Shapes of Things Before My Eyes
Početkom dvadeset i prvog veka, državni aparati, vojska i privatne kompanije započinju učestalu primenu robota u svrhe spašavanja, kontrole i ciljanog ubijanja. Počev od uklanjanja granata nakon rata u Jugoslaviji i prvih vojnih primena u Iraku i Avganistanu, danas je njihova globalna primena u svim poljima postala masovna. Savremena tehnološka dostignuc�?a omoguc�?ila su ovim mašinama samostalno kretanje u nepoznatom okruženju, obavljaje kompleksnih zadataka, samoodržavanje i donošenje odluka sa visokim stepenom autonomije. Video je snimljen očima robota za spašavanje “Vovbagera”, razvijenog na odeljenju robotike Tehničkog univerziteta u Gracu. Nazvano po čuvenom, besmrtnom i arogantnom karakteru Daglas Adamovog “Autostoperskog vodiča kroz galaksiju”, ovo bespilotno vozilo osvojilo je nekoliko međunarodnih nagrada u katergoriji autonomnih spasilačkih robota. Za potrebe video rada, on se kretao kroz depo Prirodnjačkog muzeja, bogatog arhiva artefakata prirode starog više od 200 godina. Ova kolekcija je kako laboratorija u kojoj zajedno rade restauratori i istraživači, tako i potvrda naučne vizije modernog društva kroz stalan proces konstrukcija slika prirode. Sa svim svojim senzorima (elektromagnetnim, hemijskim, gasnim, temperaturnim), najrazličitijim kamerama (širokougaonim, nišanim, 3D, infracrvenim, noc�?nim) i laserskim skenerima, robot otkriva, uči, snima i definiše prostor svog delovanja. Mašina bez ljudi i prostor bez života su u konstantnom sukobu sa apokaliptičnom slikom ljudske konstrukcije sveta. 4-kanalni video, u boji (HD), sound, 4-track (stereo), 37 min, 2017 Kamera: Robot za spašavanje Vovbager, Staša Tomic�? 3D kartografija: Robot za spašavanje Vovbager, Matias Ruter Mašinski vid: Robot za spašavanje Vovbager, Horst Poseger Operatori robota: Mihael Stradner, Clemens Mulbacher Montaža: Studio Staša Tomic�? Dizajn zvuka: Jan Nemeček Osoba sa prepariranom životinjom: Mihael Niki Knop U saradnji sa Prirodjnačkim muzejom, Univerzalni muzej Joanneum, Grac; Institutom za softversku tehnologiju, Institutom za računarsku grafiku i vid i Institutom za savremenu umetnost, Tehničkog Univerziteta u Gracu. Koprodukcija: Muzej savremene umetnosti Beograd. Since the early twenty-first century, governments, military or private companies have made frequently use of rescue, surveillance and target technologies. Starting with the removal of grenades in Bosnia and first use in Iraq and Afghanistan, massive and global implementation is growing rapidly today. Current technological developments made these machines able to navigate in their surroundings, to perform tasks, to behave in a certain way, to self-maintain and to take decisions with a high degree of autonomy. The video was filmed through the eyes of a rescue robot, �Wowbagger� developed at the robotic department at the Graz University of Technology. Named after the famous, immortal and arrogant character of Douglas Adam�s The Hitchhiker�s Guide to the Galaxy, the unmanned vehicle won several international rescue robotics prizes. For this video, it travelled (semi-)autonomously through the depot of the Natural History Museum, more than 200 years-old bountiful archive of artefacts from nature. This collection is both a laboratory in which restorers and researchers work together and a testament to the scientific vision of modern society as a constant process of constructing images of nature. With all its sensors (electromagnetic, chemical, gas, temperature), various cameras (wide-angel, zoom, 3D, infrared, night vision) and laser scanners, the robot reveals, learns, records and defines the space of its actions. A machine without humans and a space without life are a constant confrontation with the apocalyptic image of the human construction of the world. 4-channel video, colour (HD), sound, 4-track (stereo), 37 min, 2017 Camera: Rescue robot Wowbagger, Sta�a Tomi� 3D mapping: Rescue robot Wowbagger, Matthias R�ther Machine vision: Rescue robot Wowbagger, Horst Possegger Robotic machine operators: Michael Stradner, Clemens M�hlbacher Editing: Studio Sta�a Tomi� Sound design: Jan Neme�ek Person with mounted animal: Michael C. Niki Knopp In collaboration with Natural History Museum, Universalmuseum Joanneum, Graz; Institute for Software Technology, Institute for Computer Graphics and Vision and Institute for Contemporary Art, Graz University of Technology. Co-produced by the Museum of Contemporary Art Belgrade. Photo: UMJ / Dejan Markovi�

Arena
Naučni model „vanredne situacije”, kao simulacije trening centra za autonomne mašine sačinjenog od drvenih ploča, plastičnih buradi, dečijih lutaka, cigala, pisanih znakova i svetlećih objekata, formira osnovnu strukturu izložbenog prostora. Ovim didaktitčkim alatom mašine uče da razumeju svet pre nego što kao gotovi proizvodi namenske i vojne industrije napuste sigurnost razvojnih hala. Site specific instalacija, 2017 Architektonksi dizajn: Marco Wenegger Foto: MSU Belgrade The scientific model of �a state of exception� as a training centre for autonomous machines, composed of wooden boards, plastic barrels, children�s dolls, bricks, hand-written signs and lighting objects, spatially structures the exhibition space. Didactic tools are geared here towards preparing the machines for the real world before leaving the safe zones of laboratories, universities and �discrete� surroundings of military industry. Architecture design: Marco Wenegger Photo: MSU Belgrade

San letnje noći
Autobiografski roman pod nazivom „Zašto sam postao vo” Stanoja Ćebića, metalostrugara iz sela Jašunja kod Valjeva, objavljen je 1981. godine. Štampan u tri izdanja i ukupnom tiražu od 18.000 primeraka, bio je dostupan širokom krugu čitalaca, kako intelektualaca, tako i fabričkih radnika. Ova dokumentarna proza opisuje traganje „malog čoveka” za komunističkom utopijom i konsekventnom borbom za njenu realizaciju. Nakon Ćebićeve smrti 2011. godine ostao je samo jedan kožni kofer, sa sadržajem koji arhivira njegov životni koncept opisan u knjigama, snimljen u filmu i ispričan u radio drami. Neuklapanje u društvene norme i jaka moralna načela predstavljala su projekcionu fleku za novinare, pisce, filmske režisere, vizuelne umetnike i muzičare. Fabrički radnik kao umetnik ili umetnik kao fabrički radnik? Upravo napuštanje očekivanih društvenih okvira činlo je delovanje ovog pojedinca političnim. Izložba realizovana u galeriji Remont, 2014 godine Privatni archive Stanoja Ćebića, 1969-2010 Crno bela fotografija, 80×80 cm, 1971 Drugarica Johanna, Mileta Mijatović, sito štampa, pamuk, 2011 Sito štampa Fancin Ceger, video 15’24”, 2011 Missing Labor, PVC print, 2014 San letnje noći, 3D HD video, 4’58”, 2014 Foto: Milan Kralj An autobiographical novel titled �Why I became an Ox� by metalworker Stanoje �ebi� from the village Ja�unja near Valjevo was published in 1981. Printed in three editions and with a circulation of 18000 copies, it was made available to a wide readership ranging from intellectuals to factory workers. This documentary prose recounts the quest of a �little man� for a communist utopia and the consequent struggle for its realization. Following �ebi�s death in 2011 the only remaining object was a brown leather suitcase, its content stating a life vision described in his prose text, captured in a film and in a radio drama. Over the years, his questioning of social norms and his strong moral principles became an inspiration for journalists, writers, film directors, visual artists and musicians. Was �ebi� a factory worker acting as an artist or an artist acting as a factory worker? Exhibiting �ebi�s personal archive, his subversive abandonment of the expected social frameworks is highlighted in its potential to transform individual actions into political ones. The exhibition 'A Midsummer Night�s Dream' took place at the Remont Gallery in October 2014: Stanoje �ebi�s private archive, 1969-2010 Black/white photograph, 80�80 cm, 1971 Drugarica Johanna, Mileta Mijatovi�, silk print on cotton, 2011 Fancin Ceger�s silk print action, Video 15�24�, 2011 "A Midsummer Night�s Dream", HD Stereoscopic video, 4�58�, 2014 Light box, photo, 13x10cm, 2014 'Missing Labor', 11 PVC digital prints, dimensions variable, 2014 Photo: Milan Kralj