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  • Nina Sumarac Jablonsky

STATE OF EMERGENCY - 90th Autumn Exhibition of ULUS, Belgrade

Updated: Nov 21, 2021

So happy to announce that all of my 4 proposals for this exhibition was selected. Provocative and inspiring subject, excellent curators and great organisation by ULUS team! Really looking forward to this show.




RTS video report about the event see here


More about the exhibition here

https://ulus.rs/blog/29958/

translation of the text from the ULUS's webpage:


We invite you to the 90th Autumn Exhibition of ULUS, which can be seen from Thursday, November 18, 2021, from 7 pm in the Art Pavilion "Cvijeta Zuzorić", Mali Kalemegdan 1, Belgrade.

The name of this year's Autumn Exhibition is STATE OF EMERGENCY, and the exhibition was conceived by the Art Council of ULUS, in cooperation with art historians Dr. Dejan Sretenović and Dr. Jelena Stojanović.

The autumn exhibition of the Association of Fine Artists of Serbia (ULUS) is being organized for the 90th time this year, and is one of the exhibitions with the longest tradition in this area. It was first opened in 1928, organized by the Association of Friends of Art "Cvijeta Zuzorić", which in the long interwar period, in the Art Pavilion, organized this exhibition 13 times - until 1940.

Since 1945, ULUS has taken over the organization of the Autumn Exhibition, and to date has organized 77 exhibitions.

ABOUT THE CONCEPT OF THE 90TH AUTUMN OF THE EXHIBITION:

"According to George Agamben's interpretation, the term" state of emergency "describes a situation when human rights and the legal system have been suspended due to a major crisis that threatens the state order. This is exactly what happened after the outbreak of the corona virus pandemic, when most of the world found itself in a state of emergency. The Italian philosopher, in his critique of pandemic management policy, used the term "biosecurity" to describe the "rule of terror of sanitation and the religion of health" that led to the suspension of democracy and human freedom. Alain Badiou expressed the opposite opinion: emergency measures are at the same time authoritarian and have a general purpose because they represent the only support and essential protection against the spread of the infection. These two examples show the extent to which pandemic management policies have provoked mixed reactions and led to conflicts of opinion and polarization atypical for fighting on the political front. The world is at the same time a unification and a divided contagion, ranging from "denial of the seriousness of the phenomenon to the dominant orthodoxy that confirms, but is radically divided around the proposed solutions" (Agamben).

Mankind received Kovid-19 unprepared and in disbelief, although epidemiologists have warned for years that a global pandemic, as a consequence of the relentless devastation of the planetary ecosystem, is inevitable. When disbelief gave way to facing the terrible blow of the real crown, people became aware that they were going through an extraordinary moment of existence, that the pandemic had become the form and content of their lives, and that the order regulated by life gave way to order regulated by death. Regardless of how they decided on the pandemic and the measures to combat it, everyone agreed that nothing would be the same as before, that we began to live a "new normalcy", with the crown that came between us to remained and made our future uncertain.

It is generally accepted that the pandemic has exposed the ideological framework of the political, economic and social infrastructure and exacerbated the structural problems, inequalities and injustices generated by globally integrated capitalism. It also exposed the fact that culture is treated as an "non-essential" activity and was therefore among the first sectors to be hit by restrictive measures. A cultural devastation has occurred that has not been recorded in the recent history of major crises, except for those contents and activities that could have been reoriented to the telematic mode of operations. It was a kind of "culturocide" which showed that culture is at the bottom of the ladder of needs and that it is understood as a "superstructure" that society can be painlessly deprived of if it is ordered. Cultural workers around the world raised their voices against culturicide and its consequences for the existence of precarious cultural workers and artists, but the public remained indifferent and did not support them in light of the fact that other, "essential" sectors were equally or more severely affected by restrictive measures.

By exposing humanity to a traumatic existential experience, the pandemic led to a change in the thought landscape: the unthinkable became conceivable and stimulated us to actively develop configurations of possible, desired, or unwanted futures. If contemporary art is the avant-garde of a society that uses aesthetic models to imagine an alternative to the hegemonic order, then the question arises as to how it contemplates catastrophe here and now and how it conceptualizes the quarantine into which it was driven during lockdown. Art has found itself at a distance from both society and itself, and that distance represents a platform that enables unconventional and, if we want, a fresh review that would not be possible in "normal" conditions. It remains to be seen whether there is an "unintentional positive side effect of the crisis" (Slavoj Žižek) in the form of the development of new artistic figures of thought, criticism and resistance to hegemony that leads to dystopia. Starting from the fact that the pandemic is a "intersecting fact" and places in a new relationship biological, political and social, the 90th autumn exhibition of ULUS entitled "State of Emergency" represents a range of artistic reflections of that intersection and the consequences it leaves behind. (Dejan Sretenovic and Jelena Stojanovic)






90. JESENJA IZLOŽBA 2021 – VANREDNO STANJE

Pozivamo Vas na 90. Jesenju izložbu ULUS-a, koja se može videti od četvrtka, 18. novembra 2021, od 19h u Umetničkom paviljonu „Cvijeta Zuzorić“, Mali Kalemegdan 1, Beograd.

Naziv ovogodišnje Jesenje izložbe je VANREDNO STANJE, a izložbu je koncipirao Umetnički savet ULUS-a, u saradnji sa istoričarima umetnosti dr Dejanom Sretenovićem i dr Jelenom Stojanović.

Jesenja izložba Udruženja likovnih umetnika Srbije (ULUS) ove godine se organizuje 90. put, i jedna je od izložbi sa najdužom tradicijom na ovim prostorima. Prvi put je otvorena 1928. godine, a organizovalo ju je Udruženje prijatelja umetnosti „Cvijeta Zuzorić“ koje je u davnom međuratnom periodu, u Umetničkom paviljonu, upriličilo ovu izložbu 13 puta – do 1940.godine.

Od 1945. ULUS je preuzeo organizaciju Jesenje izložbe, i do danas je priredio 77 izložbi.

O KONCEPTU 90. JESENJE IZLOŽBE:

“Prema tumačenju Đorđa Agambena termin „vanredno stanje” opisuje stanje kada su ljudska prava i pravni sistem suspendovani zbog neke velike krize koja ugrožava državni poredak. Upravo to se dogodilo po izbijanju pandemije korona virusa kada se veći deo sveta našao u vanrednom stanju. Italijanski filozof, u kritici politike upravljanja pandemijom, upotrebio je termin „biosigurnost” da bi opisao „vladavinu terora sanitizacije i religije zdravlja” koja je dovela do suspenzije demokratije i ljudskih sloboda. Alen Badiju izneo je suprotno mišljenje: vanredne mere su istovremeno i autoritarne i imaju opštu svrhu jer predstavljaju jedini oslonac i suštinsku zaštitu od širenja zaraze. Ova dva primera pokazuju u kojoj meri su politike upravljanja pandemijom izazvale različite reakcije i dovele do sukoba mišljenja i polarizacija netipičnih za borbe na političkom frontu. Svet je u isto vreme ujedinjen i razjedinjen zarazom, u rasponu od „poricanja ozbiljnosti pojave do dominantne ortodoksije koja je potvrđuje, ali se radikalno deli oko predloženih rešenja” (Agamben).

Čovečanstvo je Kovid-19 dočekalo nepripremljeno i sa nevericom, iako su epidemiolozi godinama unazad upozoravali da je globalna pandemija, kao posledica nemilosrdnog pustošenja planetarnog ekosistema, neizbežna. Kada je neverica ustupila mesto suočavanju sa strašnim udarom realnog korone, ljudi su postali svesni toga da prolaze kroz vanredan momenat egzistencije, da je pandemija postala oblik i sadržaj njihovog života, a da je poredak regulisan životom ustupio mesto poretku regulisanom smrću. Bez obzira na to kako su se određivali prema pandemiji i merama za njeno suzbijanje, svi su se slagali u tome da više ništa neće biti isto kao pre, da smo počeli da živimo „novu normalnost”, sa koronom koja je među nas došla da bi ostala i našu budućnost učinila neizvesnom.

Opšte je prihvaćeno da je pandemija ogolela ideološki okvir političke, ekonomske i socijalne infrastrukture i pogoršala strukturalne probleme, nejednakosti i nepravde koje generiše globalno integrisani kapitalizam. Takođe je ogolela činjenicu da se kultura tretira kao „neesencijalna” delatnost i zato je bila među prvim sektorima koji su se našli pod udarom restriktivnih mera. Nastala je kulturna pustoš nezabeležena u novijoj istoriji velikih kriza, osim onih sadržaja i aktivnosti koje su mogle da se preorijentišu na telematski modus operacije. Bio je to svojevrstan „kulturocid” koji je pokazao da se kultura na lestvici potreba nalazi na dnu i da se poima kao „nadgradnja” koje se društvo može bezbolno lišiti ukoliko situacija to nalaže. Kulturne radnice i radnici širom sveta dizali su glas protiv kulturocida i njegovih posledica po egzistenciju prekarnih kulturnih delatnika i umetnika, ali javnost je ostala ravnodušna i nije im dala podršku u svetlu činjenice da su i drugi, „esencijalniji” sektori bili jednako ili teže pogođeni restriktivnim merama.

Izlažući čovečanstvo traumatičnom egzistencijalnom iskustvu, pandemija je dovela do promene misaonog pejsaža: nezamislivo je postalo mislivo i stimulisalo nas da aktivnije razvijamo konfiguracije moguće, željene ili neželjene budućnosti. Ako je savremena umetnost avangarda društva koja putem estetskih modela zamišlja alternative hegemonom poretku, onda se postavlja pitanje kako ovde i sada promišlja katastrofu i kako konceptualizuje karantin u koji je oterana za vreme lokdauna. Umetnost se našla na distanci i od društva i od sebe same, a ta distanca predstavlja platformu koja omogućava nekonvencionalan i, ako hoćemo, svež osvrt koji u „normalnim” uslovima ne bi bio moguć. Postoji li „nenameran pozitivan bočni efekat krize” (Slavoj Žižek) u vidu razvitka novih umetničkih figura mišljenja, kritike i otpora hegemoniji koja sigurnim koracima vodi u distopiju, ostaje da se vidi. Polazeći od toga da je pandemija „činjenica koja preseca” i postavlja u novi međuodnos biološko, političko i društveno, 90. Jesenja izložba ULUS-a pod nazivom „Vanredno stanje” reprezentuje dijapazon umetničkih refleksija tog preseka i posledica koje ostavlja za sobom. (Dejan Sretenović i Jelena Stojanović)

IZLAGAČI/CE:

Aleksandra Kokotović, Aleksandar Paunković, Aleksandra Vasović, Aleksandrija Ajduković, Ana Nedeljković i Nikola Majdak Ml., Ana Miladinović, Ana Milosavljević, Bojan Radojčić, Boško Atanacković, Dimitrije Pecić, Dragana Žarevac i Ivana Dragutinović Sokolovski, Dejan Marković, Filip Ristić, Gregor Mobius (Goran Đorđević), Gorski Kabadaja, Griša Masnikosa, Igor Zenzerović, Ivan Grubanov, Ivan Petrović, Jelena Ilić, Jelena Paunković, Lidija Mićović, Marija Kovačević, Marija Kućan, Marina Tomić, Milana Lana Paunović, Milica Đorđević, Miron Mutaović, Neda Kovinić, Nikola Radosavljević, Nemanja Lađić, Nina Sumarac, Radmila Duda Ludošan, Sanja Anđelković, Sara Masnikosa, Selma Đulizarević Karanović, Siniša Ilić, Srđan Veljović, Stevan Kojić, Tamara Agić, Tamara Jokić, Tijana Pakić Feterman, Todd Ayoung, Vida Stanisavac Vujčić i Vladimir Milanović.

Sedam umetnika je izabrano po pozivu selektora, dok su svi ostali odabrani po konkursu.

PRATEĆI PROGRAM:

Subota, 27.11.2021. u 18h (Zoom) / UMETNOST U VANREDNOM STANJU / Moderator: Dejan Sretenović

Subota, 04.12.2021. u 18h (Zoom) / PANDEMIJA, POPULIZAM, UMETNOST / Moderatorka: Jelena Stojanović

Subota, 11.12.2021. u 13h / Vođenje kroz izložbu

Četvrtak, 16.12.2021. u 18h / Izvedba performansa, promocija kataloga/publikacije izložbe i dodela nagrade Jesenje izložbe

Izložba je otvorena do 16. decembra 2021.godine.

Realizaciju izložbe je podržalo Ministarstvo kulture i informisanja Republike Srbije, Sekretarijat za kulturu Grada Beograda i Goethe Institut.

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