The essays of the third issue of “(O)gled” magazine bring new perspectives on the work of Goran Đorđević, i.e. the corpus of names whose field is set within the coordinates of the contemporary and classical art system. But it also presents the work of Gregor Mobius, researcher who is dedicated to DNA semantics and biosphere.
The solution of the cover (design by Monika Lang) also points out to this complex situation, combining the work of the (former) artist and researcher represented by his two separate two research procedures and themes. The cover also refers to his career as the form of a logical puzzle.
That’s why this issue of “(O)gled” magazine is dedicated to new atlases of art which, in the time of dramatic geopolitical repositioning of the world, turn from geopolitical maps towards key maps of the world – DNA, biosphere, and finally maps of artificial intelligence.






6-7
Anica Tucakov:
Uvodna reč
DVE STRANE (ISTRAŽIVANJA) PORETKA STVARI
8-19
Nikola Dedić
„ISTOČNOEVROPSKA UMETNOST“: IDEOLOGIJA JEDNOG INSTITUCIONALNOG KONSTRUKTA
20-25
Malvina Žgur
„UMETNOST U TRANZITU“ Milice Lopičić ILI “OD UMETNIČKOG RADA DO ROBE”
26-31
V.I. Vernadski
BIOSFERA U KOSMOSU
32-35
Gene(SIS) SAVREMENA UMETNOST ISTRAŽUJE LJUDSKI GENOM
36-47
Intervju: GREGOR MOBIUS
POSTAVKA SLIKE SVETA
48-53
Gregor Mobius
BIOSFERA – SLEDEĆI OBLIK ŽIVOTA
Gregor Mobius
JEDAN I TRI POSMATRAČA
62-69
Jelena Vesić
GLASNICI APOKALIPSE I DRUGE PRIČE
70-79
Saša Janjić
UMETNOST KAO INSTITUCIONALNA KRITIKA
80-81
NFT — ORIGINAL I KOPIJA / DOSTUPNOST I VLASNIŠTVO
82-87
Lin Margulis
GEJA
88-99
Petar Jevremović
SIGMUND FROJD I SEDAM MOSTOVA GRADA KENINGZBERGA
100-107
Zoltan Genc
PERMUTACIJE
108-119
Anica Tucakov
„MISLIM DA SAM VIDELA OSUĐENIKE!“
Publisher: NGO “Anonymous said:”, Belgrade, Serbia
Represented by: Sandra Marković Milisavljević
Editor-in-Chief: Anica Tucakov
Graphic design and layout: Monika Lang
Logo design: Vladimir Garboš
Proofreading: Tekstogradnja
Translation to English: Aleksandar Milajić
Printed by: Službeni glasnik, Beograd
Belgrade, summer 2022
This publication is supported by the Ministry of Culture of the Republic of Serbia
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