KVADRIJENALU SCENSKOG DIZAJNA I SCENSKOG PROSTORA … · 2019. 12. 26. · 2.2 UMETNIČKO TRAGANJE ZA SAKRIVENIM VREDNOSTIMA Selena Orb (alias Darinka Mihajlović), Dragana Vilotić

SAMO(IZ)GRADNJA: SRBIJA NA PRAŠKOM KVADRIJENALU SCENSKOG DIZAJNA I SCENSKOG PROSTORA 2019.SELF(UP)BRINGING:SERBIA AT THE PRAGUE QUADRENNIAL OF PERFORMANCE DESIGN AND SPACE 2019

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Samo(iz)gradnja:Republika Srbija na Praškom kvadrijenalu scenskog dizajna i scenskog prostora 2019.Katalog

Self(up)bringing:Republic of Serbia at the Prague Quadrennial of Performance Design and Space 2019Exhibition Catalogue

Urednici / Editors:Ljiljana Miletić Abramović i/and Tatjana Dadić Dinulović

Izdavači / Publishers:Muzej primenjene umetnosti, Beograd / Museum of Applied Art, BelgradeScen – Centar za scenski dizajn, arhitekturu i tehnologiju (Oistat Centar za Srbiju) Fakulteta tehničkih nauka Univerziteta u Novom Sadu, Novi Sad / Scen – Centre for Scene Design, Architecture and Technology (OISTAT Centre for Serbia), Faculty of Technical Sciences, University of Novi Sad

Za izdavača / For the publisher:mr Ljiljana Miletić Abramović, direktor Muzeja primenjene umetnosti / Ljiljana Miletić Abramović (MSc), Director, Museum of Applied Artprof. dr Rade Doroslovački, dekan Fakulteta tehničkih nauka / Prof. Rade Doroslovački (PhD), Dean, Faculty of Technical Sciences

Grafičko oblikovanje i tehnička obrada / Graphic design and pre-press:Mia David

Prevod na engleski / Translation into English:Dragana Rašić Vuković

Lektura i korektura za srpski jezik / Proofreading for the Serbian language:Milica Ševkušić

Recenzije / Reviews:dr Jelena Atanacković Jeličić i dr Slađana Milićević / Jelena Atanacković Jeličić, PhD and Slađana Milićević, PhD

Stručna redakcija Pojmovne mape i hronologije na srpskom jeziku / Expert’s review of the Conceptual Map and Chronology in the Serbian language:SCEN tim / SCEN team

Štampa / Printing:Grafički centar „Grid“ Fakulteta tehničkih nauka u Novom Sadu / Graphic centre “Grid”, Faculty of Technical Sciences, Novi Sadseptembar 2019 / September 2019

Tiraž / Circulation:300

ISBN 978-86-6022-205-5

Štampanje kataloga omogućilo je Ministarstvo kulture i informisanja Republike Srbije. / Printing of the catalogue was supported by the Ministry of Culture and Information of the Republic of Serbia.

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SADRŽAJ / CONTENTS

SAMO(IZ)GRADNJA:SRBIJA NA PRAŠKOM KVADRIJENALU SCENSKOGDIZAJNA I SCENSKOG PROSTORA 2019.Ljiljana Miletić Abramović i Tatjana Dadić Dinulović, komesari

SELF(UP)BRINGING:SERBIA AT THE PRAGUE QUADRENNIAL OFPERFORMANCE DESIGN AND SPACE 2019Ljiljana Miletić Abramović and Tatjana Dadić Dinulović, Commissioners

1. NACIONALNA POSTAVKA / NATIONAL EXHIBITION

1.1 RADOVI NA SCENIBojan Đorđev, Siniša Ilić i Maja Mirković, kustosi

1.1 SCENE WORK AHEADBojan Djordjev, Siniša Ilić and Maja Mirković, Curators

1.1.1 PROLAZAK KROZ POSTAVKU RADOVI NA SCENIRad – umetnost – prekarnost – polje borbeBojan Đorđev, Siniša Ilić i Maja Mirković

1.1.1 SCENE WORK AHEAD – A WALK THROUGHLabour – Art – Precarity – BattlefieldBojan Djordjev, Siniša Ilić and Maja Mirković

1.1.2 PESMARICA PRVI DEO - ISTORIJSKI SONGOVI

1.1.2 SONGBOOK PART ONE - HISTORICAL SONGS

1.1.3 POJMOVNA MAPA I HRONOLOGIJAKolektivni rad tima Radovi na sceniMilutin Dapčević, Mirjana Dragosavljević, Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Igor Vasiljev i Tanja Šljivar

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1.1.3 CONCEPTUAL MAP AND CHRONOLOGYCollective work of the Scene Work Ahead teamMilutin Dapčević, Mirjana Dragosavljević. Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Igor Vasiljev and Tanja Šljivar

1.1.4 PESMARICA DRUGI DEO - AUTORSKI SONGOVIKolektivni rad tima Radovi na sceni

1.1.4 SONGBOOK PART TWO - ORIGINAL SONGSCollective work of the Scene Work Ahead team

1.1.5 RADOVI NA SCENI - ILUSTRACIJE / SCENE WORK AHEAD - ILLUSTRATIONS

1.1.6 RADOVI NA SCENI - PRAG 2019 / SCENE WORK AHEAD - PRAGUE 2019

1.2 PROLAZAK KROZ POGLED NA SCENUInstitucije kulture – nezavisne produkcije – javni prostor – ad hoc akcijeBojan Đorđev, Siniša Ilić i Maja Mirković

1.2 A VIEW OF THE SCENE – A WALK-THROUGHCultural Institutions – Independent Productions – Public Space – Ad Hoc ActionsBojan Djordjev, Siniša Ilić and Maja Mirković

1.2.1 Broken Light 1.2.2 Mia David1.2.3 Granična lepota/Borderline Beauty1.2.4 Nikola Isaković1.2.5-7 Institut za aplauz/The Applause Institute1.2.8-9 Jelena Janković1.2.10 Karkatag kolektiv/Karkatag Collective1.2.11 Igor Koruga i/and Maja Pelević1.2.12 Marko Milić1.2.13 Sofija Mitrović1.2.14-16 Zorana Petrov1.2.17 Marta Popivoda i/and Ana Vujanović1.2.18 Jovana Rakić

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1.2.19 Aleksandar Ramadanović1.2.20-21 Andreja Rondović1.2.22 Branislava Stefanović1.2.23 Veljko Stojanović1.2.24 Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Ana Zorić, Miloš Kostić, Dezire Tilinger (Desirée Tilinger), Jovana Vidaković (Urbanium)1.2.25 Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić (Urbanium)1.2.26 Srđan Veljović1.2.27-28 Nikola Zavišić

2. STUDENTSKA POSTAVKA / STUDENTS’ EXHIBITION

2.1 STVARANJE KUĆA I GRAĐENJE LJUDIRomana Bošković Živanović, Programski koordinator Kustoskog tima

2.1 CREATION OF HOUSES AND CONSTRUCTION OF PEOPLERomana Bošković Živanović, Programme Coordinator of the Curatorial Team

2.2 UMETNIČKO TRAGANJE ZA SAKRIVENIM VREDNOSTIMASelena Orb (alias Darinka Mihajlović), Dragana Vilotić i Draško Adžić

2.2 ARTISTIC PURSUIT OF HIDDEN VALUESSelena Orb (alias Darinka Mihajlović), Dragana Vilotić and Draško Adžić

2.3 IGRA KOJA NIKADA NE PRESTAJE I KOJA NAS MENJALara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac i Aleksandra Vučković

2.3 NEVER-ENDING PLAY THAT CHANGES USLara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac and Aleksandra Vučković

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2.4 UMETNIČKI RAD RAVNOTEŽA

2.4 SEE/SAW ARTWORK

2.4.1 IGRALIŠTEAutorski tim studenata

2.4.1 PLAYGROUNDTeam of student authors

2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.1 Kutija/Box 1: Bojan Kaurin, Filip Šćekić, Katarina Šijačić i/and Lara Bunčić 2.4.2.2 Maja Ivanović i/and Aleksandra Vučković2.4.2.3 Kutija/Box 3: Lara Popović2.4.2.4 Kutija/Box 4: Ema Pavlović2.4.2.5 Kutija/Box 5: Marija Šumarac i/and Nikola Isaković2.4.2.6 Kutija/Box 6: Jovana Matić i/and Đorđe Nešović

2.4.3 RAVNOTEŽA - ILUSTRACIJE / SEE/SAW - ILLUSTRATIONS

3. KO JE KO? / WHO’S WHO?

4. IMPRESUM PROJEKTA / PROJECT IMPRESSUM

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SAMO(IZ)GRADNJA /SELF(UP)BRINGING

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SAMO(IZ)GRADNJA:

SRBIJA NA PRAŠKOM KVADRIJENALU SCENSKOG DIZAJNA I SCENSKOG PROSTORA 2019.Ljiljana Miletić Abramović i Tatjana Dadić Dinulović, komesari

O TEMI

Samo(iz)gradnja:

(je) pravljenje, (po)dizanje, zidanje, konstruisanje, izrađivanje, stvaranje, smišljanje...

(vlastitim snagama, ili za vlastite potrebe); zajednice, kolektiva, okruženja, profesije, društva, pojedinca, sebe...

Pojam samo(iz)gradnja1 potiče iz spe- cifičnog ideološkog, društvenog, političkog, ekonomskog i kulturnog konteksta socijalističkog društva druge polovine XX veka, sa prostora i iz vremena u kom je rad pojednica na sebi smatran društveno potrebnim i društveno opravdanim. Tako postavljeno društvo videlo je sopstveni razvoj kroz razvoj pojedinca, njegovo obrazovanje, vaspitanje, una-pređenje uslova života i rada. U tom cilju je, intenziv-no i sveobuhvatno, podsticalo razvoj amaterskih klubova i udruženja, kreiralo institucije i manifestacije, negovalo pozorište i druge umetnosti i činilo ih dostupnim gotovo svima.

Danas živimo u radikalno drugačijem kon-tekstu, u okruženju u kome nije sasvim jasno ni šta društvo

1 Nije bilo jednostavno prevesti ovaj pojam na en-gleski jezik. Tako su se tokom prevođenja pojavile sledeće mogućnosti: self-construction; self-buil-ding; self(up)building; self-development; self(up)bringing; itd. Na kraju, opredelile smo se za pojam self(up)bringing, smatrajući da najbolje odražava ideju rada.

jeste, niti šta je njegova uloga, pa ne možemo da govorimo ni o tome šta je institucija društva. Današnji kontekst izražene fragmentarnosti, jedino izvesno, podrazumeva in-teres tržišta (ili novca) i interes države (ili partije). U tom i takvom okruženju pozicija pojedinca znatno je izmen-jena – on više nije neko ko može da prihvati da ga društvo podstiče, gradi ili oblikuje. Naprotiv, on (pojedinac) mora da oblikuje društvo, oblikujući sebe. Ovakav odnos pojedin-ca i društva nameće veliku odgovornost svakome, jer, budući da smo kolektivna bića, moramo da uspostavimo zajednicu, tj. društvo. Tako, umesto jednog dominantnog, nastaje mnogo malih društava, sa dalekom i neizvesnom težnjom da ta mala društva formiraju novo, veće, snažnije i značajnije, unutar koga će nastati nove ideje i vrednosti. Tako su se energi-ja, interesovanje i motivacija preselili u male kolektive i radna okruženja u gotovo svim oblastima savremenog živo-ta, pa i u umetnosti. Neprekidne promene i nepredvidljivi uslovi rada doneli su nesigurnost, neizvesnost i nepoveren-je, ali, istovremeno, i mogućnost za kreiranje novih modela – u profesiji, u radnom okruženju, unutar konzervativnih institucija ili na nezavisnoj umetničkoj sceni. Izuzimanje iz tekućeg sistema vrednosti i zalaganje za sopstvene ide-je umetničkim činom, koristeći upravo sredstva na kojima društvo počiva, nema samo ideološke vrednosti i potencijale već omogućava, ponovo, prostor za pravljenje, zidanje, kon-struisanje... zajednice, kolektiva, pojedinca, sebe... – za samo(iz)gradnju.

O KONCEPTU

Mi gradimo prugu, pruga gradi nas.2

Oslonac za promišljanje nastupa Srbije na Praškom kvadrijenalu našli smo, ponovo, u problemskom

2 Parola „Mi gradimo prugu pruga gradi nas“ nasta-la je tokom omladinske radne akcije 1947. godine, na kojoj je više od 200.000 mladih ljudi iz čitave Jugoslavije gradilo i izgradilo prugu Bosanski Ša-mac – Sarajevo. Savezne omladinske radne akcije, po svojoj prirodi dobrovoljne, bile su ključan oslonac obnove i ponovne izgradnje zemlje, razorene tokom Drugog svetskog rata. Na ovaj način izgrađeni su mnogi putevi i objekti, a posebno je negovan kult udarništva.

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pristupu i tematizaciji rada pod nazivom Samo(iz)gradnja, zajedničkim za dve kategorije – Nacionalnu postavku (Section of Countries and Regions) i Studentsku postavku (Student Exhibition – Students, Young Designers and Young Designer’s Studios).

U istorijskom i geografskom smislu, osno- vu za nastanak ovog rada čini pogled na relativno kratak vremenski period koji obuhvata formiranje Jugoslavije na-kon Drugog svetskog rata, njen raspad devedesetih godina XX veka, te uticaj ove dve ključne tačke na Srbiju, tj. društveno, političko i kulturno okruženje u kom radimo i živimo danas. Posebno, ovaj pogled tiče se potrebe za (ponovnim) razmatranjem, kritičkom analizom i vrednovanjem kulture i kulturne politike, naročito u oblasti pozorišta i izvođačkih umetnosti, pa zatim i njihovog izlaganja van prostora pozorišta, a sve u kontekstu savremenog društva u Srbiji.

Osim na Samo(iz)gradnju kao kontekst, nastup Srbije oslonjen je na one autorske pristupe scen-skom dizajnu u pozorištu i izvođačkim umetnostima koji ovu oblast stvaralaštva vide i razvijaju kao snažan sastavni deo ukupne umetničke ideje, a ne kao podređenu ili prateću disciplinu. U tom smislu, nastup Srbije posvećen je iden-tifikaciji, mapiranju i predstavljanju autora, događaja, manifestacija i institucija koje u svom radu neguju ovakav pristup scenskom dizajnu i scenskom prostoru. Poseban na-glasak stavljen je na delovanje onih umetnika (profesio- nalaca i studenata) koji svojim radom objedinjuju pojedi-načne discipline i proširiju polja delovanja, gradeći time razvijene ili nove umetničke forme.

O NAČINU RADA I ISHODU, ILI O TRAGANJU ZA NOVOM SCENOM/TEATROM

U odnosu na postupak i proces rada, bilo nam je važno da kustosi obe postavke stvaralački razvi-ju temu i problemski pristup nastupa Srbije u celini, sa idejom da pronađu, zabeleže i prikažu savremene trendove

u oblasti scenskog dizajna i scenskog prostora u Srbiji. Očekivali smo, takođe, da dalje stvaralački razvijaju au-torski pogled na umetnički koncept Kvadrijenala i posve-te pažnju prostornim aspektima izlaganja, konkretno se određujući prema ideji o deljenju zajedničkog prostora.

Nacionalna postavka pod nazivom Radovi na sceni, koncipirana je kroz dva ravnopravna segmen-ta. Jedan je zasnovan na istraživanju i realizaciji no-vog kolektivno strukturiranog umetničkog rada u kome uče- stvuju umetnici po pozivu. Drugi, pod nazivom Pogled na scenu, predstavlja radove odabrane na javnom konkursu, sa zadatkom da omogući pregled scenskog dizajna na teritori-ji Srbije, kao i prakse domaćih umetnika ostvarene izvan granica naše zemlje.

Pozorišna scena, kao i sveukupna dru- štvena, danas i ovde postoji u stanju fluksa koji se ne-prekidno menja i evoluira, zbog čega su svi akteri is-tovremeno u inverznoj ulozi – i kreatori i gledaoci. U tom kontekstu, kustoski projekat Radovi na sceni formiran je od niza mikro sekvenci koje su odraz ličnih i opštih stanja nepostojanosti ne samo umetničkog stila života. Glavna ideja projekta odražava snažnu potrebu za formi-ranjem novog kritičkog umetničko-scenskog prostora u ha-otičnom aktuelnom društvenom poretku – zastalom između nepovratno izgubljenog modernističkog totaliteta i no-vonastale fragmentacije postmodernističkih simulakruma. U cilju neophodne refleksije samo(iz)gradnje sopstvenog puta, u sadašnjem postsocijalističkom jugoslovensko-srpskom dru-štvenom i teatarskom kontekstu, pravi je izazov istražiti poruke i pouke nedavnog, zapostavljenog i iščezlog, soci-jalističkog nasleđa. Procesi teoretizacije i istorizacije tog nasleđa mogu inspirisati umetnike na kolektivnu an-gažovanu akciju i nuditi osnovu za nove umetničke izbore. Osim toga, Radovi na sceni odražavaju i umetničku vizuru u novom generacijskom ključu koji nosi iskustvo savremenog sveta preopterećenog informacijama i opštom fragmentacijom značenja, smisla i vrednosti. Na taj način, samozastupanje i Samo(iz)gradnja postali su projekat po sebi, čin čiste egzistencije za sve umetnike uključene u proces kreiranja

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Radova na sceni. Tako postavljene koordinate ukazuju da je neophodno, danas i ovde, baviti se pozorištem kao društve-nom praksom, zasnovanom na zajedničkom radu grupa umet-nika, u znaku alternativnih oblika teatarskog angažmana, stvarajući nove umetničke strukture koje mogu oblikovati, u srpskoj pozorišnoj sredini, nova iskustva sa jasnom ide-jom da je istinska uloga scenskog prostora i teatra uvek u katarzi.

Studentska sekcija, pod nazivom Rav-noteža, koncipirana je kao zajednički umetnički rad dva-naest studenata različitih fakulteta u Srbiji, izabranih putem javnog konkursa. Ovaj rad, u formi performativne in-stalacije, nastao je tokom višemesečnog kreativnog procesa u kome su studenti istraživali temu konstruisanja zajed-nice i društva kroz građenje pojedinca.

Studenti ujedinjeni na zajedničkom za-datku, a sa iskustvom različitih nastavnih planova i pro-grama, bili su pred ozbiljnim izazovom da učestvuju u pro-cesu kreiranja jedinstvenog i konkretnog umetničkog nara- tiva. Prvobitna motivacija kristalizovala se oko ideje da se u potrazi za samo(iz)gradnjom uspostavi ravnotežno polje igre protumačeno kao kreativni i emotivni rezer-voar. Ovo na prvi pogled jednostavno polazište zahtevalo je sistemski rad kroz niz kreativnih radionica, uz samo-stalne činove koje su studenti pojedinačno formulisali, a sve u skladu sa timskim radom drugih studenata – učesni-ka, i uz koordinaciju sa mentorima. U suštini, rad je zasnovan na primarnom tumačenju igre kao kreativnog čina po sebi, a samim tim prisutna je i avantura doživljaja sopstvene stvaralačke slobode u potrazi za ravnotežnim stanjem. Učestvujući u zajedničkom stvaranju i otkrivanju kreativnog toka, studenti su bili u mogućnosti da sagle-daju privlačnost profesije i da istraže stvarne okolnosti formiranja umetničkog dela. Na određeni način, čitav rad se može posmatrati i kao pripremni skok u potrazi za svojim mestom u profesiji, dok ostvareni nivoi znatiželje čine ovo putovanje kroz vreme u polje igre dodatno uzbudljivim i otvaraju mnogobrojne prilike u procesu samo(iz)gradnje umetničkog puta i mesta za mladog umetnika u društvu.

Treći, integrativni segment rada Samo(iz)gradnja, jeste ovaj katalog, značajan za ukupno razumevanje ideja, narativa i umetničkog postupka u oblasti scenskog dizajna.

Katalog zaokružuje i objedinjuje celokupno predstavljanje u obe selekcije, nacionalnoj i studentskoj, i dokumentuje nastojanje jedne generacije umetnika i studenata, uključenih u projekat, da sagledaju i iznesu ideju o svom razumevanju pozorišta, u vidu zajedničkih i ličnih iskaza, plasirajući nezavisan autorski koncept koji je osnovni i prvi nivo svakog umetničkog delanja. Osim što ima vrednost kao dokument o nastupu Republike Srbije na Praškom kvadrijenalu scenskog dizajna i scenskog prostora 2019. katalog ima i komunikacijski značaj jer uspostavlja neophodnu vezu između javnosti i struke.

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SELF(UP)BRINGING:

SERBIA AT THE PRAGUE QUADRENNIAL OF PERFORMANCE DESIGN AND SPACE 2019Ljiljana Miletić - Abramović and Tatjana Dadić Dinulović, Commissioners

ON THE THEME

Self(up)bringing:

(means) making, building, constructing, designing, producing, creating, conceiving...

(by one’s own powers or for one’s own needs);of a community, collective, environment, profession, society, individual, oneself...;

The term self(up)bringing1 came from the specific ideological, social, political, economic and cul-tural context of the socialist society of the second half of the 20th century, from the region and time in which an individual’s self-development was considered socially nec-essary and socially justified. Society, thus established, viewed its own development through the development of an individual, his education, upbringing, improvement of his living and working conditions. To this end, it intensely and comprehensively encouraged the development of amateur clubs and associations, created institutions and events,

1 It was not easy to translate the term samo(iz)gradnja into the English language. There were se-veral options: self-construction; self-building; self(up)building; self-development; self(up)brin-ging; etc. At the end, we (Commissioners) decided to use the term self(up)bringing, believing that it reflects all meanings relevant to the main idea of the artwork.

nurtured theatre and other arts, and made them accessible to almost everyone...

Today, we live in a radically different context, in the environment where it is neither quite clear what society is, nor what its role is, so we cannot talk about what society, as institution, represents. It is only certain that today’s context of pronounced fragmentation implies the interest of the market (or money) and the in-terest of the state (or the party). In this and such an environment, the position of an individual is considerably changed – one is no longer someone who can accept to be en-couraged, built or shaped by society. On the contrary, one (an individual) must shape society by shaping oneself. Such a relationship between the individual and society imposes great responsibility on everyone, because, as collective beings, we need to establish a community, that is, society. Thus, instead of one dominant society, many small socie-ties arise. There is a distant and uncertain tendency for these small societies to form a new, larger, stronger and more significant one, within which new ideas and values will develop. Therefore, energy, interests and motivation have moved into small collectives and working environments in almost all areas of contemporary life, even in art. Constant changes and unpredictable working conditions have brought insecurity, uncertainty and mistrust, but at the same time, they have brought the opportunity to create new models – in profession, in working environment, within conservative institutions or in an independent art scene. Not only does diverting from the existing set of values and advocating your own ideas through an artistic act, using exactly the means on which society is founded, have ideological values and potentials, but it also provides, once again, the space for making, building, constructing... a community, collec-tive, individual, oneself… for self(up)bringing.

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ON THE CONCEPT

We’re constructing the railway, the railway’s constructing us.2

Once again, the basis for conceiving Serbia’s performance at the Prague Quadrennial was found in a problem-based approach and thematisation of the work entitled Self(up)bringing, common for the following two categories – National Exhibition (Section of Countries and Regions) and Student Section (Student Exhibition – Stu-dents, Young Designers and Young Designer’s Studios).

In the historical and geographical sense, the basis for this work is the view of a relatively short period of time which includes the formation of Yugoslavia after World War II, its disintegration in the 1990s, and the impact that these two key moments had on Serbia, that is, on the social, political and cultural environment in which we work and live today. In particular, this view per-tains to the need for (re)consideration, critical analysis and evaluation of culture and cultural policy, especially in the field of theatre and performing arts, and further to their display outside the theatre space, and all this,in the context of Serbian contemporary society.

In addition to Self(up)bringing as a context, Serbia’s performance relies on those authorial approaches to the scene design in the theatre and perform-ing arts that see and develop this field of creativity as a strong integral part of the overall artistic idea, and not as a subordinate or accompanying discipline. In that sense, Serbia’s performance is dedicated to the identifica-

2 The slogan We’re Constructing the Railway, the Railway’s Constructing Us was created during the youth work action in 1947, when more than 200,000 young people from the whole Yugoslavia were buil-ding and, finally, constructed the railway Bosanski Šamac-Sarajevo. Federal youth work actions, volun-tary by nature, were the essential support for the reconstruction and rebuilding of the country, de-vastated during World War II. Thus, many roads and facilities were built, and the cult of ‘shock work’ was particularly fostered.

tion, mapping and presentation of authors, events , man-ifestations and institutions that foster such an approach to the scene design and performing space in their work. Special emphasis is placed on the work of those artists (professionals and students) who, in their work, unify individual disciplines and expand fields of their action, thereby creating developed or new art forms.

ON THE METHOD OF WORK AND THE OUTCOME, OR ON THE PURSUIT OF A NEW SCENE/THEATRE

Regarding the procedure and process of work, it was important to us that the curators of both ex-hibitions creatively develop the theme and problem-based approach of Serbia’s performance as a whole, with the idea of finding, recording and presenting contemporary trends in the field of scene design and performing space in Ser-bia. Furthermore, we expected that they further creatively develop artistic concept of the Quadrennial and pay at-tention to the spatial aspects of the presentation, being specifically determined through the idea of sharing common space.

The National Exhibition, entitled Scene Work Ahead, is conceived through two equal segments. One is based on research and realisation of a new, collective-ly structured artwork in which artists are invited to par-ticipate. The second, entitled A View of the Scene, rep-resents the works selected through a public competition, with the aim of providing a review of scene design in the territory of Serbia, and practice of national artists re-alised outside our country.

The theatre scene, as well as the over-all social scene, today and here, exists in a state of flux that is constantly changing and evolving, causing all actors to play inverse roles – being, at the same time, both creators and viewers. In this context, the curato-rial project Scene Work Ahead is composed of a series of micro sequences reflecting the personal and general state of non-stability of not only the artistic lifestyle. The

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main idea of the project reflects the strong need to form a new, critical, artistic and performing space in the currently chaotic social order – stagnating between the irreversibly lost modernist totality and the newly formed fragmentation of postmodernist simulacra. In order to nec-essarily reflect the self(up)bringing of one’s own path, in the current post-socialist Yugoslav/Serbian, social and theatrical context, it is a real challenge to explore the messages and morals of the recent, neglected and vanished, socialist heritage. The processes of theorization and his-torization of this heritage can inspire artists to get engaged in collective action, and provide the basis for new artistic choices. Moreover, Scene Work Ahead reflects an artistic vision of the new generation model, bearing the experience of the contemporary world overloaded with information and general fragmentation of meanings, sense and values. Thus, self-representation and Self(up)bringing became a project of its own, an act of pure existence for all the artists involved in the process of creating Scene Work Ahead. The coordinates, thus set, indicate that it is necessary, today and here, to get engaged in theatre as social practice, based on the joint work of groups of artists. This could be done through alternative forms of theatre engagement, creating new artistic structures that can shape new experiences, in the Serbian theatrical envi-ronment, with a clear idea that the true role of performing space and theatre is always in catharsis.

The Students Section, entitled Coun-terweight (SEE/SAW), is conceived as a joint artwork of twelve students from various faculties in Serbia, selected through a public competition. This work, in the form of a performative installation, was designed during a creative process that lasted for several months. In this process, students researched the theme of constructing a community and society through the construction of an individual.

The students who gathered around a common task, and who experienced different syllabuses and curricu-la, faced a serious challenge of participating in the pro-cess of creating a unique and concrete artistic narrative.

The original motivation crystallized around the idea to create the balance field of play, interpreted as a creative and emotional reservoir, in pursuit of self(up)bringing. This, at first sight, a simple starting point required sys-tematic work through a series of creative workshops with independent acts that students formulated individually, and all in line with the team work of other students-par-ticipants, and in coordination with mentors. Essentially, the work is based on the primary interpretation of play as a creative act by itself, and therefore, present is also the adventure of experience of one’s own creative freedom in pursuit of the state of balance. By participating in joint creation and discovering the creative flow, students were able to perceive the attractiveness of the profes-sion, and to explore the real circumstances under which an artwork is formed. In a certain way, the entire work can be seen as a preparatory leap in pursuit of one’s own place in the profession. And the achieved levels of curiosity make this journey, through time into the field of play, extra exciting, and open up numerous opportunities in the pro-cess of self(up)bringing an artistic path and a place for a young artist in society.

The third, integrative segment of the work Self(up)bringing, is this catalogue – important for a complete understanding of ideas, narratives and artistic practice in the field of scene design.

The catalogue encompasses and consoli-dates the entire presentation, in both national and stu-dent selections, and documents the efforts of a generation of artists and students, involved in the project, to con-sider and express the idea of their understanding of the theatre, in the form of joint and personal statements, by advocating an independent author’s concept which is the basic and first level of every artistic work. In addition to being valuable as a document about the Republic of Serbia’s presentation at the Prague Quadrennial of Performance De-sign and Space 2019, the catalogue also has communicative significance because it establishes a necessary connection between the public and the profession.

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1.NACIONALNA POSTAVKA /NATIONAL EXHIBITION

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RADOVI NA SCENISCENE WORK AHEAD

Kustosi/Curators: Bojan Đorđev, Siniša Ilić i/and Maja Mirković

Radovi na sceni / Scene Work AheadAutorke i autori / Authors: Milutin Dapčević, Mirjana Dragosavljević, Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Tanja Šljivar i/and Igor Vasiljev

Pogled na scenu / View of the SceneUmetnice, umetnici i umetnički kolektivi / Artists and collectives:Mia David, Granična lepota / Borderline Beauty (Izvanredni Bob / the Exceptional Bob, Stevan Bodroža, Goran Milenković, Željko Maksimović, Tamara Pjević, Petar Mirković), Nikola Isaković, IZA – Institut za aplauz / The Applause Institute (Stevan Beljić, Luka Cvetković, Stefan Knežević, Katarina Kostandinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić, Dušan Savić, Vanja Seferović, Tamara Spalajković), Jelena Janković, Karkatag Kolektiv / Karkatag Collective, Marko Milić, Broken Light (Sonja Jankov, Đina Prnjat, Janž Omrezu i/and Nemanja Mitrović), Sofija Mitrović, Igor Koruga i/and Maja Pelević, Zorana Petrov, Jovana Rakić, Aleksandar Ramadanović, Andreja Rondović, Branislava Stefanović, Veljko Stojanović, Urbanium – Centar za istraživanje i održivi razvoj arhitekture i urbanizma / Centre for Research and Sustainable Development of Architecture and Urban Planning (Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić, Ana Zorić, Miloš Kostić, Dezire Tilinger / Desirée Tilinger, Jovana Vidaković), Srđan Veljović, Marta Popivoda i/and Ana Vujanović, Nikola Zavišić

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1.1RADOVI NA SCENIBojan Đorđev, Siniša Ilić i Maja Mirković, kustosi

Kada smo pozvani da bez prethodne kustoske prakse predložimo koncept postavke nastupa Srbije na Praškom kvadrijenalu, pošli smo od odluke da scenski dizajn promišljamo kroz analizu sopstvenih pojedinačnih i zajedničkih umetničkih praksi i radnih iskustava, koja se sreću na raskršću dizajna kostima i scene, režije, poezije, izvođačkih i likovnih umetnosti. Razmatranjem problema sa kojima smo se sretali u institucionalnom pozorištu i na nezavisnoj sceni, shvatili smo da su naše putanje određe-ne/omeđene uslovima pod kojima se konkretan rad odvija.

Izvođačke umetnosti posmatramo kao čvorište u kom se pojedinačne prakse sreću u različitim ob-licima zajedničkog rada, komunikacije i koautorstva. Rela-cioni karakter izvođačkih umetnosti podrazumeva pregovore i redefinisanje granica idejnih, ideoloških i autorskih po-zicija vezanih za praksu svih uključenih u projekat. Okvir u kom se odvija ova interakcija, kao sastavni deo svake umetničke prakse, jesu političke i ideološke konstelacije datog istorijskog trenutka. Uz pomoć svojih regulacionih aparata, one oblikuju društvo u kom se realizuje prostor za umetničko delovanje, počev od obrazovnog sistema, pa do broja aktuelnih radnih mesta, institucija i manifestacija, kao realne slike prilika i mogućnosti da se stečena znanja primenjuju i predstave.

Uslovi rada i pitanje kako društvene okolnosti, politika i ideologija oblikuju naše prakse, po-staju tako ključni pojmovi koncipiranja postavke Radovi na sceni. Ideja o kolektivnom interdisciplinarnom radu ovde funkcioniše i kao parafraza rada na pozorišnoj predstavi; preispituje odnos autonomije pojedinačnih praksi i dinami-ke njihove komunikacije unutar scenskog dizajna koji ih u radu na Postavci objedinjuje.

Pojam samo(iz)gradnje, koji su komesar-ke odredile kao temu ovogodišnjeg nastupa Srbije na Praš-kom kvadrijenalu, proširili smo kroz pitanja položaja i značenja individue i individualnog, u kontekstu kolektivnog rada i samoizgradnje kroz kolektivnu praksu. Samo(iz)gradnju ne shvatamo kroz izolaciju, rad na sebi i nadmetanje su-bjekata karakteristično za neoliberalno društveno uređe-nje, već kao razvoj potencijala svih jedinki u društvu koje to omogućava i zagovara ne bi li i samo napredovalo.

Kako govoriti o scenskom dizajnu, ako ne govorimo o uslovima u kojima se on događa – to posta-je ključno pitanje kojim se bavimo u konceptu postavke Radovi na sceni. Koristeći pojam dizajn scene, analiziramo kulturne politike koje oblikuju – dizajniraju – prostor u kom se razvijaju umetničke prakse. Promišljamo politike institucija kulture, nezavisne ili samoorganizovane sce-ne, uslove u kojima umetnost nastaje, kao i proizvodnju fizičkog prostora za umetnost u funkciji resursa i otvo-renog koda (open source). Predmet kolektivnog istraživanja jesu značajni događaji iz istorije kulturne politike Jugo-slavije i Srbije (od 1945. do danas) i načini na koje su oni oblikovali, i na koje i danas oblikuju, uslove rada na umetničkoj sceni. Rezultati istraživanja ponuđeni su pozvanim autorkama i autorima kako bi ih interpretirali i prostorno inscenirali alatima scenskog dizajna, pri čemu se podjednaka važnost pridaje i samoj postavci, i procesu njenog nastajanja kroz kolektivni umetničko-istraživački rad. Tokom tog procesa, pozicija prekarnosti prepoznaje se kao zajedničko iskustvo i savremeno ujedinjujuće stanje rada i života, ali i kao potencijalno novo polje borbe. Istraživanje se ne fokusira na specifičan istorijski period, već na dva koncepta koji dizajniraju opstanak umetnosti na sceni: njenu produkciju i regulaciju kroz državne insti-tucije kulture i produkciju vezanu za nezavisnu, samo-organizovanu umetničku scenu. Istraživanje obuhvata periode socijalizma i restauracije kapitalizma, kao dva različita društvena modela proizvodnje – u ovom slučaju umetničke.

Postavka Radovi na sceni realizovana je kroz dve celine: istoimeni kolektivni rad je prostorno-

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arhitektonsko-tekstualni objekat koji se tokom Kvadrijenala aktivira izvedbenim intervencijama i interakcijom sa publikom. Ta otvorena i performativna instalacija obliko-vana je i strukturirana kao kolaž različitih elemenata. Ona je kompleksan sistem definisanja i prikazivanja: kolektiv-nog rada karakterističnog za izvođačke umetnosti, efemerne prirode scenske izvedbe i odnosa različitih umetničkih praksi unutar okvira Postavke.

Pogled na scenu, kao druga celina, jeste dokumentacija radova iz oblasti scenskog dizajna, koji su odabrani na javnom konkursu, a realizovani u pro-tekle četiri godine. Uže shvaćeno, scenski dizajn podra- zumeva scenografiju i dizajn kostima, svetla, zvuka i upo-trebu medijske umetnosti u dizajnu scene, dok ovaj izbor obuhvata i javne prostore, kao i one koji nisu nužno namenjeni izvedbi, shvatajući ih kao poligone, prostorne script-ove moguće izvedbe i primere korišćenja prostora kao scene za performativnu akciju i polje supradiscipli-narne kritičke prakse. Posebnu pažnju pri izboru posvetili smo kolektivnim i koautorskim radovima, grupama i indivi-dualnim praksama, koji dolaze iz drugih polja umetnosti a prepoznaju svoju praksu i kao umetnost scenskog prostora. Smatramo, takođe, da je važno da pored radova nastalih u institucionalnom pozorištu ukažemo i na prekarnu praksu scenskog dizajna koji nastaje u materijalnim uslovima vaninstitucionalne scene.

Pozvani da koncipiraju kolektivni rad su: Milutin Dapčević, glumac; Mirjana Dragosavljević, istori-čarka umetnosti i kustoskinja; Dušica Dražić, vizuelna umetnica; Selena Orb, kostimografkinja i scenografkinja; Vladimir Pejković, kompozitor; Katarina Popović, grafička dizajnerka i dizajnerka procesa; Igor Vasiljev, scenograf, i Tanja Šljivar, dramska spisateljica.

Dokumentaciju radova prikazuju: proje-kat Broken Light (Sonja Jankov, Đina Prnjat, Janž Ormezu i Nemanja Mitrović), Mia David, autorski tim predstave Granična lepota (Izvanredni Bob, Stevan Bodroža, Goran Mi-lenković, Željko Maksimović, Tamara Pjević i Petar Mirko-

vić), Nikola Isaković, Institut za aplauz (Stevan Beljić, Luka Cvetković, Stefan Knežević, Katarina Kostandinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić, Dušan Savić, Vanja Seferović, Tamara Spalajković), Jelena Janko-vić, Karkatag kolektiv, Igor Koruga i Maja Pelević, Marko Milić, Sofija Mitrović, Zorana Petrov, Marta Popivoda i Ana Vujanović, Jovana Rakić, Aleksandar Ramadanović, Andreja Rondović, Branislava Stefanović, Veljko Stojanović, Ur-banium – centar za istraživanja i održivi razvoj u arhi-tekturi i urbanizmu (Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić, Ana Zorić, Miloš Kostić, Dezire Tilinger, Jovana Vidaković), Srđan Veljović, Nikola Zavišić.

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1.1SCENE WORK AHEADBojan Djordjev, Siniša Ilić and Maja Mirković, Curators

When the three of us, as artists having no prior curatorial practice, were invited to propose the concept of Serbia’s performance at the Prague Quadrennial, we decided to scrutinise the notion of scene design by analysing our own individual and joint artistic practices, and work experiences that meet at the crossroads of costume and stage design, directing, poetry, performance and fine arts. By considering the issues that we were facing within the institutional theatre and on the independent scene, we realised that our paths are determined/bounded by the conditions under which a particular work is carried out.

We perceive performing arts as a nexus where individual practices meet in various forms of joint work, communication and co-authorship. The relational character of performing arts implies artistic negotia-tions and re-definition of the boundaries of conceptual, ideological and authorial positions related to the spe-cific practice of each co-author. The framework in which such interaction, being integral part of every artistic practice, takes place, includes the political and ideo-logical constellations of the given historical moment. Through their regulatory apparatus, they shape the society in which space for such artistic actions exists – ranging from the educational system to the actual number of work positions, institutions and cultural events, as a real-istic picture of opportunities and possibilities for the acquired knowledge to be presented and applied.

Working conditions and the way in which social circumstances, politics and ideology shape our prac-tices thus become the key concepts of conceiving the exhi-bition Scene Work Ahead. The idea of a collective inter-disciplinary work functions here as a paraphrase of work on a theatre piece; it reconsiders the relation between

the autonomy of individual practices and the dynamics of their communication within scene design that unifies them in the process of setting up this work.

The concept of self-construction, defined by the commissioners as the theme of this year’s national exhibition of Serbia at the Prague Quadrennial, has been extended through the questions of the position and signif-icance of an individuum and individual in the context of collective work and self-construction through collective practice. Self-construction is not understood as isola-tion, self-development and competition among each other, which is characteristic of neoliberal social order, but as the development of potential of all individuals in the society that enables and advocates such a viewpoint so as to progress by itself as well.

How is it possible to discuss scene design and not to discuss the conditions under which it occurs at the same time? This becomes the key issue that we address when conceptualising the exhibition Scene Work Ahead. By utilising the notion of scene design, we analyse the cultural policies that shape these conditions – they design the space in which artistic practices develop. We are pondering the policies of cultural institutions, an independent or self-organised scene, conditions in which art is created as well as the production of physical art space as a resource and open source. The subject matter of collective research includes important events from the history of cultural policy of Yugoslavia and Serbia (from 1945 to present day), and manners in which they shaped and are still shaping the working conditions on the art scene. The research results were offered to the invited authors to interpret and stage, using the tools of scene design, thereby giving equal importance to both the exhibition setup itself and the process of its creation through collective, artistic and research work. During this process, the position of precarity was recognised not only as a shared experience and a contemporary unifying state of working and living, but also as a potentially new battlefield. The research was not primarily focused on a specific period of history, but on two concepts that design the survival of art on stage: its production and regula-

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tion through state cultural institutions, and its produc-tion related to an independent, self-organised art scene. This research includes the periods of socialism and restoration of capitalism, as two different social models of production – in this case, artistic production.

The exhibition Scene Work Ahead is realised in two parts. One is a result of collective work – a spatial, architectural and textual object which is activated by performing interventions and interacting with the audience in the course of the Quadrennial. This open and performative installation is designed and structured as a collage of various elements. It is a complex system varying in definition and presentation – of collective work characteristic of performing arts, of stage performance ephemeral nature and of relations established between different artistic practices within the exhibition’s unique framework.

The second part, entitled A View of the Scene, presents the artists whose practice is displayed through the documentation of the scene design works, real-ised in the past four years and selected through an open call. The concept of scene design implies scenography and costume design, light and sound design, and the use of media art in the design of the stage. Broadly speaking, it also includes the contemplation of the performing space, including public spaces and spaces not necessarily intended for performance, perceiving them as testing grounds, spatial scripts of possible performance and examples of utilisation of space as a scene for performative action and field of super-disciplinary critical practice. In the selection process, special attention was paid to collec-tive and co-authored works, groups and individuals coming from other fields of art and recognising their practice as the art of performing space as well. Furthermore, we consider that, in addition to the works created in the in-stitutional theatre, it is also important to draw at-tention to the precarious practice of scene design that is created under material conditions of the non-institutional art scene.

Invited authors are as follows: Milutin Dapčević, actor; Mirjana Dragosavljević, art historian and curator; Dušica Dražić, visual artist; Selena Orb, costume and stage designer; Vladimir Pejković, composer; Katari-na Popović, graphic and process designer; Igor Vasiljev, stage designer and Tanja Šljivar, playwright.

The artists and collectives who pres-ent their works through the documentation of the real-ised productions are as follows: group of authors Broken Light (Sonja Jankov, Đina Prnjat, Janž Ormezu and Nemanja Mitrović), Mia David, authors of the performance Border-line Beauty (The Exceptional Bob, Stevan Bodroža, Goran Milenković, Željko Maksimović, Tamara Pjević and Petar Mirković), Nikola Isaković, The Applause Institute (Stevan Beljić, Luka Cvetković, Stefan Knežević, Katarina Kostan-dinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić, Dušan Savić, Vanja Seferović, Tamara Spalajković), Jelena Janković, Karkatag Collective, Igor Koruga and Maja Pele-vić, Marko Milić, Sofija Mitrović, Zorana Petrov, Marta Popivoda and Ana Vujanović, Jovana Rakić, Aleksandar Rama-danović, Andreja Rondović, Branislava Stefanović, Veljko Stojanović, Urbanium – Centre for Research and Sustainable Development in Architecture and Urban Planning (Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić, Ana Zorić, Miloš Kostić, Desirée Tilinger, Jovana Vidaković), Srđan Veljo-vić, Nikola Zavišić.

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1.1.1PROLAZAK KROZ POSTAVKU RADOVI NA SCENI Rad – umetnost – prekarnost – polje borbeBojan Đorđev, Siniša Ilić i Maja Mirković

Mreža referenci postavke Radovi na Sceni po-činje na stranicama ove publikacije i razvija se kroz poj-move, hronologiju, istorijske i druge ilustracije, da bi svoj materijalni oblik dobila u izloženom objektu i perfor-mativnim intervencijama. Autorke i autori biraju prekar-nost (privremenost, nesigurnost, neizvesnost) kao poziciju i prizmu kroz koju se prelama i razume struktura postavke. O kakvoj je prekarnosti reč? Današnjoj, onoj koja se širi ne poznajući granice, zahvatajući sve slojeve društva. Reč je o prekarnosti čije se ivice zamagljuju kontinuitetom osećanja pregorelosti (burnout) – stanja na koje se na-vikavamo, sa kojim se svakodnevno borimo, pokušavamo da ga ignorišemo ili tolerišemo. Takvu prekarnu poziciju oni prepoznaju kao realnost i problem, koji različim umetnič-kim postupcima kritički seciraju kroz koncept postavke.

Objekat pred nama, publikom, u čijem se podnožju nalazimo i koji pratimo kroz ovu publikaciju, apstraktna je konstrukcija otvorena za interpretaciju. Iz podloge od betona i gume dižu se drveni potporni stubovi koji nose masivan kvadar od ugljenisanog drveta. Na prvi pogled, ovi elementi se nalaze u odnosu rizične stabilno-sti baze i nadgradnje. Donji deo objekta je zona događaja. Prolazna i propustljiva, ona je inscenacija trga, javnog prostora koji poziva da mu se pristupi, da bude penetriran i okupiran; mesto za odmor, predah i polje sinteze ključnih tačaka i perspektiva koje rad artikuliše. Tekstovi koje izvodi glumac, u vidu muzičkih numera i vođenja kroz obje-kat, uzmaju kao tematsku osovinu pojam rada i ispunjavaju središnji prostor postavke – bilo kroz povremenu izved-bu uživo ili publici stalno dostupan audio zapis. Pojam

rada se problematizuje u odnosu na politički i istorijski okvir: polazeći od rada u polju kulture i umetnosti, a za-tim i rada kao (samo)izgradnje i razvoja, rada kao ropstva i eksploatacije i, konačno, rada u manipulativnom polju savremene prekarnosti, u kojoj, teško i u strahu za egzi-stenciju, prepoznajemo granice između slobodnog i radnog vremena, željenog i nametnutog radnog zadatka i njegovog obima. Prostor koji povezuje podlogu i masivni kvadar je-ste mreža drvenih stubova koji se prepliću i formiraju ne-predvidive odnose između baze i nadgradnje postavke. Crna spaljena struktura masivnog kvadra je materija koja u isto vreme plaši svojom sagorelošću i privlači idejom ponovnog rađanja, potencijalno pružajući olakšanje kroz misao o od-sustvu imperativa napretka. Monolitnost strukture rastva-ra se rotacijom drvenih modula od kojih je napravljena. Struktura postupno izlaže svoju drugu stranu, presvučenu refleksivnom površinom ogledala. Metamorfoza objekta izvodi se jednostavnom fizičkom radnjom, uz pomoć drvenih motki, paralelno i u sadržajnom dosluhu sa izvedbom i prisustvom teksta. Tako se zatvoreni, spaljeni monolit postepeno, ra-dom, menja u „razlistalu“ strukturu mnoštva ogledala, čija površina reflektuje okolinu.

Finalna masa, kolaž teksta, zvuka, gla-sova, radnji, objekta briše prostorne granice, uvlači i suočava nas, publiku, sa umnoženim slikama i oblicima pre-karnosti, koja, tako kompleksna, ukazuje na potencijalno područje borbe svih nas, ujedinjenih u neizvesnosti.

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1.1.1SCENE WORK AHEAD – A WALK-THROUGH

Labour – Art – Precarity – BattlefieldBojan Djordjev, Siniša Ilić and Maja Mirković

A network of references to the Scene Work Ahead exhibition begins and further develops on the pages of this publication through concepts, chronology, histor-ical and other illustrations to get its material form in the exhibited object and performative interventions. The authors have chosen precarity (temporality, insecurity, uncertainty) as the position and prism through which the set-up structure is refracted and understood. What sort of precarity is it? It is today’s precarity, the one that expands without recognising the boundaries, affecting all layers of society. It is the precarity whose edges are blurred by the continuity of the feeling known as burn-out – the state that we are becoming accustomed to, that we struggle with on a daily basis, that we try to ignore or tolerate. Such a precarity position is recognised by the authors as a reality and an issue that they critical-ly dissect through various artistic processes in the very concept of the exhibition.

The object in front of us, the audience, at the foot of which we stand and which we follow through this publication, is an abstract construction open to in-terpretation. The wooden supporting pillars rising from a base made of concrete and rubber carry a massive charred cuboid. At first sight, the relation between the base and its superstructure seems to be the one of risky stability. The lower part of the object is a zone of events. Pass-able and permeable, it is a staged square – public space that invites visitors to access, penetrate and occupy it; a place for rest or break, and a field of synthesis of key points and perspectives that the work articulates. The texts performed by an actor, in the form of either music

numbers or guidance through the object, take the concept of labour as a thematic axis. They occupy the central area of the exhibition set-up – either by being occasionally per-formed live or heard through an audio recording available to the audience. The concept of labour is problematized in relation to the political and historical framework: start-ing from work in the field of culture and art, followed by work in the meaning of (self)development and advancement, work as slavery and exploitation, and finally, work in the manipulative field of contemporary precarity. In such pre-carity, frightened for our own existence, we hardly rec-ognise the boundaries between free time and working hours, between desired and imposed work tasks and their scope. The space connecting the base and the massive cuboid is a network of wooden pillars that intersect and thus form unpredictable relations between the set-up base and its superstructure. The black burned structure of a massive cuboid is a matter that, at the same time, frightens with its own burnout and attracts with the idea of rebirth, providing potential relief at the thought of the absence of the imperative of progress. The monolithic nature of the structure is dissolved by the rotation of the wooden modules from which it is made. The structure gradually ex-poses its other side, coated with the reflective surface of mirrors. The metamorphosis of the object is carried out by simple physical action, with the aid of wooden poles, si-multaneously and in content-based collusion with the per-formance and presence of the text. The closed, burnt mono-lith is thus, gradually and through action, turned into leafed out, “sliced” structure of a multitude of mirrors the surface of which reflects the surroundings.

The final mass – collage of text, sound, voices, actions and objects erases spatial boundaries, pulls us in and confronts us, the audience, with multi-plied images and forms of precarity which, being so com-plex, indicates the potential area of struggle of all of us, united in our uncertainty.

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1.1.2

PESMARICA PRVI DEO – ISTORIJSKI SONGOVIKolektivni rad tima Radovi na sceni

Milutin Dapčević, Mirjana Dragosavlje-vić, Dušica Dražić, Selena Orb, Vladi-mir Pejković, Katarina Popović, Igor Vasiljev i Tanja Šljivar

Osam pesama u ciklusu Radovi na sceni deo su postavke i kao snimljena zvučna instalacija, stalno dostupna publici, i kao tekstualni predložak za povremenu izvedbu uživo. Upravo broj od osam pesama odabran je kao slobodna referenca na osam dekada razvoja kulturnih poli-tika Jugoslavije i Srbije (od pete decenije XX veka do dru-ge decenije XXI veka), osam dekada pop-kulturnih i umet-ničkih odjeka na fenomene rada i radništva kroz pevanje, te na podelu dana na osmočasovni rad, osam sati spavanja i osam sati za rekreaciju, slobodno vreme i aktivnosti. Prve dve, horske pesme, Pesma radu i Pesma 10.000 štrajkača, pokazuju radikalan zaokret u doživljaju rada unutar samog radničkog pokreta u rasponu od samo 25 godina – od emanci-patornog, oslobađajućeg činioca koji (samo)izgrađuje dru-štvo i svest, rad se pretvara u životnu okolnost i neminov-nost koja vodi u kuluk, ropstvo i smrt. Hronološki i isto-rijski, naredne dve pesme, Moj radnik (1975) i Es kamen Menschen an (1984), iz razičitih pozicija obrađuju teme slobodnog vremena i radničke kulture – prekovremeni rad, eksploatacija i predrasude onemogućavaju ljubavni susret (Moj radnik) i kulturološku integraciju gastarbajtera (Es kamen Menschen an). U pesmi sa špice serije Bolji život, prikazivane neposredno pred ratove u kojima se raspala Ju-goslavija, stihovima poput Ja hoću više / hoću bolje / još hoću sve, pa kako bude, anticipira se dobar život koji će doći kada se kapitalizam posle tranzicije konačno restau-rira, da bi sledećim stihom mogućnost takvog pobedničkog ishoda za određeni „soj“, ili bolje rečeno sloj ljudi,

bila ironizirana i podrivena: što to vredi kad ne spadam u taj soj / jer život traži bolje ljude. U poslednja tri autorska songa mapiraju se sveprožimajući savremeni feno-meni burnout-a i prekarnosti. Prvi, Šta smo(samo)izgradi-li?, referiše na sam objekat koji je deo postavke Radovi na sceni, umetnički rad nastao kroz intenzivnu saradnju, koja je danas, zbog nedostatka vremena, viđena kao luksuz i privilegija. Drugi, Oni hoće u planine, kao lajtmotiv uzi-ma opasku iskusne direktorke brojnih evropskih pozorišnih institucija i festivala, da su glumci koji imaju ugovore na 80% radnog vremena lenjivci koji preostalih 20% provode odlazeći u planine. Treći song pokušava da kroz horsko, kolektivno, zajedničko pevanje, ponovi iskustvo prve pe-sme, Pesme radu, iskustvo sa početka dvadesetog veka – da afirmiše dostojanstven rad, kao deo života koji možda može da ponovo počne da nam donosi radost.

1. PESMA RADUPesma je izvorno napisana na bugarskom pod nazivom Дружна песен 1898. Tekst je napisao bugarski komunista, glumac i pu-blicista Georgi Kirkov, a onda ga je za verziju koja se peva preradio Metodije Grigorov, a muziku je komponovao Georgi Goranov. Prvi put je otpevana u obliku u kom su je posle preuzele generacije bu-garskih radnika, 1903. godine u Ćusten-dilu, da bi vremenom postala i zvanična prvomajska himna u Bugarskoj. Od četiri strofe u bugarskoj verziji, tri su pre-uzete za jugoslovenski prepev na srp-skohrvatskom, a četvrta strofa, kako su je jugoslovenski radnici pevali, glasi-la je: Od Vardara do Triglava / slobode nam sunce sja / Takva biće zemlja cela / Da nam živi, živi rad. Ono što je 1903. godine potencijalno bio emancipatoran stih U divljaka luk i strela / Železni-ca, selo i grad (ili u tačnom prevodu bu-garskog originala От стрелата на дивака

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до железний път – od strele divljaka do žezničke pruge), koji je eventualno afir-misao sve vrste manuelnog rada i izgrad- nje i razvoja, i pokazivao napredak teh-nologije i industrije savremeni trenutak prepoznaje kao, u najmanju ruku, poli-tički nekorektan i neadekvatan, pa ga, na primer, antifašistički amaterski hor Naša pjesma iz Beograda peva kao: U rad-nika stroj i skela / Železnica, selo, grad, iako bi se neki drugi savremenici izjasnili da je ovaj stih bio svojevr-sna referenca balkanskih naroda na nji-hovo pretpostavljeno plemensko nasleđe, kao istovremeno divlje i ono koje hrabro usvaja moderni život.

Drugarska se pesma ori, pesma koja slavi rad. Srce gromko nek nam zbori, da nam živi, živi rad!!!

Podignimo uvis čela mi – junaci rada svog, naša biće zemlja cela, da nam živi, živi rad!

U divljaka luk i strela, željeznica, selo i grad, to su naših ruku dela, da nam živi, živi rad!!!

2. PESMA 10.000 ŠTRAJKAČA – GRAĐEVINSKIH RADNIKA IZ BEOGRADAPesma je nastala povodom velikog štraj-ka građevinskih radnika u Beogradu u maju 1936. godine, u kome je učestvovalo 10.000 radnika, a koji je organizovala Komunistička partija Jugoslavije. Autor

ili autorka teksta pesme je nepoznat(a), muziku je napisao kompozitor, marksista i pripadnik pokreta otpora u okupiranom Beogradu Vojislav Vučković, koji je 1934. godine doktorirao na Karlovom univerzi-tetu u Pragu s tezom Muzika kao propa-gandno sredstvo, i koji je 1941. godine umro od prebijanja u nacističkom zatvoru u trideset drugoj godini života. Pesma je u aranžmanu Goce Dimitrovskog, a u izvo-đenju hora AKUD „Veljko Vlahović“ sni-mljena za ploču Festival radničke pesme Niš ‘85, u izdanju Diskosa iz Aleksan-drovca. Danas je, nažalost, aktuelnija neko ikad, jer je samo tokom 2018. godine u Srbiji poginulo najmanje 30 radnika, od kojih 17 radeći na gradilištima. Na protestu inicijative Ne davimo Beograd održanom povodom smrti dvojice radnika na gradilištima Beograda na vodi, hor Naša pjesma otpevao ju je u javnom pro-storu, ispred Vlade Srbije i u septembru 2018. godine, više od osamdeset godina nakon što je prvi put otpevana.

Žandarski kundak nam je plata,pokop – kom trpi glad!S užetom oko vratateraju nas na rad.

Čuvaj se, skela je pala!– mrtav leži mi brat!Gazdina ruka tu jeslomila njegov vrat.

Na brdu puška se čula!– nećeš preživet’ slom!Na grobu kapitalazidaćemo svima dom.

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3. MOJ RADNIKTekst pesme Moj radnik, izvođačice i au-torke Mire Vasiljević, pronašli su na internetu kustosi i autori Radova na sceni, pretražujući pesme s temom rada i radništva, ali audio-video zapis pe-sme na internetu ne postoji, ili do da-nas nije otkriven. Pesma je objavljena 1975. godine za diskografsku kuću PGP RTB (Radio-televizija Beograd), kao A strana istoimene ploče Moj radnik. Mu-ziku na ploči izvodi instrumentalni an-sambl Đerdan (sestre Janković), a na B strani snimljena je numera pod naslovom Bolna leži Anđelija mlada, obe pod od-govornim uredništvom Vojislava Đonovića. Nakon što smo ovu raritetnu ploču kupili na kupindo.rs, i na njoj pronašli pome-nute neodređene informacije o autorstvu, još uvek (15. 5. 2019) pokušavamo da ču-jemo snimak pesme, jer smo u potrazi za ispravnom gramofonskom iglom.

Sad izranja dan iz noći, Al’ do zore ima dosta. Otkad ode ti u smenu, Ja od tada budna osta.

Jednom me je pit’o neko, Što te volim kad lep nisi, A ja pesmom kažem svima Najdraži mi čovek ti si.

Garavo lice, garave ruke, Garave i poštene i tvoje, Toplo srce osvojiše mene.

Od kada sam tebe srela, Shvatila sam mnoge stvari. Lepota je u čoveku, A ona nam dušu zari.

Kad mi dođeš doma garav I umoran nakon rada, Kad ti vidim oči blage, Najlepši si meni tada.

4. ES KAMEN MENSCHEN ANMuziku i tekst pesme napisao je tur-sko-nemački kantautor Džem Karadža (Cem Karaca), predstavnik muzičkog pravca anadolijski rok, koji je nemačku pop-mu-ziku inovirao pisanjem pesama na miksu jezika, i time dao poseban, ironičan, ali i melanholičan ton svojim tekstovi-ma. Pesma je prvi put objavljena na nje-govom jedinom nemačkom albumu Die Kana-ken, 1984. godine, u izdanju diskograf-ske kuće Pläne iz Dortmunda. Naslov, kao i prvi stihovi pesme Es wurden Arbeiter gerufen / Doch es kamen Menschen an, pri-pisuje se književniku Maksu Frišu (Max Frisch), a pojavljuje se i u drami Ab in den Orient-Express autora Martina Bur-keta (Martin Burkert) i Harija Bosekea (Harry Bösecke). Pesma je 2013. godi-ne ponovo objavljenja na disku i ploči Songs of Gastarbeiter Vol. 1, u izdanju Trikonta iz Minhena, kompilaciji pesa-ma prve generacije turskih gastarbajtera koje su, kopajući po internetu, arhiva-ma i roditeljskim i rođačkim kolekcijama kaseta i ploča, odabrali berlinski pisac Imran Ajata(Imran Ayata) i minhenski re-ditelj i umetnik Buljent Kulukču(Bülent Kullukcu).

Es wurden Arbeiter gerufen Doch es kamen Menschen an Es wurden Arbeiter gerufen Doch es kamen Menschen an

Pozvani su radniciA ipak su došli ljudiPozvani su radnici A ipak su došli ljudi

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5. JA HOĆU ŽIVOTPesma Ja hoću život je uvodna špica popu-larne jugoslovenske TV-serije Bolji ži-vot, takozvane „socijalističke sapunice“ od 82 epizode, snimljene u produkciji TV Beograda, te emitovane između 1987.

Man brauchte unsere Arbeitskraft Die Kraft, die was am Fließband schafft Wir Menschen waren nicht interessant Darum blieben wir euch unbekannt Aman aman aman aman aaa Gastarbeiter Aman aman aman aman aaa Gastarbeiter Es wurden Arbeiter gerufen Doch es kamen Menschen an Es wurden Arbeiter gerufen Doch es kamen Menschen an Solange es viel Arbeit gab Gab man die Drecksarbeit uns ab Doch dann als die große Krise kam Sagte man, wir sind schuld daran Ihr wollt nicht unsere Kultur Nicht mit uns sein – Ihr wollt uns nur Als Fremde sehn – so bleiben wir Unbekannte dort wie hier

Bila je potrebna naša radna snagaSnaga za pokretnu trakuMi, ljudi, nismo bili interesantniZato smo vam ostali nepoznati

Aman aman aman aman aaaGastarbajteriAman aman aman aman aaaGastarbajteriPozvani su radniciA ipak su došli ljudiPozvani su radniciA ipak su došli ljudi

Dok god je bilo mnogo poslaNama ste davali najprljavijeA čim je došla velika krizaRekli ste da je to naša krivica

Ne želite našu kulturu Ne želite da imate ništa zajedničko sa nama – želite da nas Gledate kao strance – pa tako mi ostajemoNepoznati tamo kao što smo ovde

i 1991. godine. Scenarista serije Sini-ša Pavić gotovo da je u realnom vremenu pratio ekonomska i društvena zbivanja u zemlji u raspadanju, pa serija iz epizo-de u epizodu između ostalog nudi i prikaz radničkih štrajkova zbog nametnutih mera štednje, korupcije u javnom sektoru kroz različite etape njegovog rastakanja, te uspon nacionalizma. Istorijsko vreme se, međutim, pred sam raspad zemlje toliko komprimiralo i ubrzalo, da je Pavić mo-rao da promeni metod pisanja, i isporuči epizode mnogo unapred, jer su se, pre-ma njegovim rečima: „društveno-politička zbivanja u tom trenutku toliko ubrzala da bi svaka epizoda već do emitiranja postala vijest iz zastarjelih novina.“ (citirano prema: Boris Postnikov Ima li „Boljeg života“ nakon smrti Jugoslavi-je?, preuzeto sa https://www.bilten.or-g/?p=21618). Tekst pesme napisao je Lju-biša Bačić, a muziku je komponovao Voki Kostić, dok je vokale otpevao Dado Topić, frontmen jugoslovenske grupe Time, čime je, anegdotalno, zapravo obavio bespla-tan rad, jer nikad, ni tokom tri naredne decenije repriziranja serije, nije dobio novčanu naknadu za interpretatorski po-sao. Pesma je, kao noseća numera, prvi put objavljena 1987. godine, na ploči s muzikom iz serije, a za diskografsku kuću PGP RTB (Radio-televizija Beograd), uz još 11 drugih pesama, između ostalog: Ima posla - nema posla, Mladost, mla-dost, e pa šta je, Život nije loto, Brigo moja, Dajte mi nasledstvo.

Ja hoću život, bolji život, da ga zgrabim poput tigra. Život nije dečija igra.

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Ja hoću više, hoću bolje, još hoću sve, pa kako bude. Što to vredi kad ne spadam u taj soj, jer život traži bolje ljude.

Ja hoću život, sve il’ ništa, hoću glavni zgoditak, to moj je moto, ali šipak, nešto ipak tu ne štima. Život nije loto.

Ja hoću život, bolji život, lupam glavu posred zida, gde je tanko tu se kida.

Ja hoću ipak da ostvarim san, želje sve, pa kako bude. Šta to vredi kad ne spadam u taj soj, jer život traži bolje ljude.

1.1.2 SONGBOOK PART ONE – HISTORICAL SONGS Collective work of the Scene Work Ahead team

Milutin Dapčević, Mirjana Dragosav-ljević, Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Igor Vasiljev and Tanja Šljivar

Eight songs from the cycle Scene Work Ahead are part of the exhibition of the same name and they serve as a libretto for the occasional live performance. The number of eight songs has been chosen as a loose refer-ence to the eight decades of the development of the cultur-al policies of Yugoslavia and Serbia (from the 1940s to the 2010s), eight decades of pop-cultural and artistic com-ments on phenomena of work and work force through singing, then on the division of a day into eight hours of work, eight hours of sleep and eight hours of leisure, spare time and activities. The first two choral songs, The Labour Song and A Song of 10,000 Strikers, show a radical change in the perception of work within the workers’ movement itself over the period of only 25 years – namely, from the eman-cipatory, liberating element which enables the (self)con-struction of society and consciousness, labour turns into a life circumstance leading inevitably into corvée labour, slavery and death. The following two songs, My Worker (1975) and Es kamen Menschen an (1984) chronologically and historically describe spare time and workers’ culture from different positions – namely, overtime, exploitation and prejudices do not allow love encounter to happen (My Work-er) and prevent cultural integration of gastarbeiters (Es kamen Menschen an). The verses of the theme song of the TV series A Better Life (Bolji život), broadcasted just be-fore the wars in which Yugoslavia fell apart: I want more/ I want better/ I want it all/ come what may, anticipate

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good life that will come once when the capitalism is finally restored after transition. However, in the next verse, the prospect of such a victorious outcome for the particular “sort” or, better say, class of people, is ironized and undermined: but try as I may, I’m not one of them, because life seeks better people. The last three songs, written originally for the purpose of the exhibition, explore the pervading modern phenomena, such as burnout and precarity. The first, What Have We Built (Ourselves)? refers to the very object which is a part of the Scene Work Ahead exhi-bition, in other words, the artwork created by intensive cooperation, which is today, due to lack of time, consid-ered as luxury and privilege. The second, They Want to Go into the Mountains, takes as a leitmotif the remark of an experienced director of numerous European theatre institu-tions and festivals, who states that actors with 80% work time contracts are in fact sluggards who spend the remain-ing 20% in the mountains. Using choral, collective, mutual singing, the third song strives to repeat the experience from the beginning of the 20th century described in The La-bour Song, in fact it strives to affirm dignified labour as part of a life that could bring joy back to us.

1. THE LABOUR SONGThe original version of the song was writ-ten in Bulgarian under the name Дружна песен 1898. The lyrics were written by the Bulgarian communist, actor and pub-licist Georgi Kirkov. Methodius Grigorov then adapted the lyrics for the song, and Georgi Goranov composed the music. The song, in the form appropriated by the generations of Bulgarian workers, was sung for the first time in Kyustendil in 1903. Over time, it became an official anthem of May Day in Bulgaria. For the Yugoslav adaptation in Serbo-Croatian, three out of four strophes were taken over directly from the Bulgarian origi-

nal, and the fourth strophe sang by the Yugoslav workers read as follows: From the Vardar to Triglav/The sun of freedom shines/The whole country will be free/Long live the labour. The verse which was potentially emancipatory in 1903: Savages had bows and arrows/ We’ve got railways, cities, towns (or in precise translation from the Bulgarian original От стрелата на дивака до железний път – from the savage’s arrow to the railroad track), probably supported all types of manual labour, construction and develop-ment demonstrating technology and indus-try progress. However,in the contempo-rary moment, this verse is perceived as politically incorrect and inadequate at the very least, and therefore, by exam-ple, the anti-fascist amateur choir from Belgrade, Naša pjesma (Our Song), sings it as: A worker uses machine and scaffold/Railway, village and town. Nevertheless, some other contemporaries say that this verse represents a distinctive reference of the Balkan peoples to their own pre-sumed tribal heritage, which is, at the same time, savage and bold when it comes to accepting modern life.

Song of comrades heard around us Song that glorifies our work Our hearts of joys are singing Praise our work, our work, our work!!!

Let’s raise foreheads to the skies We – the heroes of our work, Soon whole country will be ours, Praise our work, our work, our work!

Savages had bows and arrows, We’ve got railways, cities, towns,

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All of these our hands created,Praise our work, our work, our work!!! 1

2. A SONG OF 10,000 STRIKERS – CONSTRUCTION WORKERS FROM BELGRADEThe song was written for the occasion of the great construction workers’ strike organised in Belgrade, in May 1936, by the Communist Party of Yugoslavia, in which 10,000 workers took part. The au-thor or authoress of the lyrics is un-known, and the music was composed by Vo-jislav Vučković, a composer, a Marxist and a member of the resistance movement in the occupied Belgrade. He earned a PhD from the Charles University in Prague in 1934 with the thesis Music as a Propa-ganda Apparatus. He died from beating in a Nazi prison in 1941, at the age of 32. The song was recorded on the album Labour Song Festival Niš ‘85 by Diskos from Al-eksandrovac, in the arrangement by Goce Dimitrovski, and (as) performed by the choir of the Academic Cultural-artistic Society AKUD “Veljko Vlahović”. Unfortu-nately, the song is nowadays more rele-vant than ever before, since at least 30 workers died in Serbia only in 2018, out of which 17 at the construction sites. During the protest of the initiative Ne davimo Beograd (Do not Drown Belgrade) held on the occasion of the death of two workers who died at Belgrade Waterfront construction site, the choir Naša pjes-ma (Our Song) sang the song in public, in front of the Government of Serbia in

1 English translation by Ognjen Miljanić, http://horkestar.org/tekstovi/the-labor-song.php [acces-sed on 1st May, 2019]

September 2018, more than 80 years after it was first sung.

Gendarmes’ gunstock is our wage,burial to us the hungry ones!With a rope around our necksWe are forced to work.

Beware, the scaffolding has fallen!– my brother lies dead!Look, the boss’s handhas broken his neck.

On the hill the gun has fired!– you will not survive this strike!On the grave of capital Home for all we’ll build.

3. MY WORKERThe lyrics of the song My Worker, per-formed and written by Mira Vasiljević, were found on the Internet by the cura-tors and authors of the Exhibition when searching for songs on work and work force. However, there is no audio and/or video recording of the song available on the Internet or it has not yet been found. The song was released by PGP RTB (Radio Television Belgrade) label record in 1975, as the A side of the record of the same name My Worker. The music on the record is performed by the instrumental ensemble Djerdan – by the Janković sis-ters, while on the B side there is a song named The Young Andjelija is Lying Sick. Editor-in-chief of both released songs was Vojislav Djonović. We have bought this rare record at kupindo.rs and got to know the mentioned unreliable infor-mation on authorship, but we haven’t yet

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(as of May 15, 2019) heard the song as we are still looking for a functioning gramophone needle.

Day breaks from the night But it’s still not dawn Ever since your shift started I have been awake

Someone once asked me: How can I love such a man And this song is my answer: You are my dearest man

Sooty face, sooty hands Sooty and honest and yours Warm heart won me over

Since I’ve met you I can see clearly Beauty is within a man And it ignites our souls

When you come home to me, Sooty and tired after work When I see your gentle eyes You’re my most handsome man

4. ES KAMEN MENSCHEN ANThe music and lyrics of the song have been written by Cem Karaca, singer-songwriter of Turkish-German origin. As a repre-sentative of the Anatolian rock move-ment, he innovated German pop-music by writing in mixed languages, which gave a special, ironic and melancholic tone to his lyrics. The song was first released on his album Die Kanaken, (the only German album) in 1984, by the record label Pläne from Dortmund. The title, as well as the first verses of the song: Es wurden Arbe-iter gerufen/ Doch es kamen Menschen an,

are attributed to Max Frisch, playwright and novelist, and also appear in the play Ab in den Orient-Express, written by Mar-tin Burkert and Harry Bösecke. The song was re-released by Trikont, the record label from Munich, on the LP Songs of Gastarbeiter Vol. 1, which is a compila-tion of the songs of the first generation of the Turkish gastarbeiters. The songs were selected by Imran Ayata, a novel-ist from Berlin, and by Bülent Kullukcu, a director and artist from Munich, who browsed the Internet, various archives, and music collections of cassettes and records of their parents and cousins.

Es wurden Arbeiter gerufen Doch es kamen Menschen an Es wurden Arbeiter gerufen Doch es kamen Menschen an Man brauchte unsere Arbeitskraft Die Kraft, die was am Fließband schafft Wir Menschen waren nicht interessant Darum blieben wir euch unbekannt Aman aman aman aman aaa Gastarbeiter Aman aman aman aman aaa Gastarbeiter Es wurden Arbeiter gerufen Doch es kamen Menschen an Es wurden Arbeiter gerufen Doch es kamen Menschen an Solange es viel Arbeit gab Gab man die Drecksarbeit uns ab

Workers were summoned And yet, people came Workers were summoned And yet, people came Our work force was needed To power the assembly line We, the people, were never of any interest That’s why you’ve never heard of us Alas alas alas alas aaa Gastarbeiters Alas alas alas alas aaa Gastarbeiters Workers were summoned And yet, people came As long as there was plenty of work You gave us the filthiest But as soon as the great crisis came You said that it was our fault

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5. I WANT A LIFEThe song I Want a Life is the opening theme of the popular Yugoslav TV series A Better Life, the so-called “social-ist soap opera” which had 82 episodes, and which was produced by TV Belgrade. The series was aired between 1987 and 1991. It was written by Siniša Pavić, who, almost in a real-time manner, docu-mented the economic and social events in the country in dissolution. Accordingly, from episode to episode, the series offers an overview of workers’ strikes caused by the imposed austerity measures, cor-ruption in the public sector represent-ing various stages in its disintegration process, and the rise of nationalism. However, just before the country broke apart, the historical time was compressed and accelerated to such an extent that Pavić had to adjust the method of writ-ing and to deliver the episodes much more in advance since, according to him, “the socio-political events were at the mo-ment so accelerated that each episode was already obsolete when broadcasted” (quoted from Boris Postnikov’s Is there “A Better Life” after the Death of Yu-goslavia? taken from https://www.bilten.

Doch dann als die große Krise kam Sagte man, wir sind schuld daran Ihr wollt nicht unsere Kultur Nicht mit uns sein – Ihr wollt uns nur Als Fremde sehn – so bleiben wir Unbekannte dort wie hier

You don’t want our culture You don’t want to be with us – you only want To see us as strangers – so we remain Unknown there just as here

org/?p=21618). The song was written by Ljubiša Bačić, composed by Voki Kostić and sung by Dado Topić, the lead singer of Time, a rock band from Yugoslavia. It is anecdotal that in fact by singing he performed non-paid work because he has never, not even during the reruns of the series in the next three decades, received any fee for his performance. The theme song was first released by PGP RTB (Radio Television Belgrade) record label in 1987, together with 11 other songs from the series, among which were: There’s job – there’s no job, Youth, youth, so what, Life is not a lottery, My only concern, I want my inheritance.

I want a life, a better life to grab it like a tigerlife’s not a children’s game

I want more, I want better I want it all, come what mayWhat’s the use when I’m not of the sort, because life seeks better people.

I want life, all or nothingI want the main prizeThat’s my motto, but none of it Something’s still missing Life’s not a Loto

I want life, a better life I bang my head against the wallWhere it is thin there it breaks

I still want to fulfil my dreamall my wishes, come what mayWhat’s the use when I’m not of the sort, because life seeks better people.

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2010-e

Prekarnost, nesigurnost, neizvesnost, od danas do sutra, stres, diskontinuitet, fleksibilizacija, nedostojanstveni uslovi rada i života... „Prekarnost je ugrađena u neoliberalni kapitalizam, u kojem rast počiva na financijskome riziku i zaduže-nosti, u kojem su tržišta rada oslablje-na, a socijalne zaštite povučene, u kojem države podižu barijere kako bi određene skupine radnika lišile građanskih prava, i u kojem poriv za pronalaženjem novih područja akumulacije rezultira ograđiva-njima, izvlaštenjima i urbanizacijom bez

1.1.3POJMOVNA MAPA I HRONOLOGIJAkolektivni rad tima Radovi na sceni

Kolaž pojmova, istorijskih amblema, razli-čitih vrsta scenografija (scenografija samoizgradnje, krize, sećanja, samoupravljanja, grad kao scenografija, scenogra-fija diskontinuiteta, rata, anti-rata, nesigurnosti, (ne)zavisnosti, samoorganizovanosti...) vodi nas od današnjeg trenutka i reči prekarnost, unazad, sve do tačke kada se završava Drugi svetski rat i počinje formiranje zvanične kulturne politike Jugoslavije. Ovaj kolaž predlaže jedan izbor istorijske i teorijske građe, organizovane tako da angažuje čitaoca da istražuje, čita, analizira dokumente, izvore, literaturu. Umesto udobonosti gotovih i jednostav-nih interpretacija o izuzetno kompleksnom istorijskom pe-riodu, ova građa nudi seriju argumentacija, fusnota, hro-nologija. Ovo nije istorijski pregled i ne pretenduje na sveobuhvatnost, već pojmovnik nastao kao rezultat kolektivnog rada koji poziva na dalja čitanja.

2018.

- Osniva se Savet za krea-tivne industrije.

- Donesen je novi Zakon o finansijskoj podršci porodici s decom.

- Usvaja se nacrt Zakona o agencijskom zapošljavanju.

2017.

- Otvara se Dorćolsko na-rodno pozorište.- Mikser House se seli u Sa-rajevo i postaje regionalni centar; ubrzo se i zatvara.

- Otvara se alternativni umetnički prostor Garaža.

- Usvaja se Strategija ra-zvoja kulture Republike Sr-bije od 2017. do 2027.

- Usvajaju se izmene i dopu-ne Zakona o porezu na dohodak građana.

- Usvajaju se izmene i dopune Zakona o doprino-sima za obavezno socijalno osiguranje.- Usvaja se Zakon o dualnom obrazovanju.

- Usvaja se Zakon o zapo-slenima u javnim službama.

- Formira se Odsek za umetnost i dizajn na De-partmanu za arhitekturu i urbanizam Fakulteta teh-ničkih nauka Univerziteta u Novom Sadu.

- Osniva se udruženje Koncept 9 (Beograd).

2016.

- Novi Sad je proglašen za Evropsku prestonicu kulture za 2021. godinu.

- Usvojene su izmene Zako-na o kulturi.

- Otvara se Dorćol Platz, multidisciplinarna umet-nička komuna.

2015.

- Otvara se Alternativni umetnički prostor Kvaka 22 (Beograd).

- Osniva se udruženje Opservatorijum (Beograd).

- Osniva se Udruženje Art Aparat (Beograd).

- Osniva se Praktikabl, platforma za savremenu umetnost i kulturu (Novi Sad).

- Osniva se Udruženje kustosa Alineja (Beograd).

- Osniva se Knjigoskop (Beograd), inicijativa name- njena popularizaciji i razvoju savremene književne produ- kcije za decu i mlade.

2014.

- Počinje izgradnja „Beo-grada na vodi“ u Savamali (Beograd).

- Pokrenut je REZ – Festival savremenog eksperimentalnog

zapošljavanja.“1

„Izraz ‘prekarizacija’ sa stajališta radnica i radnika odnosi se na ono čemu se iz perspektive kapitala kaže ‘fleksi-bilizacija tržišta radne snage, fleksi-bilnost, elastičnost radne snage’. ‘Pre-karni radni odnosi’ su nesigurni i ne-stalni radni odnosi, odnosi po mi-losti poslodavaca, privremeni i obično bez prava iz rada. – Prekarizacija je novija novinarska izvedenica iz pridjeva ‘preka-ran, prekeren’; taj je došao iz latin-skog pridjeva precarius (izvorno značenje je specifično: ‘izmoljen, isprošen, milošću dobiven’; izvedeno značenje je poopćeno: ‘nesiguran, nestalan’); iz ablativa je nastao prilog precario, koji ima također dva značenja – specifično ‘po milosti, na molbu’ i poopćeno, u tehničko-pravnom jeziku ‘do opoziva’. Izraz je u moderne jezike stigao najprije upravo u tehni- čkom pravnom značenju (1336), te je tek u XVI stoljeću dobio opće značenje, koje je sada u upotrebi (‘nesiguran, nestalan’). Verbinčev Slovar tujk [Riječnik stranih riječi] pod natuknicom ‘prekeren’ daje kako pravno-tehničko, tako i poopćeno značenje: isprošen, na molbu ili odobren do opoziva; ovisan o tuđoj volji ili okol-nosti. Verbinc donosi i pravni izraz pre-karij: privremena upotreba ili uživanje tuđeg vlasništva. Imenica ‘prekarnost’ (opozivost; nesigurnost, nestalnost, riskantnost, neizvjesnost, delikatnost) nastala je tek u XIX stoljeću (natukni-

1 Richard Seymour, „Svi smo mi prekarni – o konceptu prekarijata i njegovim pogre- šnim uporabama“, Slobodni filozofski, 12. svibnja 2014, http://slobodnifilozofski.com/2014/05/richard-seymo-ur-svi-smo-mi-prekarni-o.html [pristupljeno 28. marta 2019].

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filma, TkH, u saradnji sa Domom omladine (Beograd).- Usvajaju se izmene i dopune Zakona o radu.

2013.

- Osniva se udruženje Beo-gradska Umetnička Nova Te-ritorija – BUNT.

- Otvara se Ciglana – Klub ljubitelja teške industri-je i umetnosti u nekadaš-njem preduzeću „Trudbenik“ (Beograd).

- Osniva se Gifest – Regi- onalni festival gifova (Subotica).

- Osniva se udruženje Valjevska kulturna mreža (Valjevo).

2012.

- Otvara se Mikser House u Savamali (Beograd).

- Osniva se Kolektiv za promociju savremene muzike

„Studio 6” (Novi Sad).

- Osniva se Transformator – Platforma za transformaciju stvarnosti putem umetnosti (Beograd).

- Pokrenut je program Kreativno mentorstvo (Be-ograd).

- Osniva se udruženje KulturKick Creative Pro-ductions (Zrenjanin).

- Osniva se Centar za kulturu

i ekologiju „PanArt” (Panče-vo).

- Osniva se neformalna grupa mladih šabačkih umetnika Kombinart.

- Otvara se Umetnički prostor U10 (Beograd).

- Osniva se fotografski kolektiv Kamerades (Beo-grad).

- Osniva se nezavisna umetnička akcija AGORA ART ACTION (Bela Crkva).

ca u Rječniku stranih riječi Bratoljuba Klaića gotovo je identična Verbinčevoj, op. p.). Latinski pridjev u vezi je sa glagolom precor, ‘moliti, prositi; že-ljeti kome nešto (dobro ili zlo)’ i sa imenicom *prex, koja se gotovo isključi-vo upotrebljava u množini preces, ‘mo-litva, prošnja; kleveta, preklinjanje’. U latinskom *prex je indoevropski kori-jen *perk- /*prek- (ili: *perek-.), koji imamo i u slovenskome prositi. (Bezlaj, Etimološkli slovar slovenskega jezika [Etimološki rječnik slovenskog jezika], izvodi prositi iz *prok’-, pod prašati navodi da je *prok’ preglas iz *prek’.) Benveniste, Le Vocabularie des institu-tions indo-europeennes, II, [hrvatsko izdanje: Benveniste, Riječi indoevropskih institucija, Disput, Zagreb, 2005] kaže sljedeće: „...*prex je osnovan zahtjev koji je isključivo verbalan i upućen bogovima s namjerom da od njih dobije-mo ono što očekujemo. Razlikovna crta *prek- je da je to usmeni zahtjev koji se naslovljava na viši autoritet i oslanja se samo na riječ.“ – Sadašnja upotreba toga rječnika tako je proizašla iz spo-rednoga poopćenog značenja, da bi preu-zela niz specifičnih pravnih reguliranja i prakse koje se uzdaju u ‘viši auto-ritet’ vlasništva, te tako obnavljaju kako instituciju vlasništva, tako i njen ‘autoritet’ ideološki se odijevajući u hipotetičku ‘milost’ vlasnika kapitala. Sadašnja upotreba tako – primjereno duhu vremena – u uzvratnom kretanju ponovo oživljava povijesno putovanje riječi: od opće nesigurnosti k njenome pravnom kosturu, od pravne tehnike k njenome mističnom jezgru i sve to nazad, k istini odnosa: k nejednakosti, gospodstvu i

- Pokrenut je prvi krea-tivni hab u Srbiji – Nova Iskra u Beogradu.

2011.

- Osniva se Omladinski centar CK13 (Novi Sad).

- Osniva se Hleb teatar (Beograd), umetnički projekat i trupa.

- Grupa Hajde da pokreće Festival društveno angažo-vanog teatra Van okvira / Off Frame u Beogradu.

- Osniva se Udruženje Tačka komunikacije (Beograd).

- Osniva se udruženje Satibara (Beograd).

- Ministarstvo za infra-strukturu i energetiku, na zahtev Saveta za borbu protiv korupcije, donosi odluku o iseljenju umetnika iz ateljea Soho u Beogradu, zbog nepravilnosti poslo-vanja Luke Beograd.

- U Luci Beograd otvara se atelje Soho.

- Osniva se magazin LiceUlice (Beograd).

- Održana je osnivačka skupština asocijacije Neza-visna kulturna scena Srbije.

2010.

- Osniva se umetničko-teo-rijsko-politička platforma uz)bu))na))) kolektiv (Beo-grad).

- Osniva se Ustanova kulture Parobrod u prostoru Centra za kulturu „Stari grad“ (Beograd).

- Osniva se Centar za empirijske studije kulture Jugoistočne Evrope (CESK) u Beogradu.

- Osniva se pozorište PATOS (Pokretni Alternativni Te-atar