vidi daljeumetnost i komunikacija

see furtherart and communication

KoleKcijasavremene srpske umetnosti

collection of serbian modern art

Umetnost, dizajn i tehnologija osnove su kreativnosti - sile koja pokreće evoluciju savremenog društva. Ulaganja telenora u savremenu umetnost tokom prethodne decenije imaju za cilj da podstaknu umetnike, naročito mlade, da razvijaju svoj potencijal i nastave da rade u Srbiji. naš osnovni motiv je da ohrabrimo ljude da šire energiju i otkriju snagu svoje inventivnosti. Za telenor, umetnost predstavlja opipljivo i vidljivo tumačenje naših vrednosti, kroz promovisanje ambicija i duha inovativnosti.

telenorovu kolekciju savremene umetnosti, koja je stalno izložena u našim poslovnim prostorijama u Beogradu, čini više od stotinu pedeset umetničkih dela nekoliko desetina savremenih srpskih umetnika. Zahvaljujući njima, naš radni prostor je topliji, inspirativan i jedinstven.

Želimo da nastavimo da podstičemo ovdašnju kulturnu produkciju i tržište umetnosti i tako doprinesemo razvoju kulturnog života u Srbiji.

Ćel-Morten jonSen / generalni direktor / telenor d.o.o.

art, design and technology make the very foundations of creativity – the force that drives the evolution of a modern society. telenor’s investments in contemporary art during the past decade have been aimed at stimulating artists, particularly the young ones, to develop their potentials and continue their work in Serbia. encouraging people to share energy and reveal their inventive strengths is indeed our primary motivation. For telenor, art represents a tangible and visible interpretation of our values, while promoting our ambitions and the spirit of innovation.

telenor’s contemporary art collection, on permanent display in our premises in Belgrade, contains more than a hundred and fifty artworks by several dozen Serbian contemporary artists. these pieces make our workspace warmer, inspirational and unique.

We are strongly committed to encouraging the local cultural production and art market, and to supporting Serbian artists, thus making one of our many contributions to the development of the cultural life in Serbia.

Kjell-Morten johnSen / ceo / telenor d.o.o.

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Kompanija telenor, najveći strani investitor u Srbiji, u martu 2007. godine osnovala je telenor fondaciju, preko koje je nastavila da ulaže u Srbiju i pomaže razvoj njenih društvenih potencijala. Želja telenora je da doprinese i dugoročno pomogne rešavanje teškoća srpskog društva, pa su aktivnosti i projekti Fondacije osmišljeni u skladu sa društvenim potrebama. Usmereni su na mlade, njihovo obrazovanje i profesionalno usavršavanje, na društveno ugrožene grupe, kao i na razvoj kulturnog stvaralaštva i tržišta umetnosti.

Fondacija je, ubrzo po osnivanju, prionula na formiranje kolekcije umetničkih dela. Više od 150 dela, koliko ih je do sada u zbirci, reprezentativan su pregled savremene srpske umetnosti i ukrašavaju naš radni prostor. neka od najznačajnijih umetničkih dela iz zbirke predstavićemo javnosti širom Srbije i u inostranstvu.

Podržali smo i tri velika umetnička projekta. aprila 2007. raspisali smo nagradni konkurs sa temom „naš zid, tvoj izazov“ (challenge the Wall) za najbolji dizajn tapeta namenjenih uređenju prostorija Kompanije na novom Beogradu. Zahvaljuju-ći projektu „art2siton“ Beograd je dobio jedinstven ulični nameštaj na najposećeni-jim gradskim lokacijama, prema nacrtu pet renomiranih umetnika. U toku je i oslika-vanje 19 murala u 19 gradova Srbije u okviru projekta „Pokreni grad’’ (Start Up city), koji sprovodimo u saradnji sa Platformom za savremenu umetnost „Kiosk“ i lokalnim vlastima.

Smatramo da je umetnost oblast koja je isuviše trpela tokom teških godina ekonomske i društvene krize, jer su generacije umetnika ostale izvan svetskih trendova i tržišnih praksi. nadamo se da svojom aktivnošću doprinosimo razvoju kulturne i umetničke produkcije i tržišta umetnosti i da podstičemo umetnike, posebno mlade, da ostanu u Srbiji i nastave da stvaraju.

Ulažemo U kreativnost

ana krstićmenadžerka za spoljne komunikacije / telenor d.o.o.

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in March 2007, company telenor, largest foreign investor in Serbia, founded telenor Foundation through which it continues to invest in Serbia and assist the development of its social potentials. it’s telenor’s wish to render a long-term contribution and assistance to the resolution of the hardships of the Serbian society, so that the Foundation’s activities and projects have been conceived in line with social needs. they are oriented towards the young, their education and professional specialisation, to socially vulnerable groups, as well as the development of cultural creativity and arts market.

Soon after its establishment, the Foundation launched the formation of art works collection. over 150 pieces, which is the current number of works in the collection, are a representative overview of modern Serbian art and decorate our work space. We will present some of the most important works of art from this collection to the public all over Serbia and abroad.

We have also supported three major art projects. in april 2007 we opened a prize contest on the subject ”challenge the Wall” for the best wallpaper design to be used for interior decoration of company premises in novi Beograd. thanks to the project „art2siton“ Belgrade got unique street furniture at the busiest city locations, according to the design of five renowned artists. Painting of 19 murals in 19 towns of Serbia is underway within the project ”Start Up city”, which we are implemented in cooperation with Modern arts Platform “Kiosk“ and local authorities.

We think that art is a field that has greatly suffered during hard years of economic and social crises, because generations of artists remained outside world trends and market practices. We hope that with our activity we are contributing to the development of cultural and art production and artistic market, thus stimulating artists, especially the young ones, to stay in Serbia and continue creating.

investing in Creativity

ana krstićexternal communication Manager / telenor d.o.o.

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Srpska savremena umetnička scena danas je u nezavidnoj, ali zanimljivoj situaciji. Prepuštena neumitnim tokovima savremenog art sistema i logici kapitala, oslobođena balasta prošlosti i ratnih devedesetih, ona se polako okreće sebi, elementarnim egzistencijalnim pitanjima i iznalaženju novih načina da se predstavi u jednom širem evropskom i svetskom okruženju. rastrzana između autentičnosti, doslednosti i realnosti novog vremena, ona sporim koracima pokušava da pronađe novi jezik i uključi se u globalne umetničke tokove. jednom rečju, na prekretnici je. tranzicioni period u kojem se društvo nalazi neminovno se odražava i na funkcioni-sanje umetničke scene. Poslednjih nekoliko godina svedoci smo rasprave o pitanju: postoji li uopšte savremena umetnička scena u Srbiji? očigledno postoji, ma šta mi mislili o njoj i ma kako je tumačili. Možda bi prikladnije bilo postaviti pitanje: koliko je velika scena i kakvog je kvaliteta? nedostatak profesionalnih prostora za izlaganje, ali i sistematskog i kontinuiranog ulaganja u savremenu umetničku produkciju, umnogome otežava posao umetnicima, a time i potencijalnim ulagačima. Pored ovih nedostataka, na kvalitet i funkcionisanje scene utiču i slabe produkcione mogućnosti umetnika i galerija, kao i skoro potpuna nezainteresovanost države, resornog ministarstva, ali i društva u celini da ozbiljnije ulažu u savremenu vizuelnu umetnost. nepostojanje tržišta i moderne zakonske regulative koja bi podsticala ulaganje u umetnost, dodatni su razlozi što govorimo samo o preživljavanju, a ne i o napretku umetnosti. U ovakvoj situaciji, nije čudo što sve veći broj naših umetnika šansu traži, gotovo isključivo, u inostranstvu.imajući sve ovo u vidu, norveška telekomunikaciona kompanija telenor, koja posluje u Srbiji, odlučila je da formira kolekciju radova domaćih umetnika i na taj način doprinese rešavanju mnogobrojnih problema i aktivno se uključi u stvaranje modernog evropskog društva u Srbiji. Moderne kompanije grade svoj identitet, između ostalog, i kao kolekcionari radova savremenih umetnika, prenoseći tako poruku o spremnosti da idu ukorak sa novim idejama i novim društvenim odnosima. telenor nije izuzetak, a slične kolekcije ima u svim zemljama u kojima posluje. norveška kompanija na taj način izražava visok stepen društvene svesti o potrebi da deo profita ostvaren u jednoj sredini, toj sredini treba i da vrati različitim ulaganjima, prvenstveno u najugroženije sektore društva. Mi koji se profesionalno i svakodnevno susrećemo sa umetnošću znamo da je u Srbiji, nažalost, i umetnost među najugroženijima.Kolekcija kompanije telenor nema za cilj da predstavi aktuelno stanje na srpskoj umetničkoj sceni. ona nije pravljena s određenim ciljem, ne obraća se jednom krugu ljudi i ne pretenduje da nadomesti nedostatak sličnih muzejskih kolekcija. ona ne prati ni jednu liniju, nije orijentisana ni levo ni desno, niti politički ili ideološki obojena. ona je, prevashodno, osmišljena i oformljena kao korporativna umetnička kolekcija koja treba da „živi“ u poslovnom, ali i u javnom prostoru. Umetnička dela u telenorovoj kolekciji nisu namenjena depoima i skladištima, već jednom novom, modernom, inspirativnom prostoru koji se uvođenjem umetničkih radova transformiše u svojevrstan izlagački prostor. Kolekcija je tako specifičan organizam koji živi sa zaposlenima i u svakodnevnoj je komunikaciji sa njima, sa enterijerom, ali i sa posetiocima. ona je spoj proverenih vrednosti, oličenih u već dobro poznatim umetnicima srednje generacije kao što su Mrđan Bajić, Gabriel Glid, aleksan-dar rafajlović, Zdravko joksimović, Vladimir Perć - talent Factory, ali i nadolazećoj snazi i elanu nove generacije umetnika predvođenih Biljanom Đurđević, aleksandrom Maćaševim, Petrom Mirkovićem, hanom rajković i mnogim drugima.

Umetnost na PrekretniCi

saša Janjićkustos kolekcije

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osnovu kolekcije čine noviji radovi, nastali u periodu od 2000. godine do danas, ali su u njoj i nešto starija dela, iz 90-ih godina. Kolekciju čini oko 150 radova 46 umetnika. Kako je zbirka prevashodno namenjena poslovnom prostoru, odabir radova bio je uslovljen tom funkcijom, tako da smo se prvenstveno koncentrisali na dela koja će stimulisati i uklopiti se u svakodnevno funkcionisanje zaposlenih. Međutim, to nikako ne znači da je izbor bio nauštrb kvaliteta. radovi poput serije crteža Gott Liebt Die Serben raše todosijevića, Yugo muzej Mrđana Bajića, monumentalna slika Pohvala ruci - anđeo istorije IV Milete Prodanovića, sklupture Odmor i Mini bar Gabriela Glida, fotografije jovana Čekića i Dragana Dangubića, Škartove Kuvarice i talentova instalacija Ključni svedok neki su od najznačajnijih radova novije srpske umetnosti. ova dela na određeni način legitimišu kolekciju kao respektabilnu i u skladu su sa renomeom i veličinom kompanije čiji su deo. Pored ovih dobro poznatih radova, veliki deo kolekcije čine radovi mladih umetnika koji se tek pozicioniraju na umetničkoj mapi i novim pristupom ruše stereotipe i grade novu sliku o Srbiji. Stvarajući jedan novi metajezik komunikacije, komunikacije zasnovane na novim tehnologijama, oni brišu političke, ideološke, nacionalne i socijalne granice. Stoga, nimalo ne treba da čudi što je upravo jedna telekomunikaciona kompanija izabrala umetnost, kao sofisticirani vid komunikacije, da i u ovom polju prenese poruku i iskaže svoja uverenja i stavove. U trenutku kada se umetnost guši pod teretom marketinških strategija i preterane komercijalizacije, ohrabruje što se daje šansa mladim umetnicima i veruje novim idejama koje oni donose. nova vrsta figuracije u delu Biljane Đurđević, intrigantne slike dece Dejana Kaluđerovića, metafizički urbani pejsaži Milene Putnik, inovativne slike od poliestera Petra Mirkovića i semiološki objekti lane Vasiljević ukazuju samo na neke od novih pravaca i interesovanja plejade mladih umetnika. njihova percepcija i artikulacija sveta oko nas ukazuje na proces konstantnog preispitivanja pozicija umetnosti unutar društvenog sistema prepunog mana i nedoslednosti. raznim procesima dekonstrukci-je i dekontekstualizacije nova generacija srpskih umetnika ponovo kodifikuje i isčitava sve reprezente jednog takvog sistema. oni problematizuju određene kako vizuelne tako i sociološke fenomene, stvarajući na osnovu njih radove koji su ponekad osmišljeni kao direktna provokacija građanskog društva, ušuškanog u mnogobrojne stereotipe. U njihovim radovima se reflektuju sve iluzije, strahovi i zebnje, ali i nadanja i verovanja u vrli novi svet i u bolje sutra, tako svojstvena mladosti.osnova kolekcije sadržana je u sentenci Vidi dalje – umetnost i komunikacija. ona na najbolji mogući način odražava razmišljanja i stavove telenora kao multinacionalne kompanije koja, u skladu sa svojim poslovnim opredeljenjem, uvek gleda dalje i ide korak ispred vremena, ali i srpske umetnosti koja gleda u budućnost s nadom da je moguć ravnopravan dijalog i partnerski odnos sa svetom. Ulaganje u savremenu srpsku umetničku scenu je i hrabar korak, pogotovu s obzirom na težak period kroz koji su u proteklih dvadeset godina prošli i umetnička scena i društvo u Srbiji. U jednom neorganizovanom, nekoherentnom sistemu u kojem i najmanja politička i društvena promena ima dalekosežne posledice, odluka da se ulaže u kulturu i umetnost zaslužuje sve pohvale. Kolekcija, takođe, svedoči o opredeljenju kompanije da ostane u Srbiji i gradi svoju poziciju u društvu, ne samo u poslovnom, već i u umetničkom svetu. ova inicijativa predstavlja jedno ozbiljno, sistematsko, promišljeno ulaganje u kulturu i umetnost i pokušaj da se makar simbolično pomogne umetnicima i povrati nada da nije sve izgubljeno.nadamo se da će, za naše uslove nesvakidašnji, primer norveške kompanije slediti mnogobrojne srpske firme i da će početi da ulažu u domaću umetničku produkciju, koja je pokazala da poseduje kvalitet, znanje i originalnost, ali i da su joj potrebni podstrek i potpora domaće sredine.

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the Serbian modern art scene is in an unenviable, but interesting situation today. Surrendered to the inevitable developments of the modern art system and the logic of capital, free of the burden of the past and the warring 90s, it is slowly focusing on itself, on elementary existential issues, and on finding new ways to present itself in a broader european and global milieu. torn between authenticity, consistency and the reality of the new era, it is making small steps, trying to find a new language and join global artistic trends. in a word, it is at a turning point.the transition period that our society is in at the present, is undeniably reflected on the functioning of the art scene. in the past several years we have been witness to discus-sions of the issue wheather a modern art scene exists at all in Serbia? apparently it does, regardless of what we think of it and how we interpret it. Perhaps a more adequate questions would be how large is this scene and how good is it? the lack of professional spaces for exhibitions, as well as the systematic and continual investment in modern artistic production greatly impedes the work of artists, and therefore the actions of po-tential investors, are also affected by poor production possibilities of artists and galleries.the quality and the functioning of the scene, are additionally affected and weakened by the poor production capacities of the artists and galleries, as well as complete failure of the state, the Ministry of culture, and society as a whole, to invest more seriously in modern visual art. the absence of a market and modern legislation, which would encourage investment in art, are additional reasons why we can discuss only the survival buy not the development of the art scene. in such a situation it is no surprise that an increasing number of our artists are seeking opportunities abroad.Bearing all this in mind, norwegian telecommunications company telenor, which as of recently also operates in Serbia, has decided to create a collection of works by local artists, and thus contribute to resolving many problems and actively take part in creating a modern european society in Serbia. Modern companies create their identity, among other things, by collecting works by modern artists, thus conveying their message that they are prepared to keep up with new ideas and new social relations. telenor is no exception and it has similar collections in all the countries where it operators. in this way the norwegian company expresses its high level of social awareness regarding the need to return part of the profits generated in a given setting, through different investments, primarily in the most vulnerable sectors of society. We, who have professional and daily contact with art know that unfortunately in Serbia art is among the most vulnerable ones.the telenor corporate collection does not aim to present the current state of the Serbian art scene. it is not created with a specific goal; it does not address a certain circle of people and it does not aim to compensate the shortcomings of similar museum collec-tions. it does not follow any line nor is it oriented left nor right, or politically or ideologi-cally tainted. it is primarily envisioned and created as a corporate art collection which is to “live” in a corporate, but also a public space.the artwork in telenor’s collection is not intended for depots or storage, but rather for a new modern inspirational space which is transformed into a type of exhibition space with the introduction of works of art. thus the collection is a specific organism that lives with the employees and which communicates with them daily, the interior, as well as with visi-tors. it is a blend of proven values, embodied in renowned artists of the middle-generation, such as Mrđan Bajić, Gabriel Glid, aleksandar rafajlović, Zdravko joksimović, talent Fac-tory, as well as the coming strength and vigor of the new generation of artists spearheaded by Biljana Đurđević, aleksandar Mećašev, Petar Mirković, hana rajković and many others.

art at a tUrning Point

saša Janjićcurator of the collection

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the basis of the collection is newer works, created after 2000, but it also includes slightly older works, from the 1990s. the collection consists of around 150 works by 46 artists. Since the collection is primarily intended for office spaces, the selection of works was in-fluenced by this function, which is why we primarily focused on works that would stimu-late and blend into the daily functioning of employees. however, this under no circum-stances means that the selection was made at the cost of quality. Works such as the series of drawings Gott Liebt Die Serben by raša todosijević, Yugo Museum by Mrđan Bajić, Praise to the Hand - the Angel of History IV by Mileta Prodanović, sculptures Rest and Mini Bar by Gabriel Glid, photographs by jovan Ćekić and Dragan Dangubić, Škart’s embriodery and talent’s installation Key Witness, are some of the most signifi-cant works of newer Serbian art. in a way these works legitimize the collection as being respectable and in accordance with the reputation and size of the company which they are part of.in addition to these well-known pieces, a great partion of the collection consists of works by young artists that are positioning themselves on the artistic map, and tearing down stereotypes and building a new image of Serbia. By creating a new metalanguage of communication, communication based on new technologies, they do away with political, ideological, ethnic and social boundaries. this is why it should not be at all surprising that it was a telecommunications company that chose art, as a sophisticated form of communication, to relay its message and express its convictions and views in this field. at a moment when art is being smothered under the weight of marketing strategies and excessive commercialization, it is encouraging that young artists are being given a chance and that faith is put in the new ideas that they bring. the new type of figura-tion in the work of Biljana Đurđević, intriguing pictures of children by Dejan Kaluđerović, the metaphysical urban landscapes by Milena Putnik, innovative polyester paintings by Petar Mirković, semiological objects by lana Vasiljević, point out some of the directions and interests of a pleiad of young artists. their perception and articulation of the world around us indicates a process of constant questioning of the positions of art within the social system that is full of flaws and inconsistencies. through various processes of deconstruction and decontextualization, a generation of Serbian artists is again codifying and reading all the representatives of one such system. they problematize certain visual as well as sociological phenomena, creating works based on them which are sometimes envisioned as a direct provocation of civic society, cozied in numerous stereotypes. their works reflect all the illusions, fears and anxieties, as well as hopes and believes in fine new world and a better tomorrow, which is so characteristic of youth.this collection is embodied in the sentence See further – art and communication. it re-flects in the best possible way the thinking and views of telenor, as a multinational com-pany which, in accordance with its business determination, is always looking ahead and going one step in front of the times, but also Serbian art which is looking to the future hoping that an equal dialogue and partnership with the world is possible. investing in the modern Serbian art scene is a bold step, particularly considering the difficult period that both the art scene and society in Serbia have endured in the past twenty years. in an unorganized incoherent system, where even the smallest political or social change has long-term consequences, the decision to invest in culture and art is praiseworthy. the collection also testifies to the company’s determination to stay in Serbia and develop its position in society, not only in the business world but also in the art world. this initiative represents a serious, systematic, prudent investment in culture and art, and an attempt to at least symbolically help artists and revive hope that all is not lost.We hope that the example of the norwegian company, which is uncustomary in our country, will be followed by numerous Serbian companies and that they will start invest-ing in local art production, which has demonstrated that it has the quality, knowledge and originality, but also that it needs encouragement and support from the local milieu.

KoleKcijacollection

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Dragoljub raša todosijević, rođen 1945. godine. jedan je od najznačajnijih umetnika srpske i eks-jugoslovenske scene i nesumnjivo jedan od najrenomiranijih domaćih umetnika u inostranstvu. Dobitnik je brojnih nagrada, a njegova dela se nalaze u mnogim domaćim i inostranim privatnim i muzejskim kolekcijama.

Dragoljub raša todosijević, born 1945, is one of the most important artists of the Serbian and ex-Yugoslav scene, and undoubtedly one of the most famous local artists abroad. Winner of numerous awards, and his works are included in many local and foreign private and museum collections.

DragolJUb raša toDosiJević

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gott liebt Die serbencrtež na papiru30x20 cm1991.

gott liebt Die serbendrawing on paper30x20 cm1991

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yUgomUseUm-Panoramacollage on handmade paper105x65 cm2004

yUgomUzeJ-Panoramakolaž na ručno rađenoj hartiji105x65 cm2004.

Mrđan Bajić, rođen u Beogradu 1957. godine. Završio je osnovne i postdiplomske studije na vajarskom odseku Fakulteta likovnih um-etnosti u Beogradu, u klasi profesora jovana Kratohvila. od 1997. je profesor na Fakultetu likovnih umetnosti u Beogradu. na 52. bijenalu u Veneciji predstavljao je Srbiju u nacionalnom paviljonu, sa projektom Reset.

Mrđan Bajić, born 1957 in Belgrade. completed graduate and postgraduate studies at the Department of Sculpture, at the Faculty of Fine arts in Belgrade, in the class of Prof. jovan Kratohvil. tenure at the Faculty of Fine arts in Belgrade since 1997. represented Serbia at the Serbian pavilion at the 52nd Venice Biennale, with the Reset project.

mrđan baJić

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organsterracotta, polyester, aluminium, brass, wood, enamel & acrylic paint160x40x40 cm1996

organiterakota, poliester, aluminijum, mesing, drvo, emajl i akril boje160x40x40 cm1996.

mrđan baJić

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Vladimir Perić, rođen u Beogradu 1962. Studirao je grafiku i fotografiju na Fakultetu primenjenih umetnosti u Beogradu. od 1986. do 1996. delovao kao član grupe talent i izlagao 19 puta samostalno i 47 puta na grupnim izložbama. od 1996. do 2006. pod pseudonimom talent Factory izlagao je 18 puta samostalno i 66 puta na kolektivnim izložbama.

Vladimir Perić, born 1962 in Belgrade. Studied graphics art and photography at the Faculty of applied arts in Belgrade. involved with talent group from 1986 to 1996, exhibited 19 times individually, and 47 times in group exhibitions. exhibited 18 times individually and 66 times in collective exhibitions under the pseudonym talent Factory, between 1996 and 2006.

key Witnessinstallationvariable dimension2004

klJUčni sveDokinstalacijapromenljive dimenzije2004.

vlaDimir Perić / talent faCtory

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Uroš Đurić rođen je u Beogradu 1964. godine. Studirao istoriju umetnosti na Filozofskom fakultetu u Beogradu. 1992. diplomirao, a 1998. magistrirao na Fakultetu likovnih umetnosti u Beogradu. Vizuelni umetnik, glumac, urednik i voditelj programa na radiju B92. Živi i radi u Beogradu.

Uroš Đurić, born in Belgrade in 1964 Studied Faculty of Philosophy, Department of art history. Graduated from the Faculty of Fine arts in Belgrade in 1992 and completed postgraduate studies at the same faculty in 1998. Visuel artist, actor, author of radio shows on B92 station. lives and works in Belgrade.

PolitiCal Painting, DisPosable Hero of PoPUlismoil on canvas56x73 cm2001

PolitiCal Painting, DisPosable Hero of PoPUlismulje na platnu56x73 cm2001.

Uroš đUrić

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škart

Grupa Škart nastala je 1990. godine na arhitektonskom fakultetu u Beogradu. Deset godina kasnije usmerili su svoju dizajnersko-umetničku praksu ka iniciranju novih grupa: mreže ženskih i muških vezilja, muzičkog kolektiva horKeŠKart i, odnedavno, probnog kolektiva ProBa. Svoj rad predstavljaju širom evrope, u aziji i americi.

the Škart Group was created in 1990 at the Faculty of architecture in Belgrade. ten years later it is directing its design and art practice towards initiating new groups: groups of female and male needlework, the horKeŠKart music collective and as of recently the ProBa testing collective. they present their work through europe and in asia and america.

masHine is DeaDly DUsty faCtory silently rUstyembroidery on canvas(verses, drawing and embroidery, lenka Zelenović)50x30 cm2001

na mašini Prašina U fabriCi tišinavez na platnu(stihovi, crtež i vez, lenka Zelenović)50x30 cm2001.

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Mileta Prodanović, rođen u Beogradu 1959. godine. Diplomirao je i magistrirao na Fakultetu likovnih umetnosti u Beogradu 1985. Pohađao je postdiplomske studije na royal college of arts u londonu (1988-89). radi kao docent na Fakultetu likovnih umetnosti Univerziteta umetnosti u Beogradu.

Mileta Prodanović, born 1959 in Belgrade. Got his Ba and Ma from the Faculty of Fine arts in Belgrade in 1985. Postgraduate stay at the royal college of arts in london (1988-89). Works as a docent at the University of arts Faculty of Fine arts in Belgrade.

mileta ProDanović

Praise to tHe HanD – angel of History ivacrylic and gilding on canvas200x280 cm1997

PoHvala rUCi – anđeo istoriJe ivakril i pozlata na platnu200x280 cm1997.

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mileta ProDanović

rolling skies iiacrylic on canvas200x150 cm2001

rolling skies iiakril na platnu200x150 cm2001.

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mini bar - organiCglass, wood, brandy, rubber86x60x43 cm2001/2007

mini bar - organiCstaklo, drvo, rakija, guma86x60x43 cm2001/2007.

gabriel gliD

Gabriel Glid, rođen u Beogradu 1966. godine. Završio je fakultet likovnih umetnosti u Beogradu, vajarski odsek 1992. i magistrirao 1994. Kao gostujući profesor 2002. predavao je na norboten art School u lulei, u Švedskoj, a 2004/2005. radio kao profesor, na odseku skulptura, na laSalle college of the arts, u Singapuru. Dobitnik je nekoliko nagrada.

Gabriel Glid, born 1966 in Belgrade. he graduated from the Faculty of Fine arts, Department of Sculpture, in 1992, and got his Ma from the same school in 1994. in 2002 he taught as a visiting professor at the norbotten art School, luleå, Sweden, and in 2004/05 he worked as a professor at the Sculpture Department at laSalle college of the arts, in Singapore. he has won several awards.

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gabriel gliD

restterracottavariable dimension2002

oDmorterakotapromenljive dimezije2002.

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Biljana Đurđević, rođena u Beogradu 1973. godine. Diplomirala je slikarstvo na Fakultetu likovnih umetnosti u Beogradu 1997. i 2000. završila postdiplomske studije. od 1998. izlaže samostalno i na brojnim grupnim izložbama u zemlji i inostranstvu.

Biljana Đurđević, born 1973 in Belgrade. Graduated painting from the Faculty of Fine arts in Belgrade in 1997, and finished postgraduate studies at the same faculty in 2000. She has been exhibiting individually and in group exhibitions locally and abroad, since 1998.baD beHavior

oil on canvas110x130 cm2005

loše PonašanJeulje na platnu110x130 cm2005.

bilJana đUrđević

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nikola Džafo rođen 1950. godine u novom Sadu. Diplomirao slikarstvo na Fakultetu likovnih umetnosti u Beogradu. idejni tvorac i pokretač grupe leD art i multimedijalnog centra Art klinika u novom Sadu. Živi i radi u novom Sadu.

nikola Džafo, born in novi Sad in 1950. Graduated painting from Faculty of Fine arts in Belgrade. creator and founder of art group leD art and Multimedia center Art Clinic in novi Sad. lives and works in novi Sad.

rabbit WHo eateD mUseUmprint80x80 cm2008

zeC koJi Je PoJeo mUzeJprint80x80 cm2008.

nikola Džafo

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Zdravko joksimović, rođen u Buču, u crnoj Gori, 1960. godine. Diplomirao je i magistrirao na Fakultetu likovnih umetnosti u Beogradu, u klasi profesora nikole jankovića. od 1992. radi na vajarskom odseku Fakulteta likovnih umetnosti.

Zdravko joksimović, born 1960 in Buč, Montenegro. Got his Ba and Ma from the Faculty of Fine arts in Belgrade, with Prof. nikola janković. Since 1992 works at the Sculpture Department of the Faculty of Fine arts.

yoUr boDy Deserves tHe bestleather, plastic, terracotta, dipstick189x63x64 cm2004

vaše telo zaslUžUJe naJbolJekoža, plastika, terakota, merač ulja189x63x64 cm2004.

zDravko Joksimović

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rigHt & Wrong iiplaster, plastic79x24x13 cm2003

isPravno i Pogrešno iigips, plastika79x24x13 cm2003.

zDravko Joksimović

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jovan Čekić, rođen u Beogradu 1953. godine. Diplomirao je filozofiju na Filozofskom fakultetu u Beogradu. izlaže od 1975. Dobitnik je nagrade na memorijalu nadežda Petrović i nagrade oktobarskog salona. Bio je urednik za teoriju u časopisu Moment. Do 1997. godine bio je direktor i glavni urednik časopisa za vizuelnu kulturu New Moment. Knjigu Presecanje haosa (Geopoetika) objavio je 1998. Urednik je edicije Art u izdavačkoj kući Geopoetika.

jovan Čekić, born 1953 in Belgrade. Got his degree in philosophy from the Faculty of Philosophy in Belgrade. he has been exhibiting since 1975. Winner in the nadežda Petrović memorial award and october Salon prize. he was editor for theory at the Moment magazine. Until 1997 he was the director and editor-in-chief of the visual culture magazine new Moment. in 1998 he published a book Cutting Chaos (Geopoetika). editor of the art edition at the Geopoetika publishing house.

knifecolor and black & white photography50x50 cm /each/2006

nožfotografija u boji i crno-bela fotografija50x50 cm /svaka/2006.

Jovan čekić

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žana Poliakov feat. alJoša PetoJević

sense anD sensibilitycombined tehique variable dimension2009

razUm i osećaJnostkombinovana tehnika promenljive dimenzije2009.

Završila Fakultet dramskih umetnosti u Beogradu. internet pionir, bavi se pitanjima digitalnog doba, kopije i originala, konzumerističkog društva i new age filozofijom. autor je više new media projekata.

completed Faculty of Drama arts in Belgrade. internet pioneer, tackling the questions of digital age, original and copy, consumer’s society and new age lifestyle and philosophy. author of many new media projects.

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miHael milUnović

gHetto (West enD)oil on canvas130x80 cm2007

gHetto (West enD)ulje na platnu130x80 cm2007.

Mihael Milunović, rođen u Beogradu 1967. godine. Diplomirao je 1992. i magistrirao 1995. na Fakultetu likovnih umetnosti u Beogradu. Specijalističke studije završio je na École nationale supérieure des beaux-arts u Parizu 1995/1996. Živi i radi u Beogradu i Sent etjenu, u Francuskoj.

Mihael Milutinović, born 1967 in Belgrade. received his Ba in 1992 and Ma in 1995, from the Faculty of Fine arts in Belgrade. completed specialist studies at the École nationale supérieure des beaux-arts in Paris. he lives and works in Belgrade and Saint-Étienne, France.

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mioDrag krkobabić

Portrait of an UnknoWn man WitH a bearDprint100x150 cm2007

Portrait of an UnknoWn man WitH a bearDprint100x150 cm2007.

Miodrag Krkobabić rođen 1971. godine u Kraljevu. Diplomirao je i magistrirao na Fakultetu likovnih umetnosti u Beogradu. izlagao na značajnim međunarodnim izložbama. U radovima se prvenstveno bavi pitanjima identiteta. Živi i radi u Beogradu.

Miodrag Krkobabić born in Kraljevo in 1971. completed graduate and postgraduate studies at the Faculty of Fine arts in Belgrade. Participated in significant international exhibitions. in his work he is particularly interested in identity questions. lives and works in Belgrade.

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aleksanDar rafaJlović

seasondigital print on canvas70x100 cm2004

sezonadigitalna štampa na platnu70x100 cm2004.

aleksandar rafajlović, rođen u Beranama, u crnoj Gori, 1957. godine. Završio je Fakultet likovnih umetnosti u Beogradu, odsek slikarstvo, 1980. i postdiplomske studije 1983. Specijalističke studije završio je na École nationale supérieure des beaux-arts u Parizu 1983/84.

aleksandar rafajlović, born in Berane, Montenegro, in 1957. he graduated from the Faculty of Fine arts in Belgrade, the Department of Painting, in 1980. he finished postgraduate studies at the same faculty in 1983, and specialist studies at École nationale supérieure des beaux-arts, in Paris 1983/84.

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Dejan Kaluđerović, rođen u Beogradu 1972. godine. od 1992. do 1993. pohađao je školu za vizuelne umetnosti u njujorku. na Fakultetu likovnih umetnosti u Beogradu diplomirao je 2002. Postdiplomske studije završio je na akademiji primenjenih umetnosti u Beču, u klasi profesora ervina Vurma, 2003/4. Član je Udruženja likovnih umetnika Srbije i austrijskog udruženja nezavisnih umetnika iG Bildende Kunst. Živi i radi u Beču.

Dejan Kaluđerović, born 1972 in Belgrade. he attended the School of Visual arts in new York from 1992 to 1993. he graduated from the Faculty of Fine arts in Belgrade in 2002. he competed his postgraduate studies at the academy of applied arts in Vienna, in the class of Professor erwin Wurm, 2003/4. he is a member of the association of Fine artists of Serbia and the austrian association of independent artists iG Bildende Kunst. he lives and works in Vienna.

inDigo girlFrom series Future Belong to Us iacrylic on PVc, wood & sponge90x80x4 cm2003

inDigo girliz serije Budućnost pripada nama iakril na PVc-u, lesonit i sunđer90x80x4 cm2003.

DeJan kalUđerović

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milena PUtnik

isiDora’s vieWoil on canvas95x150 cm2006

isiDorin PogleDulje na platnu95x150 cm2006.

Milena Putnik, rođena u Beogradu 1976. godine. Diplomirala je i magistrirala na Fakultetu likovnih umetnosti u Beogradu. izlagala je na brojnim samostalnim i grupnim izložbama u Beogradu, njujorku, Geteborgu, Beču. Kao dobitnica nagrade Dimitrije Bašićević Mangelos studijski boravila u njujorku 2005, a kao stipendistkinja KulturKontakta u Beču 2007. godine.

Milena Putnik, born 1976 in Belgrade. received her Ba and Ma from the Faculty of Fine arts in Belgrade. exhibited in numerous individual and group exhibitions in Belgrade, new York, Gothenburg, Vienna. Visited new York in 2005 for a study trip, as winner of Dimitrije Bašićević Mangelos award, and Vienna in 2007, on a KulturKontakt scholarship.

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milena PUtnik

seqUenCeinstlationvariable dimension2004

sekvenCeinstalacijapromenljive dimenzije2004.

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art Dađo

ComPreHenDing silenCecolor photographs30x40 cm2007

sHvatanJe tišinekolor fotografije30x40 cm2007.

art Dađo

Dragan Dangubić, rođen 1952. godine u osijeku Stanka Đorić, rođena 1964. godine u Beogradu. izlagali su na više samostalnih i grupnih izložbi u zemlji i inostranstvu. njihovi radovi nalaze se u brojnim kolekcijama: Museet for Fotokunst (Danska), international Museum of Photography at George eastman house (USa), Muzej primenjene umetnosti (Beograd, Srbija), Musée nicéphore niépce (Francuska), Bibliothèque nationale de France (Pariz)…

art DađoDragan Dangubić, born 1952 in osijek.Stanka Đorić, born 1964 in Belgrade.they have had several independent and group exhibitions locally and abroad. their works are included in numerous collections: Museet for Fotokunst (Denmark), international Museum of Photography at George eastman house (USa), the Musem of applied arts (Belgrade, Serbia), Musée nicéphore niépce (France), Bibliothèque nationale de France (Paris)...

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srđan đile marković

tHe fallacrylic on canvas150x100 cm2007

tHe fallakril na platnu150x100 cm2007.

Srđan Đile Marković, rođen u Beogradu 1959. godine. Diplomirao je na Fakultetu likovnih umetnosti u Beogradu 1988. i magistrirao 1991. Član je beogradske multimedijalne umetničke grupe Supernaut (1993–1997).

Srđan Đile Marković, born 1959 in Belgrade. received his Ba from the Faculty of Fine arts in Belgrade in 1988, and his Ma from the same school in 1991. a member of the Belgrade-based multimedia artist group Supernaut (1993-1997).

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PeriCa Donkov

glory boXtracing paper60x80 cm2008

glory boXpaus papir60x80 cm2008.

Perica Donkov rođen 1956. u Mazgošu, Dimitrovgrad. Diplomirao je i magistrirao na Fakultet likovnih umetnosti u Beogradu. jedan je od najznačajnijih umetnika novog enformela u Srbiji. Živi i radi u nišu.

Perica Donkov born in Mazgoš, Dimitrovgrad in 1956. completed graduate and postgraduate studies at Faculty of Fine arts in Belgrade. one of the represantatives of new enformel in Serbia. lives and works in niš.

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Saša Marković, rođen u Beogradu 1959. godine. Studirao je jugoslovensku književnost i srpskohrvatski jezik na Filološkom fakultetu u Beogradu. Multimedijalni umetnik i performer. novinar, saradnik mnogih listova i autor radijskih emisija.

Saša Marković, born 1959 in Belgrade. Studied Yugoslav art and Serbo-croatian language in Belgrade. Multimedia artist and performer. journalist, writes for many newspapers and authors radio programs.

saša marković mikrob

englisH sUmmercollage50x40 cm2002

englesko letokolaž50x402002.

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branka kUzmanović

glass / v - 5digital print300x140 cm2006

ogleDalo / v - 5digitalna štampa300x140 cm2006.

Branka Kuzmanović, rođena u Parizu 1967. godine. Diplomirala je na Fakultetu likovnih umetnosti u Beogradu 1994. i magistrirala 1997. radi na Fakultetu primenjenih umetnosti u Beogradu. izlagala je na brojnim samostalnim i grupnim izložbama u zemlji i inostranstvu.

Branka Kuzmanović, born in Paris in 1967. She graduated from the Faculty of Fine arts in Belgrade in 1994 and completed postgraduate studies at the same faculty in 1997. She works at the Faculty of applied arts in Belgrade. She has exhibited at numerous individual and group exhibitions locally and abroad.

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lana Vasiljević, rođena u Beogradu 1973. godine. Diplomirala je i magistrirala na Fakultetu likovnih umetnosti u Beogradu, odsek vajarstvo, 1998. imala je šest samostalnih izložbi i izlagala na više od 20 grupnih izložbi u zemlji i inostranstvu (Beograd, njujork, Beč, Pariz, hag...). Dobitnica je nagrade oktobarskog salona, 1997. i Grifon priznanja za vizuelni identitet 2006.

lana Vasiljević, born 1973 in Belgrade. received her Ba and Ma from the Faculty of Fine arts in Belgrade, the department of sculpture, in 1998. has had six individual exhibitions and taken part in more than 20 group exhibitions locally and abroad (Belgrade, new York, Vienna, Paris, the hague,...). Winner of the october Salon award in 1997 and the 2006 Grifon award for visual identity.

lookalikeobject /light box/50x50x15 cm2006

lookalikeobjekat /light box/50x50x15 cm2006.

lana vasilJević

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saša Pančić

letter iink on lithographic paper50x70 cm /each/2004

Pismo ituš na litografskom papiru50x70 cm /svaki/2004.

Saša Pančić, rođen 1965. godine. Diplomirao je slikarstvo na Fakultetu likovnih umetnosti u Beogradu 1989. i završio postdiplomske studije crteža na Fakultetu likovnih umetnosti u Beogradu, u klasi profesora Dragana lubarde 1992. Član je UlUS-a i académie européenne des arts a.s.b.l.

Saša Pančić, born 1965. Graduated painting from the Faculty of Fine arts in Belgrade, in 1989, and completed postgraduate studies of sketching at the Faculty of Fine arts in Belgrade, with Prof. Dragan lubarda, in 1992. Member of the association of Fine artists of Serbia and académie européenne des arts a.s.b.l.

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Žolt Kovač, rođen u Pančevu 1975. godine. Diplomirao je na Fakultetu likovnih umetnosti u Beogradu 1999. i magistrirao 2002. izlagao je na brojnim grupnim izložbama u zemlji i inostranstvu (norveška, nemačka, austrija, Francuska, Makedonija, Poljska, Mađarska, Slovačka, Slovenija, Češka...).

Žolt Kovač, born 1975 in Pančevo. Graduated from the Faculty of Fine arts in Belgrade, in 1999, and got his Ma from the same faculty in 2002. exhibited in group exhibitions locally and abroad (norway, Germany, austria, France, Macedonia, Poland, hungary, Slovakia, Slovenia, czech republic...).

Painting DeveloPeD sUPernatUral abilitiescolor photograph70x52 cm2001

slikarstvo razviJa natPriroDne sPosobnostikolor fotografija70x52 cm2001.

žolt kovač

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Petar mirković

r 2polyester100x150x5 cm2006

r 2poliester100x150x5 cm2006.

Petar Mirković, rođen u novom Sadu 1978. godine. Diplomirao je na akademiji umetnosti u novom Sadu, odsek skulptura, 2002. izlagao je na brojnim samostalnim i grupnim izložbama (Beograd, Beč, Berlin, Pariz, london, Geteborg, rim...). Dobitnik je međunarodne nagrade za moderni crtež Henkel Art Award 2005.

Petar Mirković, born 1978 in novi Sad. Graduated from the art academy in novi Sad, Department of Sculpture, in 2002. exhibited in many independent and group exhibitions (Belgrade, Vienna, Berlin, Paris, london, Gothenburg, rome...). Winner of the international award for modern drawing henkel art award 2005.

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boris kanDolf

UntitleDwood69x83 cm2008

bez nazivadrvo69x83 cm2008.

Boris Kandolf, rođen 1959. godine u nišu. Diplomirao je na akademiji likovnih umjetnosti u Sarajevu 1985. godine. Poslednjih godina aktivan i na međunarodnoj sceni. Živi i radi u u nišu.

Boris Kandolf, born in niš in 1959. Graduated from the Fine art academy in Sarajevo in 2005. in last couple of years he is very active internationlay. lives and works in niš.

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aleksanDriJa aJDUković

fasHion /đUkić anđa anD ćosić Darinka/digital print120x180 cm2004

fasHion /đUkić anđa i ćosić Darinka/digitalna štampa120x180 cm2004.

aleksandrija ajduković, rođena u osijeku 1975. godine. Diplomirala je na akademiji umetnosti BK u Beogradu, odsek fotografija. Postdiplomske interdisciplinarne studije završila je na Univerzitetu umetnosti u Beogradu, na smeru višemedijska umetnost. Dobitnica je nagrade za fotografiju na beogradskom oktobarskom salonu 2004. i henkelove nagrade za mlade talente 2005.

aleksandrija ajduković, born in osjek in 1975. She graduated from the BK academy of arts in Belgrade, the Department of Photography. She completed her postgraduate interdisciplinary studies at the University of arts in Belgrade, the department of multimedia art. She won the 2004 photography award at the october Salon in Belgrade and the 2005 henkel award for Young talents.

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aleksandar Maćašev, rođen u Bečeju 1971. godine. Diplomirao je na arhitektonskom fakultetu u Beogradu 1998. Bavi se različitim formama savremene umetnosti, grafičkim i web dizajnom i reklamom. Živi i radi u Beogradu i Vašingtonu.

aleksandar Maćašev, born in Bečej in 1971. Graduated from the University of Belgrade, Faculty of architecture in 1998. he is involved in various forms of modern art, graphics web design and advertising. he lives and works in Belgrade and Washington.

aleksanDar maćašev

HUman after allinstallationvariable dimensions2007

HUman after allinstalacijapromenljive dimenzije2007.

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aleksandar M. Dimitrijević, rođen u Užicu 1977. godine. Diplomirao je na akademiji likovnih umetnosti u novom Sadu, na odseku slikarstvo 2004. a magistrirao na smeru crtež, 2006.

aleksandar M. Dimitrijević, born in Užice in 1977. he graduated painting from the academy of Fine arts in novi Sad, in 2004. he got his Ma from the same faculty, the sketching department, in 2006.

aleksanDar m. DimitriJević

UntitleDoil on canvas100x150 cm2005

bez nazivaulje na platnu100x150 cm2005.

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milan bosnić, miliCa milićević

bUtterfly 2oil on canvas130x180 cm2005

bUtterfly 2ulje na platnu130x180 cm2005.

Milica Milićević, rođena 1979. godine. Diplomirala je slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2003. Milan Bosnić, rođen 1969. godine. Magistrirao je na Fakultetu likovnih umetnosti u Beogradu 2005. Milica Milićević i Milan Bosnić žive i rade u Beogradu kao umetnički par. imali su dve samostalne i više od deset grupnih izložbi.

Milica Milićević, (1979) graduated in painting from the Faculty of Fine arts in Belgrade in 2003. Milan Bosnić, (1969) received his Ma from the Faculty of Fine arts in Belgrade in 2005. Milica Milićević and Milan Bosnić live and work in Belgrade, as an artist couple. they have had two individual and more than ten group exhibitions.

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ivan Petrović

registry / from tHe series of PHotograPHs registry /

c print 35,5x51 cm2001

eviDentiranJe / iz seriJe fotografiJa eviDentiranJe /

c štampa35,5x51 cm2001.

ivan Petrović, rođen u Kruševcu 1973. godine. Diplomirao je na akademiji umetnosti BK 2002, na katedri za fotografiju. Dobitnik je stipendije KulturKontakta u Beču, 2004.

ivan Petrović, born in Kruševac in 1973. he graduated from the BK academy of arts in 2002, from the Department of Photography. he received the 2004 scholarship from KulturKontakt, Vienna.

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katarina raDović

ConstrUCteD realitiesc print50x50 cm2004/2005

konstrUisane stvarnostic štampa50x50 cm2004/2005.

Katarina radović, rođena u Beogradu 1976. godine. Studirala je istoriju umetnosti na Univerzitetu u Saseksu, u Velikoj Britaniji. Diplomirala je na katedri za fotografiju, u klasi profesora Milana aleksića, na akademiji umetnosti BK. Dobitnica je stipendije KulturKontakta u Beču, 2007.

Katarina radović, born 1976 in Belgrade. Studied art history at the University of Sussex, Great Britain. Graduated from the BK art academy, Department of Photography, in the class of Prof. Milan aleksić. Winner of the 2007 scholarship from KulturKontakt, Vienna.

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branislav nikolić

WHite sUitoil on canvas80x100 cm2005

belo oDeloulje na platnu80x100 cm2005.

Branislav nikolić rođen 1970. godine u Šapcu. Diplomirao je na akademiji umetnosti u novom Sadu, odsek slikarstvo. Magistrirao na akademiji Dutch art institute u holandiji. Živi i radi u Beogradu i Šapcu.

Branislav nikolić born in Šabac in 1970. Graduated from the art academy, Department of Painting in novi Sad. completed postgraduate studies at Dutch art institute in netherland. lives and works in Belgrade and Šabac.

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ana adamović, rođena u Beogradu 1974. godine. Fotografiju je studirala na institutu za umetnost u Bostonu (SaD).

ana adamović, born in Belgrade in 1974. She studied photography at the art institute of Boston (USa).

metrocolor photographs100x70 cm2003

metrokolor fotografije100x70 cm2003.

ana aDamović

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Žarko Vučković rođen u Kninu 1963. godine. Diplomirao je i magistrirao na Fakultetu likovnih umetnosti u Beogradu. Živi i radi u Gornjem Milanovcu.

Žarko Vučković, born in Knin in 1963. Graduated from the Faculty of Fine arts in Belgrade where he also completed postgraduate studies. lives and works in Gornji Milanovac.

DireCtingcombined technique68x48 cm2008

UsmeravanJekombinovana tehnika 68x48 cm2008.

žarko vUčković

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Vera Večanski, rođena u ibadanu, u nigeriji, 1975. godine. Diplomirala je na Fakultetu likovnih umetnosti u Beogradu 1999. i magistrirala 2002. na odseku za crtež. izlagala je u Vankuveru, novom Sadu, Varšavi, Beogradu, ljubljani, Subotici, Strazburu, Bratislavi...

Vera Venčanski, born 1975 in ibadan, nigeria. Graduated from the Faculty of Fine arts in Belgrade, in 1999, and got her Ma from the same Faculty in 2002, at the Department of Sketching. exhibited in Vancouver, novi Sad, Warsaw, Belgrade, ljubljana, Subotica, Strasbourg, Bratislava...

vera večanski

DraWingblack crayon on digital print100x66 cm2006

Crtežcrni krejon na digitalnoj štampi100x66 cm2006.

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ivan Zupanc, rođen u Beogradu 1980. godine. Završio je srednju grafičku školu u Beogradu, odsek fotografija. izlagao je na više samostalnih i grupnih izložbi. Dobitnik je druge nagrade na konkursu za mladog vizuelnog umetnika Dimitrije Bašićević Mangelos 2002. izlagao je na oktobarskom salonu u Beogradu 2007.

ivan Zupanc, born 1980 in Belgrade. he finished the secondary graphics school in Belgrade, the photography branch. he has exhibited individually and in group exhibitions. he won second prize in the 2002 Dimitrije Bašićević Mangelos competition for young visual artists. he exhibited at the 2007 october Salon in Belgrade.

from series Digital researCHescolor photographs30x40 cm2004

iz seriJe Digitalna istraživanJakolor fotografija30x40 cm2004.

ivan zUPanC

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Snežana nena Skoko, rođena u Beogradu 1960. godine. Diplomirala je i magistrirala na Fakultetu primenjenih umetnosti i dizajna u Beogradu. Postdiplomske specijalizacije i usavršavanja na akademiji primenjenih umetnosti u helsinkiju (Finska), akademiji likovnih umetnosti i dizajna u Poznanju (Poljska), Goldsmiths college-u u londonu (engleska).

Snežana nena Skoko, born 1960 in Belgrade. received her Ba and Ma from the Faculty of applied arts and Design in Belgrade. completed postgraduate specialization at the academy of applied arts in helsinki (Finland), the academy of Fine arts in Poznan (Poland), Goldsmiths college in london (england).

statistiCal Data on tHe WarDrobe of a ameriCan anD serbian girlwatercolor on handmade paper50x70 cm1999

statistički PoDaCi o oDevanJU JeDne američke i JeDne srPske DevoJkeakvarel na ručno rađenom papiru50x70 cm1999.

snežana nena skoko

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Goran Dimić rođen 1963. u Kragujevcu. Studirao Fakultet primenjenih umetnosti u Beogradu. izlaže od 1980. Bavi se dizajnom, copyrightom, eksperimentalnim filmom i stripom. od 1992. živi i radi u Budimpešti.

Goran Dimić, born in Kragujevac in 1963. Studied Faculty of applied arts in Belgrade. exhibits since 1980. also deals with the design, copyright, experimental film and strip. Since 1992 lives and works in Budapest, hungary.

smilyprint50x33 cm1999

smilyprint50x33 cm1999.

goran Dimić

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Milena Zarić, rođena u Pančevu 1976. godine. Diplomirala je grafički dizajn na Višoj politehničkoj školi u Beogradu 1998. Priredila je osam samostalnih izložbi i izalagala na više od četrdeset grupnih izložbi u zemlji i inostranstvu.

Milena Zarić, born 1976 in Pančevo. Graduated graphics design at the Polytechnic college in Belgrade, in 1998. She has had eight independent exhibitions and has participated in more than forty group exhibitions locally and abroad.

one Way tiCketcolor photographs30x40 cm2004

one Way tiCketkolor fotografije30x40 cm2004.

milena zarić

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marko stoJanović

art fooD - eat art / kasimir maleviCHdigital print100x70 cm2007

art fooD - eat art / kasimir maleviCHdigitalna štampa100x70 cm2007.

Marko Stojanović, rođen u negotinu 1982. godine. Diplomirao je na akademiji umetnosti, odsek za grafički dizajn, u novom Sadu 2006. izlagao je na brojnim izložbama u zemlji i inostranstvu.

Marko Stojanović, born 1982 in negotin. Graduated from the academy of arts, Department of Graphics Design, in novi Sad, in 2006. he has taken part in many exhibitions locally and abroad.

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slaviCa lazić DUnDaš

i maDe a moDel of yoU ...installationvariable dimension2003

naPravila sam moDel Po tebi ...instalacijapromenljive dimenzije2003.

Slavica lazić Dundaš, rođena u Beogradu 1976. godine. Postdiplomske studije završila je na vajarskom odseku Fakulteta likovnih umetnosti u Beogradu, u klasi profesora Mrđana Bajića.

Slavica lazić Dundaš, born 1976 in Belgrade. completed graduate studies at the Faculty of Fine arts in Belgrade, Department of Sculpture, with Prof. Mrđan Bajić.

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hana rajković, rođena u Beogradu 1977. godine. Diplomirala je na Fakultetu likovnih umetnosti u Beogradu 2002. i magistrirala 2006. od 2003. aktivno izlaže na samostalnim i grupnim izložbama u zemlji i inostranstvu.

hana rajković, born 1977 in Belgrade. Graduated from the Faculty of Fine arts in Belgrade in 2002. the received her Ma from the same faculty in 2006. She has actively exhibited in independent and group exhibitions locally and abroad since 2003.

CamPs ipencil on paper50x70 cm2003

logori iolovka na papiru50x70 cm2003.

Hana raJković

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želJka momirov

installationdigital print on Klirit film, steel70x100x350 cm2006

instalaCiJadigitalna štampa na foliji, čelik70x100x350 cm2006.

Željka Momirov, rođena u novom Sadu 1962. godine. Završila je vajarstvo na Fakultetu primenjenih umetnosti u Beogradu 1987. i postdiplomske studije 1993.

Željka Momirov, born 1962 in novi Sad. Ba in sculpture from the Faculty of applied arts in Belgrade in 1987, and Ma from the same Faculty in 1993.

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Predrag terzić, rođen u Beogradu 1972. godine. Diplomirao je slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2000. u klasi profesora Čedomira Vasića, a magistrirao 2004. izlagao je na više od 40 samostalnih i grupnih izložbi u zemlji i inostranstvu.

Predrag terzić, born 1972 in Belgrade. Graduated painting from the Faculty of Fine arts in Belgrade in 2000, in the class of Prof. Čedomir Vasić. Got his Ma in 2004, with the same professor. exhibited in more than 40 individual and group exhibitions locally and abroad.fenCes

oil pastelvariable dimensions2000

ograDeuljani pastelpromenljive dimenzije2000.

PreDrag terzić

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maJa Josifović

Harmony – Passion – inDiviDUalitydigital print on lexan150x200 cm /each/2003

sklaD – strast – inDiviDUalnostdigitalna štampa na leksanu150x200 cm /svaki/2003.

Maja josifović, rođena u nišu 1976. godine. Završila je Fakultet primenjenih umetnosti u Beogradu, odsek scenografija, 1999.

Maja josifović, born 1976 in niš. Graduated from the Faculty of applied arts in Belgrade, Department of Set Design, in 1999.

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Milica crnobrnja Vukadinović, rođena u Beogradu 1975. godine. Diplomirala je na akademiji Srpske pravoslavne crkve za konzervaciju i restauraciju u Beogradu. Diplomirala i magistrirala na Fakultetu likovnih umetnosti u Beogradu, odsek slikarstvo. Dvostruka je dobitnica nagrade Ljubica Cuca Sokić za intimni mali format.

Milica crnobrnja Vukadinović, born 1975 in Belgrade. Graduated conservation and restoration from the Serbian orthodox church academy. received her Ba and Ma from the Faculty of Fine arts in Belgrade, Department of Painting. two-time winner of the Ljubica Cuca Sokić award for intimate small format.

Pianos, from series from tHe mUsiC boXcombined techniquevariable dimensions2004

klaviri, iz Celine from tHe mUsiC boXkombinovana tehnikapromenljive dimenzije2004.

miliCa CrnobrnJa vUkaDinović

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mirJana boba stoJaDinović

Mirjana Boba Stojadinović, rođena u Beogradu 1977. godine. Magistrirala je na Fakultetu likovnih umetnosti u Beogradu 2006. Specijalizirala je na Piet Zwart institutu u roterdamu, u holandiji.

Mirjana Boba Stojanović, born 1977 in Belgrade. received her Ma from the Faculty of Fine arts in Belgrade in 2006. Specialization at the Piet Zwart institute in rotterdam, the netherlands.

XsHaDoWsdigital print70x100 cm2003

Xsenkedigitalna štampa70x100 cm2003.

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Dragana b. stevanović

neil yoUngacrylic on canvas110x110 cm2005

neil yoUngakril na platnu110x110 cm2005.

Dragana B. Stevanović, rođena u Beogradu 1975. godine. Diplomirala je i magistrirala na akademiji umetnosti u novom Sadu na odseku za crtež, u klasi profesorke Branke janković Knežević, 2005. radi kao asistent na predmetu crtanje sa tehnologijom, na akademiji umetnosti u novom Sadu.

Dragana B. Stevanović, born 1975 in Belgrade. She got her Ba and Ma from the academy of arts in novi Sad, department of sketching, the class of Prof. Branka janković Knežević, in 2005. She works as an assistant for the subject Sketching with technology, at the University of arts in novi Sad.

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Milena ZeVu diplomirala je na akademiji primenjenih umetnosti u Beogradu, a usavršavala se u Firenci. imala je brojne samostalne i grupne izložbe u inostranstvu. Dobitnica je specijalne nagrade žirija na bijenalu u San remu 2002. godine.

Milena ZeVu, graduated from the Faculty of applied arts in Belgrade, specialized in Florence. She has had numerous individual and group exhibitions abroad. Winner of the special jury award at the San remo biennale in 2002.

gHiaCCiooil on canvas, paillettes100x100 cm2002

gHiaCCioulje na platnu, paillettes100x100 cm2002.

milena zevU

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Kristina Pantelić, rođena u Beogradu 1982. godine. Diplomirala je na akademiji umetnosti u novom Sadu, na odseku slikarstvo 2005.

Kristina Pantelić, born 1982 in Belgrade. Graduated in 2005 from the art academy in novi Sad, department of painting.

Dollscombined technique100x70 cm2005

lUtkekombinovana tehnika100x70 cm2005.

kristina Pantelić

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DaniJel babić

transit Womanacrylic on canvas70x100 cm2003

transit Womanakril na platnu 70x100 cm2003.

Danijel Babić, rođen u očaušu u Bosni i hercegovini 1967. godine. Diplomirao je na Višoj školi za likovne i primenjene umetnosti u Beogradu i na akademiji umetnosti u novom Sadu, odsek slikarstvo, 1995. Učestvovao je na brojnim kolektivnim izložbama u zemlji i inostranstvu.

Danijel Babić, born in očauš, Bosnia and herzegovina, in 1967. he graduated from the college of Fine and applied arts in Belgrade, and the arts academy in novi Sad, the Department of Painting, in 1995. he has taken part in numerous collective exhibitions locally and abroad.

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Miloš nenković, rođen u Beogradu 1979. godine. Završio je akademiju umetnosti BK, odsek fotografija, 2000.

Miloš nenković, born 1979 in Belgrade. he graduated in 2000 from the BK art academy, Department of Fotography.

masterPieCescolor photographs70x50 cm2005

remek Delakolor fotografije70x50 cm2005.

miloš nenković

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Bojana lukić, rođena u Beogradu 1979. godine. Diplomirala je slikarstvo na accademia di belle arti di Brera, u Milanu. Učestvovala je na brojnim kolektivnim izložbama u italiji. osim umetnošću, bavi se ilustracijom i voli da radi sa decom.

Bojana lukić, born 1979 in Belgrade. Graduated painting from the accademia di belle arti di Brera in Milan. She has taken part in numerous group exhibitions in italy. in addition to art she also illustrates and likes to work with children.

UntitleDwood, canvas, wire, ink10x127 cm2003

bez nazivadrvo, platno, žica, tuš10x127 cm2003.

boJana lUkić

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Milan nešič, rođen 1976. godine u Sremskoj Mitrovici. Diplomirao slikarstvo na akademiji umetnosti u novom Sadu. Predstavnik je nove generacije vojvođanskih umetnika. Živi i radi u novom Sadu.

Milan nešič, born in Sremska Mitrovica in 1976. Graduated painting from art academy in novi Sad. representative of younger generation of artists from Vojvodina. lives and works in novi Sad.

DraWingpencil, collage 70x100 cm2006

Crtežolovka, kolaž10x127 cm2006.

milan nešić

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namera telenora da za potrebe uređivanja poslovnih prostorija angažuje profesionalce, dobre poznavaoce umetničke scene u Srbiji, pokrenula je sa mrtve tačke mnogobrojne probleme karakteristične za umetničko tržište u Srbiji danas.

Saradnja velikih koorporacija (preduzeća i fabrika) i savremenih umetnika nesporno je postojala i ranije. Poznati su brojni pozitivni primeri s kraja 80-ih i iz prve polovine 90-ih. U raznim umetničkim kolonijama koje su omogućavale materijal za produkciju i simboličnu finansijsku nadoknadu, takođe, nastajale su kolekcije - samostalne ili u vlasništvu lokalnih galerija savremene umetnosti. radovi nastali na ovaj način više puta su izlagani, ali cele kolekcije uglavnom nisu postavljane kao stalna javna zbirka. Mogući razlog za to je i potisnuta svest da većina ovako nastalih kolekcija ne čine smislenu ce-linu, odnosno da značaj i kvalitet radova nisu ujednačeni. retki izuzeci su zbirke iza kojih je više godina stajao stručnjak, poput kolekcija ceptera, tere, industrije stakla Pančevo, Sartida...

Kao poseban fenomen s početka 90-ih izdvaja se jedna privatna inicijativa – zbirka Produkt press vlasnika Vojislava Kovačića koji je kao savetnicu angažovao tada mladu istoričarku umetnosti Dragicu Vuković. Katalog izabranih radova objavljen je kao specijalni dodatak Poslovnom imeniku jugoslavije, a 1991. godine održana je i izložba u galeriji Studentskog kulturnog centra u Beogradu. nažalost, ova kolekcija danas je zatvorena za javnost.

iz dobro poznatih društveno-političkih razloga, sredinom 90-tih većina uspostavljenih inicijativa je zamrla, a novih gotovo da nije bilo. U užim okvirima, kontinuirano su pos-tojale i razvijale se samo privatne kolekcije, zasnovane na ukusu vlasnika (od kojih neke zaslužuju da ih vidi i šira javnost). tek poslednjih godina, s usponom privatnih preduzeća i privatizacijom državnih, ponovo je aktivirana ideja o javnom kolekcionarstvu. ipak, svest i interesovanje šire javnosti o značaju formiranja javne i profilisane kolekcije savremene umetnosti kod nas je ponovo stigla tek sa stranim korporacijama.

Početkom 2007. godine Muzej savremene umetnosti u Beogradu izložbom Kontakt Beograd predstavlja deo bogate kolekcije erste banke iz Beča. Bio je to prvi bliski susret srpske javnosti sa modernim, jasno profilisanim i teorijski potkrepljenim stručnim pristu-pom stvaranju savremene umetničke zbirke – praktični primer kako se danas prave javne kolekcije muzejskog formata.

Praksa osmišljavanja i opremanja poslovnog prostora novijim umetničkim radovima uobičajena je u razvijenijim kulturnim sredinama. Setimo se samo filma Wall street (oliver Stone, 1987) u kojem se kroz praćenje uspona glavnog junaka, berzanskog agenta, u pozadini prikazuje tada najsavremenija američka umetnost a danas istorija. Drugi plan, enterijer, kroz prikaz umetničkih dela u filmu jasno ukazuje na društveni status, profil i poziciju likova i indirektno objašnjava stav o savremenom svetu i važećim vrednostima.

odavno je jasno da je za formiranje kolekcije koja ima i društveno-istorijski značaj neop- hodno angažovati profesionalce, dobre poznavaoce savremenih kretanja i konkretne ponude umetničkog tržišta, kako bi oni, prema potrebama naručioca posla, pripremili izbor. no, očigledno da je ta već poznata i priznata praksa u Srbiji bila potisnuta ili, bar, na izvesno vreme zaboravljena.

živeti sa Umetničkim Delom

Darka radosavljević vasiljevićdirektorka remonta - nezavisne umetničke asocijacije

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Konačno, dolaskom strane kompanije koja ima smisao za ulaganje i svest o značaju pozicioniranja na svim nivoima kod nas je realizovano nešto što je dugo bilo potrebno i što je u civilizovanom svetu decenijama uobičajena praksa.

Sredinom 2007. godine, kompanija telenor je kontaktirala remont - nezavisnu umetničku asocijaciju, sa željom da umetničkim radovima opremi svoje službene pros-torije. odluka da se u moderan poslovni prostor unese duh koji nosi savremena umet-nost i opredeljenje za domaće autore upućuju na informisanost i praćenje savremenih tokova, na svest o sada i ovde i nameru da se strana korporacija otvoreno približi i prilagodi lokalnom okruženju.

Početna ideja bazirana na ideji art for offices kroz razgovore i obostrane savete ubrzo se pretvorila u kolekciju radova koji karakterišu srpsku umetničku produkciju nakon 2000. godine, uz minimalnu istorijsku podršku koja potvrđuje kontinuitet i uspostavlja kontekst. Konačan izbor podrazumeva i veliki broj radova koji će se svakako naći u istorijskom pregledu srpske umetnosti pre 2000-ih.

Značajno je to što postavljanje umetničkih radova u prostorijama u kojima se svakod-nevno boravi i obavlja težak i na trenutke monoton posao, omogućava direktnu komu-nikaciju i dijalog posmatrača sa delom i, čak, mnogo bliskiji odnos prema umetnosti no što se može postići u galerijama ili muzejima. Pogotovo ako je izbor jasan i označava, odnosno prenosi savremeno stanje duha u poslovni prostor.

osim konkretnog primera da je moguća saradnja stručnjaka iz poslovnog i kulturnog sektora, iskustvo formiranja telenorove kolekcije ima i druge brojne dobre posledice u odnosu na lokalnu sredinu. Već duže vreme postoji mišljenje da je savremena umetnost marginalizovana, da zvanično tržište ne postoji, da širu javnost i poslovni sektor ne zanima šta se na tom polju stvaralaštva dešava, da je estrada prodrla u sve društvene pore...

Zanimljivo je da je, i pored mnoštva prezentacionih izložbi i velike i raznolike produkcije, samo mali broj umetnika, sada već srednje generacije, uspeo kako-tako da se pozi-cionira na problematičnom tržištu, a da većina mladih autora do sada nije imala priliku ni da se sretne sa potencijalnim kupcima. tek pozivom telenora, odnosno remonta, nekolicina stručno priznatih autora je počela da razmišlja i o tržišnoj vrednosti sopstve- nog dela.

Paradoksalno je da se primer ove saradnje uspostavio i kao zanimljiva, provokativna tema kako na seminarima o kulturnoj politici, tako i među studentima menadžmenta u kulturi. Kao da su svi bili zatečeni i sumnjali da je tako nešto moguće.

a ne samo da je moguće, već je i realizovano.

Kako je ovo jedan od prvih koraka ka normalizaciji odnosa vrednosti na srpskoj umetničkoj sceni, konkretne posledice se tek mogu očekivati. telenor je imao sluha da zakorači na zapušteni teren uspostavljajući osnovne standarde i model kako javna kolekcija jednog preduzeća ili korporacije treba da izgleda.

Važno je da su prvi koraci napravljeni. Kako se svi trudimo i žudimo za modernim i uređenim društvom, može se očekivati i da će savremeno vizuelno stvaralaštvo ubrzo i konačno imati odgovarajući tretman.

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telenor’s intention to hire professionals, connoisseurs of the Serbian art scene, for decorating its offices, has jump-started many issues characteristic of the art market in Serbia today.

the collaboration between large corporations (companies and factories) and modern art-ists has undoubtedly existed previously. there are numerous positive examples from the late 1980s and early 1990s... Various art colonies, which provided production material and symbolic financial compensation, also created collections – individual or owned by local galleries of modern art. Works created in this fashion were exhibited a number of times, but in most cases the entire collections were not displayed as a permanent public collection. the possible reason for this was the suppressed awareness that most such collections did not comprise a meaningful collection, i.e. that the importance and quality of the works was not balanced. there are few exceptions where there was an expert behind the collection, such as the Zepter Collection, Tera, The Pančevo Glass Industry, Sartid...a particular phenomenon from the early 1990s was one private initiative – the Produkt Press collection, owned by Vojislav Kovačević, who hired the young art historian, Dragica Vuković, as a consultant. the catalogue of the selected works was published as a special supplement to the Business Directory of Yugoslavia, and in 1991 an exhibition was organized at the Gallery of the Student cultural center (Belgrade). Unfortunately, today this collection is closed to the public.For well-known social and political reasons, most of the established initiatives died out in the mid 1990s, and there were almost no new ones. on a smaller scale, only private col-lections existed and were developed, based on the owner’s taste (with some worthy of being seen by the broader public). the idea of public collections has been revived only in recent years, with the establishment of private companies and the privatization of state-owned companies. however, the awareness and interest of the general public regarding the importance of creating a public and profiled collection of modern art in our country reemerged only with the arrival of foreign corporations.in early 2007 the Museum of Modern art presented part of the rich collection of erste Bank from Vienna, with the exhibition KONTAKT Belgrade. this was the first close con-tact that the Serbian public had with a modern, clearly profiled and theoretically backed expert approach to creating a modern art collection – a practical example of how public museum-format collections are created today.the practice of devising and equipping office spaces with new artwork is common in developed cultural settings. let us recall the film Wall Street (oliver Stone, 1987), where the then latest american art, which is now history, is presented in the plot following the protagonist. through the displaying of artwork in the film, the second aspect, the interior, clearly indicates the social status, profile and position of the characters and indirectly explains an opinion of the contemporary world and current values.it has been clear for some time that the creation of a collection that has a social and historic significance requires the hiring of professionals, connoisseurs of contemporary trends and concrete offers on the art market, so that they could prepare the selection, in accordance with the needs of the commissioner.

living WitH artWork

Darka radosavljević vasiljevićDirector of remont - independent artistic association

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however, apparently in Serbia that well-known and acknowledged practice was sup-pressed or forgotten, at least for a while.Finally, with the arrival of a foreign company that has sense for investment and aware-ness of the importance of positioning itself on all levels, something has been realized in our country which has long been a need, and which has been common practice in the civilized world for decades.in mid-2007 the telenor company contacted the remont independent art association, with the intention of equipping its offices with artwork. the decision was to bring the spirit conveyed by modern art into the modern offices, and the choosing local artists indicates knowledge and currentness, a sense of “here and now”, and the intention for a foreign corporation to openly become closer to and adapt to the local environment.the initial idea, based on the art-for-offices idea, was through discussions and mutual consulting soon transformed into a collection of works that characterize Serbian art production after 2000, with a minimal historic foundation which provides continuity and establishes context. the final selection includes a large number of works that will certainly be included in the historic overview of Serbian art in the 2000s.it is important that displaying of artwork in offices, which are occupied daily and where difficult and sometimes monotonous work is done, provides a direct communication and dialogue between the observer and the work of art, even a much closer relation-ship with art than can be achieved in galleries or museums. this is particularly the case if the selection is clear and indicates, i.e. relays, a modern sense of spirit to the workplace.in addition to the concrete example that collaboration is possible between experts from the corporate and cultural sectors, the experience of creating telenor’s collec-tion also has numerous other positive effects regarding the local milieu. the prevailing opinion for some time has been that modern art has been marginalized, that an official market does not exist, that the broader public and business sector are not interested in what is happening in this area of creativity, that the entertainment industry has pen-etrated all social pores...it is interesting that despite the abundance of presentation exhibitions and large and diverse production, only a small number of artists, now already belonging to the middle-generation, have succeeded to some degree in positioning themselves on this problematic market, while most young artist have so far not had the opportunity to meet with potential buyers. only following the invitation by telenor, i.e. remont, did several professionally recognized authors start contemplating the market value of their works.it is paradoxical that the example of this collaboration also turned out to be an interest-ing and provocative topic in seminars on cultural policy, as well as among students of cultural management. they were all caught off-guard and doubted that something like that was possible.not only is it possible – it was realized.Since this is one of the first steps towards normalizing the balance of values on the Serbian art scene, concrete consequences are yet to be expected. telenor had the insight to take steps in a neglected area, establishing the basic standards and models of what a public corporate collection should look like.it is important that the first steps have been made. as we all strive and crave a modern organized society, it should be expected that modern visual creation will soon get the appropriate treatment.

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Kako balansirati na tankoj liniji između koncepta da je radni prostor ujedno i umetnička galerija i ideje da su umetnička dela dekorativni element u radnom prostoru? Kako zadržati autonomnost dela, integritet kolekcije savremene umetnosti, ali i radnog prostora kompanije? ako se ovim pitanjima dodaju i neizvesne reakcije zaposlenih u različitim službama, koji su u ovom slučaju publika, jasno je koliko je dilema pratilo postavljanje dela telenorove kolekcije u našem poslovnom prostoru.

odnos enterijera i umetničkih dela je ambivalentan. U pojedinim slučajevima boja zida, zahvaljujući kontrastu, ističe delo, dok se u drugim primerima delo stapa sa enterijerom i primetno je tek na drugi pogled. jedan od osnovnih ciljeva bio je da se za svako delo obezbedi adekvatna sagledivost. Posebno je zanimljivo kako se delo sagledava u prolazu kroz staklene pregrade, koje dele hodnike od sala za sastanke i kancelarija. U nekim slučajevima, umetnici su sami postavili svoja dela i prilagodili ih (za)datom prostoru. Značajan kriterijum bio je i da što veći broj zaposlenih ima priliku da vidi većinu dela, tako da su ona postavljena u javnim zonama, poput kuhinja, kreativnih zona i sala za sastanke. Sve skulpture, instalacije, kao i dela većih dimenzija i intenzivnijih kolorita postavljena su u tim prostorima.Slike velikog formata Milete Prodanovića Rolling Skies i Pohvala ruci – anđeo istorije IV, u expo i intro centru, kao i light boxovi lane Vasiljević vidljive su i sa platoa ispred zgrade i komuniciraju kako sa posetiocima expoa i introa, tako i sa prolaznicima u kompleksu airport city.

Primer 1: prostorna instalacija - Željke Momirov; dvostruko sagledavanje: iz hodnika kroz staklene pregrade i pri ulasku u salu za sastanke - izgled dela se menja, u zavisnosti od količine svetlosti koja kroz prozor ulazi u prostoriju.Primer 2: Danijel Babić Yellow painting – žuta slika na narandžastom zidu.Primer 3: Kuvarice umetničke grupe Škart, tradicionalna forma sa porukama o pravima radnika u sali za sastanke Primer 4: Predrag terzić Ograde - rad je postavio umetnik

Kompanija je živ organizam koji se sa zaposlenima razvija, misli lepše i vidi dalje. tako će i postavka telenorove kolekcije savremene umetnosti u poslovnom prostoru vremenom doživeti izmene drugačijim rasporedom i umetničkih dela i različitih službi, pa će svaka od njih svojom posebnom atmosferom (i temperamentom) u susretu sa delima kreirati specifičan kontekst.Kolekcija će se razvijati s razvojem savremene umetničke scene u Srbiji, jer će telenor nastaviti da svoj prostor oplemenjuje novim umetničkim delima.

iskustvo izlaganja u radnom prostoru nameravamo da iskoristimo pri postavljanju izložbe, cele kolekcije ili nekog njenog segmenta, u drugim prostorima i zemljama, gde bi bila namenjena široj publici.

PoziCioniranJe UmetničkiH Dela U ProstoriJama telenora

marija simeunovićarhitekta / real estate / telenor d.o.o.

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how to balance on the thin line between the concept that the workspace is also an art gallery and the idea that artwork is a decorative element in the workplace? how to maintain the autonomy of the artwork, the integrity of the collection of modern art, as well as that of the company workspace? add to these questions the uncertain reactions of employees in different departments, who are the viewers in this case, and it becomes clear how many dilemmas accompanied the displaying of part of the telenor collection in our offices.

the relationship between the interior and the artwork is ambivalent. in certain cases the color of the wall emphasizes the works, due to contrasts, while in other cases the work merges with the interior and it is noticeable only at second glance. one of the aims was to provide adequate perceptibility. it is particularly interesting how a piece of art is perceived en passant, through glass partitions that separate the hallways from the meeting rooms and offices. in some cases it was the artists that displayed their works and adapted them to the given space.an important factors was to provide for a large number of employees that have the opportunity to see most works, so they have been displayed in public zones such as the kitchen, creative zones and meeting rooms. all the sculptures, installations and larger works with vivid colors have been put on display in these spaces.large-scale images such as Mileta Prodanović’s Rolling Skies and Praise to the Hand – the Angel of History IV, in the expo and intro center, as well as lana Vasiljević’s Light Boxes, are visible even from the plateau in front of the telenor building, and communicate with the expo and intro visitors, as well people passing by airport city.

example 1: Spatial Installation, by Željka Momirov, dual perception: from the hall through the glass partition and when entering the meeting room. the appearance of the work changes, depending on how much light enters the room through the window.example 2: Yellow Painting by Danijel Babić, a yellow painting on an orange wall.example 3: Embriodery, by the Škart art group, a traditional form with messages about worker rights in the meeting room.example 4: Fences, by Predrag terzić, the piece was displayed by the author.

a company is a living organism which develops, thinks better and sees further together with its employees. the exhibition of the telenor collection of Modern art at the corporate offices will change in time, with different arrangements for both the artwork and different departments, and each of them with their special atmosphere (and temperament, why not) will create a specific context in combination with the artwork.the collection will develop with the development of the modern art scene in Serbia, since telenor will continue to improve its offices with new artwork.

We plan on using the experience of exhibiting in the workplace when putting on exhibitions of the entire collection or parts of it, in other spaces and countries, where it would be presented to the broader telenor public.

DisPlaying artWork in telenor’s offiCes

marija simeunovićarhitect / real estate / telenor d.o.o.

SaDrŽaj Ulažemo u kreativnost / 7Umetnost na prekretnici / 9Dragoljub raša todosijević /14Mrđan Bajić / 16Vladimir Perić / talent Factory / 20Uroš Đurić / 22Škart / 24Mileta Prodanović / 26Gabriel Glid / 30Biljana Đurđević / 34nikola Džafo / 36Zdravko joksimović / 38jovan Čekić / 42Žana Poliakov / 44Mihael Milunović / 46Miodrag Krkobabić / 48aleksandar rafajlović / 50 Dejan Kaluđerović / 52Milena Putnik / 54art Dađo / 58Srđan Đile Marković / 60Perica Donkov / 62Saša Marković Mikrob / 64Branka Kuzmanović / 66lana Vasiljević / 68Saša Pančić / 70Žolt Kovač / 72Petar Mirković / 74Boris Kandolf / 76aleksandrija ajduković / 78aleksandar Maćašev / 80

aleksandar M. Dimitrijević / 82Milan Bosnić, Milica Milićević / 84ivan Petrović / 86Katarina radović / 88Branislav nikolić / 90ana adamović / 92Žarko Vučković / 94Vera Večanski / 96ivan Zupanc / 98Snežana nena Skoko / 100Goran Dimić / 102Milena Zarić / 104Marko Stojanović / 106Slavica lazić Dundaš / 108hana rajković / 110Željka Momirov / 112Predrag terzić / 114Maja josifović / 116Milica crnobrnja Vukadinović / 118Mirjana Boba Stojadinović / 120Dragana B. Stevanović / 122Milena ZeVu / 124Kristina Pantelić / 126Danijel Babić / 128Miloš nenković / 130Bojana lukić / 132Milan nešić / 134Živeti sa umetničkim delom / 136Pozicioniranje umetničkih dela u prostorijama telenora / 140impresum / 144

content investing in creativity / 8art in turnig Point / 11Dragoljub raša todosijević /14Mrđan Bajić / 16Vladimir Perić / talent Factory / 20Uroš Đurić / 22Škart / 24Mileta Prodanović / 26Gabriel Glid / 30Biljana Đurđević / 34nikola Džafo / 36Zdravko joksimović / 38jovan Čekić / 42Žana Poliakov / 44Mihael Milunović / 46Miodrag Krkobabić / 48aleksandar rafajlović / 50 Dejan Kaluđerović / 52Milena Putnik / 54art Dađo / 58Srđan Đile Marković / 60Perica Donkov / 62Saša Marković Mikrob / 64Branka Kuzmanović / 66lana Vasiljević / 68Saša Pančić / 70Žolt Kovač / 72Petar Mirković / 74Boris Kandolf / 76aleksandrija ajduković / 78aleksandar Maćašev / 80

aleksandar M. Dimitrijević / 82Milan Bosnić, Milica Milićević / 84ivan Petrović / 86Katarina radović / 88Branislav nikolić / 90ana adamović / 92Žarko Vučković / 94Vera Večanski / 96ivan Zupanc / 98Snežana nena Skoko / 100Goran Dimić / 102Milena Zarić / 104Marko Stojanović / 106Slavica lazić Dundaš / 108hana rajković / 110Željka Momirov / 112Predrag terzić / 114Maja josifović / 116Milica crnobrnja Vukadinović / 118Mirjana Boba Stojadinović / 120Dragana B. Stevanović / 122Milena ZeVu / 124Kristina Pantelić / 126Danijel Babić / 128Miloš nenković / 130Bojana lukić / 132Milan nešić / 134living with artwork / 138Displaying artwork in telenor offices / 141impresum / 144

ciP

kolekcija savremene srpske umetnosticollection of Serbian contemporary art

izdavač / Publishertelenor d.o.o.omladinskih brigada 90, 11070 novi Beogradwww.telenor.rs

za izdavača / for the PublisherKjell-Morten johnsen

Urednik kataloga / editorSaša janjić

telenor kreativni tim / telenor Creative teamMarija Simeunovićana KrstićFerenc laslofi

grafičko oblikovanje / DesignSaša Pančić

Priprema za štampu / PrepressSilent Studio, Beograd

fotografije / Photosandreja leko / ivan Zupanc / ana adamović, murali

Prevod / translationVuk tošić

lektura / Proofreadingana luković

štampa / Printed byPublikum

tiraž / Print run1000

Beograd / 2009.

iSBn: 978-86-910967-1-7

iMPreSSUM