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23. APRIL – 28. JUN 2012.
MUZEJ SAVREMENE UMETNOSTI VOJVODINE MUSEUM OF CONTEMPORARY ART OF VOJVODINA
Selection of Artworks from the Collection of the Museum of Contemporary Art of Vojvodina 1950–2012
PROVISIONAL HISTORY
Izbor dela iz kolekcije Muzeja savremene umetnosti Vojvodine 1950–2012
Selection of Artworks from the Collection of the Museum of Contemporary Art of Vojvodina 1950–2012
PRIVREMENA ISTORIJA
Privremena istorijaIzbor dela iz kolekcije Muzeja savremene umetnosti Vojvodine 1950–2012
Provisional HistorySelection of Artworks from the Collection of the Museum of Contemporary Art of Vojvodina 1950–2012
Mesto i vreme održavanja | Venue and timeMuzej savremene umetnosti Vojvodine u Novom SaduThe Museum of Contemporary Art Vojvodina in Novi SadDunavska 37, Novi Sad23. april – 28. jun 2012. | April 23rd – June 28th, 2012
Kustos | Curator Dragomir Ugren
Izbor radova | Selection of ArtworksSvetlana Mladenov, Gordana Nikolić, Dragomir Ugren
Kustoskinja segmenta izložbe New Museum | Curator of the exhibition segment New Museum Ljubica Milović
Kustoskinja segmenta izložbe La Biennale di Venezia 2011 – Paviljon Srbije | Curator of the exhibition segment La Biennale di Venezia 2011 – Pavilion of SerbiaSanja Kojić Mladenov
Kustos segmenta izložbe Izbor plakata Muzeja 1966–2012 | Curator of the exhibition segment Selection of Museum's Posters 1966–2012Vladimir Mitrović
Postavka | Set-up Svetlana Mladenov, Gordana Nikolić, Dragomir UgrenSanja Kojić Mladenov (La Biennale di Venezia 2011 – Paviljon Srbije | La Biennale di Venezia 2011 – Pavilion of Serbia)Ljubica Milović (New Museum)Vladimir Mitrović (Izbor plakata Muzeja 1966–2012 | Selection of Museum's Posters 1966–2012)
Dizajn | Design Mirjana Dušić-Lazić
Stručni saradnik na pripremi izložbe i kataloga | Professional Assistent on exhibition and catalogue productionLuka Kulić
Odnosi sa javnošću | Public RelationsDanijela Halda
Producent | ProducerJovan Jakšić
Tehnička služba | Technical ServicesĐorđe Popić, Pajica Dejanović
IZLOŽBA | EXHIBITION
SADRŽAJ | CONTENTS
SJAJ IZ NOĆI DEPOAVladimir Kopicl
LIGHT FROM THE NIGHT OF THE DEPOTVladimir Kopicl
FORMATIRANJE MUZEJA SAVREMENE UMETNOSTI
Miško Šuvaković
FORMATTING THE MUSEUM OF CONTEMPORARY ART
Miško Šuvaković
IZBOR UMETNIČKIH DELA IZ KOLEKCIJE MUZEJA | SELECTION OF ARTWORKS
FROM THE MUSEUM'S COLLECTION
AKCENTI | ACCENTS 2005 – 2012
NEW MUSEUM
PAVILJON SRBIJE | PAVILION OF SERBIA
La Biennale di Venezia 2011
IZDANJA MUZEJA | MUSEUM'S PUBLICATIONS
IZBOR PLAKATA MUZEJA 1966–2012 | SELECTION OF MUSEUM'S POSTERS 1966–2012
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Demaskiranje blaga Muzeja savremene umetnosti Vojvodine, embrionalna prizma
Još uvek nejasna, medijski treperava i semantički
ponešto mucava lica veštačke prirode 21. veka -
podrazumevajući tu i umetnost - svoje prostore i komu-
nikacionu vrevu svojih raspoloživih bića otkrivaju nam
na najneobičnijim mestima i u uslovima koje je sve nezahvalnije fiksirati, pa samim tim i
definisati.
Izgubili smo čednost neposredne komunikacije sa svetom, ali smo dobili TV. Iznajmili smo
telo mašini, zarad pokretljivosti, žudnje za prečicom, za brzinom, ali smo dobili Internet.
Umetničkom objektu oduzeli smo imperativ opipljivosti, ali smo dobili socijalnu skulpturu,
non-object art i ne-formu. Naša učiteljica života, Istorija, postala je predmet post-epohalno
dirigovane dorade i obrade. Naš učitelj, knjiga, postala je roba ili kindl, to jest tržišni ili ele-
ktronski fluks. Mi smo postali predmet biopolitike i biotehnologije, wetware, opsluživači
svojih digitalnih pomagala, ili se bar trudimo da to postanemo, da što brže i posrednije
poživimo, da budemo održiviji i sami sebi dugotrajniji, ako već ne i za Drugog, bez koga ni
nas nema previše.
I šta bi to onda bio Muzej, to vidljivo i nevidljivo zdanje koje raste, popunjava se svojim art
sadržajem kao upitno primarnom suštinom? Ili, taj kompleks komunikacionih pravila povo-
dom trenutno znanih nam ali zahuktalo promenljivih društvenih, artističkih i tehno običaja
koji se menjaju napadnije od ljubičice u proleće?
U slučaju MSUV većih dilema tu nema, jer – baš kao i delo od umetnika – u nedostatku
realnog prostora stalne postavke, javni, izlagački, dakle vidljivi pogon MSUV paradoksalno
je otuđen od svoje još uvek skrivene supstance, od onog što ga čini Muzejom, od svoga
Fonda i Zbirki. Tako su, uz dodatnu podeljenost života/delovanja na dve adrese, dve lokaci-
je, dva koloseka koji se vidljivije ne sustiču, vidljivi život i ne/vidljiva misija MSUV podeljeni
na dan Galerije i noć Depoa u koju su, već decenijski uporno, i srećom mahom otporno, u
SJAJ IZ NOĆI DEPOA
Uvodna reč direktora Muzeja
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sopstvenu odvojenost od javnog, socijalnog, pa i mnogog drugog smisla, odložena go-
tovo podjednako brojna i značajna umetnička dela, primljena, dobijena, kupljena, čuvana,
obrađivana, proučavana i sabirana u zbiru stotina načina i pojedinačnih istorija, kako je već
kom koja data.
Šta je sve to zapravo, ali i kako i koliko, pa i čemu, nastoji da pokaže ova izložba koju nazi-
vamo samo jednim imenom, ali u njoj vidimo mnošto značenja, pa i zahteva, o kojima će na
izložbi izloženo govoriti i jasnije i uticajnije nego ove, naizgled prigodne reči.
I ne baš sasvim prigodne. Jer, da poduprem tekuću kućicu od reči i slika, aktivistički, u cilju
skretanja pažnje na ovu izložbu kao jedan od mogućih embriona stalne postavke MSUV,
onoga čemu neotklonjivo težimo koliko i ovde izloženi ili još neizloženi radovi iz fonda
kojim naša fragmentarno dvovekovna institucija raspolaže, podsetiću na naslov jednog
davnog teksta Ebija Hofmana, što glasi: PRAZAN PROSTOR KAO KOMUNIKACIJA.
Da, prazan pa sada popunjen prostor kao komunikacija, ali – do kada?
I – kome, ili zašto, ako već imamo čime da ga popunimo, učinimo živim, delatnim, kao što
svaka komunikacija u svojim formalnim varijetetima i intencionalnim menama to traži, pa
čak i putem umetnosti, uz podršku muzeološkog demaskiranja belodano nezaobilazne
sume vrednosti kao javno ospoljene prinudne muzejske tajne?
Iz još uvek aktuelnog kejdžovskog rakursa gledano, ovo pitanje je tako dobro da ga ne bi
trebalo kvariti odgovorom. A ako ova izložba ipak iziskuje jasan odgovor, on svakako nije
samo u ćutanju, niti samo u govoru, makar i kritičkom.
Što reče Buda, ili mu bar tako pripisuju: Samo su dve greške koje čovek može počiniti na putu
ka istini: (1) ne ići do kraja puta; i (2) ne krenuti.
Krenimo, dakle, bar korak dalje, prvo od rada do rada a onda uz aktivniji dijalog o njima, ka
potpunijoj predstavi o mogućem MSUV i njegovoj punoj misiji.
Vladimir Kopicl, direktor Muzeja
LIGHT FROM THE NIGHT OF
THE DEPOT
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De-masking the treasure of the Museum of Contemporary Art of Vojvodina, embryonic prism
Still blurry, glittering in the media and semantically
somewhat stuttering faces of the 21st century’s arti-
ficial nature – including art – reveal their spaces and
the communication hype of their available beings
in the most of unusual places and within conditions which are becoming increasingly dis-
heartening to identify, and, along with it, to define.
We lost the virtue of direct communication with the world, but we gained television. We
rented our bodies to the machine, for the sake of mobility, aspirations for short cuts, for
speed, but we gained the Internet. We took the imperative of tangibility away from the
object of art, but we gained the social sculpture, the non-object art and the non-form.
History, the teacher of life, became the object of post-age directed revisions and analyses.
The book, our teacher, became a commodity or a kindle – market or electronic flux. We be-
came objects of bio-politics and biotechnology, the wetware, servicers to our own digital
appliances, or at least we are trying to become one, to live as fast and as directly as pos-
sible, to be more sustainable and more durable for ourselves, if not for the Other, without
whom we do not completely exist.
So what, then, is the Museum, that visible and invisible building which grows, fills itself out
with its artistic content as with its, questionably, primary essence? Or, that complex of com-
munication rules for social, artistic and techno customs, which are at the moment known,
but changeable in the long term, altering more strikingly than a violet in spring?
In the case of MCAV, there are no major dilemmas, because – just like an artist’s work – in
the lack of real space for a permanent exhibition, the public, the exhibition and the visible
section of the MCAV is paradoxically alienated from its still hidden substance, from that
Director's Foreword
LIGHT FROM THE NIGHT OF
THE DEPOT
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which makes it a Museum, from its Fund and its Collections. And so, with the additional di-
vision of life/work into two addresses, two locations, two tracks which do not visibly meet
up with each other, the visible life and the in/visible mission of the MCAV are divided into
the day of the Gallery and the night of the Depot in which, consistently over the decades,
and mostly resiliently, almost all equally numerous and significant art pieces were being
received, gained, bought, kept, processed, studied and collected in hundreds of different
ways and individual histories assigned to them.
What it all is, but also how much and in what ways, and even for what purpose, is what will
be shown by this exhibition which has one name, but to which we assign many meanings,
and many demands, which will all be discussed in the exhibition, more clearly and more
influentially than do these, seemingly appropriate words can.
And not entirely appropriate. Because, in order to create support for this little house
of words and images, actively, to call attention to this exhibition as one of the possible
embryos of MCAV’s permanent exhibition, which we unequivocally aspire to as much as
the exhibited or still not exhibited art pieces which our institution has, in its fragmented
two-century-long existence, I will bring to mind the title of an old text by Abbie Hoffman:
BLANK SPACE AS COMMUNICATION.
Yes, first a blank and now a filled space as communication, but – for how long? And – to
whom, or why, if we already have something to fill it out with, to make it live, functioning,
just as any communication in its formal varieties and intentional phases demands, even by
means of art, with the support of museum’s de-masking of a clearly unavoidable sum of
values as a publicly showed and forced secret of the museum?
From the point of view of the still current Cageian perspective, this question is so good that
it should not be corrupted with an answer. And if this exhibition does need a clear answer,
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then it certainly does not lie either solely in silence, or solely in speech, even if it were a
critique.
As Buddha says, or as he is attributed to saying: There are two mistakes one can make along
the road to truth: (1) not going all the way; and (2) not starting.
Let us go at least one step further, first from one work to another, and then, with a more
active dialogue about them, towards a fuller representation of a possible MCAV and its
complete mission.
Vladimir Kopicl, the Museum's Director
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Muzej savremene umetnosti VojvodineZgrada je izgrađena po projektu arh. Ivana Vitića 1970. na osnovu konkursa za Muzej narodne revolucije 1959. godine
Museum of Contemporary Art of VojvodinaThe building was built by Arch. Ivan Vitić in 1970, based on 1959 competition for the Museum of People's Revolution
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Fascinacije savremenošću
Savremena umetnost (art contemporain, contempo-
rary art, zeitgenössische kunst) naziv je za aktuelnu
umetnost, tj. umetnost koja se događa u sasvim
neposrednoj prošlosti ili u trenutku kada se o njoj
govori i piše, odnosno u trenutku, kada se stvara,
sakuplja, kolekcionira, klasifikuje i izlaže u muzejs-
kim, galerijskim ili u kolekcionarskim institucijama. Usredsređenost na „savremenost“ iska-
zuju, na primer, u tumačenjima „savremene umetnosti“ brojni teoretičari i istoričari savre-
menosti, na primer, Teri Smit (Terry Smith):
Među posledicama modernosti, i u proticanju postmodernosti, kako da znamo i kako da
pokažemo šta znači živeti u uslovu savremenosti? Ovo je pitanje o individualnom bivanju
i društvenoj pripadnosti, o tome kako se danas mogu razumeti odnosi između njih, i kako
mogu biti predstavljeni drugom – govorom, tekstom, umetničkim delima i izložbama.1
Pojam savremena umetnost se, zato, po Smitu upotrebljava kao oznaka za umetnost
u vremenu globalizma, tranzicije i ekonomske krize na početku novog veka. Teoretičar
književnosti i medija Fredrik Džejmson (Fredric Jameson) uvodi pojam kognitivno mapiranje
kao osnovu svakog savremenog kulturalnog rada – recimo i muzeološkog savremenog rada:
Kognitivno mapiranje je u ovom smislu metafora za procese političkog nesvesnog. Ono je,
takođe, model kojim možemo započeti artikulaciju lokalnog i globalnog. Ono pribavlja
način povezivanja najintimnije lokalnosti – našeg pojedinačnog puta kroz svet – i najglo-
balnije – suštinska svojstva naše političke planete.2
1 Terry Smith, Okwui Enwezor, Nancy Condee, “Preface”, in Modernity, Postmodernity, Contemporaneity, Duke University Press, Durham, 2008, str. xiii.2 Colin MacCabe, „Cognitive Mapping“, u „Prefece“, iz Fredric Jameson, The Geopolitical Aesthetics. Cinema and Space in the World System, Indiana University Press, Bloomington, 1995, str. xiv.
FORMATIRANJEMUZEJA
SAVREMENE UMETNOSTI
Miško Šuvaković
Muzej savremene umetnosti VojvodineZgrada je izgrađena po projektu arh. Ivana Vitića 1970. na osnovu konkursa za Muzej narodne revolucije 1959. godine
Museum of Contemporary Art of VojvodinaThe building was built by Arch. Ivan Vitić in 1970, based on 1959 competition for the Museum of People's Revolution
12
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Estetičar i teoretičar savremene umetnosti Boris Grojs (Boris Groys) u spisu „Drugovi vre-
mena“ iznosi sledeće polazno pitanje o identitetu savremene umetnosti:
Savremena umetnost zaslužuje to ime ako manifestuje sopstvenu savremenost – a ne
samo time ako je u tekućem vremenu načinjena ili izložena. Tako, pitanje „Šta je savre-
mena umetnost?“ pokreće pitanje „Šta je savremenost?“ i „Kako savremenost kao takva
može biti pokazana?“3
Grojs, da bi odgovorio na postavljena pitanja, mobiliše i stavlja u upotrebu različita
značenja reči „savremeno“. Pokazuje da savremeno ne znači samo prisutnost sada i ovde,
već i način na koji se može biti „sa vremenom“ za razliku od toga da se bude „u vremenu“.
Koristeći nemački termin za pojam savremenog zeitgenössisch, izdvaja značenje reči
„genosse“ koja znači „drug“ (comrade), tako da pojam zeitgenössisch prevodi kao „biti drug
sa vremenom“ ili „bit drug vremena“, što znači sarađivati i sadejstvovati sa vremenom.
Zato, savremena umetnost nije svaka umetnost koja nastaje sada i ovde, već umetnost koja
sarađuje sa svojim vremenom:
Ovo je precizno govoreći trenutak kada vremenski-zasnovana umetnost može pomoći
vremenu da sarađuje, da postane saradnik vremena – pošto je vremenski-zasnovana
umetnost, u stvari, umetnost zasnovanog-vremena.4
Muzej savremene umetnosti Vojvodine – muzej u savremenosti
Muzej savremene umetnosti Vojvodine je osnovan 1966. kao Galerija savremene likovne
umetnosti. Galerija je preimenovana u Muzej savremene likovne umetnosti 1996, pa
je neformalno imenovana kao „Muzej savremene likovne umetnosti“ 2003-2004, te
3 Boris Groys, „Comrades of Time“, iz Julieta Aranda, Brian Kuan Wood, Anton Vidokle (eds), Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, e-flux journal, Sternberg Press, Berlin, New York, 2011, str. 23.4 Boris Groys, „Comrades of Time“, iz Julieta Aranda, Brian Kuan Wood, Anton Vidokle (eds), Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, e-flux journal, Sternberg Press, Berlin, New York, 2011, str. 32.
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preimenovana u Muzej savremene umetnosti Vojvodine 2006.5 Muzej savremene umet-
nosti Vojvodine u Novom Sadu je prošao niz transformacija od Galerije do Muzeja. Prvi
direktor Galerije savremene likovne umetnosti je bio Slobodan S. Sanader.6 Inicijator trans-
formacija Galerije savremene umetnosti u Muzej savremene umetnosti bio je Dragomir
Ugren do 2002. godine, te, zatim, Živko Grozdanić od 2005. do 2011. godine. Direktor
Muzeja savremene umetnosti postao je Vladimir Kopicl u 2011. godini. Dragomir Ugren
je MSUV projektovao kao budući muzej moderne, postmoderne i savremene umetnosti
zasnovan na akribičnom istoriografskom, teorijskom i kustoskom istraživanju vojvođanske,
srpske, jugoslovenske i evropske umetnosti. Živko Grozdanić je realizovao projekt MSUV-a
kao savremene izlagačke institucije koja objedinjuje funkcije „muzeja moderne/savremene
umetnosti“ i „kunsthalea“ (izlagačke institucije posvećene hibridnim slikama savremenosti),
pre svega, na lokalnom i evropskom regionalnom nivou. Vladimir Kopicl je ponudio projekt
Muzeja kao stabilne kulturalne i muzeološke institucije čiji je cilj suštinsko povezivanje lo-
kalne i globalne umetnosti u savremenoj društvenoj, političkoj i kulturalnoj tranziciji.
Muzej savremene umetnosti Vojvodine je programom retrospektivnih izložbi posvećenih
umetničkim praksama šezdesetih i sedamdesetih godina započeo reviziju vojvođanskog,
srpskog, jugoslovenskog i srednjoevropskog modernizma: Grupa KÔD i Grupa ($ (1995),
Verbumprograma (1996), Slavka Matkovića (2005), Balinta Sombatija (2005), Vladimira
Kopicla (2007), Katalin Ladik (2010), Vujice Rešina Tucića (2010), Nikole Džafe (2011) itd. Muzej
savremene umentosti Vojvodine je pokrenuo nekoliko paralelnih izlagačkih praksi: izlag-
anje privatnih kolekcija (Marinko Sudac, Sava Stepanov, Slavko Timotijević, Zoran Vujičić),
organizovanja autorskih problemskih izložbi Fatalne devedesete: strategije otpora i konfront-
acija – Umetnost u vojvodini na kraju XX i početkom XXI veka (2001), Hibridno - imaginarno: O
5 Dragomir Ugren (ed), Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej XXI veka, Muzej savremene likovne umetnosti, Novi Sad, 2003; New Museum – The Museum of Contemporary Art Vojvodina, Muzej savremene umetnosti Vojvodine, Novi Sad, 2007.6 Miloš Arsić, Ljiljana Ivanović, Slobodan S. Sanader, Grozdana Šarčević (eds), Likovna umetnost u Vojvodini XX veka – Stalna izložba, Galerija savremene likovne umetnosti, Novi Sad, 1984.
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slici i slikarstvu u epohi medija (2006) ili Zvezda i njena senka – Ikonografske predstave zvezde
petokrake u umetnosti socijalističkog i postsocijalističkog društva (2006) i izložbi novomedi-
jskih praksi Play Cultures (svet digitalnih igara) (2008). Realizovana je monografska studija o
umetnosti dvadesetog veka u Vojvodini (Evropski konteksti umetnosti XX veka u Vojvodini7,
2008) kojom je projektovana buduća stalna postavka muzeja. Muzej je u periodu posle
2006. godine razvio koncept „muzeja mašine“ ili „ubrzanog muzeja“ čime je bio označen
buran i ekspanzivan prodor MSUV-a na srpsku, ex-Jugoslovensku i evropsku umetničku i
izlagačku scenu (izložbe u Zagrebu, Mariboru, Nišu, Beogradu, Ljubljani, Gracu, Lajpcigu,
te reprezentativna postavka srpskog paviljona na Venecijanskom bijenalu 2011. godine).
U Muzeju je ostvarena izuzetna izdavačka praksa koja je istoriografskim, monografskim i
teorijskim knjigama pokrila hronični nedostatak ozbiljnih i stručnih studija iz likovnih i vi-
zuelnih umetnosti, arhitekture i dizajna u našoj sredini. Pokrenut je međunarodni konkurs
za izgradnju nove zgrade Muzeja savremene umetnosti Vojvodine. Kao rezultat je dobijen
izuzetan savremen i za evropski kontekst izuzetno važan projekt muzejskog kompleksa
koji, nažalost, nije realizovan.8
O izložbi Privremena istorija
Izložba Privremena istorija predstavlja jedan mogući i, pre svega, radni pregledni izbor dela
iz fonda Muzeja savremene umetnosti Vojvodine i njegovih aktuelnih zbirki. Izložena dela
iz zbirki će pokazati karakteristične akvizicije moderne, postmoderne i savremene umet-
nosti Vojvodine, Srbije, Jugoslavije i sveta koje su obavljane od osnivanja Galerije, te potom
Muzeja. Najveći broj dela je u posed Muzeja došao otkupima umetničkih dela vojvođanskih
umetnika, otkupima preko „otkupne nagrade“ na Grafičkom bijenalu u Ljubljani, te donaci-
jama umetnika i kolekcionara.
7 Dragomir Ugren, Miško Šuvaković, Evropski konteksti umetnosti XX veka u Vojvodini, Muzej savremene umetnosti Vojvodine, Novi Sad, 20088 New Museum – The Museum of Contemporary Art Vojvodina, Muzej savremene umetnosti Vojvodine, Novi Sad, 2007.
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Izlažu se umetnička dela iz Zbirke slikarstva, Zbirke crteža i grafike, Zbirke skulpture, ob-
jekata i instalacija, Zbirke konceptualne umetnosti i Zbirke medijske umetnosti. Zbirka
slikarstva je najobimnija i, zapravo, čini središte fonda Muzeja. U Zbirci crteža i grafike se
nalaze pojedina dela internacionalnih umetnika kao što su Vazareli i Soto. Zbirka skulpture
je potencijalno započeta modernističkom skulpturom i, zatim je otvorena ka novoj skulp-
turi i instalacijama karakterističnim za postmodernu umetnost osamdesetih i tranzicijsku
umetnost devedesetih godina. U Zbirci konceptualne umetnosti se nalaze važnija dela
vojvođanskih konceptualnih umetnika, a posebno su reprezentovani radovi Grupe KÔD,
Grupe ($, Grupe Bosch+Bosch i drugih. Zbirka medijske umetnosti je orijentisana na saku-
pljanje, čuvanje i prezentovanje eksperimentalnih umetničkih praksi fotografije, filma, vi-
dea i digitalne umetnosti.
Hronološki i problemski izložba Privremena istorija počinje primerima slikarstva iz prve
polovine pedesetih i šezdesetih godina sa slikarima (Milan Konjović, Jožef Ač, Pal Petrik,
Bogomil Karlavaris, Boško Petrović, Milivoj Nikolajević, Milan Kerac, Ankica Oprešnik i dr.)
koji se u većini vezuju za osnivanje i ekspanziju umetničkih kolonija u Vojvodini. Zastupljeni
su gotovo svi ključni pokretači i dugugodišnji realizatori koncepta i pokreta umetničkih
kolonija, a to znači, prezentovani su vodeći protagonisti razvijenog socijalističkog modern-
izma (lirske apstrakcije, enformela, poetskog realizma, fantastike, vojvođanskog pejzažizma
itd). Sa tim umetnicima od tog perioda postavljena je osnova zbirki Muzeja. Postoje i retki
primeri umetnosti iz prve polovine dvadesetog veka, ali oni nisu bitni za profil same muze-
jske kolekcije koja je posvećena umetnosti posle Drugog svetskog rata. Sedamdesete,
osamdesete, devedesete godine su zastupljene delima nove figuracije i pop arta, geometri-
jske apstrakcije, minimalizma, konceptualne umetnosti i novih umetničkih praksi, zatim,
eklektičnog ekspresivnog i hladnog ne-ekspresivnog postmodernizma, ali i hibridnim i
rasutim postmedijskim produkcijama iz vremena nepreglednosti tj. iz devedesetih godina i
prvih godina novog veka.
19
Sandro Kia (Sandro Chia)16. oktobar – 7. novembar 2010.
18
19
Fascinations with contemporaneity
Contemporary art (art contemporain, zeitgenös-
sische kunst) is a name for the current art, i.e.
the art which takes place in the immediate past
or at the moment when it is spoken or written
about, that is at the moment when it is created,
collected, put into art collections, classified and displayed in museums, galleries or collec-
tors’ exhibitions. Numerous theoreticians and historians of contemporary art, like Terry
Smith, demonstrate their focus on “contemporaneity” in their interpretations of “contem-
porary art”:
In the aftermath of modernity and passing of the postmodern, how are we to know and
show what it is to live in the conditions of contemporaneity? This is a question about
individual being and social belonging now, about how the relationships between them
might be understood these days, and how they might be represented to others – in
speech, in texts, in works of art and in exhibitions.1
The concept of contemporary art is therefore, according to Smith, used as a designation
for the art in the age of globalism, transition and the economic crisis at the beginning of
the new century. Art and media theoretician Fredric Jameson introduces the term cogni-
tive mapping as a basis for any contemporary cultural engagement – one could also say the
contemporary engagement of a museum:
Cognitive mapping in this sense is the metaphor for the processes of the political uncon-
scious. It is also, however, the model for how we might begin to articulate the local and
1 Terry Smith, Okwui Enwezor, Nancy Condee, “Preface”, in Modernity, Postmodernity, Contemporaneity, Duke University Press, Durham, 2008, pp. xiii.
FORMATTINGTHE MUSEUM OF
CONTEMPORARY ART
Miško Šuvaković
Sandro Kia (Sandro Chia)16. oktobar – 7. novembar 2010.
18
2120
the global. It provides a way of linking the most intimately local – our particular path
through the world – and the most global – the crucial features of our political planet.2
Aestheticist and contemporary art theoretician Boris Groys in “Comrades of Time” empha-
sizes the following initial question on the identity of contemporary art:
Contemporary art deserves its name insofar as it manifests its own contemporaneity –
and this is not simply a matter of being recently made or displayed. Thus, the question
“What is contemporary art?” implicates the question “What is the contemporary?” “How
could the contemporary as such be shown?”3
In order to respond to the said questions, Groys mobilizes and puts to use different mean-
ings of the word “contemporary”. He shows that contemporary does not only mean pres-
ent here and now, but also the manner in which one can be “with time” rather than “in
time”. Using the word “zeitgenössisch” which stands for “contemporary” in German, he
points out that “genosse” means “comrade”, so that zeitgenössisch can be understood as
being a “comrade of time”, which ultimately means to collaborate with time. That is why
contemporary art is not every art that is created here and now, but rather one that collabo-
rates with its time:
This is precisely the moment when time-based art can help time, to collaborate, become
a comrade of time – because time-based art is, in fact, art-based time.4
2 Colin MacCabe, “Cognitive Mapping“, from „Preface“, in Fredric Jameson, The Geopolitical Aesthetics. Cinema and Space in the World System, Indiana University Press, Bloomington, 1995, pp. xiv.3 Boris Groys, “Comrades of Time“, in Julieta Aranda, Brian Kuan Wood, Anton Vidokle (eds), Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, e-flux journal, Sternberg Press, Berlin, New York, 2011, pp. 23.4 Boris Groys, „Comrades of Time“, in Julieta Aranda, Brian Kuan Wood, Anton Vidokle (eds), Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, e-flux journal, Sternberg Press, Berlin, New York, 2011, pp. 32.
2120
The Museum of Contemporary Art of Vojvodina – the Museum of Contemporaneity
The Museum of Contemporary Art of Vojvodina was founded in 1966 as the Gallery of
Contemporary Art. The Gallery was renamed as the Museum of Contemporary Visual Arts
in 1996, and then informally as “Museum of Contemporary Visual Art” in 2003-2004, and
then finally as the Museum of Contemporary Art of Vojvodina in 2006.5 The Museum of
Contemporary Art of Vojvodina underwent a series of transformations from the Gallery to
the Museum. The first director of the Gallery of Contemporary Visual Arts was Slobodan
S. Sanader.6 Transformations of the Gallery of Contemporary Art into the Museum of
Contemporary Art were initiated first by Dragomir Ugren before 2002, and then by Živko
Grozdanić between 2005 and 2011. Vladimir Kopicl became the new Director of the
Museum of Contemporary Art of Vojvodina in 2011. Dragomir Ugren designed the MCAV
as a future museum of modern, postmodern and contemporary art, based on a meticu-
lous historical, theoretical and curatorial research into Vojvodinian, Serbian, Yugoslav
and European art. Živko Grozdanić realized the project of MCAV as a modern exhibiting
institution which joins together the functions of “a museum of modern/contemporary art”
and “a kunsthale” (an exhibiting institution devoted to hybrid images of contemporaneity)
primarily on a local and a regional European level. Vladimir Kopicl offered a project of the
Museum as a stable cultural and a museum institution, with the basic aim of essentially
bringing together the local and the global art within the contemporary social, political
and cultural transition.
5 Dragomir Ugren (ed), Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej XXI veka, Muzej savremene likovne umetnosti, Novi Sad, 2003; New Museum – The Museum of Contemporary Art Vojvodina, Muzej savremene umetnosti Vojvodine, Novi Sad, 2007.6 Miloš Arsić, Ljiljana Ivanović, Slobodan S. Sanader, Grozdana Šarčević (eds), Likovna umetnost u Vojvodini XX veka – Stalna izložba, Galerija savremene likovne umetnosti, Novi Sad, 1984.
2322
With a programme of retrospective exhibitions dedicated to art practices of the 1960s and
the 1970s, the Museum of Contemporary Art of Vojvodina began a revision of Vojvodinian,
Serbian, Yugoslav and Central-European Modernism: that of Group KôD and Group ($
(1995), Verbumprogram (1996), Slavko Matković (2005), Bálint Szombathy (2005), Vladimir
Kopicl (2007), Katalin Ladik (2010), Vujica Rešin Tucić (2010), Nikola Džafa (2011) etc. The
Museum of Contemporary Art of Vojvodina inititated several practices of exhibiting:
displaying private collections (Marinko Sudac, Sava Stepanov, Slavko Timotijević, Zoran
Vujičić), organizing authorial problem exhibitions Fatalne devedesete: strategije otpora
i konfrontacija – Umetnost u Vojvodini na kraju XX i početkom XXI veka / The Fatal 1990s:
Strategies of Resistance and Confrontations - Art in Vojvodina at the Turn of the 21st Century
(2001), Hibridno - imaginarno: O slici i slikarstvu u epohi medija / The Hybrid – the Imaginary:
on the Painting and the Art of Painting in the Age of Media (2006) or Zvezda i njena senka
– Ikonografske predstave zvezde petokrake u umetnosti socijalističkog i postsocijalističkog
društva / The Star and its Shadow – Iconographic Images of the Five-pointed Star in the Art
of the Socialist and Post-socialist Societies (2006) and exhibiting new-media practices Play
Cultures (svet digitalnih igara) / Play Cultures (the World of Digital Games) (2008). A mono-
graphic study on the 20th century art in Vojvodina (Evropski konteksti umetnosti XX veka
u Vojvodini/European Contexts of the 20th Century Art in Vojvodina7, 2008) was completed,
which set the design for the future permanent exhibition of the Museum. After 2006, the
Museum developed the concept of a “museum-machine” or an “accelerated museum”,
which marked a turbulent and an expansive breakthrough of the MCAV into the Serbian,
the ex-Yugoslav and the European art scene (exhibitions in Zagreb, Maribor, Niš, Belgrade,
Ljubljana, Graz, Leipzig, and a representative exhibition in the Serbian pavilion at the
Venice Biennale in 2011). The Museum has established a remarkable publishing practice
which, with the help of historical and theoretical books and monographs, covered a
7 Dragomir Ugren, Miško Šuvaković, Evropski konteksti umetnosti XX veka u Vojvodini, Muzej savremene umetnosti Vojvodine, Novi Sad, 2008
2322
chronic lack of serious and expert studies in visual arts, architecture and design in the
country. The Museum held an international competition for the design of a new building
of the Museum of Contemporary Art of Vojvodina. The product of the competition was a
remarkable contemporary project for a museum complex, which was also important in a
European context, but which was sadly never carried out.8
About the exhibition Provisional History
Exhibition Provisional History is one of possible and, above all, a working survey selection
from the fund of the Museum of Contemporary Art of Vojvodina and its current exhibi-
tions. Displayed pieces from the collections will demonstrate characteristic acquisitions of
modern, postmodern and contemporary art from Vojvodina, Serbia, Yugoslavia and the
world – which have been made from the establishment of the Gallery and, later on, the
Museum. Most of the pieces came into the possession of the Museum through purchases
of art work by Vojvodinian artists, through “purchase awards” at the Print Biennale in
Ljubljana, and through donations made by artists and collectors.
The exhibition includes the Collection of Paintings, the Collection of Drawing and Prints,
the Collection of Sculptures, Objects and Installations, the Collection of Conceptual Art
and the Collection of Media Art. The Collection of Paintings is the largest one, comprising
the central part of the Museum fund. The Collection of Drawings and Prints includes cer-
tain works by international artists such as Vazereli and Soto. The Collection of Sculptures
started with modernist sculptures only to be opened up to new sculptures and installations
typical of postmodern art of the 1980s and the transition art of the 1990s. The Collection
of Conceptual Art includes more important works by Vojvodinian conceptual artists, with
8 New Museum – The Museum of Contemporary Art Vojvodina, Muzej savremene umetnosti Vojvodine, Novi Sad, 2007.
24
particularly representative works by the Group KÓD, the Group ($, the Group Bosch+Bosch
and others. The Collection of Media Art is aimed at collecting, preserving and presenting
experimental art practices in the photography, the film, the video and the digital art.
With respect to chronology and the issues presented, the exhibition Provisional History sets
off with the examples of paintings from the first half of the 1950s and the 1960s, with the
painters (Milan Konjović, József Ács, Pal Petrik, Bogomil Karlavaris, Boško Petrović, Milivoj
Nikolajević, Milan Kerac, Ankica Oprešnik and others) who are mostly associated with the
formation and expansion of art colonies in Vojvodina. Almost all crucial initiators and long-
time implementers of the concept and the movement of art colonies are included, which
means that the leading protagonists of the developed socialist modernism (lyrical abstrac-
tion, art informel, poetic realism, fantasy, Vojvodinian landscape painting) are all presented.
Those artists and that period set the foundations for the collections of the Museum. The
Museum also houses rare examples of art from the first half of the 20th century, but they
are not important for the profile of the Museum collection dedicated to art after World War
Two. The 1970s, the 1980s and the 1990s are presented by the works of new figuration and
pop art, geometric abstraction, minimalism, conceptual art and new artistic practices, then
by eclectic expressive and cold non-expressive postmodernism, but also by hybrid and
dispersed post-media productions from the age of indistinction – the 1990s and the first
several years of the new century.
25
24
Mimo Paladino (Mimmo Paladino) 1. oktobar – 1. novembar 2009.
25
SELECTION OF ARTWORKSFROM THE MUSEUM'S COLLECTION
SELECTION OF ARTWORKSFROM THE MUSEUM'S COLLECTION
IZBOR UMETNIČKIH DELA IZ KOLEKCIJE MUZEJA
29
29
Kretanje u belom prostoru | Moving in White Space | 1962. Ulje na platnu | Oil on canvas | 82x102 cm
Jožef Ač (Ács József)
3130
Situation XIII | 1974. Serigrafija | Serigraph | 50x63 cm
Branko Andrić
3130
Žena do gležnja u vodi | Woman in Water up to Her Ankle | 1972.Livena bronza | Cast bronze | 37,5x17,5x20 cm
Kosta Angeli Radovani
3332
Objekat (Od danas) | Object (From today) | 1988. Drvo, metal | Wood, metal | 36x40x75 cm
Igor Antić
3332
Igre VIII | Games VIII | 1972. Serigrafija | Serigraph | 65x48 cm
Zvest Apolonio
3534
Najveći hitovi | The Greatest Hits | 1998. CD-ROM
Asocijacija Apsolutno
3534
Braun Bada | Brown Bada | 1986.Kolaž | Collage | 41,4x27,7 cm
Tibor Bada (Bada Dada)
3736
Ovo je drvo duplo manje od prvog | This Tree is Twice Smaller than the First One | 2011.Olovka na papiru | Pencil on paper | 49x34 cm
Ištvan Balind (Bálind István)
3736
Dimenzionalna grafika I | Dimensional Graphics I | 1974/84. Kombinovana tehnika | Mixed media | 2x (70x70 cm)
Ferenc Barat (Baráth Ferenc)
3938
Medicina i filozofija | Medicine and Philosophy | 1966. Ulje na drvetu | Oil on wood | 60x53 cm
Ilija Bašičević Bosilj
3938
Konkvistador | Conquistador | 1968. Tuš na papiru | Indian ink on paper | 50x62,3 cm
Bojan Bem
4140
Grafik 71 | Print 71 | 1971. Serigrafija | Serigraph | 70,5x50 cm
Jožef Beneš (Benes József)
4140
Schatten der Engel | Shadow of Angels | 1990.Ulje na platnu | Oil on canvas | 240x145 cm
Milan Blanuša
4342
Struktura | Structure | 1980.Drvo | Wood | 73x45x66 cm
Slobodan Bodulić
4342
Iz ciklusa Vizanteme | From the cycle Byzantine | 1980–1990.Bojeno drvo | Coloured wood | 80x28x25 cm
Kosta Bogdanović
4544
Močvara | Swamp | 1970.Tekst pisaćom mašinom na papiru | Typewritten text on paper | 28x (29x21 cm)
Slavko Bogdanović
4544
Mija i Ljubiša | Mija and Ljubiša | 1984.Ulje na platnu | Oil on canvas | 150x110 cm
Ljubiša Bogosavljević i Miodrag Miljković
4746
Konoba I | Tavern I | 1965. Kombinovana tehnika | Mixed media print | 75,6x55,4 cm
Bogdan Borčić
4746
Konstrukcija V | Construction V | 1965.Ulje na platnu | Oil on canvas | 125x97 cm
Mira Brtka
4948
Jesen i tako dalje | Autumn and so On | 1978. Ulje na platnu | Oil on canvas | 135x125 cm
Stojan Ćelić
4948
Karlos po Ticijanu | Karlos according to Titian | 1973/1986. Ulje na platnu | Oil on canvas | 160x125,5 cm
Petar Ćurčić
5150
Krov | Rooftop | 1982. Suva igla | Drypoint | 56,5x75,5 cm
Pavel Čanji
5150
Telopis | Body Poetry | 1975. Crno-bela fotografija | Black and white photograph | 3x (51,5x35 cm)
Atila Černik (Csernik Attila)
5352
Koncepcija I | Conception I | 1968. Tempera na papiru | Tempera on paper | 74,5x69,5 cm
Milena Čubraković
5352
Kako se obradovati mesecu koji izlazi iza oblaka | How to Welcome the Moon Appearing from Behind the Clouds | 1989. Ulje na platnu | Oil on canvas | 50x60 cm
Rada Čupić
5554
Objekt | Object | 1969. Serigrafija | Serigraph | 69x104 cm
Radomir Damnjanović-Damnjan
5554
Magične dimenzije XII | Magical dimensions XII | 1968. Akvatinta | Aquatint | 76,1x57 cm
Riko Debenjak
5756
Aritmija (Ritam bez kontinuiteta) | Arrhythmia (Rhythm without continuity) | 1989.Terakota | Terracotta | 27x57x76 cm
Ljubomir Denković
5756
Mumbled | 2007. Instalacija, tekstil, muška odela, metal, audio efekat | Installation, textile, male suits, metal, audio effects
dimenzije promenljive | dimensions variable
Goran Despotovski
5958
Osjet ljubavi | Sense of Love | 1972.Bojeni fiberglas | Coloured fiberglass | 56x47x17 cm
Josip Diminić
5958
Galerija – primeri nevidljive umetnosti | Gallery – Examples of Invisible Art | 1976. Crno-bela fotografija | Black and white photograph | 12x (18x24,2 cm)
Čedomir Drča i Slobodan Tišma
6160
Indiskretna interpretacija nekog nemira | Indiscreet interpretation of an unrest | 1978.Gravira | Engraving | 70x63 cm
Kristijan Fosije (Chrstian Fossier)
6160
Nagoveštaj | Indication | 1982.Serigrafija | Serigraph | 70x50 cm
Smiljana Hadžić
6362
Exodus into Space | 1971.Serigrafija | Serigraph | 50x67 cm
Hundertwasser (Friedrich Stowasser)
6362
Bez naziva (detalj) | Untitled (detail) | 2001. Instalacija: čelična žica, 8x (L: 20–165 cm, Ø 3 mm) | Installation: steel wire, 8x(L: 20–165 cm, Ø 3 mm)
dimenzije promenljive | dimensions variable
Jelena Janev
6564
U kraljičinim odajama | In Queen’s Chambers | 1989.Ulje na platnu | Oil on canvas | 160x200 cm
Dragan Jankov
6564
Trg | Square | 1991.Livena bronza | Cast bronze | 26 elemenata | 26 elements
(a. 60x27x54 cm; b. 39x13,5x45 cm; c. 42,5x5x21 cm; d. 31x5x15 cm; e. 23x11,5x13 cm; f. 21x12,5x5 cm; g. 20x (3,5x2x14 cm)
Dragan Jelenković
6766
Kompozicija II | Composition II | 1974. Serigrafija | Serigraph | 52x71 cm
Zmago Jeraj
6766
MCTE – Multi Consumer Trauma Experience | 2003. Kompjuterska igra-Mod | PC Game-Mod
Vladan Joler
6968
Portret umetnika sa idolom | Portrait of an Artist with Idol | 1976. Ulje na platnu | Oil on canvas | 110x89 cm
Vladimir Jovanović
6968
Dva kubusa | Two cubes | 2002.Drvo okovano limom | Wood framed in tin | 13x11x50; 9,5x11x51 cm
Zoran Jovanović
7170
Tri kupe | Three cones | 1956.Ulje na platnu | Oil on canvas | 73x100 cm
Bogomil Karlavaris
7170
Jesen | Autumn | 1981.Visoka štampa | Intaglio print | 50x66 cm
Džim Kejv (Jim Cave)
7372
Šor u Krčedinu | Street in Krčedin | 1954. Ulje na platnu | Oil on canvas | 95x180 cm
Milan Kečić
7372
Smrt seljaka | Death of a Peasant | 1965. Ulje na platnu | Oil on canvas | 65x130 cm
Milan Kerac
7574
Dvadeset godina grupe Bosch+Bosch | Twenty Years of Group Bosch+Bosch | 1989.Kombinovana tehnika | Mixed media | 51,8x41,4 cm
Laslo Kerekeš (Kerekes László)
7574
Bez naslova | Untitled | 1980. Ulje na platnu | Oil on canvas | 158x158 cm
Milan Kešelj
7776
Biciklistkinja | Woman Cyclist | 1976. Bronza | Bronze | 66,5x69x29,5 cm
Julijana Kiš
7776
Tragovi trokutnog znaka | Traces of a three-angled sign | 1980.Kombinovana tehnika na platnu | Mixed techniques on canvas | 98x135 cm
Jozef Klaćik (Jozef Klátik)
7978
Vi niste pas, je l’ da? | You Are Not a Dog, Aren’t You? | 1968. Akvatinta | Aquatint | 50x70 cm
Stevan Knežević
7978
Mobilna kompozicija | Mobile Composition | 2003. Akril na papiru | Acrylic on paper | 8x (38x42,5 cm)
Slobodan Knežević
8180
Bez naziva | Untitled | 1987. Serigrafija | Serigraph | 26,3x20,5 cm
Julije Knifer
8180
Portal | 1989.Terakota | Terracotta | 25x30x13 cm
Miroslava Kojić
8382
Samoodrživi sistemi apsurda | Self-sustaining Systems of Absurdity | 2010. Instalacija | Installation
Stevan Kojić
8382
Vizija nad ravnicom | Vision over the Plain | 1967. Ulje na lesonitu | Oil on masonite | 130x170 cm
Milan Konjović
8584
Serija iz 1975 | Series from 1975 | 1975. Karton, platno | Cardboard, canvas | 17x (36x26 cm)
Vladimir Kopicl
8584
Junski pljusak | June shower | 1987. Ulje na platnu | Oil on canvas | 148x200 cm
Milena Jeftić Ničeva Kostić
8786
Krug | Cyrcle | 2009.Ugalj na papiru | Charcoal on paper | 72x50 cm
Dragoslav Krnajski
8786
Muški biomaterijal iz 88-R2 | Male biomaterial from 88-R2 | 1988.Duboka štampa u boji | Intaglio in color | 67x96 cm
Surasi Kusolvong (Surasi Kusolwong)
8988
Crtež XI | Drawing XI | 1978.Pastel na papiru | Pastels on paper | 86x52 cm
Lojze Logar
8988
Katedrala V | Cathedral V | 1984. Bronza | Bronze | 49x42,5x21 cm
Oto Logo
9190
Zmajevi | Dragons | 1967. Ulje na lesonitu | Oil on masonite | 80x183 cm
Petar Lubarda
9190
Tajne | Secrets | 1979. Olovka na papiru | Pencil on paper | 70x51 cm
Tanas Lulovski
9392
Zimska meditacija | Winter meditation | 1958. Ulje na platnu | Oil on canvas | 61x94,5 cm
Stevan Maksimović
9392
Jednota | Oneness | 1976.Crno-bela fotografija | Black and white photograph | 6x (29,5x20,1 cm)
Božidar Mandić Porodica bistrih potoka (Family of Clear Streams)
9594
Prostor (U prostoru) | Space (In Space) | 1984. Ulje na platnu | Oil on canvas | 110x135,5 cm
Zdravko Mandić
9594
Vangelis i Kanjoš | Vangelis and Kanjoš | 1993. Kombinovana tehnika na platnu | Mixed techniques on canvas | 88x190 cm
Olivera Marić
9796
Oblik I | Shape I | 1976.Bronza | Bronze | 30x31x55 cm
Mladen Marinkov
9796
Bez naziva | Untitled | 2009. Kombinovana tehnika | Mixed media | 71x101 cm
Lazar Marković
9998
Vizuelna poezija u slobodnom prostoru | Visual Poetry in Spatial Setting | 1971. Crno-bela fotografija, tekst na hartiji | Black and white photograph, text on paper | 29x21 cm
Slavko Matković
9998
Strelište I | Shooting Ground I | 1971. Ulje na platnu | Oil on canvas | 98,7x99,5 cm
Ferenc Maurič (Maurits Ferenc)
101100
Ulične beleške | Street Notes | 1990.Digitalni print na papiru | Digital print on paper | 9x (21,7x27,9 cm)
Vesna Miksić
101100
Prokleta je Amerika | Damned be America | 1992.Gips, platno, boja, 10 elemenata različitih dimenzija | Plaster, canvas, paint, 10 elements of variable dimensions
Svetlana Milić
103102
Zima | Winter | 1977. Ulje na platnu | Oil on canvas | 190x130 cm
Dušan Milovanović
103102
Pieta | 1972. Serigrafija | Serigraph | 65x48 cm
Branko Miljuš
105104
Slika | Painting | 1985. Emajl na aluminijumu | Enamel on aluminium | 246x362 cm
Milica Mrđa
105104
Polis 2 | 1979. Serigrafija | Serigraph | 76,5x55,5 cm
Miodrag Nedeljković
107106
Bez naziva | Untitled | 2006. Kombinovana tehnika (akril,olovka, kolaž) | Mixed techniques (acrylic, pencil, collage) | 70x50 cm
Milan Nešić
107106
Beli i žuti zvuk na sivom | White and Yellow Sound on Grey | 1966. Pastel na papiru | Pastel on paper | 49,5x52 cm
Milivoj Nikolajević
109108
Bez naziva 1–5 | Untitled 1–5 | 2000.Bojeno drvo, papir | Colored wood, paper | 5x (32x25 cm)
Mirjana Subotin Nikolić
109108
Food Inside | 2009. Kombinovana tehnika na papiru | Mixed media on paper | 51x61 cm
Bojan Novaković
111110
Rekvijem za jednu jesen | Requiem for an Autumn | 1963. Ulje na platnu | Oil on canvas | 60x90 cm
Ankica Oprešnik
111110
Prsten | Ring | 1994. Sirovo gvožđe | Raw iron | R: 17,8 cm
Zoran Pantelić
113112
Bez naziva | Untitled | 1987. Ulje na platnun | Oil on canvas | 120x168 cm
Slobodan Peladić
113112
The Role of Intellectuals | 2010. Kreda na drvenoj tabli | Chalk on plywood | 120x240 cm
Dan Peržovski (Dan Perjovschi)
115114
Kraljica ognjišta | Queen of the Fireplace | 1987.Kombinovana tehnika | Mixed media | 31x14x17 cm
Kraljica mladeža | Queen of Moles | 1987.Gips, mermer | Plaster, marble | 43,5x15x21,5 cm
Kraljica praziluka | Queen of Leek | 1987.Glina, metal | Clay, metal | 33x14x14 cm
Kraljica suza | Queen of Tears | 1987.Gips, vosak, metal | Plaster, wax, metal | 60x41x24 cm
Branislav Petrić
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Poplava | Flood | 1964. Kombinovana tehnika na platnu | Mixed media on canvas | 131x200 cm
Pal Petrik (Petrik Pál)
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Proticanje I | Flow I | 1963. Kombinovana tehnika na platnu | Mixed media on canvas | 80x66 cm
Mihajlo S. Petrov
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Varijacije na temu: Kreveti na sprat | Theme Variations: Bunk-beds | 1958. Ulje na papiru kaširanom na platnu | Oil on paper laid on canvas | 103x138 cm
Boško Petrović
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Bez naziva (Vrt) | Untitled (Garden) | 1990. Kombinovana tehnika na kartonu | Mixed technique on cardboard | 105x75 cm
Višnja Petrović
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Slika sa svetlim detaljima | Painting with Light Details | 1967. Ulje na limenoj tabli | Oil on tin board | 98x198 cm
Zoran Petrović
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Oranica | Plowed Field | 1984. Ulje na platnu | Oil on canvas | 100x141 cm
Jonel Popović
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Libri in Labirintum | 1986. Knjiga umetnika, kombinovana tehnika | Artist Book, Mixed media
11x(19,9x19,7; 20,4x13,9; 21x13,6; 20,5x13,8; 20x13,9; 20,2x13,8; 20,7x14; 20x13,8; 20,8x13,4; 21,1x15,2; 18,6x15,3 cm)
Bogdanka Poznanović
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Trofejni predeo | Trophy Landscape | 1989. Ulje na platnu | Oil on canvas | 140x140 cm
Milenko Prvački
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Slika | Painitng | 2001. Ulje na platnu | Oil on canvas | 200x237 cm
Jelena Radić
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U slavu Grupe KÔD | Hommage to Group KÔD | 1995. Monotipija | Monotype | 41x81 cm
Mirko Radojičić
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Seljaci sa kravom | Peasants with a Cow | oko / circa 1953. Ulje na platnu | Oil on canvas | 54x78 cm
Ivan Radović
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Krik | Scream | 1984. Ulje na platnu | Oil on canvas | 180x100 cm
Dobrivoje Rajić
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Deset, Iz ciklusa Brojevi | Ten, From the cycle Numbers | 1993.Akril na platnu, poliester, puževi | Acrylic on canvas, polyester, snails | 200 x 200 cm
Dragan Rakić
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10 | 1996.Bronza | Bronze | 78x53x30 cm
Vlado Rančić
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Drvo br. 2 | Tree No. 2 | 1974.Bakropis | Copper etching | 36,7x47,6 cm
Tanaka Riohei
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Kompozicija | Composition | 1959. Tuš na papiru | Indian ink | 69x100 cm
Đerđ Sabo (Szabó György)
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Mlada | Bride | 1979. Ulje na platnu | Oil on canvas | 90x140,5 cm
Ištvan Sajko (Szajko István)
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Dada | 1972.Crno-bela fotografija | Black and white photograph | 5x (30x20,2 cm)
Laslo Salma (Szalma László)
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Bez naziva | Untitled | 2003. Ulje na platnu | Oil on canvas | 200x206 cm
Zdravko Santrač
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Simfonija br. 12 | Symphony No. 12 | 1989. Kombinovana tehnika na platnu | Mixed media on canvas | 168x109 cm
Zvonimir Santrač
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Kompozicija II | Composition II | 1981.Serigrafija | Serigraph | 75x56 cm
Josip Skenderović
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Don Kihot | Don Quixote | 1970.Bronza | Bronze | 95x87x22,5 cm
Jovan Soldatović
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Bauhaus | 1972. Crno-bela fotografija | Black and white photograph | 8x (38,5x25,7 cm)
Balint Sombati (Szombathy Bálint)
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Cube Exit | 1971. Serigrafija | Serigraph | 79x66 cm
Marko Spalatin
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Oblik (Žena s punđom) | Shape (Woman with a hair bun) | 1985.Bronza | Bronze | 30x52x47 cm
Nebojša Stanković
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Dim | Smoke | 1973. Akvatinta | Aquatint | 65x50 cm
Milan Stanojev
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Poljana | Meadow | 1981. Suva igla | Drypoint | 70x99 cm
Milan Stašević
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Hodao sam spiralom | I Walked the Spiral | 19978 fotografija / photographs
Jaroslav Supek
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Što lebdi | That Which Floats | 1975. Litografija | Lithograph | 76x56 cm
Gorazd Šafran
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Tri gracije | Three Graces | 1954.Ulje na kartonu | Oil on cardboard | 62x100 cm
Imre Šafranj (Sáfrány Imre)
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Atelje | Atelier | 1968. Ulje na platnu | Oil on canvas | 92x65 cm
Milenko Šerban
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Projekti | Projects | 1974.Crtež na hartiji | Drawing on paper | 8x (29,7x20,9 cm)
Predrag Šiđanin
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AK-991 | 1991.Gvožđe | Iron | 100x40x100 cm
Rastislav Škulec
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Pisaća mašina | Typewriter | 1979.Drvo | Wood | 60x85x45 cm
Borislav Šuput
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Elektronska umetnost u Srbiji | Electronic Art in Serbia | 2000.Website
Andrej Tišma
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Elementarni dodir AG | Elementary Touch AG | 1978. Akril na platnu | Acrylic on canvas | 120x150 cm
Dušan Todorović
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Toplina I | Warmth I | 2009.Instalacija: drvo, filc, video | Installation: wood, felt, video | 57x (160x120 cm), video: 7’44’
Zoran Todorović
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Gott liebt die Serben | 2011.instalacija, dimenzije promenljive | Installation, dimensions variable
Dragoljub Todosijević - Raša
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Čep | Cork | 1975. Ulje na platnu | Oil on canvas | 123x91 cm
Vladimir Tomić
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Sudar u prostoru I | Collision in Space I | 1969. Pastel na papiru | Pastel on paper | 50x70 cm
Šandor Torok (Torok Sándor)
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Deliblatska peščara | Deliblato Sands | 1979. Ulje na platnu | Oil on canvas | 71x90 cm
Stojan Trumić
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Grupa od 5 | Group of 5 | 2001.Žica, tkanina, kanap | Wire, cloth, rope | 5x (h: 40 cm–h: 80 cm)
Olga Ungar
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Segment | 1986/1988. Drvo, platno, ulje | Wood, canvas, oil | 28x27,5x14,5 cm
Gergelj Urkom
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Hello World | 2007.Software-semioticon
Vacuum Pack
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Bez naziva | Untitled | 1971. Serigrafija | Serigraph | 67,6x67,5 cm
Viktor Vazareli (Vasarely Victor)
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Obrasci | Forms | 1976. Emajl lak i ulje na platnu | Enamel polish and oil on canvas | 2x (118,7x84 cm)
Verbumprogram (Ratomir Kulić i Vladimir Mattioni)
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Znak u belom VII | The Sign in the White VII | 1975.Ulje na platnu | Oil on canvas | 80x54 cm
Mileta Vitorović
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Svečani trenutak | Solemn Moment | 1973.Ulje na platnu | Oil on canvas | 65x81 cm
Tivadar Vanjek
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U snu val | Wave in a Dream | 2000.Drvo, akrilik, školjke, lepak, serigrafija | Wood, acrylic, shells, glue, serigraph | 71x72x20 cm
Slobodan Vilček
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Light Decoder Shadow Maker | 2008.Aluminijum i lesonit | Aluminum and hardboard | 186,5x300 cm
Ljubomir Vučinić
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Vrelo | Spring | 1985. Kombinovana tehnika na papiru | Mixed media on paper | 221,5x150 cm
Vera Zarić
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Film, crno-beli, 35mm (kopija na DVD-u), 13’ | 1971. Kamera / Camera: Dušan Ninkov | Montaža / Editing: Branka Čeperac | Produkcija / Production: Neoplanta film, Novi Sad
70-te sezonci (Seasonal Workers of 1970)Režija i scenario / Directed and screenplay by Prvoslav Marić
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BETA video (kopija na DVD-u / DVD Copy), 36’ | 1992.Direktor fotografije / Director of Photopgraphy: Jovan Milinov – Toba | Montaža / Editing: Slobodan Žižović
Kompozitor / Composer: Zoran Bulatović - Bale | Grafički dizajner / Graphic Designer: Vera Mihalj Urednik emisije / Program Editor: Miroslav Jokić | Ton majstor / Sound Engineer: Vladimir Stanojević
Kostimograf / Costume: Vanja Popović | Scenograf / Set Designer: Dijana Radosavljević Video mikser / Video Editing: Siniša Bokan | Tonska obrada / Sound Editing: Aleksandar Stojšin
Rasveta / Light Design: Rade Marcikić | Animacija / Animation: Aleksandar Davić, Bogdan Jovanović Uloge / Starring: Nenad Racković, Aleksandra Pleskonjić, Mihajlo Pleskonjić, Dragomir Pešić ...
Producent / Producer: Čava Janoš | Produkcija / Production: Radio Televizija Novi Sad
Poslednja dadaistička predstava (The Last Dada Performance)Režija / Directed by Aleksandar Davić | Scenario / Screenplay by Jasna Jovanov
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ACCENTS 2005 – 2012
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AKCENTI 2005 – 2012
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Maketa projekta koji je dobio prvu nagradu na međunarodnom javnom regionalnom konkursu za idejno arhitektonsko -urbanističko rešenje zgrade Muzeja 2007. godine. Autori projekta: Robert Klejborn, Lia Rukolo, Petar i Ivan Markov
Autor makete: Robert Klejborn
Model of the winning project on an international competition for architectural and urban design of the building of the Museum of Contemporary Art of Vojvodina, 2007. Project authors: Robert Claiborne, Lia Ruccolo, Peter and Ivan Markov
Author of the model: Robert Claiborne
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Muzej je u proteklih 20 godina inicirao i or-ganizovao intenzivne aktivnosti kako bi rešio višedecenijski problem radnih i izložbenih prostora za svoje delatnosti.
Prvi projekat za izgradnju zgrade Muzeja urađen u saradnji sa JP “Urbanizam” Zavod za urbanizam Novi Sad 1993. godine. Projekat je realizovan u okviru i za potrebe, tada aktuelne, revizije urbanističkog plana grada Novog Sada. U ime JP “Urbanizam” Zavod za urbanizam Novi Sad, autor projekta, u dve verzije, je bila arhitektica Sivija Kancenberger.
Izvršni odbor Skupštine grada Novog Sada, Društvo arhitekata Novog Sada i Vojvođansko udruženje urbanista raspisali su, 1998. godine, jugoslovenski konkurs za idejno arhitektonsko–urbanističko rešenje zgrade Muzeja. Prvu nagradu je dobio rad grupe autora: Snežana Božović, autor, i saradnici Aleksa Jeftović, Aleksandar Vesnić i Goran Ristić.
Međunarodni regionalni konkurs za idejno arhi-tektonsko–urbanističko rešenje zgrade Muzeja savremene umetnosti Vojvodine raspisalo je Društvo arhitekata Novog Sada pod pokroviteljst-vom Vlade AP Vojvodine 27. januara 2007. godine. Prvu nagradu dobio je tim iz Kanade i Srbije koji su činili Robert Klejborn, Lija Rukolo, Petar i Ivan Markov.
Nijedan od ovih projekata nije realizovan i danas je Muzej savremene umetnosti Vojvodine još uvek bez odgovarajućih izložbenih i radnih prostora smešten u delu zgrade bivšeg Muzeja socijalističke revolucije.
Over the last 20 years the Museum has initiated and organized comprehensive activities in order to solve a major problem, spanning over several decades, regarding the space for work and exhibitions.
The first project for the construction of the Museum building was done in cooperation with the public company "Urbanizam“, Institute for Urban Planning Novi Sad in 1993. The project was done within the framework and for the needs of the revision of the Master plan for the City of Novi Sad that was current at the time. The author of the two versions of the design, standing on behalf of the public company "Urbanizam“, Department of City Planning Novi Sad, was architect Silvija Kancenberger.
The executive committee of the Assembly of Novi Sad, Association of Novi Sad Architects and As-sociation of Urban Planners of Vojvodina launched a Yugoslav competition in 1998, for the concep-tual architectural design porposal for the Museum building. The first prize was awarded to a group of authors: Snežana Božović, author, and partners Aleksa Jeftović, Aleksandar Vesnić and Goran Ristić.
Association of Novi Sad Architects, sponsored by The Government of the Autonomous Province of Vojvodina, launched a competition for the concep-tual architectural and urban design of the building of the Museum of ContemporaryArt of Vojvodina on January 27th, 2007. The first prize was awarded to a Canadian-Serbian team of Robert Claiborne, Lia Ruc-colo and Ivan Markov.
None of these projects was carried out and so, today, the Museum of Contemporary Art of Vojvodina, still without suitable exhibition and working space, is situated in the part of the building of the former Museum of Socialist Revolution.
NEW MUSEUM
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Paviljon Srbije na 54. međunarodnoj izložbi umetnosti – La Biennale di Venezia, Venecija, 2011.Izložba Svetlost i tama simbola Dragoljuba Raše Todosijevića
Pavilion of Serbia at 54th International Art Exhibition – La Biennale di Venezia, Venice, 2011.The Light and Darkness of Symbols exhibition by Dragoljub Raša Todosijević
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U Paviljonu Srbije na 54. međunarodnoj izložbi umetnosti – la Biennale di Venezia u Veneciji 2011. godine, Republiku Srbiju je predstavljao umetnik Dragoljub Todosijević - Raša sa projektom ''Svetlost i tama simbola''. Producent projekta je bio Muzej savremene umetnosti Vojvodine, komesar Živko Grozdanić, kustoskinja Sanja Kojić Mladenov.
Realizaciju je omogućilo Ministarstvo kulture, informisanja i informacionog društva Republike Srbije i manjim delom Pokrajinski sekretarijat za kulturu i javno informisanje.
Na ovoj prestižnoj međunarodnoj likovnoj mani-festaciji savremene umetnosti, Paviljon Srbije i umetnik Dragoljub Todosijević - Raša su nagrađeni specijalnom nagradom UniCredit banke - Uni-Credit Venice Award, što je u istoriji Paviljona Srbije najveće priznanje.
U promovisanju i predstavljanju projekta produkcijski tim MSUV je pripremio monografsku publikaciju koja prati celokupni opus Dragoljuba Todosijevića – Raše, katalog izložbe “Svetlost i tama simbola”, dvojezični website sa video i foto materijalom.
Paviljon Srbije je posetilo preko 50000 posetilaca, među kojima i veliki broj istaknutih stručnjaka iz oblasti savremene umetnosti.
Within 54th International Art Exhibition – la Biennale di Venezia in 2011 in Venice, Republic of Serbia was represented by Dragoljub Todosijević – Raša with an art project “Light and Darkness of Symbols”. Project was funded by Ministry of Culture, Media and Information Society of Republic of Serbia, supported by Autonomous Province of Vojvodina Department of Culture and Public Information and produced for Pavilion of Serbia in Giardini di Castelo by the Museum of Contemporary Art of Vojvodina, with Živko Grozdanić as the Comissioner and Sanja Kojić Mladenov as the Curator.
On this prestigious international contemporary art event, Pavilion of Serbia and Dragoljub Todosijević – Raša received a special award established by UniCredit bank – UniCredt Venice Award, which is the greatest acknowledgment that any Yugoslav or Ser-bian artist has received in Venice during the Pavilion’s 75 years long tradition.
For the purpose of promoting and publicizing the project MCAV production team prepared a monography that shows retrospective of Dragoljub Todosijević work, catalogue for “Light and Darkness of Symbols” exhibition, bilingual website with videos and photo material.
Over 50,000 of visitors saw the exhibition in Pavilion of Serbia, many of them were prominent figures of contemporary art scene.
PAVILJON SRBIJE PAVILION OF SERBIALA BIENNALE DI VENEZIA 2011 LA BIENNALE DI VENEZIA 2011
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Evropski konteksti umetnosti XX veka u VojvodiniIzdavač Muzej savremene umetnosti Vojvodine, 2008.
European Contexts of Art of the 20th Century in VojvodinaPublisher Museum of Contemporary Art of Vojvodina, 2008
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Izdavačka aktivnost Muzeja savremene umet-
nosti Vojvodine, kao i izlagačka, započela je 1969.
godine. U početku Muzej izdaje manje kataloge
samostalnih i kolektivnih izložbi a potom i obim-
nije istorijske preglede umetnosti u Vojvodini XX
veka. U istom periodu objavljeno je i nekoliko
monografija vojvođanskih umetnika. Od početka
devedesetih godina Muzej objavljuje niz većih
monografija posvećenih pojavama i pojedincima
sa umetničke scene. U isto vreme Muzej izdaje
i kataloge studijskih i programskih izložbi. U
periodu posle 2000. godine Muzej u značajnoj
meri povećava izdavačku produkciju koja kul-
minira studijom Evropski konteksti umetnosti XX
veka u Vojvodini. Do sada je Muzej objavio blizu tri
stotine različitih publikacija. Broj i kvalitet izdanja
svrstava Muzej savremene umetnosti Vojvodine u
vodeće specijalizovane izdavače u zemlji. Spisak
prethodnih izdanja publikovan je u: Olga Klarić,
Hronološki prikaz izložbi i izdanja Muzeja savremene
likovne umetnosti: 1969–2004, Novi Sad 2005.
Publishing activity of the Museum of Contemporary
Art of Vojvodina, like its exhibiting activity, began
in 1969. In the beginning the Museum published
smaller catalogues of solo exhibitions, and, later on,
more comprehensive surveys of 20th century Vojvo-
dinian art. During that same period several mono-
graphs of Vojvodinian artists were published. From
the beginning of the 1990s the Museum published
a series of larger scale monographs dedicated to the
appearances and individuals in the artistic scene. At
the same time the Museum published catalogues
of study and programme exhibitions. After 2000
the Museum significantly increased its publish-
ing production, which culminated with the study
European Contexts of the 20th Century Art in Vojvodina.
So far the Museum has published close to three
hundred different publications. The number and
the quality of its publications places the Museum of
Contemporary Art of Vojvodina among the leading
specialized publishers in the country. The list of
previous publications was published in: Olga Klarić,
Hronološki prikaz izložbi i izdanja Muzeja savremene
likovne umetnosti: 1969–2004, Novi Sad 2005.
IZDANJA MUZEJA MUSEUM'SPUBLICATIONS
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2005.Hronološki prikaz izložbi i izdanja Muzeja savremene likovne umetnosti: 1969–2004. Priredila: Olga Klarić; Izdavač: MSUV; 96 str.; ISBN 86-84773-16-0
Kosta Bogdanović, Poetika vizuelnog Izdavači: Zavod za udžbenike i nastavna sredstva Beograd i Muzej savremene likovne umetnosti, Novi Sad; 534 str.; ISBN 86-17-12994-8
Ich bin künstler – Slavko MatkovićTekstovi: Nebojša Milenković, Balint Sombati, Ješa Denegri, Olga Kovačev Ninkov; Izdavač: MSUV; 276 str.; ISBN 86-84773-13-6
Anomalija br. 1 Časopis za kritiku, istoriju i teoriju umetnostiUrednik: Dragomir Ugren; Tekstovi: Miško Šuvaković, Boris Groys, Mieke Bal, Péter György, Ješa Denegri, Lóránd Hegyi, Timothy O. Benson, Okwui Enwezor, Francesco Bonami, Dan Cameron; Izdavač: MSUV; 174 str.; ISSN 1452-0273
Korak. Korak napred.. Dva koraka napred...Umetnost u Vojvodini: Naj/Mlađi, Ne/Poznati, Ne/Prepoznati Dodatak časopisa Anomalija br. 1; Tekstovi: Nebojša Milenković, Suzana Vuksanović, Saša Milivojević; Izdavač: MSUV; 50 str.; ISBN 86-84773-09-8
Szombathy artTekstovi: Nebojša Milenković, Vladimir Kopicl, Peter H. Nadj, Miško Šuvaković; Izdavač: MSUV; 224 str.; ISBN 86-84773-19-5
Kao_skulptura_kako_skulptura: Nikola Macura, Ljubica Čvorić, Vladimir Ilić, Dušan Stošić; Tekst: Suzana Vuksanović; Izdavač: MSUV; 12 str.; ISBN 86-84773-17-9
Stehend gehend: Harald Hofmann, Tatjana Ilić, Sandra Voets, Christiane LörTekstovi: Harald Hofmann, Tatjana Ilić, Simone Menegoi; Izdavač: MSUV; 26 str.
Vesna Tokin Tekst: Branislav Dimitrijević; Izdavač: MSUV; 12 str.
2006.Remek dela savremene srpske umetnosti od 1968. do danas Tekst: Slavko Timotijević; Izdavač: MSUV; 42 str.
Hibridno–Imaginarno / Slikarstvo i/ili ekran: o slici i slikarstvu u epohi medijaTekst: Miško Šuvaković; Izdavač: MSUV; 51 str.; ISBN 86-84773-27-6
Zvezda i njena senka – Ikonografske predstave zvezde petokrake u umetnosti socijalističkog i postsocijalističkog društvaTekstovi: Nebojša Milenković, Jovana Stokić, Teofil Pančić; Izdavač: MSUV; 104 str.; ISBN 86-847773-26-8
Milan Nešić: Razdvojeni delovi celovite raspraveTekst: Sanja Kojić–Mladenov; Izdavač: MSUV; 16 str.; ISBN 86-84773-25-X
Igor Antić – Ovde dalekoTekstovi: Svetlana Mladenov, Slobodanka Vukadinović; Izdavač: MSUV; 32 str.; ISBN 86-84773-23-3
Nova skulptura u Vojvodini 1980–2000Tekst: Suzana Vuksanović; Izdavač: MSUV; 24 str.
Rubne posebnosti – Avangardna umetnost ex-Jugoslavije (1914–1989)Kolekcija Marinka SudacTekstovi: Ješa Denegri, Slavko Timotijević; Izdavač: MSUV; 159 str.; ISBN 86-84773-21-7
MP_book_01 – Declarative artTekst: Sanja Kojić Mladneov; Izdavač: MSUV; 62 str.
2007.Anomalija br. 2 Časopis za kritiku, istoriju i teoriju umetnostiUrednik: Nebojša Milenković; Tekstovi: Marina Gržinić, Tula Karjalainen, Ješa Denegri, Stevan Vuković, Branka Stipančić, Suzana Vuksanović, Jaroslav Supek, Mirko Radojičić, Lazar Trifunović, Silvia Kalčić, Leila Topić, Jovan Despotović; Izdavač: MSUV; 160 str.; ISSN 1452-0273
Ješa Denegri, Razlozi za drugu liniju – Za novu umetnost sedamdesetih Izdavač: Kolekcija Marinko Sudac, Zagreb; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad, 2007.; 543 str.; ISBN 13978-86-84773-30-4
New Museum Tekstovi: Boris Groys, Miško Šuvaković, Dragomir Ugren, Vladimir Mitrović; Izdavač: MSUV; 188 str.;ISBN 978-86-84773-34-2
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In situTekst: Sanja Kojić Mladenov; Izdavač: MSUV; 37 str.; ISBN 978-86-84773-37-3
Vladimir Kopicl: Ništa nije ovde ali neki oblik već može da mu odgovara...Tekst: Nebojša Milenković; Izdavač: MSUV; 117 str.; ISBN 10 / 86-84773-32-2
Pol Arden, Kontekstualna umetnostIzdavač: MSUV; Suizdavač: Kiša, Novi Sad; 160 str.; ISBN 978-86-84773-36-6
Miško Šuvaković, Konceptualna umetnostIzdavač: MSUV; 862 str.; ISBN 978-86-84773-33-5
Lilihip – telo i konzumacija / Lollypop – Body & ConsumptionTekst: Sanja Kojić Mladenov; Izdavač: MSUV; 63 str.; ISBN 86-84773-31-4
Play Cultures – Svet digitalnih igaraTekst: Kristijan Lukić; Izdavač: MSUV; 50 str.
Do kraja vekaTekst: Sava Stepanov; Izdavač: MSUV; 64 str.
Miodrag Krkobabić – Niša lično / Nothning personalTekst: Astrid Wege; Izdavač: MSUV; 63 str.; ISBN 978-86-84773-43-4
Saša Stojanović: the best offTekst: Jovan Despotović; Izdavač: MSUV; 32 str.; ISBN 978-86-84773-38-0
Rekapitulacija 2007: Muzej savremene umetnosti VojvodineTekstovi: Suzana Vuksanović, Sanja Kojić Mladenov, Aleksander Bassin, Barbara Borčić, Gordana Nikolić, Sava Stepanov, Kristijan Lukić, Jovan Despotović, Nebojša Milenković, Vladimir Mitrović, Miško Šuvaković, Ljubica Milović, Folker Albus, Vinfrid Šojer; Izdavač: MSUV; 41 str.; ISBN 978-86-84773-39-7
2008. Pokretanje istrage IITekstovi: Suzana Vuksanović, Jasmina Čubrilo, Nebojša Milenković, Čedomir Janičić; Izdavač: MSUV; 110 str.; ISBN 86-84773-41-1
Goran Despotovski: Art Works (1999−2008)Tekst: Svetlana Mladenov; Izdavač: MSUV; 70 str.: ISBN 978-86-84773-42-7
Dragan Jelenković: Objekti_ObjectsTekst: Suzana Vuksanović; Izdavač: MSUV; 36 str.; ISBN 978-84773-44-1
Odstupanje / Savremena umetnička scena Prištine, Tekstovi: Vida Knežević, Kristijan Lukić, Ivana Marjanović, Gordana Nikolić; Izdavač: Kontekst, Beograd; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad; 79 str.; ISBN 978-86-87291-00-3
Jelena B. Kovačević: Slika u sliciTekst: Suzana Vuksanović; Izdavač: MSUV; 24. str.
Živko Brković, Šumanović: umetnik i ludiloIzdavač: MSUV; 160 str.; ISBN 978-86-84773-45-8
Prostor za novi dijalog / Space For New DialogueTekstovi: Sanja Kojić Mladenov, Sylvia Grace Borda, J. Keith Donnelly, Sarita Vujković, Svetlana Mladenov, Ileana Pintile, Nebojša Vilić, Ksenija Orelj, Vasja Nagy; Izdavač: MSUV; 140 str.; ISBN 978-86-84773-47-2
Muzej u senci / Shadow MuseumTekst: Slavko Timotijević; Izdavač: MSUV; 248 str.; ISBN 978-86-84773-48-9
Branislav Radošević, Kreativni rasadnikTekstovi: Pero Zubac, Radomir Vuković, Miroslav Mušić; Izdavač: MSUV; 126 str.; ISBN 978-86-84773-49-6
Predivni svet irational.org-a: Tehnike, alati i dešavanja 1996−2006.Tekstovi: Inke Arns, Jakob Lilemoze, Kristian Lukić, Metju Fuler, Branka Ćurčić; Izdavač: MSUV; 79 str.;ISBN 978-86-84773-50-2
Skulptura, objekti, instalacije, ambijenti, intervencije u slobodnom prostoru / Sculpture, objects, installations, ambiences, interventions in urban spaceTekstovi: Svetlana Mladenov, Valentino Dimitrovski, Jovan Despotović, Matena Bassin, Ješa Denegri, Sanja Kojić Mladenov; Izdavač: Visart, Novi Sad; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad; 128 str.; ISBN 978-86-911911-0-8
Dragan JelenkovićTekstovi: Lidija Merenik, Nebojša Radić, Suzana Vuksanović, Vasa Pavković, Jerko Denegri, Svetlana Mladenov, Nikola Šuica, Nenad Radić; Izdavač: Kulturni centar Pančevo; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad; 258 str.; ISBN 978-86-87103-06-1
Evropski konteksti umetnosti XX veka u VojvodiniUrednici: Dragomir Ugren, Miško Šuvaković; Tekstovi: Ješa Denegri, Miško Šuvaković, Vladimir Mitrović, Gordana Nikolić, Olga Kovačev Ninkov, Ferenc Nemet, Sanja Kojić Mladenov, Marija Cindori, Slađana Varagić, Tijana Palkovljević, Milica Radulović, Jelena Matić, Nikola Dedić, Nebojša Milenković, Nevena Daković, Milica Doroški, Suzana Vuksanović, Ana Vilenica, Lidija Prišing, Kristijan Lukić, Miroslav Musić, Slobodan Ivkov; Izdavač: MSUV; 870 str.; ISBN 978-86-84773-46-5
179178
Rekapitulacija 2008: Muzej savremene umetnosti VojvodineTekstovi: Živko Grozdanić, Danijela Halda, Sava Stefanović, Kristijan Lukić, Gordana Nikolić, Sanja Kojić Mladenov, Slavko Timotijević, Vladimir Mitrović, Svetlana Mladenov, Suzana Vuksanović, Svetlana Subašić, Biljana Mickov, Nebojša Milenković; Izdavač: MSUV; 76 str.; ISBN 978-86-84773-51-9
2009.Intenzitet afekta: performansi, akcije, instalacijeRetrospektiva Zorana TodorovićaTekst: Miško Šuvaković; Izdavač: MSUV; 128 str.; ISBN 978-86-84773-52-6
Nikola Dedić: Ka radikalnoj kritici ideologije: od socijalizma ka postsocijalizmuIzdavač: Prodajna galerija Beograd; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad; 313 str.; ISBN 978-86-84393-72-4
Real life presence / Künstlerhaus GrazTekstovi: Werner Fenz, Mirjana Peitler, Miško Šuvaković; Izdavač: MSUV; 51 str.: ISBN 978-86-84773-54-0
Nika Radić, komunikacija iznad svega – diskontinuitet, prekidi, praznine i kratki spojeviTekst: Miško Šuvaković; Izdavač: MSUV; 84 str.; ISBN 978-86-84773-61-8
Mirjana Blagojev: Igra sveta u svetu igreTekst: Suzana Vuksanović; Izdavač: MSUV; 36 str.; ISBN 978-86-84773-53-3
Rena Dadle & Vladan Joler, Psihogeografska istraživanjaTekstovi: Gordana Nikolić, Sezgin Boynik, Suzana Milevska; Izdavač: MSUV; 144 str.; ISBN 978-86-84773-55-7
Ne/preglednosti / In/visibilityTekstovi: Ileana Pintilie, Maja Ćirić, Sylvia Grace Borda, J. Kaith Donnelly, Sanja Kojić Mladenov, Svetlana Mladenov; Izdavač: Visart, Novi Sad; Suizdavač: MSUV; 80 str.; ISBN 978-86-911911-3-9
Jelena Jureša, What it feels like for a girlTekstovi: Milanka Todić, Suzana Milevska; Izdavač: MSUV; 128 str.; ISBN 978-86-84773-56-4
Miško Šuvaković, Atila Černik: dokumenti o savremenoj umetnostiIzdavač: MSUV; Suizdavač: Vujičić kolekcija, Beograd; 112 str.; ISBN 978-86-87869-02-8
ID: Ideologija dizajna / Ideology of Design Izdavač: MSUV; 48 str.; ISBN 978-86-84773-58-8
Mimmo Paladino – Opera grafica / Grafički opus / Grafičko djeloTekstovi: Toni Biloslav, Enzo Di Martino, Andrej Medved; Izdavač: Papiro Arte, Venecija; Suizdavač: Muzej savremene umetnosti Vojvodine, Novi Sad; 64 str.
Hrvatska moderna i savremena arhitekturaTekstovi: Maroje Mrduljaš, Krunoslav Ivanišin; Izdavač: MSUV; 27 str.; ISBN 978-86-84773-52-6
Godine neorealizma. Smjernice talijanske fotografijeTekstovi: Vergilio Giuricin, Želimir Koščević, Giorgio Tani, Sauro Lusini, Cesare Colombo, Paolo Barbaro, Manfredo Mafroi; Izdavači: MSUV, Muzej savremene umetnosti Republike Srpske, Kulturni centar Beograda; 40 str; ISBN 978-953-6508-52-4
2010.Moć žene: Katalin LadikTekstovi: Miško Šuvaković, Gabriella Schuller; Izdavač: MSUV; 276 str.; ISBN 978-86-84773-74-8
Cities re-imagined: norveški film i videoTekstovi: Sanja Kojić Mladneov, Branislav Dimitrijević, Jonathan Lahey Dronsfield; Izdavač: MSUV; 140 str.; ISBN 978-86-84773-68-7
Ideologija i ideali – prilog istraživanju arhitekture 20. veka u VojvodiniTekstovi: Aleksandar Kadijević, Bojan Kojičić, Branka Ćurčić, Dejan Radovanović, Jasmina Vujović, Srđan Jovanović, Viktorija Aladžić, Vladimir Mattioni; Izdavač: MSUV; 143 str.; ISBN 978-86-84773-71-7
Zbirka medijske prakse Muzeja savremene umetnosti Vojvodine, Novi sad Tekstovi: Kristian Lukić, Gordana Nikolić; Izdavač: MSUV; 4 sveske; ISBN 978-86-84773-72-4 Viktor Vazareli: Grafike i objektiTekstovi: Svetlana Mladenov, Sanja Kojić Mladenov; Izdavač: MSUV; 46 str.; ISBN 978-86-84773-62-5
Zlatko Kopljar: Iz serije KTekstovi: Miško Šuvaković, Johannes Rauchenberger, Sandra Križić Roban; Izdavač: MSUV; 28 str.; ISBN 978-86-84773-64-9
Slikarstvo kao kritični simptom tranzicije: Grupa ABSTekstovi: Miško Šuvaković, Nebojša Milenković; Izdavač: MSUV; 104 str.; ISBN 978-86-84773-67-0
Trijumf savremene umetnosti – Mapiranje diskontinuiteta opsesija, uživanja, posedovanja, fantazija i subverzija unutar materijalnih umetničkih praksi u Srbiji tokom dvadesetog vekaTekstovi: Miško Šuvaković, Ješa denegri, Nikola Dedić; Izdavač: MSUV; 328 str.; ISBN 978-86-84773-70-0
179178
Evropski modeli menadžmenta u savremenoj umetnosti i kulturi / European menagement models in contemporary art and cultureTekstovi: Biljana Mickov, Esteve Karames, Džim Dojl, Džonatan Gudejker, Sofi Hejlz, Marit Keto-Sepala, Blaž Prešern, Kes Donkers; Izdavač: MSUV; 128 str.; ISBN 978-86-84773-75-5
Maketarstvo u arhitekturiTekst: Predrag Šiđanin, Bojan Tapavčević; 32 str.; ISBN 978-86-84773-65-6
Sandro Chia – Cum grano salisTekstovi: Toni Biloslav, Ješa Denegri, Enzo Di Marino, Andrej Medved; Izdavač: Papiro Arte, Venecija; Suizdavač: MSUV; 80 str.
Blanuša Tekst: Miško Šuvaković; Izdavač: MSUV; 24 str.
Miloš Vujanović: Magnetno polje crtežaTekstovi: Živko Grozdanić, Kosta Bogdanović, Staniša Dautović; Izdavač: MSUV; 48 str.; ISBN 978-86-84773-61-8
Vladimir Mitrović, Arhitektura XX veka u VojvodiniIzdavač: MSUV; 424 str.; ISBN 978-86-84773-69-4
Verbumprogram: Modus operandi Tekstovi: Verbumprogram; Izdavač: MSUV; str. 143.; ISBN 978-86-84773-77-9
2011.Vujica Rešin Tucić: Tradicija avangarde / The Tradition of the Avant-gardeTekst: Nebojša Milenković; Izdavač: MSUV; 216 str.; ISBN 978-86-84773-79-3
Džafo Tekstovi: Darka Radosavljević, Savo Popović, Jovan Despotović, Mirjana Peiter, Ljiljana Pešikan-Ljuštanović, Silvija Dražić, Živko Grozdanić; Izdavač: MSUV; 245 str.; ISBN 978-86-84773-80-9
Pavilion of Serbia – Raša Todosijević: Light and Darkness of Symbols Tekstovi: Sanja Kojić Mladenov, Živko Grozdanić, Raša Todosijević; Izdavač: MSUV; 80 str.; ISBN 978-86-84773-82-3
Pavilion of Serbia – Dragoljub Todosijević-RašaTekstovi: Ješa Denegri, Georg Schollhammer; Izdavač: MSUV; 248 str.; ISBN 978-86-84773-81-6
Tadej Pogačar: Svakodnevica kao javna praksa u polju mnogostrukosti Tekst: Miško Šuvaković; Izdavač: MSUV; 120 str.; ISBN 978-86-84773-84-7
Vesna Perunovich, Borderless / Vesna Perunović, Bez granica Tekstovi: Svetlana Mladenov, Žana Vukićević, Nansy Tusley, Nikola Marinković; Izdavač: MSUV; 120 str.: ISBN 987-86-84773-84-7
Dušan Todorović, Skrembl skrin, hed lajnsTekstovi: Svetlana Mladenov, Mile Ignjatović; Izdavač: MSUV; 119 str.; ISBN 978-86-84773-85-4
Dan Peržovski (Dan Perjovschi), Chalk Reality Tekstovi: Svetlana Mladenov, Ileana Pintilie; Izdavač: MSUV; 62 str.; ISBN 978-86-84773-78-6
Nune Popović – Živela sloboda, monografijaTekstovi: Jovan Despotović, Nune Popović, Biljana Živančević, Ivan Pravdić, Siniša Tucić, Nenad Milošević, Srđan V. Tešin, Miroslav Mikuljanac, Mina Vuletić; Izdavač: MSUV; 164 str.; ISBN 978-86-84773-86-1
Tensionfield conterporary photography – Grac, Košice, Ljubljana, Novi Sad, Rijeka, SkopjeTekstovi: Max Aufischer, Gerhard Gross, Aleksander Bassin, Dejan Sluga, Svetlana Mladenov, Sanja Kojić Mladenov, Zuzana Lapitkova, Tomas Agat Blonski, Sabina Salamon, Zoran Petkovski; Izdavači: Photon Association, Ljubljana / Cultural City Network, Grac; Suizdavač: MSUV, Novi Sad; 64 str.
Not so far away (face to face)diSTRUKTURA/ Milica Milićević i Milan Bosnić Tekst: Milanka Todić; Izdavač: Kulturni centar Beograda; Suizdavač: MSUV; 16 str.; ISNB 987-86-7996-007-1
2012.Željko Kipke: Policijsko dvorište / Polic Back YardTekstovi: Jerko Denegri, Branko Franceschi, Željko Kipke; Izdavač: MSUV; 132 str.; ISBN 978-86-84773-76-2
Akvizicije: otkupi i pokloni (2004–2011)Izdavač: MSUV; 24 str.; ISBN 978-86-89041-00-2
Privremena istorija: Izbor dela iz kolekcije Muzeja savremene umetnosti Vojvodine 1950–2012 / Provisional History:Selection of Artworks from the Collection of the Museum of Contemporary Art of Vojvodina 1950–2012Tekstovi: Vladimir Kopicl, Miško Šuvaković; Izdavač: MSUV; 184 str.; ISBN 978-86-84773-91-5
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Muzej savremene umetnosti je započeo izlagačku aktivnost 1969. godine. U narednim decenijama Muzej je organizovao brojne izložbe, različitog karaktera – samostalne i kolektivne, studijske i programske, gostujuće za inostranstvo i iz inostranstva i tematske iz svog fonda – u Galeriji Matice srpske, Domu JNA itd., pošto nije imao stalni izlagački prostor. Izložbe su, uglavnom, najavljivane plakatima. Serija plakata, nastala u prvih nekoliko godina, izvođena je upotrebom jednostavnih tipografskih rešenja jer su i štampani u štampariji Srpskog narodnog pozorišta.
Od početka sedamdesetih godina više se pažnje poklanja dizajniranju i kvalitetu plakata. Od tada Muzej povremeno angažuje poznate novosad-ske i vojvođanske dizajnere: Ferenca Barata, Branislava Dobanovačkog, Boška Ševu, Mio-draga Mišu Nedeljkovića, Branislava Radoševića, Dragana Višekrunu, Radule Boškovića, Slobo-dana Kuzmanovića, Aleksandra Pedovića, Božu Đurđevića, Ivana Lukića, Milana Stevčića, Svetozara Tomića, Smiljku Hadžić i druge. Plakati nastali u tom periodu su veoma kvalitetno štampani u novosadskoj štampariji ”Stojkov”.
Određeni diskontinuitet sa objavljivanjem plakata Muzej doživljava tokom devedesetih godina, da bi potom ponovo zaživela praksa redovnog produci-ranja i izrade plakata.
Poslednjih nekoliko godina dizajn plakata preuzi-ma Mirjana Dušić-Lazić koja, posle višegodišnjeg iskustva u Njujorku, školovanja i rada, donosi značajne novine u dizajnu plakata Muzeja.
The Museum of Contemporary Art began its exhibit-ing activity in 1969. During the following decades the Musem organized numerous exhibitions of different nature – solo and collective, study and programme exhibitions, guest exhibitions, both in the country and abroad, with the works from its fund – in the Matica Srpska Gallery, in Dom JNA etc., because it did not have its permanent exhibition space. Exhibitions were mostly advertized with posters. Series of post-ers created during the first several years were made by means of simple typographic solutions because they were printed in the printing house of the Ser-bian National Theatre.
From the beginning of the 1970s more attention was given to the design and the quality of the posters. Since then, the Museum occanisionally hired famous designers from Novi Sad and Vojvodina – Ferenc Barat, Branislav Dobanovački, Boško Ševo, Miodrag Miša Nedeljković, Branislav Radošević, Dragan Višekruna, Radulo Bošković, Slobodan Kuzmanović, Aleksandar Pedović, Boža Đurđević, Ivan Lukić, Milan Stevčić, Svetozar Tomić, Smiljka Hadžić and others. Posters made during that period were printed in high quality in the Novi Sad printing house “Stojkov”.
During the 1990s publication of Museum’s posters was shortly discontinued, only to be started again with regular productions and publications.
Over the past several years Mirjana Dušić-Lazić has been handling the design of the posters for the Museum of Contemporary Art of Vojvodina who, as a result of her 13-year-long experience of education and work in New York, brought about significant changes.
IZBOR PLAKATAMUZEJA 1966–2012
SELECTION OFMUSEUM'S POSTERS1966–2012
Realizaciju izložbe pomogao je Pokrajinski sekretarijat za kulturu i javno informisanje Vlade AP Vojvodine, Novi Sad The exhibition is supported by the Department for Culture and Public Information of the Govermment of the Authonomous Province of Vojvodina, Novi Sad
Privremena istorijaIzbor dela iz kolekcije Muzeja savremene umetnosti Vojvodine 1950–2012
Provisional HistorySelection of Artworks from the Collection of the Museum of Contemporary Art of Vojvodina 1950–2012
Izdavač | PublisherMuzej savremene umetnosti Vojvodine u Novom SaduThe Museum of Contemporary Art Vojvodina in Novi SadDunavska 37, Novi Sadtel. +381 21 661 1463; +381 21 526 634e-mail: [email protected]
Za izdavača | Executive publisherVladimir Kopicl
Upravni odbor | Executive Boarddr Slavko Bogdanović (predsednik / president), Vesna Latinović,Olga Šram, Radovan Živankić, dr Predrag Šiđanin, Luka Kulić, Vladimir Mitrović
Urednik | EditorDragomir Ugren
Autori tekstova | Text AuthorsVladimir Kopicl, Miško Šuvaković
Prevod | TranslationJagoda Topalov
Lektura i korektura | Proof readingDragomir Ugren, Ljubica Milović, Mirjana Dušić-Lazić
Tekstovi za poglavlje Akcenti 2005–2012 | Text authors for chapter Accents 2005–2012Sanja Kojić Mladenov, Ljubica Milović, Vladimir Mitrović, Dragomir Ugren
Bibliografija | BibliographyDanijela Halda, Vladimir Mitrović, Dragomir Ugren
Dizajn | DesignMirjana Dušić-Lazić
Dizajner-asistent | Design AssistentIvana Radmanovac
Fotografije | PhotographsMarko Ercegović, Nemanja Delja, Predrag Uzelac
Štampa | PrintFutura, Petrovaradin
Novi Sad, april 2012.
Tiraž | Print run500
KATALOG IZLOŽBE | EXHIBITION CATALOGUE
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