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Dr Branislav Dimitrijević

 

Currently I hold the position of Professor of History of Art and Visual Culture at the School for Art and Design (“Visoka škola likovnih i primenjenih umetnosti”) in Belgrade, and I also teach Art History at Academia Nova in Belgrade. At the University of Arts in Belgrade, I lead a course on Curatorial practice for the students of the Erasmus MAIPR programme.

I studied Art History at the University of Belgrade (BA) and obtained MA degree in History and Theory of Art at the University of Kent (UK), with a thesis supervised by Professor Stephen Bann. I have received a PhD degree from the University of Arts in Belgrade for the thesis entitled “Utopian Consumerism – Emergence and Incongruities of Consumer Culture in Socialist Yugoslavia”, supervised by Professor Milena Dragićević Šešić. I have received various grants for my research, including a grant from Kulturstiftung des Bundes to work on the project »Post-Communist Condition« with Professor Boris Groys (2003/2004) and recently the curatorial research grant from Foundation for Arts Initiatives, New York, 2013.

Main fields of my theoretical and curatorial interest are: visual theory and visual culture, art in public space and relations of common culture, politics and ideology. I have conducted academic researches on visual art, film and popular culture in socialist Yugoslavia and Eastern European countries (1945-1989), as well as on contemporary visual art in the Balkans in the last 20 years. My other interests vary from history and practice of site-specificity in art, history of iconoclasms, conceptualism, 1960s European Cinema and 1990s culture and politics in the Balkans.

For my texts essays I was awarded the “Lazar Trifunović Award” for art criticism and “Dušan Stojanović Award” for film theory. (I have edited books; publications and exhibition catalogues that are listed amongst the other selected published texts in the attached bibliography.*)

My curatorial projects include:

  • Murder1 (CKZD, Belgrade 1997, w. B. Anđelković)
  • Overground, (site-specific project for Belef Festival, Belgrade 1998, w. M. Tomić)
  • Video Art in Serbia 1968-1999 (Bitef Theatre, Belgrade, w. D. Sretenović and J. Tijardović)
  • Konverzacija (MOCAB, 2001 w. B. Anđelković and D. Sretenović)
  • Little Red Elephants (UKS Gallery, Oslo, 2002, w. V. Madžoski)
  • Pavilion Yugoslavia (Biennale di Venezia, 2003)
  • Situated Self: Confused, Compassionate, Conflictual (Helsinki City Museum; MOCA Belgrade, 2005, w. M. Hannula)
  • On Normality. Art in Serbia, 1989-2001 (MOCA Belgrade, 2005, w. B. Anđelković and D. Sretenović)
  • Elements of Normality (Babel Cultural Centre, Utrecht, 2006)
  • Breaking Step – Displacement, Compassion and Humour in recent art from Britain (MOCAB, 2007, w. C. Douglas, S. Mitrović and J. Vesić)
  • But if you take my voice, what would be left to me? (Biennale di Venezia, 2009, project with artists Katarina Zdjelar and Zoran Todorović)
  • FAQ Serbia (Austrian Cultural Forum, New York, 2010)
  • No Network (“Time Machine” Biennial, D0 ARK Underground, Konjic, Bosnia, 2011)
  • Good Life – Physical Narratives and Spatial Imaginations (53rd October Salon, Belgrade, 2012, w. M. Hannula).

The focus of my curatorial projects is site-specificity and I explore the notion of artistic experience in an open and shared environment, as well as relations between physicality of the work and its narrativity in relation to the social sphere. I tend to focus on locational production of low-budget artistic interventions in public space.

I have been involved in many collaborative projects in the field of artistic education and artistic production and participated in international networks. These projects include: School for History and Theory of Images (an independent educational project in Belgrade, 1999-2003), Speak up! (a project of collaboration between art academies of the Nordic and Balkan countries, 2003-4), Backyard Residencies (a project of collaboration of independent artistic organizations in Serbia, Romania, Croatia and Turkey, 2005-6), etc. In the field of contemporary art he has been involved in many European and regional initiatives, as the President of the Board of International Contemporary Art Network (ICAN) from 2001-2003 and most recently as the President of the Board (2006-2010) of the SPAPORT Biennial in Banja Luka, Bosnia.

Selected texts and publications (available in English or German):

  • “Body, Ideology, Masculinity, And Some Blind Spots Of Post-Communism”, After the wall, exhibition catalogue, Moderna Museet, Stockholm 1999. (Reprinted in Gender Check: A Reader. Art and Theory in Eastern Europe, Verlag der Buchhandlung Walther König, Köln, 2011.)
  • Zdravko Joksimović - Stvari, reči i korisne obmane, Publikum, Beograd 1999.
  • “Traps Of Identification: Three Videos By Milica Tomic”, Milica Tomic (catalogue), Galerie in Taxispalais, Innsbruck, 1999.
  • “An Intermittent History – A Brief Survey of Video Art in Serbia”, Video Art in Serbia, Centre for Contemporary Art, Belgrade 1999.
  • “Mord, oder Glückliche Menschen – Kunst, Repräsentation, Politik und Vergessenheit im Serbien der neunziger Jahre” (with B. Andjelković), in Tom Holert (ed.), IMAGINEERING - Visuelle Kultur und Politik der Sichtbarkeit, Oktagon Verlag, Köln, 2000.
  • "Ausgesetzte Adoleszenz", Springerin, Band VII, Heft 3, Wien, 2001.
  • "Blow up", Prelom, no.1, Beograd, 2001.
  • "This is Contemporary Art!: Turbo-Folk and its Radical Potential", The Real, The Desperate, The Absolute, Marina Gržinić (ed.), Galerija Sodobne Umetnosti, Celje, 2001.
  • “Shaping the Grand Compromise: Blending Mainstream and dissident art in Serbia, c. 1948-1974”, Praesens, 1, Budapest, 2002, pp. 33-45
  • Dušan Otašević – Popmodernizam, Muzej savremene umetnosti, Beograd, 2003.
  • “Danke, Rasa Todosijevic!”, Springerin, VIII, 4, Decembre 2002 - February 2003, pp. 50-54
  • International Exhibition of Modern Art featuring Alfred Barr’s Museum of Modern Art, New York (ed.), Museum of Contemporary Art, Beograd, 2003
  • “Too much – O my God – Art here”, in ibid.
  • “Works-of-Art vs. Artefacts, (Blood, honey, guns’n’pumpkins: Exhibiting the Balkans)”, Artelier, 8, Bucharest 2003, str. 25-27.
  • “A Brief Narrative of Art Events in Serbia After 1948”, East Art Map, New Moment 20, Ljubljana 2003.

  • “EVEN NOW I AM NOT ASHAMED OF MY COMMUNIST PAST! – Some Notes on the “East-European-ness” in Contemporary Art”, Privatisierungen, KW Institute for Contemporary Art, Berlin, 2004, pp. 104-112.
  • “Curating, Crating i Chilling-Out”, Bijenale mladih_ Još uvek bez naziva, Vršac, 2004, pp. 203-208.
  • “Attentive observations, situated motivations and displaced inquiries”, Situated Self: Confused, Compassionate and Conflictual, Muzej savremene umetnosti, Beograd; Helsinki City Museum, Helsinki, 2005.
  • “Phil’s faces”, in Phil Collins: yeah you, baby you, Milton Keynes Gallery, 2005
  • O Normalnosti – Umetnost u Srbiji, 1989-2001, (w B. Andjelković i D. Sretenović), MSU, Beograd, 2005.
  • “Sozialistischer Konsumismus, Verwestlichung und kulturelle Reproduktion. Der „postkommunistiches” Übergang im Jugoslawien Titos“, Zurück aus der Zukunft – Osteuropäische Kulturen im Zeitalter des Postkommunismus, (B. Groys, A. von der Heiden, P. Weibel ed.), Suhrkamp Verlag, Frankfurt, 2005.
  • Ponovo i uvek - Bora Iljovski, Slike i crteži 1967-2005, MSU, Beograd, 2006.
  • “Toward very fine and thoroughly unsuccessful understandings: Art in SEE”, Zones of Contact, Biennale of Sydney, Sydney, 2006.
  • “A Magnificent Tomb! (Kunsthistorisches Mausoleum)”, u What is Modern Art?, Museum of American Art, Revolver, Berlin, 2006.
  • “Motivating Peripheries: Matei Bejenaru and the art of purpose”, u Matei Bejenaru – Situatii, Galeria Posibila, Bucharest, 2007.
  • Breaking Step / U raskoraku – Izmeštanje, saosećanje humor u savremenoj britanskoj umetnosti, (w. S. Mitrović and J. Vesić), MSU, Beograd, 2007.
  • “Der Faktor Lulić“, u Marko Lulić – Ich war die Putzfrau am Bauhaus, Snoeck, Koln, 2008.
  • “Iron Curtain Raisers – An exhibition of American modern art in Belgrade and its relation to socialist modernism and socialist consumerism in the SFR Yugoslavia in the 1950s”, u Different Modernisms, Different Avant-Gardes – Problems in Central and Eastern European Art after World War II, Eesti Kunstimuseum, Tallinn, 2009., pp. 313-342.
  • “Warmth / But if you take my voice what will be left to me?”, Serbian Pavilion at the 53rd Biennial in Venice, Muzej savremene umetnosti, Beograd, 2009.
  • “Katarina Zdjelar – Glasovi i posledice”, Okolnost – 50. Oktobarski salon, KCB, Beograd, 2009.
  • „Toplina nacionalne stvari“, Salon Muzeja savremene umetnosti – Godišnji katalog, Muzej savremene umetnosti, Beograd, 2009.
  • „Consumerist Imaginary in SFR Yugoslavia (Case 3: Beba Lončar on a Lambretta scooter)“, Ideology of Design, Autonomedia, New York, 2009.
  • “Concrete analysis of concrete situations - Marxist education according to Želimir Žilnik”, Afterall, 25, Autumn-Winter, 2010
  • “Suffragettes, easy lays and women faking pregnancy. Representation of Women in the film When I am Pale and Dead”, Gender Check (B. Pejic ed.), MUMOK, Vienna, 2010.
  • Nedko Solakov – Heritage, Museum of Contemporary Art, Belgrade, 2011.
  • “Performing a material (f)act”, Radenko Milak: And what else did you see? – I couldn’t see everything, Museum of Contemporary Art, Belgrade, 2012.
  • “Before and After Amnesia”, Mladen Bizumic – Hotel Jugoslavija, Museum of Contemporary Art, Belgrade, 2012.
  • Good Life – Physical Narratives and Spatial Imaginations, (co-edited with Mika Hannula and Svebor Midzic), Belgrade Cultural Centre, 2012
  • “Absolute corruption”, in Ibid.
  • “An (im)possible artist”, in Goran Đorđević – Against Art, Museum of Contemporary Art, Belgrade, 2014.
  • “Folklore, Modernity and Death: Wroblewski’s Visit to Yugoslavia” in M. Ziolkowska, W. Grzybala, Avoiding Intermediary States: Andrzej Wroblewski (1927-1957), Hatje Kantz, Ostfilder, 2014.
  • Predrag Nešković, This has never happened, Vujačić Kolekcija, Belgrade, 2014.
  • “A Brief Narrative of Art Events in Serbia After 1948”, East Art Map, New Moment 20, Ljubljana 2003.

Dr Branislav Dimitrijević