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Jana Gligorijević + Marija Stanković

JG i MS: Tin Ujević: Don't be proud! Your thoughts are not just yours!

Marija Stanković MA (1992, Vranje, Srbija)

Art historian and curator. She graduated and completed a master's degree at the Department of Museology and Heritology at the Department of Art History at the Faculty of Philosophy, University of Belgrade. He researches modern and contemporary art.

 

Nina Ivanović – View through the Window, except from the text about the exhibition

Aleksandar Dimitrijević – The time of others between the artist and the painting

Ivan Šuletić. #ANYWHEREARCHITECTURE 

Jana Gligorijević (1992, Leskovac, Srbija)

Art historian and photographer. She graduated from the Department of Art History at the Faculty of Philosophy, University of Belgrade. She studied for a master's degree at the Department of Japanese Language, Literature and Culture, where she researched Japanese photography in the second half of the 20th century. 

Scholar of the Travel to Europe program in 2016. She exhibited in several group and had two solo exhibitions at the Culture Centres in Leskovac and "Stari grad" in Belgrade.

She lives and works in Belgrade.

To breathe despite everything

The visual–textual work consisting of photographs by Jana Gligorijević and poems by Marija Stanković is a joint reflection of the present through personal notes and notices of the transience and variability of the feeling of freedom in modern society. Detected view within oneself, from the intimate interior through the window, from the outside to the significant architectural features of modernity seen through the sight of a broken wire, together with words equivalent to the need to speak, makes a statement of female (visual) writing that reads personal position in relation to the other and others, to the root of origin and transient places of being. By joining forces, the authors merge their visual and textual fragments from the world to point out the importance of togetherness as a method of acquiring personal spaces of freedom.

Interview

What is the language in common for the young people today?

We see the common language of young people as a terminological and visual set of some similar ways of thinking and expressing, which characterizes the generational experience of growing up in similar circumstances. Certainly, even within these similarities, there are many differences in the manifestation of that language, which is socially, politically and class-conditioned. In our case, the common language of young people could primarily refer to the thinking patterns of the 1990s generation, which are characterized by growing up in a fragmented and fragmented country, a strange social atmosphere that we were unaware of until recently, when we began these conflicting versions of the past. to adopt.

What does the process of making one of your pieces look like?

MS: U In my case, the creation of work refers to the creation of something that would traditionally be called a song. In any case, all forms and categories of art media throughout history have shown the elasticity of their terminological boundaries, so we can call what I am writing a song in an expanded field. The emergence of that final literary form in my experience begins in the interspace between my consciousness and what occupies me, contemplatively or intensely visually, inside or outside me. These occupations, I must admit, sometimes against my will, intersect and permeate some of my own findings, and it is mine then to just note what I am attending. On the other hand, through writing, I often need to understand something, so my will plays a slightly more important role.

For me, the process is based on the desire to conclude a moment, first of all (re) memory, so that I can relive it, and all in the hope that someone else who observes photos will be able to recognize, learn something of their own, appropriate photography as a constructed self-memory - something like when we look at photos of us as very young children, so we are not sure if we really remember or the memory is constructed on the basis of a photograph / story. I take photos more often intuitively and impulsively, while perceiving the world around me, than planned. I plan to continue at the level of a bunch of unrealized sketches waiting for the right moment.

Which challenges have you faced while making art as you know it?

We think that art is something that becomes art over time, necessarily conditioned by institutional support and professional reflections and recordings of the same. This is ours, it is a joint creative action, which aims to remind of the modesty and sublimity of breathing, in spite of everything.

Do you consider yourself an artist, and what does that word mean to you?

MS: No. In my opinion, to be an artist means to deal with it, to create in that field, to be recognized in the world of art, or at least to want that recognition. I just write verses, in this situation on the walls of the gallery, instead of on the paper of my volumes.

 

JG: Although in this particular case, by participating in the Biennial of Youth, the two of us are artists, for the same reason that Maria stated, I could not call myself that. Not even a photographer. Due to the trend that modern life imposes on most of us (especially work in culture and art), life fragmentation due to a lot of obligations, duties and the need to do everything, I could rather say that I am a part-time photographer, part-time curator, part-time curator time artist, part-time… .. haha

What is your escape from reality? Do you even have a need to escape from something?

JG i MS: Escape is also an integral part of reality, so escape is sometimes pleasant because in solitude one finds motives and methods for courageous action in reality.

What does the word innovative mean to you?

MS: I don’t think we can invent something new today, because our thoughts are not just ours, but I think that being innovative means being inherent, curious in life research, and brave enough to share it, because you never know if your synapses clicked so hard at some point that they might contribute to understanding or enriching some existing worldviews.

 

JG: Perhaps the means by which ideas are realized can generally be considered innovative today. here I am thinking primarily of technological means, which sometimes actually overpower the idea, which I do not see as a positive thing.

Do you have a plan for the future? Where can your artistic practice take you?

MS: I've been thinking about the present of the word lately. I think of words as current states despite their formal predispositions to last through time. Now the thought of the future is far from me. there may be no need for a plan in the future.

JG: The plans are not yet fully defined, but the wishes are. And desires are not talked about until they come true (:

What made the biggest influence on you to become what you are today and do what you do now?

MS: As a “person is always in crisis”, it seems to me that I am becoming and disappearing at the same time, through all that my life experience of growing up in a small town, educating an art historian and some need for writing, which may even be conditioned. I was shaped by a desire within which I teamed up to explain the world to myself in words.

 

JG: Close people and non-formal and formal education, respectively.

How would you describe Serbian (Balkan or European-depends on where you live and work) contemporary cultural scene?

JG and MS: Young Serbian art scene, from the video circle of what is placed through exhibition spaces that nurture the exhibition concepts of still unaffirmed or emerging artists, we think that this field is full of creative potential and that there are precious young people among our contemporaries, ready to they fight, even though the stars are not always in their favor.

In which way does your creative process shape you or changes you as a person, if it does at all?

MS: Writing changes me by allowing me to write, rooted in (myself) the existing corpora of written words that I use, whether poetic or theoretical. I think that it is an important identity thing, which refers to recognizing oneself in the world, but also recognizing the world in oneself.

JG: For me, constant photography is like a visual training that helps me continue to pay attention to detail and better absorb all the sounds, smells and colors of the world around me, to constantly remind me of my own existence in this beautiful cacophony and make me aware and present .