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Adrienn's work places focus on questioning the relationship between humans and nature through transformative organic elements - including ecological art and bio art communicated through different visual media. Her approach applies an alternative artistic production method, growing and nurturing plant material known as “SCOBY”, in the conceptual aim of transforming plant material that is used as a basis for different internal and external interventions and manipulations.

Marija's creative practice is based on disciplines such as sound art, sound design, composing as well as performance and improv. Her primary research is conducted in the domain of sound spatialisation and Deep Listening.  

Újházi Adrienn falls within the category of younger female visual artists in Serbia, as the person working most prominently in presenting alternative artistic production: growing and nurturing plant material known as “SCOBY”. She graduated from her Undergraduate program in 2018 and her Master’s program in 2020 at the Academy of Art in Novi Sad, Department of Fine Art (majored in Painting). Since the year 2020 she has worked part time as a substitute teacher in the middle school for design Bogdan Šuput in Novi Sad. She is the recipient of multiple scholarships, accolades and awards. Actively exhibiting, taking part in projects and art colonies both locally and internationally (including countries such as Macedonia, Montenegro, Croatia, Slovakia, Hungary, Slovenia, Spain, Turkey and Germany). She has had multiple solo-exhibitions. She has also participated as a workshop mentor at the international residency Montemero Art Residency in Spain. She is a member of Šok zadruge and Híd Kör Art (a culture magazine for the youth, printed, in Hungarian, in Novi Sad) and SULUV. Adrienn’s work places focus on questioning the relationship between humans and nature through transformative organic elements - including ecological art and bio art communicated through different visual media.

Marija Šumarac is a sound designer, composer, trombonist - all together, musical artist. She graduated from the Faculty of Dramatic Arts, Department of Music Production and Design, where she is completing her Master studies with focus on the themes of spatiality of sound and Deep Listening. Her work extends into the domain of sound design and compositions in film, radio (Elektronski studio Radio Beograda III), theatre, television, video games and live ensembles. She is a two-time recipient of the Neda Depolo Award that is awarded by Radio Belgrade (Drugi program Radio Beograda) for her creative contribution to radio expression. She gained various experiences in performative work through playing in ensembles including the Youth Philharmonic, FMU Big Banda, Nev Spark Jazz Orchestra and more. She has presented her artistic work in both local as well as international festivals and exhibitions, such as The Prague Quadrennial 2019, Ars Electronica Linz, European Science Open Forum (ESOF) Trieste, Speculum Artium Trbovlje, Gallery Studio106L.A. and UCLA ArtSci Center Los Angeles.
Orchestra i mnogih drugih. Predstavila je svoj umetnički rad na domaćim i međunarodnim festivalima i izložbama kao što su Praško kvadrijenale 2019, Ars Electronica Linz, EuropeanScience Open Forum (ESOF) Trst, Speculum Artium Trbovlje, galerija Studio106L.A. i UCLA ArtSci Center Los Angeles.


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

Adrienn: A language in common for young people in the modern world is reflected in various shapes. The new generation that was born at the end of the 20th century or the beginning of the 21st century have easier access to modern technology, which they use in various ways for communication, information, education, etc. However, universal access can have a both negative and positive side.  koja je rođena pri kraju 20. veka ili početkom 21. veka imaju lakši pristup prema savremenoj  tehnologiji, što paralelno drugačije primenjuju za kominikaciju, informisanje, edukaciju i tako  dalje. Između ostalog univerzalan izvor može da nosi svoje mane i prednosti. 


Marija: A language in common for young people could be the messages relayed most often through social media. That language can differ based on the surrounding environment in which we live, the messages that young people exchange and transfer in Serbia often differ from those you might see in Germany. However, all the more often we see universal ideas appearing which connect us.  može da se razlikuje u odnosu na okolinu u kojoj živimo, te poruke koje mladi razmenjuju i  prenose u Srbiji često nisu iste u Nemačkoj. Međutim, sve se više javljaju univerzalnije ideje koje  nas spajaju.

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

Adrienn: It’s difficult to define the process of a piece in my work, mainly because I produce multiple works - or they culminate one after the other (long duration). The basic approach in production is to grow the material “SCOBY” (a symbiotic culture of bacteria and yeast), otherwise known as bacterial cellulose, that serves as the foundation for the majority of my works. The latter manifests through the process of fermenting black tea. After a period of time a layer of cellulose appears atop the liquid, which I then dye or dry. The treatment of the material depends much on the idea of the piece and its intention, which I then leave to develop on its own. What I find fascinating about the process is having a dialogue with a material that is continuously developing, throughout its “open” phase. In such situations, constant supervision is mandatory, which I evidence through photo and video documentation, as well as the interventional adding of liquids that protect the symbiosis between bacteria and yeast.  radova ili se jedan rad nadograđuje za drugi - long duration. Osnovni pristup prema radu jeste  da se uzgoji material “SCOBY” (simbiotska kultura bakterija i kvasca) ili drugačije nazvana  bakterijska celuloza koja je osnovna baza za većinu mojih radova. Ona nastaje putem  fermentacije crnog čaja. Kroz određeni period na površini tečnosti nastaje sloj celuloze koju  bojim ili sušim. Metod tretianja uzgojenog materijala zavisi od same ideje koju određujem  uokvirno pre uzgajanja i posle pustim da se sam razvija svojim tokom. Zanimljivost jeste, da  konstantno imam dijalog sa materijalima koji su u otvorenoj fazi – u toku uzgajanja. U takvim  situacijama im je potreban redovni nadzor, što na primer činim kroz foto ili video  dokumentaciju, takođe dodajem razne tečnosti koji bi potkrepili simbiozu između bakterija i  kvasca.  


Marija: My process is often experimental and dependent on what I’m doing and which theme I’m working on. The approach is never the same when I’m composing, making a sound installation within a space or building an audio appearance intentionally for film or radio. The universal factor in all these processes is the time I need to collect audio materials (whether recorded or made from scratch), go through the selection and editing of the materials, rather the preparation for performance. That which is specific in working with audio installations is that it requires much more planning ahead, budgeting, preparation of utilities, listing equipment and taking into account spacial aspects in which the piece will be exhibited. Working on installations is often in collaboration with people from other professions, which is in line with my sensibility and much more fulfilling than when I am creating purely for myself.  bavim. Pristup nije isti ako komponujem, pravim zvučnu instalaciju u prostoru ili gradim zvučnu  sliku za neki određeni medij poput filma ili radija. Svakako ono što je univerzalno kod svih procesa  je da mi je potrebno vreme da prikupim sav zvučni materijal koji mi je potreban (bilo da ga  snimam ili da ga napravim), da moram proći kroz proces selekcije tog materijala i na kraju  montaža materijala, odnosno priprema materijala za izvođenje. Ono što je specifično u radu sa  zvučnim instalacijama je da zahteva mnogo više planiranja unapred, od budžeta, prirpeme alata,  specifikacije opreme i uzimanje u obzir svih aspekata prostora u kome će ona biti izložena. Rad  na instalacijama je posao koji radim u saradnji sa drugim ljudima iz različitih profesija, što je bliže  mom senzibilitetu i ima mnogo veću draž, nego kada sama stvaram neko delo.  

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

Adrienn: Challenges are ever-present within my field and I face them each day. Starting from the creative approach, visual solution, presentation to the foundation which is the material itself - SCOBY, it has to be grown. From the start, the matter is something inexistent, which through a process (as I intervene) has to be created in the form of cellulose that is tactically fragile. In such situations I observe the pace carefully from different angles and come across a balance, that is, new solutions that fill in the gaps throughout production.


Marija: Not a single creative process is the same, like solving equations with multiple unknowns. Each process is exciting, it forces you to come out of your comfort zone and to learn something new, acquire new knowledge which up until then you hadn’t had the opportunity to come into contact with. Perhaps the biggest challenge is working with different people, because we perceive everything differently. Without challenges, I probably wouldn’t be working in the field I’m in.  procesa je uzbudljiv, natera te da izletiš iz sopstvene zone komfora i da naučiš neke nove veštine  i stekneš nova znanja kakva do sad nisi imao prilike da susretneš. Možda je najveći izazov je rad  sa različitim ljudima, jer ne vidimo jednu istu stvar na isti način. Da nema izazova, verovatno se  ne bih ni bavila ovom vrstom profesije kojom se bavim. 

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

Adrienn:In my opinion, to be an artist is to have a spiritual capability, that hasn’t caged your inner child, rather allows it to live and grow. Talent and motor skill is something the majority can learn, while passion for something, ambition, freedom of creativity in this form is harder to garner and a much bigger challenge. We live in a world where we are placed in molds, destroying our individual qualities and capabilities that make us human.  je pušta da živi i razvija. Talenat i motoričku veštinu većina zainteresovanih može da postigne, a  strast za nečim, ambiciju, slobodu za stvaranjem u takvom obliku je teže i veći izazov. Živimo u  takvom svetu, da nas od rođenja stavljaju u kalupe, koji narušavaju naše lične kvalitete,  sposobnosti što bi nas zapravo činio ljudskim. 


Marija:That’s a good question. People often perceive me as an artist, while I perceive myself as a researcher. I think I’m still searching for my own “right” definition and the meaning of that word. kao nekog istraživača. Mislim da još uvek tragam za nekom mojom “pravom” definicijom i značenjem te reči.

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

Adrienn: I think it’s important for a visual creative to be present, not to run away, rather to keep up with reality. Everyone experiences their environment differently and we all absorb things consciously or unconsciously. With that in mind, a world exists in contrast to a person transferring themselves into their own world in order to reflect and manifest it. Through my own practice, taking into consideration aesthetics and the method of work, I reflect my personality. In the end I present a material that can become valued and crucial in saving our environment. That is why I would end this response with: We can do better!  prati stvarnost. Svako na drugačiji način doživljava, svoju okolinu i upija svesno ili nesvesno. Po  tome postoji svet, nasuprot tome da se čovek prebaci u svoj svet, i da ga reflektuje - manifestuje u realni. Uključujući moju praksu, uzimajući u obzir estetiku i metodu rada,  reflektujem i svoju ličnost. Prezentujem material koji može da bude veoma cenjen i ključan oko  čuvanja naše životne sredine. Zato bi za kraj ovog odgovora dodala: možemo mi to i bolje!  


Marija: I don’t really have a need to escape from reality. Reality influences my soul, my mind and my external and internal sound-scape. Reality is woven from multitudes of moments. I have a need for memories and remembrance.  spoljašnji i unutrašnji zvučni prostor. Stvarnost je satkana od mnoštva trenutaka. Imam potrebu  za sećanjima i uspomenama. 

What does the word innovative mean to you?

Adrienn: To be innovative is a big challenge, that is the commitment that a person gains throughout their life. Today we have very different creators, as well as very similar ones. Innovation, or rather originality, in this form comes from years of experience that a person gets, that is encompassed by the individual’s personal story. Especially young people who are continuously searching for that, for finding one’s identity and exhibiting it, but that’s something that comes with time, through experience and lots of work.  različitih stvaraoca, a takodje u istom trenutku jako sličnih. Inovativnost ili možemo reći  originalnost u tom obliku dolazi tek posle niz godina koju čovek stiče kroz iskustvo i na kraju se  zaokružuje sopstvena-lična priča. Posebno mladi neprestano tragaju za tim, za nailaženje sopstvenog identiteta i da se pokažu, ali to se stiče sve vremenom, kroz iskustvo i puno rada. 


Marija: To be innovative most often assumes doing something you think no one else has done up until that point. For me it assumes being brave, allowing yourself to do something you haven’t done up until this point.  podrazumeva da budeš hrabar, da se prepustiš i da uradiš nešto što do sada nisi ti sam. 

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

Adrienn: I do, I’m open to research, collaboration and to develop trans-disciplinarily so as to implement new practices into my work.  praksama koje bi mogla da implementiram u svoj rad. 


Marija: I don’t have a concrete plan, except investing in my own education and the aspiration of actualizing collaborations with people from different fields. My artistic practice will probably take me to new professions that, for the time being, don’t exist, and to worlds that I have yet to come into contact with.  ostvarujem saradnje sa ljudima iz različitih profesija. Moja umetnička praksa će me verovatno  odvesti u neke nove profesije koje još ne postoje i svetove sa kojima se još do sada nisam susrela. 

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

Adrienn: Life and her cycles. 


Marija: Perhaps it was my personality which made it impossible for me to sit still in one place as well as the people that surround me, especially their smiles and tears.  posebno njihovi osmesi i suze. 

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

Adrienn: I believe that there is a lack of curiosity/inquisitive interest, we need more ambition and courage.


Marija: The cultural scene plays it safe too often, it needs to free itself and be that which it actually is.  zapravo jeste.  

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

Adrienn: I find the lack of control in my work, and in the process of growing my materials, is what sits well - that the process dictates its own speed. As I survey our everyday lives, given that we live in a fast-paced world, it’s noticeable how hyper-production swallowed the world of art as well. From this perspective, my pieces offer me more momentum and productivity in my work on the self. Through a creative approach, I expose the natural, whose appearance is unlike no other, and pure. By researching that which is fragile, through SCOBY, I came to realize that it does not lie and it does not hide anything. The presence of honesty and beauty lies in a microscopic world, in which we also play a part. The lack of this kind of thinking is summarized in the contemporary world currently surrounding us, this has been my main inspiration on which I base my counter-argument in my pieces.


Marija: It shapes me and changes me by the constant awakening it provides in my personality, my capabilities and my character - of which I wasn’t aware. It teaches me patience and mindfulness.  koji nisam osvestila, uči me strpljenju i prisutnosti u trenutku.