoma je značajno kroz kulturu tretirati i diverzitet, koji se ne odnosi neminovno samo na multikulturna pitanja već i na odrednice koje se tiču različitih društvenih frustracija, rodnih pitanja, borbe protiv predrasuda i stereotipa, tzv. društveno marginalizovanih grupa, statusa pojedinca u društvu itd. Ništa manje nisu značajna ni ona pitanja koja se tiču ekologije ili učešća žena u javnom životu.Kao što znamo da problem učešća žena u javnom životu nije moguće rešiti njihovom inkluzijom koja je izražena brojkama i procentima, tako praksa pokazuje da je potrebno izuzetno pažljivo sagledati stvarne efekte projekata koji se bave takvim pitanjima. Budući da su projekti koji uključuju komponentu socijalne kohezije veoma privlačni za finansiranje institucijama i fondacijama, potrebno ih je valorizovati sa posebnom pažnjom, budući da podnosioci prijava sa iskustvom poznaju načine za uspešno predstavljanje projekata. Tu nije reč samo o progresivnim društvenim promenama, odnosno o kulturi u funkciji socijalne kohezije. Podjednako je važno ukazati i na značaj kulture u razvijanju kulture življenja, jer ona ne podrazumeva isključivo posete izložbama ili drugim kulturnim događajima.

A high artistic quality and professional approach to this field

Apart from a high artistic and conceptual quality, it is also insisted upon the professional production of projects.

The promotion of contemporary art forms and expressions and the development of the understanding of ideas and language of contemporary art, together with the support to innovative and experimental projects

Since the contest is announced within the Sector of the Ministry dealing with contemporary art and culture, one can expect that these criteria are vital. Although it is not always easy to envision real effects of the project they have a very special quality. It is recognized not only in their communication with the present but also because it testifies on the behalf of the vitality of the artistic and cultural scene. Isolation in a petrified and self indulging system of „traditional values“often leads to hermetic inertia and self isolation. Finally, it is in a very close connection with kitsch which is otherwise also frequent in the treatment of cultural and artistic heritage.

The transparency of the project for wider audiences

It is necessary for the projects to have good communication with the audience. This is why the deeply rooted preconception towards contemporary art as an obscure and elite occurrence should be shattered, hence it was intended for a narrow and elite circle of connoisseurs. Unfortunately, the participants of the art scene themselves are also very often prone to such pretentious attitudes. Since art colonies are mainly organized in minor communities this question is of utmost importance.

The contribution to social cohesion and common welfare – the struggle against prejudice and stereotypes, the multiculturalism , the status of the individual in society, gender issues, participation of women in public life, human rights, ecology, the questions concerning socially marginalized groups, inter cultural dialogue etc.

Regrettably, it is often not understood, not only in Serbia, that culture is not something beautiful that arrives at the end, but a dynamic category with a great potential in achieving status which we call an open society. Only an open society is in the position to communicate and constructively cooperate with other societies with a mutual benefit. It is very important that diversity is treated through culture. This diversity does not pertain only to multicultural matters, but also to the specifications that concern various social frustrations, gender issues, the fight against prejudice and stereotypes, so called socially marginalized groups, the status of the individual in society and so on. The matters of ecology and the position of women in public life are of no lesser importance. As we know, the matter of women’s participation in public life can not be solved with their inclusion which is expressed through numbers and percentages. And so, practice shows that is is needed to extremely carefully observe the true effects of projects which deal with such issues. Since these projects that include a component of social cohesion are very attractive for the financing by institutions and foundations, it is necessary to evaluate them with a special awareness, because the experienced applicants are skillful in finding ways of presenting their projects. This does not concern only the progressive social changes, ie. the role of culture in social cohesion. It is equally important to stress the importance of culture and the development of the culture of living, because it does not exclusively include visits to exhibitions and other cultural events.

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Podrška novim inicijativama i novoj umetničkoj produkciji: kvalitetno i savremeno osmišljeni individualni autorski projekti (umetnika, kustosa i drugih profesionalaca u kulturi)

Veoma je važno podržati nove inicijative i projekte koji podrazumevaju nastajanje novih umetničkih radova. Ta vrsta podrške usmerena je ka realizaciji autorskih zamisli, što je kod nas posebno dragoceno budući da umetnici i drugi profesionalci u kulturi često nemaju velikih, pre svega finansijskih mogućnosti za kvalitetnu produkciju projekata. Osnovni kvalitet likovnih kolonija možda je upravo mogućnost umetničke produkcije.Ovde je potrebno istaći individualnu ulogu kulturnih profesionalaca čije delovanje nije vezano za institucije, kao i njihov doprinos kreiranju kulturne scene. Postoje veoma pozitivni primeri saradnje organizatora likovnih kolonija sa nezavisnim kustosima.

Kritičko razmatranje kulture u savremenim društvenim, političkim i medijskim okolnostima kako na lokalnom tako i na regionalnom i međunarodnom planu

U savremenom društvu kultura i umetnost razmatraju se u sklopu društvenih, političkih i medijskih okolnosti. S jedne strane, tu je reč o konceptualnom umetničkom promišljanju, dok se, s druge strane, savremena kultura sagledava kao veliki potencijal u progresivnom menjanju društvenih okolnosti. Ova vrsta projekata može se smatrati svojevrsnim aktivizmom jer kritikuje i pokušava da ukaže na važne probleme u savremenom svetu. Kultura, dakle, nije izdvojen, zaseban entitet, nezavisan od konteksta u kojem postoji i deluje, već je u organskoj vezi sa društvenim okolnostima, od kojih zavisi. Iako je umetnost neminovno uvek bila povezana sa društvenim i političkim okolnostima u kojima nastaje, danas je ta veza još vidljivija, te tako, u tom smislu emancipovana umetnička praksa sasvim direktno inkorporira društveni i naročito politički diskurs.

Doprinos decentralizaciji kulture i kulturnoj saradnji

Ministarstvo kulture Republike Srbije veoma drži do kulturne decentralizacije. Gradska jezgra vremenom su taložila kulturne sadržaje koji danas predstavljaju kulturnu baštinu. Ono što se nastoji da se konkursom za likovne kolonije promoviše kao značajna (i nedostajuća) kulturna ponuda jeste kvalitetna produkcija savremene umetnosti. Međutim, i ovde praksa pokazuje da je potrebno veoma voditi računa o načinu na koji projekti savremene umetnosti komuniciraju sa publikom. Postoji izražena opasnost da se takvi projekti dožive kao kulturna kolonizacija velikog umetničkog i kulturnog centra, obično prestonice. Postavlja se i pitanje da li je komotna, samozadovoljna pozicija, na primer umetničkog saveta jedne galerije čiji rad finansira Ministarstvo kulture Republike Srbije, poželjna sa stanovišta lokalnih konzumenata kulture. Tu nije reč samo o kulturnom i umetničkom elitizmu ili pak problemima komunikacije savremene umetnosti generalno već i o svrsishodnosti postojanja programa galerije koji tretira savremenu umetnost, a koji bi lokalna zajednica trebalo da identifikuje kao sebi blizak, intrigantan, zavodljiv. I u prestonici čak postoje projekti visokog kvaliteta koji veoma slabo komuniciraju sa publikom, te je i njihova posećenost loša. Razlog za to najčešće je neodgovarajući koncept, loša organizacija i marketinški pristup.Veoma značajan kvalitet likovnih kolonija upravo je doprinos kulturnoj decentralizaciji, jer se ti projekti uglavnom realizuju van gradskih sredina.

Podrška projektima koji doprinose jačanju kapaciteta, umrežavanju i profesionalizaciji rada kulturnih institucija, organizacija i udruženja građana

Rad ustanova kulture u Srbiji dugo je bio veoma otežan, te je profesionalnost njihovog funkcionisanja bila urušena. Njihov rad uglavnom je bio obesmišljen zbog duboke politizacije funkcija, što je za posledicu

The support for new initiatives and new artistic production – a well conceived and contemporary designed individual authors’ projects (artists, curators and other cultural professionals)

It is very important to support the new initiatives and projects which imply the creation of new art works. This kind of support is directed towards the realization of author’s ideas, which are so precious in our country since the artists and other professionals in culture often do not possess financial means for their artistic production. It is well known that the participation of artists in larger, more ambitious projects does not always imply the creation of new art works. That’s why the financial aid of the Ministry is often used for the production of new art works. It is necessary to point out the individual role of cultural professionals whose exertion isn’t tied to institutions, as well as their contribution in the creation of the cultural scene, which is also in coherence to the concern for the individual as a social subject. There are outstanding examples of cooperation of organizers of art colonies with independent curators.

The critical survey of culture in contemporary social, political and media circumstances on a local as well as on a regionals and international level

In contemporary society culture and art are contemplated within the social, political and media context. On the one hand, we are talking about the conceptual artistic approach, while on the other hand, contemporary culture is viewed as a large potential in the progressive changing of social circumstances. This type of project can be viewed as a certain kind of activism since it criticizes and points out important problems of the modern world. And so, culture is not an isolated, independent entity, independent from the context in which it dwells and acts, but it is in an organic connection with social circumstances on which it depends.

Although art has always inevitably been connected with social and political circumstances in which it dwells, that connection is even more so obvious today, and in that sense the emancipated artistic practice is directly incorporated in social and in political discourse especially.

The contribution to the decentralization of culture and cultural cooperation

The Ministry of Culture of the Republic of Serbia holds cultural decentralization in very high esteem. The city centers have gathered cultural content which today presents cultural heritage. One which attempts to promote itself as an important (and lacking) cultural offering, through the contest for visual arts and multimedia is a quality production of contemporary art. However, the practice here shows that it is necessary to take good care of the manner in which the projects of contemporary art communicate with the audience. There is an acute danger of these projects to be seen as cultural colonization by the large artistic and cultural center, usually the capital. The question arises whether the casual, self indulging position, for instance the Art Council of a certain gallery whose work is financed by the Ministry of Culture of the Republic of Serbia, is welcomed from the position of the local art consumer. This does not only concern the cultural and artistic elitism nor the problems of communicating contemporary art in general, but also the necessity of the existence of a gallery program which deals with contemporary art, which the local community should identify as something familiar, intriguing and seductive. In the very capital there are projects of outstanding quality which poorly communicate with the audience, and hence their attendance is poor. The reason for this is usually an inappropriate concept, bad organization and faulty marketing approach.An important quality of art colonies is their very contribution to cultural decentralization because these projects are mainly performed outside of city centers.

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imalo mnogobrojne probleme: program skromnog kvaliteta, nesavremen koncept, loša kadrovska rešenja, lošu tehničku opremljenost, nemotivisanost zaposlenih i dr. Međutim, posle 2000. godine jedan broj kulturnih profesionalaca iz nevladinog sektora uzeo je učešća u radu javnih ustanova, pa čak preuzeo i vodeća mesta u njima. Oni su preneli svoja dragocena iskustva, što je rezultiralo novom energijom, novim strategijama i pristupima radu. U vezi s tim je i razvijanje međuinstitucionalne saradnje. I u sistemima uređenijim od onog u kojem naša zemlja funkcioniše, međuinstitucionalna saradnja ne odvija se uvek sasvim zadovoljavajuće, ukoliko uopšte i postoji. Ona je posebno značajna jer ne samo zato što uslojava, širi mogućnosti i uvećava kapacitete projekata već i doprinosi otvorenosti kulturnih institucija. Veoma je poželjna i dugoročnija saradnja na projektima u kojima učestvuju dve ili više kulturnih institucija. S tog stanovišta, u savremenom društvu neobično je dragocena i saradnja raznorodnih (kulturnih) institucija u smislu njihovih primarnih delatnosti. S druge strane, Ministarstvu kulture Republike Srbije veoma je stalo do povezivanja, to jest umrežavanja vaninstitucionalnih, po obimu manjih inicijativa. To je svrsishodan i uspešan način i za međunarodnu saradnju koja se odvija van institucionalnih, državnih okvira, budući da tako organizovane mreže pojedinaca, udruženja građana ili neformalnih grupa imaju velike kapacitete. Prednosti mogu biti mnogobrojne, od neopterećenosti glomaznim, birokratskim sistemima, do verovatno najznačajnije – mreže kao čvorišta inovativnosti i umetničkog i kulturnog razvoja. Ono zbog čega je umrežavanje kulturnih institucija i inicijativa važno jeste prenos i mešanje znanja i iskustva, što uvek rezultira boljim rezultatima rada.

Uravnotežena i optimalna podrška javnom, privatnom i nevladinom sektoru

Ministarstvo kulture Republike Srbije konkursom za vizuelne umetnosti i multimedije finansijski podržava projekte od opšte društvene koristi sva tri društvena sektora. Svaki od njih na svojstven način doprinosi razvijanju kulturne scene. Prožimanje njihovog rada neophodno je stalno razvijati. Praksa pokazuje tipične problematične tačke u njihovom delovanju: u radu javnog sektora, to je komotna pozicija institucije koja je u celosti finansirana (režijski troškovi, programi, plate i dr.), te pretenciozan i starovremenski stav koji budžetsku instituciju definiše kao sasvim superiornu i nedodirljivu; u radu nevladinog sektora, to je nezainteresovanost za realan i efektivan uticaj na pozitivno menjanje društvene i kulturne stvarnosti; u privatnom sektoru, to je dominacija profita nad kvalitetnim umetničkim sadržajima, što za posledicu ima urušavanje postavljenog koncepta delovanja i obesmišljenost rada. Ministarstvu kulture Republike Srbije veoma je stalo do kvalitetnog odnosa i saradnje sa nevladinim sektorom, to jest sa svim projektima udruženja, privatnih inicijativa, pojedinaca i neformalnih grupa. Ta saradnja posebno je, čini se, vidljiva u oblasti vizuelnih umetnosti i multimedija, budući da na tom polju postoji veliki broj inicijativa te vrste. Uspešna saradnja sa civilnim sektorom obezbeđuje potrebni širi opseg društvenog učešća i konsenzusa oko zajedničkih kulturnih interesa, što je jedan od prioriteta u radu Ministarstva.

Postojanje više finansijera predloženog projekta

Postojanje više finansijera jednog projekta ukazuje na ozbiljnost i ambicioznost u osmišljavanju projekta. Finansijska konstrukcija koja uključuje i druge finansijere projektu obezbeđuje i svojevrsnu legitimnost, budući da su njegov značaj, dakle, prepoznale i druge instance.

The support for projects which concern capacity building, networking and professional upgrading of organizations and citizen associations

For a long time the work of the Serbian cultural institutions has been made very difficult, and hence the professional standard of their work has been compromised. Their activity has been made pointless because of the politicization of functions, which as a result spawned many problems: a program of modest quality, an obsolete concept, poor choice of staff, poor technical equipment and the non motivated employees and so on. However, after the year 2000. a number of cultural professionals from the non government sector took part in the activities of public institutions, and even took over the leading positions in them. They conveyed their precious experience, which resulted in a new energy, new strategies and a new approach to work.The enhancement of inter institutional cooperation is also connected to this. Even in better organized systems than the one that our country functions in, inter institutional cooperation does not always go smoothly, if it even exists. It is particularly important because it not only layers, widens the capabilities and enhances the capacities of the project, but also contributes to the openness of cultural institutions. Long term cooperation on projects is always welcome in projects in which two or more cultural institutions participate. From that standpoint, in contemporary society cooperation of cultural institutions of a diverse nature is very valuable in the sense of their primary activity. On the other hand, the Ministry of Culture of the Republic of Serbia cares deeply about interconnecting and networking of non institutional and initiatives of smaller parameters. It is a successful and meaningful way for international cooperation that occurs outside of institutional, state boundaries, being that networks of individuals, civil or non formal groups are organized in such a manner that these groups have large capacities. The

advantages can be numerous, from avoiding huge bureaucratic systems all the way to probably the most important – networking as a focal point of innovation and artistic and cultural development. The reason that the networking of cultural institutions and initiatives is so important is the transfer and exchange of knowledge and experience, which always brings better results.

Well balanced and optimal support for the public, private and non government sectors

The Ministry of Culture of the Republic of Serbia supports projects of common social benefit in all three public sectors by the contest for visual art and multimedia. Each of them, in their own way improves the development of the cultural scene. The expansion of their activity should constantly be developed. Practice shows typical problem points in their assertion; the work of the public sector, which is a loose position of an institution which is completely funded (realization costs, programs, salaries and so on.), so a pretentious and old fashioned attitude which defines a budget institution as completely superior and untouchable; in the activity of the non government sector this means an indolence for a realistic and efficient influence on the positive changing of social and cultural reality; in the private sector this means the domination of profit over quality of artistic content, which as a result has the caving in of the established concept of action and the futility of work. The Ministry of Culture of the Republic of Serbia cares deeply about the quality of relationships and cooperation with the non government sector, meaning all projects of certain groups, private initiatives, individuals and non formal groups. This cooperation is, so it would seem, especially visible in the field of visual arts and multimedia, because there are numerous initiatives of this kind in this field. Successful cooperation with the civil sector provides a necessary broader aspect of 22 23

U smislu decentralizacije kulture, projekti koji su dobili podršku Ministarstva lakše dobijaju i podršku lokalne samouprave.

Kvalitetno i savremeno osmišljena regionalna i međunarodna kulturna saradnja

Jedan od osnovnih prioriteta u radu Ministarstva jeste regionalna saradnja. Ta vrsta saradnje značajna je za razvijanje i produbljivanje (kulturnih) veza sa državama u regionu, dobrosusedske odnose i stvaranje kreativne, pozitivne politike prema tim državama. Dobar primer regionalne saradnje u evropskom kontekstu i prepoznavanja zajedničkog interesa dao je, na primer, Nordijski savet (Nordic Council). Što se generalno međunarodne saradnje tiče, na konkursu za likovne kolonije finansiraju se učešća stranih umetnika u likovnim kolonijama, kao i prezentacije likovnih kolonija u inostranstvu. Domaću savremenu kulturu u inostranstvu trebalo bi predstavljati atraktivnim programima koji uspešno komuniciraju sa inostranom publikom. Neophodno je i da sadržaji i koncepcija njihove prezentacije budu prijemčivi za inostranu publiku. Zato je veoma važno da se projekti adekvatno dokumentuju i objasne. Veoma je važno podržati i projekte koji će savremenim pristupom i konceptom, kao i izgrađenim profesionalizmom, prikazati visoke domete domaće umetničke i kulturne produkcije.

POSEBNI KRITERIJUMI

Budući da ovaj specijalizovani konkurs tretira jednu posebnu vrstu projekata, ustanovljeni su i posebni kriterijumi koji bi trebalo detaljno da urede njihovo funkcionisanje.

Posebni kriterijumi u radu komisije za likovne kolonije:

1. sistemsko unapređivanje koncepta likovnih kolonija koje se tradicionalno organizuju, kao i ohrabrivanje novih kolonija koje imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane likovne kolonije,2. doprinos saradnji sa privrednim sektorom (radi obezbeđivanja materijala potrebnog za rad umetnika),3. odabir umetnika koji učestvuju u likovnoj koloniji (način izbora i kvalitet umetnika)4. kvalitetno i savremeno dizajniran štampani materijal (katalog, plakat, pozivnice i dr.), 5. što je moguće ravnomernija geografska raspoređenost likovnih kolonija,6. adekvatno čuvanje umetničkih zbirki sa delima nastalim tokom održavanja likovnih kolonija,7. doprinos razvijanju kulturnog turizma.

Sistemsko unapređivanje koncepta likovnih kolonija koje se tradicionalno organizuju, kao i ohrabrivanje novih kolonija koje imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane likovne kolonije

Doprinos saradnji sa privrednim sektorom (radi obezbeđivanja materijala potrebnog za rad umetnika)

Likovne kolonije koje same obezbeđuju materijal neophodan za rad (kamen, staklo, plemeniti materijali i dr.) imaju veliku prednost.Značajan problem nastao je tokom devedesetih godina dvadesetog veka, kada se većina državnih firmi koje su finansirale manifestacije kao što su likovne kolonije, našla u nezavidnoj finansijskoj situaciji. Jedan broj likovnih kolonija umnogome zavisi od takvih firmi budući da upravo one obezbeđuju materijal potreban za održavanje kolonija.Tako je jedan broj kolonija, nažalost, prestao da radi kada i firme sa kojima su bile u vezi.

social intervention and consensus concerning mutual cultural interests, which is one of the priorities of the Ministry’s activity.

Existence of multiple financial resources for the project

The existence of multiple financial resources of a single project is proof of its ambition and determination in conceiving the project. The financial construction which includes other sponsors of the projects provides certain legitimacy, because its importance has been recognized by other instances.In the sense of the decentralization of culture, the projects that have been granted the support of the Ministry have easier access to the support of local administrations.

A well conceived and contemporary regional and international cultural cooperation.

One of the basic priorities of the activity of the Ministry of Culture of the Republic of Serbia is regional cooperation. This type of cooperation is important for the development and strengthening of (cultural) relations with countries in the region, good relations with neighboring countries and the establishment of creative, positive policy towards those countries. A good example of the regional cooperation in the European context and the recognition of a common interest were provided, for instance, by The Nordic Council. Concerning international cooperation in general, within the contest for art colonies, participation of domestic artists in the art colonies is financed as well as presentations of art colonies abroad. Domestic contemporary culture abroad should be represented by attractive programs which successfully communicate with a foreign audience. It is necessary to make the content and concept of their presentation susceptible to that audience. And so, it is very important to properly document and elaborate these projects. It is also very important to support projects

that will, with a modern approach and concept, as well as a well developed professional attitude, show a high level of the domestic artistic and cultural production.

SPECIFIC CRITERIA

Since this specialized contest treats a special kind of project, there are specific criteria which should arrange their functioning in detail.

Specific criteria of the committee for art colonies:

1. Systematic improvement of the concept of art colonies that are traditionally organized, as well as encouraging of new art colonies with the ambition and potential to be transformed into professionally shaped art colonies; 2. The contribution to the cooperation with the industry sector (in order to secure the materials necessary for artwork);3. The selection of artists participating in the art colony;4. A well conceived and modern printed material (catalogue, poster, invitations, etc.); 5. A well balanced geographic placement of art colonies; 6. Adequate storage preservation of art collections along with works produced during the colonies duration; 7. Contribution to the development of cultural tourism.

Systematic improvement of the concept of art colonies that are traditionally organized, as well as encouraging of new art colonies with the ambition and potential to be transformed into professionally shaped art colonies

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Odabir umetnika koji učestvuju u radu likovne kolonije

Lista umetnika koji učestvuju u radu likovne kolonije govori o njenom kvalitetu, a njihov odabir uočen je kao problematična tačka u organizaciji kolonija. Zato se na listu pozvanih umetnika obraća velika pažnja.Tokom prvih godina postojanja konkursa za likovne kolonije čest problem predstavljalo je to što su isti umetnici učestvovali u radu jedne kolonije. To pitanje značajno je posebno za one kolonije koje imaju zbirke, jer će se u tim zbirkama upravo naći radovi umetnika koji su učestvovali u radu tih kolonija.

Kvalitetno i savremeno dizajniran štampani materijal (katalog, plakat, pozivnice i dr.)

I ovaj kriterijum postavljen je kao veoma značajan, budući da je uočeno da jedan broj kvalitetnih kolonija ne prati zadovoljavajući kvalitet grafičkog oblikovanja, to jest dizajna štampanog materijala. To pitanje značajno je i sa stanovišta privlačenja umetnika za učešće u kolonijama i sa stanovišta međunarodne saradnje, budući da katalozi kulturnih manifestacija ostaju kao trajni dokument o njihovom konceptu i organizaciji.

Što je moguće ravnomernija geografska raspoređenost likovnih kolonija

Ukoliko je moguće, prilikom odlučivanja o finansijskoj podršci kolonijama, pažnja se obraća i na njihovu ravnomernu geografsku raspoređenost, radi što je moguće uravnoteženijeg kulturnog razvoja.

Adekvatno čuvanje umetničkih zbirki sa delima nastalim tokom održavanja likovnih kolonija

Jedan broj likovnih kolonija sa dugom tradicijom poseduje dragocene fondove dela nastalih tokom njihovog održavanja, te je pitanje obrade

i čuvanja kolekcija veoma važno. Budući da jedan broj kolonija ne organizuju institucije koje imaju kapacitete za adekvatno čuvanje zbirki, to pitanje postaje još važnije.S druge strane, problem predstavlja i opterećenost zbirki popisanim delima skromnih umetničkih dometa nastalim tokom održavanja kolonija.

Doprinos razvijanju kulturnog turizma

Veza između održavanja likovnih kolonija i kulturnog turizma još uvek je slaba. Ipak, kolonije koje se bave tradicionalnim zanatima (na primer, pečenje keramike na otvorenoj vatri), kao i one koje tretiraju modernije tehnike, imaju veliki kapacitet za privlačenje publike, ali i profesionalaca koji bi u njima učestvovali.

TEHNIČKI KRITERIJUMI

1. Ispunjenost formalnih uslova konkursa: potpuna dokumentacija, sa opisom projekata i detaljno predstavljenim informacijama, kao i sa jasno ugovorenim mestom i vremenom održavanja likovne kolonije2. Neophodnost dostavljenog narativnog i finansijskog izveštaja 3. Istinitost predstavljenih podataka

Projekti prikazani kroz veoma preterane troškovnike koji ne odgovaraju stvarnim troškovima bilo kog elementa realizacije, kao i projekti u kojima nisu navedeni postojeći finansijeri (iako postoje) i sl. odbijaju se za finansiranje.

Saradnja i kontakti sa drugim finansijerima (opština, grad, inostrane fondacije) olakšavaju proveru podataka navedenih u aplikacijama, što ima velikog udela u donošenju odluka.

The contribution to the cooperation with industry sector (in order to secure the materials necessary for artwork)

The material self-supplying art colonies (stone, glass, precious materials and so on) are in an advantageous position.During the nineties of the twentieth century there was a big problem when the majority of state companies which financed manifestations such as art colonies broke down. A number of art colonies depend largely on those companies since they secure material necessary for the well being of colonies. This is why a number of colonies unfortunately ceased to exist together with the companies that supported them.

The selection of artists participating in the art colony

The list of artists participating in art colonies’ work speaks evidently of its quality and the selection of artists was seen as a problematic issue in the organization of colonies. This is why the invitation list is carefully put together. At the beginning of the contest for art colonies very often emerged a problem of one and the same kind of artists who participated in an art colony’s work.This question is particularly important for colonies which have collections since there one can find work of artist who participated in the work of these colonies.

A well conceived and modern printed material (catalogue, poster, invitations, etc.)

This criteria is very important since it has been noticed that a number of well conceived colonies doesn’t fulfill a satisfactory quality of graphic design, eg. design of printed material. This question is also important because it attracts artists to participate in colonies and it underlines international cooperation, since the catalogues of cultural manifestations remain as a permanent document of their concept and organization.

A well balanced geographic placement ofart colonies

While deciding about financial support for colonies, special care is taken to their equal geographical placement, if possible, in order to enable a well balanced cultural development.

Adequate storage preservation of art collections along with works produced during the colonies duration

A number of art colonies with a very long tradition possess precious fund of works which were created throughout their duration, so the question of manufacturing and maintaining these collections is very important. Since a number of colonies is not organized by institutions that have capacities for adequate maintenance of collections, this question becomes ever more important. On the other hand, the problem is over burdening of collections with listed works of modest artistic range which were made throughout the colonies duration.

Contribution to the development of cultural tourism

The relation between maintaining art colonies and cultural tourism is still insignificant. In spite of this, colonies which deal with traditional crafts (such as the making ceramics in open fire), as well as those which introduce modern techniques, have a great capacity for attracting audiences and professionals who would gladly participate in them.

TECHNICAL CRITERIA

1. The completion of formal conditions of the contest: complete documentation, along with the description of the project and detailed information, as well as a clearly defined place and time for the 26 27

Informacije dobijene od drugih finansijera koriste se i kao odrednice koje pokazuju da li je neki projekat potrebno finansirati, a ukoliko jeste, u kojoj meri. Komisija će tako, na primer, projektu koji pozitivno vrednuje, a koji je već za deo realizacije dobio finansijsku podršku drugog finansijera, dodeliti sredstva kako bi organizatori bili u prilici da ga kvalitetno sprovedu.

NE RAZMATRAJU SE:

– projekti u vezi sa rekonstrukcijom ili izgradnjom novih objekata za kulturne namene, – projekti sa izrazito komercijalnim efektima, – projekti koji su prethodnih godina već bili finansirani iz gradskog i/ili republičkog budžeta, a nisu realizovani.

Da bi Ministarstvo podržalo ponuđeni projekat, on treba da ispunjava što je moguće više navedenih kriterijuma. Međutim, konkursne prijave koje su sastavljene sa prostim ciljem da se pribave finansijska sredstva, nemaju velikih izgleda za finansiranje. Netačni podaci u prijavama takođe se lako otkrivaju budući da Ministarstvo sarađuje sa drugim institucijama i fondacijama, te se informacije o podržanim projektima razmenjuju. Osim toga, članovi komisije su informisani profesionalci koji imaju velikog iskustva. Postavljeni kriterijumi takođe veoma dobro ukazuju na problematične tačke u osmišljavanju i realizaciji projekata.

Problem u realizaciji likovnih kolonija, budući da su one usko vezane za decentralizaciju, jeste nedovoljna podrška lokalnih nivoa vlasti. Jedan broj gradova i opština u Srbiji znatno učestvuje u uspešnom sprovođenju projekata, ali u nekim sredinama postoji izrazit problem oko finansijske i svake druge podrške projektima, budući da lokalni nivoi vlasti ne prepoznaju uvek kulturu kao prioritet ili je čak smatraju skoro sasvim nepotrebnom. Međutim, postoje i primeri koji pokazuju da je

finansijsko učešće i partnerstvo Ministarstva kulture Republike Srbije u projektima, posebno nevladinog sektora, privuklo pažnju lokalnih vlasti i podstaklo ih na finansiranje.Međutim, postoje i suprotni primeri koji ukazuju na drugu vrstu problema sa kojima se suočavaju donosioci odluka (lokalni nivoi vlasti) na gradskom / opštinskom nivou. Ti problemi obično su: nerazvijena infrastruktura, loša kadrovska rešenja, politizacija kulture, nemotivisanost zaposlenih u kulturi, neorganizovanost civilnog sektora i dr.

Konkurs kao instrumentkulturne politike/ Utemeljenost u zakonodavstvu i strategijama razvoja

Rad Ministarstva kulture Republike Srbije i kriterijumi za odlučivanje o podršci projektima utemeljeni su u domaćem zakonodavstvu i u aktima Saveta Evrope, čiji je Republika Srbija punopravni član, kao i u različitim domaćim i evropskim strategijama razvoja.Rad Ministarstva baziran je na Zakonu o delatnostima od opšteg interesa u oblasti kulture („Službeni glasnik RS“ br. 49/92). U tom zakonu dat je opšti okvir za delovanje u kulturi.Kriterijumi i funkcionisanje konkursa za likovne kolonije u skladu su i sa domaćim strategijama kao što su Strategija za smanjenje siromaštva u Srbiji i Nacionalna strategija Srbije za pristupanje Srbije i Crne Gore Evropskoj uniji. Veoma je značajno i utemeljenje u Generalnom operativnom planu (GOP). Iako, nažalost, postoje izvesni problemi u punoj primeni GOP-a, smatramo da su usklađivanje u okviru GOP-a i njegova potpuna primena u osmišljavanju, procedurama i uopšte funkcionisanju konkursa neophodni. Tako se, naravno, i kriterijumi za dodelu finansijske podrške uklapaju u GOP-om predviđene kratkoročne i dugoročne ciljeve Ministarstva kulture Republike Srbije (socijalna kohezija, održivi razvoj, program kulturnog razvoja).

manifestation of the art colony; 2. The disclosure of the narrative and financial report;3. The reliability of presented data.

The projects presented through highly overestimated expenditures that do not suit realistic costs of any element of realization, as well as projects that do not name existing financial supporters (even though they exist) will be rejected.

Cooperation and contact with other financial instances (the City, Municipality, foreign foundations) ease the validation of the submitted data. This has significant impact on the decision making process.

Information gathered from other financial instances is used as a standpoint which shows whether a project deserves funding, and if so, in what extent. And so, the committee will, for instance, for a project that is positively evaluated, which has already been granted funding for part of its realization from other sponsors, grant funds so that the organizers will be capable of executing the project in a quality manner.

THE FOLLOWING ARE NOT TAKENINTO CONSIDERATION

– Projects concerning the reconstruction and construction of new facilities of cultural purposes;– Projects that have profitable institutions backing them and projects with a strictly commercial purpose;– Projects that have previously been funded from the city and/or republic budget, but were not completed.

In order to be supported by the Ministry of Culture, the proposed project needs to fulfill as many of the above mentioned criteria. However, applications that are comprised with the simple goal to acquire financial aid are not

likely to be granted funding. Incorrect data in the applications is easily discovered due to the fact that the Ministry cooperates with other institutions and foundations, so that information about supported projects is being exchanged. Apart from that, the committee members are well informed professionals with great experience. The established criteria also point out the problematic points in the concept and realization of the projects.

The problem in the realization of art colonies, since they are closely related to decentralization, is the insufficient support of local authorities. A number of cities and municipalities in Serbia willingly take part in a successful carrying out of these projects, however, in certain environments there is an obvious problem with financial and all other types of support, because local authorities don’t always recognize the priority role of culture and even do not consider it necessary. Although there are examples that show that financial participation and partnership of the Ministry of Culture of the Republic of Serbia in projects, especially in the non government sector attracted attention of local authorities and encouraged them to partake in financing. However, there are varying examples that show another kind of problem which decision makers are faced with (local authorities) on a citywide/municipal level. These problems are usually: underdeveloped infrastructure, poor staff selection, the politicization of culture, the lack of motivation of those employed in culture, the disorganization of the civil sector and so on.

The contest as an instrument ofcultural policy/ the foundation in legislation and development strategies

The work of the Ministry of Culture of the Republic of Serbia and the criteria for decision 28 29

Neka od važnijih evropskih dokumenata na koja se takođe pozivamo jesu: Deklaracija o kulturnoj različitosti (Declaration on Cultural Diversity, 2000); Deklaracija o interkulturnom dijalogu i prevenciji sukoba (Declaration on Intercultural Dialogue and Conflict Prevention, 2003); Faro deklaracija o strategiji Saveta Evrope o razvoju interkulturnog dijaloga (Faro Declaration on the Council of Europe’s Strategy for Developing Intercultural Dialogue, 2005); Evropska kulturna konvencija (European Cultural Convention 1954); Firentinska deklaracija „Kultura i regioni: kulturne aktivnosti u regionalnom kontekstu“ (Florence Declaration „Culture and Regions: Cultural Action in the Regional Context“, 1987); Evropska deklaracija o kulturnim ciljevima (European Declaration on Cultural Objectives, 1984); Arc-et-Senans deklaracija (Arc-et-Senans Declaration, 1972); Friburška deklaracija o kulturnim pravima (Fribourg Declaration on Cultural Rights, 2007); Evropska konvencija o ljudskim pravima (European Convection on Human Rights, 1950); Konvencija o zaštiti i unapređenju raznolikosti kulturnog izraza (UNESCO

making concerning the support of projects are founded in domestic legislation and in the Council of Europe’s act’s of which the Republic of Serbia is a rightful member, as well as in various domestic and European development strategies. The work of the Ministry is based on the Law on Activities of Common Interest in the field of culture („Službeni glasnik RS“ br. 49/92). This Law provides the general framework aforctivities in culture.

The criteria and functioning of the contest for visual arts and multimedia are in correlation to domestic strategies such as the Strategy for Diminishing Poverty in Serbia and The National Strategy for Serbia’s and Montenegro’s joining The European Union. The foundation in the General Operational Plan (GOP) is highly important. Although, unfortunately, there are certain problems in the full application of GOP, we think that the correlation to GOP and its full application in the concept, procedures and functioning of the contest altogether are necessary. And so the criteria for the distribution of financial support fit into GOP’s foreseen short term and long term goals for the Ministry of Culture of the Republic of Serbia (social cohesion, sustainable development and a program for cultural development).Some of the more important European documents on which we call upon are:

The Declaration on Cultural Diversity, 2000; The Declaration on Inter cultural Dialogue and Conflict Prevention, 2003; The Faro Declaration on the Council of Europe’s Strategy for Developing Inter cultural Dialogue, 2005; The European Cultural Convention, 1954; The Florence Declaration „Culture and Regions: Cultural Action in the Regional Context“, 1987; The European Declaration on Cultural Objectives, 1984; The Arc-et-Senans Declaration, 1972; The Fribourg Declaration on Cultural Rights, 2007; The European Convention on Human Rights, 1950; The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, 2005.The need for balanced cultural policy together with a legal framework and strategic documents are visible. The foundation of the action the Ministry of Culture within the law and various domestic and international strategies and declarations is important because it is necessary to point out the contribution of culture for positive social changes. The positive influence of the Ministry on the development of a cultural scene is reflected exclusively in the enhancement of the position of professional culture workers and institutions and organizations. Culture has direct influence on the common welfare and well being, and also on the quality of life of citizens. This is why the perception of culture as a „budget spender“ is completely wrong.

2002.2002.

Number of applicantsBroj prijava Number of financially supportedBroj finansijski podržanih

6565 1717

2003.2003. 4646 1313

2004.2004. 2727 1818

2005.2005. 4040 1616

2006.2006. 3535 1414

2007.2007. 3737 1616

2008.2008. 4444 1212

An overview of the contest’s results up to today / statistic analysisPregled dosadašnjih rezultata konkursa / Statistička analiza

Convention on the Protection and Promotion of the Diversity of Cultural Expessions, 2005).

Vidljiva je, dakle, potreba za usklađenošću kulturne politike sa zakonskim okvirom i strateškim dokumentima. Utemeljenje rada Ministarstva kulture u zakonu i različitim domaćim i međunarodnim strategijama i deklaracijama važno je i zbog toga što je neophodno istaći doprinos kulture pozitivnim društvenim promenama. Pozitivan uticaj Ministarstva na razvoj kulturne scene ne ogleda se isključivo u unapređenju položaja profesionalaca i rada kulturnih institucija i organizacija, kako se često misli. Kultura direktno utiče i na opšte blagostanje i dobrobit, kao i na kvalitet života građana. Zbog toga je viđenje kulture kao „potrošača budžetskih sredstava“ u potpunosti pogrešno.

30 31

ZAKLJUČAK

Ovaj projekat predstavlja pokušaj da se konfuzna situacija u vezi sa likovnim kolonijama u zemlji uredi što je moguće svrsishodnije. Najvažnije je da se ugledne manifestacije ove vrste sistematski unaprede i da se ohrabre one kolonije koje, iako u začetku, imaju ambiciju i potencijal da se pretvore u profesionalno oblikovane manifestacije.

U tom kontekstu, od likovnih kolonija koje imaju velikih kapaciteta (izlagački prostor, ateljei, dobra saradnja sa lokalnim vlastima, finansijska podrška) naročito se očekuju visoki profesionalni standardi. Posebna pogodnost tih kolonija jesu ateljei (smeštajni kapaciteti) u kojima umetnici mogu da realizuju svoju umetničku produkciju tokom održavanja kolonije. S druge strane, ima i onih likovnih kolonija koje na veoma uspešan način premošćuju taj problem, i to smeštajem kod lokalnih stanovnika. Tokom održavanja tih kolonija, celo mesto funkcioniše u znaku manifestacije. Jedan od repera uspešnosti likovnih kolonija upravo je komunikativnost i pozitivna implementacija u lokalnoj sredini. Nažalost, postoje i suprotni primeri koji jasno pokazuju da je sa posebnom pažnjom potrebno koncipirati program i način realizacije kolonija. Komisija smatra da je, pre svega, potrebno ukazati na važnost ozbiljnog koncepta likovne kolonije. Ključna osoba u kreiranju uspešnog koncepta u duhu savremenih tendencija jeste selektor kolonije, budući da je on odgovoran za osmišljavanje programa i za listu umetnika koji će biti pozvani da učestvuju u radu kolonije.Naročito izražena poteškoća u radu komisije jeste to što se organizatori likovnih kolonija često na pogrešan način vezuju za tradiciju. Osim neprofesionalnog odnosa, i olako shvaćeno osmišljavanje takvih kulturnih manifestacija tesno je povezano kako sa amaterizmom tako i sa težnjom da se „zvučne“ odrednice iz lokalne istorije i

narodne tradicije uzimaju za nazive kolonija, a to, naravno, nije dovoljno.Potrebno je istaći da našoj sredini još uvek nedostaje ozbiljno koncipirana kolonija, rezidencijalni program koji bi imao dobre tehničke uslove za realizaciju projekata iz oblasti novih medija. I pored brojnih problema u koncipiranju i organizaciji likovnih kolonija, mnoge od njih pokazuju izuzetnu vitalnost u funkcionisanju i spremnost da idu u korak sa savremenim tendencijama u kulturi. Ono što takođe raduje jeste pojava novih kvalitetno osmišljenih likovnih kolonija. Ministarstvo kulture Republike Srbije, zajedno sa komisijom za likovne kolonije, ostaje odlučno u sprovođenju smernica za poboljšanje rada tih manifestacija i pored velikih pritisaka kojih je bilo naročito u prvom periodu rada komisije.

CONCLUSION

This project represents an attempt to purposefully arrange the confusing situation in which the art colonies operate. Of the utmost importance we find systematic advancement of these respected manifestations and encouragement of those initial colonies which has the ambition and potential to be transformed into professionally formed manifestations.

In this context, out of art colonies that have great capacities (exhibition space, studios, decent cooperation with local authorities, and financial support) it is particularly expected to have high professional standards. Special commodities of those colonies are studios (accommodations) where artists can produce their work while maintaining a colony. On the other hand, there are art colonies which very successfully bridge this gap by simply accommodating artists within locals’ homes. During these manifestations the whole community functions in this manner. One of the signs of the success of art colonies is really a fine communication and positive implementation in the local environment.

Unfortunately, there are different examples which clearly demand particular attention and program concepts and a way of the existence of a colony. The committee is of the opinion that it is, first and foremost, necessary to have the importance of the dignity of the art colony in mind. The key person in creating a successful concept within the spirit of contemporary tendencies is a selector of the colonies participants, since he/she is responsible for rethinking the program and list of artists that are to be invited to participate in the work of the colony.A particular hardship in the work of the committee arises when organizers of the art colony erroneously oblige themselves to tradition. Apart from unprofessional and loosely taken organization of such cultural manifestations, it is tightly connected with

amateurism as well as their desire to take „audible“ passages from local history and folklore for the christening of their colony, which of course, is not enough.It is necessary to point out that our society still lacks seriously conceived colony, residential program which has good technical conditions for performing projects from the field of new media. In spite of numerous problems in conceiving and organizing art colonies many of them demonstrate exceptional vitality in functioning and readiness to walk side by side with contemporary tendencies in culture. It is exhilarating to see new, well made and conceived art colonies as well. Along with the committee for art colonies the Ministry of Culture of the Republic of Serbia remains firm in its thriving for the improvement of work of those manifestations in spite of tremendous pressures which were manifested particularly in the beginning of the committee’s work.

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Dislokacije: potencijali umetničkih kolonija u SrbijiDislocations: the potentials of art colonies in Serbia

Mara Prohaska-MarkovićMaida Gruden

(kustoski duo Maramaida)(the curator duo Maramaida)

Tekst koji sledi predstavlja pokušaj da se na osnovu sumiranih iskustava organizacije Slikarske kolonije u Lipovcu 2008. godine analiziraju mnogobrojni aspekti kolonija kao fenomena i istakne njihov sadašnji potencijal i mogući pravci razvoja.

Nije slučajno što se, u vremenu kada su interakcija i komunikacija postale najbitniji element u društvu, ponovo preispituje i shvata značaj kolonija sa aspekta kulturne politike, umetničke produkcije, kulturnog turizma, umrežavanja na internacionalnom nivou. Vrlo važan deo učestvovanja u kolonijama jeste i ostvarivanje i razvijanje zajedništva, koje u klimi promene paradigme koju živimo postaje sine qua non produktivnog stava. Sadašnja dostignuća u nauci i tehnologiji nude model dinamične mreže relacija, svest o jedinstvu i međuzavisnosti svih stvari i događaja, potrebu za preobražajem subjektivnosti i preoblikovanjem odnosa. Napuštanje statusa umetnika-genija, demistifikacija autorstva i gubitak autonomije umetničkog dela jesu ideje savremene umetnosti koje u kolonijama imaju neophodne uslove za razvoj jer nas uče da se područje subjektivnosti definiše i formira samo u dodiru sa drugim područjima. Budući da se kolonije održavaju van urbanih sredina i da traju od sedam do deset dana, njihovi učesnici – umetnici, kustosi, domaćini, organizatori, seljani – upućeni su jedni na druge, čime se uspostavlja vrsta male zajednice. Boravak i rad u kolonijama ima višestruki značaj za umetnike i selektore/kustose, a posledično i za mnoge aspekte jačanja umetničke scene. Sam proces nastajanja umetničkog rada postaje vidljiv u gotovo svim fazama razvoja, što otvara mogućnost

The following text is an attempt to analyze the many aspects of colonies as phenomena and to emphasize their current potentials and possible course of development, based on the sum of experiences gained from the organization of The Painters’ Colony in Lipovac in 2008.

It is not a coincidence that in a time when interaction and communication have become the most vital element in society, the meaning of colonies from the aspect of cultural policy, artistic production, cultural tourism and networking on an international level are once again being revised and appreciated. A very important aspect of the participating in colonies is the realization and enhancement of togetherness which in a climate of change of the paradigm that we are living in has become a sine qua non of the productive standpoint. The current developments in science and technology offer a model of dynamic network relations, awareness of unity and interdependence of all things and events, the need for the metamorphosis of subjectivity and the reshaping of relations. Leaving behind the status of the artist-genius, demystification of authorship and loss of autonomy of the artwork are the devices of contemporary art which have necessary conditions for development in the colonies, because they teach us that the field of subjectivity is defined and formed only in contact with other fields. Because colonies are held outside of urban surroundings and because they last seven to ten days the participants -artists, curators, hosts, organizers, villagers – are consigned to each other and so a small community is formed. Residing and working in colonies is significant in many ways for the artists and selectors/

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međusobnog uvida u različite umetničke pristupe, njihovu komparaciju i razmenu mišljenja. Umetnici tako dobijaju priliku da svoje delo na novi način pozicioniraju i sagledaju. Kustosi pak imaju šansu da prate kreativni proces, steknu i inkorporiraju saznanja kroz direktno posmatranje, debate, opservacije i razgovore sa umetnicima. To su saznanja koja nezmenljivo doprinose njihovim teorijskim postavkama i interpretacijama. S obzirom da edukativni sistem svojim uređenjem razdvaja bliže kontakte istoričara umetnosti i umetnika, značaj kolonija mogao bi se sagledati i u prevladavanju tog manjka. Mada je reč o jednom uzorku, određenoj grupi umetnika, ona tokom trajanja kolonije i nakon njenog završetka postaje potencijalna jedinica koja ima kohezivnu ulogu u strukturiranju umetničke scene. Ranije udaljeni akteri scene dolaze u međusobni dodir, uspostavljaju nove relacije koje nastavljaju da postoje, modifikuju se, ali sa velikim potencijalom za nova i čvrsta grupisanja i umrežavanja kroz kreativni rad i društveni život. Upravo je za umetničku scenu bitno postojanje u realnim zajednicama koje se u radu kolonija uspostavljaju, jer urbano kretanje i ubrzanje svih procesa izmešta „aktivni“ život u virtuelnu sferu, u različite moćne net-grupacije koje su ipak samo jedan od agenata neophodnih za vitalnost umetničkog života danas. Realne zajednice podrazumevaju različite vrste postojanja u fizičkom prostoru u kome se afirmiše supstancijalnost odnosa koja nam pak u virtuelnom svetu izmiče i zato se ispostavlja kao radikalno transformišuća sila.Raznovrsnost medija koje umetnici danas koriste u svom radu proizlazi iz novog načina promišljanja rada od ideje do njene realizacije u određenom mediju. Umetnici često nisu samo slikari ili skulptori, već opčinjeni tehničkim i tehnološkim mogućnostima eksperimentišu u multimedijalnim okvirima. Zbog toga je danas savremeno umetničko stvaralaštvo teško ukalupiti u zahteve kolonija koje imaju višedecenijsku tradiciju produkcije isključivo u jednom mediju: najčešće slikarskom. Pomaci u Srbiji ipak postoje jer je nekoliko kolonija otvorilo svoje fondove i za radove izrađene u novim

curators, and as a result it is also significant for many aspects of the strengthening of the art scene. The process of creating the artwork becomes visible in almost all of its stages of development, which opens up the possibility of mutual insight into various artistic approaches, their comparison and the exchange of ideas. In this way artists are given the chance to perceive their own work in a new light. Curators, on the other hand, have the opportunity to see the creative process, to gain and incorporate information by watching, observing, talking and debating with the artists. These insights fully contribute to their theoretical assumptions and interpretations. Since the educational system hinders closer contact of curators and artists, the significance of colonies could also be viewed as an overcoming of this gap. Even though it is just one example, a single group of artists, the colony becomes a potential unit which has a cohesive role in structuring of the art scene throughout its duration and after its completion. Participants of the scene that have been marginalized come in contact with each other and form new relations which continue to exist and change. However, they hold a great potential for new and solid clusters and networks which are formed through creative work and social life. It is especially important for the art scene to exist in actual communities that are founded through the work of the colonies, because urban life and the acceleration of various processes displace „active“ life into a virtual sphere, into various powerful net groups which are just one of the necessary agents of vitality of artistic life today. Actual communities imply different kinds of existence in physical space in which the essence of relations is promoted. This substantiality is elusive in the virtual world and this is why actual communities serve as a force of radical transformation. The diversity of the media that artists use in their work today stems from a new way of contemplating the project through from its initial idea to its realization in the specified media. Artists are often not simply painters or sculptors, they are bewildered by the

umetničkim medijima. To su, na primer, kolonije u Jaloviku i Sopoćanima. Iskustvo 36. lipovačke slikarske kolonije, na kojoj su 2008. godine pored slikara prvi put učestvovali i fotografi, a sami slikari i grafičari ostvarili radove i u neslikarskim medijima, pokazuje kako novi mediji iziskuju mnogo kompleksniju i višeslojniju interakciju sa selom i seljanima. Iste godine prvi put i deca iz sela imala su aktivnu ulogu i pokazala interesovanje za umetnost realizujući svoje radove uz pomoć umetnika ili pomažući umetnicima u realizaciji njihovih dela. To iskustvo spontano je otvorilo nove potencijale razvoja u organizaciji jedne umetničke kolonije, direktno šireći polje delovanja i na najmlađe, najotvorenije i najprijemčivije žitelje sela. Planiran i organizovaniji vid rada u edukativnim radionicama mogao bi decu naučiti (pre)poznavanju umetnosti, umetničkih tehnika i medija, kao i boljem razumevanju sveta koji ih okružuje.Kada govorimo o raznovrsnosti medija i određenju profila umetničkih kolonija, zanimljiv predlog moglo bi biti pokretanje kolonija koje u svom fokusu imaju land art ili različite vrste umetničkih intervencija u prostoru. To bi u punoj meri omogućilo razvoj velikog broja aspekata kolonije kao fenomena, njenu kontekstualnost, komunikaciju sa selom, prirodom i domaćinima. Kontekstualnost takođe obuhvata i uvid i mogućnost nadovezivanja na tradiciju, kao i umetničku ili kritičku obradu lokalnih specifičnosti. Umetnost u prostoru, u ovom slučaju u selu, koje je posebna vrsta javno-privatnog prostora, svakako bi imala i edukativnu ulogu u odnosu na seosko stanovništvo i doprinela širenju i bržoj transformaciji postojećih shvatanja o prirodi umetničkog stvaranja i dela. Kontakt sa prirodom, koji se ističe kao jedna od osobenosti stvaranja u kolonijama, kroz land art dobio bi specifičnu materijalnost i obnovljeni pogled na vezu između čoveka i prirodnog okruženja. Udaljavanjem od urbanog života, boravak i rad u kolonijama usporava tempo svakodnevice. Time se oslobađa vreme za opušteno, nepretenciozno, neambiciozno, a istovremeno

technical and technological capabilities and they experiment in a multimedia framework. This is why contemporary art production today is difficult to define in the sense of the demands that colonies have. The colonies have a lasting tradition of production in a single medium: most often painting. The advances in Serbia do exist because a few of the colonies have opened their funds for works that have been made by the use of new artistic media as well. These are, for example, the colonies in Jalovik and Sopoćani. Experience from the 36th Lipovo painters colony, in which photographers participated for the first time, and the painters and graphic artists themselves completed works in media not associated with painting, shows how new media demand a more complex and multi layered interaction with the village and villagers. That same year, for the first time, the children from the village played an active role and expressed interest for art by creating their works with the help of the artists or by helping artists to create their works. This experience spontaneously opened new potentials of development in the organization of an art colony, directly widening the field of action for the youngest, most open and most lively habitants of the village. A better planned and more organized aspect of work in these educational workshops could teach the children how to recognize art, art techniques and media, as well as how to improve their understanding of the world they live in. When dealing with the diversity of the media and the defining of profiles of art colonies, an interesting proposition could be the formation of colonies which focus on land art or various spacial artistic interventions. This would fully enable the development of many aspects of the colony as a phenomenon, its context and communication with the village, nature and hosts. The context also has an insight and a possibility of connecting with tradition as well as artistic and critical elaboration of local specifications. Spacial art, in this case in the village which is a unique kind of public-private space, would also have an educational role for the village community and it would enhance the spreading and faster transformation of 36 37

i posvećeno bavljenje umetnošću, sobom i drugima. Masovna savremena tehnička pomagala i organizaciona mašina za efikasnu uštedu ili dobijanje u vremenu, čoveka/učesnika umetničke scene, u dinamici i opisu rada i prezaposlenosti, često dovode do granice iscrpljenosti, razbaštinjenosti i usisanosti u sistem koji ga distancira od zemlje, ljudi, stvari i umetnosti. Neopterećenost vrtoglavom sukcesivnom smenom obaveza i mišljenja o onome što donosi sutra tokom rada u kolonijama dozvoljava meditativni boravak u sadašnjem trenutku, akumuliranje energija, iskustava, znanja i dijalektičkog treninga aktera umetničke scene. Na taj način opstanak kolonija koji se bazira na dislociranju dobija višestruku važnost u izmeštanju izvan urbanog života, opredmećenih navika, virtuelnog prostora, iz definisanog rakursa sopstvenog rada, nudeći novi model, produktivni utopijski prostor za moguću transformaciju postojećih odnosa.

Apendix

Tokom pisanja teksta pokazalo se kao uputno uključiti i odgovore umetnika na pitanje: kakav je značaj za vas imalo učešće u 36. likovnoj koloniji u Lipovcu?

Bojana Romić:Kolonija u Lipovcu za mene je bila vrlo prijatno iskustvo zbog nekoliko razloga:a) svideo mi se izbor umetnika, imali smo sjajnu komunikaciju;b) žitelji su nas lepo prihvatili;c) deca žitelja divno su nas prihvatila, crtala su i slikala zajedno sa nama sve vreme i dolazila su u školu svaki dan iako je raspust bio u toku;d) kustoskinje Mara i Maida sprovodile su odličnu organizaciju;e) koristili smo mogućnost da što duže budemo u prirodi, čak smo uspeli da obiđemo i nekoliko okolnih mesta i lokalne znamenitosti;d) verovatno najvažnije: svi umetnici, zajedno sa kustoskinjama, nastavili su da se intenzivno druže i posle kolonije.

Zar to nije najbolji put ka jačanju umetničke scene, u sredini gde umetničko tržište još uvek nije u dovoljnoj meri razvijeno?

Dušan Jevtović:Meni je boravak u Lipovcu mnogo značio! Bio sam veoma prijatno iznenađen gostoprimstvom svojih domaćina i drugih meštana, čitavim ambijentom i ekipom kolega umetnika, tako da mi je to bio jedan od najprijatnijih odmora. Kažem odmor jer sam i sam rad (slikanje) u takvom ambijentu i društvu doživljavao kao pravi odmor. Mislim da je svima nama ova kolonija mnogo značila, a verujem da je i domaćinima bilo lepo s nama. Boravak u koloniji predstavljao je zbir zgusnutih, ispunjenih trenutaka, preplet plemenitog dokoličarenja, otkrića, inspiracije, zanimljivih razgovora, smeha, bezbrižnosti, ljubavi prema ljudima i prirodi.

existing understanding of artistic creation and artworks. Contact with nature, which is underlined as one of the characteristics of work performed in the colonies, could gain a special tangibility and a renewed glimpse on the connection between man and his natural surroundings through land art. Breaking away from urban life, spending time and working in colonies slows down the tempo of everyday life. In this way artists acquire time for relaxed, unpretentious, non ambitious, and at the same time dedicated pursuit of art, spending time with themselves and others. The contemporary mass technical tools and organizational mechanism for efficient conservation of time make the participant/person of the art scene, through the dynamic and the description of his work and his being preoccupied, to cross the line of exhaustion and dispossession within the system which distances him from the land, people, things and art. Free from the succession of obligations and thoughts about what tomorrow will bring, the work in colonies makes room for a meditative rest in the present moment, the accumulation of energy, experiences, knowledge and the dialectical training of the art scene participants. And so, the survival of colonies which are based on dislocation is important in many aspects towards the displacement from urban life, usual habits, virtual space, from the defined stand point of one’s own work, offering a new model, a productive Utopian space for the possible transformation of existing relations.

Appendix

We decided to include the answers of participating artists concerning the following question: what significance did the participation in the 36th Art Colony in Lipovac have for you?

Bojana Romić:The colony in Lipovac was a very pleasant experience for me for several reasons:a) I liked the choice of artists, we had splendid communicationb) the locals met us cordiallyc) their children accepted us kindly, they drew and painted along with us and were coming to school daily, even though the holidays were passingd) the curators Mara and Maida carried out a good organizatione) we used the opportunity to spend as much time outside as we could, we even managed to visit a few of the surrounding places and local sightsd) most importantly: all the artists, along with the curators, kept in touch even after the colony’s end of term

Is this not the best path to strengthening the art scene, in an environment where the art market is not well developed?

Dušan Jevtović:The stay in Lipovac meant a lot to me! I was pleasantly surprised by the hospitality of my hosts and other locals, the entire setting and the crew of colleague artists. This was one of the most pleasant vacations I have ever had. The reason why I call it a vacation is because the work (painting) was done in such a surrounding that I perceived it as a real vacation. I think this colony meant a lot to all of us, and I think the hosts were pleased with us as well. The stay in the colony represented a cluster of dense, fulfilled moments, a mixture of noble disengagement, discoveries, inspiration, interesting conversations, laughter, and love towards people and nature.38 39

Bojana Lukić: Meni lično lipovačka kolonija bila je od izuzetne važnosti najpre zbog ostvarivanja direktnog kontakta sa kolegama umetnicima, pošto nisam studirala u Beogradu i nisam imala prilike da upoznam mlade umetnike naše savremene scene, a zatim i zbog razmene iskustava iz oblasti umetnosti. Kolonija omogućava da se stvaraju radovi koji su svesno ili ne proizvod uticaja tamošnjeg okruženja, prijatne atmosfere Šumadije, tj. domaćinstava koja su nas velikodušno ugostila, ambijenta u kome smo na neki način bili izolovani iz svakodnevice, upućeni jedni na druge i usmereni na zajedničku nit koja nas vezuje, tj. umetnost.

Goran Micevski:Vreme otvaranja i prepoznavanja; privilegija davanja i primanja; radost!

Oliver Veljković:Boravak u ovoj koloniji mnogi mi znači, pre svega zbog novih poznanstava. (Ovo je cela istina. Nadam se da je dovoljno... Tu bih činjenicu pretpostavio „razmeni umetničkih iskustava“ i sl.)

Nikola Velicki:Učešće u koloniji veoma je uticalo na moje umetničko razvijanje i dalji rad. Ideja istoričarki umetnosti Maide Gruden i Mare Prohaske, koje su i organizatorke ovog događaja, zaista je odlična, jer su na jednom mestu okupile desetoro mladih umetnika sličnih energija i pogleda na umetnost danas. Naročito mi se dopalo to što je među umetnicima bilo i slikara i grafičara i fotografa. To nam je omogućilo zajedničku saradnju na jednom projektu. To što smo bili na selu odigralo je značajnu ulogu da kolonija i uspe, jer smo sve vreme bili zajedno, tako da smo mogli na miru da razvijamo svoje ideje i diskutujemo o umetnosti. Pre nego što sam došao u koloniju, nisam poznavao nikoga od kolega koji su bili u njoj, a danas smo svi u kontaktu. Postali smo kućni prijatelji i uvek se radujemo susretima na kojima veoma često spominjemo atmosferu iz Lipovca.

Milena Putnik:U učionici škole u Lipovcu bili su razmešteni stolovi, na njima različite donete slike i one koje se tu stvaraju, zajedno sa „dečjim stolom“, stalno aktivnim i osvežavajućim. To je bio prostor razmene, gde svako donosi ono što je „ulovio“ i pokreće svoje teme za razgovor, uključujući i ostale u svoj proces rada. Slično Goranovim kamenovima miljarima, jedno zajedničko mesto obuhvatilo je mnogo različitih mesta, istovremeno prisutnih i okupljenih u komunikaciji. Za mene je ovo dragoceni trenutak zbog kojeg kolonija i treba da postoji. Pored toga, letnje večeri na selu idealne su za formiranje (krajnje promenljivih i nikad dovršenih) lista deset najznačajnijih pročitanih, odslušanih, pogledanih...

Bojana Lukić: The Lipovac colony was of great importance to me, because of the direct communication with other artists. Since I did not study in Belgrade, I did not have the opportunity to meet the young artists of our contemporary scene, and I also enjoyed exchanging experiences from the art field. The colony enables the creation of art that is, consciously or not, a product of the effect of the surroundings, pleasant environment of Šumadija and the families that kindly hosted us, and environment in which we were taken away from everyday life. We were closer to each other and we were focused on that which connects us, meaning art.

Goran Micevski: A time of openness and recognition; a privilege of giving and taking; joy!

Oliver Veljković:The time spent in this colony means a lot to me, because of the new people I met. (This is the whole truth. I hope it is enough...I would refer to this as an “exchange of artistic experiences” and such.)

Nikola Velicki:Participation in the colony affected my development as an artist and my work very much. Art historians Maida Gruden’s i Mara Prohaska’s idea is really great, because they put together ten young artists of similar energy and views about art today in one place. I especially like the fact that amongst the artists were painters, graphic artists and historians. This enabled us to cooperate on a single project. Being in the village played a significant role in the success of the colony, because we were together all of the time and we could discuss art and develop our ideas in peace. Before I came to the colony, I didn’t know any of the people involved. We are all in touch these days. We have become close friends and we always look forward to meetings in which we often discuss the great mood that was present in Lipovac.

Milena Putnik:There were tables in the classroom in Lipovac on which there were paintings that were made previously and paintings that were being made there along with a “children’s table” which was always active and refreshing. It was a place of exchange, where everyone contributed something and initiated their own conversational subjects and included others in their work process. Similar to Goran’s milestones, a single place unified many different places that are present and gathered by communication at the same time. This is a precious moment for me and this is why the colony should exist. Apart from this, the summer nights in the village are ideal for forming (variable and never completed) top ten lists of the best books, albums, films...

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Primeri dobre prakseExamples of good practiceLikovne kolonijeArt colonies in Serbia

Bakar

Internacionalna umetnička kolonija Bakar počela je da radi 1985. godine na inicijativu Muzeja rudarstva i metalurgije u Boru. Na poziv Umetničkog saveta, u livnici u tom gradu stvaralo je više od sto autora, izliveno je blizu 400 skulptura, a muzejska zbirka postala je najveća zbirka savremene skulpture u bronzi. Dela nastala u borskoj koloniji izlagana su u zemlji i inostranstvu, na Venecijanskom bijenalu, u Budimpešti, Minhenu, Krezou, Parizu i drugim evropskim gradovima. Kolonija Bakar postala je sastavni deo života građana Bora, vrsta obeležja i znak raspoznavanja.

Kontakt Contact:Muzej rudarstva i metalurgije Bor/ Museum of Mining and Metallurgy BorMoše Pijade 19, 19 210 BorDanijela RistićT: +381 30 423 560E: kasaidana@beotel.net

The international Art Colony Bakar (copper) began working in 1985. and it was initiated by the Museum of Mining and Metallurgy in Bor. Because of the appeal of the Art Council more than 100 artists worked in the city’s foundry and around 400 sculptures have been cast. The Museums collection has become the largest collection of contemporary bronze sculpure. The sculptures created in the Bor colony have been exhibited in the country and abroad, on the Venetian Biennial, in Budapest, Munich, Creuset, Paris and many other European cities. The Art Colony Bakar has become an irreplaceable part of the everyday life of the citizens of Bor, a landmark and a symbol of recognition.

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Jalovik Klirit Art

Jalovička likovna kolonija osnovana je 1978. godine u selu Jaloviku, udaljenom oko 25 km od Šapca i oko 55 km od Beograda. Tokom svoje bogate istorije Jalovička likovna kolonija ugostila je više od 200 umetnika iz zemlje i inostranstva i oformila zavidnu kolekciju umetničkih dela. Zahvaljujući pravilu i običaju da svaki umetnik svome domaćinu ostavi bar po jedan umetnički rad, čitav Jalovik postao je jedinstveno selo-galerija. Tu je stvoren jedan poseban sistem komunikacije koji određuju okolnosti, na primer ko je umetnik, kod koga je odseo, šta on to radi.

Poslednjih nekoliko godina Jalovička likovna kolonija okrenuta je uglavnom mlađim stvaraocima, domaćim i inostranim, koji se bave različitim izrazima, od slikarstva, skulpture i fotografije do videa, performansa i digitalnih medija. Na kraju svakog saziva, u Galeriji Jalovičkog doma kulture, kao i u Šapcu i Beogradu, organizuju se izložbe.

Likovna kolonija KLIRIT ART počela je da radi 2005. godine u fabrici „Galenika – Klirit“, u Zemunu, na inicijativu istoričarke umetnosti Vere Vitorović i sa željom da se u pogonima fabrike pozvanim umetnicima omogući da u optimalnim uslovima realizuju radove koristeći materijal, specijalizovane mašine i tehničku podršku domaćina.Kao inicijativa koja otvara nove mogućnosti i prostore za delovanje umetnika, kolonija je osmišljena da traje kao dobar vid dugoročne saradnje umetničkih grupacija i vitalnih privrednih subjekata i podstakne umetničku produkciju i istraživanje u novim materijalima. Izložbe realizovanih radova, 2006. i 2009. godine, potvrđuju da te mogućnosti nisu iscrpljene.

Kontakt Contact:Jalovička likovna kolonija / Jalovik Art ColonySelo Jalovik, 15 225 VladimirciBranislav NikolićT: +381 15 516073, 63 378806E: bibliotekavlad@ptt.rs nikolicbrana@gmail.com

Kontakt Contact:Vera Vitorovićvera.vitorovic@gmail.com

The Art Colony of Jalovik was founded in 1978. in the village of Jalovik. This village is 25 km from Šabac and about 55 km from Belgrade. Throughout its rich history the Art Colony of Jalovik has hosted more than 200 artists from within the country and from abroad and it has formed an impressive collection of artworks. Because of the rule and the tradition which states that each artist must leave his host at least one piece of artwork, the Jalovik has become a sort of village-gallery. A unique kind of communication has been established, one that is determined by circumstances such as who the artist is, who he is staying with, and what it is that he does.

In the past couple of years the Art Colony of Jalovik has mainly been oriented towards younger artists, domestic as well as foreign, which are in pursuit of various forms of expression such as painting, sculpture and photography to video art, performance art and digital media. At the end of each meeting exhibitions are organized in the gallery of the Jalovik Cultural Center as well as in Šabac and Belgrade.

The Art Colony KLIRIT ART was founded in 2005. in the „Galenika – Klirit“ factory in Zemun and initiated by the art historian Vera Vitorović, aiming to enable the invited artists to use the factory facilities to create their work using materials, machines and the technical support of the host. As an open initiative that enables new possibilites and venues for artistic purposes, the colony was meant to act as a long term means of cooperation of art groups and vital economic subjects and to further artistic production and the new material exploration. The exhibitions of the works in 2006 and 2009. confirm that these possibilites have not yet been exhausted.

www.jalovik.net 44 45

Slikarska kolonija u LipovcuArt Colony in Lipovac

MajdanArt

Slikarska kolonija u Lipovcu počela je da radi 1973. i već 35 godina u selu Lipovcu, koje se nalazi između Aranđelovca i Topole, u kontinuitetu okuplja slikare. Kolonija ima dragocen fond više od dvesta radova uglednih umetnika. Osim slika rađenih uljem, tu su i radovi u pastelu, akvarelu i kombinovanim tehnikama. Ipak, savremene tendencije u umetnosti ukazuju na potrebu za transformacijom ovog tradicionalnog tipa slikarske kolonije, i to novim izborom umetnika, selektora i delimičnim otvaranjem ka nekim od savremenih komunikativnih medija umetničkog izražavanja. Pri tom, naravno, nikako ne treba zanemariti očekivanja i potrebe lokalne zajednice i inicijative.

MajdanArt, osnovan 2001. godine, jedan je od nosilaca kulturnih aktivnosti i pokretač projekata u vezi sa obrazovanjem, turizmom, međunarodnom saradnjom u svim oblastima, afirmacijom ne samo istočne Srbije i opštine Majdanpek već i države u celini. Internacionalni simpozijum zlatarstva MajdanArt održava se u Majdanpeku septembra svake godine. U umetničkoj radionici umetnici kreiraju i izrađuju unikatni nakit u zlatu i srebru koristeći sve tehnološke mogućnosti Zlatare Majdanpek. Glavni partneri simpozijuma su: Fakultet primenjenih umetnosti iz Beograda, Fakultet likovnih umetnosti iz Beograda, Muzej primenjene umetnosti iz Beograda, Fakultet umetnosti iz Zvečana, Zlatara Majdanpek iz Majdanpeka, Muzej u Prištini sa sedištem u Beogradu, Institut za srpsku kulturu iz Leposavića, BalkanKult, Zavod za proučavanje kulturnog razvitka Srbije i pojedinci.

Kontakt Contact:Lipovačka kolonija / Art Colony in LipovacTanja MičićT: +381 11 811618M: +381 64 455 4988E: kctopola@nadlanu.com

Kontakt Contact:MajdanArtKarađorđeva 38/1, 19 250 MajdanpekZoran MitrovićT: +381 30 583 663, 63 326 955E: mitart@nadlanu.com

The Art Colony in Lipovac began working in 1973. and it has been contunually hosting painters for 25 years. It is situated between Topola and Aranđelovac. The Colony has a precious fund consisting of more than 200 art works of esteemed artists. Apart from oil paintings, there are works done in pastel, water colour and mixed technique. Contemporary tendencies in art indicate the necessity of the transformation of this traditional form of painters’ colonies by a new selection of artists, selectors and the partial acceptance of various kinds of contemporary communicative media of artistic expression. At the same time, local communal needs and initiatives should not be neglected.

MajdanArt was founded in 2001. and it is one of the bearers of cultural activity and a founder of projects that deal with education, tourism, international cooperation in all fields, the affirmation of not just eastern Serbia and the municipality of Majdanpek, but of the entire country as well.The International Symposium of Jewelry MajdanArt is held in Majdanpek in September each year. In the artist workshop, artists create and manufacture golden and silver handmade jewelry making use of all the technological capabilites of the Majdanpek Jewelry. The leading partners of the symposium are: The Faculty of Applied Arts in Belgrade, The Faculty of Fine Arts in Belgrade, The Museum of Applied Arts in Belgrade, The Faculty of Fine Arts in Zvečan, The Majdanpek Jewelry in Majdanpek, The Museum in Priština with its seat in Belgrade, The Institute for Serbian Culture in Leposavić, BalkanKult, The Institute for The Research of Cultural Development in Serbia et al.

www majdanart.com46 47

Sićevo Terra

Likovna kolonija Sićevo najstarija je likovna kolonija na Balkanu. Prvi put je održana 1905, a od 1964. održava se svake godine u živopisnom selu Sićevu u istoimenoj klisuri udaljenoj 23 km od Niša. Kolonija ima sopstvenu zgradu sa velikim (slikarskim) i manjim (grafičkim) ateljeom i dvokrevetnim sobama. Njen osnovni koncepcijski princip jeste raznovrsnost, jer se uvek pozivaju umetnici različitih generacija, vokacija i stilskih opredeljenja. Kolonija doprinosi formiranju zbirke savremene umetnosti koja se čuva u okviru fonda Galerije savremene likovne umetnosti, koja trenutno ima 706 eksponata.

Internacionalni simpozijum skulpture u terakoti Terra osnovan je 1982. i od tada se održava svake godine od 1. do 31. jula u objektu stare industrijske arhitekture koji je izgrađen 1895. Simpozijum svake godine okuplja od pet do osam umetnika iz Srbije i inostranstva.Do sada su učestvovala 373 vajara iz 31 zemlje sa svih kontinenata.

Svaki učesnik dužan je da Terri ostavi jednu veliku skulpturu i dve skulpture galerijskog formata. Sve ostale pripadaju autoru. Tako je stvoren fundus simpozijuma koji broji oko 1.000 skulptura. To je najveća zbirka velike savremene terakotne skulpture u svetu.

Skulpture iz fundusa Terre predstavljene su na brojnim izložbama u mnogim gradovima u Srbiji i inostranstvu, od kojih je najznačajnije 48. Bijenale likovne umetnosti u Veneciji 1999.

Kontakt Contact:Galerija savremene likovne umetnosti Niš/ Gallery of Contemporary Art, NišKej Kola srpskih sestara 1/II, 18000 NišDragica Cirić-SpasojevićT: +381 18 513 701, 512 642E: gslunis@yahoo.com

Kontakt Contact:Terra – Centar za likovnu i primenjenu umetnost, Kikinda/ Terra – Center for fine and applied arts, KikindaTrg srpskih dobrovoljaca 25, 23 000 KikindaSlobodan KojićT: +381 0230 26 508E: centar.terra@nadlanu.com office@terra.rs

The Art Colony Sićevo is the oldest art colony in the Balkans. It was introduced in 1905, and ever since 1964 it is held annually in the picturesque village of Sićevo in the Sićevo Gorge 23 km from Niš. The colony has its building with a larger (painters) and smaller (graphic arts) studio along with two bedroom accomodations. Its basic concept and principle is diversity, because artists of various generations, vocations and styles are always invited. The Colony contributes to the formation of the collection of contemporary art which is being held in the gallery fund of the Gallery of Contemporary Fine Art, which currently holds 706 exhibits.

The Internationa Symposium of Terracotta Sculpture Terra was founded in 1982. and ever since then it has been held annually from the 1st till the 31st of July inside the building structure of old industrial architecture which was built in 1985. Each year the Symposium selects five to eight artists from Serbia and abroad. Up to today 373 sculptors from 31 countries worldwide have participated.

Each participant is obliged to leave one large sculpture and two sculptures of gallery size to Terra. The rest belong to the author. This is how the Symposium’s fund has grown to about 1.000 sculptures. It is the largest collection of contemporary terracotta sculpture in the world. The sculptures from the Terra fund have been presented in many exhibitions in many cities in Serbia and abroad. The most important of these exhibitions was The Biennial of Fine Art in Venice in 1999.

www terra.rswww.gslunis.org 48 49

Umetnost i papir, ČačakArt and Paper, Čačak

Zlakusa

Učesnici Međunarodnog simpozijuma Umetnost i papir realizuju svoje radove od papirne mase spravljene od reciklažnog materijala. Upotreba reciklaže u umetničkim projektima čiji je krajnji ishod umetničko delo, daje ovom simpozijumu ekološki karakter. Projekat se realizuje u saradnji sa fabrikama hartije „Božo Tomić“ i „Diva“. U fondu je ostalo 298 dela domaćih i stranih autora. Simpozijum obuhvata i različite prateće aktivnosti. Nosilac projekta je Centar za vizuelna istraživanja „Krug“ iz Čačka.

Međunarodna kolonija umetničke keramike Zlakusa autorski je projekat Sofije Bunardžić, diplomiranog slikara-keramičara iz Užica. Projekat omogućava keramičarima da istražuju u nedovoljno poznatom procesu izrade, tehnici nazvanoj „zlakusa“. Posebnost ove kolonije predstavlja građenje finih spona između tradicionalnog lončarstva jedinstvenog po materijalu, metodu rada i pečenju keramike na otvorenom plamenu vatre, i savremenih tendencija u umetničkoj keramici. Umetnici ovde stvaraju dela na isti način na koji se nekad radilo (od praistorije do danas).

Od 1996. do 2009. godine održano je 13 međunarodnih kolonija umetničke keramike Zlakusa Užice, pod pokroviteljstvom Ministarstva kulture Republike Srbije i grada Užica. Učestvovalo je 215 umetnika keramičara, vajara, slikara i istoričara umetnosti iz 19 zemalja (Japan, Italija, Švajcarska, Austrija, Grčka, Bugarska, Makedonija, Rumunija, Portugal, Velika Britanija, Gana, Turska, Malta, Nemačka, Holandija, Latvija, Slovenija, Crna Gora i Srbija).

Kontakt Contact:Centar za vizuelna istraživanja Krug/ Center for Visual research CircleUčiteljska 8/1, 32 000 ČačakBožidar PlazinićT: +381 32 226 032, 64 3373 650E: trigon.dizajn@sezampro.rs

Kontakt Contact:ZlakusaTrg svetog Save 15, 31 000 UžiceSofija BunardžićT: + 381 31 513 726E: buna@ptt.rs

The participants of the international symposium Art and Paper make their creations out of paper mass that is composed of recycled materials. The use of recycling in art projects which produce art works gives this symposium an ecological disposition. The project is carried out in cooperation with paper factories ”Božo Tomić“ and „Diva“. The fund has 298 pieces by domestic and foreign artists. The symposium also contains other byactivities. The mainstay of the project is the Center for Visual Research „Krug“ from Čačak.

The International Colony of Artistic Ceramic Work Zlakusa is an author’s project of Sofija Bunardžić from Užice, who is a B.A. of painting and ceramics. This projects enables artists in ceramics to explore the new field and technique called “zlakusa”. The specialty of this colony is a creation of new ties between traditional pottery unique in its material, work method and baking of ceramics in open fire, as well as contemporary tendencies in artistic ceramics. Artists who come here create their work in the same way as it was created long ago ( from pre-history up to today ).

From 1996 till 2009 thirteen international colonies of artistic ceramics Zlakusa Užice have been held under the auspices of the Ministry of Culture of the Republic of Serbia and the city of Užice. 215 ceramic artists, sculptors, painters and art historians from 19 countires (Japan, Italy, Switzerland, Austria, Greece, Bulgaria, Macedonia, Romania, Portugal, Great Britain, Ghana, Turkey, Malta, Germany, Holland, Latvia, Slovenia, Montenegro and Serbia) have participated.

www.keramika-zlakusa.org50 51

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Međunarodni keramički simpozijum ZlakusaInternational ceramic symposium Zlakusa

Umetnička kolonija „Sopoćanska viđenja“ Art colony ”Sopoćanska viđenja“

Uspešno očuvanje tradicionalne izrade lončarije, odnosno posudne upotrebne keramike, autentična je karakteristika sela Zlakusa već tri stotine godina. Selo je poznato po grnčariji, napravljenoj na ručnom kolu, koje se još retko gde koristi. “Udruženje grnčara Zlakuse” organizuje svake godine Internacionalni Keramicki Simpozijum, uspostavljanjem dijaloga između tradicionalnih zanata, kao dela kulturne baštine i umetničke scene u Srbiji, koji bi umetničkim uticajem obogatio zanatsku delatnost, a sa druge strane reanimirao umetničke izvore inspiracije, koji postaju sve više zaboravljeni.Delatnost Udruženja grnačara Zlakuse nastoji ukazati na značaj i kvalitet ručne izrade grnčarije. Prikazivanjem ovog zanata, kao dela umetničkog rada, vrednovanje njegovog produkta dobija viši nivo.

Umetnička kolonija “Sopoćanska viđenja“ je tradicionalna likovna manifestacija visoke afirmacije koja traje već 33 godine. Cilj kolonije, koja se organizuje u letnjem periodu (prva polovina jula) u neposrednoj blizini manastira Sopoćani, jeste da okupi umetnike iz različitih zemalja koji svojim delima daju odgovor u odnosu na ambijent, tradiciju i eventualno neki specifičan materijal ili temu. Izložbe radova kolonije se organizuju i predstavljaju široj publici uz odgovarajuću medijsku i katalošku promociju u Beogradu, Novom Pazaru i Raški.Realizaciju ove kolonije pomaže Ministarstvo kulture R. Srbije i Grad Novi Pazar.

Kontakt Contact:Udruženje grnčara Zlakuse / Association of potters of ZlakusaDragoslav NikitovićT: +381 31 546 474M: +381 64 142 72 63E: udruzenjeloncarazlakusa@gmail.com

Kontakt Contact:Dom kulture „Oslobođenje“ / Cultural Center “Oslobođenje“Amra Hodžić JejnaT: +381 20 335 444E: amrajejna@gmail.com

Successful preservation of traditionally made pottery, that is ceramic ware for domestic usehas been an authentic characteristic of the Zlakusa village for more than three hundred years.The village is famous for pottery produced on hand wheel, which is seldom used nowadays. Each year the “Association of Potters of Zlakusa” organizes an International Ceramic Symposium, by establishing a dialogue between traditional crafts, as part of the cultural heritage and art scene in Serbia, with an intention to artistically enrich crafts and on the other hand to reanimate artistic sources of inspiration that are being forgotten. Activity of the “Association of Potters of Zlakusa” intends to point out the significance and quality of hand made pottery. Presenting this craft as an art product, it contributes to its higher esteem.

The art colony “Sopoćanska viđenja“ presents a traditional and highly regarded visual manifestation that has been in existence for 33 years. The aim of the colony, organized during the summer period (firs half of July) in the immediate vicinity of the Sopoćani monastery, is to gather artists from different countries who are responding, through their art, to the tradition, environment or some specific material or theme. Exhibitions of the works produced in the colony are organized and presented to a wider audience with adequate media coverage and promotion through publications in Belgrade, Novi Pazar and Raška. The colony is supported by the Ministry of Culture of the Republic of Serbia and the City of Novi Pazar.

www.keramikzlakusa.tk www.domkulturenp.com

Mara Prohaska-Marković i Maida Gruden čine kustoski duo maramaida aktivan od 2004. godine. Diplomirale su istoriju umetnosti na Filozofskom fakultetu u Beogradu i trenutno su na postdiplomskim studijama na grupi za Teoriju umetnosti i medija Univerziteta umetnosti u Beogradu.

Glavni realizovani projekti su: izložba Belgrade with Budapest, u saradnji sa Áronom Fenyvesijem, Magacin u Kraljevića Marka u Beogradu (2008), izložba Preplitanja, Biblioteka Radoje Domanović u Topoli (2008), selekcija 36. likovne kolonije u Lipovcu kod Topole (2008), izložba Belgrade in Budapest: Net of Choices, IMPEX– Contemporary Art Provider, Budimpešta (2007), izložba Mađarske igre, YUBIN galerija u Beogradu (2006), izložba Dislokacije: utopijski prostor(i), Galerija O3one u Beogradu, Gradska galerija u Smederevu, Dom kulture u Sopotu (2005/2006).

Urednice su veb magazina za savremenu umetnost www.dipassage.com zajedno sa Majom Stanković (od 2003) i članice su AICA – međunarodnog udruženja likovnih kritičara (od 2008). Autorke su niza tekstova o aktuelnim tendencijama u savremenoj srpskoj umetnosti.

Radile su kao kustosi na odeljenju za noviju umetnost u Narodnom muzeju u Beogradu (od 2003. do 2005), gde su položile stručni/kustoski ispit. Učestvovale su na mnogobrojnim seminarima na temu savremenih tendencija u menadžmentu u kulturi, zatim na Visitor programu u organizaciji Agency for Contemporary Art Exchange iz Budimpešte i završile su kurs iz oblasti savremene kustoske prakse Transmisija 2005 (predavač Erik Korn).

Od 2007. Maida Gruden radi kao urednik likovnog programa u Domu kulture „Studentski grad”, a Mara Prohaska-Marković radi u organizaciji nekoliko festivala u Beogradu.

Mara Prohaska-Marković and Maida Gruden make curatorial duet maramaida, active since 2004. They hold B.A. degrees from the Faculty of Philosophy, Art History Department, Belgrade and at the moment thay attend postgraduate studies at the Department for Theory of Art and Media at the University of Arts, Belgrade.

Dimitrije Tadić Maida GrudenMara Prohaska-Marković

BiografijeBiographies

Dimitrije Tadić rođen je 1973. godine u Beogradu. Fakultet primenjenih umetnosti u Beogradu završio je 1999. godine.

Zaposlen je u Ministarstvu kulture Republike Srbije kao savetnik za vizuelne umetnosti i multimedije, u Sektoru za savremeno stvaralaštvo, kulturnu industriju i kulturne odnose. Učestvovao je na mnogobrojnim seminarima i konferencijama: Kulturna industrija i nove tehnologije, Savet Evrope, Strazbur (2001); Kulturna politika i kulturna prava, Univerzitet u Friburgu (2002); Kulturna saradnja sa Jugoistočnom Evropom, Evropska kulturna fondacija, Amsterdam (2003); Kulturna politika i umetnička produkcija, Univerzitet umetnosti u Beogradu (2004); Kulturna politika i njena administracija, Nacionalni institut za kulturnu politiku, Grenobli Kuća svetskih kultura, Pariz (2006), i dr.

Autor je tekstova i urednik dve publikacije: Galerija 2003–2006 (Kulturni centar Sopot, Beograd, 2006) i Savremene umetničke inicijative (Remont–nezavisna umetnička asocijacija, Beograd, 2006). Učestvuje u koncipiranju i organizaciji programa galerija (galerija Centra za kulturu Sopot, od 2002; galerija Službeni glasnik, 2006–2008), kulturnih manifestacija i projekata.

Vizuelni je umetnik i autor više multimedijalnih projekata. Učesnik je mnogobrojnih grupnih izložbi i projekata. U saradnji sa Majom Josifović izdaje i almanah kao prateći segment autorskih projekata: Evropizam (2001), Od sreće i od sna (2004), Istorijska čitanka (2005), Zlatni presek opsene (2006) i Velike strasti (2008). Objavio je knjigu priča Kabineti kurioziteta, promenade i drugi divertismani (Albatros plus, Beograd, 2009).

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Among many others, the following projects should be emphasized: exhibition Belgrade with Budapest, in collaboration with Áron Fenyvesijem, Magacin Gallery in Kraljevića Marka Street, Belgrade (2008), Exhibition Preplitanja, Radoje Domanović Library, Topola (2008), selection of the 36th Art colony in Lipovac (2008), exhibition Belgrade in Budapest: Net of Choices, IMPEX - Contemporary Art Provider, Budapest (2007), exhibition Hungarian games, YUBIN Gallery, Belgrade (2006), exhibition Dislocations: utopian spaces(es), O3one Gallery, Belgrade, City Gallery, Smederovo, Cultural Center, Sopot (2005/2006).

Mara Prohaska Marković and Maida Gruden, with Maja Stanković are editors of the web magazine for contemporary art www.dipassage.com (since 2003) and members of AICA – International Association of Art Critics (since 2008). Authors of several texts on actual tendencies in contemporary Serbian art.

They have worked as curators for the new art in the National Museum, Belgrade (2003 - 2005). Participants of many seminars with a topic on contemporary tendencies in the management in culture, at the Visitor program in the organization of the Agency for Contemporary Art Exchange from Budapest and they have completed a course on contemporary curatorial practice Transmission 2005 (lecturer Erik Korn)

Since 2007. Maida Gruden works as head of the visual arts program at the Cultural Center “Student’s City” and Mara Prohaska-Marković organizes several festivals in Belgrade.

Dimitrije Tadić (born in 1973, Belgrade) holds a B.A. degree from the Faculty of Applied Art, Belgrade (1999).

Works at the Ministry of Culture of the Republic of Serbia as the Advisor for Visual Arts and Multimedia in the Department for conteporary art, cultural industries and cultural relations. Participant of numerous seminars and conferences: Cultural Industry and new technologies, Council of Europe, Strasbourg (2001), Cultural policy and cultural rights, University of Fribourg (2002), Cultural cooperation with SEE, European Cultural Foundation, Amsterdam (2003), Cultural policy and art production, University of Arts, Belgrade (2004), Cultural policy and its administration, National Institute for Cultural policy, Grenoble and House of World Cultures, Paris (2006), among others.

Author of numerous essays and editor of two publications: Gallery 2003–2006 (Cultural Center Sopot, Belgrade, 2006) and Contemporary art initiatives (Remont – an independent artists initiative, Belgrade, 2006). Participates in program concepts and organization of art galleries (Gallery of the Center for Culture, Sopot, since 2002; Službeni glasnik Gallery 2006–2008), cultural manifestations and projects.

Dimitrije Tadić is visual artist and author of several multimedia projects. Participant of numerous group exhibitions and projects. In collaboration with Maja Josifović works on publication Almanach, as additional segment of author projects: Evropism (2001), Out of happiness and out of a dream (2004), History text book (2005), Golden intersection of delusion (2006) and Strong Passions (2008). He has written a book of stories Curiosity cabinets, promenades and other divertisments (Albatros plus, Belgrade, 2009).

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Konkurs Ministarstva kulture Republike Srbije (2002–2008)Open contest of the Ministry of Culture of the Republic of Serbia (2002–2008)

LIKOVNE KOLONIJE U SRBIJIART COLONIES IN SERBIA

Izdavač:Udruženje građana „Anonymous said:”Cara Nikolaja 61b, Beograd

Za izdavača:Sandra MarkovićAnica Tucakov

Urednik/Editor:Dimitrije Tadić

Tekstovi/Texts by:Dimitrije Tadić, Maida Gruden i Mara Prohaska-Marković

Dizajn i prelom/Design and layout: Mane Radmanović

Prevod na engleski jezik/Translation:Damjan Babić

Lektura/Proof reading:Vesna Kalabić

Tiraž/Number of copies:1000Štampa/Printed by:Standard 2

Beograd, 2009. god.

www.anonymoussaid.orgwww. kultura.gov.rs

CIP - Каталогизација у публикацијиНародна библиотека Србије, Београд

354.34(497.11).078.5]:73/76”2002/2008”(083.94)73/76 : 069.9(497.11)”2002/2008”

TADIĆ , Dimitrije, 1973-Likovne kolonije u Srbiji = Art Colonies in Serbia : konkurs Ministarstva kulture Republike Srbije (2002-2008) = open contest of the Ministry of Culture of the Republic of Serbia (2002-2008) / [tekstovi, texts by Dimitrije Tadić, Maida Gruden i Mara Prohaska : prevod na engleski jezik, translation Damjan Babić]. - Beograd : Udruženje građana “Anonymous said:”, 2009 (Beograd : Standard 2). - 58 str. : ilustr. ; 21cm

Uporedo srp. tekst i engl. prevod. - Tekst štampan dvostubačno. - Tiraž 1000. - Biografije: str. 55.

ISBN 978-86-87913-01-11. Груден, Маида, 1975 - [аутор] 2. Прохаска, Мара, 1975 - [аутор] a) Србија. Министарство културе - Пројекти - 2002-2008b) Ликовне колоније - Србија - 2002-2008COBISS.SR-ID 167539212