{"id":11195,"date":"2023-01-18T00:05:10","date_gmt":"2023-01-18T00:05:10","guid":{"rendered":"https:\/\/ogled.org\/uncategorized\/from-eye-to-i-to-i-to-eye\/"},"modified":"2023-02-13T14:59:40","modified_gmt":"2023-02-13T14:59:40","slug":"from-eye-to-i-to-i-to-eye","status":"publish","type":"post","link":"https:\/\/ogled.org\/en\/eye-to-i-en\/from-eye-to-i-to-i-to-eye\/","title":{"rendered":"From \u201cEYE TO I\u201c to \u201cI TO EYE\u201c"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"11195\" class=\"elementor elementor-11195 elementor-7190\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d524484 elementor-section-full_width elementor-section-height-default elementor-section-height-default qodef-elementor-content-no\" data-id=\"d524484\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-0991a9a\" data-id=\"0991a9a\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-1b2dbd4 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"1b2dbd4\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.21.0 - 22-05-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<blockquote>\n<h6><span style=\"font-size: 18pt;\"><em>We are in need of a new way of seeing things<\/em><\/span><\/h6>\n<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-77a3ea3 elementor-widget elementor-widget-text-editor\" data-id=\"77a3ea3\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>We introduce our readers to the first issue of EYE TO I magazine, which is dedicated to contemporary visual art. In its structure, this number is on the borderline between a journal and a magazine. It basically consists of \u2018long-read\u2019 essays related to problems of contemporary artistic practice, but also to some specific artistic productions and phenomena. The authors of the texts are theoreticians and art historians who come from the region of Southeastern Europe, as do the four artists also presented here.<\/p>\n<p>In a time defined by limited information and brief attention span, dictated by the protocols of social networks and digital media, we have opted for a printed edition of the magazine which presents texts that require a certain amount of time to be read. At this turning point for both the system of contemporary art and world history in general, we understand that the existing solutions in the field of art are no longer fully applicable. This brings the matter back to thinking itself.<\/p>\n<p>A new situation calls for a new way of thinking. And this new way of thinking, we hope, could contribute towards a new view of the problem. That is why we are presenting texts by Jovan \u010ceki\u0107, Nikola Dedi\u0107, Zoran Gaji\u0107, Goran Goci\u0107, Sa\u0161a Janji\u0107, Petar Jevremovi\u0107, Mario Kopi\u0107, Mi\u0161ko \u0160uvakovi\u0107 and Anica Tucakov, whose range of topics moves from insights into the contemporary artistic situation to the work of individual artists.<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5af4127 elementor-widget__width-initial elementor-widget-tablet__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"5af4127\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote>\n<h6><span style=\"font-size: 18pt;\"><em>This first edition of EYE TO I also presents the works of four artists of different generations, who problematise the key phenomena of the times, each from a different position.<\/em><\/span><\/h6>\n<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b57c88d elementor-widget elementor-widget-text-editor\" data-id=\"b57c88d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>The well-known conceptual (anti)artist Goran \u0110or\u0111evi\u0107 (1950), who for a considerable part of his career problematised the issues of the system of contemporary art, and, at the same time, of art itself, under the name of Gregor Mobius, focused his attention on the problem of deciphering the instructions for his own use contained in the DNA, and also directed his attention towards questions of the development of the biosphere as a self-conscious being. We are talking about a personality who, in his work, problematised the ruins of the systems that have remained behind us, whilst, on the other side of the M\u00f6bius strip, in these moments when we are clearly entering a new historical epoch, he turns his gaze back again to the issue of preserving life and further evolutionary developments.<\/p>\n<p>Zoran Todorovi\u0107 (1965) is an artist who mostly works in the field of new media and transmedia artistic practices, through video performance, actions and installations. In his works, he thematises issues of biopolitical administration and control. He recognises the body as a field of political struggle, and therefore in his work he treats the body and bodily resources radically, exploring the sensory fields of the relationship between the body and the machine, and the new biomedical procedures and conditions of exploitation.<\/p>\n<p>Vladan Joler (1977), a visual artist and researcher, explores in his maps and cartographic essays new models of exploitation and extractivism, and thus provides us with the possibility of staging the acute phase of the contemporary social situation, i.e. looking at the relationships that exist between the elements of the system of technological exploitation and the principles of contemporary extraction.<\/p>\n<p>Finally, the artistic practice of Igor Simi\u0107 (1988) is also characterised by a hybrid expression of several media, whose boundaries he examines, expands and combines &#8211; video art, film, philosophical essay, storytelling, and recently also the field of computer games, music and lecture performance. His cross-media projects are based on the philosophical-essay narrative, which sometimes follows and sometimes opposes the nature of cinematographic expression and media procedure, while thematising issues of the relationship between man and machine, the profitability of interpersonal relationships, and various forms of exploitation of people and other planetary resources.<\/p>\n<p>By crossing the different paths of these works and texts, we believe that we can experience a more profound reflection of the times. In the light of that reflection, things can become visible in a new way. And that is the meaning of the existence of the two titles of this edition, which on its back presents the inversion of the name on the front page I TO EYE. The contents of this edition, placed between the title EYE TO I on the front page and I TO EYE on the back, offers a contribution to the possibility of a different (new) way of seeing things.<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bb433f8 elementor-widget elementor-widget-gavino_core_image_gallery\" data-id=\"bb433f8\" data-element_type=\"widget\" data-widget_type=\"gavino_core_image_gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<div class=\"qodef-shortcode qodef-m  qodef-image-gallery  qodef-grid qodef-swiper-container  qodef-gutter--normal qodef-col-num--1  qodef-responsive--predefined\" data-options=\"{&quot;slidesPerView&quot;:&quot;1&quot;,&quot;spaceBetween&quot;:30,&quot;loop&quot;:true,&quot;autoplay&quot;:false,&quot;speed&quot;:&quot;&quot;,&quot;speedAnimation&quot;:&quot;&quot;,&quot;slideAnimation&quot;:&quot;fade&quot;}\">\n\t<div class=\"swiper-wrapper\">\n\t\t<div 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https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/8-9-1-300x218.jpg 300w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/8-9-1-1024x742.jpg 1024w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/8-9-1-768x557.jpg 768w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/8-9-1-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/>\t<\/div>\n<div class=\"qodef-e qodef-image-wrapper swiper-slide \">\n\t\t\t<img decoding=\"async\" width=\"1920\" height=\"1392\" src=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87.jpg\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87.jpg 1920w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87-300x218.jpg 300w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87-1024x742.jpg 1024w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87-768x557.jpg 768w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/86-87-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/>\t<\/div>\n<div class=\"qodef-e qodef-image-wrapper swiper-slide \">\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1392\" src=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99.jpg\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99.jpg 1920w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99-300x218.jpg 300w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99-1024x742.jpg 1024w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99-768x557.jpg 768w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/98-99-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/>\t<\/div>\n<div class=\"qodef-e qodef-image-wrapper swiper-slide \">\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1392\" src=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113.jpg\" class=\"attachment-full size-full\" alt=\"\" srcset=\"https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113.jpg 1920w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113-300x218.jpg 300w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113-1024x742.jpg 1024w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113-768x557.jpg 768w, https:\/\/ogled.org\/wp-content\/uploads\/2023\/01\/112-113-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/>\t<\/div>\n\t<\/div>\n\t    <div class=\"swiper-button-prev \"><svg class=\"qodef-svg--slider-arrow-left\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"\n     xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\" width=\"82.1\" height=\"69.8\"\n     viewBox=\"0 0 82.1 69.8\" style=\"enable-background:new 0 0 82.1 69.8;\" xml:space=\"preserve\"><g><line x1=\"81.8\" y1=\"35.4\" x2=\"1.8\" y2=\"35.4\"\/><line x1=\"35\" y1=\"69.4\" x2=\"0\" y2=\"34.5\"\/><line x1=\"35\" y1=\"0.4\" x2=\"0\" y2=\"35.4\"\/><\/g><g><line x1=\"81.8\" 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elementor-top-section elementor-element elementor-element-1fa84d4 elementor-section-full_width elementor-section-height-default elementor-section-height-default qodef-elementor-content-no\" data-id=\"1fa84d4\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-478fd41\" data-id=\"478fd41\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-efcf6f6 elementor-section-boxed elementor-section-height-default elementor-section-height-default qodef-elementor-content-no\" data-id=\"efcf6f6\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-6b2f758\" data-id=\"6b2f758\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-88c1d61 elementor-widget elementor-widget-text-editor\" data-id=\"88c1d61\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<strong><span style=\"font-size: 18pt;\">CONTENT:<\/span><\/strong><br>\n\n5-7<br>\n<strong>Anica Tucakov<\/strong><br>\n<strong>From EYE TO I to I TO EYE<\/strong><br>\n\n8-15<br>\n<strong>Jovan \u010ceki\u0107<\/strong><br>\n<strong>The Art of Multitude<\/strong><br>\n\n16-17<br>\n<strong>Artist Profile<\/strong>\n<strong>Igor Simi\u0107<\/strong><br>\n\n18-29<br>\n<strong>Igor Simi\u0107<\/strong><br>\n<strong>Notes on multimedia montage<\/strong><br>\n\n30-31<br>\nA Brief Guide: Art Institutions<br>\n<strong>Museum of Contemporary Art Belgrade<\/strong><br>\n<strong>Museum of Contemporary Art of Vojvodina, Novi Sad<\/strong><br>\n\n32-39<br>\n<strong>Mario Kopi\u0107<\/strong><br>\n<strong>From the good life to the bare life<\/strong><br>\n\n40-41<br>\n<strong>Artist Profile<\/strong><br>\n<strong>Zoran Todorovi\u0107<\/strong><br>\n\n42-49<br>\n<strong>Mi\u0161ko \u0160uvakovi\u0107<\/strong><br>\n<strong>Unavoidable antagonisms of three biopolitics<\/strong><br>\n\n50-53<br>\n<strong>Zoran Gaji\u0107<\/strong><br>\n<strong>An Undistilled Critique<\/strong><br>\n\n54-63<br>\n<strong>Nikola Dedi\u0107<\/strong><br>\n<strong>The other line and the Yugoslav &#8216;third way&#8217;: the birth of the new artistic practice in the era <\/strong><strong>of market socialism<\/strong> (1965-1974)\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-e3e9ae0\" data-id=\"e3e9ae0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ab7a678 elementor-widget elementor-widget-text-editor\" data-id=\"ab7a678\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t64-65<br>\nFormer Artist \/ Researcher Profile<br>\n<strong>Goran \u0110or\u0111evi\u0107 \/ Gregor Mobius<\/strong><br>\n\n66-67<br>\n<strong>Gregor Mobius<\/strong><br>\n<strong>Visual Representation of RNA\/DNA<\/strong><br>\n\n68-73<br>\n<strong>Jelena Vesi\u0107<\/strong><br>\n<strong>Harbingers of the Apocalipse and other stories<\/strong><br>\n\n74-83<br>\n<strong>Sa\u0161a Janji\u0107<\/strong><br>\n<strong>Art as Institutional Criticism<\/strong><br>\n\n84-85<br>\n<strong>A Brief Guide: Art Events<\/strong><br>\n<strong>October Salon, Nade\u017eda Petrovi\u0107 Memorial<\/strong><br>\n\n86-95<br>\n<strong>Petar Jevremovi\u0107<\/strong><br>\n<strong>A brief apology for Light or The tale of the happy poet<\/strong><br>\n\n96-103<br>\n<strong>Goran Goci\u0107<\/strong><br>\n<strong>Biopolitics, Reality shows and Social networks<\/strong><br>\n\n104-105<br>\n<strong>Artist Profile<\/strong><br>\n<strong>Vladan Joler<\/strong><br>\n\n106-105<br>\n<strong>Anica Tucakov<\/strong><br>\n<strong>&#8220;I thought I saw convicts!&#8221;<\/strong><br>\n\n116-119<br>\n<strong>Authors<\/strong>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-8eff0f8 elementor-widget elementor-widget-spacer\" data-id=\"8eff0f8\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.21.0 - 22-05-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-29a4e81 elementor-widget elementor-widget-text-editor\" data-id=\"29a4e81\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<span style=\"font-size: 14pt;\"><strong>IMPRESUM:<\/strong><br>\n<\/span>\n\n<span style=\"font-size: 14pt;\">Publisher: NGO <strong>&#8220;Anonymous said:&#8221;<\/strong>, Belgrade, Serbia<\/span><br>\n\n<span style=\"font-size: 14pt;\">Represented by: <strong>Sandra Markovi\u0107 Milisavljevi\u0107<\/strong><\/span><br>\n\n<span style=\"font-size: 14pt;\">Editor-in-Chief: <strong>Anica Tucakov<\/strong><\/span><br>\n\n<span style=\"font-size: 14pt;\">Graphic design and layout: <strong>Monika Lang<\/strong><\/span><br>\n\n<span style=\"font-size: 14pt;\">Translation to English: <strong>Katarina Radovi\u0107, Jovan Jaki\u0107<\/strong><\/span><br>\n\n<span style=\"font-size: 14pt;\">Proofreading: <strong>Jonathan Boulting<\/strong><\/span><br>\n\n<span style=\"font-size: 14pt;\">Printed by: <strong>Slu\u017ebeni glasnik<\/strong>, Belgrade<\/span><br>\n\n<span style=\"font-size: 14pt;\">Belgrade, <strong>Autumn 2022<\/strong>.<\/span><br> \n\n<span style=\"font-size: 14pt;\">This publication is supported by the <strong>Ministry of Culture of the Republic of Serbia<\/strong><\/span>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>We are in need of a new way of seeing things We introduce our readers to the first issue of EYE TO I magazine, which is dedicated to contemporary visual art. In its structure, this number is on the borderline between a journal and a magazine. 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