2014. Baden, Austria

Austrian-Serbian artists exchange, part 2


Producer: Danube dialogues – Cooperation extended

Place: “Haus der Kunst”, Baden, Austria

Exhibition title: “235 kms / 100 years – Serbian and Austrian art today”, part two

Curated by Maja Erdeljanin

Group exhibition of Serbian Artists: Korina Gubik, Maja Erdeljanin, Željana Jurković, Radmila Matejević Janković, Andrea Palašti, Jelena Sredanović, Vidoje Tucović, Gala Čaki, Lea Vidaković and Miloš Vujanović.



235 kms / 100 years – Serbian and Austrian Art Today

235 kilometres from the Austrian to the Serbian border, one hundred years from the outbreak of the Great War, three exhibitions in two countries, twelve Austrian and fourteen Serbian artists. And art today…

In the same hundred years, visual art in both countries has emerged from the confines of traditional media and materials, indeed from the material itself, having long since opened up to the endless possibilities of artistic exploration and expression, while the Internet and present-day life have made distance and border crossings relative. The title of this project for an exchange of artists from both countries prompts us to ask ourselves: how far are we really from one another, or how near? Not just physically, but mentally? In these exhibitions we attempted to hint at answers for one other. Creative thinking, after all, permeates all areas equally, just as it did a hundred years ago, and those who are ready to make use of it are actively engaged in it, always and everywhere. In Serbia too, despite the near-permanent state of crisis, artists work on wide ranges of interests and expression. Fourteen people are not enough to represent the full artistic situation of any country, but each exhibition, including this one with the resounding name proposed by our Austrian counterparts, inevitably reflects the personal view of the curators and the limited number of those taking part. However, these exhibitions were not conceived as an ultimate event or a response to the question, but as a first step towards cooperation that would lead to further exchanges of ideas and communication.

To represent Serbia in Austria, fourteen artists were chosen whose idea is to shift the perception of the bystander, whether by the picture’s artistic and emotional charge, intuited long before it can be read analytically, or by the picture as object, whose form and purpose can change depending on external factors (the place, the light, the public…); the picture as a sum of coded symbols ready to be deciphered, or the observer’s internal image of himself, rendered through objects and moving images.

The exhibition in Baden bei Wien was arranged in three parts. The title of the first, “In the Space of a Picture”, paraphrases the name of a contribution by one of the artists and brings together works which seem to be striving to burst out of their physical context, not only in form and composition, but because of the visible emotional charge they send out. All four artists have a traditional understanding of the picture and the visual arts, while rising to meet the challenges of modern technical advances. They abstract the material world, reducing their perception of nature to two-dimensional surfaces. The artists’ energy is reflected equally in every segment of the compositions, and regardless of whether they are abstract or simply an abstraction of reality, we can easily imagine how they cover all the available space with the same handwriting, pulling the observer into their energy field.

Vidoje Tucović, a painter of numerous murals, is fascinated by the flaking away of layers of paint from walls, the palimpsest of geological layers of earth that compress time and place into one, and by paint as matter. He does not consider a painting merely as a mute object in a room, but as the subject that actively organises its structure. A polyptych “In Total Picture”, painted in bitumen on thin paper, dominates the space not just because of its size (3 x 4 metres – it takes up a whole wall), but because of the controlled ease with which the artist layers the painted surfaces one over the other. Gala Čaki explores the nature of relationships with people close to her, augmenting their facial dimensions to the size of a human figure, highlighting her emotional attitude towards the “portrayed”. Facial features are broken down into groups of lines, which then become separate gestures on the surface of the painting. Since she delineates character through personal feeling ratherthan form, these portraits, one male, one female (“He” and “Mother”), could just as easily represent the surface of the Earth or another planet. In “Clouds and reflections”, Jelena Sredanović uses traditional graphic techniques, frequently combining them with contemporary technology. The achievements offered by the past and the modern age are condensed in a classic technique of wood-cuts on thin paper, using photography and digital print to show clouds from the point of view of an air passenger. Although Radmila Matejević Janković uses the same broad plan, she returns the bystander’s gaze to the ground. In contrast to the lightness and limpidity of Sredanović’s graphics, Matejević Janković intersects with lines her thick, impasta-esque pastuoznih? coats in shades of brown, leading us to associate her paintings with a glimpse of the Earth from the air. Their essentially reduced dimensions leave the visitor with the impression that he is surveying the dry, worked Earth from a great distance, or over-populated human habitats, dense reliefs in which numberless human destinies, unseen by us, are submerged.

It is, in fact, the destiny of individuals, of a group of people finding their place among others and in accordance with them, that forms the second part of the exhibition: “Identities”, represented by three women artists who express themselves through media that are not painterly. Lea Vidaković exhibits a puppet animation, “Three sisters”, a three-channel video installation inspired by old Dutch masters. Her intimate revelations of domestic life speak of feelings of loss, or of longing for a dear one, for family members far away. The daily chores, sadness and melancholy, the quiet, yearning lives of young women contrast with the warm light, leading the observer to recognise in the slow passing of the scenes and the isolation of the protagonists, images close to his own life, or the life of someone dear to him. Željana Jurković occupies a physical space in this group. Across a mirror, she prints photographs from a family album (“Family Portraits”), leaving an empty space for the bystander to see the reflection of his own face and thus become part of family history. In another work, “False Gods”, she multiplies reproductions of an impersonal porcelain face, just as the consumer society constantly produces ever newer idols in unending pursuit of a unique feeling of individuality. Both her works question of the identity of the individual in belonging to a certain group, be it genetic, national, age or class. Andrea Palašti asks a similar question in her video “The Third Person”, exposing a group of young people to the eye of the video camera, while they wait expectantly for the taking of a photograph – the click of the stills camera. They assume the facial expressions and poses by which they wish to be recognised and acknowledged, deliberately, unconsciously or – usually – as decided by group rule or the dictates of the media. The artist patiently and ironically surveys the stiff smiles and serious gazes into the eye of the camera and waits for her models to speak for themselves, to say how they see themselves and how they wish to be seen.

To expose one’s personality to others is to come out of one’s own frame. From outside, we often see that the perception of others is quite different, perhaps more exact. To leave the context of a two-dimensional picture and allow external factors to complete the artist’s work is the theme of the exhibition’s third part: “Pictures in a Space”, at the Haus der Kunst in Baden. This is again composed of paintings, ones which actually have emerged into space. The painting has become transparent or is executed in relief, it is round, made up of different parts, an object to be manipulated, whose appearance changes depending on the light, presentation or public mood.

Miloš Vujanović alternates the square shape of a two-dimensional surface with circular reliefs on fibre board (“Bending the Heavens”). Abolishing the possibility of a picture having only one upper and one lower side, i.e. a single viewing angle, he shifts the observer’s perception by rotating the “picture”, adapting to the space. As the work turns, the light strikes the rounded, repetitive forms differently each time, creating new images. Korina Gubik also understands the picture as object, giving the visitor the opportunity of taking active part in its creation. Whether these are just two-dimensional surfaces of a rough, grey canvas or reduced to metal frames into which strokes/lines or specially prepared laths may be inserted, the only thing these “pictures” demand of the spectator is his own creativity. Deliberately rejecting any aspect of the visually pleasing, the artist captivates the public, giving it a role to play by asking: “Please make me a picture”. I too exhibited in this segment, showing works in a combination of techniques on glass from a cycle called “Color Therapy”. Because of their transparency, the pictures have two faces and hang in space, on a wall or window, or become sculptures on plinths. Here again it is the light that actually completes the picture. Depending on the time of day or type of lighting, the transparent colours gain or lose in intensity, courting the eye of the viewer and raising questions of the very nature of colours and their effect on us.

Physically separate from this part of the exhibition, the Kunstraum gallery which houses an artists’ association from the nearby town of Mödling, presented yet another group of four artists whose work shares a visually purified and reduced expression, where the motifs appear as recurring symbols or that paraphrase existing ones. Ideas accomplished in a controlled fashion direct the perception away from the intuitive, narrative or interactive and towards the language of mind and symbol. Spaces and their boundaries are both the motives and symbols of Pal Dečov, Nada Denić and Milan Jakšić. The endless, rolling fields of the plains, in which few apart from the artist find visual stimulation, are a living challenge to Pal Dečov. His visualisation of cultivated fields draw the viewer’s attention away from the geometric compositions of crops, cylindrical bales of hay and the short strokes and patterns of the vividly coloured layers of the various crops reaped from the fertile soil of Vojvodina. Abstracted surfaces of the flatlands frequently emerge from the rectangular frame of the picture or stretch out into long compositions, lending even more emphasis to the endlessness of the landscape. Besides a seeming control of gesture, and with no sign of a horizon or sky, by simple colour and format, Dečov manages to convey his vivid experience of the plain landscape. At first glance, the expressive works of Nada Denić also appear as a recurring pattern depicting the fields of the Pannonian Plain. She counterbalances the horizontal and upright forms with which she intentionally restricts her visual expression by gestural strokes concentrated around the skeleton of the composition, informing the viewer of her experience of untameable nature and man’s constantly renewed attempts to establish control over it. Milan Jakšić also proceeds from the idea of the plain, but in the straight line of its horizon and the narrow ribbons of cultivated crops he recognises the boundaries which string along, one after the other: the edge dividing earth and sky, one crop from another, one type of cultivation from the next, agricultural or societal, up to the borders between properties, people or countries. Proliferating them across the entire canvas, marking each in a different, bright hue, he puts the question to the viewer: is colour enough to make one border different from another, or are they all in fact the same?

As counterpoint to these messages and questions prompted by the geographical region from which the artist hails – though not a contradiction in artistic terms – come the paintings of Danijel Babić. His sphere of interest is principally human nature. In the reduced language of the comic strip and pop culture, the black line and clear coloured surfaces, he chooses symbols that provoke the stereotypes in an ironic way and point both to the sphere of action and the limitations of today’s mass culture. He examines its attitude towards the values of the international artistic heritage by quotation from familiar works of art history, depicting them as comic book heroes, or through pictograms; giant of the cinema, Alfred Hitchcock, is portrayed with op-art effects; the lost parameters of today’s society are indicated by a painting symbolically entitled “Labyrinth”. Thanks to our familiarity with the symbols he uses, he easily establishes communication with a broad swathe of the public, making his own work also akin to mass culture.

All fourteen artists produced these works in the recent years and decades, endeavouring to show to others their own perception of the world, to find their own mode of expression, but without intending it to be a step forward into something new in this or the next century, for it is possible that that is not its mission. The artists exhibited are not searching for the New and Future, but for their best, individual way, material and approach by recognising and depicting the Here and Now. Instead of stepping into the New, it is sometimes more important to take a step towards the Other, towards our fellows in other surroundings and countries, thus passing a border where the author will glance at his work with new eyes, while to those in direct contact with the public and our fellow-artists, new doors and new room for thought will open, where they may reflect on overcoming both small and great distances, times, borders and the centuries themselves.

Maja Erdeljanin

235 km / 100 godina – srpska i austrijska umetnost danas

235 km razdaljine od austrijske do srpske granice, sto godina od početka Prvog velikog rata, tri izložbe u dve države, dvanaest austrijskih i četrnaest srpskih umetnika. I umetnost danas…

U već pomenutih sto godina likovna umetnost je u obe države izašla iz okvira svojih klasičnih medija i materijala, pa i samog materijalnog, odavno je otvorila vrata nebrojenim mogućnostima umetničkog istraživanja i izražavanja. A internet i način života ralativizovao je razdaljine i granične prelaze. Pitajući se ovakvim nazivom projekta razmene umetnika iz dve države, koliko smo zaista daleko ili blizu jedni drugima, ne samo prostorno, već i duhom, pokušali smo ovim izložbama jedni drugima da damo naznake odgovora. Jer Kreativna misao, kao i pre sto godina, prožima sve prostore podjednako, a oni koji su radi da je upotrebe, uvek i svuda aktivno rade na tome. I u Srbiji, bez obzira na beskrajne krize, umetnici rade u širokom spektru interesovanja i izražavanja. Četrnaest umetnika nije dovoljno da predstave čitavo stanje na umetničkoj sceni bilo koje države, ali svaka izložba, pa i jedna ovako velikog naziva, predloženog od strane austrijskih kolega, neminovno sadrži lično viđenje kustosa, kao pojedinca i ograničen broj učesnika. Međutim, ove izložbe i nisu zamišljene kao konačan događaj i odgovor na postavljeno pitanje, već kao prvi korak u eventualnom uspostavljanju saradnje i dalje razmene ideja i komunikacije.

Za naše predstavljanje u Austriji, odabrano je četrnaest umetnika kojima je zajednička namera da slikom pomere percepciju posmatrača, bilo da je u pitanju likovni i emotivni naboj slike koji se intuitivno prepoznaje mnogo pre nego što se analitički iščita; ili slika kao objekat čiji oblik i namena mogu da se menjaju u zavisnosti od spoljnih faktora (prostor, svetlo, publika..); slika kao zbir kodiranih simbola spremnih za dešifrovanje ili unutrašnja slika koju posmatrač ima o sebi, prikazana kroz objekte i pokretne slike.

Izložba u Badenu podeljena je u tri celine. Naslov prve „U prostoru slike“ parafraza je naslova rada jednog od učesnika ove izložbe, a okuplja radove koji nastoje prividno da izađu iz svog fizičkog okvira ne samo formom i kompozicijom, već i vidljivim emocionalnim nabojem koji iz sebe odašilju u prostor. Sva četiri autora tradicionalno shvataju sliku i likovnost, istovremeno prihvatajući izazove tehničkih dostignuća savremenog sveta. Oni apstrahuju pojavni svet, svodeći svoju percepciju prirode u dvodimenzionalne površine. Kompozicije reflektuju energiju autora podjednako u svakom segmentu slike, i bilo da su apstraktne ili samo apstrahovane realnosti, lako se mogu zamisliti kako istim rukopisom prekrivaju i čitavu prostoriju, uvodeći tako posmatrača u svoje energetsko polje.

Vidoje Tucović, slikar brojnih murala, fasciniran je propadanjem bojenih slojeva zidova, palimpsestnim geološkim slojevima zemlje, koji sažimaju vreme i mesto u jedno, i bojom kao materijom. Autor sliku ne posmatra samo kao nemi objekat u prostoru, već kao subjekat koji aktivno organizuje njegovu strukturu. Izloženi  poliptih „U totalu slike“, slikan bitumenom na tankom papiru, dominira prostorijom ne samo zbog dimenzije od 3 x 4 metra kojom zauzima čitav zid, već i lakoćom kojom autor kontrolisano uslojava bojene površine jednu preko druge. Gala Čaki istražuje prirodu odnosa sa sebi bliskim ljudima, uvećavajući dimenzije njihovih lica do veličine ljudske figure, naglašavajući time svoj emotivni odnos prema „portretisanima“. Crte lica razlaže u grupe linija, koje zatim postaju zasebni gestovi na površini slike. Kako ne opisujuje karaktere oblikom već ličnim osećanjem, tako bi ovi portreti, jedan muški i jedan ženski („On“ i „Majka“), mogli jednako predstavljati i površinu zemlje ili neke druge planete. Jelena Sredanović u svom radu „Oblaci i refleksije“ polazi od tradicionalnih grafičkih tehnika i često ih kombinuje sa savremenom tehnologijom. Dostignuća koja nude prošlost i moderno doba sažeta su u klasičnoj tehnici drvoreza na tankom papiru, korišćenju fotografije i digitalnog printa kao polazišta za prikaz oblaka iz vizure putnika u avionu. Iako realistički tretiran i ovaj meditativni motiv se može zamislititi kako se istovetan prostire u svim pravcima van okvira rada. Isti taj široki plan koristi i Radmila Matejević Janković, ali ona pogled posmatrača vraća na tle. A nasuprot prozračnosti i lakoći kojima odišu grafike Jelene Sredanović, svoje slike pastuoznih gustih nanosa boja u smeđoj gami, Radmila Matejević Janković proseca linijama, navodeći nas na asocijacije o pogledu na zemlju iz vazduha. Bitno umanjenih dimenzija, posetiocu ostavljaju utisak da iz velike daljine, posmatraju suvu, izrađenu zemlju, ili prenaseljena ljudska staništa, zgusnute reljefne celine u koje se utapaju brojne nama nevidljive ljudske sudbine.

I upravo sudbine pojedinaca, grupe ljudi, određivanje svog mesta među drugima i prema njima, drugi je deo izložbe koji nosi naziv „Identiteti“, a predstavlja tri autorke koje se izražavaju medijima koji nisu slikarski. Lea Vidaković izlaže lutka-animaciju, „Tri sestre“, trokanalnu video instalaciju inspirisanu starim holandskim slikama, Kroz intimne prikaze domaćinstava, bavi se osećanjem gubitka ili nedostajanja drage osobe i udaljenih članova porodice. Svakodnevni poslovi, tuga i melanholija, čežnjivi i tihi životi mladih žena u kontrastu sa toplim svetlom, navode posmatrača da sporost prizora i usamljenost akterki prepozna kao sliku blisku sopstvenom životu ili životu nekog njemu dragog. Željana Jurković zauzima fizički prostor ove grupe radova. Ona štampa preko ogledala fotografije iz porodičnog albuma („Porodični portreti“) na kojima je ostavljen prazan reflektujući prostor i za posmatrača da ugleda svoj lik i tako postane deo porodične istorije. Drugim radom („Lažni bogovi“) ona umnožava jedno bezlično porcelansko lice, kao što to i samo potrošačko društvo beskrajno čini proizvodeći stalno nove idole, a sve u ime osvajanja jedinstvenog osećanja individualnosti. Sa oba rada ona postavlja pitanje određivanja identiteta pojedinca pripadanjem određenoj grupi, genetski, nacionalno, generacijski, klasno… Svojim video radom „Treća lica“ Andrea Palašti pokreće slično pitanje, izlažući grupe mladih ljudi oku video kamere, dok oni očekuju trenutak nastanka fotografije, tj. okidanja foto aparata. Oni nameštaju izraz lica i pozu po kojoj žele da ih prepoznaju i priznaju, bilo da je taj željeni izraz duboko promišljen ili nesvestan ili što je i najčešće, određen zakonom grupe i diktatom medija. Autorka strpljivo i sa ironijom posmatra ukočene osmehe i ozbiljne poglede u oko kamere i čeka da njeni modeli ispričaju sami kako vide sebe i na koji način žele da budu viđeni.

Izlaganje svoje ličnosti drugima, je i izlazak iz sopstvenih okvira. A spolja često uvidimo da je percepcija drugih sasvim drugačija, možda i tačnija. Izlaženje iz okvira dve dimenzije slike i dopuštanje spoljnim faktorima da dovršavaju autorsko delo tema je treće celine izložbe u Haus derKunst u Badenu, pod nazivom „Slike u prostoru“. Ovu celinu ponovo čine slike, ali one koje su i zaista izašle u prostor. Slika je postala tranparentna ili reljefna, okrugla, sastavljena iz delova, objekat kojim se manipuliše i koji svoju pojavnost menja u zavisnosti od svetla, postavke ili raspoloženja publike.

Miloš Vujanović zamenjuje kvadratni oblik dvodimenzionalne površine sa kružnim reljefima na medijapanu („Savijanje nebesa“). Poništavajući mogućnost da slika ima samo jednu gornju i jednu donju stranicu, tj, samo jedan ugao gledanja, on menja percepciju posmatrača tako što „slike“ rotira prilagođavajući se prostoru. Okretanjem rada i svetlo se svaki put drugačije prelama preko zaobljenih, repetirajućih formi, stvarajući nove slike. Korina Gubik sliku takođe shvata kao objekat, dajući pri tom priliku i posetiocu da aktivno učestvuje u njenom stvaranju. Bilo da su samo dvodimenzionalne površine grubog sivog platna ili da su svedene na metalne okvire u koje se mogu ubaciti potezi/linije, odnosno specijalno za tu priliku pripremljene letve, ove „slike“ od posmatrača zahtevaju jedino njegovu sopstvaenu kreativnost. Svesno odbacujući svaki aspekt dopadljivog u vizuelnom smislu, autorka osvaja publiku dajući joj ulogu aktera pitanjem „Molim Vas, napravi mi sliku“. Kao autor predstavila sam se i ja u ovoj celini, sa radovima kombinovane tehnike na staklu iz ciklusa „Color Therapy“. Slike zbog svoje transparentnosti imaju dva lica, te vise u prostoru, na zidu, prozoru ili čine skulpture na postamentima. I ovde je svetlo medij koji zapravo završava sliku. U zavisnosti od doba dana ili vrste osvetljenja, same transparentne boje dobijaju odnosno gube na intezitetu, udvaraju se posmatračevom oku postavljajući pitanja o samoj prirodi boja i njihovom uticaju na nas.

Fizički odvojena od ovog dela izložbe, u galeriji Kunstraum udruženja umetnika obližnjeg grada Medlinga, predstavljena je još jedna grupa od četiri autora čiji rad povezuje likovno pročišćen i sveden izraz, gde se likovni motivi pojavljuju kao simboli koji se ponavljaju ili parafraziraju neke već postojeće. Kontrolisano sprovedene ideje ovde usmeravaju percepciju sa intuitivnog, narativog ili interaktivnog aspekta likovnog dela na jezik svesti i simbola. Prostori i njihove međe motivi su, ali i simboli koje u svojim radovima koriste Pal Dečov, Nada Denić i Milan Jakšić. Beskrajna ravničarska polja u kojima malo ko osim umetnika nalazi vizuelno uzbuđenje, predstavljaju za Pala Dečova životni izazov. Njegovo viđenje kultivisanih polja posmatraču skreće pažnju na geometrijske kompozicije useva, cilindrične bale sena i kratkim potezima i šablonima živo bojene slojeve raznih kultura požnjevenih sa plodnih vojvođanskih polja. Apstrahovane površine ravnice često izlaze iz pravougaonih okvira slike ili se razvlače u duge kompozicije, time još više naglašavajući beskrajnost ravnice. I pored prividne kontrolisanosti gesta, a bez ijedne naznake prisustva horizonta ili neba, samo bojom i formatom slike, Dečov uspeva da prenese živ doživljaj koji ima pred prizorom ravnice. Na prvi pogled ekspresivni radovi Nade Denić, takođe se pojavljuju kao šema koja se ponavlja prikazujući polja panonske nizije. Horizontalne i uspravne forme kojima svesno ograničava svoj vizuelni iskaz, ona nadoknađuje gestualnim potezima koji se koncentrišu oko kostura kompozicije i time posmatraču saopštava svoj doživljaj neukrotive prirode i kontrole koju čovek pokušava uvek iznova nad njom da uspostavi. Milan Jakšić u svojim radovima takođe polazi od ideje ravnice, ali u njenoj pravoj liniji horizonta ili u uskim trakama obrađenih useva on zapravo prepoznaje granice koje se nižu jedna za drugom. Granica između zemlje i neba, između jednog i drugog useva, jedne i druge kulture, poljoprivredne ili društvene, pa sve do granica među posedima, među ljudima ili državama. Umnožavajući ih u beskraj preko čitavog platna, beležeći svaku „granicu“ drugom živom bojom, on postavlja posmatraču pitanje da li je boja dovoljna da jednu granicu učini različitom od druge ili su sve zapravo iste.

Kao kontrapunkt ovim porukama i pitanjima koja pobuđuje geografsko područje sa kog autori dolaze, mada ne i kao suprotnost u likovnom smislu, pojavljuju se slike Danijela Babića. Njegovo polje interesovanja vezano je pre svega za ljudsku prirodu. Svedenim jezikom strip crteža i pop kulture, crnom linijom i čistim bojenim površinama, on bira simbole kojima uz ironiju provocira stereotipe i ukazuje na polja delovanja i ograničenja današnje masovne kulture. Preispituje njen odnos prema vrednostima svetskog likovnog nasleđa kroz citate poznatih dela iz istorije umetnosti prikazujući ih kao strip junake, odnosno kroz piktograme; Alfreda Hičkoka, velikana svetske kinematografije portretiše uz efekte op-arta; ukazuje na izgubljene parametre današnjeg društva slikom simboličnog naziva „Labyrinth“. Zahvaljujući opšte poznatim simbolima koje koristi, lako uspostavlja komunikaciju sa širokim slojem publike čineći tako i svoj rad nalik delu masovne kulture.

Svih četrnaest autora su pomenute umetničke iskaze kreirali u proteklim godinama i decenijama uz nastojanje da svoju percepciju sveta prikažu drugima, da pronađu svoj lični likovni izraz, ali bez namere da on bude iskorak ka nečem novom u ovom ili narednom veku umetnosti, jer moguće je da to i nije njen zadatak. Ovde predstavljeni autori ne tragaju za Novim i Budućim, nego za individualnim najboljim načinom, materijalom i pristupom da prepoznaju i prikažu Ovde i Sada. Umesto u Novo, nekada je važnije napraviti iskorak ka Drugom, ka kolegama u drugim sredinama i državama, i tako preći granicu tamo gde će i sam pogled autora na svoje delo biti nov, a umetnicima u direktnom kontaktu sa publikom i kolegama se otvoriti neka nova vrata i novi prostori za razmišljanje o prevazilaženju malih i velikih prostranstava i vremena, granica i vekova.

Maja Erdeljanin