KAKO RAZUMETI NOVOSADSKU NOVU UMETNIČKU PRAKSU / HOW TO UNDERSTAND NEW ART PRACTICE

KAKO RAZUMETI NOVU UMETNIČKU PRAKSU

HOW TO UNDERSTAND NEW ART PRACTICE

(ilustrovani srpsko-engleski vodič za mlade
kroz novosadsku novu umetničku praksu)

 

Izdavač / Kreativno-edukativni centar Art boks
Petrovaradin − Novi Sad  http://artboxportal.com/izdavastvo


Za izdavača / Dragan Vojvodić
Urednica / Sandra Urban
Autorka projekta / Ljiljana Maletin Vojvodić
Tekstovi / Ljiljana Maletin Vojvodić, dr Dragana V. Todoreskov Recenzent / Slobodan Tišma
Stručni konsultant / Zoran Pantelić
Saradnici na projektu / dr Maja Rogač Stančević, Dragan Vojvodić Prevod na engleski jezik / Nebojša Pajić
Lektura na srpskom jeziku / Merima Aranitović
Dizajn / Dejan Ilić www.dejanilic.design
Ilustracije / Dejan Ilić i učenici Škole za dizajn „Bogdan Šuput”, Novi Sad Partner / Škola za dizajn „Bogdan Šuput” Novi Sad
Štampa / Artprint media DOO Novi Sad
Tiraž / 500

https://dejanilic.design/portfolio/howtounderstand/

Izdanje sufinansira Fondacija „Novi Sad — Evropska prestonica kulture”

Novi Sad 2021 ISBN-978-86-81808-01-6

CIP – Каталогизација у публикацији
Библиотеке Матице српске, Нови Сад

73/76(497.113 Novi Sad)

МАЛЕТИН Војводић, Љиљана
Kako razumeti novu umetničku praksu : ilustrovani srpsko-engleski vodič za mlade kroz novosadsku novu umetničku praksu / [Ljiljana Maletin Vojvodić, Dragana V. Todoreskov ; prevod na engleski jezik Nebojša Pajić]. – Novi Sad : Kreativno-edukativni centar Art boks, 2021 (Novi Sad : Artprint media). – 56, 56 str. : ilustr. ; 21 x 15 cm

Nasl. str. prištampanog engl. prevoda: How to understand new art practice. – Tekst i prevod štampani u međusobno obrnutom smeru. – Autorke: str. 56.

ISBN 978-86-81808-01-6

1. Тодоресков, Драгана В., 1975- [autor]
a) Ликовна уметност — Нови Сад

COBISS.SR-ID 54714121

PROMOCIJA I NAJAVA PUBLIKACIJE:

https://www.dnevnik.rs/kultura/knjiga/na-margini-novosadski-konceptualizam-umetnicko-delovane-izvan-sistema-05-12-2021

(tekst: Slađana Milačić, Dnevnik, Novi Sad, decembar 2021)

NA MARGINI – NOVOSADSKI KONCEPTUALIZAM

ALTERNATIVNO I KRITIČKO KULTURNO NASLEĐE

Nova umetnička praksa s kraja 60-ih i početkom 70-ih godina XX veka jedinstvena je pojava u kulturnoj istoriji Novog Sada. Ova alternativna umetnička praksa, zasnovana na ideji i konceptu, u kojoj se prožimaju vizuelna umetnost, književnost, lingvistika, lozo ja i sociologija, pred-

stavlja naše urbano i kritičko kulturno nasleđe. Mladi ljudi, okupljeni oko tadašnjih omladinskih institucija kulture u Novom Sadu, donose nov senzibilitet u vizuel- nim umetnostima, književnosti i lmu, suprotan vladajućim kulturnim modelima i vrednostima. Oni osvajaju nove prostore dijaloga i slobode, propituju društvenu i kulturnu stvarnost, udružuju se u grupe, izjednačavaju umetnost i život, napuštaju tradicionalne izlagačke prostore poput muzeja i galerija i razvijaju nove umet- ničke strategije koristeći netradicionalne umetničke izraze kao što su: performans, bodi-art, hepening, govor u prvom licu, umetnička akcija, izlaganje i intervencija u vangalerijskim urbanim prostorima, lend-art, vizuelna poezija, siromašna umetnost (arte povera) i sl.

PRIRUČNIK ZA MLADE

Prvu hronologiju zbivanja u vezi s novom umetničkom praksom objavio je njen učesnik Mirko Radojičić u katalogu izložbe Nova umjetnička praksa 1966–78 (Zagreb, 1978). Tom temom će se, kasnije, baviti likovni i književni teoretičari, kritičari i kustosi. Objavljene su značajne monografske

publikacije kao i pesničke antologije u kojima su zastupljeni autori nove umetničke prakse, o njihovom delu su pisani stručni radovi i doktorati, pojedinim umetnicima su priređena sabrana dela i retrospektivne izložbe, njihovi radovi (ili dokumentacija o njima) nalaze se u privatnim kolekcijama, zbirkama Muzeja savremene umetnosti Vojvodine u Novom Sadu, Muzeja savremene umetnosti u Beogradu, pojedina čak i u kolekciji muzeja MoMA u Njujorku.

I pored svega navedenog, značaj i uloga novosadske nove umetničke prakse, poznata je, uglavnom, uskim umetničkim i akademskim krugovima. Kako suština nove umetničke prakse nije usmerena isključivo na krajnji rezultat već na stvaralački proces i kako je ta umetnost bila marginalizovana između ostalog i zato što su se neki od aktera i sami protivili institucionalizaciji, istorizaciji, katalogizaciji i muzealizaciji sopstvene umetničke prakse, ona nije dovoljno poznata široj javnosti, pogotovo ne mladima. Takva umetnost se ne pominje u srednjoškolskim udžbenicima, o njoj se ne uči u školi. Zato je dvojezični ilustrovani priručnik Kako razumeti novu umetničku praksu namenjen mladima i široj publici s namerom da se oživi novosadski urbani umetnički identitet, mapira uloga Novog Sada kao jednog od centara nove umetničke prakse u kulturnom prostoru bivše Jugoslavije, stvori mogućnost za novo sagledavanje umetničke prošlosti i savremene umetnosti i uspostavi kontinuitet s neokonceptualnom i postkonceptualnom umetničkom praksom savremenih novosadskih autora.

UMETNOST „ZA POČETNIKE”

va knjiga nije analitička studija, ne valorizuje niti normira – ona je samo jedan od podsticaja i putokaza za kretanje kroz novosadsku novu umetničku praksu, njen jezik, aktivnosti pojedinaca i grupa. Pisana je u maniru knjiga „za početnike” sa željom da se približe ideje

i jezik netradicionalnih umetničkih medija, umetničkih dela koja nisu ulje na platnu, skulptura ili rimovani sonet. Još od 70-ih godina prošlog veka pa do danas, umetnost performansa nailazi na nipodaštavanje i osporavanje, uz najčešće tvrdnje da to uopšte nije umetnost. Novi vizuelni mediji sporo su prihvaćeni u institucionalnom sistemu u Srbiji, a razvijali su se upravo od eksperimenata umetnika i umetnica nove umetničke prakse. Mada su radom Vizuelnog studija Akademije umetnosti u Novom Sadu delimično ušli i u akademsko obrazovanje, trebalo je dosta vremena da muzejske institucije prihvate ovakav vid umetničke prakse. Zato se nadamo da će oživljavanje drugačije, alternativne umetnosti 60-ih i 70-ih godina XX veka doprineti i razumevanju savremene umetnosti, koja se često doživljava kao nerazumljiva, nedorečena ili čak neozbiljna.

ENGLISH TRANSLATION:

HOW TO UNDERSTAND NEW ARTISTIC PRACTICE

An illustrated English-Serbian guide through the Novi Sad New Artistic Practice for young people

INTRODUCTION

ALTERNATIVE AND CRITICAL CULTURAL HERITAGE

The New Artistic Practice, from the end of the 1960s and the early1970s, is a unique phenomenon in the cultural history of Novi Sad. This alternative artistic practice, founded on an idea and a concept that intertwines visual arts, literature, linguistics, philosophy and sociology represents our urban, subversive and critical cultural heritage. Students of literature, linguistics, art history, etc., gathered around the youth cultural institutions in Novi Sad of the time and brought a new sensibility in the visual arts, literature and film contrary to the ruling cultural models and values. They conquered new spaces of dialogue and freedom; questioned social and cultural reality; formed groups, equated art and life; abandoned traditional exhibition spaces such as museums and galleries and developed new artistic strategies using non-traditional artistic expressions such as: performance, body art, happening, first-person speech, artistic action, exhibitions and interventions in out-of-gallery urban spaces, land art, visual poetry, arte povera and the like.

A HANDBOOK FOR YOUNG PEOPLE

The first chronology and historical analysis of events related to the new artistic practice was published by its witness and participant, Mirko Radojičić, in the exhibition catalogue of the New Art Practice 1966−78 (Zagreb, 1978). Later on, art and literary theorists, critics and curators started working on this topic. Important monographic publications were also published as well as poetry anthologies in which the authors of the New Artistic Practice were represented. Papers and doctorates have been written about their work, and individual artists had their works collected and retrospective exhibitions were organized. Their pieces (or documentation about them) are now in private collections, collections of the Museum of Contemporary Art Vojvodina in Novi Sad, the Museum of Contemporary Art Belgrade, some can even be found in the collection of the MoMA Museum in New York.

Despite all of the above, the significance and role of the Novi Sad New Artistic Practice is familiar mainly to a small number of people from artistic and academic circles. Since the essence of the New Artistic Practice was not to be focused exclusively on the end result but rather on the creative process, and since this art was marginalized, among other things, because some of the actors themselves opposed the institutionalization, historicization, cataloguing and musealization of their own artistic practices, the general public, and especially young people did not have a chance to hear about it and get to know it better. Such art is not mentioned in high school textbooks. It is not taught in schools. That is why this bilingual illustrated manual is designed for young people and the general public, and our intention is to revive the Novi Sad urban artistic identity – to put Novi Sad on the map of the cultural space of former Yugoslavia as one of the centres of the New Artistic Practice. We also aim to create a new view of the artistic past and contemporary art and establish continuity with the neo-conceptual and post-conceptual artistic practice of contemporary authors from Novi Sad.

ART FOR “BEGINNERS”

This book is not an analytical study, it does not valorize or standardize – it is just one of the incentives and roadmaps for young people to move through the Novi Sad New Artistic Practice, its language, activities of individuals and groups. It was written as a “for beginners” book and the intention was to bring together the ideas and language of non-traditional art media, works of art that are not oils on canvas, sculptures or rhyming couplets. From the 1970s until today, the art of performance has been disparaged and challenged, the most common claims being that it is not art at all. New visual media have been slowly accepted in the institutional system in Serbia, and they have been developed through the experiments of artists of the New Artistic Practice. Although they did get mentioned in the academic education through the work of the Visual Studio of the Academy of Fine Arts in Novi Sad, it took a long time for museum institutions to accept this type of artistic practice. This is why we hope that the revival of the other, alternative art of the 1960s and 1970s will also lead to our understanding of contemporary art which is often perceived as incomprehensible, incomplete or even frivolous.

 

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