Provisional history
Selection of artworks from the collection of the Museum of Contemporary Art of Vojvodina 1942-2012
23.04 – 28.06.2012.
Curator: Dragomir Ugren
Exhibition Provisional History is a possible and a working survey selection from the fund of the Museum of Contemporary Art of Vojvodina and its current exhibitions. Displayed pieces from the collections will demonstrate characteristic acquisitions of modern, postmodern and contemporary art from Vojvodina, Serbia, Yugoslavia and the world – which have been made from the establishment of the Gallery and, later on, the Museum.
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artAKTivno - Izložba slika dece koja učestvuju u programima Studia Mano i MSUV
Hol Pokrajinskog sekreterijata AP Vojvodine
Na izložbi će biti predstavljeno oko 30 radova na platnu velikog i srednjeg formata. Osnovni motiv slika je ljudska figura –akt, koja se pokazala kao omiljena tema malih umetnika. Bez obzira na njihovo godište, deca su ovoj disciplini pristupala sa puno interesovanja i mastovitih resenja. Slike su radjene u u kombinovanoj tehnici i svaka pojedinacno nosi poruku, na koji nacin deca dozivljavaju svet oko njih i kako vide coveka u savremenom okruzenju Studio Mano ove godine obeležava 10.godina rada I izložbom ARTAKTIVNO želimo da pokažemo da granice dečije kreativnosti I zrelosti u radu, postoje samo onda kada su im nametnute. Izložbu će otvoririti g-din Milorad Đurić, pokrajinski sekretar za kulturu i javno informisanje AP Vojvodine.
Lectures: Presentations of projects Monoskop and (New) Tendencies
18. 04.2012. at 18:00h Cinema room MOCAV Speakers: Dušan Barok, Monoskop project and Darko Fritz, [New] Tendencies Lectures are integral part of regional/international collaborative project ‘’Digitizing Ideas’’ within which archives and practices of Central European and South-Eastern European conceptual art are being digitized in collaboration with Museum of contemporary art Zagreb, Museum of modern art Ljubljana and Museum of modern art Warsaw. Project Patronage: EU Culture Programme 2007-2013; Art Mentor foundation, Lucerne, Switzerland; Republic of Serbia ̶ Ministry of Culture, Information and Information Society; Autonomous Province of Vojvodina ̶ Provincial Department for Culture and Public Information
Transcription: Jan Triaska
Curator: Sanja Kojic Mladenov Production: MSUV Partner: National Council of Slovak National Minority in Serbia In his new project Transcription (2010), Jan Triaska researches the relation between contemporary art practices and the public, represented through a dialog between the artist and the art critic. The medium of their communication is the painting, created in its classical form-oil. The choice of this medium represents an important part of the conceptual frame of the author, because it opens a discussion about the contemporary issue of the role of the painting in modern society. Technically, his works of art are a combination of painting and text, which contain critiques of four different Slovak critics, who visited the studio and informally expressed their opinions on author’s work created between 2008 and 2009. From those conversations, the critiques (issues of paintings and the market) were highlighted and painted on already existing paintings. On certain canvases the author repeated this process, criticizing the critiques, and thus bringing the dialog to the point of becoming absurd. Opening: Thursday, April 19 at 7 pm April 19-May 10
Critics have chosen - INFORMEL IN VOJVODINA
Autor of the project: Art Historian, Jerko Denegri Curator: Dragomir Ugren Opening of the exhibition is on Tuesday, April 5, 2012 at 7:00 p.m. In cooperation with: Cultural Center of Belgrade, Contemporary Gallery AC Ečka, Zrenjanin, Modern Gallery “Likovni susret” Subotica, Collection Trajković, Collection Vujičić, Belgrade Unlike Belgrade informel, informel and matter painting in Vojvodina at the time of appearence hardly even existed as an organized phenomenon in art, and its protagonists_ Ács József, Petrik Pál, and Bogdanka Poznanović, isolated and without the appropriate critical support, were left to solitary and fragile occasional instances of cooperation. That it was so is confirmd, e.g. by the fact that Ács and Poznanović, although they lived and worked in Novi Sad, belonged to different circles, while Petrik, separated from them, at the same time worked in Subotica.
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