AKTUELNO

ТЈЕЛОВИТОСТ / АРТ КЛУБ ПРОСТОР / Изложба радова студената 1. и 2. године Академије умјетности у Бањој Луци насталих у класи професора Леониле Марић на предмету Пластична анатомија / 22.11. у 19:00

визуал

Проучавање анатомске структуре људског тијела је предмет истраживања и интересовања многих умјетника кроз вјекове и познавање људског тијела је представљало предуслов бављења умјетношћу.
Симболика људског тијела је била и остала незамјењив мотив у историји сликарства.
Цртежи студената, настали у оквиру наставног процеса на предметима Пластична анатомија 1,2,3 и 4, поред уобичајених анатомских атласа, мишићног система човјека и костура, на живим моделима приказују анатомске законитости људског тијела у мировању и покрету. Овакав приступ је врло драгоцјен јер дефинише успостављање међусобне повезаности између пластичне анатомије и аналитичког цртања акта.
Одлике цртежа студената су изражене у видљивој индивидуалности цртачког рукописа, јединству цртежа, корелацији аналитичког и слободног цртачког мишљења. Приступ и материјали који су кориштени у реализацији омогућили су исказивање ликовне инвентивности и обухваћено је обједињавање анатомске законитости са креативним чином што са сигурношћу представља искорак у процесу истраживања пластичне анатомије.
                                                                                                                                                      мр Маја Додиг, редовни професор
 
УМЈЕТНИЧКИ САВЈЕТ:
мр Маја Додиг, редовни професор
мр Леонила Марић, ванредни професор
мр Борјана Мрђа, доцент

 

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Možda sam ja / Aleksandar Bajunović / Banski dvor / Salon Bana Svetislava Milosavljevića / srijeda 14.11. u 19:00

 

Aleksandar Bajunović, rodjen u Šapcu 24.11.1995. Osnovnu školu završio u Badovincima. Školu primenjenih umetnosti završava u Šapcu. Akademiju umjetnosti u Banjoj Luci upisuje 2014.g. smjer Slikarstvo u klasi Vese Sovilja. 2018. diplomira , iste godine upisuje master studije na istoj Akademiji u klasi Borjane Mrdja. Dobitnik je nagrade i plakete Banskog dvora za najbolji studentski rad iz oblasti Slikarstva 2018. godine.
Samostalne izložbe:
2015. ” San i stvarnost” Izlagački prostor mesne zajednice Badovinci
2017. “Portreti u dijagramu novog 
klasicizma” Centar za kulturu i obrazovanje, Laktaši.
2018. “Intima” Izložbeni salon Narodne skupštine Republike Srpske, Banja Luka.
2018. ” Portreti” Kulturni centar Udas, Banja luka.
2018. Izložba “Crteža i slika” Art galerija, gastro bar 20\44, Beograd.
Grupne izložbe:
2017: Izložba radova studenata slikarstva treće godine, Veliki izložbeni salon, KC Banski dvor, Banja luka.
2018.Izložba slika studenata 3 i 4 godine slikarstva,  Izložbeni salon Dečijeg pozorišta RS, Banja Luka.
2018. Grupna izložba “MI PUNKTUMI” Muzej savremene umjetnosti,RS, Banja Luka
Nagrade i pohvale:
2015. Pohvala Akademije umjetnosti Univerziteta u Banjoj Luci za najbolji studentski rad iz oblasti crteža
2016. Pohvala Akademije umjetnosti Univerziteta  u Banjoj Luci za najbolji rad iz oblasti slikarstva
2017. Nagrada Centra za kulturu i obrazovanje Laktaši za slikarstvo
2018. Nagrada KC, BANSKI DVOR za najbolji diplomski rad iz oblasti Slikarstvo

Reconciliations / Mladen Miljanović / The Exchange / Bush House King’s College London / The Knapp Gallery / Regent’s University London / 01.11.2018.

Mladen Miljanovic,MWRL100mm, installation, Regents Garden, London, photo Paul Lowe, 2018

Artists: Nicholas Cheeseman, Lana Čmajčanin and Adela Jušić, Paul Coldwell, Emma Elliott, Lola Frost, Ziyah Gafić, Melos Gashi, HaveIt!, Dejan Kaludjerović, Milena Michalski, Vladimir Miladinović, Nela Milić, Mladen Miljanović, Monica Petzal, Sabina Tanović and Dario Kristić, Artists from the Post-Conflict Research Center
Reconciliations is a two-part exhibition running in parallel at the Exchange, Bush House, King’s College London from 1 November-1 December 2018, and at the Knapp Gallery, Regent’s University London, from 1 November 2018-19 January 2019. The exhibitions are part of a major AHRC-funded project, ‘Art & Reconciliation: Conflict, Culture and Community’, led by King’s in collaboration with the University of the Arts London and the London School of Economics, and funded by the UK Arts and Humanities Research Council (AHRC) Partnership for Conflict Crime and Security Research Programme (PaCCS) and by the Global Challenges Research Fund (GCRF).
Conflict, Culture and Community
Since the early 1990s, billions of dollars have been poured into post-conflict settings to try to help war-torn and divided societies overcome the legacies of violence and authoritarian rule. Particular attention has been directed at projects that facilitate ‘reconciliation’ however there remains little understanding of what reconciliation is or how it can be achieved. If anything, what has been learnt from experiments in post-conflict peacebuilding is that attempts to ‘reconcile’ or ‘draw a line’ under the past have as much chance of solidifying and antagonising a sense of difference than in producing the conditions for enduring peace. What, then, is reconciliation? How can it be achieved? And how might we know when a reconciliation process has been successful? Is it even something that can or should be pursued?
Art&Reconciliation is a new multi-disciplinary research initiative, funded by the AHRC, which brings together King’s College London, UAL and LSE in order to explore these issues.   It is particularly interested in exploring the relationship between art and reconciliation. This is, in part, because art is increasingly seen as a ‘go to’ peacebuilding tool, which has the potential to overcome many of the problems that more ‘traditional’ responses to violence face. This, however, also remains an idea rooted in faith, which lacks sufficient evidence.  This project will explore the relationship between the arts and reconciliation, exploring how the arts may (or may not) contribute to facilitating reconciliation through commissions and research with artists working in post conflict settings.  We want to ask how might the arts challenge what it is that is imagined as ‘reconciliation’?
As a research initiative, Art & Reconciliation, does not assume there is a definitive position on what reconciliation is or means.  Neither do we assume that reconciliation is either desirable or achievable.  Rather we seek to explore how reconciliation is conceptualised and practiced by different communities, practitioners and academics and to question and explore the dissonance that emerges between perspectives.
 

B E G I N N I N G / International Festival of Action Art “Interactions” / Mladen Miljanović / Galeria OFF / Piotrków Trybunalski / Poland / 26.09.2018.

At The Edge, Zagreb, foto Damir Zizic, 2013

Artists: Jasmin Schaitl (Austria), Mladen Milijanović (Bosnia and Herzegovina), Diogo da Cruz (Portugal), Natalia Lisova (Ukraine), Ryo Ikeshiro (Japan), Dominika Borkowska (Poland), Izabela Chamczyk (Poland), Anna Kalwajtys (Poland), Karolina Kubik (Poland), Zofia Kuligowska (Poland), Julia Kurek (Poland), Paweł Kwaśniewski (Poland), Group Restaurant Europa (Poland).
End” and “Beginning” are the keywords locking the twenty-year cycle of the “Interactions” festival implemented in Piotrków Trybunalski in years 1999 to 2017. This is a sufficient period to recall a historical perspective subjected to archiving mechanisms, hypotheses and analyzes. It authorizes us to summaries from the point of view of initiators and project implementers. Based on them, we try to expunge a perspective of the future of “Interactions” festivals starting from 2019. We are dealing with a historical analysis, elements of reconstruction associated with the tradition of the French post Dadaism and fluxus and their contemporary consequences. We treat the 20th festival of Interactions as essential to the conscious closure of a particular cycle and at the same time to elaborate and open a new formula of the festival.
Hence, the two distinct stages of this year’s edition of the festival. The primary will present, from the perspective of twenty years, the French art community, which has a crucial contribution to the founding process of “Interactions”. It will be confronted with Polish contributors of the first festival. A significant element of the project will be the presentation of people, places, ideas, documents and facts associated with the first festival. The curator of this part of the festival, taking place according to tradition in the month of may, will be, like twenty years ago Ryszard Piegza, a Polish artist living in Paris. This stage will be an attempt to define from the perspective of twenty years the fact of starting “Interactions” and the forming of founding myth. It will constitute an attempt to answer the question of how the structure of the festival, participants and the countersign shape its later editions. Therefore, we will undertake a discussion on history, treating the output of Interactions as an exceedingly valuable capital for reflection on the art of action in the world.
The second part, planned for September 2018, is the implementation of the concept of “Beginning”, a new perspective that assumes a substantive reference to the meaning of the “outskirts” treated as a multileveled reality on a spatial, mental and technological scale. We want to raise the concept of outskirts in relation to the recognized and displayed center. The term “center – outskirts” was already evoked at the first festival as a reference both to the perception of performance art in the range of visual arts and to the location of the festival in Piotrków Trybunalski, a city outside the mainstream of cultural or scientific activities but endowed with a rich historical context. It is necessary to verify the basic features of these two opposing concepts in the face of technological, informational and mental changes that occurred after twenty years.
The first festival indicating and confirming the radiation of the great tradition of the center, which was Paris and its culture, exposed the idea of the center connected with the broadly peripheral ones. This year, we assume a vector reversal, focusing on outskirts locations and their impact in the center with its established status. Therefore, it is not only the location of the festival that is decisive, but also the selection of suitable artists from such countries as Lithuania, Bosnia and Herzegovina, Indonesia, China, Israel and Poland. In September, we will present Polish and foreign artists who treat the art of action as an intermedium connected with other disciplines of art such as drawing, sculpture, installation, film or increasingly evident in the space of ephemeral arts, choreography. Invited foreign artists have been selected as outstanding representatives of the live art, up till now absent at “Interactions”. Polish artists are also those with a acknowledged positions both in Poland and in the world, as well as a group of young and middle-aged artists who in the past made their debuts at “Interactions” and now successfully continue their work in the field of live art. This will create a chance for a bipolar generational and problem order.
 
Almost 20-years old tradition of the Interactions festival engages us in reflection, conclusions and summaries that allow closing one program cycle and simultaneously open a new project perspective.

Co-financed by the Ministry of Culture and National Heritage from the Culture Promotion Fund.
Co-financed by the City Council in Piotrków Trybunalski.

 

 

14 x 14 – Survey of the Danube Region. Individual Views. Photographic Positions. / Mladen Miljanović / Museum of Odessa Modern Art / 02.09.2018.

Happening Balkana, 4 days happening, Balkana lake, 2005

Artists:Pavel Brăila, Anetta Mona Chişa & Lucia Tkáčová, Alexandra Croitoru, István Csákány, Biljana Djurdjević, Igor Grubić, Pravdoliub Ivanov, Magdalena Jetelová, Mladen Miljanović, Julian Palacz, Lazar Pejović, Tadej Pogačar, Jürgen Böhm,  Ivan Bazak, Irina Ozarinskaya, Nikolay Karabinovych
From the work “Happening Balkana” – Art as the means ofsublimation of the negative forms of history

Putting myself in a position of an artist as a moderator and a subject of emancipation who as his basic ground takes negative forms of history and uses art as a means of sublimation of those forms. Gathering that certain group of population which is the most sensible spot of social trauma caused by consequences of the war in BiH. And that are people with invalidity coming from all three ethnic groups, who have missing body parts from fighting one another in that war.
This happening gathered 12 participants and lasted 4 days. Participants dealt with creative works and 80% of them are people with missing body parts lost during the war. On that happening around 20 pictures and sculptures was created. Most of the participants never went to art school and their creativity is mostly product of discharging of the psychical energy though the work as a sublimate object. Knowing that their works will be publicly presented and that this gathering has connections and similarities to art colonies of higher rate of cultural events, has contributed to decreasing of the tensions caused by yesterdays trauma caused by their enemies. Neurosis and excitation has now occurred for the proving of their personal creative abilities and their public presentation. And this whole time and space event had as a goal a quest to turn the attention from social/ethnic differences or to ironically play with them for a while.
The dose of the utilitarism within art and it’s pluralistic intention to do an interactive relation of the artist and the viewers, in this case, characterized as sublimating negative forms of the past and society through art.

Lake “Balkana”, Bosnia and Herzegovina, July 2005

Notes on the Beginning of the Short 20th Century / Mladen Miljanović /Artist House / Tel Aviv / 30.08.2018.

Between Lines, performance, Motorenhalle Dresden, photo Dragan Slunjski 2014 small

Artists:Simone Bader, Nin Brudermann,  Eduard Constantin,  Frank Eckhardt, Thomas Galler,  Karen Geyer,  Anna Jermolaewa,  Ruppe Kosellek,  Martin Krenn,   Jérôme Leuba,   Mladen Miljanović,  Olga Alia Krulišová & Jana Pavlišová,  Beate Passow, Jo Preußler & Axel Töpfer, Deborah Sengl, Belle Shafir,  Joachim Seinfeld, Zvi Tolkovsky,  Martina Wolf, Arye Wachsmuth
Curated by Dr. Andrea Domesle and Frank Eckhardt
artisthouse.co.il  
“Notes on the Beginning of the Short 20th Century” aims to show the historical traces of the First World War in the present, and reflects on our contemporary approach to them. What did that time mean then, what do those long past events mean to us today? What is behind current opinion, and elicits contemporary artistic engagement? How and where is the historical impact tangible in artworks? What are the intentions and the visual politics behind different forms of engagement with the past? 
The exhibition pursues the extent to which it is possible for contemporary art——between construct, reference and depiction——to expand the cultural memory, to correct or even contribute to finding the historical facts. At the same time, the exponents show altered rather than socially compliant images of history, highlighting differences between national narratives about the war and the distinct cultures of commemorating it.  
 
Until now, around 45 artists from countries that were involved in the most varied ways in   ‘the great seminal catastrophe of this century’ have participated and reflected upon its present-day influence in their works. The result is a polyphony of historical interpretations, of individual and national attitudes. Many of the artists created new works specially for this exhibition and in some cases, major installations. 
This touring exhibition accompanies the commemorative years stretching from 2014-2018. Therefore the exhibition itself changes in focus as the tour continues, reflecting for example on the initial war enthusiasm as well as on the disaster and revolutions at the end. From venue to venue the visual impact of the touring exhibition is added to by raising new questions, incorporating new artworks and artists and specific national themes. 
The exhibition in Tel Aviv is supported by:
Austrian Cultural Forum Tel Aviv
ifa – Institut für Auslandsbeziehungen (Institute for Foreign Relations)
Swiss Arts Council Pro Helvetia
In collaboration with: 
Riesa efau – Motorenhalle (Motor Hall), Dresden
zollfrei (duty-free), association for mediation and distribution of contemporary art, Basel
 

Регионална студентска сликарска колонија одржана у оквиру манифестације Кочићев збор / АУБЛ / 20.-25.08.2018.

 

 

                   Сликарска колонија је одржана у оквиру манифестације Кочићев збор у периоду од 20. до 25. августа 2018.године. У раду колоније су узели учешће студенти академија умјетности из Требиња, Ниша, Београда и Бањалуке:
Марко Бурлица, Милан Кујунџић, Нина Момчиловић, Невена Љубеновић, Филип Грковић, Драгана Гајић, Глорија Тубак и Александра Кузмановић. 
Изложба радова насталих на колонији одржаће се сљедеће године по завршетку сљедеће колоније.