cultjourneyjournalist

published: http://www.wavemagazine.net/arhiva/52/topic/exhibition-peron.htm

A poster has been slightly neglected nowadays. It is rather abandoned, but still, it is a medium which has not lost its power to get through people, because people, having perceptive characteristics, love ‘to feel’ design. On the other hand, an author possesses enough room to create a message, to provide his own personal touch, to reach the audience with his own story

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The exhibition ‘The Platform’ (“Peron”), whose authors are Adam Rakićević and Nenad Prokić, was opened on January 25th in the art establishment Vuk Karadžić. The works exposed are graphics and photographs made by two senior students who are majoring in print media design at theMetropolitan University and the works were made during their studies. Aiming to represent their own perspective on the graphic design, they combined contemporary and classic techniques in the work, creating the grounds for further working in the sphere of their interest - design.

Adam Rakićević, one of the authors, speaks for WAVE magazine about the reasons for choosing posters, a symbolic title of their exhibition, their perspectives on design and the changes they strive for.

How did you choose the title of your exhibition “The Platform”(“Peron”) - are there any symbolism?

- There is a symbolism in the title, and it is very direct. “The Platform” as an exhibition is a start of a new epoch for two of us, our starting point, maybe even springboard into the world of design, because it is also the first associated independent exposition.

Why did you opt for a poster as a mean of representing your work?

- A poster has beenslightly neglected nowadays. It is rather abandoned, but still, it is a medium which has not lost its power to get through people, because people, having perceptive characteristics, love ‘to feel’ design. On the other hand, an author possesses enough room to create a message, to provide his own personal touch, to reach the audience with his own story.

Artists usually decide to combine styles/techniques/approaches in their work. Are there any reasons for which ‘pure forms’ are bypassed? Maybe that is a way to be more creative?

- There certainly is a reason for which ‘pure forms’ are bypassed, and that is the way for accomplishing more creativity. Sheer knowledge on the rules related to the styles and techniques of designing, following and applying them, provide what was once called a basis for craftsmanship. Therefore, each bypassing and combining offers new solutions, setting new boundaries which will be also surpassed at some point.

An artist is always characterized by the need to express his OWN perspective on art and creation. What aspect did you want to emphasize during your work?

- Graphic design is a part of everyone’s everyday life, which is indeed a main focus of our work. To put it simply, it is the details from life which surrounds us and the life which awaits us.

These works were created during your studying. Weren’t you given a chance to present them earlier? How do you find ways for your own promotion?

- We did have a few occasions, but those were only group exhibitions, where the authorship fades away, but still, it is a chance for the public to become introduced with our work and activities. I would like to thank all the professors who recognized the potential in us and devoted significant attention to us. As beginners, we must rely on our own qualities, desires and acquaintances. I would especially like tothank a molecular biologist and painter Predrag Vitezović.

What are the other ways of your stepping out into the public sphere using your works? Are there any additional changes you would like to make?

- Perhaps we cannot change the world and rescue it, but we can refine people who represent the public and who represent our future.

— 1 year ago

Peron kao početna stanica

Intervju: Adam Rakićević, koautor izložbe “Peron”

Pise: Ivana Spasojevic

objavljeno: http://www.wavemagazine.net/0_srb/arhiva/52/tema/izlozba-peron.htm

Plakat je u današnje vreme pomalo zaboravljen medij. Više zapušten, ali medij koji tokom vremena nije izgubio na svojoj moći da dopre do ljudi, jer oni kao percipijenti vole da “osete” dizajn. S druge strane, autor ima dovoljno veliku površinu da stvori poruku, da ostavi svoj lični potpis, da dopre svojim stilom do ljudi

—-

U Ustanovi kulture Vuk Karadžić 25. januara otvorena je izložba ”Peron” autora Adama Rakićevića i Nenada Prokića. Reč je o grafikama i fotografijama dva studenta završne godine grafičkog dizajna štampanih medija na Univerzitetu Metropoliten, a izloženi plakati nastali su tokom njihovog dosadašnjeg školovanja. U želji da predstave svoje viđenje grafičkog dizajna, kombinovali su savremene i klasične tehnike u radu, i time stvorili osnovu sa koje nastavljaju dalje da delaju u sferi svog interesovanja - dizajna.

O razlozima zbog kojih su se odlučili za plakate, simbolici naslova izložbe, njihovom viđenju dizajna i promenama kojima teže - za WAVE magazine govori jedan od autora izložbe, Adam Rakićević.

Zašto ste postavku nazvali “Peron” - ima li neke simbolike?

- Simbolika naziva izložbe postoji i direktna je. “Peron” kao izložba jestart jedne nove epohe za nas dvojicu, naša početna stanica, možda i odskočna daska u svet dizajna, jer je takođe i prva udružena samostalna izložba.

Zbog čega ste se odlučili za plakat kao oblik prezentacije radova?

- Plakat je u današnje vreme pomalo zaboravljen medij. Više zapušten, ali medij koji tokom vremena nije izgubio na svojoj moći da dopre do ljudi, jer oni kao percipijenti vole da “osete” dizajn. S druge strane, autor ima dovoljno veliku površinu da stvori poruku, da ostavi svoj lični potpis, da dopre svojim stilom do ljudi.

Umetnici se često odlučuju da u radu kombinuju stilove, tehnnike, prilaze. Da li postoje razlozi zbog čega se “čiste” forme zaobilaze? Ili je to način da se postigne više kreativnosti?

- Da, postoji razlog zbog koga se zaobilaze “čiste forme” i, da, to je način kojim kreativnost dolazi do izražaja. Samo poznavanje pravila vezanih za stilove ili tehnike dizajniranja, poštovanje i primena istih pružaju ono što se nekad zvalo zanatskom osnovom. A svako zaobilaženje i kombinovanje daje nova rešenja, koja postavljaju neke nove granice, koje će takođe biti prevaziđene u jednom trenutku.

Kod umetnika uvek postoji ta stalna potreba za iskazivanjem SVOG pogleda na umetnost i stvaranje. Na koji aspekt grafičkog dizajna ste želeli da stavite akcenat tokom rada?

- Grafički dizajn je deo svačije svakodnevnice, što je upravo i glavni akcenat pri stvaranju naših dela. Prosto, detalji iz života koji nas okružuje i života koji nas čeka.

Radovi su nastali tokom školovanja. Niste imali priliku da ih izložite ranije? Kako uopšte dobijate šanse za svoju promociju?

- Imali smo prilike, ali uglavnom su to bile kolektivne izložbe gde autorstvo bledi, ali je i dalje šansa da se javnost upozna sa našim postojanjem. Hvala svim profesorima koji su u nama prepoznali kvalitet i posvetili nam pažnju na taj način. Dakle, kao početnici, moramo se osloniti na svoje kvalitete, želje i poznanstva. U ovom slučaju, hvala molekularnom biologu i slikaru, Predragu Vitezoviću.

Na koji još način možete grafičkim dizajnom da istupate u javnu sferu? Koje stvari tu želite da menjate?

- Možda ne možemo da promenimo svet i spasemo ga, ali možemo da oplemenimo svest ljudi koji čine javnost, koji će činiti budućnost.

— 1 year ago

Cultural events 2010 calendar

Festivals, premier performances, exhibitions

by: Ivana Spasojevic

published: http://www.wavemagazine.net/arhiva/51/culture/serbia-culture-2010.htm

Month of May also presented us with a great deal of cultural events. First of all - the renowned Belgrade Design Week under the slogan Smart2 and the unique innovative Mixer festival. Citizens of Serbia enjoyed the 7th consecutive Night of the Museums under the sloganHave a great time at museums. The second half of May was marked by The Days of Sarajevo, the Refract music festival held at Kalemegdan, the Free Zone film festival at Rex under the slogan Over the Line and the 42nd traditional May exhibition

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WAVE magazine makes a brief summary and presents you the most significant Serbian cultural events during previous year.

As early as on January 1st the Street of open heart marked the beginning of the cultural season 2010. This happening first featured the elements of a humanitarian and social event but gradually acquired the status of a cultural one. Grozdana Olujic received NIN award for the novel of the year for her novel Voices in the Wind and at Atelier 212 we watched the premier performance of the play Waiting-room, done according to the German play by Clauss Paul. Following, at Sava Center 6th time the European Documentary Film Festival TheMagnificent 7 was held.

February was marked by the 11th Guitar Art Festival held at Sava Center and the 38th FEST which is one the most visited and renowned cultural happenings in Belgrade. The poet Zivorad Nedeljkovic received the Selimovic prize for the best book of 2009, for his collection of poemsThis World, and let’s not forget the Spandeau Ballet’s performance at the end of this month.

At the very beginning of March, on the 21st birthday of the Bitef Theatre the premier performance of the dance concert The Aroma of Cinnamon was performed by the Bitef Dance Crew. Chris Rea performed at the Belgrade Arena, and Rajko Grlic’s film Let it stay between us starring Miki Manojlovic had its debut at the Colossey cinema. At the large scene of Vuk theatre there was played Father of Swine which was awarded 23 prestigious theater awards, directed by Egon Savin. The Rammstein jammed at the Arena and the Balcan cinema announced its last film performance for March 28th.

The most significant events in the capital in April were undoubtedly the comedy Arsenik and the old lace at Vuk, directed by Stefan Sablic and the concert of a phado singer Mariza. We should also mention the International Festival of Argentinean Tango at Students’ Cultural Centre and Beldocs, The Festival of Documentaries held at various locations in town. It is also important to mention the biggest city manifestation The Days of Belgrade that was marked by the opening of the renewed Avala Tower and the unavoidable music festival Supernatural at Hajducka cesma.

May also presented us with a great deal of cultural events. First of all - the renowned Belgrade Design Week under the slogan Smart2 and the unique innovative Mixer festival. Citizens of Serbia enjoyed the 7th consecutive Night of the Museums under the slogan Have a great time at museums. The second half of May was marked by The Days of Sarajevo, the Refract music festival held at Kalemegdan, the Free Zone film festival at Rex and the 42nd traditional May exhibition.

Apart from The Sterija’s Theatre in Novi Sad, in June we inundated the concert arenas around town - Elton John, Bob Dylan, Eric Clapton, Steve Winwood - they all surprised the fans of good music with unforgettable performances. The July days were dedicated to Exit, the music festival of the highest rank in Novi Sad, the Belgrade manifestation The Summer at Gardos, the Festival of The European Film at Palic and traditionally Belef.

The last month of summer will be remembered by unsurpassableBITEF festival held at the Bitef Theatre, and by some good beer and music at the Beer Fest at Usce, jazz festival NisVille in Nis and the The Festival of Trumpets in Guča.

In September, we would mention the exhibition Salvador Dali - The Divine Worlds held at the May 25th Museum. Then, the Festival Belgrade - The City of Light, and The Days of European Heritage. Aside from these events, September was also the month of Webfest and the concert of rock legends Guns’ n’ Roses.

Regarding cultural events in October, we should remind you of theBook Fair under the slogan Wise up, the 26th Belgrade jazz Festival under the slogan Jazz Seduction. BEMUS - the Belgrade Music Celebration, and the 51st October Salon.

November will certainly stay remembered by films played at Cinemania, the festival of student films the FIST, the Belgrade Tango Festival, sold-out tickets for the punk opera Home for Hanging by Emir Kusturica, the comics weekend and the Jazz Festival in Novi Sad.

In December we watched the play The Awakening of the Spring at The Belgrade Theatre, and you could also visit the Festival of Modern Ways of Communication B-link at the O3one Gallery and the fourth Festival Of Science.

We hope you were up-to-date and that you visited some of these events. We are waiting for you in the 2011 - with new cultural news because you know what they say: It is modern to be well-mannered and being modern makes good manners.

— 1 year ago

Kalendar kulturnih događaja 2010

Festivali, premijere, izložbe

pise: Ivana Spasojevic

objavljeno: http://www.wavemagazine.net/0_srb/arhiva/51/kultura/kultura-2010.htm

I maj nam je doneo veliki broj kulturnih događanja. Na prvom mestu - čuveni Belgrade design week sa parolom Smart2 i neponovljivi inovativni festival Mikser. Građani Srbije uživali su u sedmoj Noći muzeja sa sloganom Odličan provod u muzejima, širom zemlje. Drugu polovinu meseca obeležili su Dani Sarajeva, muzički festival Refract na Kalemegdanskoj tvrđavi, filmski festival Slobodna zona u Rex-u sa sloganom Preko crte, i tradicionalna 42. majska izložba

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WAVE magazine sabira utiske i predstavlja vam najvažnije događaje u srpskoj kulturi tokom prethodne godine.

Već 1. januara 2010. kulturnu sezonu otvorila je Ulica otvorenog srca, koja je od humanitarnog, društvenog karaktera zasigurno poprimila kulturni. Grozdana Olujić dobija NIN-ovu nagradu za roman godine zaGlasove u vetru, a u Ateljeu 212 gledali smo premijeru komadaČekaonica, rađenog po uzoru na nemački komad Klausa Pola. Nakon toga, u centru Sava održan je - po šesti put - festival evropskog dugometražnog dokumentarnog filma7 veličanstvenih.

Februar je obeležilo 11. izdanje Guitar art festival-a u Sava centru, kao i nezaobilazni 38. FEST pod sloganom Ohrabruje, kao jedno od sigurno najposećenijih i najprepoznatljivijih kulturnih dešavanja godine u Beogradu. Pesniku Živoradu Nedeljkoviću dodeljena je Selimovićeva nagrada za najbolju knjigu 2009. za zbirku pesama Ovaj svet, a vredan pažnje bio je i nastup Spandau Ballet-a krajem meseca.

Na samom početku marta, na 21. rođendan Bitef teatra, premijerno je izveden plesni koncert Mirisi cimeta, u sastavu Bitef dens kompanije. U Beogradskoj areni nastupio je Chris Rea, a u bioskopu Kolosej premijerno je prikazan film Rajka Grlića Neka ostane među nama, sa Mikijem Manojlovićem u glavnoj ulozi. Na velikoj sceni Vuka izveden je komad Svinjski otac u režiji Egona Savina i sa 23 nagrade sa prestižnih pozorišnih festivala. U Areni je svirao Ramštajn, a bioskop Balkan za 28. mart najavio je poslednju filmsku projekciju.

Najznačajnija aprilska dešavanja u Beogradu bila su svakako crnohumorna komedija Arsenik i stare čipke u Vuku u režiji Stefana Sablića, kao i nastup fadistkinje Marize. Tu je i Internacionalni festival argentinskog tanga u Studentskom kulturnom centru i Beldocs, festival dokumentarnog filma na nekoliko lokacija u gradu. Ne treba zaboraviti ni najveću gradsku manifestaciju - Dani Beograda - koju je obeležilo otvaranje obnovljenog Avalskog tornja; i nezaobilazni muzički festival Supernatural na Hajdučkoj česmi.

I maj nam je doneo veliki broj kulturnih događanja. Na prvom mestu - čuveni Belgrade design week sa parolom Smart2 i neponovljivi inovativni festival Mikser. Polovinom maja građani Srbije uživali su u sedmoj Noći muzeja sa sloganom Odličan provod u muzejima, širom zemlje. Drugu polovinu meseca obeležili su Dani Sarajeva, muzički festival Refract na Kalemegdanskoj tvrđavi, filmski festival Slobodna zona u Rex-u, kao i tradicionalna 42. majska izložba.

Pored Sterijinog pozorja u Novom Sadu, u junu su bile pune koncertni prostori - Elton John, Bob Dylan, Eric Clapton, Steve Winwood - i svi su oni istog meseca počastili sve ljubitelje dobrog zvuka nastupima koji se ne zaboravljaju. Julski dani prošli su nam na Exit-u, novosadskom muzičkom festivalu svetskog kalibra, beogradskoj manifestaciji Leto na Gardošu, Festivalu evropskog filma na Paliću i kultnom Belef-u.

Poslednji mesec leta pamtićemo poBITEFu i, uz dobro pivo, muzičkoj manifestaciji Beer fest na Ušću, jazz festivalu NisVille u Nišu i Saboru trubača u Guči.

Uz septembarske datume ide izložbaSalvador Dali - Božanstveni svetoviu Muzeju 25. maj. Zatim, festivalBeograd svetlosti u otvorenim javnim prostorima, ali i Dani evropske baštine. Pored ovih, septembar je bio i mesec Webfesta i koncerta rock legendi Guns’n Roses.

Izdvajajući oktobarske kulturne aktivnosti, podsećamo na Sajam knjiga sa motoom Pamet u glavu, Grožđenbal u Sremskim Karlovcima, 26. Beogradski jazz festival pod sloganom Jazz seducton, BEMUS, kao i 51. oktobarski salon.

Novembar ćemo sigurno pamtiti po filmovima sa Sinemanije i festivala studentskog filma FIST, po Beogradskom tango festivalu, rasprodatim ulaznicama za pank operu Emira Kusturice Dom za vešanje, ali i strip vikendu i Novosadskom jazz festivalu.

U decembru je izveden komad Buđenje proleća u Beogradskom dramskom pozorištu, a mogli ste posetiti i Festival modernih komunikacija B-link u galeriji O3one i četvrti Festival nauke.

Nadamo se da ste bili u toku i posetili bar neka od kulturnih događanja na koja smo vas podsetili. Mi vas čekamo i u 2011. godini - sa novim informacijama iz kulture, jer: Moderno je biti kulturan, kulturno je biti moderan.

— 1 year ago

Tomorrow has already begun

Interview: Ivan Stanić, the curator of the programme “SUTRA” at the Festival of Science

Tomorrow has already begun

pise: Ivana Spasojevic

published> http://www.wavemagazine.net/culture/ivan-stanic-sutra-festival-science.htm

Development of technology made it possible, and the specific idea for this story was realized at the faculty through my texts in the 3+4 magazine, published by the Art history department. I followed the events on the festivals such as ARS electronica, read magazines like Wired. Then came the story of the Night of Museums, on which I had been working, and the Festival of Science - and finally, all the conditions were met to start the project “SUTRA”

The fourth edition of the Festival of Science was held in Belgrade, from December 3rd to 5th, in three locations - the Kluz shopping centre, Students cultural centre and the National bank of Serbia. The three-day-long programme gave all the visitors a mix of a spectacular, hilarious and mesmerizing world, claim the organizers. Through the interactive workshops with shows, presentations and labs, inspirational lectures on everything that surrounds us and the programme “SUTRA” - everyone who spent a day in the world of science got a real dose of fun, art and education. The part that stood out is exactly“SUTRA” (Serbian word for Tomorrow, but here also an acronym) - a blend of art, technology, diversity and authenticity. It tried to offer answers to contemporary challenges of technology, science, art, interpersonal relations, and all that through several concepts - The Open Pyramid, Surveillance and punishment, Egotoy, Visikord, The Sound Bunch, The Concretizer, Explore the Dumpster, 1:1, Robots Invasion, Pyramid, 3D Fractals, The System of the Absurd, The Eye Writer.

Ivan Stanić, the curator of this programme of the 2010 Festival of Science, speaks for WAVE magazine about the origin of the concept of “SUTRA”, recycled art, attitude towards plastic surgery, sound polluted environment, virtual reality and communication of art with its recipients.

Where does the idea for the programme “SUTRA” come from? How did you come up with this acronym that blends art, technology, diversity and authenticity?

- My interest in technology has existed for three decades. When I was a teenager, my parents bought the first home computer ZX Spectrum for me and my brother, and then I continued following computer technologies and possibilities. At the same time, I was interested in art, both practically and theoretically. There was always a desire to combine the two, which then seemed to be opposites.

The word “SUTRA” showed three important qualities: the meaning which is related to the idea of this project, the sound (short and effective, sometimes even confusing), and the third, every letter is the beginning of a word that is relevant for the project itself, and which we reached after careful consideration. The first three letters were clear, but there was a lot of contemplation with R and A, because those words were supposed to give a broader explanation of what is going on, what we want.

The OPEN PYRAMID emphasizes waste, recycling and the transformation of reality into art. How much can artists today find themselves in the reality full of recycling materials and create a new work of art? How much of what is truly valuable and sometimes overcome, but now revived is there actually in these digitalized and artificial times?

- The idea of recycling in art is as old as art itself. The reality itself which is being reinterpreted daily contains in itself a large portion of our recycled previous experiences. Artists are forced to recycle, no matter how much they may be convinced to be creating something completely new. There is no such thing as an absolutely new work of art. Technology is new, and it is the facilitator. Artists only use it and find new ways of manipulating with it. The world of art never loses the fine core that makes it different from everything else. Every period has its own aesthetics and it is never worth any less than something from the past. Art does not live an everyday life. Its time has different parameters from those of an individual. That is why it is often said that art is timeless, of course, the high-quality kind.

EGOTOY raises the issue of degrading one’s body when faced with the surge of plastic surgery. What is the message you wanted to send to the visitors who came to see the installation and were faced with what you showed them?

- Art is not the one that should make the final judgments. It has different viewpoints on reality. Plastic surgery is not negative. It is bad when it is abused and when it shows (as is the case with Michael Jackson or the singer of the band Dead or Alive). Egotoy is a reaction to the inevitable evil that genetic engineering brings. In order to get a new ear, we use a lab rat, or more precisely, human cartilage feeds on the body of the host to which it is attached. Just as Mickey Mouse is represented as an albino with an ear attached (the above mentioned sculpture), a lab rat (which usually is an albino) carries a human ear - they are a part of our lives, but not the nature we often nostalgically refer to. A lab rat is as artificial as the character of Mickey Mouse. They are created with a certain purpose. This topic questions our moral standpoints, and that is one of the ideas that the artist wanted to put forward with this sculpture.

The SOUND BUNCH poses the question of acoustic pollution, which is left forgotten due to the problems of ozone holes, the purity of air and water. How is the environment polluted by sounds, what is the degree of caution necessary with that comparing to other polluters?

- In big city centres, noise pollution is huge. It is created by various machines that people created to ease their everyday life (all kinds of transport, factories, computers etc.) but also by different manmade sounds. Noise creates new, louder noise, and it keeps multiplying. Some things we remember, other repeat, some get deformed under the influence of the environment, and on others we can have an effect - the Sound bunch is about all that.

The level of noise produced by the new machines is lower than that of the previous versions. On the other hand, their number is greater. That is why the level of noise is on the rise. Our wireless helpers have a share in increasing the noise. Our MP3 players, mobile phones ringing, our mobile phone conversations on the street and in the traffic. All that influences our daily life, our stress level, concentration, and all that of course, in a negative context.

The CONTCRETIZER makes you wonder about the degree of interaction between the artist - work of art - the recipient nowadays? Are there any changes in the communication of the audience with art?

- The contemporary spirit must be reflected in art as well. Technology is interactive, young people are used to participating, changing, being part of everything they use. Due to that experience, they expect to come to a show and participate in it actively. That does not happen often. In Serbia, art is still mostly passive and relies on non-attractive, old-fashioned ways of communication and aesthetics. Here, art is mostly behind the times. The Concretizer is the real example of how the relation between the work of art and the recipient should be changed.

According to the 1:1 programme, it seems that people today have abandoned themselves to the rules of the virtual world. Is there anyone who does not participate, who is only an on-looker? Is it possible to stay outside that practically non-existent world?

- The process of contracting the real and the virtual, which started intensively with the appearance of the Internet, is slowly gaining momentum. We are leaving the schizophrenic situation where we could differentiate between the electronic and non-electronic worlds. Today, it is almost impossible to imagine the daily life without the Internet, mobile phones and various electronic devices. It is up to us to decide how and how much we will use all those possibilities. That world is integrated into our reality. Most people still believe that they actively participate in its creation, when actually they function and think automatically by somebody else’s design. It’s something like the Matrix. Life outside our contemporary world is certainly possible, but that kind of choice is no longer relevant for the times that are approaching.

The ROBOTS INVASION ridicules the cult of perfection in the media world. Robots with mirrors twist the image of human body and make a parody of the forced narcissism. What is your view of the modern man, to whom it is only left to buy himself?

- The modern man is being swamped with perfection, the need to constantly feel dissatisfied is being imposed on him. Most commercials and aesthetics promote easy and quick attainment of goals, and everything can be bought. The images of perfection offered by the media are neither attainable, nor do they exist or are necessary. Narcissism in the virtual world is twisted to the point of freakiness. The problem is that we are losing the distance and easily becoming a part of this automatic process, we are becoming robots.

— 1 year ago

Sutrašnjica je već počela

Intervju: Ivan Stanić, kustos programa SUTRA na Festivalu nauke

Sutrašnjica je već počela

Piše: Ivana Spasojevic

Published> http://www.wavemagazine.net/0_srb/kultura/ivan-stanic-sutra-festival-nauke.htm

Razvoj tehnologije je to omogućio, a konkretna ideja za ovu priču je realizovana na fakultetu kroz moje tekstove u magazinu 3+4, koji je izdavala Katedra za istoriju umetnosti. Pratio sam šta se dešava na festivalima poput Ars electronica, čitao magazine poput Wired i slične. Potom je došla priča sa Noći muzeja, na kojoj radim, i Festival nauke - i konačno su se stvorili uslovi za pokretanje SUTRA.

Četvrto izdanje Festivala nauke u Beogradu održano je od 3. do 5. decembra na tri lokacije u gradu - u robnoj kući Kluz, Studentskom kulturnom centru i Narodnoj banci Srbije. Trodnevni program pružio je svim posetiocima, kako navode organizatori, miks spektakularnog, urnebesnog i očaravajućeg sveta. Kroz interaktivne radionice sa izložbama, prezentacijama i laboratorijama, inspirativna predavanja o svemu što nas okružuje i program SUTRA - svako ko je bar jedan dan proveo u svetu nauke, dobio je pravu dozu zabave, umetnosti i obrazovanja. Celina koja se izdvojila je upravo SUTRA - spoj umetnosti, tehnologije, raznovrsnog i autentičnog. Ona je pokušala da odgovori na savremene izazove tehnologije, nauke, umetnosti, međuljudskih odnosa i to kroz nekoliko koncepta - Otvorena piramida, Nadzor i kazna, Egotoy, Visikord, Zvu?ni buket, Konkretizator, Istražite kontejner, 1:1, Invazija robota, Piramida, 3D fraktali, Sistem apsurda, The EyeWriter.

O nastanku koncepta SUTRA, recikliranoj umetnosti, pogledu na estetsku hirurgiju, sredini zagađenoj zvucima, virtuenoj stvarnosti i komunikaciji umetnosti sa konzumentima - za WAVE magazine govoriIvan Stanić, kustos ovog programa sa Festivala nauke 2010.

Odakle ideja za program SUTRA? Kako ste došli do ovog akronima kao spoja umetnosti, tehnologije, raznovrsnog i autentičnog?

- Moje interesovanje za tehnologiju je trodecenijsko. U tinejdžerskom dobu, roditelji su bratu i meni kupili prvi kućni računar - ZX Spectrum, pa sam nastavio da pratim razvoj računarske tehnologije i njene mogućnosti. Paralelno sa tim, umetnost me je interesovala praktično i teorijski. Oduvek je postojala želja da se te dve - tada naizgled suprotne strane, spoje.

Reč “SUTRA” je pokazala da poseduje tri bitne stvari: značenje koje je povezano sa idejom projekta, zvučnost (kratko i efektno, nekad i zbunjujuće) i treće, svako slovo je početak reči koje su bitne za sam projekat, a do kojih se došlo naknadnim promišljanjem. Prva tri slova su bila jasna, ali je bilo mnogo promišljanja oko R i A, jer dve reči trebalo je da šire objasne šta se tu dešava, želi.

OTVORENA PIRAMIDA akcenat stavlja na otpad, reciklažu i transformaciju stvarnosti u umetnost. Koliko se danas umetnik može “pronaći” u stvarnosti punoj materijala za reciklažu i stvoriti novo umetničko delo? Koliko zapravo u ovom digitalizovanom i “veštačkom” vremenu ima onog vrednog i nekada prevaziđenog, a sada ponovo oživljenog?

- Ideja reciklaže u umetnosti je stara koliko i sama umetnost. Sama stvarnost koju svakodnevno reinterpretiramo u sebi sadrži veliki deo u kome je reciklirano naše pređašnje iskustvo. Umetnik je prinuđen da reciklira, ma koliko smatrao da stvara nešto potpuno novo. Ne postoji apsolutno novo umetničko delo. Tehnologija je ta koja je nova i koja omogućava. Umetnik je samo koristi i pronalazi nove puteve za manipulisanje njom. Svet umetnosti nikada ne gubi tu tananu srž koja je čini drugačijom od svega ostalog. Svako vreme ima svoju estetiku i ona nije ništa manje vredna u odnosu na neku prošlost. Umetnost ne živi svakodnevni život. Njeno vreme ima drugačije parametre u odnosu na pojedinca. Otud se često pominje da je umetnost bezvremenska, naravno, ona koja vredi.

EGOTOY pokreće pitanje obezvređivanja sopstvenog tela pod naletom estetske hirurgije. Koju ste poruku želeli da pošaljete posetiocu koji je došao da pogleda “instalaciju” i našao se suočen sa onim što ste mu “sasuli u lice”?

- Umetnost nije ta koja treba da donosi konačne sudove. Ona sagledava stvarnost sa drugačijih pozicija. Estetska hirurgija nije negativna. Loša je kada se zloupotrebljava i kada se to vidi (recimo primer Majkl Džeksona ili pevača grupe Dead or Alive). Egotoy je reakcija na nužno zlo koje genetski inženjering nosi sa sobom. Da bismo dobili novo uho, mi koristimo laboratorijskog miša, tačnije ljudska hrskavica se hrani telom domaćina na kojeg je pričvršćena. Kao i Miki Maus koji je predstavljen kao albino sa prikačenim uvetom (pomenuta skulptura), tako i laboratorijski miš (koji je obično albino) nosi ljudsko uvo - oni su deo naših života, ali ne deo one prirode na koju se često nostalgično pozivamo. Laboratorijski miš je artificijelan kao i lik Mikija Mausa. Oni su stvoreni sa određenom namenom. Ova tema stavlja u dilemu naša moralna stanovišta, a to jeste jedna od ideja koju je umetnik želeo da pokrene ovom skulpturom.

ZVUČNI BUKET otvara pitanje akustičnog zagađenja, koje ostaje zaboravljeno usled brige o ozonskim rupama, čistoći vazduha i vode. Kako se zapravo sredina zagađuje zvucima, koliki stepen opreza je potreban u poređenju sa ostalim zagađivačima?

- U velikim gradskim jezgrima zagađenost bukom je velika. Ono što je stvara su različite mašine koje je čovek stvorio da bi sebi olakšao svakodnevicu (različiti oblici prevoza, fabrike, računari…), ali i zvukovi koje ljudi ispuštaju. Buka stvara novu, jaču buku, i dalje se multiplicira. Nešto zapamtimo, nešto se ponavlja, nešto se deformiše pod uticajem okoline, na neke zvuke utičemo - sve ono što želi da nam kaže Zvučni buket.

Nivo buke koji proizvode nove mašine je niži u odnosu na prethodne verzije. Ali je zato njihov broj daleko veći. Otud nivo buke ima uzlaznu putanju. Takođe naši bežični pomagači imaju udela u povećanju buke. Naši MP3 plejeri, zvonjava mobilnih telefona, naši razgovori mobilnim telefonom na ulici i u prevozu. Sve to utiče na našu svakodnevicu, naš stres, koncentraciju, naravno, u negativnom kontekstu.

KONKRETIZATOR navodi na razmišljanje koliki je danas stepen interakcije na relaciji umetnik - umetničko delo - konzument? Ima li nekih promena u komunikaciji publike sa umetnošću?

- Savremenost mora da se odslika i u umetnosti. Tehnologija je interaktivna, mlađi ljudi su naučili da učestvuju, menjaju, osećaju se delom svega što konzumiraju. Poučeni tim iskustvom oni očekuju kada dođu na izložbu da aktivno učestvuju. To se ne dešava često. Kod nas je umetnost i dalje uglavnom pasivna i oslanja se na neatraktivne, zastarele načine komunikacije i estetiku. Umetnost kod nas generalno kaska za vremenom. Konkretizator je pravi primer na koji način treba promeniti odnos između umetničkog dela i konzumenta.

Uz program 1:1 čini se da su se ljudi danas ipak prepustili pravilima virtuelnog sveta. Ima li onih koji ne učestvuju, koji samo posmatraju? Koliko je danas moguće ostati van tog realno nepostojećeg sveta?

- Proces sažimanja tzv. “realnog” i “virtuelnog”, započet intenzivno pojavom Interneta, polako se zahuktava. Izlazimo iz šizofrene situacije gde smo mogli da pravimo razliku između elektronskog i neelektronskog sveta. Danas je našu svakodnevicu skoro nemoguće zamisliti bez upotrebe Interneta, mobilnih telefona i raznih elektronskih sprava. Na nama je na koji način i koliko ćemo da iskoristimo sve te mogućnosti. Taj svet je integrisan u našu realnost. Većina još uvek veruje da aktivno učestvuje u njenom kreiranju, a u stvari upravo funkcioniše i razmišlja po automatizmu koji je neko drugi isprogramirao. Nešto poput Matriksa. Život van ovog našeg savremenog sveta je naravno moguć, ali takav izbor više nije relevantan za vreme koje dolazi.

INVAZIJA ROBOTA ismeva kult savršenstva u medijskom svetu. Postavljeni roboti sa ogledalima izvrću sliku čovekovog tela i prave parodiju od isforsirane samodopadljivosti. Kako Vi vidite savremenog čoveka kome je, kako kažete, preostalo samo da kupi samog sebe?

- Savremen čovek je bombardovan savršenstvom, nametnuta mu je potreba da se stalno oseća nezadovoljnim. Većina reklama i estetika propagira lako, brzo dolaženje do cilja, sve za novac. Slike savršenstva koje nam se nude kroz medije niti su dostižna, niti postoje, niti su nam neophodna. Narcisoidnost je izvrnuta u virtuelnom svetu do nakaznosti. Problem je što izgubimo distancu i lako postajemo deo ovog automatskog procesa, postajemo roboti.

— 1 year ago

Seductive jazz in Belgrade

Interview: Vojislav Pantić, art director of Belgrade Jazz Festival

Seductive jazz in Belgrade

pise> Ivana Spasojevic

published> http://www.wavemagazine.net/culture/belgrade-jazz-festival.htm

This year’s slogan is Jazz seduction, although it could be the motto of any edition of the festival, because seduction is one of the clear features of jazz. I am convinced to have made an excellent choice, because everyone wonder why exactly jazz seduction, and we did not actually know the answer; on the other hand, no one is strange. There is an interesting story - one of the foreign journalists, when he heard the slogan, said: I can not resist the jazz seduction. I will buy a nice chocolate, a bottle of wine and a ticket to Belgrade, and I can not wait to be seduced.

This year’s 26th edition of the Belgrade Jazz Festival, organized by the Dom omladine Belgrade, was held from 28th till 31th October - under the banner of Jazz seduction. First held back in ‘71, used the citizens of Belgrade to mid-autumn expected sounds of jazz - this year at four locations in the center of the city: Sava Center, Kolarac, Student Cultural Center and the Dom Sindikata Hall. Year 2010 was marked by big-name jazz scene, located in four main program evenings (Giants, Legends Revisited, Lessons in Style and Evolution) and three of the midnight (Hot & Tasty, Funky Smiles and Ladies Night).

Vojislav Pantić, art director of Belgrade Jazz Festival, speaks forWAVE magazine about the presence of jazz in Serbia, Wayne Shorter re-arrival to Belgrade, performances that will be remembered and 15years long break.

What is the level of jazz in Serbia? What kind of environment is needed to one genre so it could exist and develop on the music scene?

- Environment for the development of jazz in Serbia is not ideal, but it is not much better in more famous jazz places. In U.S.A, for example, there is not enough jazz even on public radio or television; and in our country we can still find some elements of jazz, thanks to the fact that media are not yet fully commercialized.

It is good that there is a jazz department at the Music School“Stanković”, like a real nursery of new talent, but it would be great that they have the opportunity to continue their education in our country, instead forced to travel to Graz or Boston, due to lack of academic level of education.

Number of over ten festivals in Serbia is more than solid, but it would be good if the scene in these cities lived outside the festival. Clubs are provided only in Belgrade and Novi Sad, but they are mainly oriented to the standard jazz, creative activities are difficult to get a chance outside the festival circuit. Otherwise, I am convinced that our most talented jazz musicians would success abroad, but on this issue is needed more help from the state. For example, most of the costs of European artists at the festival bear the cultural institutions of their countries of origin.

How do you choose a slogan of the festival from year to year? This time it is Jazz seduction.

- The slogan of the festival is considering the entire organizing team, but the best idea usually is made by program manager of the
Cultural Center Dom Omladine, Dragan Ambrozić. Of course, you are trying to adequately portray the specific edition of the festival, or a feature of jazz in general. So, the slogan of the first renewed (2005) festival edition was Tradition and Futurism, to emphasize that we continue the festival tradition, but also that curious look ahead. With this slogan we have addressed those who remember the earlier editions of the festival, but also the audience who grew up in the meantime. Slogan City Jazz (2006) was a “way out of Dom omladine”, the intention that the whole city is dancing to the rhythm of jazz, the diffusion of festival in four urban areas. Proclaiming Strictly Jazz (2007), we wanted to clearly answer the question of what kind of music we want to introduce the audience. Jazz Emotions (2008) is recognition of the important characteristics of jazz, with strong emotions that fill the music. Last year we celebrated a remarkable anniversary of the Belgrade Jazz Festival and is in line with the slogan of the 25th anniversary. This year is Jazz seduction, as the jazz always seduces the audience. Seduction is, in fact, the essence of jazz.

Which names of this year’s festival would you highlight?

- Wayne Shorter, above all, as the first true jazz star in the festival of renewal. I will remember his concert in the same way I still remember the performance of Weather Report. Charlie Hadenhas honored us a very different sensibility fromWayne Shorter, as I expected, but most of the audience probably not. Where Wayne was ultra-close, Haden was the ultra-open. Where Wayne played an aggressive pace and rhythm, Haden was a mellifluous and romantic. Where Wayne was running away from romance, Haden entered into it. Where Wayne broke all ideas of the classical soloing, Charlie Haden Quartet West concert has covered the classic set of long and brilliant soloings of Alan Broadbent, Ernie Watts and Charlie Haden. Wayne got the first applause in the hall just in the second half of performance, but those who stayed until the end went completely thrilled. It is also interesting that he even played two encores, which is very rare concerning this quartet. On the other hand, each of Haden’s solo tracks were not followed by applause but a standing ovation when the band had to completely stop playing, continuing to gig only when the audience calmed down.

I will also remember the concert of Enrico Rava New Quintet - a perfect blend of experience of legendary Italian trumpeter and untamed youth of his great sidemen. Basically it was bebop, but modern treated - with elements of folklore, tango, swing and rock and roll, sublimating the different environments which is the characteristic of the modern jazz. Similarly, Jason Moran with his hurricane trio The Bandwagon explained that it is easy to connect Thelonius Monk with hip-hop, traditional jazz motives with avant-garde, witty pre-recorded stuff and live music, gentle piano playing bits with powerful rhythm section. With Moran’s music we could best understand how was jazz moving forward in the 21st century.

After 30 years, Wayne Shorter played again in front of Belgrade audience. Can you make a comparation?

- Wayne Shorter opened the festival in 1980 and this year, too. Then he came with the mega popular fusion band Weather Report, in which played keyboardist Joe Zawinul and bassist Jaco Pastorius, and now with the fantastic acoustic quartet, accompanied by pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade. Both then and now, large number of people was present at the concert.

But unlike 1980, when everyone left the Pionir Hall collectively delighted, this year opinions were dramatically divided. One part of the hall could not accept what he is now playing - thinking, hermetic, and at times very difficult music that requires full concentration of listener - and the second part considers attended the best concert in their life, managing to bring him to the (unusual) two encores. And this precisely is our wish - that the Belgrade Jazz Festival intrigues the audience, provoking a long interesting discussions (not) like-minded after the concerts.

What does it look like bringing a music star to Belgrade?

- To bring star to Belgrade looks exactly as it appears on the poster of this year’s festival - Cultural center Dom Omladine Belgrade PROUDLYpresents. The strongest feeling is pride, followed by the joy that you are able to provide to this city and the people you love the opportunity to hear history of jazz and to meet with those famous names.

If the budget allows, it is very easy because jazz artists are not complicated people. For instance, none of the Wayne Shorter Quartet had no special demands on the organization of the concert; they were very friendly towards people with whom they met these two days and did a highly professional performance.

On the sentimental side, it is enough to sit next to him at half a minute, without speaking - it will remain in your memory for years. I have had the opportunity to sit with Wayne one day after the concert and I think - in those fifteen minutes - I was fed with something very powerful, just like fifteen minutes of his playing or talking, and mostly we were silent.

The early eighties were marked with decline in response from the audience. What was this year’s communication with Belgrade people like?

- Belgrade audience is hungry for jazz, it’s coming to concerts in large numbers and reacts well to what artists play. This was the most visited festival in the past six years - more than 8,000 people listened to jazz at the festival this year, which is near the most visited editions from the early 70’s and late 80’s. I do not expect that number to increase, because it would mean a larger number of commercial names for the big city halls, which is directly related to the height of the budget. On the other hand, we are keen to have the program and creative music that naturally interact with fewer people, in venues such as Kolarac and Dom omladine hall. Some of the best concerts in the past six years, took place right there - Brad Mehldau, Avishai Cohen, Anat Cohen, Bojan Z, Patricia Barber… For these artists the space for 1,000 people is a natural environment.

After a break of 15 years, did festival meet the expectations that were formed in those years when it was not held?

- Festival 2005. was as strong as it was our initial budget, and it was very modest. But still, the festival was opened by Dave Holland, who got, three years prior to 2005, all four awards in Down Beat magazine he could get - the best band, best album, best bass player and the best performer of the year - so it was more than a good step. The success of this edition has taken us more responsibility, and so is every year. Fixing what is wrong, adding exciting new content, improving production standards - every year we make better and better program. Concerning the fact that number of foreign journalists and VIP guests increases every year - this year there were 14 - it is clear that we have gained considerable respect in the global jazz public. With this knowledge, we move on - every following year is more challenging, of course.

What kind of audience we have is the best described by two fresh examples. On summer Umbria Jazz in Perugia, attendance was about 60%, and we have three of seven sold out concerts. And yesterday I heard that Wayne Shorter performs today in Madrid in the 700 places venue, while in Belgrade played in front of 2,500 people.

Which things should be changed for next years? What innovations would be good to include?

- The first thing we want to add, which exsisted in editions to 1990 - is the jam sessions. Not instead of the midnight program, of course, because they have a great following, but parallel to them. The recently renovated Cultural Center Dom omladine will be easy to achieve parallel programs in the Americana hall and jazz club - of course, for the same ticket. This would bring some more traditional jazz at the festival, which Belgrade people like. But I know that the renewal of a jam session will go hard, since it don’t exist even in the in world’s leading festivals.

Concerning the concert program, it would be great if could commision an international production, as we have initiated three domestic in recent years - Rambo’s performance with jazz musicians, comeback of the Gut-Markovic Sextet and the project of Kornelije Kovac. The next step in this direction could be our connection with some well-known foreign musicians, who would make this project - initiated by us - premiered at the our festival.

I wish that next year has more accompanying content - because objective circumstances have prevented us in previous years. Of course, the basis of each festival are concerts, especially those from the main program, but to overall atmosphere contribute interesting photo exhibitions, panel discussions, film screenings. We hope that soon we will start colaborating with other festivals in the region and Europe, and to exchange ideas and good programs.

— 1 year ago

The Dali story in Belgrade

Interview: Barbara Garčević, PR of the “Salvador Dali - Divine worlds”exibition

published: http://www.wavemagazine.net/culture/salvador-dali-belgrade-exhibition.htm

piše: Ivana Spasojević

The Dali story in Belgrade

‘Salvador Dali - Divine worlds’ exibition is opened from 3rd September at ‘25. maj’ museum in Belgrade. In organization of Slovenian gallery Deva Puri from Bled, Belgrade audience will be presented to two of the largest opuses by Salvador Dali -105 litographies for Biblia Sacra and 101 watercolours through the illustration of the Divine Comedy. The visitors will be able to acquaint themselves to the Divine Comedy and the Bible through more than 200 graphics by this Spanish artist up until 14th November. Before Belgrade, only New York, Maribor and Bled had a taste of Dali’s work in this calibre.

The setting of Dali’s graphic work at the ‘25. maj’ museum is complex - it is consisted of graphics and stamps, but dominated by religious theme. The exibition includes two of the largest opuses of graphics by Salvador Dali, which are more than 200 graphic papers of theDivine Comedy and Biblia Sacraand both of the cycles are of religious character. PR of the exibition, Barbara Garčević, reveals to WAVE magazine what else is offered to the visitors, why was Dali thought of as a contoverse personality, which painting technique did he use, and which surprises are installed for Belgrade audience.

- Beside graphic work, the stamps that Italian government commissioned for the 700th anniversary of Dante Alighieri’s birth are also exibited. Also, the Divine Comedy was commissioned for the same occasion and this is its first illustration. Dali was thrilled to do the job since Dante was his big role-model, and used to say that Dante had a large influence on crating his own art expression.

However, this work was being done in the 50s, and it presented a large financial expense to Italy. The Communist party protested against the ‘money waste’, because they thought money was more needed for other purposes, and the nationalists protested because the creation of the most significant Italian poet was being illustrated by a Spaniard. The project was then withdrawn, and in the end, the Government just issued a series of souvenir stamps (the ones exibited on the Divine worlds exibition).

Nevertheless, the French understood the relevance and the worth of Dali’s work and that it deserved to be printed, so a French publishing house Editions d Art Les Heures Claires financed the printing of Dali’s illustrations and the exact original books of the French publisher can bee seen in ‘25. maj’ museum - explains Barbara.

While illustrating the Divine Comedy and Biblia Sacra, Dali made sure to additionally complicate the interpretation of these literary creations, instead of simplifying it?

- Well, at one point, Dali became immensely popular, he travelled all around the world, even lived in New York, and before that exibited his work at the famous MoMA Museum. He was surrounded by the icons of that time, such were Amanda Leary, Sonny Bono, Andy Warhol. Andy Warhol once said that Dali had a huge influence on pop art.

His friend Giuseppe Alberti, wanting to reconnect Dali to the Church and God, gave him a serious task to illustrate the Bible. Alberti also thought that Dali’s life partner Gala was a bad influence. However, he approached the task seriously, but in his own way, he was very spontaneous and free in his interpretation, so many think that he made the interpretation complicated. That was actually his own view and review, his own comment. It is thought that this creation would probably face critics from the Catolic church, if it had been printed in larger amounts, since the visitors who come to see the exibition, linger at the Bible illustration, and the most common comment on the Moses graphic is that Dali made him look like a devil.

Biblia Sacra was illustrated by a special technique - it’s bulletism, Dali’s invention?

- The technique Dali used in his Bible illustrations is called bulletism. When he got an assignment to work on the Bible, Dali invented a new way of painting using a kind of an old gun - arquebus, which he charged with paint capsules and fired off onto the surface.That is how the spontaneous spots were created, as he called them, and then created the whole composition on that base. Sometimes, it formed a beard of some Bible character, to someone it looked like a part of a head, but you can see those litle dots as a result form shooting the colour out of the gun on almost every graphic.

During his work on the Divine Comedy, he used another technique, and that was xilography. The image is not carved into the plate, but the parts of the plate which are not on the graphic were carved out of the plate. So we always emphasize that these art works, because of the technique used, occupy a special place in Dali’s opus.

At first, the controversy was about the protests, since the Italian writer was represented by a Spaniard, and after that Dali’s statement that he had never read the Divine Comedy, made a stir. His personality was obviously controversial?

- Obviously, Dali had a sence of how to do PR and applied it beautifly, so the statement in question was a way to make public pay attention to him. Dali’s statement that he hadn’t read the Divine Comedy happened when the Italian government withdrew from printing his book. That controversial statement is absolutely in accordance with his personality, which drew the atention of the public quite often. It’s not surprising that Dali was inspired by this voluminous literary work, which features some religious moments, because Dante had created a philosophical piece. Of course, Dante’s interpretation of religion was specific for that era, for instance, he put all the popes of that time into Hell, as well as many significant personalities, so that actually was Dante’s critic of the Church, which Dali had accompanied nicely. Below every illustation, there is a part of the canto which is illustrated, so one can know in every moment what part of the book the graphic reffers to.

Once again, Belgrade is one of the first places to have the honour of hosting a cultural event like this. Before Belgrade, the exibition of Dali’s artwork this size was only shown in New York, Maribor and Bled in Slovenia.

- Dali’s graphics in this amount were exibited in New York few years back, and this exact setting was featured only in Maribor and Bled, because the organizer of the whole exibition is actually an art gallery from Bled, called Deva Puri. Due to incredible visit in Bled and Maribor, the organizer thought there is a potential to exibit the artwork on some other place, and Belgrade, as a centre of Southeast Europe was an obvious choice.

I reveal this information exclusively to you - in one month, this exhibition was visited by more than 10,000 visitors. This is an attendance this museum has never had before, despite the fact that the visitors have to pay for the entrance ticket, since a private gallery has rented this space and organized the whole event. The 450 dinars ticket, or the fact that this museum is far from the city centre, did not stop people from coming, and we are more than happy and overwhelmed because of the interest that succeded our expectations.

Which additional events to this Dali story are you planning to organize?

- Firstly, we plan to organize a theme party, featuring some of the currently popular musicians. We also plan to organize a humanitarian action at the end of October, actually it will be an auction of graphics, which the organizer selected. It is already known that there is a certain number of Dali’s graphics with a certificate, which can be purchased at the Museum. But, Deva Puri gallery had already selected some graphics for the auction, of course those are not amongst ones which are already for sale. Finally, we are in contact with Yugoslavian kinothek which is most probably going to grant us with some motion pictures that Dali worked on with some great artists such were Hitchcock and Bunuel.

— 1 year ago