THE FIRST PROMOTIONAL EXHIBITION OF THE ARTVISON PROJECT ‘A BREVIARY OF MEMORIES’

    Within the project ARTVISION – a.live.art.channel. and the 27th The Chronicles of Bar Festival, the exhibition ‘A Breviary of Memories’ will open on Friday, August 15, 2014, at 20:00h, at the Episcopal Palace in Old Town of Bar.

    This exhibition is the first in a series of smaller promotional exhibitions throughout Montenegro, which will be organized in collaboration with local partners and the Artvision project (implemented from the funds of IPA Adriatic CBC Program 2007/2013.) From August 15th to 28th, in an interesting space of ​​the Episcopal Palace, this exhibition will be the best introduction into the continuation of a ‘journey’ of the large exhibition ‘Coexistence – For the new Adriatic Koine’ that recently opened in Tirana, and which will open in Cetinje in early September. Apart from promotion and introduction to the central event in Cetinje, this exhibition in Bar, within The Chronicles of Bar Festival, is to promote the entire project and its mission – intercultural dialogue and communication from the local toward the ‘Adriatic’ level and support for local institutions, support and promotion of young artists, and networking of the artists and the public.

    Three young artists are on show: Teodora Nikčević, Marina Kuveljić, and Siniša Radulović. The curator of the exhibition is art historian Ljiljana Karadžić.

    The exhibition ‘A Breviary of Memory’ was conceived as a dialogue between artists and the space of the Episcopal Palace in the Old Town of Bar. The palace has been occupied for centuries, and has been densely interwoven with layers of official history and the small, private stories and memories, and then detached from the original purpose and reduced to a monument that offers numerous fantastic and imaginative aspects to the interested eye of the beholder. It is the imaginative potential of the palace, as well as the metaphysical interior that were inspiring for the artists, investigating through their work the mechanisms of memory, the time flow, the fluid translation of the public sphere into the private one, and vice versa. Resembling Bachelard’s empty shell, the palace prompted the participants of the exhibition to daydreaming about a shelter. For being an inhabitant of a shell one should be alone, and by experiencing this image, an artist knows that they agree to solitude. Unpretentious, yet visually, emotionally and intellectually stimulating works arouse from this solitude.

    Spatial installation of Teodora Nikčević is actually a model, reconstructing the artist’s personal history. The model becomes a place of confronting and synchronizing a home as carefree childhood hideaway, and fragments of memories and traumatic experience of losing a loved one. Using different elements, ready-made and ​​tailor-made, video-recording and photography, the artist explores the fragility of identity and the ways in which it develops in a particular context by destabilizing the feeling of self as an immutable fact. On one hand, the installation indicates something that’s not immediately visible and tangible, which is free of narration and expression, and on the other hand, it allows the investment of other, arbitrary meanings, such as the accumulation of different energies, traces of presence, memories.

    By combining different media (painting and photography) and applying small, ephemeral objects onto the surface of the painting, Siniša Radulović quietly contaminates and disintegrates, in formal sense and in terms of meaning, the ‘beautiful illusion’ of harmoniousness and uniformity of a salon painting. Staged, absurd scenes emit the atmosphere of dark premonition, discomfort, dormant drama, irrational fear. Actuated by the media, the screen culture, which changed the observer’s points of perception, Radulović is not oriented toward the concrete, sensual reality, but to the archives and files. Starting from the dark side of reality, the artist deconstructs what originally represented the enthusiastic faith in progress, by creating exciting narratives that suggestively evoke communication’s states of powerlessness, emotional desolation, hopeless floating in loneliness. Through exciting narratives, Radulović suggestively sets forth his, not at all optimistic, perception of the world.

    Marina Kuveljić’s spatial installation ‘CONTINUA’ consists of transparent canvases with a life-size nude female figure in different positions. Bodily postures reflect the movement and balancing in the abstract space, free of discomfort before / under the look of somebody else. Such bodily postures are at the same time forms of both expression and communication, even if the communication is established only with oneself. The installation can be observed at once, captured by a single look, but one can also progress step by step, in a succession of time. Thus, simultaneously the impression of both temporal and spatial continuance is achieved. The body, therefore, appears as the determining agent, a determinant through which time and space continuum manifest. In hyperinflation of fragmentary and contextual use of the body in contemporary art, a simple truth gets somewhat lost from sight, that each human being is a unique, complex psycho-biological entirety, and that the eternal mystery of existence could primarily be grasped by the representation of the body. On that trail is Marina Kuveljić’s artistic exploration.

    ‘A BREVIARY OF MEMORIES’

    Source: Government of Montenegro