Hybrid object. Eastern promises

Kunsthalle am Hamburger Platz, Gustav Adolf Str. 140, 13088 Berlin

1. until  22. February 2013

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Artist: Radoš Antonijević, Erik Alalooga, Marc Haselbach, Aleksandar Jestrović Jamesdin, Silvia Lorenz, Marina Marković, Tanel Saar, Darko Stojkov, Selman Trtovac, M.I. Kamenoff, Ana Zejak, Veljko Zejak and guests.

Links: Hybrid object Web site

Kunsthalle am Hamburger Platz, Berlin

Brings you events:

4.2. 19-22 h “RAKIA connecting people. Bio – Happening”

12.2.2013 , 19 h Opening of the exhibition

8.2.   16-19 h “Eastern Promises – Pecha Kucha Event” Discussion

Author of the project, sculptor Veljko Zejak, initiated this project as a self-organization of artists  in collaboration with various cultural institutions and curators aiming to create a kind of creative  art network. This way, we try to realize the project in the different cultural and production conditions using the same thematic issues. The realization of this project in the form of a residency and exhibition events was held in 2010 in Belgrade (SKC Gallery, the French Cultural Centre, Pavilion Cvijeta Zuzoric) in 2010 and 2011 at the Museum of Too Modern Art, Slovenia and 2011, the Galerie La Vitrine in Paris. Leading idea that is present from the very beginning of this project is  the usage of subjects/ abandoned objects that contain information about their usage and in the same time are subjects of personal memory.

Along with the host artists from  Berlin, a group of artists from Eastern Europe will participate in the project: Serbia, Slovenia and Estonia. There are going to be thematic lectures organised  at the faculty Kunsthochschule Berlin Weissensee as well. Artists will present  their work, project and discuss about the art scene and the specific conditions for production and  development of contemporary art practices in the countries of their origins. One of the specifics  that is developing increasingly and globally, but in the area of Eastern Europe has its own uniqueness, is the self-organization and the collaboration of artists on the principles of agricultural cooperatives from the era of socialism. In this sense, the project will present artists from art associations Third Belgrade; MOBA Banatska Dubica; Inex film, Belgrade; Container Art Gallery, Tallinn and guest from Berlin – Milchhof Pavilion. Those principles of association arises Utopia, decentralization  and relocation of art from the traditionally  mainstream defined framework. This is an art that is being developed  in the city suburbs , factory complexes or in rural areas at  the eastern edges of Europe.

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Proposla for the exhibition “We live on a star” at  Henie Onstad Art Centre, Oslo

2 Model picture outsideInside a cube, where each wall measure 4 by 3 meters, the same size as Ryggen’s work “We live on a star”, the atmosphere will change from one strong extremity to the other. Calm, meditative and peaceful ambiance shift to unsafe, disturbing surroundings, by the changing use of sound and light. The fact that Hannah Ryggen’s peaceful tapestry “We live on a star” ‐ that was also political, as she wanted to remind politicians passing the tapestry every day about humanity and love ‐ ended up damaged by a right wing extremist, is in an almost scary way linking back to Ryggen’s strong political works fighting fascism  Nazism and extremism.

The walls of the cube are made of aluminium sheets. Like the tapestry, the walls are wounded. Their wounds come from gun shots. As such, references to the tapestry and to the shooting include both the attack on the Government building and the attack at Utøya. The gun shot holes are visually beautiful, but with disturbing connotations. From the outside, light will be streaming in through the holes, to the darker inside. Associations could go to stars on the sky, enhanced by sound with warm tones. Then the atmosphere will change ‐ more disturbing, cold sounds, where the music itself is shooting towards the audience, the light will be more focused in sharp lines, using small amount of smoke to make the light lines visible. Then the smoke will disappear through the holes, the sound will calm, and the loop starts again.

Entering the cube, the visitors should take of their shoes. The reason for this is not only providing a feeling of vulnerability, it is also due to the textile on the floor; a needle felt made of human hair. The Serbian artist Zoran Todorovic made this felt for the Venezia Biennale 2009, by gathering hair from 250.000 persons. 

Model picture smoke

Picutre hair textile                  Gun shot holes in 2 mm alu sheet

International Underground

Gallery Piramid Sanat, Istanbul

October 18 – November 26, 2012

Curator: Bedri Baykam

Piramid Art Center (Piramid Sanat) is holding a group show entitled “International Underground” curated by Bedri Baykam The exhibit is composed by the works of 8 artist and 3 art collectives from various countries: Eva Beierheimer – Miriam Laussegger (Vienna), Giusseppe Belvedere – Bedri Baykam (Paris-İstanbul), Núria Güell (Spain), Genco Gülan (İstanbul), Ray Harris (Australia), Aimée Zito Lema (Amsterdam), David Middlebrook (California), Radenko Milak (Bosnia – Herzegovina),Peter Polach (Slovakia), Third Belgrade (Belgrad), Veljko Zejak (Serbia)



Bedri Baykam states that when he brings together artists from different disciplines together, he is not interested in finding out whether they are famous or “sellable”: Baykam is interested in the group of artists, he choses to call the “International Underground”, not because of their credits that would secure them safe places in Biennials or art fairs. Some of them maybe even vegetating under water as unidentified living creatures. Some of them can have already quite established names. It doesn’t matter. This is not a name-dropping exhibit. Baykam can force the dose and “turn into an artist” an ex bank employee turned “bird feeder” tramp like Giusseppe Belvedere, from the streets of Paris. In his selections, Baykam did not choose to order new work productions and went rather for existing pieces, except for his spontaneous video produced together with him. The curator met Belvedere by chance in the back of the Piazza, in front of the Centre Pompidou in Paris. This I-Phone film might be worth your attention…

Eva Beierheimer & Miriam Laussegger, in their installation called “art word” are bringing to life the hot debate raised by Bedri  Baykam since his conference from 1992, “The Post-Duchamp Crisis” (which later turned into a book)where he proves how much contemporary art is linked to the text. So easy to try! For instance you can select any four words from the art-jargon and order an instant artsy sentences or a full article with them!
American artist David Middlebrook, participates to the show with this work “Breath of Fresh Air”. It’s probably one of the most interesting and humoristic references made to Marcel Duchamp’s famous Pissoir. This floating Pissoir, defies gravity and is really challenging even just to look at. According to Middlebrook, seems that it also looks like an enlarged respirator!

Third Belgrade, the Serbian artist’s collective’s video that choses to refer to Edouard Manet’s “Luncheon on Grass” is entitled  Ručak na travi meaning the same in Serbian. A very relaxing heavenly image that has almost hypnotic qualities and generates both peace and happiness. It’s in full contrast with Radenko Milak’s war zone drawings from Bosnia-Herzegovinia. Those black and white work reminds us in an odd way of Genco Gülan’s left over pieces from a plane disaster that are preciously exhibited jewelry pieces. In order to come out from this depressive and sinister atmosphere, one can immediately go in front of the work of the Slovak artist Peter Polach “If the intellect was like a penis, this would be called masturbation”. This piece analyzes humoristically all the tensions and constipations within the art world.

Another Serbian artist Veljko Zejak, goes for surprising ceramic stamps with printed clay technique. They stand in between strange pop works and on the contrary like found ancient civilisation’s preciously imprinted stones, cleaned and recycled! He will have to tell his “international” friends, whether they were “underground” or not!

Come discover them, or the video of Ray Harris, the exquisite collage/prints of Aimeé Zito Lema, or the odd web-site link of Núria Güell, who ended up touching the porn-zone, while hunting for art funding.

Revive the Castle

Art project and contemporary dance choreography

Castle Schpitzer, Beočin (SERBIA)

21. August – 2. September 2012.

choreographer: Gyula Cserepes  

dancer: Blanca Flóra Csasznyi

visual artists: Veljko Zejak and Ibis Ćerimagić

photography: Olivera Inđić

production: Kulturanova




Oživimo dvorac

Asocijacija Kulturanova iz Novog Sada organizuje site-specific performans u napuštenom dvorcu „Špicerovih“ u Beočinu u nedelju, 2. septembra sa početkom u 19 časova.
Interdiscipliplinarno orjentisani umetnici će uz pomoć plesnih tačaka, muzike, svetlostnih efekata, video i audio projekcija, autentičnih fotografija i drugih umetničkih instalacija potpuno izmeniti oronulu unutrašnjost nekadasnjeg bisera madjarske secesije.
Posetioci će moći da istražuju unutrašnjost dvorca i otkrivaju tajne jedne po jedne prostorije postajući i gledaoci i učesnici predstave. Ovaj jedinstven događaj savremene umetnosti će na sasvim nov način oživeti sam prostor dvorca. U njemu će legenda o mračnom vajaru sa sedam prstiju ponovo postati stvarnost, ponovo će tu biti porodice Orenštajn i Špicer koje su prve u njemu boravile, balovi na kojima se u njihovo vreme plesalo i igranke na kojima se kasnije zabavljalo ali i nešto novo i još neispričano.
Multimedijalni performans trenuntno nastaje pod vođstvom Ðule Čerepeša, umetnika savremenog plesa a sa njim stvaraju Veljko Zejak, akademski vajar iz Beograda, Časnji Blanka Flora, savremena plesačica iz Mađarske i Ibis Ćerimagić, studentkinja odseka za nove medije na Akademiji umetnosti u Novom Sadu.

Summer Art Residency JALOVIK

4 – 14. August 2012.

selector: Branislav Nikolić

participants: Jasna Damnjanović, Lise Wulff, Milan Nešić, Tommaso Bonaventura, Veljko Zejak, Zoran Todorović, Branislav Nikolić

Ponovo radi bioskop

video – performans

U Jalovik sam došao prvi put 2011. da obiđem prijatelje koji te godine učestvovali na sazavu kolonije. Tada sam primetio veliku prostoriju napuštene bioskopske sale, koja je nekada bila upotrebljavana za pozorišne predstave i  različite druge  sadržaje. Sada ova ogromna prostorija služi kao golubarnik, dok čeka da propadne deca ponekad igraju fudbal u njoj. Kada sam sledeće godine bio pozvan da i sam učestvujem u radu kolonije želeo sam da napravim rad koji bi radio sa ovim prostom, njegovim dimezijama i uopšte zaboravljenom funkcijom koju ima potisnutu u svojoj memoriji.

Ovo je jedan scensko- performativan rad dokumentovan videom, ali u isto vreme radi sa prostorom i na skulptorski način. Postavio sam 5 klatana i sistem vodenih prskalica na plafonu napuštene bioskopske sale. Gradeći ritmiku kretanja jednostavnim pokretima klatana, savladavam dimenzije celog prostora. Kada je ritam uspostavljen, klatna kao da stvaraju neku nečujnu muziku i prostor sa celim svojim dimenzijama kao da počinje da diše. U tom trenutku kao neka katarzična kulminacija  kreće da pada voda sa tavanice i formira se vodeni zid preko cele jedne širine prostora. Svetlo koje prolazi  kroz ovaj vodeni zid stvara dugu. U tom trenutku ritmično kretanje biva narušeno i cela kompozicija kreće da nestaje u haotičnom kretanju i sudaranju klatana.