Beskrajne slike, definisani mišići - Indefinite Images, Defined Muscles (2015)
izložbena verzija/ exhibition version: https://vimeo.com/155749432 mumok verzija/ mumok version: https://vimeo.com/143515715 SRB Beskrajne slike, definisani mišići Džim Dajn je stvorio Paletu zadovoljstva 1969. godine kao odu stvaralaštvu, kao sliku o slikarstvu. Dajn je pronašao iskorišćenu paletu, ili je naslikao iskorišćenu paletu na čistoj paleti, i potom je naslikao srce u sredini. Boje su živahne i različite. Godine 2015. klasa Konstance Rum, sa bečke Akademije likovnih umetnosti, bila je pozvana da prikaže videe i performanse inspirisane radom po izboru iz kolekcije muzeja mumok, u Beču. Skrining je bio u sklopu izložbe Napredni otrov. O feminističkoj aproprijaciji austrijskog nesvesnog. Ova pozivnica rezultovala je stvaranjem videa Beskrajne slike, definisani mišići. Video ima jasnu referencu da rad iz kolekcije, ali može da funkcioniše nezavisno od nje. BSDM sačinjavaju vizuelne i mentalne slike koje se ponekad oformljavaju u našim telima, kao posledica čitanja, gledanja i/ili življenja. Nasuprot jednostavnog optimizma Palete zadovoljstva, BSDM je višesmislen. Iako su boje slične, atmosferu je teže definisati. BSDM govori, između ostalog, o princezama i muškarcima, o fikciji i seksu, o zapadnom neo-kapitalističkom društvu, o žutoj i crvenoj, o poletu i raspadanju, bez ikakvog posebnog redosleda. ENG Indefinite Images, Defined Muscles Jim Dine has made the Pleasure Palette in 1969 as an ode to creation, as a painting about painting. He has taken a used palette, or painted a used palette on a clean palette, and then painted a heart in the middle. The colours are lively and diverse. In 2015, the students of Constanze Ruhm’s class, at the Academy of Fine Arts in Vienna, were invited to prepare videos and performances inspired by a work of choice from mumok’s collection, as part of the exhibition Prosperous Poison. On the Feminist Appropriation of the Austrian Unconscious. This invitation resulted in making of Indefinite Images, Defined Muscles. The work has a clear reference to the piece in the collection, but functions independently without it. IIDM is comprised of visual and mental images that sometimes form in our bodies, as aftermath of reading watching and/or living. Unlike the optimism of Pleasure Palette, IIDM is ambiguous. Even though it has embraced its colours, it has created a less definable atmosphere. IIDM is, among other things, about princesses and men, about fiction and sex, about western society, about yellows and reds, about verve and decay, without any particular order.

Betl-eks i Julija Zaharijević - Battle-ax w/ Julija Zaharijević (2015)
isečak/ excerpt: https://vimeo.com/145118586 ceo performans/ entire performance: https://www.youtube.com/watch?v=SBX1kY1Wxws SRB Betl-eks je Beatriks Karanin muzički solo projekat. Karan svira violu na polu-improvizovan način, koristeći nekoliko pedala kojima menja i amplificira zvuk. Sastavni deo njene muzike su disonanca, harmonija i buka, u sklopu sa različitim gudačkim tehnikama, koje svoje korene nalaze u kompozicijama od baroka pa sve do savremenog ekperimentalizma. Uz Betl-eks, pročitala sam tj. izvela tekst iz dva dela. Deo prvi: Godišnja doba govori o jeseni, proleću i letu, opisuje ljude, radnje, mirise i vrućinu. Deo drugi: Godine je o predadolescentima iz 2000-ih, o velikim osećanjima i o svakom izrečenom zauvek. Tekst čine nezavisni pasusi koji nalikuju kratkim opisnim odlomcima iz različitih priča, svaki poput zasebne slike/predstave. Tekst teži da izazove izvesna osećanja povezujući se sa narativima koje je publika prethodno izgradila, kao posledicu konzumiranja globalizovanog medijskog sadržaja. Ovaj projekat je deo mog istraživanja na kojem i dalje radim, kako i gde se tekst može primeniti u vizuelnoj umetnosti, i kako se vrste teksta menjaju u zavisnosti od toga da li je tekst izgovoren, napisan, otpevan ili izveden, odglumnjen. ENG Battle-ax is a solo music project by Beatrix Curran. Playing the viola in a semi-improvised manner, she amplifies and distorts the sound using a series of effect pedals. Dissonance, harmony and noise are implemented in addition to various string techniques that draw from composition spanning the baroque through to current experimentalism. Alongside Battle-ax I have performed a two-part text. Part one: Seasons is about autumn, spring and summer, it is describing people, actions, smells and the heat. Part two: Years is about preteens of 2000’s, about big feelings and forevers. The text is written is such a way that each paragraph is like an image, like a tiny descriptive excerpt from some other story. It aims to induce certain feelings, by connecting to narratives previously constructed in each visitor’s past, as a result of consuming globalized media content. This project is part of my ongoing research into how and where text can be implemented within the visual arts, and how types of text change depending on whether they are being spoken, written, sung or performed.

There Is No Time to Like the Present (2015)
SRB Umetnica Julija Cnoj i ja zajedno smo konstruisale predmet veličine standardnog stola za masažu, ali bez madraca, koga čine beli ram pokriven silikonom, koji podseća na nešto organsko, tj. ljudsko. Ram je tek pomalo skriven svetlim, belim, japanskim providnim papirom, nalikujući na paravan. Prozirnost, belina i praznina imaju za cilja da ceo predmet prevaziđe sopstvenu materijalnost i da zauzme negativan prostor oko sebe. Prazninu je teško očuvati, postoji nešto što je izoztavljeno; to nešto može dalje biti ispunjeno asocijacijama i pretpostavkama, koje svoje poreklo nalaze u mislima, iskustvima, sećanjima i tome sličnim sadržajima publike. Ova struktura bavi se time šta vidimo i šta možemo da vidimo. Razmišljanje na ovu temu nastavlja se kada se rad transformiše u displej za skrining program Pančevo Pictures, koji smo mi kustorisale. Skrining postaje čin pokazivanja, čin otkrivanja. Međutim, samo toliko da bi otvorio dalja pitanja, ona koja pozvane umetnice postavljaju u svojoj praksi, koja se tiču tema kao što su lični i globalizovani prostori; tekstualna produkcija i produkcija glasa u vizuelnoj umetnosti. Program Pančevo Pictures: The Fall of Communism od Hane Blek (Hannah Black) this had is cannot od Džeki Poloni (Jacky Poloni) Video Lare Aleksandre Konrad (Lara Alexandra Konrad) All My Love All My Love od Hane Blek (Hannah Black) ENG Artist Julia Znoj and I have together constructed an object that is the size of a standardized masseur table, however without a mattress. It consists only of a white frame topped with silicon, evoking a rather organic, human-like presence, only vaguely covered by light, white, Japanese see-through paper, thus evoking a folding-screen. Translucency, whiteness and emptiness are aiming for the object to go beyond its own materiality and to begin to take the negative space around itself. The emptiness is hard to preserve, there is something omitted; this can then be filled by associations and assumptions, originating in audience’s thoughts, experiences and memories or similar inputs, thus creating something I’d call emotional or mental space (term reoccurring in my previous works). It is engaging with what is seen and what could be seen. This topic is further addressed when the artwork is transformed into a display for a screening program, called Pančevo Pictures, which we have curated. The screening becomes an act of showing, of revelation. However, only to open up further questions, posed by the invited artists, which are concerning topics such as personal and globalized spaces; voice and text production within the visual arts. Pančevo Pictures Program: The Fall of Communism by Hannah Black this had is cannot by Jacky Poloni Lara Alexandra Konrad’s piece All My Love All My Love by Hannah Black