Original or copy? Editions techniques in contemporary art /talk/
The Garage studio visit
Artists: Mathis Altmann, Korakrit Arunanondchai, Darja Bajagić, Ivana
Bašić, Larry Bell, Hemali Bhuta, Dineo Seshee Bopape, Marija Ćalić, Ian Cheng, Jasmina Cibic, Vuk Ćuk, Lidija Delić, John Divola, Maja Đorđević, Aleksandra Domanović, Olafur Eliasson, Erró, Cao
Fei, Vadim Fiškin, Helgi Þorgils Friðjónsson, Gabríela Friðriksdóttir, Fernanda Gomes, Ivan Grubanov, Marie-Ange Guilleminot, Romuald Hazoumè, Elika Hedayat, Yu Honglei, Marguerite Humeau,
Fabrice Hyber, Nina Ivanović, Cui Jie, Marta Jovanović, Anselm Kiefer, Tijana Kojić, Eva Koťátková and Dominik Lang, Olya Kroytor, Jean-Jacques Lebel, Ann Lislegaard, Tobias Madison, David
Maljković, Bjarne Melgaard, Jelena Mijić, Radenko Milak, Branko Milisković, Takashi Murakami, Kazumi Nakamura, Nemanja Nikolić, Yoko Ono, Dušan Otašević, Đorđe Ozbolt, Athena Papadopoulos, Paulo
Nimer Pjota, Agnieszka Polska, Pamela Rosenkranz, Magali Reus, Claude Rutault, Torbjørn Rødland, Tom Sachs, Cindy Sherman, Chiharu Shiota, Sumakshi Singh, Vladimir Veličković, Helen Marten,
Hannah Weinberger, Anicka Yi, Katarina Zdjelar, Urban Zellweger, Xu Zhen; selection by Balkan Projects: Alex Baczynski-Jenkins, Donna Wa Kukama, Ana Prvački.
The concept of the exhibition revolves around the notion of “cacophonies.” The title, The Marvellous Cacophony, reflects the thought about art in the last several decades, as the art world has become increasingly, “cacophonous,” as has the world itself in general.
Despite the fact that the Western notion of contemporary art has become universal, since the beginning of the 21st century, cacophony has become the dominating condition under which no unique denominator has been able to emerge. We have entered an artistic period without a name, an art world with many centres. The result is an art world of complex activities and divergent ideas about what art is and what art can be. An art world overflowing with heteroclite works of art.
The 57th October Salon, The Marvellous Cacophony, should serve as an installation, as a mirror of the world, as a diversified situation, rich with dissonance and din. The goal is to explore artistic production worldwide by looking into diverse art scenes, uniting different generations, and compiling a constellation of works which express, through their form, structures, and content the diversity and the richness of cacophonic expression.
About The October Salon: The October Salon is the most representative event in the domain of visual arts in Serbia, founded in 1960 as an exhibition of the best achievements in the field of fine arts (latter in applied arts as well). Thanks to its five decades long tradition, the October Salon represents a significant segment in the research of the history of modern Serbian art of the second half of the 20th century.
Since 2001, the position of Art Director has been introduced. Per the suggestion of the Salon Art Committee, with the aim of establishing a direct dialogue between domestic and international artistic and cultural scenes, in 2004 the October Salon was turned into an international event for the first time. The former curators of international Salon were: Anda Rottenberg, Darka Radosavljević and Nebojša Vilić, René Block, Lorand Hegyi, Bojana Pejić, Branislava Anđelković, Johan Poussete and Celia Prado, Galit Eilat and Alenka Gregorič, Branislav Dimitrijević and Mika Hannula, Red Min(e)d, Nicolaus Schafhausen, Vanessa Joan Müller and David Elliott.
Olya Kroytor. Performance "2344. Penetration”
Central Exhibition Hall Manege
20 August / 19.00-22.00
The performance is based on the previous performance by Olga Kroytor “2344” where the number identifies the length of the thread that the artist’s dress was made of. In the final project of the exhibition “Here and Now” the artist moves away from the position of the main performer since the director and the performer have their own ways to go. The artwork tells about the interaction and interleaving of private stories and experience forming a web of life. The dress becomes the metaphor of the conventions of the existence. It is a reference to the artist’s earlier performance “Cocoon” where the observable cocoon became the symbol of the illusory security. In this case the dress becomes a “shell” that everyone needs to remove by naturally making their own path - intersecting and creating a new figurative reality