rs en
Menu Meni

3M3 3M3

Yugoslavian Garden Jugoslovenski vrt

Authors Autori

Yunicorns & Jelena Mitrović Yunicorns & Jelena Mitrović

Project date Datum projekta

18 Jun 19 – 02 Jul 19

Project type Tip projekta

Exhibition Izložba

​Each object since its creation in space represents an artefact which wants do determine the place of an idea as everliving; but in the time that is knitting, densely and unpredictably, the threads of new meaning, it is only what happened that exists, not what was meant.

The object should possess-reflects its essential idea of existence via dynamism where, as the opposite to the plastic, solid matter and density of a substance, the void of an empty space opens, the one that is left out, but still present. In this dialectic of the conflict, we may perhaps seek out and find the meanings that survived below the surface of the obvious symbols.

The content of the spatial installation stems from the idea of a transmission that connects spaces – about architectural and general artistic transmission, which is not only a symbol but also a creation. The installation represents the gesture of multidimensionality of space in the shop window, in order to join together a static and moving world, interior and exterior, a reflection and an object, an object and a system, condensed reality and differential time.

The physical model represents a deformation of a sculpture that creates the correct reflection of the monument in a cylindrical mirror. The monument is in its identical form only in the reflection – in the imaginary space behind the surface, which allows the figure to appear where it doesn’t exist – in the ideal projection, but as a space that is essentially unreal. Deformed sculpture in the real space is not a monument in its character, it is a non-identical part, a relational model that shows the absence of the object from the place where it is, because it is there, in the mirror.

Thus, in the center of the installation which is determined by the mirror, constitutes a condensed space of inner unity, unrealistic to the extent that utopias are and representing the form brought to the perfection in an environment that dissolves and disappears.

On the other hand, there is a real space of installation whose composition, the so-called scattering of shapes, based on anamorphosis and technique called magia parastatica, simulates the movement of the shape through the opaque weave of time.

It is possible to imagine a spatial whole, but based on a completely different principle of construction, which would be a paradigm of the garden.

Gardens are the places where contradictory positions are possible, and which still offer the possibility of encountering miracles. These are spatial knitting where symbolic perfections overlap with the very existence of things.

/​text by Jelena Mitrović/

Yunicorns is a self-sustainable artistic project of an architectural nature. It was conceived in 2017 by three architects Nevena Kocić, Zorana Lužanin and Nebojša Stevanović. The aim of the project is to research and promote the issue of treatment of the modernist architectural heritage of the SFR Yugoslavia. The exhibition Yugoslav Garden was developed in cooperation with architect Jelena Mitrović.

​Jelena Mitrović has been involved in architecture since 2007, with a focus on a critical approach to architectural design, as well as research into ethical and political issues of contemporary discipline based on the problem of disciplinary subjectivity. Her research is largely based on finding techniques to overcome visual identity in contemporary representation. These include a return to its geometric foundations, from which, on the one hand, arises a series of generally accepted techniques based on a linear perspective system, and on the other, a neglected area of ​​curvature research and image alteration, beginning with catoptric machines in the sixteenth century and evolving beyond the illusion of space and anamorphosis to present-day techniques of mapping that examine the possibilities for optical deformation of the surface and the projection as a spatial animator.

 

 

Yugoslavian Garden exhibition is a part of the 3M3 Season 2019 | Tracing the milieu: What were you thinking? curated by Marija Bjelić

​Svaki objekat od svog nastanka u prostoru predstavlja artefakt koji značenjem želi da determiniše, kao zauvek bivstvujuće, mesto ideje, ali u vremenu koje svoje pletivo gusto i nepredvidljivo plete nitima novog značenja ne biva ono što se mislilo nego ono što se desilo.

Objekat bi trebalo da poseduje–reflektuje svoju suštinsku ideju postojanja kroz dinamizam gde se naspram plastičnog, čvrste materije, gustine supstance, otvara šupljina praznog prostora, onog izostavljenog, a prisutnog. U toj dijalektici sukoba možemo možda tražiti i naći značenja koja su preživela ispod površine očiglednih simbola.

Sadržaj prostorne instalacije proizilazi iz ideje o prenošenju koje povezuje prostore – o arhitektonskom i uopšte umetničkom prenošenju koje nije samo simbol, već i  stvaranje. Instalacija predstavlja gest multidimenzioniranja prostora u izlogu kako bi se u jedinstvenom pogledu istovremeno našli statični i pokretni svet, unutrašnjost i spoljašnjost, odraz i predmet, objekat i sistem, kondenzovana stvarnost i diferencijalno vreme. Fizički model predstavlja deformaciju skulpture koja u cilindričnom ogledalu stvara pravilni odraz spomenika. Spomenik se u identičnom obliku nalazi samo u odrazu − u imaginarnom prostoru zgusnutom iza površi, koji omogućava da se figura pojavi tamo gde je nema− u idealnoj projekciji, ali kao prostor koji je suštinski nestvaran. Deformisana skulptura u stvarnom prostoru po svom karakteru nije spomenik već njegov neidentični deo, relacioni model koji ispoljava odsustvo predmeta sa mesta gde jeste, i to zato što se nalazi tamo, u ogledalu.

​Tako se u središtu instalacije koje određuje ogledalo konstituiše jedan kondenzovani prostor unutrašnjeg jedinstva, nestvaran u meri u kojoj su to utopije koje predstavljaju oblik doveden do savršenstva u okruženju koje se rastvara i nestaje.

Sa druge strane nalazi se stvarni prostor instalacije čijom se kompozicijom, tzv. rasipanjem oblika, na osnovu anamorfoze i tehnike koju su zvali magia parastatica, simulira kretanje oblika kroz neprozirno tkanje vremena.

Tu je moguće zamisliti prostornu celinu, ali zasnovanu na sasvim drugačijem principu izgradnje kakav bi predstavljao paradigmu vrta ili bašte.

Vrtovi su mesta u kojima su kontradiktorne pozicije moguće, i koja samim tim još uvek nude mogućnost susreta sa čudima. To su prostorna pletiva u kojima se simbolička savršenstva preklapaju sa samim postojanjem stvari.

​/tekst: Jelena Mitrović/

Yunicorns je samoodrživi umetnički projekat arhitektonske prirode. Osmišljen je 2017. godine od strane troje arhitekata Nevene Kocić, Zorane Lužanin i Nebojše Stevanovića. Cilj projekta je da otvori i promoviše pitanje tretmana modernističkog arhitektonskog nasleđa nastalog u doba SFR Jugoslavije. Izložba “Jugoslovenski vrt” razvijena je u saradnji sa arh. Jelenom Mitrović.

​Jelena Mitrović se bavi arhitekturom od 2007. godine, sa fokusom na kritički pristup arhitektonskom projektovanju, kao i na istraživanju etičkih i političkih pitanja savremene discipline baziranih na problemu disciplinarnog subjektiviteta. Veliki deo istraživanja zasiniva se na pronalaženju tehnika za prevazilaženje vizuelnog identiteta u savremenoj reprezentaciji. One uključuju povratak na njene geometrijske osnove iz kojih sa jedne strane proizilazi niz opšteprihvaćenih tehnika zasnovanih na sistemu linearne perspektive, a sa druge zanemareno područje istraživanja zakrivljenja i alteracije slike koje započinje katoptričkim mašinama u XVI veku i razvija se preko iluzije prostora i anamorfoze do današnjih tehnika mapiranja koje ispituju mogućnosti za optičko sadejstvo deformacije površi i same projekcije shvaćene u ulozi prostornog animatora.

 

 

Izložba Jugoslovenski vrt je deo 3M3 Sezone 2019 | Tracing the milieu: What were you thinking? čiji je tematski okvir postavila Marija Bjelić

Credits Hvala na saradnji

Yunicorns: Nevena Kocić, Zorana Lužanin, Nebojša Stevanović
Curator​: Marija Bjelić
Photo: Marija Strajnić
Yunicorns: Nevena Kocić, Zorana Lužanin, Nebojša Stevanović
Kustoskinja​: Marija Bjelić
Foto: Marija Strajnić