Multimedia Exhibition “The Position of Identity in Contemporary Reality”
SKCNS Fabrika, Bul. Despota Stefana 5, Novi SadNovember 29–30, 2024 Artists: Tijana Jevrić and László Gálos Vernissage: Friday, November 29, 19:00–21:00 Accompanying Program: Saturday, November 30, 11:00–13:00 Concept Authors: Tijana Jevrić and Miloš Fath AI Consultant: Miloš Fath The Position of Identity in Contemporary Reality is a multimedia and interdisciplinary exhibition with an accompanying program that, by combining analog photography, performance, artificial intelligence, video projection, and hologram, initiates a discourse on the position of identity in contemporary reality – from cultural mythologies on social media to the human body, its sensations, and beliefs in relation to them. The project aims to present the culmination of the human relationship to one’s own identity and ways of manipulating identity through social norms, latent desires, and collected digital information (digital footprint), which further enhance alienation from everything that makes us individuals. Stories, which are a key part of human experience and are today used as a weapon against individual truth, by subversion become a channel for communicating the message of this artistic project. The exhibition invites a reconsideration of the position of comfort and submission to prevailing cultural patterns and technological prostheses, unapologetically opening the field of possible freedom, and at the same time fascinates with media diversity. As Foucault would say, the boundaries of freedom are often formed through structures that promise security, but it is precisely in that space that traces of resistance and autonomy can be glimpsed. (Ksenija Marinković) As part of the accompanying program, a conversation will be held with the artists Tijana Jevrić, Miloš Fath, and László Gálos, along with a panel on the manipulation of identity in the digital sphere. The panel discussion will be moderated by Vladan Joler, founder of the SHARE Foundation, visual artist, researcher, and professor at the Department of New Media, Academy of Arts in Novi Sad, and Živa Stanojević, assistant professor in the Department of Audiovisual Media on the Animation and Visual Effects study program at the Academy of Arts in Novi Sad. Through the accompanying program, the exhibition space at Fabrika will, through the lens of historical context, philosophy, and practice, bring the audience closer to the human relationship with technology, the tools of identity manipulation, and the unconscious patterns that are largely present in our society. Tijana Jevrić is a multimedia artist working with site-specific and audiovisual installations, as well as holographic projections. She graduated in New Media Arts at the Academy of Arts in Novi Sad, where she received a scholarship and an award for the best work in new media art (2020). Her works have been exhibited in prestigious institutions such as the Museum of Contemporary Art of Vojvodina, the Cultural Center of Serbia in Paris, and the Ars Electronica Festival in Linz. She focuses on the influence of media culture on society and virtual space. László Gálos is a visual artist and performer who explores the relationship between subjective and objective reality, as well as the limits of perception and knowledge. Since 2015, he has been using wet plate collodion in his photography. His works have been shown in numerous solo and group exhibitions worldwide. In his performances, he investigates the interaction between the physical and virtual worlds. He is a recipient of the Creative Scholarship from the Hungarian National Cultural Fund and awards at the Nude Photography Biennale, and is a member of several artistic associations. Miloš Fath is an audiovisual and performance artist from Novi Sad with a multidisciplinary approach that combines visual art, sound, technology, cultural studies, and mysticism. His work focuses on storytelling and critical exploration, emphasizing the exchange of information and energy. He draws inspiration from cultural mythology, history, and identity. He holds a degree in Digital Media from the Academy of Arts in Novi Sad and has realized numerous projects and exhibitions. The multimedia exhibition was created by the organization BelArt Kontakt under the patronage of the City of Novi Sad (UNESCO Creative Cities).
Jovan Soldatović (RS)/Kramar (AT): RODE
26. XI – 16. XII 2024. November 26 – December 16, 2024 Curator: Svetlana Mladenov Jovan Soldatović (RS) / Alfred Kramar (AT): RODE The Kramar Collection White Storks in dialogue with the sculptures of Jovan Soldatović. The exhibition RODE explores the connection between two distinct artistic strategies: Kramar’s, oriented toward research in the field of photography, and Soldatović’s, realized through sculptural forms. The encounter of these two artistic concepts reveals a shared respect for elongated, elegant forms. Kramar expresses this in his photographs dedicated to storks. Whether he photographs the birds themselves or their symbols-objects devoted to them-he is fascinated by the vertically positioned form (a stork standing on one leg, with its long neck raised and extended). He finds motifs for his photographs in Austria, Croatia, Serbia, Romania, Moldova, Hungary, and Poland. The idea of verticality is a constant presence in the work of the sculptor Jovan Soldatović. It is prominently and consistently represented throughout the artist’s entire oeuvre, especially in his poetic and metaphorical approach to the theme of the human figure, and in his animalistic works, in the figure of the stork or heron. Galerija Bel Art presents this exhibition in collaboration with the Austrian Cultural Forum in Belgrade, commemorating the birthday of one of the most prominent artistic figures of the Yugoslav space in the second half of the 20th century, whose sculptures have left a lasting mark on the identity of Vojvodina and Novi Sad. Foto: Feđa Kiselički Jovan Soldatović (Čerević, Serbia, 1920 – Novi Sad, 2005) graduated from the Academy of Fine Arts in Belgrade in 1948, specializing in sculpture under Professor Toma Rosandić. From 1949 to 1953, he worked as an assistant to master sculptor Toma Rosandić in the State Master Workshop. He held his first solo exhibition at the Graphic Collective Gallery in Belgrade in 1952. In 1953, he returned to Novi Sad, where he participated in the founding of the sculpture department at the Higher Pedagogical School, becoming its first professor of sculpture. He also contributed to the establishment of the first artist studios at Petrovaradin Fortress. As a recipient of the “Moša Pijade” scholarship, he spent two months in London and Paris in 1965. Until his retirement, he served as an associate professor at the Academy of Arts in Novi Sad. Soldatović received numerous awards and recognitions for his artistic work. His works are included in museums and private collections both in Serbia and internationally, and he is the author of a large number of public sculptures and monuments. Kramar (Vienna, Austria, 1971) studied communications, history, and politics in Vienna but eventually left his studies after many years. He is a conceptual photographer working for various artistic, design, cultural, and social institutions in Vienna, Lower Austria, and Burgenland, and operates internationally as an artist and author. Kramar has traveled throughout the Balkans since the early 1980s—first with his parents, then independently—exploring various topics in Eastern Bloc countries and their successor states, particularly Moldova, Romania, Bulgaria, and Serbia. He lives and works in Vienna, Sabari (Austria), and Tiraspol (Moldova), as well as “in-between” stops connecting these locations. In 2021, Kramar initiated the project MUSEUM FISCHKI – THING FOR MANY to musealize a collection of media and objects he has gathered. He uses images and objects resembling the contents of old museum drawers as both a collection and a tool for narrative storytelling and historical commentary. His Storkland project, launched in 2019 and still ongoing, reflects his fascination with white storks and their appearance in various forms. Storkland tells the story of the storks he has encountered, using digital photography with a 50mm lens and collected objects as his media. These “museum drawers” create a dialogue with the sculptures of Jovan Soldatović.