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``UDAS``
galerija

MLADEN MILJANOVI OKUPACIONA TERAPIJA / OCCUPATIONAL THERAPY

Prostori / Venues : UDAS galerija / UDAS gallery Banski Dvor KC / Banski dvor cultural center Muzej savremene umjetnosti Republike Srpske Museum of contemporary art Republic of Srpska

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Okupaciona terapija (ergo terapija, radna terapija) jedan od najstarijih naina lijeenja u psihijatriji. Meutim, organizovana okupaciona terapija plod je modernizacije psihijatrijskog lijeenja i postupaka sa psihikim bolesnikom od vremena francuskog psihijatra Pinela naovamo. Pored lijeenja u psihijatriji, okupaciona je terapija u novije vrijeme metoda lijeenja svakog bolesnika i traumatiara metodom svrsishodnog zapoljavanja. Ciljevi ove terapije su da pobudi interesovanje kod bolesnika za okolinu i da popravi eventualnu postojeu individualnost. Okupacionu terapiju najbolje je provoditi u grupi. Pritom valja paziti da je rad raznovrstan, da je koristan i svrsishodan, a ne besmislen, i da je za pojedinog bolesnika zanimljiv. Occupational therapy (ergo-therapy, work therapy) one of the oldest kinds of treatment in psychiatry. However, organised occupational therapy is a result of the modernisation of psychiatric treatment and dealing with mentally ill patients since the time of the French psychiatrist Pinel to this day. Along with its application in psychiatry, more recently occupational therapy has been used as a method of treatment of all kinds of patients and traumatised persons using the method of meaningful occupation. The goal of this kind of therapy is to arouse the patients interest in their surroundings and enhance their potential existent individuality. Occupational therapy is best carried out in a group. It is necessary that occupation be varied, useful and meaningful, not meaningless, as well as engaging for every individual patient. (Occupational therapy education p. 290, Dr. Vladimir Hudolin, Dictionary of Psychiatry and Psychology)

(Okupaciona terapija odgoj str.290. Dr Vladimir Hudolin ``Psihijatrijsko psiholoki rije nik``)

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Jo mikro-narativa sa imaginarnog Balkana: nekad porunik, sada umjetnik

Marija Todorova, Imaginarni Balkan, Biblioteka XX vek, Beograd, 2006.

Pojam imaginarni Balkan kao diskurzivna tvorevina Marije Todorove i metafora koja prokazuje ideologiju getoizacije, konceptualno dobro pokriva sadraje razliitih aspekata socijalno-ideoloke kontekstualizacije u gotovo svim sluajevima takvog umjetnikog djelovanja koje dolazi s tog previe ideologiziranog prostora. Ovaj pojam, kako navodi Todorova u svojoj knjizi Imaginarni Balkan, poetkom 20. veka je dobio pejorativne konotacije, iako je ovo bio postepen proces, na ijem su poetku stajali dogaaji koji su pratili raspad Otomanskog carstva i stvaranje malih, slabih, ekonomski zaostalih i nesamostalnih nacionalnih drava koje je tek trebalo da se modernizuju. Na kraju, zbog tekoa u modernizaciji i prateih nacionalistikih aberacija, Balkan je postajao sve vie ne samo simbol za neto zaostalo, nego i agresivno i netolerantno, dakle, iracionalno. Tako, Balkan kao metafora 1 postaje ak i predmet postkolonijalne diskurzivne analize u pokuaju da se, na tragu Edwarda W. Saida i Gayatri Spivak, dekonstruira ideoloka konstrukcija ontologije imaginarnog Balkana, zasnovanog na strahu od drugog. No, taj je Balkan kao imaginarni paviljon izmeu Saidove makro-naracije o ne-zapadnom pogledu i zapadnog pogleda s visoka, dakle kao zabran ni na nebu ni na zemlji, postao metaforiki pogodan ne samo za geopolitiku ideologizaciju ili postkolonijalnu teoriju, nego i za kontekstualizaciju umjetnikog djelovanja s mnotvom razliitih mikro-narativa. Ma kako bila u suvremenom pomaku rastegljiva, ta velika autentina pripovijest o paradigmi Istoka i njegovoj tranziciji ipak je upuena pogledu zapadnog svijeta; no, kao takva je intertekstualna, te kulturalno, antropoloki, analitiki i semiotiki orijentirana. Tako je i s umjetnou koja dolazi s neke od tih malih scena: ona je razapeta izmeu procesa globalizacije i lokalne fragmentacije. Ali, upravo joj ta razapetost daje ne samo unutranju snagu i energiju u oznaavanju, nego i zavodljivu intrigantnost autentinosti malih pria na velikom svjetskom sajmu tatina. Jaki mikro-narativi vieni od tamo nisu tek predmet novih empirijskih spoznaja i doivljaja u/o ovom meuprostoru, nego se u njihovim konceptima, dakako, prepoznaje i energija intelektualnog projekta koji donosi nove mogunosti proistekle iz lokalne krize identiteta i potrebe prezentacije svijetu, konano svijetu umjetnosti. Energija umjetnike uronjenosti u razumijevanje posebnosti vremena i prostora itekako je bitna za pitanja konstrukcije identiteta. Ona je u stanju razotkriti kognitivne, perceptivne, ideoloke i druge zablude i iluzije, to ve put prevrednovanja postojeeg konteksta situacije. Iz osjeaja etikih razloga, preuzimanja odgovornosti, artikuliraju se relacije, prihvaaju identitet i alteritet, identinost i drugost; a ti se procesi gotovo uvijek odvijaju i susreu na granicama, na ivicama drutvenog polja. Tako se drugost, zahvaljujui (auto)percepciji i kreativnoj energiji osobnog iskustvenog doivljaja te njegovoj konceptualnoj i medijskoj artikulaciji, pojavljuje kao paradigma prepoznavanja novog iskustva identiteta i razliitosti. Ovakva energija nedvosmisleno posreduje, neovisno o genezi pristupa ili okolnostima nastanka koncepta, odliku povijesnoavangardne etike aspiracije djelovanja u drutvu putem umjetnosti. Ali, na poetku 21.st. putem osobnih umjetnikih mikro-pria! Tako su u imaginarnom paviljonu BiH, na tankoj liniji semantike kontekstualizacije i rekontekstualizacije, nastajali dragocjeni radovi mladih umjetnika koji su tek zavrili ili zavravali banjaluku Akademiju umjetnosti; ti su radovi poeli razotkrivati vezu izmeu identiteta, moi i prostora. Njihov remetilaki potencijal nastaje u provociranju pomaka i

hijatusa unutar specifinog lokalnog konteksta, poput umjetnikih asocijacija Protok ili Taka, te razliitih oblika i projekata individualnog umjetnikog djelovanja. U manifestaciji osobne odluke i izbora o ukljuivanju, odnosno iskljuivanju odreenih elemenata iz referencijalnog okvira tog konteksta stvaraju se nukleusi koji eksponiraju nove interpretacije u vlastitoj sredini. Iako su u njoj drugi, oni je istodobno otvaraju pogledu drugog, to je ve izazvalo pozornost na topolokoj karti meunarodne umjetnike scene; no, upravo zbog njihovih mikro-narativa u identitetskom pozicioniranju. Unutar mlae grupacije medijski i konceptualno obrazovanih umjetnika banjaluke nove scene, Mladen Miljanovi svoje umjetniko djelovanje pozicionira kao komunikacijski relej traume diskontinuiteta na ovom prostoru. Jo kao student zavrnih godina Akademije, on uspostavlja svoju strategiju mikro-naracije zasnovanu na biopolitikim refleksima i refleksijama, na preispitivanju i istraivanju identiteta prostora kao mjesta i osobne povijesti vlastitog identiteta. Ve tada je pokazao konceptualnu zrelost aktivnog komunikatora odreenog projekta koji je saet u diplomskom radu naslovom Konstruktivna dekonstrukcija prolosti prostora. Pojmovne jukstapozicije kao to su konstrukcija-dekonstrukcija i prostor-prolost govore o ranoj artikulaciji svijesti o globalnom post-modernom stanju svijeta te svijeta umjetnosti, ali i o stanju vlastite lokalne situacije. U tom se rasponu umjetnik pozicionira sa stajalita antropologa/istraivaa, to podrazumijeva intencionalno uivljavanje u autentine kontekstualne mikro-naracije ili ono to je rekao junoafriki umjetnik i kustos Kendeel Geers povodom nastupa Milice Tomi na Venecijanskom bijenalu 2003.: realizam proivljenog iskustva, koji je u Mladenovom sluaju poetna osnova daljnjeg recikliranja prie. Ovaj najiri referentni okvir u konceptualizaciji projekta koji Miljanovi postupno razvija polagano se diferencira na pojedine tematske cjeline, razliite medijske pristupe ili pojedinane cikluse, ali smjernice ostaju. Sve one potjeu iz konceptualnog odabira, produkcijske odluke i saete prezentacije pristupa, poevi od ranih pojedinanih radova kao to su Hepening Balkana, Krenje vojnikog spomenika, Prostor i prolost kao elementi koji se reflektuju na rad, Dekonstrukcija line prolosti i prolosti prostora kroz instalaciju, Umjetnost kao sredstvo sublimacije negativne prolosti ili Sluim umjetnosti. Svi ti radovi zapoinju projekt koji e dobivati svoje razliite formalne, medijske, znakovne, znaenjske, kontekstualne ili druge okvire prezentacije, no njihovi intertekstualni narativi su simptom suvremene povezanosti umjetnosti s egzistencijalnim toposima. U sluaju Mladena Miljanovia, taj je topos prostor kasarne kao simbolika i faktika matrica konstrukcije osobne prie kojom reflektira suodnos vlastitog identiteta i proivljenog iskustva prolosti prostora. Ovaj suodnos je zapoeo nakon zavrene kole rezervnih oficira, a upravo kada je slijedio nastavak obrazovanja za vojni poziv, poslijeratna vojska BiH je reorganizirana i vojna kola je ukinuta, kao i banjaluka vojna kasarna. U tom trenutku i danim okolnostima desio se preokret, upis na Akademiju umjetnosti, te preseljenje same institucije u prostor bive kasarne. Tako je inicijalna osobna pria prerasla u konstrukciju vlastitog identiteta u procesu razvijanja projekta dekonstrukcije identiteta povijesti prostora i njegovih dominantnih funkcija (vojna mo, razaranje, neutralizacija ive sile, manipulativni nadzor nad pojedincem, sluenje vojnog roka itd.).

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Dekonstrukcija vojne faktike i simbolike moi je konceptualni i intermedijalni rad s proivljenim kontekstom, krhotinama realnosti i fikcijama prolosti, ideologijama drutvene moi, jezikom vizualnih simbola, prizorima signalizacije iz vojnih shema i planova napada, materijalnim fragmentima ratne prolosti (ljemovi, take, invalidska kolica), simulakrumi rituala totalne kontrole i dr. Umjetnika akcija tako dobiva konstruktivnu energiju, koja se moe pozvati i na umjetnost kao sublimaciju negativne prolosti, dakako pod uvjetom da se razaznaju granice, odnosno razlike izmeu umjetnosti kao profesije i umjetnosti kao terapije. Ovdje je, dakle, rije o suoenju ne s bilo kakvim fiktivnom ili utopijskom, odnosno apstraktnim ili univerzalnim prostornim kontekstom, ve sa sklopom odreenih povijesno-lokalnih okolnosti koje su proizvele odreenu prolost, ne bez posljedica po sadanjost. Fokusiranje upravo ove strane u lokalizaciji nemirne prolosti prostora je in etike reakcije mladog umjetnika: Mnogo je lake prolost izmislitinego sjeati je se, citira on reenicu Christe Wolf. Za razumijevanje geneze Miljanovievog sada ve opsenog umjetnikog djelovanja paradigmatian je projekt dekonstrukcije memorije prostora u radikalnoj umjetnikoj akciji/ performansu Sluim umjetnosti / I serve art, koja je trajala akademske 2006/2007. godine, u dobrovoljnoj fizikoj izolaciji u nekadanjem zatvorenom prostoru vojne moi a sada otvorenom prostoru Akademije umjetnosti, vremenski ogranieno isto onoliko koliko bi trajalo sluenje narodu u toku vojnog roka. No, Miljanovieva sintagma u nazivu projekta, ironizirajui poziciju vrijednosne neutralnosti, govori i o konstruktivnoj moi umjetnosti u egzistencijalnom svijetu kojemu, na kraju, pripadaju i znaenja umjetnikih djela. Jer, znaenja pripadaju razliitim kontekstima drutva, ideologije, umjetnosti, kulture ili prirode, te ni jedan sustav znakova nema znaenje po sebi nego ga dobiva stupajui u odnose s drugim znakovima ili sustavima znakova. U radu s kontekstualizacijom znakova i znaenja, njihovim prenoenjem ili premjetanjem iz jednog konteksta u drugi (iz jedne faktike i simbolike ravni u drugu), proces resemantizacije dobiva na znaaju pretvara se u proces dekontaminacije prostora, s 274 pogleda na svijet. Pogledi i poruke umjetnika, preko otvorene web stranice i drugih elektronskih i analognih medija, prerastaju u javnu komunikaciju iz izolacije, u virtualni socijalni ivot. Iz izolacije umjetnik organizira i komunikacijski Artattack, simulirajui aktom terorizma modus bosanskog umjetnika da doe do izlobe u svjetskim galerijama. Kasnije e modus Umjetnikog terorizma ostvariti i u granicama BiH, na Tuzlanskom 4. BUM BiH- 2007. Umjetnikovo intermedijsko razvijanje interkontekstualnosti reflektira na svoj nain recentnu situaciju u kojoj nema stabilnih medijskih okvira prezentacije djela, to je simptom dananje povezanosti umjetnosti s antropolokom interpretacijom konteksta, s neizvjesnim granicama izmeu umjetnikog i javnog prostora. To je povezano i sa sustavnom autorefleksijom vlastite strategije djelovanja u umjetnosti, koju e Miljanovi dosljedno manifestirati u novim projektima kao to su Svrha, Agresija ili Okupacija. Strategiju prati taktika okupacije koja postupno proiruje galerijski prostor i osvaja javni i medijski prostor. Dominantan komunikacioni kanal je odnos prostora i znaka: multiplikacijom istog znaka u nizovima se, poput signalizacije, obiljeava, naseljava, ispunjava i, konano, zauzima javni prostor. Znak preuzima identitet agresora, jer se njegova vizualna reprezentacija referira na ploni otisak siluete lika vojnika, jedinke bez svojstava, bez identiteta, po stoga podlone kontroli i manipulaciji. Sam se umjetnik takvim osvajanjem galerijskih ili drugih prostora pozicionira u identitet agresora, prenosei traumu

egzistencijalnog suoavanja subjekta s (ne)mogunou formiranja stabilnog identiteta; dakako, na prostorima koji imaju svoju dugu povijest diskontinuiteta, koja je konano za posljedicu imala i sam konstrukt imaginarnosti. Preispitivanje naina konstrukcije identiteta ostaje preokupacija Mladena Miljanovia i u daljem radu, no uvijek se iz poetka oivljava narativna matrica traume. Meutim, dananji subjekt nije vie zauvijek odreen traumom, jer u osvjetljavanju ove pozicije umjetnikog djelovanja teko se vie moe govoriti kao u doba predteorijske nevinosti, recimo u formalnoekspresionistikim terminima. U dananje doba samorefleksije kao postkonceptualnosti, umjetnik svoju priu istrauje u njenim kontekstualnim (znaenjskim i vrijednosnim) odnosima; time oduzima umjetnosti njenu mitsku modernistiku neutralnost, a svom djelovanju daje auru lokacije. Zato je umjetnikov postupak antropoloki, odnosno relativistiki, jer pokazuje da su povijest, mitologije i umjetnost socijalni konstrukti. Miljanovi u svom novom projektu Okupaciona terapija fokusira socijalni status traumatizirane subjektivnosti; rije je o ponovnom zaposjedanju psiho-socijalnog prostora i terapijskoj rekonstrukciji njegovih razbijenih 3 fragmenata. Njegovi mikro-narativi sadre one znaenjske odnose kojima su doslovno prikazane prie tek osnova za izvoenje metaforikih ili alegorijskih znaenja; dakle, bez vanjskih referenci Mladenova art klinika ne funkcionira. Zanimljivo je, meutim, da se ova oznaka pojavila na drugoj balkanskoj lokaciji (Odbijajui da uestvujemo u ruenju, klanju, pljaki, siledijstvu, izmetamo se iz tradicionalnih prostora) kao mikro-narativ radikalnog lokalnog projekta akcionistike socijalne ok terapije od 2002.g.: Novi Sad, umjetnika grupa Art klinika, gde se meuodnos umetnosti i drutva 2 postavlja u relaciju dvosmerne komunikacije i uticaja, s izriitim ciljem prebacivanja teita sa estetskog na etiki plan. Meutim, projekt Okupaciona terapija Mladena Miljanovia zasniva se na ironijskom obratu, a ne na linearnosti akcionizma urbane gerile koja na kraju strategijom kameleona (B. Peji) osvaja institucije. Nesumnjivo je u oba sluaja u pitanju prestupniki stav, no Mladenov koncept svojim paradoksalnim obratom u narativu nastoji probuditi novo i neoekivano iskustvo vezano za traumatina stanja i time potaknuti kritiku svijest. Izraz okupaciona terapija je zapravo doslovno vezan za strunu medicinsku psihijatrijsko-terapijsku problematiku (metoda lijeenja putem rada), ali u kontekstu umjetnikovog rada je prikazivanje koje znai suprotno od onoga to govori i prikazuje. Naime, umjetnik stvara svoj referentni kontekst preuzimajui iz medicinskog, te danas neto ireg konteksta, znaenje strunog termina (ergo terapija, radna terapija) kao organizirane okupacione terapije (nain, najbolje grupni, lijeenja svakog bolesnika i traumatiara metodom svrsishodnog zapoljavanja, s ciljem da se pobudi interesovanje bolesnika za okolinu i popravi individualnost, pri emu valja paziti da je rad raznovrstan, da je koristan i svrsishodan, a ne besmislen, i da je za pojedinog bolesnika zanimljiv, iz Psihijatrijsko psiholokog rjenika). Poznati etimoloki potencijal latinske rijei occupare sa irokim spektrom svojih agresivnih znaenja koji su nali najveu upotrebu upravo u vojnoj terminologiji (zauzeti, angairati, osvojiti, obuhvatiti, privui, preobraditi, savladati, posjedovati, postii, biti opsjednut, vladati, ovladati, preduhitriti, ukloniti, poduzeti, atakovati), postupkom premjetanja u kontekst umjetnosti se dekontekstualizira i relativizira. Takoer se i medicinsko znaenje okupacione terapije decentrira u polju intertekstualnog suoavanja s paradoksalnim efektima medijske,

Art klinika - Prva petoljetka, SKC, Novi Sad, 2007.

Micro - Naratives, Muse dArt Moderne, Saint-Etienne / Skira, Torino, 2008.

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mentalne, intelektualne i fizike okupacije (M. Miljanovi). Ovaj se pristup ve manifestirao u radovima Occupo, umjetnikom okupacionom djelovanju u galerijskom prostoru (Graz), ali i intervencijama u neumjetnikom, vanjskom urbanom prostoru (New York), u okolnostima koje su nerazdvojne od realnosti, pa bila to i realnost s neizvjesnim i nestabilnim (meu)prostornim granicama (Beograd). Metamorfoza okupaciono-terapeutskih ambicija je rasla u umjetnikoj praksi Mladena Miljanovia, s nastojanjem da se pojaa diskurs o suoenju s imaginarnim tijelom identiteta. Sloenost projekta Okupaciona terapija, koji se prezentira paralelno u vie izlobenih segmenata (u prostorima koji su ujedno i jedini banjaluki izlagaki prostori za predstavljanje domae i ponekad regionalne umjetnike produkcije). Radi se, dakle o totalnoj okupaciji izlobenog tijela da bi se pojaao prodor u masu usnulih bez identiteta. Dodatno se okupira i Galerija UDAS, gdje Miljanovi zbilja volonterski sprovodi program okupacione terapije i gdje je zapoeo njegov projekt Hepening Balkana, no ovog puta on sam zauzima prostor svojom foto-dokumentacijom (Ispraaj) o balkanskom ritualu ispraaja na sluenje vojnog roka, iju paradoksalnost prati na vlastitom sluaju ispraaja koji on kao dogaaj iz 2000.g. re-konstruira, odnosno iznova stvara simulakrum rituala. Takoer i serija malih radova (Amajlije) s istim onim siluetama okupacionih vojnika koji su ovoga puta u ironijskom obratu predstavljeni kao sveti predmeti/ amajlije koji, u tradiciji primitivnih kultura, lijee od bolesti, tite porodice od nesrea, uvaju djecu, donose sreu, novac, mosve. U cininoj maniri fluksusovske emancipacije publike, umjetnik zavodi rijeima: moje amajlije, u irokom spektru ponude nude za svakog po neto. Od drava, entiteta, gradova, institucija, mjesnih zajednica, porodica i pojedinaca oni tite sve. Oni su obueni za to. No, ipak se cijeli narativ, ne samo balkanski, o besmislenosti agresivnog osvajakog akta, saima u umjetnikovom video radu Preuzimanje odgovornosti. U njemu se ne ogleda samo kontekstualni stav da su znaenja i vrijednosti akta umjetnikog djelovanja vezani uz kontekst realnosti u kojem umjetniki akt nastaje i funkcionira. Naprotiv, umjetnik kao drutveni subjekt koji djeluje kritiki u realnosti preuzima samoodgovornost za nju, ime izravno sudjeluje u (terapeutskim) procesima njene dekontaminacije i (re)konstrukcije. To nije, dakle, pozicija izmjetanja, o emu govore sve uporine toke Miljanovieve strategije mikro-narativa. U spomenutom video radu se pokazuje umjetnik kao terorist, pod gas-maskom, te sve vie uznemiren stezanjem maske, neprestano, u maniri prisilne neuroze, ponavlja jednu reenicu: Moje ime je Mladen Miljanovi, ovaj rad sam napravio u bivoj kasarni Vrbas, bio sam porunik, sada sam umjetnik.

Opis je tog rada na engleskom jo sugestivniji: Im a terrorist in the field of art. I was a lieutenant in the regular army, today Im junk in the regular art! Do you think its comfortable with this mask on? Yes, I made mistakes in the past, but I promise you now, I will be good in the future. Yesterday is history! History pinches my soul just as tight sweaty shoes wound my feet. I will love people with the mask off just as they hate me with the mask on.

U Zagrebu, 11.11.2008.

Sonja Briski Uzelac

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More micro-narratives from the imaginary Balkans: Once a lieutenant, now an artist The term imaginary Balkans was coined by Marija Todorova as discourse-related and as a metaphor which discloses an ideology of ghettoisation; it is conceptually appropriate in terms of how it envelops the contents of various aspects of social and ideological contextualisation in practically all cases of such artistic activity originating in this excessively ideologised region. This term, according to what Todorova says in her book Imagining the Balkans, was attached derogatory connotations at the turn of the 20th century, even though it was a gradual process, proceded by events which followed the downfall of the Ottoman Empire and the creation of small, weak, economically underdeveloped and dependent national states, which were yet to enter the process of modernisation. Eventually, due to difficulties of modernisation and the accompanying nationalist aberrations, the Balkans increasingly turned into not just a symbol of something underdeveloped, but also of something aggressive and intolerant, therefore, of something irrational. So, the Balkans as a metaphor 1 even becomes a subject of postcolonial discourse analysis in an attempt to deconstruct, on the track of Edward W. Said and Gayatri Spivak, the ideological building of the ontology of the imaginary Balkans, based on fear of the other. However, these Balkans, as an imaginary pavilion between Saids macro-narration about non-Western views on the one hand and condescending Western views on the other, meaning a kind of enclosure levitating in mid-air, have become metaphysically convenient not only for the purpose of geopolitical ideologisation or postcolonial theory, but also for contextualising artistic activity, including many different micro-narratives. As flexible as it may be in the framework of the contemporary shift, this great authentic tale of the paradigm of the East and its transition is still turned towards the Western world; nontheless, as such, it is intertextual as well as culturally, anthropologically, analytically and semiotically oriented. The same goes for the art arriving from anyone of those small scenes: it is tormented between the process of globalisation and local fragmentation. But, it is specifically this kind of torment that provides it not only with inner strength and energy to designate, but also with the seductive intruiging quality of the authenticity of small stories in the great international vanity fair. Powerful micro-narratives coming from there are not merely a subject of new empirical insights into and experiences of this interspace, and certainly recognisible in their concepts is the energy of an intellectual project bringing about new possibilities originating in the local identity crisis and the need to present itself internationally, and eventually to the world of art. The energy of artistic immersion in the understanding of the specificity of time and space is most certainly important for the issues of identity building. It is capable of uncovering cognitive, perceptional, ideological and other misconceptions and illusions, which is in itself a way to revaluate the current situational context. For ethical purposes, for the purpose of assuming responsibility, relations are articulated, identity and altarity, identicalness and otherness accepted; such processes practically always eventuate and are encountered at boundaries, at the perimeter of the social sphere. Thus otherness, owing to the (self-)perception and creative energy of ones personal empirical experience and its conceptual and media articulation, takes the form of a paradigm of identification of new experience of identity and diversity. This kind of energy unambiguously has as a result, irrespective of how the approach was generated or of the circumstances which led to the concept, the quality of historical and ethical aspirations for

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1 Marija Todorova, Imaginarni Balkan, Biblioteka XX vek, Beograd, 2006.

social engagement through art. But, at the turn of the 21st century, this is by means of ones personal artistic micro-stories! Thus, the imaginary pavilion of Bosnia and Herzegovina is where rare works have been created along the thin line of semantic contextualisation and recontextualisation, by young artists who have recently left or are close to graduating from the Banja Luka Academy of Arts; those works begin to reveal the connection between identity, power and space. Their disruptive capacity is born out of provoking a shift and a hiatus in a specific local context, like the artist associations Protok (Flow) or Taka (Period, Dot), along with various forms and projects of indvidual artistic activity. In presenting the personal decision and choice in terms of the inclusion, i.e. exclusion of certain elements from the referential framework of that context, nuclei are formed to expose new interpretations within ones own environment. Although others are in it, they simultaneously open it for another one to see, something that has already put them on the topological map of the international art scene; nontheless, precisely for the reason of their micro-narratives in identity positioning. Mladen Miljanovi belongs to a group of young, media and conceptually trained artists on Banja Lukas new art scene, who defines his artistic activity as a communication relay of the trauma of discontinuity in the local region. During his final years at the Academy, he formed a strategy of micro-narration based on biopolitical reflexes and reflections, on rethinking and scrutinising the identity of space as a place and the personal history of ones identity. It was back in those days that he demonstrated the conceptual maturity of an active communicator of a specific project summarised in the title of his graduation work Constructive Deconstruction of the Past of Space. The manner of juxtaposing notions such as construction-deconstruction and space-past evidence an early articulation of his awareness of the global postmodern condition of the world as well as of the world of art, but also of the condition of his own local situation. Within that range the artist defines his position as that of an anthropologist/researcher, which implies an intentional identification with genuine contextual micro-narrations, or as the South African artist and curator Kendeel Geers said with regards to Milica Tomis performance at the Venice Biennale in 2003, the realism of a lived-through experience, which in Mladens case makes the initial basis for any further recycling of the story. In conceptualising his project, Miljanovi gradually develops this broadest referential framework, and it slowly differentiates into separate thematic units, different media approaches or individual cycles, but the lines of procedure still stay. They all result from his choice of concept, production decision and compact approach presentation, ever since his early solo works, such as The Balkans Happening, Clearance of a Military Memorial, Space and Past as Elements Reflecting on Work, Deconstruction of a Personal Past and the Past of Space Through an Installation, Art as a Tool for Subliming a Negative Past or I Serve Art. All those works commence a project which would be given its various formal, media, semiotic, semantic, contextual or other presentation plans, but their intertextual narratives are a symptom of the contemporary connection between art and existential loci. In Mladen Miljanovis case, that locus is the area of the barracks, as a symbolic and factual matrix of construction of the personal story, whereby he reflects the correlation between his identity and the lived-through experience of the past of a space.

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This correlation began after he graduated from the Army Reserve Officers School, and just as he was about to continue the training needed for him to join the military, Bosnia and Herzegovinas postwar army was reorganised and the military school disbanded, as well as the military barracks in Banja Luka. The change of course took place at that moment and in those given circumstances he entered the Academy of Arts, and the Academy moved to its new premises in the former barracks. This is how what was initially a personal story grew into the construction of his identity in the process of developing the project of deconstrution of identity of the past of this space and its dominant functions (military power, devastation, neutralisation of human force, manipulative supervision of individuals, doing national service etc.). Deconstructing the actual and symbolic military power is a conceptual and intermedia project with a lived-through context, pieces of reality and fictions of the past, ideologies of social power, the language of visual symbols, images of signalisation taken from military schemes and assault plans, physical fragments of the military past (helmets, crutches, wheelchairs), simulacra of rituals of total control, and so on. This is how artistic action is fed constructive energy, which can fall back on art as sublimation of a negative past, naturally, on condition that boundaries are distinguishable, that is, distinctions between art as occupation and art as therapy. So, this is about encountering not just any fictitious or utopistic, i.e. abstract or universal spatial context, but a complex of specific historical and local circumstances resulting in a specific past, which certainly has a bearing on the present. Placing a focus on this particular aspect in localising the restless past of a space is an act of ethical response on the part of the young artist: It is much easier to invent the past... than to remember it, he quotes the words of Christe Wolf. The project of deconstructing spatial memory is paradigmatic for understanding the genesis of his artistic work, which is now fairly extensive. This project took the form of a radical art action/performance I Serve Art, which took place during the academic year of 2006/2007, where the artist put himself in voluntary social isolation inside what was formerly an enclosed area of military power, now an open space of the Academy of Arts, during a period of exactly the same duration as that spent serving the nation, i.e. doing national service. However, Miljanovis syntagma in the title of the project, which renders ironic the position of neutrality in terms of value, also speaks about the constructive power of art in the existential world which, eventually, claims to possess the meanings of works of art. Because meanings belong in various contexts of society, ideology, art, culture or nature, and no semiotic system is meaningful in itself it only becomes such once it establishes a relation to other signs or systems of signs. In contextualising signs and meanings, transferring or removing them from one context to another (from one factual and symbolic plane to another), the process of resemantisation grows in importance it turns into a process of space decontamination, with 274 views of the world. The artists views and messages, presented in an open web page and other electronic and analogue media, evolve from isolation to public communication, to virtual social living. Although socially isolated, the artist organises a communcation Artattack, simulating by means of a terrorist act the mode of the Bosnian artist to get a chance to exhibit in international galleries. Later, the mode of Artistic Terrrorism would become reality within the borders of Bosnia and Herzegovina as well, at the 4th Biennial of Miniature Art of

Bosnia and Herzegovina, held in Tuzla in 2007. The artists intermedia development of intercontextuality reflects in its own way a recent situation lacking any stable media systems used for artwork presentation, which is symptomatic of todays connection between art and anthropological interpretation of context, with elusive boundaries between art and public space. This is also related to the systemic self-reflection of ones strategy of action in art, which Miljanovi would demonstrate with consistency in his new projects such as Purpose, Aggression and Occupation. Ensuing the strategy are occupation tactics, gradually increasing the exhibition space and invading both public space and the media. The predominant communication channel is the relationship between space and sign: like signalisation, one sign is multiplied into series in order to mark, inhabit, fulfill and finally occupy public space. The sign takes on the identity of an aggressor, because its visual representation refers to the surface impression of a soldiers silhouette, an individual with no personal traits, no identity, consequently an individual susceptible to control and manipulation. As for the artist, with this kind of seizure of exhibition and other spaces he identifies as an aggressor, conveying the trauma of existential confrontation of the subject with the (im)possibility to form a stable identity; certainly, in regions which have a long history of discontinuity, which eventually led to the very construct of imaginariness as its consequence. Further on in his work Mladen Miljanovi remains preoccupied with reexamining how identity is constructed, but the narrative matrix of trauma is always revived from the start. However, todays subject is no longer defined permanently by trauma, because as we shed light on this position of artistic activity, it is hard to continue using the same discourse as in the time of pretheoretical innocence, say, using formal expressionist terms. In this age of self-reflection as postconceptuality, the artist explores his story in its contextual (semantic and value-related) relations; thereby he deprives art of its mythical modernist neutrality, while bestowing an aura of location upon his actions. For that reason, the artists actions are anthropological, that is, relativist, because they show history, mythology and art as social constructs. In his new project Occupational Therapy, Miljanovi focuses on the social status of traumatised subjectivity; it is about yet another case of occupation of psycho-social space and a therapeutic reconstruction 3 of its fractured fragments. His micro-narratives contain those semantic relations by which the literally presented stories are merely a base from which to derive metaphorical or allegorical meanings; therefore, Mladens art clinic does not work without external references. It is curious, however, that this label appeared at yet another Balkan site (By refusing to take part in destruction, killing, looting, bullying, we relocate ourselves from the traditional spaces) as the micro-narrative of a radical local project of an activist social shock therapy since 2002: Novi Sad, the art group Art klinika (Art Clinic), where the interrelation between 2 art and society is set as a relation of two-way communication and impact, with the explicit goal to shift the focus from the aesthetic to the ethical. However, Mladen Miljanovis project Occupational Therapy is based on an ironic turn, not on the linearity of urban guerilla activism, which eventually takes over institutions resorting to the chameleon strategy (B. Peji). Undoubtedly, in both these cases we are dealing with felonious attitudes, but with its paradoxical turn, Mladens concept endeavours to stir a new, unexpected experience in

Art klinika - Prva petoljetka, SKC, Novi Sad, 2007.

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Micro - Naratives, Muse dArt Moderne, Saint-Etienne / Skira, Torino, 2008.

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the narrative, connected to states of trauma, and so awaken critical conscience. Actually, the term occupational therapy is literally related to the specialist medical field of psychotherapy (a method of treatment using occupation), but in the context of the artists work, it is a show which means the opposite of what it says and shows. Namely, the artist creates his referential context by borrowing from primarily the medical context, but also from a context which is somewhat broader nowadays, the meaning of a specialist term (ergo therapy, work therapy) as organised occupational therapy (a method best conducted in a group, where each patient or traumatised person is treated using the method of meaningful occupation, whose goal is to arouse the ill persons interest in his or her surroundings and enhance his or her individuality, where it is crucial that occupation be varied, useful and purposeful, not meaningless, as well as engrossing for every individual patient, from a dictionary of psychiatry and psychology, Psihijatrijsko-psiholoki rjenik). The well-known etymological potential of the Latin word occupare, with a broad range of meanings indicating aggressiveness, which are mostly used as military jargon (occupy, engage, invade, encompass, attract, reprocess, win, own, achieve, be obsessed, govern, master, outdo, remove, undertake, attack), is decontextualised and relativised in the procedure of transfer into the context of art. Also, the medical meaning of occupational therapy is decentred in the field of intertextual encounter with the paradoxical effects of media, mental, intellectual and physical occupation (M. Miljanovi). This approach was previously used in the works Occupo, an artistic occupational action in a gallery (Graz), but also in interventions in a nonartistic, exterior urban space (New York), in circumstances which are inseparable from reality, even if the (inter)spatial boundaries of this reality are uncertain and unstable (Belgrade). The metamorphosis of occupational-therapeutical ambitions grew in Mladena Miljanovis artistic practice, in an attempt to intensify the discourse about ones confrontation with the imaginary body of identity. The complexity of the project Occupational Therapy, which is presented in parallel in several exhibition segments (in spaces which are at the same time Banja Lukas only exhibition spaces used to present local and occasional regional art productions). So, this is a case of total occupation of the exhibition body in order to intensify the penetration into the mass of those asleep with no identity. In addition, the UDAS Gallery is also occupied, where Miljanovi voluntarily runs a program of occupational therapy for real and where his project The Balkans Happening began, although this time he himself occupied the space with his photo documentation (Send-Off Party) about the Balkan ritual of having a send-off reception for a young man leaving to do his national service, whose paradoxicality he examines in the case of his own send-off party, which he reconstructs as an event which took place back in 2000, that is, he creates anew the simulacrum of the ritual. Also, there is a series of small works (Amulets) with the same silhouettes of occupying soldiers, this time presented as sacred objects/amulets in an ironic turn, which in the tradition of primitive cultures cure diseases, protect families from accidents, safeguard children, bring good fortune, money, power... everything. In a cynical, Flux-like manner of audience emancipation, the artist uses these words to seduce: My amulets come in such a broad range that everyone can find something for themselves. They protect everything states, entities, cities, institutions, communities, families and individuals. They were trained for it.

However, the whole narrative, not only the Balkan one about the meaninglessness of the aggressive act of invasion is still summarised in the artists video Assuming Responsibility. It does not only reflect the contextual attitude that the meanings and values of an act of artistic action are related to the actual context of reality in which the act of art is made and operates. On the contrary, the artist is a social subject whose actions are critical in reality, and as such, he or she assumes responsibility for it, which means his or her direct participation in the (therapeutic) processes of its decontamination and (re)construction. Therefore, it is not a position of ones relocation, the subject of discourse of all points of support of Miljanovis strategy of micro-narrative. In the mentioned video we see the artist as a terrorist, with a gas mask on, and as he is increasingly troubled by the mask tightening, he constantly repeats one sentence in the manner of forced neurosis: My name is Mladen Miljanovi, I produced this work in the former barracks Vrbas, I used to be a lieutenant, now Im an artist. The description of that work is even more suggestive in English: Im a terrorist in the field of art. I was a lieutenant in the regular army, today Im junk in the regular art! Do you think its comfortable with this mask on? Yes, I made mistakes in the past, but I promise you now, I will be good in the future. Yesterday is history! History pinches my soul just as tight sweaty shoes wound my feet. I will love people with the mask off just as they hate me with the mask on.

In Zagreb, 11 November 2008

Sonja Briski Uzelac

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ta radi Mladen Miljanovi? Neko, to nisam ja, dolazi i pita: ta radi Mladen Miljanovi? Taj neko se interesuje za istinu u Miljanovievom slikarstvu, za Miljanovieve ideje i slino. I ja odgovaram (jer mi je povjereno): Miljanovi hoe da razlui, opie, objasni i uprizori kako se u tranziciji zbiva mo. Tranzicija je pojam kojim se odreuje prelazak sa komandnog (centralno-planskog i samoupravnog) na trino organizovan sistem privreivanja. Tranzicija je vrijeme krize. Prvo, radi se o krizi odumiranja dravnog socijalizma krizi, moemo rei, krajnjeg vremena socijalizma - a onda i o krizi nezavisnosti (drava) to su upravo iz tog vremena. Socijalizam je dokrajen, kako misle Majkl Hard (Michael Hardt) i Antonio Negri (Antonio Negri), jer se zaprijeio vlastitim normama. Nije bio sposoban da nadvlada i modifikuje rigidne obrasce disciplinovanja. Socijalizam zapravo nije znao sa moi. Mo mu se stvrdla, izjalovila se u aci partije. Ali ta je uopte i otkud mo? Evo ta veli Fuko (Michel Foucault): Mo je svuda; ne stoga to sve obuhvata, nego stoga to dolazi odasvud. A vlast (le pouvior) sa svojom postojanou, ponavljanjem, nepominou, samoreprodukovanjem, samo je zbirna posledica svih tih pokretnosti, ulanavanje koje se naslanja na te pokretnosti, i koje sa svoje strane tei tome da ih ustali. Nema sumnje da treba biti nominalist: mo nije jedna ustanova, i nije jedna struktura, ona nije izvesna snaga kojom su neki obdareni: mo je ime koje se nadeva nekoj sloenoj stratekoj situaciji u datom drutvu. Drava (neka totalitarna na primjer) moe da izrie pravila i postavlja granice. Njena mo je restriktivna i represivna. Nasuprot tome, postupci moi o kojoj slovi Fuko nadilaze dravu i njene aparate, i ne funkcioniu vie kao pravo nego kao tehnika. U sreditu moi otud nisu rigidni mehanizmi uskraivanja i izostavljanja, ve suptilne tehnike kontrole. Djelotvorna u mjeri u kojoj je prikrivena, mo je svuda. Ako se i predoava u zgusnutom stanju vlasti, to je tek njen rudimentarni oblik. Mo nije u ustanovi, jednoj ili mnogima zajedno. Ona je ime, reeno je, koje se daje nekoj sloenoj stratekoj situaciji. Mo nije zbirnost postupaka kojim se neki opti sistem pravila pretae u upravljanje. Mo je trenje u svim takama i izmeu njih. Mo je rasplinuta i rasreditena. Funkcija je ukrtanja sila stalne i haotine pokretljivosti. Ona se upisuje u vlastiti otpor, ali ga i razgrauje, rainjava i rasipa u tijelu i jeziku. Otpor, drugim rijeima, prethodi moi, biva joj zamajac. I eto ta interesuje Miljanovia - kako ono to je neko bilo represivno i oigledno sada biva latentno i suptilno - uraunato u slobodu koja nam se stavlja na teret. Miljanovi je voljan znati kako mo (u postsocijalizmu) ustrojava puk, odnosno, kako i ime se (od poslijetka jednostranaja) rabi ivot. Pokazuje da je disciplinovanje postalo stvar opteg, a ne posebnog mjesta. Pokazuje da je politika reprodukovana (mainom) i stavljena u usta, i drugdje, ovjeku koji ne govori, jer mu je uzet glas. No, pokazuje i to da mo u tranziciji - im zastane i okameni se na mjestu svog otpora - biva obznanjena kao mo ubijanja. Pokazuje da politika razdvaja prijatelje od neprijatelja i da, kako nas je nauio Karl mit (Karl Schmitt), prijatelji i neprijatelji nisu metafore ve skupni politiki subjekti (politika jedinstva) koji se, osim kao prijatelji i neprijatelji, mogu zvati lijepim ili runim, dobrim ili loim, ili dalje po volji. Politika realnost tako i nije drugo do mjera razlikovanja prijatelja od neprijatelja. Miljanovi pokazuje i to da svako politiko jedinstvo, u

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sluaju vanrednog stanja, moe od svog ljudstva traiti da ubija onog za koga je odlueno da je neprijatelj, i da pogine u odbrani od neprijatelja. Pokazuje da su hvati nadzora i sebstva biopolitike fele, i da im je tijelo stjecite. Pokazuje da je u tranziciji (a i mimo nje) podanik pravu uvijek duan i da upravo u pravu on srasta sa svojom obavezom. Pokazuje da suveren (ko god da je) moe pojedincu dati pravo, ili mu izmai pravo, kao to se izmie tlo pod nogama. Nenad Maleevi

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What does Mladen Miljanovi do? Someone, and this someone is not me, comes and asks: What does Mladen Miljanovi do? That someone is interested in the truth in Miljanovis painting, in Miljanovis ideas, and so on. And this is what I say in response (so I have been confided): Miljanovi wants to distinguish, describe, explain and demonstrate how power comes about in transition. Transition is a term which denotes a shift from the authoritarian (centralised, planning-driven and self-governing) to the market-oriented mode of production. Transition is a time of crisis. Firstly, it is a crisis of state socialism as it expires a crisis, we may say, of the last days of socialism and then also an independence crisis (of states) originating during those days. According to Michael Hardt and Antonio Negri, socialism is dead because it came in collision with its own norms. It was not capable of overpowering or modifying its own rigid ways of exerting discipline. In fact, socialism could not handle power. Its power petrified, fell through at the hands of the Party. But what is power, and where does it come from? This is what Michel Foucault says: Power is everywhere; not because it encompasses everything, but because it comes from everywhere. And power (le pouvior), with its resolution, recurrence, immobility, self-reproduction, is simply a collective consequence of all those mobilities, a linkage which relies on those mobilities, which on its part aspires to make them constant. No doubt one needs to be a nominalist: power is not a single institution, and it is not a single structure, it is not a certain strength bestowed on individuals: power is a name given to a certain complex strategic situation in a given society. A state (for instance, a totalitarian one) can lay down rules and set limitations. Its power is restrictive and repressive. Contrary to that, the actions of power which Foucault speaks of surpass the state and its apparatus, and they no longer function in the manner of law, but rather in the manner of technique. Thus, we do not have rigid mechanisms of deprivation and exclusion at the heart of power, but rather subtle techniques of control. Power is everywhere, effective to the measure of how well-concealed it is. Even if it is demonstrated as the condensed condition of authority, this is only its rudimentary form. Power is not about institution, be it one or an association of many. As previously said, it is a name given to a complex strategic situation. Power is not a sum of actions taken to transpose a general set of rules into governance. Power is friction at all points and between them. Power is vaporous and deconcentrated. It is a function of the convergence of forces of constant and chaotic motion. It contributes to its own resistance, but it also disintegrates, dissolves and dissipates it, both in the body and language. In other words, resistance precedes power; it is its driving wheel. That is what interests Miljanovi how come that something that was once repressive and obvious has now become latent and subtle calculated in the freedom we are burdened with. Miljanovi is eager to know how power (in postsocialism) structures common people, that is, how and by what means (in the aftermath of the single-party system) it disposes of life. It shows that exercising discipline has become a commonplace thing, not something special. It shows politics has been reproduced (by machine) and put in the mouth, and elsewhere, of the man who does not speak, because he is no longer given a voice. However, it also demonstrates that power in transition as soon as it comes to a halt

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and is petrified at the point of its resistance reveals itself as the power to kill. It shows that politics separates friends from enemies, and that according to what Karl Schmitt taught us, friends and enemies are not metaphors but collective political subjects (political unities) which can be labelled as more than just friends or enemies beautiful or ugly, good or bad, and so on and so forth, according to preferences. Thus, political reality is nothing more but a measure for distinguishing between friends and enemies. Miljanovi also shows that in a state of emergency, every political unity may ask of its people to kill whoever has been decided to be the enemy, and die defending against the enemy. It shows that the bonds of supervision and selfhood are biopolitical in nature, and that the body is their point of convergence. It shows that in transition (and beyond it) a subject is always indebted to his or her rights and it is through those rights that he or she becomes one with his or her obligations. It shows that a sovereign (whoever it may be) can grant one with rights, but also cut those rights, like ones ground is cut from under ones feet. Nenad Malesevic

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Radikalni zaokret u vizuelnoj umjetnosti (na primjeru umjetnikog djelovanja Mladena Miljanovia)

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Savremena umjetnika scena Republike Srpske, definisana u nekoliko posljednjih godina, obiljeena je izuzetno aktivnom pojavom Mladena Miljanovia (nagraenog nagradom ZVONO za najboljeg mladog BiH vizuelnog umjetnika u 2007. godini) koji je za samo nekoliko godina javnog prisustva na bosanskohercegovakom umjetnikom prostoru uspio da ostvari izuzetno zapaenu, gotovo zavidnu karijeru, i tako postane neizostavni reper na mnogim izlobenim manifestacijama recentne umjetnosti ne samo u Bosni i Hercegovini ve i u irem regionalnom kontekstu. Ovu injenicu moemo objasniti oivljavanjem neaktivne umjetnike scene Republike Srpske, pokrenute od strane nove generacije preteno mlaih umjetnika, koja je za razliku od svojih starijih kolega postala svjesna znaaja novih tehnologija i medija u kontekstu savremene umjetnosti danas. Duboko razumijevajui ograniavajue okolnosti sredine u kojoj ive i stvaraju, nova generacija je nainila aktivniji zaokret prema savremenijim izvorima informacija, a onda i savremenijim oblicima djelovanja koje je omoguilo formiranje nukleusa umjetnike zajednice. Njihove aktivnosti iroj javnosti postale su proteklih godina vidljive kroz djelovanje nekoliko umjetnikih asocijacija (PROTOK, TAKA) ali i pojedinih veoma smjelih, radikalnih i umjetniki zrelih samostalnih projekata, meu kojima se po svojoj problemski angaovanoj inicijativi posebno izdvajaju umjetniki projekti Mladena Miljanova. Vratimo li se jednu deceniju unazad, u vrijeme traumatinog razdoblja rata, sankcija i ekonomske krize, uoiemo diskontinuitet u kojem se savremena likovna scena tokom devedesetih potpuno gasi, to je ostavilo dubokog traga u likovnim i vizuelnim umjetnostima ovog prostora. Na ovoj lokalnoj mapi, gdje su veoma primjetni paradigmatini procesi diskontinuiteta, uoljivo je da nije bilo uestalih komunikacija sa drugim sredinama, a umjetniko kreativnom radu svakako da nisu bili naklonjeni uslovi ivota pod kulturno ekonomskim sankcijama. Zato nije teko shvatiti da je radikalni zaokret u umjetnosti, koji je krajem XX vijeka prevaziao sve stilske, medijske i ostale podjele, dugo vremena ostao neprimijeen kako od vodeih institucionalnih tako i od vaninstitucionalnih umjetnikih krugova. Pojedine autentine umjetnike pojave prole su nezapaeno jer postojei kustoski kapacitet i umjetniki okvir nije bio dovoljno otvoren da ih uini dostupnim, niti trajno vidljivim. Ovaj nepremostivi diskontinuitet u umjetnikim praksama ovog prostora postao je vidljiv prvenstveno u svom odnosu prema novonastalom drutveno-politikom kontekstu, u kojem se ni generacija mlaih umjetnika nije najbolje snalazila. Tek pojavom Akademije umjetnosti 1998. godine u Banjaluci i preimenovanjem ranije Umjetnike galerije u Muzej savremene umjetnosti Republike Srpske 2004. godine stvoreni su institucionalni, a djelimino i produkcijski uslovi koji su postali svojevrsna infrastruktura u sistemu umjetnosti koja se tek poela stvarati. Institucionalna umjetnost tek je pojavom samosvjesne i medijski obrazovane grupe umjetnika, u posljednjih nekoliko godina, dobila svog radikalnog drugog, prepoznatom u generaciji mladih ljudi koji, iako obrazovani u skromnim uslovima Akademije umjetnosti u Banjaluci, poznaju i prate aktuelne tokove. Mnogi svjesni problema prostora u kojem umjetniki odrastaju i problema obrazovne institucije u kojoj se koluju, nastavili su svoje kolovanje u drugim sredinama, ali za razliku od svojih starijih kolega, porijeklom sa ovih prostora, koji su tokom ranijih decenija odlazili na kolovanje u razne gradove bive Jugoslavije ili inostranstvo, i tamo

trajno ostajali, ovi mladi ljudi se vraaju, shvatajui da nemaju ba velike mogunosti izbora ni tamo ni ovdje. Ove zajednike drutvene okolnosti u svjetlu trenutnih mogunosti, prvenstveno moemo posmatrati kao oteavajui faktor, koji je vremenom od strane nove grupe mladih umjetnika iskoriten i preusmjeren u pokretaki resurs individualnog umjetnikog stvaranja. Upravo je taj pokretaki resurs individualnog umjetnikog stvaranja, shvaen kao uzajamna transformacija individue i drutva, prepoznat i utemeljen u umjetnikim projektima Mladena Miljanovia. Njegov se rad u osnovi situira na unaprijed oznaenim smjernicama, a koje u veini sluajeva preispituju identitete mjesta i line prolosti. Fokusiranje ovih bitnih aspekata vidljivo je ve kod prvih Miljanovievih radova, nastalih na posljednjoj godini studija. Njih je iz njegovog generacijskog okruenja izdvojila odreena misaona dimenzija koja je gradila sliku na relaciji umjetnikog, drutvenog i individualnog konteksta. Ove interkontekstualne relacije, uoene ve kod prvih serija slika ili tanije kartografskih mapa, na kojima su predstavljeni imaginarni planovi vojnih napada, otkrivaju nov odnos prema umjetnosti, proivljenoj prolosti, ali i trenutnoj stvarnosti, odnosno umjetnikoj sadanjosti. Pored nepobitne ratne konotacije, Miljanovi je u legendi, koja prati sliku, a koja je i jedini klju za tumaenje znaenja, otvorio novu, aljivu dimenziju pristupa umjetnosti, prouzrokovanu paradoksalnom zamjenom teza. Mi na kraju uviamo da smo cijelo vrijeme u zabludi, da pred naim oima nije plan vojnog napada ve samo jedna obina invazija boja na sliku. Na slian nain ovoj temi vratie se koju godinu kasnije, slikajui brojne planove raznih svjetskih muzeja i shematske prikaze osvajanja njihovog umjetnikog prostora. U ovim radovima uoavamo ne samo drugaiji pristup slikarstvu ve i drugaiji odnos prema muzeju, neemu to je institucionalno, istorijsko i hijerarhijsko. Svakako da je njegova idejna interpretacija nova, stvarna i iva, da proturjei duboko ukorijenjenim uvjerenjima, bilo da su ona rezultat reakcije na muzejsko kolekcioniranje, politiku kustoske prakse ili na stvarni ivot oko nas. Povezivanje vojske i umjetnosti kao univerzalnih i trajnih sfera, usaglaenih i proivljenih kroz umjetnikovo lino iskustvo (provedeno najprije u ratnom okruenju, zatim u vojnoj koli, a potom na umjetnikoj akademiji), najbitniji je trenutak Miljanovievog umjetnikog ali i intimnog sazrijevanja praenog evidentnom sublimacijom iskustva. Veina njegovih radova temelji se na projektu I serve art, radikalne umjetnike akcije performansa, izvedenog od oktobra 2006. do jula 2007. godine, u okviru kojeg je devet mjeseci izolovano ivio i radio - sluio umjetnosti, aludirajui na uslove vojnog roka i na svoje lino iskustvo sluenja vojske. Nakon zavrene kole rezervnih oficira, u trenutku kada se odluio za vojni poziv, vojna kola je ukinuta, a vojska u Bosni i Hercegovini radikalno smanjena. Ove iznenadne okolnosti, kod ovog mladog ovjeka, prouzrokovale su promjenu izbora zanimanja i upis na Akademiju umjetnosti u Banjaluci, koga je pratilo preseljenje ove visokokolske institucije u prostor nekadanje vojne kasarne. Zateena situacija stvorila je pozitivne naboje i konekcije izmeu line istorije mladog umjetnika i istorije prostora u kome je sada boravio, uticala je umnogome na tok njegovog kolovanja, formiranja osnovnog idejnog polazita, ali je uticala i na pravac i nain njegovog umjetnikog djelovanja. Miljanovi je u prostoru nekadanje vojne moi doslovno ponovio ritual totalne vojne kontrole nad pojedincem, u ovom sluaju nad samim sobom do krajnjih granica svoje fizike

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Na izlobama u vie navrata prezentovane kao video rad u DVD formatu ili veb sajtu, a na ovogodinjem 49. Oktobarskom salonu u Beogradu pod nazivom Umjetnik graanin umjetnica graanka izloene su kao serija u svojoj punoj brojnosti od 274 fotografije.

izdrljivosti. Za vrijeme ove dobrovoljne i potpune izolacije, koju je uspio da sprovede do kraja, on je, analizirajui lini identitet, kreirao novi virtuelni svijet izazivajui panju medija i javnosti, a svoj izolovani prostor koristio je kako bi stvorio novu vrstu svog javnog identiteta i javne prezentnosti. Njegov projekat poprimio je stanoviti oblik spektakla (u Bodrijarovom smislu) i odvijao se poput neke kombinacije popularnog Big Brothera, vojne slube i kako sam voli da kae - zoolokog vrta, koristei sve dostupne medije (web, tv, e-mail, video linkove, novine). Svakodnevno je tokom ovog devetomjesenog performansa sprovodio unaprijed osmiljene i oblikovane strategije, razne zadane umjetnike akcije u okviru kojih je nastala serija fotografija , u ijem je sreditu njegov lik u stavu mirno, leima okrenut prema objektivu. Vizura objektiva i vizura fotografisanog objekta, u ovom sluaju samog umjetnika, je istosmjerna i u potpuno ravnopravnom hijerarhijskom slijedu koji u znaenjskom smislu odgovara ovom 1 vojnom prostoru. Na prvi pogled ovi istovjetni crno - bijeli portreti umjetnika, fotografisani svakoga dana za vrijeme devotomjesenog boravka, na kojima se protok vremena mjeri iskljuivo rastom kose prezentovanog subjekta i njegovim udaljavanjem u bezgranini prostor i vrijeme, ne sadre tendencioznu poruku. Tom naizgled pasivnom pozicijom umjetnik iskazuje svoju svijest o manjkavosti i sloenosti datog drutvenog prostora i vremena, u okviru aktuelnih tranzicijskih problema, temeljei ih na trenutnoj izolovanoj poziciji bosanskohercegovakog drutvenog lokaliteta. Ova problemski angaovana inicijativa, praena specifinom izlagakom koncepcijom, problematizovala je bitne aspekte funkcionisanja savremene umjetnike scene u ovoj sredini. Njegov rad je iz mjeseca u mjesec postajao sve ozbiljniji i promiljeniji, da bi na kraju, izlaskom iz kasarne, ve prerastao u ozbiljnu umjetniku strategiju i koncepciju. Miljanovieve umjetniko vojne reakcije, nakon izlaska iz kasarne, prerasle su u sofisticiranu umjetniku strategiju i konkretnije su se bazirale na biopolitikim refleksijama suverenih kapitalistikih tendencija masovne potronje. Niz njegovih novih projekata imao je za cilj okupaciju umjetnikih odnosno galerijskih prostora. U osnovi ideja okupacije je proizala iz nekoliko razliitih podruja njegovog djelovanja kao umjetnika, ali i kao ljudskog subjekta koji je preivio traumu ratnih deavanja na ovom prostoru. Istiui injenicu da se itav srpski narod u svijetu posmatra i poistovjeuje sa identitetom okupatora, Miljanovi je svjesno preuzeo taj iskonstruisani nametnuti identitet, i kroz svoj umjetniki i lini angaman odluio da okupira umjetnike galerijske prostore. Prezentovanje ovih po dimenzijama promjenljivih i prilagodljivih instalacija, Miljanovi je realizovao vie puta u okviru nekoliko izlobenih projekata, meu kojima posebno treba pomenuti prvu realizaciju ove ideje u okviru jednomjesenog rezidencijalnog boravka u Neue Galleri u Gracu tokom septembra 2007. godine. Tom prilikom je cijeli galerijski prostor popunjen umnoenim siluetama vojnika, stvarajui jedan pomalo iritantan i napadan osjeaj stvarne okupacije. Ova sofisticirana umjetnika strategija, nakon zavretka projekta I serve art konkretnije se bazirala na biopolitikim refleksijama suverenih kapitalistikih tendencija masovne potronje. Izabrani projekat za izlobu Relations (odranu u francuskom gradu Hegenheim u organizaciji umjetnike organizacije Apollonia European Art exchanges iz Strazbura 2007. godine) pod nazivom Artwartaising imao je za cilj da ukae na tenju globalne ekonomije koja kroz razne vidove monopola i advertaisinga preuzima dominaciju nad tritem, nad kapitalom, ali i nad

pojedincima konzumentima, kao njenim krajnjim i osnovnim njenim ciljem ali i rtvama te globalne politike. U projektu se Miljanovi na ironian i kritian nain poigrao sa sloganima poznatih brendova kao to su PEPSI, NIKE, NBA, BALLANTINE itd., uviajui da je zastarjeli model vojnog osvajanja prerastao u rukama globalne ekonomije u jednu novu strategiju koja virtuelno sve vie uzima maha. U osnovi Artwartaisinga nalazi se lik vojnika, jedne usamljene jedinke, lika bez identiteta podlonog manipulaciji. Ova vizuelno znaenjska matrica, sa stilizovanim likom vojnika, permanentno i uporno postavljena u nizovima pojavljuje se kao osnovna referenca u svim radovima. Ovaj segment Miljanovievog rada u vizuelnom smislu predstavljen je u krajnje jednostavnom i crno bijelom kontrastu, iz kojeg proistiu razliita simbolika tumaenja. U vremenu poslije nagrade ZVONO i nagradnog boravka u Americi, Miljanovievi radovi sve vie tee pronalaenju vizuelnih i teorijskih modela kao i naina prenoenja tih modela u razliite kontekste. U tom smislu treba posmatrati i dugo pripremani izlobeni projekat instruktivnog naziva OKUPACIONA TERAPIJA, koji ispod ove zanimljive sintagme krije veoma iroko polje novog vizuelnog djelovanja. Zanimljivo je istai da je novo vizuelno polje izraavanja otvoreno nizom tautolokih radova koji su po svojoj sutini paralele loginog i konceptualnog miljenja nasuprot odnosa izmeu jezika i vizuelnog. Slijedei ovu zamisao, Miljanoviev rad Jedna i tri uniforme jasno se referira na niz Koutovih zamisli Jedna i tri stolice (1965), Jedan i pet satova (1965) ili Jedna boja i pet pridjeva (1966), prema kojima su umjetnika djela svedena na analitike propozicije. Miljanovievo djelo, shvaeno na ovaj nain, ne opisuje fizike osobine ili duhovnost predmeta ve priziva formalne definicije umjetnosti i formalne posljedice te definicije. Propozicijama uniforme odgovaraju tri izraza propozicije i to vizuelni, predmetni i jeziki. Uspostavljena relacija, na kojoj Miljanovi insistira, u osnovi je tautoloka i svjesno se temelji na ranim Koutovim radovima koji potenciraju problem razlikovanja koncepta i upotrebljenog materijala, odnosno, tee razlici izmeu diskurzivne i nediskurzivne pojavnosti. Upravo ta tautoloka paralela, koja insistira na Koutovoj ideji ponitavanja razlika izmeu koncepta i materijala ili diskurzivne i nediskurzivne pojavnosti, omoguila je Miljanoviu da odredi pravu intenciju svog rada, koji u osnovi ideju bazira na namjeri a ne na instalaciji koja se pred nama pojavljuje. Za Kouta formalna posljedica definicije pojma umjetnosti je sama umjetnost, odnosno, umjetniko djelo ne govori nita drugo nego da je umjetniko djelo i zato je umjetnost tautoloka. Slijed istovrsnih figura vojnika, u radu pod nazivom Praznina ispunjenja takoe je tautoloki slijed koji se direktno referira na ranije monotone nizove crnih figura. U novom sluaju, instalacija je predstavljena u raskonoj koncertnoj sali banjalukog Banskog dvora, naglaen je dinamian i periodian ritam, usaglaen veliinom i bojom izvedenih figura. Izbor materijala, ovom prilikom, vizuelno dopadljivog i bljetavog, na samoj granici kia, vrlo je intencionalno artikulisano komplikovanim sklopom maina i umjetnikovog umijea. U ovom tekstualnom slijedu hronoloke deskripcije posebno treba pomenuti seriju fotografija pod nazivom Ispraaj koja se bavi problemom drutvenog statusa mukarca, u naem izrazito tradicionalonom okruenju. Realizovana serija fotografija predstavlja scene opratanja, koje su ekvivalentna paralela ispraaju u vojsku. Fotografisanim prizorom dominira potpuno intiman ljudski odnos u trenutku oprotajnog zagrljaja, a uhvaeni momenat izaziva

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krajnje dirljivu emociju. Prema ustaljenom vjerovanju mladi postaje pravi mukarac tek kada se vrati iz vojske, a odsluenje vojnog roka smatra se procesom potpunog sazrijevanja, koji je neodvojivi segment formiranja identiteta svakog mukarca, ne samo na prostoru Bosne ve i u irem balkanskom kontekstu. Otvaranjem ovog novog identitetskog problema o sazrijevanju mukarca namee se pitanje, koje je u kontekstu dananjeg vremena u kojem nema vojske i vojnog roka, na koji nain mukarac danas moe biti zreo i sposoban, a samim tim i oblikovan u novim (nevojnikim) uslovima. Postavljanjem ovog problema umjetnik je pronaao novo polje i nove mogunosti koje otvaraju raznovrsna usmjerenja, a samim tim i kreiranje pravaca njegovog vizuelnog djelovanja. Miljanoviev virtuelni svijet je prostor reda, rada i odgovornosti, duboko proet linom istorijom i njegovim promjenama identiteta od vojnika do umjetnika. Gotovo svi njegovi radovi preispituju pitanja, kao to su: da li lina istorija moe da poslui kao motiv, tema, sadraj i smisao umjetnikog djelovanja i kako lina iskustva upisati u umjetniki i javni prostor sredine, nadilazei sve globalne i geografske uslovnosti. Njegova umjetnost govori nam o nainu na koji se on kao umjetnik konstituie i mijenja, ali i o veoma ozbiljnim pitanjima statusa umjetnika u drutvu u kojem ivi i djeluje, kao i svim moguim modelima pozicioniranja umjetnikog rada u javnoj sferi. Sarita Vujkovi

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A radical turn in visual art (On the example of Mladen Miljanovis artwork) The contemporary art scene of the Republic of Srpska, as shaped in the last few years, is marked by the phenomenon of Mladen Miljanovi, a very active artist (winner of the BELL Award for 2007 as the best young visual artist in Bosnia and Herzegovina), who has over just a few years of public presence in Bosnia and Herzegovinas art managed to carve out a distinguished, almost enviable career, and so become an unavoidable figure in many exhibition events of new art, not only in Bosnia and Herzegovina, but also in a broader regional context. This fact can be explained by the revival of the Republic of Srpskas inert art scene, initiated by a new generation of mainly young artists, who are unlike their older colleagues aware of the importance of new technologies and media in the context of contemporary art today. Fully understanding the limiting circumstances of the environment they live and work in, this new generation took a pro-active turn towards more up-to-date information sources, followed by more present-day forms of action, which allowed the formation of an art community nucleus. In the last years, their activities became visible for the general public through the work of several artist associations (Protok, Flow, and Taka, Dot or Period), but also through individual solo projects, extremely courageous, radical and artistically mature, among which the art projects of Mladen Miljanovi can be singled out for their initiative for issue-related engagement. If we go back to the past, to the traumatic period of the war, sanctions and economic crisis a decade ago, we will notice a discontinuity, when in the 1990s the contemporary art scene melted away, which left a deep trace in the fine and visual arts of the region. This local map, where paradigmatic processes of discontinuity are easily perceivable, shows visibly that communication with other environments was not very frequent, while living conditions under cultural and economic sanctions most certainly did not work in favour of art and creative work. This makes it easy to understand why the radical turn in art, which overcame all stylistic, media and other divisions at the turn of the 20th century, went unnoticed for a long time by both the leading institutional and non-institutional art circles. Some authentic art phenomena went unnoticed because the existent curating resources and the art scene mechanisms were not sufficiently open to make them accessible or permanently visible. This unbridgeable discontinuity in the art practices in the region is perceivable primarily in its relation to the newly created social and political context, making it rather difficult for the young generation of artists to find their feet. The opening of the Academy of Arts in Banja Luka in 1998 and the renaming of the former Art Gallery into the Museum of Contemporary Art of the Republic of Srpska in 2004 created the right institutional conditions, and partly also the production conditions, which became a kind of infrastructure in the system of art which was just being created. Only with the appearance of a group of self-aware and media-trained artists in the last few years did institutional art get its radical alter ego, recognised in a generation of young people who, although trained in the rather modest conditions of the Academy of Arts in Banja Luka, are familiar and keep up with the current trends. Aware of the issues troubling the region in which they developed as artists and the educational institution where they received their training, many of them continued studies in other different environments; however, unlike their older colleagues coming from this region, who in the previous decades left to receive education

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in various cities across the former Yugoslavia or abroad and remained there permanently, these young people return, realising their options are equally limited here as well as there. In view of the current options, we can see these common social circumstances primarily as an aggravating factor, which has been used and transformed by this new group of young artists into a driving force behind their individual artwork. It is exactly this driving force of individual artistic creative work, seen as the mutual transformation of an individual and society, which is recognisable and embedded in Mladen Miljanovis art projects. Basically, his work is founded on previously defined guidelines, which in most cases explore the identity of a place and personal past. Accentuating these significant aspects is visible in Miljanovis earliest works, created during his senior year in university. What singles them out in comparison with the works of his peers is a certain contemplative dimension building the painting on the relation between artistic, social and individual contexts. These intertextual relations, observed in the first series of his paintings, or more precisely cartographic maps, which show imaginary plans of military attacks, reveal a new relation towards art, the experienced past, but also the current reality, i.e. the current situation in art. Beside this undeniable war connotation, in the map key, which goes with the painting and is the only guide for interpreting the meanings, Miljanovi opens a new, jovial aspect of approach to art, resulting from a paradoxical case of mistaken concepts. Eventually, we realise we have been in delusion the whole time it is not a plan of military attack we have before our eyes, but simply an invasion of colours against a canvas. A few years later he would return to this topic in a similar way, painting a number of maps of different international museums and schematic presentations of the invasion of their art space. These works do not exhibit only a different painting approach, but also a changed relation towards museums as something institutional, historical and hierarchical. Certainly, the idea behind his interpretation is new, real and alive, and as such, it contradicts those deeply ingrained beliefs, whether they be a consequence of ones reaction to museum collecting, the policies behind curating practices or the actual life around us. Linking the military with art as universal and permanent spheres, harmonised and lived through in the artists personal experience (first, he spent a period of time in the war, next he entered a military school and finally an art academy), is the single most important moment of Miljanovis coming of age as an artist, but also as a person, accompanied by evident sublimation of experience. The majority of his works are based on the project I Serve Art, a radical art action a performance which he carried out from October 2006 to July 2007, during which he spent nine months living and working in isolation serving art, an allusion to the conditions of national service and his own experience of doing national service. After graduating from the Army Reserve Officers School, when he chose to join the army, the military school was disbanded, and the armed forces of Bosnia and Herzegovina radically reduced. These sudden new circumstances led the young man to change his choice of occupation and enrol in the Academy of Arts in Banja Luka, after which this educational institution moved to the premises of the former military barracks. The situation he faced created a positive charge and connections between the young artists personal history and the

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history of the space he was now spending time in, and this had a major impact on the course of his schooling, the forming of the ideas underlying his work, as well as the direction and manner of his artistic activities. Inside the space previously signifying military power Miljanovi literally restaged the ritual of full military control over an individual, in this case over himself, to the upper limits of his physical staying power. During this voluntary, complete isolation, a feat he succeeded in accomplishing, by analysing his own identity he created a new virtual world, drawing the attention of the media and general public, and he used his isolation space to create a new kind of public identity and public presence. His project assumed a certain form of a spectacle (in the sense of Baudrillard) and proceeded like a combination of the popular Big Ben, military service and a zoo as he likes to put it, using all the media available (web, tv, e-mail, video links, newspapers). During this nine-month performance, he daily carried out strategies conceived and created in advance, various previously set artistic actions which produced a series of photographs , centered around his persona standing at attention, with his back turned to the lens. The view of the lens and the view of the object photographed, in this case the artist himself, take the same direction and are in an absolutely hierarchically equal order, which semantically responds to this military space. At first glance, these identical black-and-white portraits of the artist, taken every day during his nine-month stay there, where the passing of time is measured only by the growing hair of the subject presented and his withdrawal into unlimited space and time, do not bear a tendentious message. With this apparently passive position, the artist expresses his awareness of the imperfections and complexity of the given social space and time, in the context of the current problems of transition, basing them on the momentary position of isolation of Bosnia and Herzegovina as a social locus. This socially engaging intitiative, followed by a specific presentational concept, raised the issues of some important aspects of how art scene in this environment operates. Month after month his work became more serious and deliberate, eventually growing into a serious artistic strategy and concept once he left the barracks. Miljanovis artistic-military reactions after he left the barracks grew into a sophisticated artistic strategy and became based more concretely on biopolitical reflections of the prevalent capitalistic trends of mass consumption. A series of his new projects has the aim to invade artistic, i.e. exhibition spaces. Basically, the idea of invasion came from several fields of his work as an artist, but also as a human subject who survived the trauma of war in the region. Emphasising the fact that the whole body of the Serbian nation is viewed and identified by the world as an aggressor, Miljanovi consciously assumed this constructed-imposed identity, and decided to invade art spaces and galleries by means of his artistic and personal engagement. Miljanovi has presented these installations, whose dimensions make them adaptable and easy to change, several times in several exhibition projects, among which the first realisation of this idea, which took place during his one-month residential stay at Neue Gallerie in Graz in September 2007, is particularly worth a mention. On that occasion the whole gallery was filled with multiplied silhouettes of soldiers, creating a slightly irritating and overwhelming feeling of an actual

invasion. After the completion of the project I Serve Art, this sophisticated artistic strategy was more specifically based on biopolitical reflections of the dominant trends of mass consumption. The goal of the project selected for the exhibition Relations (held in the French city of Hegenheim and organised by the art organisation Apollonia, echanges artistiques europeens from Strasbourg in 2007) entitled Artwartaising was to draw attention to the aspirations of the global economy, which uses different kinds of monopolising and advertising to take over the markets, assets, but also individuals consumers, as its basic and its final goal, who are also the victims of this global policy. In this project Miljanovi plays with the slogans of well-known brands, such as Pepsi, Nike, NBA, Ballantine etc., in an ironic and critical way, seeing that the outdated model of military invasion has grown at the hands of the global economy into a new strategy, which virtually makes speedy headway. At the base of Artwartaising we see the image of a soldier, a lonesome individual, a person without identity, susceptible to manipulation. This visual-semantic matrix with a stylised soldier figure, set in series in a permanent and persistent manner, appears as the basic reference in all the works. This segment of Miljanovis work is in the visual sense presented using an absolutely simple black-and-white contrast, leading to various symbolic interpretations. In the period after the BELL Award and his prize trip to the U.S., Miljanovis works increasingly strove towards discovering visual and theoretical models, as well as ways to convey those models into different contexts. In that light we should also observe the exhibition project which took long to prepare and whose title is instructive Occupational Therapy, which under the umbrella of this interesting syntagma hides a very broad range of new visual activity. It is interesting to note that a series of tautological works opens this new visual field of expression, and these works are essentially parallels of logical and conceptual thinking as opposed to the relation between language and the visual. Staying on the track of this idea, Miljanovis work One and Three Uniforms is a clear reference to a range of Kouts ideas One and Three Chairs (1965), One and Five Clocks (1965), or One Colour and Five Adjectives (1966), according to which artworks are reduced to analytical propositions. Miljanovis work, seen in this way, is not a description of physical properties or spirituality of the objects; it rather invokes formal definitions of art as well as the formal consequences of such definition. Three expressions of the proposition correspond to the propositions of uniform visual, subject-related and linguistic. The established relation, which Miljanovi insists on, is basically a tautological one, and it is consciously founded on Kouts early works, which insist on the problem of differentiating the concept and the material used, that is, they strive after the difference between discursive and non-discursive manifestation. This very tautological parallel, which insists on Kouts idea of annulment of differences between the concept and materials, or between discursive and non-discursive manifestation, has made it possible for Miljanovi to determine the actual intention of his work, which fundamentally bases the idea on the intention, not on the installation we see in front of us. For Kout, the formal consequence of the definition of the notion of art is art itself, that is, an artwork does not say anything else except that it is an artwork, which is why art is tautological. A series of homogeneous soldier figures in the work entitled Emptiness of Fulfilment is

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another tautological series which directly relates to the earlier monotonous series of black figures. In this new case, the installation was presented in the splendid concert hall of Banja Lukas Banski Dvor, putting an accent of the dynamic and periodic rhythm, harmonised by means of the size and colour of the created figures. The choice of material, which is this time visually appealing and shiny, almost bordering kitsch, is articulated in a highly intentional manner with a complicated system of machines and the artists artistry. In this textual course of chronological description, also worth mentioning is the series of photographs entitled Send-Off Party. It deals with the issues of the social status of men in our local surroundings, which is rather traditional. The produced series of photographs shows farewell scenes, which are a parallel equivalent to sending a young man away to do national service. The photographed scenes are dominated by a highly private relation between people at the moment of a farewell hug, and the moment captured provokes a truly touching emotion. According to traditional beliefs, a young man really becomes a man only after he returns from the army, while doing national service is considered a process after which he is fully mature; it is an inseparable segment in the forming of every mans identity, not only in Bosnia, but also in the broader context of the Balkans. Addressing this new issue related to identity about the maturing of men poses the question, in the context of our time, when we no longer have the military or national service, of the way in which a man can be mature and capable these days, which also means being shaped in new (non-military) conditions. By addressing this issue, the artist has discovered a new domain and new possibilities, which open various orientations, and with this also the creation of directions for his visual work. Miljanovis virtual world is an area of order, work and responsibility, deeply imbued with his personal history and change of identity from a soldier to an artist. Almost all his works consider such issues as: can ones personal history be used as a motif, topic, contents and sense of artwork, and how can personal experiences be inscribed in the artistic and public space of an environment, overcoming all global and geografical conditions? His art tells us of the way in which he is constituted and changes as an artist, but also of the very serious issues of the artists status in the society he lives and works in, as well as of all potential models of positioning artwork in the public domain.

Sarita Vujkovic

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OKUPACIONA TERAPIJA / OCCUPATIONAL THERAPY

ISPRAAJ / FAREWELL UDAS galerija / UDAS gallery

ulica Sime Miljua 3, naselje Starevica Sime Miljua street 3, Starevica

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fotografija / photograpy 70 cm x 50 cm 2000 / 2008

- Rad koji je paradoks ili ne mom ispraaju u vojsku (2000) i tradiciji vezanoj za nju. Na fotografijama se nalaze lanovi porodice i prijatelji sa kojima sam se pozdravljao kada sam odlazio na sluenje vojnog roka. Sada sam ponovio taj ritual koji sam dokumentovao fotografijom postavljajui ga u jednaku ravan sa onim dogaajem 2000-te. - A work which is a paradox, or perhaps not, of the occasion when the family saw me off before doing my national service (2000) and the related traditions. The photographs show members of my family and friends as we say goodbye before my departure. Now I restaged the ritual, documenting it with photographs and making it equal with the 2000 event.

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Ispraaj 1 Farewell 1

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Ispraaj 3 Farewell 3

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Ispraaj 5 Farewell 5

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OKUPACIONA TERAPIJA / OCCUPATIONAL THERAPY Amajlije / Amulet Kulturni centar Banski dvor / Cultural center Banski dvor

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ot AMAJLIJA AMULET
instalacija / installation razliite veliine / various sizes 2008

- Serija malih radova na kojima se nalaze ve prepoznatljive siluete vojnika koji su predstavljeni kao sveti predmeti / amajlije. Oni lijee od bolesti, tite porodice od nesrea, uvaju djecu, donose sreu, novac, mo...sve. Njihova djelotvornost je nevjerovatna, kao i njihova snaga. Ovakav vid predstavljanja proglaavanja raznih predmeta djelotvornima i udotvornima je neto to je sujevjerje koje je duboko usaeno u naem drutvu. I meni je baka nakon bola u stomaku oitavala (aporila) neke udne rijei nakon kojih bi me prestajao bol ili bi se manje bojao. Mnotvo razliitih religija nosi sa sobom i mnotvo razliitih sujevjerja, najece takvi oblici zaokupiraju i pomute razum rijeima kao sto je srea, ljepota, zdravlje, i novac. Moje amajlije, u irokom spektru nude za svakog po nesto. Od drava, entiteta, gradova, institucija, mjesnih zajednica, porodica i pojedinaca oni tite sve. Oni su obueni za to. - This is a series of small works, which contain the recognizable silhouettes of soldiers presented as sacred objects / amulets. They cure diseases, protect families from accidents, safeguard children, bring good fortune, money, power everything. Their effectiveness is amazing, and so is their strength. This kind of proclaiming different objects effective and miraculous is superstition that is deep-rooted in our society. For example, if I had a stomachache, my grandmother would say some strange words (conjure), after which the pain stopped or I would feel less afraid. Many different religions have in them many different kinds of superstition, and most frequently those things blur ones mind with words like happiness, beauty, health and money. My amulets come in such a broad range that everyone can find something for themselves. They protect everything states, entities, cities, institutions, communities, families and individuals. They were trained for it.

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Ha-majlija H-amulet

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Amajlija Amulet

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42 Amajlija X Amulet X Amajlija x2 Amulet x2

43 Amajlija? Amulet?

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Amajlija 0-24 Amulet 0-24

Amajlija Amulet -

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Amajlija... Amulet...

Amajlija i djavo Amulet and Devil

Amajlija se vraa Amulet comeback

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Amajlija donosi... Amulet brings...

Amajlija xx Amulet xx

ot PREUZIMANJE ASSUMPTION
akril na platnu / acrilic on canvas 190 x 220 cm 2008

detalji instalacije details of installation

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instalacija installation

ot PREUZIMANJE ODGOVORNOSTI ASSUMPTION OF REPONSIBILITY

video / video trajanje / duration: 04 min 19 sec godina produkcije / year of production: 2008

- Video koji predstavlja umjetnika kao teroristu, pod maskom koji neprestano ponavlja jednu reenicu. Moje ime je Mladen Miljanovi, ovaj rad sam napravio u bivoj kasarni Vrbas, bio sam porunik, sada sam umjetnik. Dok nesinhrono ponavljam tu reenicu maska me sve vie stee i svrbi stvarajui nervozu i uznemirenost. - This video shows the artist as a terrorist with a mask on and constantly repeating the same sentence. My name is Mladen Miljanovic, I made this work in the former barracks Vrbas, I used to be a lieutenant, now Im an artist. As I repeat this sentence nonsynchronously, the mask presses and itches my face, making me nervous and anxious.

prizori iz videa video stills

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OKUPACIONA TERAPIJA / OCCUPATIONAL THERAPY Mehanizmi / Mechanism Muzej savremene umjetnosti Republike Srpske Museum of contemporary art Republic of Srpska

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ot LIVADE IGNORISANJA MEADOVS OF IGNORANCE

fotografija / photography 90 x 60 cm 2008

Ignore Ignore

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Where Where

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Not guilty Not guilty

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ot ZAKLETVA NEZAVISNOJ UMJETNOSTI OATH TO INDEPENDENT ART

dvokanalna video instalacija / two chanel video installation trajanje / duration: 03 min 37 sec godina produkcije / year of production: 2008

TEKST ZAKLETVE: - Ja nezavisni umjetnik sveano se obavezujem da u biti zavisnik umjetnikog ustavnog poretka, braniti ga od cjelokupnog umjetnikog sistema, da u uvati i graditi nejednakost umjetnikog djelovanja. Uvijek u svjesno i disciplinovano, moliti i prositi za izlobe i projekte, ali i potujui milostinju: krvavo steenu linijom nepotizma, poteno zaraenu lobiranjem gradonaelnika, lukavo izvuenu od umjetnikih fondacija, znojem zalivenu preporuku za grant i jeftino otkupljeni rad za kolekciju ambasadora. I iz tih razloga, biu spreman pokloniti i posljednje umjetniko djelo da dobijem izlobu u velikom svjetskom centru. Tako mi ministar pomogao. OATH TEXT: - I an independent artist, gravely compel to depend on artistic constitutional order, to defend it from entire artistic system, that I will protect and build diversity of artistic influence. I will always be conscious and disciplined in imploring and begging for exhibitions and projects, but at the same time respecting charity: made in blood line of nepotism, honorably gained by lobbying mayor, cunningly taken from art foundations, grant recommendation suffused by sweat and piece of art cheaply both for ambassador collection. From those reasons, I will be ready to give away last piece of my art to get exhibition in great world center. So help me minister.

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prizori iz videa video stills

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ot UVARKUA HOUSELEEK
fotografije akcije / photographs of action 70 x 50 cm 2008

- Za ovu izlobu sam ukrao uvarkue (biljaka za koju se vjeruje da uva kue, porodice i zdravlje) sa dva mjesta. - Njihova djelotvornost je potpuna samo ako se kradu od nekoga. - Nakon krae i presaivanja vlasnik ili domain takoe postaje potencijalna meta kradljivca - Svrha uvarkua na ovoj izlobi jeste da zatite, izlijee i sauvaju: umjetnika, njegove radove, posjetioce izlobe, muzej, umjetnost... - For this exhibition I stole houseleek (a plant believed to protect homes, families and their health) from two different spots. - It works only if stolen from somebody else. - After stealing and putting the plant in the ground again, the new owner or host also becomes a potential target for thieves. - The purpose of the plant in this exhibition is to protect, cure and safeguard: the artist, his works, the exhibition viewers, the museum...

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foto akcije photo of action

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ot PRAZNINA ISPUNJENJA EMPTINESS OF EXECUTION

instalacija /installation 7x5m 2008

detalji instalacije details of installation

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ot RAZUMIJEVANJE TIJELA BODY UNDERSTANDING

video / video 01 min 42 sek 2008

prikaz instalacije preview of installation

prizori iz videa video stills

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ot BAD RESOLUTION FUCK BAD RESOLUTION FUCK

video / video trajanje / duration: 04 min 19 sec godina produkcije / year of production: 2008

- Video i audio ne korespondiraju na vidljivom nivou. - Takvo djelovanje u pojedinim periodima istorije kod linosti koje su predvodile ili inicirale (ili jo uvjek iniciraju) razaranje predsatvljalo je (ili predstavlja) orgazmian uitak unitavanja tuih ivota. - Audio je komponenta ija dijametralna kontekstualna suprotnost postavlja rad u destabilizujui poloaj. Kada se u radu ukrtaju ta dva elementa, to nije njihova sinteza koja bi trebala da ih spoji u jedno. To je dekonstruktivno suprostavljanje koje ukljuuje tree, neto to u radu destabilizuje to manipulatorno dvoje. - The video and audio do not correspond on a visible level. - Such actions in certain periods in the lives of the people who led or initiated (or still initiate) devastation represented (or represent) an orgasmic pleasure in destroying human lives. - The audio is an element whose diametrically contextual opposition puts the work in a destabilising position. When those two elements encounter in the work, we do not have a case of synthesis meant to merge them into one. It is a deconstructive opposition involving a third aspect, something which destablises the two manipulative elements in the work.

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prizor iz videa video still

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ot OCCUPO OCCUPO
fotografije intervencija / photographs of interventions 60 x 40 cm 2008

- Predsatvljena intervencija sadri i transformie metode kao to su umjetnost intervencije, angaovana umjetnost aktivistikog karaktera, umjetnost in situ(1), kolektivno stvaranje ili razliiti umjetniki manierae, razvijeni u neumjetnikom okviru, zavisni od materijalnog svijeta i konkretnog okruenja. U ovom sluaju intervencija obuhvata kreacije usidrene u okolnostima koje se prepliu sa stvarnou.
(1)Umjetnost in situ definie se u odnosu na mjesto gdje doekuje i gdje izlae, za koje je posebno stvorena. Uglavnom kratkog daha, ona ne predstavlja toliko element dekora, koliko estetski predlog kritike prirode.

- The presented intervention contains and transforms methods such as art of intervention, engaged art with an activist character, art in situ (1), collective creation or different artistic manierae, developed in a nonartistic frame, dependent on the physical world and concrete surroundings. In this case, intervention comprises creations anchored in circumstances entwined with reality.
(1) Art in situ is defined regarding the meeting place and the exhibiting place, the place it is specifically made for. Mostly short-lived, this kind of art represents not so much an element of dcor, as an aesthetic proposal critical in nature.

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Graz 4 Graz 4

Filadelfija 2 Philadelphya 2

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Njujork 2 New York 2

ot MEHANIZMI ODNOSA MEHANISM OF RELATION

instalacija / installation promjenljive dimenzije / variable dimensions 2008

detalji instalacije details of installation

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instalacija installation

ot RE-PRODUKCIJA RE-PRODUCTION
instalacija / installation promjenljive dimenzije / variable dimensions 2008 instalacija / installation

detalj instalacije detail of installation

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ot MY SHINY DISCO WAR BLISTAVI DISKO RAT

audio vizuelna instalacija / audio visual installation promjenljive dimenzije / variable dimensions 2008

My Shiny Disco War je paradoksalna audio vizuelna instalacija koja predstavlja inverzan kontekstualni pristup prema fenomenu popularne disko kulture. Ikoniki prikaz vojnika i naoruanja se projektuje na disko kuglu koja reflektuje odraze istih po itavom prostoru. Boje vojnika i oruja neprestano mjenjaju kolorit te stvaraju dinamiku u prostoru ije kretanje prati zvuk. Audio je kompozicija koja je komponovana od razliitih zvukova: pucnjeva, tenkova i eksplozija koje zamjenjuju basove. Militaristika ekvivalentnost disku kao pop-kulturnom fenomenu postavlja pitanje rata kao trenda koji evoluira kroz vrijeme. My Shiny Disco War is an paradoxical audio-visual installation which uses an inverted contextual approach to the phenomenon of disco culture. Iconic images of soldiers and weapons are projected onto a disco ball that reflects the images all over the space. The colors of soldiers and weapons are constantly changing, creating a sense of dynamics within the space. The audio footage is a piece comprised of a variety of sounds: gunshots, sounds of tanks and explosions (which substitute the bass). The militaristic equivalent of disco, as a pop-culture phenomenon, triggers the issue of war as an ever-evolving trend.

prikaz instalacije preview of installation

prizori iz projekcije projection stills

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ot MEHANIZMI MEHANISM
instalacija / installation 120 x 80 cm 2008

detalj instalacije detail of installation

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instalacija / installation

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ot KILL KILL
instalacija / installation promjenljive dimenzije / variable dimensions 2008

- KILL je paradoksalna instalacija koja predstavlja izmjenjeni test vida. - U ovom sluaju njegov kontekst se preoblikuje i predstavlja kao test vida za prijem u vojnu slubu. - Jedan od evidentnih nivoa na kome rad kristalie svoju komunikaciju sa posmatraem jeste njegov poloaj tijela, i i dolazak do nivoa percepcije rada. - Rad je predsatvljen kao minijaturna svijetlea reklama u maloj drvenoj kutiji. - KILL is a paradoxical installation showing an altered form of eye test. - In this case, its context is reshaped and represents the test of vision conducted on individuals who want to join the military. - One of the evident levels on which the work specifies its communication with the viewer is the body posture, and reaching the level of perception of the artwork. - The work is presented as a miniature neon sign in a little wooden box.

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detalj instalacije detail of installation

instalacija / installation

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ot DANAS POSTAJEM PRAVI UMJETNIK TODAY I BECOME REAL ARTIST

performans / performance 2008

U prostoriji je sto, stolica, televizor, vino, ljem, fotografija nalijepljena na zid u prirodnoj veliini figura. Na stolu se nalazi televizor, ljem i vino. Na fotografiji se nalazi umjetnik sa roditeljima na dan kada je poloio vojniku zakletvu. Snimak sa oprotajnog veselja pred odlazak u vojsku se prikazuje na televizoru. Umjetnik pije vino iz ljema kojim poslije intervenie po fotografiji. Performans traje dok na fotografiji figura umjetnika u uniformi ne postane izbrisana. In the room there is a table, a chair, a TV, wine, a helmet, a photograph stuck to the wall, showing life-size people. On the table there is a TV, a helmet and wine. The photograph shows the artist with his parets on the day he took the military oath of allegiance. The recording of the send-off party preceding the national service being shown on television. The artist drinking wine from the helmet, which he then uses to intervene in the photograph. The performance will continue until the figure of the artist in uniform on the photograph is erased.

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ot IDENTIFIKACIJA IDENTIFICATION
instalacija / installation promjenljive dimenzije / variable dimensions 2008

detalj instalacije detail of installation

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ot JEDNA I TRI UNIFORME ONE AND THREE UNIFORMS

instalacija / installation promjenljive dimenzije / variable dimensions 2008

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prikaz instalacije preview of installation

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OKUPACIONA TERAPIJA / OCCUPATIONAL THERAPY

BIOGRAFIJA BIOGRAPHY

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Mladen Miljanovi Roen 1981 u Zenici, srednju kolu zavrio u Doboju. Nakon srednje kole odlazi u vojsku i zavrava kolu rezervnih oficira gdje kasnije obuava 30 vojnika. Nakon zavretka vojne slube upisuje Akademiju umjetnosti u Banjaluci, smjer slikarstvo. Nakon zavretka Akademije poinje da radi kao asistent na predmetima Intermedijalna istraivanja i Teorija prostora. Miljanovi se takoe bavi socijalnim i terapeutskim aspektima umjetnosti te je inicijator Hepenning Balkana radionice osoba sa onesposobljenjem. Mladen Miljanovi je jedan od najmlaih predstavnika ratne generacije bosansko-hercegovakih umjetnika koji svoj umjetniki rad temelji na vlastitom egzistencijalnom iskustvu: s jedne strane to je iskustvo odrastanja u vrijeme rata i nakon njega u razorenoj, osiromaenoj, etniki i teritorijalno podijeljenoj, spolja izolovanoj zemlji; s druge strane, na formalnom obrazovanju (u jednoj fazi svoga kolovanja pohaa kolu rezervnih oficira). Posljedice rata (rad sa invalidima rata) i steeno znanje u vojnoj koli (korienje obesmiljenog vojnog slikovnog vokabulara u novom, umjetnikom kontekstu), ine osnovno referencijalno polje Miljanovievog djelovanja kao umjetnika. Dva potpuno razliita iskustva (polaznika Vojne kole i studenta Akademije umjetnosti), igrom sluaja, ukrtaju se na jednom mjestu - banjaluki Univerzitet se nakon rata useljava u bivu vojnu kasarnu Vrbas. Akademija umjetnosti smjetena je u jednoj od zgrada kasarne. Njegov rad in situ proizilazi iz reakcije na fiziku i funkcionalnu prolost mjesta, na genius loci. Povlaenjem paralele izmeu prolosti prostora i njegove transformacije u dijametralno razliitu funkciju danas, preuzimam ulogu medijatora u procesu konstruktivne dekonstrukcije koji (proces) se deava izmeu dvije realnosti. Imajui u vidu njegov ukupni angaman, strategije i metode rada, moe se zakljuiti da Miljanoviu umjetnost nije cilj nego sredstvo suoavanja sa negativnom prolou i praktine afirmacije stava make art, not war. Koristim umjetnost kao sredstvo sublimacije negativnih oblika prolosti, uzimajui performans, instalaciju, sliku, fotografiju, kao medije kroz koje se redefiniu oblici drutvene traume.
Eng

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Born in Zenica in 1981, completed the secondary school in Doboj. After the secondary school he attended the Reserve Officer School where he earned the rank of sergeant. As a sergeant he trained 30 privates. After completion of the military term he enrolled at the Academy of Arts (Department of Painting) in Banja Luka. After completed Art Academy started to work as assistant at the Inter-media and Spatial Theory Department. Miljanovi also deals with the social and therapeutic aspects of art, being the initiator of the workshops for the disabled. Mladen Miljanovi has based his art work upon his own life experience: on one hand it is the experience of growing up during the war and after war in the destroyed, impoverished, ethnically and territorially divided, and externally isolated country; on the other hand it is his formal education (at one stage of his education he attended the Reserve Officer School). The consequences of the war (work with the war invalids) and knowledge gained in the military school (use of senseless military image vocabulary in the new, art context), make the basic field of reference of Miljanovis work as an artist. Two completely different experiences (attendee of the Military school and student of the Academy of Arts) intercross, by chance, at one spot - after the war Banja Luka University moved into the former Vrbas military barracks. The Academy of Arts is located in one of the barracks buildings. His work in situ arises from the reaction to the physical and functional past of the place, to genius loci. By making the parallel between the past of the place and its transformation into the diametrically different function today, I take on the role of the mediator in the process of the constructive deconstruction that (the process) is taking place between the two realities. Considering his entire engagement, strategy and work methods, it can be concluded that for

Miljanovi the art is not a goal but the means of confrontation with the negative past and practical affirmation of the attitude make art, not war. I use art as the means of sublimation of the negative forms of the past, taking performance, installation, image, photograph as media through which the forms of the social trauma are being redefined.

Selektovane samostalne izlobe: Okupaciona terapija Muzej savremene umjetnosti RS, KC Banski dvor, galerija UDAS - Banja Luka (BiH) I serve art Umjetnika galerija BiH - Sarajevo (BiH) Occupo Neue Galerie Graz (Austria) Relations, FABRIKculture Hegenheim (France) I serve art, Biva kasarna Vrbas Akademija umjetnosti Banja Luka (BiH)

Selektovane grupne izlobe: 2008 - Busan bijenale Internacionalna izloba video umjetnosti - Busan (Juna Korea) - Umetnik graanin / Umetnica graanka 49. Oktobarski salon - Beograd (Srbija) - Hotel MariaKapel a portrait by Katie Jane - Horn (Holandija) - rebro International Video Art Festival, rebro (vedska) - Spa Port Internacionalna godinja izloba savremene umjetnosti - Banja Luka (BiH) - Medjuprostor Muzej savremene umjetnosti RS - Banja Luka (BiH) - Boys and their toys SC gallery, Zagreb, (Hrvatska) - Moja zemlja taglinec serija performansa na imanju Vlaste Delimar Koprivnica (Hrvatska) - Joint exhibition of young visual artist awards winners, galerija Magacin - Beograd (Srbija) - Medjuprostor Kulturni centar Beograda - Beograd (Srbija) - Vojna in Mir-Spomini in spomeniki galerija Rika Debenjak- Kanal (Slovenija); 2007 - Relations, FABRIKculture Hegenheim (Francuska) - Strategies of conforment in the age of biopolitics, Corcoran, galerija Brakeground Amsterdam (Holandija) - Retrospektrum Umjetnika galerija BiH Sarajevo (BiH) - Izloba finalista za godinju nagradu ZVONO (2007), Muzej savremene umjetnosti RS - Banja Luka (BiH) - Medjuprostor Muzej savremene umetnosti Vojvodine - Novi Sad (Srbija) - Strategies of conforment in the age of biopolitics, Corcoran, Salon Muzeja savremene umetnosti Beograd (Srbija) 2006 - Istoni susjedi, kulturni centar Babel (Utrecht, Holandija)

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Kontinentalni doruak, Muzej savremene umjetnosti RS (Banja Luka) izloba finalista za godinju nagradu ZVONO (2006), KC Banski dvor (Banja Luka) Real Presence, internacionalna izloba studenata Likovnih akademija (Beograd) (o)granienja, mladi umjetnici iz BiH, galerija studentskog centra (Zagreb)

2005 - Halo bing, kako brat, Umjetnika galerija BiH (Sarajevo) Nagrade: - 2007 Zvono nagrada za najuspjenijeg mladog vizuelnog umjetnika BIH - 2007 Nagrada Rotary kluba - 2006 Nagrada Muzeja savremene umjetnosti Republike Srpske za najbolje radove na godinjoj izlobi studenata Akademije umjetnosti u Banja Luci Rezidencijalni boravci i grantovi: - 2008 ISCP centar - New York (USA) - 2007 Neue Galerie Graz, Graz - (Austria) - 2007 Kultur Fabrik, Hegenhaim (Francuska) Izbor prezentacija i predavanja: Eng

2008 2008 2008 2006

ISCP, New York - USA LMCC, New York - USA Fnac Stasbourg - Francuska Real presence - Beograd - Srbija

Selected solo exhibitions: Occupational therapy Museum of Contemporary Art of RS, KC Banski Dvor, UDAS gallery, Banja Luka (BiH) I serve art`` National Gallery of BiH, Sarajevo (BiH) Occupo , Neue Galerie Graz, Graz (Austria) Relations, FABRIK culture Hegenheim (France) I serve art`` ex military base Vrbas, Banja Luka (BiH)

Selected group exhibitions: 2008 - Busan biennial International exhibition of video art - Busan (South Korea) - 49, October Salon, Artist-Citizen, 2008, Belgrade (Serbia) - Hotel MariaKapel a portrait by Katie Jane, Horn (Nederland) - rebro International Video Art Festival (Sweden) - Boys and their toys`` SC gallery, Zagreb (Croatia) - Spa Port International exhibition of contemporary art - Banja Luka (BiH) - My land Staglinc`` on property of Vlasta Delimar, Koprivnica (Croatia) - Joint exhibition of young visual artist awards winners, gallery Magacin Belgrade (Serbia)

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- Interspace`` Cultural Center of Belgrade, Belgrade (Serbia) - Vojna in Mir-Spomini in spomeniki gallery Rika Debenjak-Kanal (Slovenia) 2007 - Strategies of conforment in the age of biopolitics, Brakeground Gallery, Amsterdam (Nederland) - Retrospektrum National Gallery of BiH, Sarajevo (BiH) - Corcoran, salon - Museum of Contemporary arts Belgrade (Serbia) - Interspace, Museum of Contemporary arts Vojvodina, Novi Sad (Serbia) - Dialogue exhibition, Hegenhaim-Basel (France) 2006 - Eastern neighbors, Cultural Center Babel, Utrecht (Nederland) - Continental Breakfast, Museum of Contemporary Art of RS, Banja Luka (BiH) - finalists of ZVONO annual Award, KC Banski dvor, Banja Luka (BiH) - (l)imitations, young artists from BiH, Student Center Gallery, Zagreb (Croatia) - Real Presence, internacionalna izloba studenata Likovnih akademija (Beograd) 2005 - Hello Bing, hows the brother, National Gallery of B&H, Sarajevo (BiH) Awards: - 2007 Zvono award for best young artist in BIH - 2007 Award of Rotary club - 2006 Award of the Museum of Contemporary Art RS in Banja Luka for the best works at the annual final exhibition of the Academy of Arts in Banja Luka Residencies and grants: - 2008 ISCP centar - New York (USA) - 2007 Neue Galerie Graz, Graz - (Austria) - 2007 Kultur Fabrik, Hegenhaim (Francuska) Selected presentations and artist talks: 2008 2008 2008 2006 ISCP, New York - USA LMCC, New York - USA Fnac Stasbourg - Francuska Real presence - Beograd - Srbija
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e-mail: iserveart@gmail.com mob. +387 65 670 928 Adresa / Address: Jovana Rakovia 153a 78 000 Banja Luka Republika Srpska Bosna i Hercegovina www.mladenmiljanovic.com

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Umjetnik se zahvaljuje Izrazio bih zahvalnost svima koji su uestvovali na realizaciji ove izlobe, za njihovo vrijeme, znanje, trud i dobru volju. Najprije se elim zahvaliti roditeljima koji su mi pomogli i pokazali kako da budem istrajan u ivotu, zatim mojoj vjerenici Borjani Mri koja me je bezuslovno podravala da realizujem radove i izlobu ovakvom kakva jeste. Zahvaljujem se porodici Mra, Ljiljani Labovi Marinkovi, Sariti Vujkovi, Lani Pavlovi, Branki esti, Mladenu i Nenadu iz tehnike slube MSU RS. Zahvaljujem se Miloradu Petriu, Slobodanu Vidoviu, Sonji Briski Uzelac, Dunji Blaevi i Nenadu Maleeviu. Zahvaljujem se Ljiljani Radovanovi, eljki Volau, Ljubomiru Sukari, Lazi Babiu, Srdjanu Kosiu, Dajanu piriu, Renatu Rakiu, Dragani Maleevi, Ratomiru Miljanoviu, Sinii Popoviu, Sandri Popovi, Vladi Popoviu, Ljubi Popovi, porodici Daia, Mirjani Miljanovi i Dragici Miljanovi. Zahvaljujem se kumu Ljubi Ignjatoviu, Slobodanu Ignjatoviu, Peri Bukejloviu, Neni Bukejlovi, Goranu Miljanoviu, porodici Boe Bukejlovia, Nenadu Filipoviu, Sai ivanoviu, Zoranu ivanoviu, Dejanu Stareviu, Mladenu Stevanoviu i Branki Tubi, Ljiljani Perin, Mirku Zeeviu i Branku iz Deleta. Zahvaljujem se Akademiji umjetnosti Univerziteta u Banja Luci i kolegama, Metromediji, Atlantik bb, Deleto i SCCA Sarajevo. Izlobu posveujem sjeanju na Daru Ignjatovi.

Artists acknowledgements I would like to express my thanks to all those who took part in preparing this exhibition, for their time, knowledge, efforts and good will. First, I would like to thank my parents for helping and teaching me to be persistent in life, and second, to Borjana Mra, my fiancee, for her unreserved support in organising the works and making the exhibition as it is. I thank Ljiljana Labovi Marinkovi, Sarita Vujkovi, Lana Pavlovi, Branka esti, Mladen and Nenad from MSU RS. I am grateful to Milorad Petri, Slobodan Vidovi, Sonja Briski Uzelac,Dunja Blaevi and Nenad Maleevi. I thank Ljiljani Radovanovi, eljko Vola, Lazo Babi, Ljubomir Sukara, Srdjan Kosi, Dajan piri, Renato Raki, Dragana Maleevi, Ratomir Miljanovi, Sinia Popovi, Sandra Popovi, Vlado Popovi, Ljuba Popovi, Dai family, Mirjana Miljanovi and Dragica Miljanovi. I thank godparent Ljubo Ignjatovi, Slobodan Ignjatovi, Pero Bukejlovi, Nena Bukejlovi, Goran Miljanovi, Boo Bukejlovi family, Nenad Filipovi, Saa ivanovi, Zoran ivanovi, Dejan Starevi i Mladen Stevanovi, Branka Tubi, Ljiljana Perin, Mirko Zeevi and Branko from Dzeleto. I thank Art academy Universiti of Banja Luka and colegues, Metromedia, Atlantik bb, Deleto and SCCA Sarajevo. I dedicate this exhibition to the memories of Dara Ignjatovi.

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Organizacija izlobe / Organisation of exhibition:

``UDAS``
galerija

Projekat podrali / With support of:

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Izdava/Editor Muzej savremene umjetnosti Republike Srpske Museum of contemporary art of Republic Srpska Trg srpskih junaka 2 Banja Luka mail: galrs@inecco.net tel: ++387 215 364; faks: ++387 51 215 366 Za izdavaa/For editor Ljiljana Labovi Marinkovi, direktor Izdanje/Edition 38. Godina izdanja/Year of publish 2008. Tekstovi/Texts Sonja Briski Uzelac Sarita Vujkovic Nenad Maleevi Prevod/Translation Svetlana Miti Fotografija/Photo Nenad Maleevi Borjana Mrdja Mladen Miljanovi Darko Miljanovi Renato Raki Dizajn/Design Mladen Miljanovi tampa/Print ATLANTIK BB Banja Luka
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