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
“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. 


Radoslav Tadić/ PARALELE/ Muzej Hercegovine Trebinje


Вечерас је, у оквиру манифестације Требињско културно љето, у Галерији Музеја Херцеговине Требиње, свечано отворена…

Posted by Muzej Hercegovine Trebinje on Friday, July 13, 2018

RE-conciliations / Mladen Miljanović / Historical Museum of BiH / Sarajevo / Bosnia and Herzegovina / 27.06.2018.


Artists: Lana Čmajčanin i Adela Jušić, Milena Michalski, Mladen Miljanović, Paul Coldwell, Sabina Tanović i Dario Kristić, Vladimir Miladinović, Ziyah Gafić
Curators: Paul Lowe and Elma Hašimbegović
MWRL 100mm intervention is research response to question how to reconciliate place and form. What can be an artist role in this constructive deconstruction of space transition and transformation? In this case it’s about very emblematic space of military barracks used in last 90’s war, before that by “Yugoslavian army”, and founded hundred years ago by “Austro-Hungaryan Empire”. So, at this place intervention is direct confrontation of space and society form of past function transformation. This work is opening a question how artistic interventions can reconciliate opposites into useful purpose of reality. Intervention is experiment that micro examples of this kind of methodology can be matrices for wider social transformation and reconciliations.On the contrary, the artist is a social subject whose actions are critical in reality, and as such, he or she assumes responsibility for it, which means his or her direct participation in the(therapeutic and healing) processes of its decontamination and (re)construction.
Art and Reconciliation is an innovative and collaborative inter-disciplinary research project involving King’s College London, the London School of Economics and the University of the Arts in London. [Project Team] and non-academic collaborators in its design, production and delivery, commissioning artists in a variety of media to create and develop practices and artefacts.
(Art & Reconciliation: Conflict, Culture and Community project)