Uzemljenje ili Fake

Jelena Đukanović i Relja Eraković

let/flying

Uzemljenje ili Fake

Skulpture u proširenom polju, termin Rozalind Kraus, koji podrazumijeva dvije bitne premise skulpture - prostor i materijal, oznaka je i novih radova Jelene Đukanović Uzemljenje ili Fake (eng. loša kopija, lažno, prevara, falsifikat). To je nastavak njenog istraživanja tradicije iz ciklusa Hello Mr. Fibonacci. Koristila je „paučinu“, nematerijal, netkani međupostavni tekstil da napravi forme nekih davnih modnih stilova, sa vidljivom konstrukcijom. Ona označava prolaznost, krhkost i razorni uticaj vremena. Izbor ovakvog materijala ukazuje na drugu njenu veliku temu - vrijeme. Prolaznost, krhkost ovog materijala apostrofira razorni uticaj vremena.Uz forme od „paučine“ kombinovala je stilizovane odjevne predmete izrađene tradicionalnim tehnikama ručnog rada od tradicionalnih materijala: pletiva od vune, ćilima, serdžade, pletene džupe ... Tehnike ručnog rada su: tkanje - klečano i pupano, vez vunom i svilom na plišu: prutac, pokrstica, puni vez ... Meke skulpture su u galerijskom prostoru tankom niti okačene za tavanicu, bez oslonca se pokreću, mijenjaju formu i prekomponuju se u kontaktu sa posmatračima, vjetrom... Noge na njima su modelovane cilindrične forme sa stilizovanim simbolima: sunce, mjesec, srce, zvijezde koji su prisutni u ornamentici, a izrađenim od svjetlosno reflektujućeg materijala kojom ispraća Međunarodnu godinu svjetlosti 2015.Forme lutaka-torzoa sa vidljivim šavovima i naglašenih ženskih atributa su modelovane u skladu sa pomodnim trendom estetskih korekcija, označavaju prolaznost jedne mode i, kao i „paučina“, suprostavljeni tradicionalnim, neprolaznim vrijednostima.  Žan Bodrijar smatra da je moda istovremeno i očajanje što ništa ne traje, ali i uživanje zbog spoznaje da nakon svoje „smrti“, neki oblik može imati ponovo život, novi život. Bodrijar čak smatra da u modi postoji nešto što bi se moglo nazvati kontemplativnom težnjom ka smrti, koja je povezana sa neprestanim umiranjem oblika. Takođe smatra da se želja za smrću reciklira u modi, što je jedna od niti vodilja u istraživanju Jelene Đukanović.U vijeku u kome se jezikom ćuti / a govori tijelom / znam da se neće lako razumjeti, iz pjesme Amentu Ismeta Ozela. Govor tijela je ono što je neka vrsta matrice za fotografije Relje Erakovića u ciklusu

Prolaznost – Neprolaznost. Modeli su „obučeni” u stilizovane odjevne predmete Jelene Đukanović, a fotografijama se markiraju mjesta kolektivne memorije kao što su Rimski most na Moštanici, stećci, suvomeđa, skakala, stada ovaca na pašnjaku, ilustrujući protok vremena u dugoj tradiciji života u ovim krajevima. Benjamin smatra da „analfabet budućnosti neće biti onaj ko ne pozna pismo već onaj ko se ne razumije u fotografiju“. Bartes tumači „opreka između kulturnog koda i prirodnog ne-koda može objasniti specifično obilježje fotografije i omogućiti da se ocijeni antropološka revolucija koju ona znači u ljudskoj istoriji“. Fotografija nosi u sebi nešto tajanstveno, nešto zaista vezano za kontekst života, naglašava Suzan Sontag. I zaista, fotografije Relje Erakovića imaju u sebi nešto tajanstveno u ciklusu Prolaznost – Neprolaznost. Melanholičnost i patos su fragmenti atmosfere. Ako se analizira jezik ovih fotografija odnosno kompozicija, svjetlost, valerski odnosi onda se zaključuje da nije riječ samo o djelima koja imaju dokumentarne vrijednosti već su ona poetizovana, označena individualnim pristupom autora.

Nataša Nikčević

Fundamental or Fake

Sculptures in the expanded field, a term by Rosalind Krauss which implies two essential premises of sculpture - space and material, also marks the new works by Jelena Djukanovic entitled Fundamental or Fake. This is a continuation of her research on tradition that dates from the series Hello Mr. Fibonacci. She used “cobwebs”, non-material, nonwoven lining textile to create forms of some past fashion styles, with visible structure. It signifies ephemerality, fragility and the destructive influence of time. The choice of such material indicates her second great theme - time. The ephemerality and fragility of this material emphasizes the destructive influence of time.She combined the “cobweb” forms with stylized garments made in traditional handiwork techniques with traditional materials: knitted woollens, carpets, prayer rugs, knitted skirts ... The handiwork techniques are weaving, wool and silk embroidery on velvet: flat stitch, cross-stitch, full embroidery ... The soft sculptures are displayed hanging on thin threads from the ceiling; they move without any support, change form and recompose in contact with the viewers, the wind ... The legs on them are modelled cylindrical forms with stylized symbols: sun, moon, heart, stars that are present in ornaments and made of a light-reflective material as she is seeing off the International Year of Light 2015.The doll - torso forms, with visible stitches and emphasized female attributes, are modelled according to the fashionable trend of aesthetic corrections; they indicate the transience of fashion and, as the “cobweb”, are opposed to traditional, timeless values. Jean Baudrillard believes that fashion is at the same time despair because nothing lasts; but it is also joy because of the knowledge that after its “death” a form can have a life again, a new life. Baudrillard believes that in fashion there is something that could be called the contemplative tendency towards death, which is associated with the constant dying of forms. He also believes that the desire for death is recycled in fashion, which is one of the guiding threads in the research by Jelena Djukanovic.In a century in which the language is silent / and the body is talking / I know it will not be easy to

understand, a fragment from the song Amentu by Ismet Ozel. Body language is a kind of matrix for the photographs by Relja Erakovic in the series Ephemeral - Eternal. The models are “dressed” in stylized garments created by Jelena Djukanovic while photographs mark the places of collective memory such as the Roman Bridge on the River Moštanica, tombstones, stone made boundaries, places for skipping the creek, flocks of sheep in the pasture - illustrating thus the flow of time in the long tradition of living in this region. Benjamin believes that “not he who is ignorant of writing but ignorant of photography will be the illiterate of the future”. Barthes explains: “Only the opposition of the cultural code and the natural non-code can, it seems, account for the specific character of the photography and allow the assessment of the anthropological revolution it represents in man’s history.” Photography contains something mysterious, something really linked to the context of life, says Susan Sontag. Indeed, photographs in the Ephemeral - Eternal series by Relja Erakovic do have something mysterious. Melancholy and pathos are fragments of the atmosphere. If we analyze the language of these photographs, the composition, the light, the tonal relationships then we can conclude that it is not just about works with a documentary value but works that are poeticised and marked by the author’s individual approach.

Natasa Nikcevic

Danas i juče / Today and Yesterday

Kuđelja / Wool Yarn

Nekad i sad / Once and Now

Odmor / Rest

Znak u beskraju / A Sign in Infinity

Ka sumraku / Towards Dusk

Igra / Dance

Jelena Đukanović je završila Školu za industrijsko oblikovanje - Odsek za dizajn tekstila u Beogradu. Diplomirala je na Fakultetu primenjenih umetnosti - Katedra tekstila 1985. godine u Beogradu a 2006. godine je magistrirala na Fakultetu likovnih umjetnosti na Cetinju - vajarski odsjek kod prof. Pavla Pejovića. Status samostalnog umjetnika stiče 2006. godine. Član je ULUCG od 1999. godine. Bila je kostimograf za 17 pozorišnih predstava, 9 TV drama, 8 igranih filmova, 20 reklamnih spotova i 5 scenografija i 8 autorskih kolekcija inspirisanih tekstilnom kulturnom baštinom Crne Gore. Nagrade: 2002. Nagrada „Milunović, Stijović, Lubarda“ za instalaciju „ILI“, Tradicionalna izložba članova ULUCG 2005. Nagrada Ministarstva kulture i medija i Ministarstva turizma Crne Gore za „Crnogorski suvenir“- projekat „Čarape“ 2007. Nagrada za scenografiju za predstavu „Sama sam večeras“, AKORD EXPO plaketa na METUBES-u, Budva za instalaciju „Tornaleta- bijelo na bijelom“ 2008. EXPO TROPHY i Zlatna plaketa za „Bjankarija“ METUBES, Budva 2009. Proglašena za Preduzetnicu godine, Zanatsko-preduzetničke komore Crne Gore

Relja Eraković je rođen 1975. godine u Titogradu. Diplomirani je filmski i televizijski snimatelj. Radio je kao asistent kamere na tri igrana filma; samostalno je snimao kratke, namjenske, studentske, dokumentarne filmove, muzičke i komercijalne spotove. Kao snimatelj i reditelj snimio je šest dokumentarnih filmova. Bavi se umjetničkom fotografijom. Imao je tri samostalne izložbe a izlagao je na preko dvadeset grupnih izložbi u zemlji i inostranstvu. Od 2006. godine angažovan je u nastavi na Fakultetu dramskih umjetnosti na Cetinju kao honorarni saradnik u nastavi i honorarni predavač.

Jelena Djukanovic graduated at the School of Industrial Design - Department of Textile Design in Belgrade. She also graduated at the Faculty of Applied Arts - Department of Textiles in 1985 in Belgrade. In 2006 she obtained her master’s degree at the Faculty of Fine Arts in Cetinje - Sculpture Department with Professor Pavle Pejovic. She acquired the status of freelance artist in 2006. She has been member of the Association of Fine Artists of Montenegro since 1999. She was costume designer for 17 theatre plays, 9 TV dramas, 8 feature films, 20 advertising spots, 5 set designs and 8 original textile collections inspired by the cultural heritage of Montenegro. Awards: 2002 “Milunović, Stijović, Lubarda“Award for the installation „or“, Association of Fine Artists of Montenegro Traditional exhibition 2005 The Ministry of Culture and Ministry of Tourism of Montenegro Award for the Montenegrin souvenir – project „Stockings“, 2007 Set Design Award for the play “I’m Alone Tonight“, AKORD EXPO Plaque at the METUBES, Budva for the installation „Tornaleta – White on White“,2008 EXPO TROPHY and Golden Plaque for “Bjankarija“, METUBES, Budva,2009 Proclaimed “Woman Entrepreneur of the Year” by the Chamber of Skilled Crafts and Entrepreneurship of Montenegro

Relja Erakovic was born in 1975 in Titograd. He is a graduated film and television cameraman. He worked as a camera assistant on three films; independently he filmed short, promotional, student, documentary films as well as music and commercial videos. As a cameraman and director he filmed six documentaries. He is into art photography. He had three solo exhibitions and has participated in over twenty group exhibitions at home and abroad. Since 2006 he has been engaged in teaching at the Faculty of Dramatic Arts in Cetinje as a part-time teaching associate and part-time lecturer.

www.csucg.co.me Jelena Đukanović i Relja Eraković Galerija Centar Njegoševa 2, Podgoricazdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić Kustoskinja Nikolina Zuber Tekst Nataša Nikčević Prevod na engleski Darja Marija Vuletić Fotografija Relja Eraković

Izrada fotografije Dejan Kalezić Izrada modela Mirjana Žugić Make up Artist Emina Zečević Dizajn svjetla Zoran Š. Kovačević Modeli Marija Stojanovski, Katarina Marković, Majda Aleksić, Radmila Lalović, Jovana Krivokapić, Emilija Marković

Best Boys Matija i Vasilije Vujović Sardanik na prijektu meteorolog Branko Micev Podrška Projektu Opština Nikšić Tehnička realizacija izložbe Novica Vuković, Sava Radević, Rajko Raičević

Tiraž 150 Štampa DPC, Podgorica decembar 2015