NO(W) FUTURE is a monthly discussion programme hosted jointly by Sarajevo Culture Bureau and duplex 100m2. The aim of the programme is to foster discussion of and collaboration within the contemporary cultural scene in BiH. The first even was held on 28th November and we envisage that these events will be held at duplex on the last Thursday of every calndar month. Be sure to keep an eye on facebook for details of upcoming events and talks.

NO(W) FUTURE WINTER PARTY- DUPLEX 100M2, THURSDAY, 26 DECEMBER @ 1900HRS

FIRST DISCUSSION TRANSCRIPT- DISCUSSION ON CONTEMPORARY ART IN BIH. THURSDAY, 28 NOVEMBER @ 1900HRS

As an introduction to the NO(W) FUTURE programme, we had a discussion in the state of contemporary art in BiH, featuring Aida Salketić as moderator and contibutions from Pierre Courtin (duplex), Elma Hodžić and Jon Blackwood (SCB). Here is a transcript of the meeting, for those who couldn’t come. (scroll down for the English version)

 

U četvrtak, 28.11.2013. godine je u galeriji Duplex100m2 održana diskusija na temu savremene umjetnosti. Ovo je prva u nizu diskusija koje će se svakog posljednjeg četvrtka u mjesecu održavati u galeriji Duplex100m2, a koje će govoriti o savremenoj umjetničkoj sceni u Bosni i Hercegovini, njenom potencijalu, te mogućim pravcima razvoja i potencijalima za saradnju.

Nakon uvodne riječi, moderatorica Aida Salketić je predstavila svoje goste: Elmu Hodžić, mladu historičarku umjetnosti iz Sarajeva, dopisnicu portala Sarajevo Culture Bureau (SCB), Jon Blackwooda, pokretača SCB i profesora historije umjetnosti porijeklom iz Škotske koji trenutno predaje i radi u Sarajevu i Pierre Courtina, osnivača i direktora galerije Duplex100m2.

 Elma Hodžić je započela diskusiju ukazavši još jednom na nezavidnu situaciju u kojoj se bosanskohercegovačka umjetnost nalazi. Ona smatra da se aktivnim promišljanjem o pojedinim segmentima umjetnosti mogu ostvariti promjene, a to su publika umjetnosti i likovna kritika, koje je Elma pokušala analizirati sa teorijskog aspekta. Prema Elminom mišljenju “opismenjavanje” mlade publike je dugoročna investicija koja će vremenom učiniti da umjetnost postane nešto što pripada svima nama, a ne samo pojedincima. Drugi problem o kojem je govorila je također svojevrstan afirmator umjetnosti, a to je likovna kritika čija posrednička uloga će ojačati vezu između umjetnosti i njene publike. Elmino izlaganje se završilo optimističnim pozivanjem da malim, ali mudrim koracima i vlastitim zalaganjem promijenimo stvari. Paralelom između zatvorenih vrata Zemaljskog muzeja i Historijskog muzeja koji se sve više otvara prema javnosti, Elma je ukazala da samo zajedničkim i požrtvovanim radom možemo napraviti promjene, a upravo su one i cilj ovakvih druženja.

Govor Jona Blackwooda je posvećen aktualnim problemima suvremene bosanskohercegovačke umjetnosti. Prije svega, Jon je napravio kratki pregled tematske različitosti bosanskohercegovačke umjetnosti, a potom je analizirao stanje infrastukture i svijeta umjetnosti. Jon je ukazao na razjedinjenost bosanskohercegovačke umjetničke scene, navodeći primjer prošlogodišnjeg neplanskog organizovanja umjetničkih događaja, kada je zakazano čak šest otvaranja u samo jednoj noći, što je očit pokazatelj nestrateškog funkcioniranja kulturnih institucija u Bosni i Hercegovini. U drugom dijelu razgovora, Jon je sugerirao da je bosanskohercegovačka umjetnička scena trenutno dosegla svoj vrhunac kada je riječ o izlaganju i djelovanju bosanskohercegovačkih umjetnika i kulturnih radnika u svijetu. Mnogo umjetnika i kustosa se sve više odlučuje da radi u svijetu i živi u Bosni i Hercegovini, zbog nedostatka prilika u zemlji. Na kraju, Jon je postavio pitanje opstanka bosanskohercegovačke umjetnosti nakon 2014. kada će prilivi novca u Bosnu i Hercegovinu biti sve manji. Njegov prijedlog je veća suradnja i zajednički rad.

Dosta zanimljivih i praktičnih ideja ponudio je Pierre Courtin. I Pierre se, kao i Elma i Jon osvrnuo na tešku situaciju bosanskohercegovačke umjetničke scene, ali je također pričao o podizanju galerije Duplex na internacionalni nivo. Uprkos činjenici da su fondovi za kulturu iz dana u dan sve više reducirani, galerija Duplex pokušava izgraditi nezavisan kulturno-ekonomski sistem, zahvaljući privatnim institucijama i kolekcionarima umjetnosti. Pričajući o planovima za Duplex u 2014. godini kada će se pravno registrovati kao galerija i na taj način nastaviti svoje djelovanje, Pierre je otvorio brojna pitanja vezana za umjetničko tržiste i brojne rizike koje za sobom povlači. Obraćanje je zaključio iskrenom nadom u pozitivne ishode događaja u sljedećoj godini, koji će biti presudni za rad galerije Duplex.

Nakon uvodnog izlaganja govornika, na pitanje moderatorice “Kada bi imali mogućnost da urade jednu stvar koja bi poboljšala stanje na sceni savremene umjetnosti u Bosni i Hercegovini, šta bi uradili?”, Pierre i Elma su se složili da bi njihov doprinos bio osnivanje muzeja savremene umjetnosti, dok Jon smatra da bi trebalo uspostaviti postdiplomske studije kulturnog menadžmenta i kulturnih politika. Diskusija koja je potom uslijedila bila je obogaćena raznovrsnim i kvalitetnim komentarima od strane publike, od kojih su se najviše izdvajali komentari koji su tretirali pitanja neophodnosti većeg angažmana i uvezivanja pojedinaca koji rade u okviru savremene umjetnosti, zatim neophodnost uspostavljanja umjetničke kritike, a propitivani su i načini na koje se najmlađima može približit savremena umjetnost.

Vezano za uvezivanje aktera u području savremene umjetnosti, učesnici diskusije su se složili da trenutno stanje u kojem je Zemaljski muzej zatvoren i podrška vlade kulturi minimalna, zahtijeva da umjetnici, historičari umjetnosti, kustosi i kritičari umjetnosti intenzivno sarađuju kako bi iskoristili veliki potencijal koji leži u savremenoj umjetničkoj sceni u Bosni i Hercegovini. Govoreno je o tome da je manjak znanja među tim akterima o načinima pisanja projektnih aplikacija i komunikacije sa donatorima, te bi od velike koristi bilo ukoliko bi jedna od narednih diskusija mogla biti posvećena temi kulturnog menadžmenta.

Kada je u pitanju nedostatak umjetničke kritike, svi komentari su spomenuli to da činjenica jeste da kvalitetne umjetničke kritike nema, dok je mišljenje o odgovornosti za takvo stanje bilo podijeljeno na one koji smatraju da potencijalni teoretičari i kritičari snose krivicu što ne preuzimaju inicijativu za pisanjem, i one koji misle da su umjetnici ti koji olako i neodgovorno pristupaju pozivu umjetnika i time narušavaju mogućnost građenja kvalitetne umjetničke scene. Na pitanje o savremenoj umjetničkoj kritici, svoje mišljenje je nakon diskusije dala i historičarka umjetnosti Nermina Zildžo koja je rekla da su za nedostatak umjetničke kritike te za mali broj publike koja posjećuje izložbe krivi prije svega historičari umjetnosti jer, prvo, ne preuzimaju odgovornost, ne pišu i nemaju hrabrosti iznijeti stav o umjetničkom djelu i, drugo, za izložbe se ne biraju privlačne teme koje će dovući mlade ljude u galeriju. Kao primjer za jednu takvu izložbu navela je izložbu Sarajevski New Primitives održane početkom 90tih u Umjetničkoj galeriji Bosne i Hercegovine, koja je privukla do tada neviđen broj mladih ljudi na otvorenje izložbe.

O približavanju savremene umjetnosti najmlađoj publici govorilo se u kontekstu eventualnih aktivnosti koje bi se mogle uraditi sa školama. Svi su se složili da se djeci ne može pristupiti metodom predavanja, te da ih se treba motivisati da sami stvaraju umjetnost, kako bi im ona na taj način postala bliska. Nekoliko prisutnih je podijelilo svoja pozitivna iskustva u radu sa djecom, a koja su se ogledala u organizovanju radionice u školama, dovođenju djece u galeriju/muzej i u pokretanju artist studio projekata u školama. Pored podjele iskustava u radu sa djecom, rečeno je kako sa školama nije teško stupiti u kontakt, da se nailazi na pozitivne reakcije, a angažovanost nastavnika i veliku zainteresovanost djece, te se razgovaralo o mogućim projektima u tom području.

Pored ove tri teme koje su bile najzastupljenije u diskusiji, govorilo se i o potencijalu Bosne i Hercegovine za stvaranje umjetničkog tržišta, uzimajući u obzir da je naše tržište generalno drugačije od zapadnog tržišta, te o tome kakav stav umjetnici imaju o tome i o putevima za koje se umjetnici odlučuju kada vise ne mogu živjeti od svog rada.

Prisutni su imali mogućnost na kraju napisati koje od tema bi oni voljeli slušati tokom ovih diskusija o savremenoj umjetnosti, te su se tu našle teme:

– Razvoj umjetničke kritike

– Razvoj publike za savremenu umjetnost

– Šta je savremena umjetnost? Koje su relevantne kategorije prema kojima

raspoznajemo dobro ili lose umjetničko djelo?

– Aktivistička umjetnost

– Ulična umjetnost

 

On Thursday, 28th November 2013, in gallery Duplex100m2 was organized a discussion on contemporary art. This is the first in a series of discussions that will be arranged every last Thursday of the month in Duplex100m2, which will refer to the contemporary art scene in Bosnia and Herzegovina, art potential, possible directions of development and potential cooperations.

After opening statements, the moderator Aida Salketić presented her guests: Elma Hodžić, a young art historian from Sarajevo, writer for Sarajevo Culture Bureau (SCB), Jon Blackwood, SCB initiator and professor of art history from Scotland, who currently teaches and works in Sarajevo and Pierre Courtin, founder and director of the gallery Duplex100m2.

 Elma Hodžić started a discussion pointing out once again the unenviable situation of Bosnian-Herzegovinian art. She considers that active reflection about some aspects of art can achieve changes, and such aspects are art’s public and art criticism , which Elma tried to analyze from theoretical aspects. According Elma’s opinion “to literacy in art sence” young audience is a long term investment that will eventually make art something that belongs to all of us, not just individuals. Another problem that she mentioned is art criticism whose mediating role will strengthen the relationship between art and its audience. Elma’s exposure ended with optimistic alert for small but wise steps and our own efforts to change things. Parallel between closed doors of the National Museum and the History Museum which is increasingly opening to the public, Elma pointed out that the only through common and devoted work, we can make changes, and changes are the goal of these meetings.

Speech of Jon Blackwood was dedicated to the current problems of contemporary Bosnian Herzegovinian art. First of all, Jon has made a brief overview of the thematic diversity of Bosnian art, and then analyzed the state of infrastructure and the art world. Jon pointed out the disunity of Bosnian art scene, citing the example of last year’s bad organization of art events, when six openings was scheduled in only one night, which is a clear indication unplanned functioning of cultural institutions in Bosnia and Herzegovina. On the second part, Jon suggested that the Bosnian-Herzegovinian art scene currently reached highest point when it comes to presentation and operation of Bosnian artists and cultural workers in the world. Many artists and curators are increasingly deciding to work in the world and living in Bosnia and Herzegovina, because of the lack of opportunity in our country. Finally, Jon questioned the development of the Bosnian art after 2014, when the inflow of money in Bosnia and Herzegovina will be smaller. His proposal is greater cooperation and joint work.

Plenty of interesting and practical ideas offered Pierre Courtin. Pierre, like Elma and Jon addressed the plight of Bosnian art scene, but he also talked about raising gallery Duplex on an international level. Despite the fact that the funds for culture are being reduced every day, Duplex is trying to build an independent cultural and economic system, thanks to private institutions and collectors of art. While talking about plans for the Duplex in 2014 when Duplex will be legally registered as a gallery and thus continue their action, Pierre has opened a number of questions related to the art market and a number of risks that entails. His speach was concluded with sincere hope of the positive outcomes of events in the next year, which will be crucial for Duplex.

After the opening speeches, the moderator made the first question: “If you had the ability to do the one thing that would improve the state of contemporary art scene in Bosnia and Herzegovina, what would you do?” Pierre and Elma have agreed that their contribution would be the establishment of the Museum of Contemporary art, while Jon believes that the priority is establishment of postgraduate studies for cultural management and cultural policy. The discussion that followed was enriched with various comments from the audience, some of them treated the necessity of greater engagement and binding individuals working in contemporary art scene, the necessity of establishing art criticism, and ways of aproaching contemporary art to youth were questioned as well.

Regarding the problem of binding actors in the field of contemporary art, the discussion participants agreed that the current situation in which the National Museum is closed and government support to culture is minimal, requires that artists, art historians, curators and art critics intensively cooperate in order to take advantage of the great potential that lies in contemporary art scene in Bosnia and Herzegovina. It was spoken about the lack of knowledge among these actors on how to write project applications and communication with donors, so would be of great benefit if one of the following discussions could be devoted to cultural management.

When it comes to the lack of art criticism, all the comments have mentioned the fact that there is no quality of art criticism, while opinions about the responsibility for this state were divided into those who believe that the potential theorists and critics bear the guilt for not taking initiative to write, and into those who think that artists are the ones who easily and irresponsible approach the vocation of artists and thus impair the ability of building quality art scene. Regarding contemporary art criticism, art historian Nermina Zildžo gave her opinion after the discussion, saying that art historians are first to blame for the lack of art criticism and a small number of people who attend the exhibitions because thay do not assume the responsibility, do not write and do not have the courage to express thair opinion on the work of art, and secondly, for the exhibition they do not choose appealing topics that will drag young people into the gallery. As an example for such a show, she mentioned the Sarajevo’s New Primitives, exhibition held in early 90s at the Art Gallery of Bosnia and Herzegovina, which has attracted unprecedented number of young people at the opening.

The convergence of contemporary art to youngest audience was discussed in the context of possible activities that could be done with the schools. Everyone agreed that the children can not be accessed through lectures, and that they should be motivated to create art. Several participants shared thair positive experience working with children, and that was reflected in organization of workshops in schools, bringing children into the gallery / museum, in initiating artist studio projects in schools. In addition to sharing experiences with children, it is said that the schools were not difficult to get in touch, that we could find a positive reaction, the involvement of teachers and great interest of children. It was discussed about possible projects in this area.

In addition to these three topics that were prevalent in the discussion, there was a talk about the potential of Bosnia and Herzegovina for the creation of art market, taking into account that our market is generally different from Western markets. Also, art market was mentioned in context of artists’s attitude and ways of possible acting when artists decide they can no longer live off their work.

Participants had the possibility to write the topic they would like to listen during discussions about contemporary art, and suggested some of these topics:

– The development of art criticism

– Development of the audience for contemporary art

– What is contemporary art? What are the relevant categories to recognize good or bad work of art?

– Activist Art

– Street Art

Transcript: Aida Salketić & Elma Hodžić

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