Ilijana Bozic, Author at Vagon Gallery https://vagon.gallery/en/author/ilijanabozic/ Vagon Gallery Banja Luka Fri, 15 Aug 2025 13:07:10 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.3 https://vagon.gallery/wp-content/uploads/2023/03/cropped-oie_11054179oJl3NNR-32x32.png Ilijana Bozic, Author at Vagon Gallery https://vagon.gallery/en/author/ilijanabozic/ 32 32 Kustos jedan od glavnih šrafova u razvoju scene ? https://vagon.gallery/en/kustos-jedan-od-glavnih-stafova-u-razvoju-scene/ Tue, 15 Jul 2025 19:23:23 +0000 https://vagon.gallery/?p=13467   Nedostaje nam hrabrosti i spremnosti na novine i iznenđenja. To je prisutno kako u umetničkom stvaralaštvu i konceptu tako i kroz zastupanje i ponavljanje istih ljudi na sceni. U galerijskom poslu sve se gotovo uvek vrti oko nekolicine autora koji su priznati, a vrlo često dolazi do preuzimanja mladih talenata koje je neko već […]

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We lack courage and readiness for novelties and surprises. This is present both in artčand creativity and concept, as well as through representing and repeating the same people on the scene. In gallery work, everything almost always revolves around a handful of recognized authors, and very often there is a takeover of young talents who have already been discovered and recognized by someone as artists worthy of attention and investment.

These are the words of Ana Kršljanin, curator at the Štab Gallery in Belgrade, which is dedicated to the development and promotion of contemporary art. She has curated many exhibitions of interesting artists, and on this occasion we talked about her work and challenges.


According to your experience, how aware are young artists today of the role and importance of the curator in the process of creating and presenting their work?

It all depends on the kind of artist you are collaborating with. Each of us is an individual with our own attitudes and values, and that should be respected without generalization. However, I do make a general division, and in my opinion there are artists with whom collaboration is possible and represents mutual growth and satisfaction—artists who deserve your time and effort, who respect you and build a relationship for the future, inevitably contributing to both personal careers by opening up many new opportunities. On the other hand, there are also authors who should not even be considered, regardless of the kind of art they create. I can now say that I have four years of experience and approximately a hundred exhibitions behind me. That is a large number of artists I have met, a great many works I have seen, encounters and conversations I have had. Artists often do not realize that they are not represented solely by their work, even though it is the first thing we see. There are many more factors that determine whether and how we will collaborate—starting from whether they respect you and your time, how they accept your opinion and advice, the way they communicate with you, how they relate to their own work and to yours, how they solve potential problems, and how they handle unforeseen situations that can occur during the production of an exhibition—as well as numerous other factors that define the entire artist–curator relationship.

Does a misunderstanding of that relationship exist, or do you feel that the way artists perceive curatorial work is changing?

Misunderstanding is present, but we are not here to explain our role to anyone. I believe that no one should have to justify themselves or explain what they do and what their importance is in creating new artistic content and in the production or presentation of a selected artist’s work. We are here to select and discover new authors and to return to those for whom our role is perfectly clear. By that I mean authors who are collegial, open to collaboration and advice, those who respect you, your time, your experience, and your word. Successful collaboration does not depend solely on the quality of the work—it depends precisely on understanding and mutual trust, as well as on further networking, which becomes the foundation for all new projects.

Does the state understand the importance of curators in art, and what is the stance of institutions in that regard?

To achieve that, many processes need to be initiated within the systems we live in. Unfortunately, we are not even at the beginning yet. My wish is that we work on this together and ultimately reach a collective understanding of the importance and power of culture and art for a society and a nation. When that happens, the role of the curator will be perfectly clear as one of the main ‘cogs’ in defining directions and planning the development of both the local scene and the entire state strategy.

Can you give us an insight into the curator’s job and describe your typical workday?

The curator’s job encompasses a wide range of often invisible activities, including both logistical and technical tasks, as well as writing expert texts. It also involves fieldwork — visiting studios, other galleries, and museums, organizing meetings with artists, arranging transport of artworks, packing, creating presentations of works owned by the gallery, working on exhibition installations, proofreading catalogs, and designing accompanying visuals for social media. There’s communication with the audience during exhibition tours, giving speeches at openings, advising clients on which artwork is the best choice for their space, preparing documentation for foreign exhibitions or fairs, and probably more tasks I’ve forgotten. My workday varies in the number of tasks and responsibilities depending on what we are currently working on. There is no constant routine like in other jobs, but the word that best describes a curator’s work in a contemporary art gallery is 'dynamic'.

You have been working at the Štab Gallery for many years, what has been the most challenging part of your job so far?

Communication on different levels. By that, I mean with artists, other creators, the audience, and the media. Adapting the same story to various levels of interest. Also, communication with a new space where I present the idea, which is not the home gallery. Composing and creating new meanings with works that already carry meanings the artists have embedded and defined. Creating a unique mental and visual collage that offers endless possibilities, but also selecting the message and what I want to be conveyed.

What is the most recent artwork—whether an exhibition, film, book, or performance—that left a strong impression on you and made you reflect on yourself professionally or personally?

Probably the Mark Rothko exhibition at the Louis Vuitton Foundation. I remember feeling an indescribable peace and satisfaction just being there and clearly sensing the aura those paintings carry. I’m not sure how much I reflected or pondered, but I truly felt those works like never before, and it was an experience that can’t be conveyed through books or documentaries.

In which world gallery or museum could you spend days? Is there a gallery space you consider special?

I’ve never really thought much about that. There are so many places I haven’t visited yet and still need to see. I follow various galleries, and if I had to pick a particular art space, it would be Perrotin, which is actually a global art gallery made up of 12 exhibition spaces around the world. They have a very interesting concept, a distinctive selection of artists, and completely different exhibitions and works they show. All of this seems very versatile and fresh to me, and that is exactly what experts and collectors need, and what I personally consider special nowadays.

Do you read, and what is it that you pay special attention to when you’re not at the gallery?

If I’m not at my gallery, then I’m at a current exhibition, often at openings or in the studios of artists who have become friends. Honestly, I read much less than before, partly due to a lack of concentration, and partly because I don’t want to keep picking up and starting a book over again, losing the thread. I usually save reading for rest and those moments when I know I will definitely finish the book. Currently, I’m reading my favorite writer, Momo Kapor.

Foto – Kristina Simić

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Muka mi je od principa probijanja na umjetničkoj sceni https://vagon.gallery/en/muka-mi-je-od-principa-probijanja-na-umjetnickoj-sceni/ Wed, 16 Apr 2025 17:35:01 +0000 https://vagon.gallery/?p=13173 Često mi je muka od principa po kojima funkcioniše probijanje na umetničkoj sceni, jer imam zajednički utisak sa kolegama da se mnogo toga bazira na socijalnom kapitalu, promociji i kontaktima, a manje na kvalitetu radova. Tako da ljudi koji imaju dobre ideje ponekad imaju utisak kao da nemaju prostora da ih pokažu, ukoliko nisu deo […]

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Često mi je muka od principa po kojima funkcioniše probijanje na umetničkoj sceni, jer imam zajednički utisak sa kolegama da se mnogo toga bazira na socijalnom kapitalu, promociji i kontaktima, a manje na kvalitetu radova. Tako da ljudi koji imaju dobre ideje ponekad imaju utisak kao da nemaju prostora da ih pokažu, ukoliko nisu deo “ekipe”.

These words were spoken by the artist Ana Stojković, whose exhibition “Are You Tired of Breaking Through in the Art World?” was presented to the public at the Vagon Gallery. Ana Stojković is currently pursuing a PhD in Painting at the Faculty of Fine Arts in Belgrade. This exhibition attracted attention because Ana offers a completely different world of a pharmacy. Here, the medicines are not those that alleviate physical pain. For a moment, the Vagon Gallery transformed into a pharmacy where the shelves were filled with medicines with special powers – medicines offering solutions to the problems that artists struggle with daily.

That's exactly what we were talking about.

For further reading of the text, please consult your personal doctor or pharmacist…

I: You use the language of pharmaceutical products and advertisements. How does this aesthetic and linguistic strategy help in critiquing the widespread trust in instant solutions and plastic identities?

A: Well, precisely because there is widespread trust in the instant solutions offered by pharmaceutical companies, emphasizing this phenomenon helps in questioning such trust and the foundation upon which it is built.

I: You also address values that are often considered key to success in an artistic career. What are those values that, in your opinion, rarely face criticism, and why do you think this is the case?

A: Vrednosti koje su naglašene na početku razgovora, kao i ustaljeni sistemi funkcionisanja, trebalo bi da budu podložni kritici, kako bi se stvari pomerale i napredovale. Isto mislim i za umetničke radove koji podležu očekivanjima diktiranog diskursa.

I: How do you envision an alternative way of breaking through in the art world that is not based on instant solutions and mass success standards?

A: I envision it precisely through the critique of existing systems and deviation from them, lately through as much collaboration and unity as possible, and as little individualism and conformism as possible.

I: What "side effects" or personal challenges have you experienced during your artistic journey that might also be reflected in the themes you address in this exhibition?

A: Nuspojave su obavezne, raznovrsne su i mnogobrojne, slične onima koje obećavam uz lekove, a dolaze sigurno i bez njih – testirano i provereno iz ličnog iskustva i iskustva kolega.

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Društvo će, htjelo, ne htjelo, morati da bude spremno za gomilu hrabrih umjetnika https://vagon.gallery/en/drustvo-ce-htjelo-ne-htjelo-morati-da-bude-spremno-za-gomilu-hrabrih-umjetnika/ Tue, 15 Apr 2025 20:01:59 +0000 https://vagon.gallery/?p=13147 Iskustvo sa Vagonom je prelepo. Oduševljena sam načinom na koji Isidora vodi galeriju, programom, umetnicima koji u njoj rade i koji su pomogli da izložba  izgleda tako kako sam zamislila. Ova izložba je takođe početak saradnje galerije Vagon sa Šok Zadrugom čija sam članica i tome se posebno radujem, i nadam se da ćemo uskoro […]

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Iskustvo sa Vagonom je prelepo. Oduševljena sam načinom na koji Isidora vodi galeriju, programom, umetnicima koji u njoj rade i koji su pomogli da izložba  izgleda tako kako sam zamislila. Ova izložba je takođe početak saradnje galerije Vagon sa Šok Zadrugom čija sam članica i tome se posebno radujem, i nadam se da ćemo uskoro moći da uzvratimo gostoprimstvo Isidori, Katarini ili nekome od sjajnih umetnika koji su deo Vagona.

With these words, the conversation for our blog began with the artist Andreja Kargačin from Novi Sad, whose exhibition “Neugenics” was open at the Vagon Gallery in October of the previous year. We talked about the body. About control over one's own body. About perceptions and plans. Andreja is also a writer, choreographer, director, and visual artist. Through this conversation, we introduce you to this young, talented woman.

I: The exhibition you presented to the public was titled “Neugenics.” Knowing that eugenics is a set of beliefs aimed at improving the genetic quality of humans by excluding groups considered inferior, is your “Neugenics” actually a critical commentary on eugenics as an idea of controlling human existence and reproduction?

A: There is something called “liberal eugenics,” which deals with genetic engineering and attempts to distance itself from the eugenic practices of the twentieth century (such as Nazi eugenics), emphasizing that it does not have any racial or otherwise discriminatory intent. Critics of liberal eugenics agree that classifying genetically inherited traits as positive or negative based on any criteria is problematic in itself, and if something requires a footnote to distance itself from Nazism, it certainly does not speak in its favor. To me, it seems that, like most things that describe themselves as liberal, liberal eugenics is discriminatory because it is only available to the rich and privileged individuals. In this sense, “Neugenics” is a critique of both classical and liberal eugenics, but it is also ambivalent because it accepts the fact that evolution has not ended with humans.

I: You were a ballerina. We know that ballerinas are often obsessed with their bodies and everything their bodies can do. We also know that their bodies suffer because of this. How did you feel about your body at that time?

A: Meni se kod baleta najviše dopao taj dril, što uopšte nije njegova poenta. Za mene je balet bio sinonim za kontrolu. To nije svačiji doživljaj, ali balet jeste jedna zla imperijalistička dvorska umetnost koja je služila da ilustruje kako je kralj iznad običnih smrtnika, kako je savršen i nadljudski, tako da je moj osećaj uvek bio ispravan, na neki način.

I: Da li je upravo balet i taj odnos prema vlastitiom tijelu uticao na tvoje promišljanje o tijelu generalno i kako danas vidiš sebe i svoje tijelo u odnosu na taj nekada period ?           

A: Always as an instrument.

I: What does it mean to have control over our own body? Do we actually have it? Are we even aware today of our body and how our lifestyle affects it? Do we take our body for granted?

A: The work with the waste materials of the body for “Neugenics” started precisely from this question: What do I own, in a material sense, what doesn’t belong to anyone else and I don’t have to borrow or buy? This led me to the conclusion that these waste materials are the only things I truly own, because the working class does not own its body. I think we don’t think about this much and it’s not entirely clear to us.

I: We live in a world where aesthetic body modifications are more prominent than ever. Social media has brought many good things, but it has also brought negative aspects in terms of imposing beauty standards and external appearances. How do you view this social image that prescribes norms for perfect facial and body proportions? How can we free ourselves from these influences?

A: Generally, we are obsessed with individuality and the idea that personality can (and must) be bought. I find it truly disturbing how far this obsession goes, not only with physical appearance but also with being preoccupied with oneself. I believe this prevents us from living in any kind of community.

I: Can we be free in our bodies today? Can we enjoy them?

A: Of course we can, but I don’t think I can, nor am I interested in it.

I: Ti si i rediteljka, koreografkinja, vizuelna umjetnica i spisateljica što je veoma zanimljivo. Na koji način spajaš  ove različite forme umjetnosti u stvaranju  performansa i predstava?

A: Smartam da je jedino što zaista odvaja umetničke discipline tržište. Tržište vizuelnih umetnosti je dugačije od tržišta izvođačkih umetnosti i tako dalje. To nisu umetničke i suštinske razlike. Ja ne odvajam svoju umetničku praksu u različite kanale. Trudim se da se igram sa očekivanjima različitih tržišta. A što se tiče stvaralačkog procesa tudim se da prilagođavam formu ideji i sadržaju i da se ne ograničavam drugim stvarima.

I: Prošle godine dobila si priznanje Iskre kulture, na čemu ti čestitam. Smatraš li da je društvo u kojem živimo spremno da prihvati nove iskre na nebu kulture?

A: To priznanje mi mnogo znači jer sam ja na neki način neoavangardna umetnica i takvi umetnici retko dobijaju velika priznanja na počecima karijere. Mislim da naše nove generacije imaju gomilu hrabrih i neobičnih umetnika i da će društvo morati da bude spremno, htelo, ne htelo.

I: Do you write? Do you read? What occupies your attention, what topics interest you these days?

A: Besides the things I read for my projects, I am reading Patriarch's Autumn and preparing for the fall of the criminal drug cartel led by Andrej Vučić and his unfortunate brother. In addition, my current obsessions and the themes of my future works are bureaucratic trauma, the relationship between the People's Republic of China and Serbia, and artificial intelligence.

I: Is something new in the works?

A: At the moment, aside from fulfilling our civic duties, we are looking forward to a new performance at BITEF, a premiere in Subotica, new joint projects with the Šok Cooperative, and new visual works that are different from anything I have done so far.

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Maja Simišić na putu drevnih Maja https://vagon.gallery/en/maja-simisic-na-putu-drevnih-maja/ Tue, 15 Apr 2025 19:59:08 +0000 https://vagon.gallery/?p=13141 Krenula je put Meksika, ka domu drevnih civilizacija Maja i Azteka. Ima li u životu slučajnosti ? Možda i ne. Ona je Maja i krenula je u civilizaciju Maja. A Maje su vjerovale da se sve vraća, da se sve ponavlja. Krenula je sa zapada Evrope koracima drevnih do piramide Sunca, tamo gdje su Azteci […]

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She set off for Mexico, towards the home of the ancient Mayan and Aztec civilizations. Is there such a thing as coincidence in life? Maybe not. She is Maja, and she went to the civilization of the Mayans. The Mayans believed that everything returns, that everything repeats. She set out from the West of Europe, following the ancient footsteps to the Pyramid of the Sun, to the place where the Aztecs designed their pyramids according to the movement of the stars and the moon, tracking time. Yes, that’s where our Maja headed, driven by creative energy and a bright spirit eager to explore the different. She embarked and stayed for a long time.

Mexico is also the largest producer of tequila, and a true Mexican tequila would surely delight any of us on this journey of exploration, so we believe this trip was quite a challenge for Maja. And, if we also know that Mexico is one of the largest producers of coffee, it’s no surprise why someone would stay in Mexico with a good tequila and the special aroma of real coffee.

Ipak naša Maja Simišić nije toliko razmišljala o kafi i tekli, nju su zanimala beauty pravila po kojima neko bira najljepšu ženu i nameće pravila koja bi žena trebala da ispoštuje da bude najljepša na svijetu. Prastara potreba žene: Ogledalce, ogledalce. Ko je naljepši na svijetu ?

E Maja je krenula iz Holandije, iz Amsterdama da istraži Miss Universe prestižni međunarodni izbor za ljepotu a mi vjerujemo da joj je istraživanje bilo lakše uz tekilu. Ipak, moramo napomenuti da je Maja istražujući svoje korijene u Bosni i Hercegovini i ukazujući na klasne probleme i pitajući se može li Bosna da bude opet seksi kao nekad  napravila je izložbu Make Bosnia Sexy Again kojom je oslobodila svoje strahove ukorijenjene stavovima o životu žene na našem prostoru. Borila se sa onim što je ženi na našem prosotu nametnuto od malena i ovom izložbom oslobodila se svojih trauma. Njena postavka Make Bosnia Sexy Again  u Galeriji Vagon bila je predstavljena publici tokom avgusta i septembra 2023. godine.

While exploring the cities of Bosnia and Herzegovina, Maja named her research “Miss Diaspora,” and the people she spoke to on her travels truly believed there was a "Miss Diaspora" competition. Then Maja realized that she had to create that beauty contest. To understand how this competition works, she headed straight to a country that has had a significant impact on the history of the "Miss Universe" competition, a country where their representatives have won this title several times. Mexico has a strong tradition in the "Miss Universe" competition, and the Mexican audience is very passionate in supporting their contestants.

 

In Mexico City, she spent two weeks following the competition, then continued her journey to Veracruz, Oaxaca, and Chiapas. Simply put, she traveled through Mexico from top to bottom. This journey led her to stay on Mexican farms, exploring life, people, and finding inspiration for her own work. This is the life of Maja Simišić, in which she truly delights.

Talking with Maja about Mexico, their lives, and the art scene, she told us that living in Mexico is incomparable to Europe. In the following text, we reveal why.

MEXICO

Govoreći o razlikama Maja se prvo osvrnula na odnos muškaraca prema  ženama.

“One big difference I noticed between Mexico and Europe is how men treat women. In Mexico, men are real gentlemen. They open car doors, store doors, they are generally more considerate toward women than in Europe. They behave gentlemanly every day, not just when they go out with a girl or woman on a date or for coffee. Simply, in Mexico, there are many well-mannered men. Also, if they like you, they won’t be shy; they are direct. They will immediately ask if you have a boyfriend and confess that they like you. That was something completely new for me, especially after so many years living in the Netherlands, where everyone is much colder emotionally,” Maja told us.

U Meksiku je sasvim normalno da nedjeljom ljudi ponesu zvučnik i da na ulicama plešu i pjevaju.

“Dancing is a very important part of their lives, especially salsa, but also other Latin American dances. It was all new to me. I was surprised when I came and saw so many people dancing. I asked if it was a wedding, but the answer was no. People simply meet on the street and dance. It’s really beautiful,” Maja explained.

However, like any other country in the world, Mexico also has its share of problems, or as they say, the other side of the coin. On that other side is a significant class divide among people. As Maja shared with us, in Mexico, there are many wealthy people who send their children to study in America and simply have a lot of money.

“On the other hand, there are many poor people I saw on my travels, which isn’t as visible in Mexico City, but in rural areas. In these rural areas, there are families with many children, but they don’t have the money to send them to school, or it’s not part of their culture to send them to school. And so, those children don’t learn to read and write, because in the countryside, they consider it unnecessary. If you’re going to work on the farm, you don’t need it. What you need is to not be afraid of animals and to accept a survival style. I saw this firsthand on the farms where I volunteered,” she said. 

Continuing to talk about her experience on the farms and in the Mexican villages, Maja said she found the countryside very relaxing.

“I chose the farms because it’s a way of traveling that’s authentic, unlike touristy trips where you go from city to city and don’t meet the people who live there or experience the culture of the city, only other tourists. That’s terrible to me. I like to stay in one place for a longer period and meet the people who live there and talk to them,” Maja explained.

Everything Maja does in her private life sparks inspiration for her new works, and whether she wants it or not, this inspiration simply happens. Maja is currently preparing for a residency in Iceland, which she will undertake in September, where she will explore — Working with long nails.

"On a farm in Mexico, I learned how to milk a goat, which I would love to continue doing in Iceland as part of this art project. Generally, interactions with people who live on farms are pleasant. You learn a lot of things, such as milking cows and goats, but also a lot about plants. Their everyday life is mostly very hard. They wake up at 6 a.m., because by noon the sun is too strong to work. Then, they take a break and continue working in the evening. These work habits are something I would like to continue," she added.

Speaking about the themes she plans to bring from the Mexican farms to her work, she will establish a parallel between rural and urban life, with a special focus on the project — Working with nails.

"It’s a huge inspiration for me because the project deals with the practicality of beauty standards. The real question is: How practical are artificial nails in daily life? So far, I’ve worked on how practical these nails are in everyday work in the city, and now I want to focus on the question: How would this big beauty standard, like artificial nails, function in the countryside? Is it practical in rural work? Is it even possible? This is a concrete topic related to farms that really inspired me," Maja told us.

THE ART SCENE OF MEXICO

Prema riječima naše konceptualne umjetnice umjetnička scena u Meksiku je skroz luda i raznolika. Čak je umjetničku scenu Miksiko Sitija uporedila sa srpskom scenom u Beogradu jer je pronašla dosta sličnosti.

– Dosta me njihova scena podsetila na srpsku. Velika razlika Meksika i Srbije u odnosu na  Holandiju je da u Holandiji postoje i privatni i državni grantovi za koje jedan umetnik može da se prijavi. Od tih grantova umetnik u Holandiji može da živi. Holandija takođe, daje i grantove koji se odnose na projekte koje treba da uradiš da bi dobio novac.  U Meksiku to ne postoji kao što ne postoji ni u Srbiji, ali to idalje ne sputava umetnike da stvaraju. To je teži način bivstvovanja, ali je jako zanimljivo da ljudi uvek mroaju da stvaraju sa novcem  ili bez njega oni stvaraju. Sasvim drugačija priča je u Holandiji. Tamo umetnici čekaju da dobiju pare da bi nešto stvorili i često neće da rade ako nemaju nikakav iznos novca za to. U jednu ruku to je fer s te biznis strane, ali s druge strane tu je dosta umetničke slobode sputavano, jer konstantno čekaš novac i te prijave  za  grantove. Ti onda to pišeš tako da bi se to svidelo tim ljudima koji će ti dati novac umesto da budeš iskren. To je velika razlika-objasnila je Maja.

Talking about art in Mexico, she told us that the most interesting themes and styles of modern artists deal with colonial topics. This is very interesting because Mexico has art from before the arrival of the Spaniards and art from after their arrival.

"There are the pre-Spanish Mayan and Aztec cultures, which were mind-blowing in a positive sense. There’s the art from after the arrival of the Spaniards who colonized Mexico and brought their style, trying in the worst possible way to destroy their culture, people, and language. It's very interesting and sad. Many artists focus on those styles and the aesthetics that existed before colonization," Maja said.

We also learned from Maja that Mexico City has a lot of private art museums, which are used for money laundering. According to her, these museums are beautiful, with very high-quality works, and no one would ever suspect that they are private museums.

"However, it turns out that in Latin America, it's normalized for rich people to build a museum and launder money through art. I find that very interesting," she said.

Mexico is famous for street art, murals that were popular during the time of Frida Kahlo and her Diego.

"Murals were already popular back then, and there are still many artists doing murals in Mexico City. They use spaces to express their creativity, which is beautiful. I think people view art similarly to how it's seen in Serbia and Bosnia, where there are many people in the industry who will attend openings. But it's the same circle of people, and there aren't many people at exhibition openings who work in other fields. I think that's the same everywhere in the world, where art is still something abstract, and people don't have time for it," Maja concluded.

Maja’s experience is truly unique and certainly valuable to us. We eagerly await the continuation of her story in Miss Diaspora and her research on Working with Nails in Iceland.    

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To je samo jedan Vagon https://vagon.gallery/en/to-je-samo-jedan-vagon/ Tue, 15 Apr 2025 19:28:12 +0000 https://vagon.gallery/?p=13120 Dok sam tog junskog jutra prije tri godine sjedila u redakciji i uz prvu kafu prelistavala portale i stranice dnevnih novina iz regiona tražeći zanimljivosti-teme, iščitavajući dnevne vijesti naišla sam na zanimljivu vijest. Pisalo je: U Banjaluci otvorena Galerija „Vagon“ performansom „Nekad me zovu Ribom“ umjetnice Isidore Branković.  Da, pisalo je performans „Nekad me zovu […]

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Three years ago, on a June morning, while sitting in the editorial office and browsing through websites and daily newspapers from the region with my first coffee, looking for interesting topics, reading the daily news, I came across an intriguing story. It said: "The 'Vagon' Gallery opened in Banja Luka with the performance 'Sometimes They Call Me a Chick' by artist Isidora Branković." 

Yes, it said: the performance "Sometimes They Call Me a Chick" at Branka Ćopića Street 13, Lamela I. Ah, that’s Borik, I thought, near Vespa. I started to research what it was about, and that’s how I got in touch. Along with the performance, her exhibition "Cry of the Day-Players" was also open. It didn’t take long, and with my colleague Velja, a photographer, I arrived at "Vagon", where the young artist Isidora greeted us, telling us about her dreams, the creation of the gallery, the idea, and the performance itself. She exuded a vibrant energy. It all sounded very interesting to me, as something completely new in our city, something that would open doors for young artists, something that would spark a conversation about the alternative scene, and the idea that artists can live off their art. Isidora left a strong impression on both me and my colleague. We commented that it was a good story, I wrote the article, and it was published on June 24, 2022, in the oldest daily newspaper in Bosnia and Herzegovina.

That’s how the story with "Vagon" began. Following the events, I saw the announcement for the next exhibition that took place at the beginning of July that year, and it was "Long Live the Booze" by artist Danija Mihić. Veljo and I, once again, found ourselves in the "Vagon" space, and over a pleasant conversation with Danijela and Isidora, we talked about this exhibition while having coffee.

At that time, I couldn’t have imagined that I would be writing this text that would appear on the gallery's page. I couldn’t have envisioned anything like that at that moment, nor could I have thought that soon Isidora and I would be traveling for her exhibitions across Serbia to Slovenia. I hadn’t thought about it, but since that June of 2022, I, with my notebook and recorder, and Veljo with his camera, became regular guests at the gallery.

In July 2022, the "Performance Days" followed at the gallery, bringing together four performances. These were the performances "I'm Just Getting Ready" by Galina Mitrović, "A Little Bit of Green" by Nikola Tomić, "Card Is Missing 05/24 Mov", and "Can You See Yourself Between the Lips" by Isidora Branković. All of this was something entirely new in our cultural scene, something quite interesting, intriguing, and provocative. A single vagon (wagon) flashed, shaking the city like an earthquake. But it was just one vagon, occupying a place on a track that was pretty long. At that time, I couldn’t have imagined that I would enter that vagon myself. Listening to Isidora and the artists talk about the performances, I couldn’t have imagined that, three years later, I would find myself in one. I didn’t know that I would sit in the vagon. I really couldn’t have imagined that. However, the gallery somehow quietly became part of all of us who moved around it. It became an exciting anticipation for each upcoming event in the "Vagon", a new inspiring conversation with some of these young people hungry for opportunities. Different ones, eager to create. Every encounter with Isidora sparked that driving energy, the kind that can move mountains. And so, the gallery became part of all of us, part of the track. Nestled in Branka Ćopića Street, in Lamela I, beside the Russian temple under construction, it became a gathering place for all of us. Even though Isidora had concerns about the neighbor who wanted to open a café called "Russian Train" next to the Vagon, that Russian train didn’t disrupt our track. 

Waiting for the next event, I also followed the exhibition "F603, maybe, kanske, maybe" by Irma Beširević, and then "Mamasitu" by Tajana Dedić Starović. We published all of it in the traditional "Glas" newspaper. It was strange to many, but there weren’t many comments. Just astonishment. Of course, we knew how to replace photos that were too revealing with ones that were more acceptable. But it worked out. Writing about it was truly a pleasure. Finally, something was happening. Then followed the exhibition "Simulation of Ease" by Ognjen Milošević, and then the performance "Everybody out there all free" by Isidora Branković. Meanwhile, at the gallery, there were ongoing conversations between artist Isidora Branković and curator Jovana Trifuljesko, discussing the interesting relationship between curators and artists. The first year of work ended with the exhibition "On the Target" by Nikola Tomić.

In the following year, 2023, the gallery opened its doors in March with ARTIST TALK discussions, where Professor Borjana Mrđa, artists Irma Beširević, Ognjen Milošević, Tajana Dedić Starović, Aleksandra Kuzmanović, Nikola Tomić, Milena Ivić, and curator Isidora Banjac spoke. The topics ranged from the position of young artists, the challenges they face, contemporary painting, the importance of photography as a medium, the status of artists in Sweden, the importance of promoting art pieces, to collectors' awareness and the challenges curators encounter.

Opening step by step the story about important topics, it was time for the story about stepping out of the comfort zone. I read the announcement for the exhibition, and it said: On May 12th at 7 PM, the true story of the discovery of Sonja Savić begins at "Vagon." Of course, I couldn't wait to go there and talk to Sonja. It was the exhibition "The True Story of the Discovery," through which the artist spoke about psychotherapy in a unique way.

June started, and the topic for writing in the daily newspaper was running out. I was flipping through social media, looking for events when I came across a post that read: "Exclusive surprise coming directly from one of the most famous artistic families, the Željko Mitrović family." Of course, this surprise is happening in "Vagon." I was thrilled and called Isidora to arrange an interview with the artist Galina Mitrović so we could write a piece about the "Exhibition of Željko Mitrović's daughter." Isidora was excited and quickly connected me with her, and the lines started to be written. The editors of "Glas" were reading it, commenting that it was interesting, Željko Mitrović's daughter. A good twist, and so on...

After that, in 2023, the exhibitions "Ringe ringe raja" by Dajana Ćuk and "Make Bosnia Sexy Again" by Maja Simišić marked the year. Well, Miss Diaspora came to Banja Luka from the Netherlands, but before that, she passed through Drvar. Maja is amazing, full of ideas, bursting with energy. Now, the colleagues in the editorial office can't stop commenting. They say, "What’s that page with the woman in boots and a dress, holding a rake near a haystack?" Some ask how such a thing makes it into the daily newspaper, while others mumble, "What’s that again in culture, always these topics, God help us." I see the articles are being read, the comments don't stop, the story is being told... Nothing strange, it’s "Vagon," the culture section in the newspaper, nothing special, nothing serious...

Then, in September 2023, Isidora opened her exhibition "Lizard's Tail," questioning what a lizard might think about all the important identity issues we carry and which ones we are willing to discard by accepting another.

By the end of 2023, exhibitions "Aljeks II" by Aleksa Jovanović, "Woman with Coffee-Colored Hair" by Aleksandar Rakezić, both from Belgrade, were also opened. The year closed with the exhibition "Face" by Denis Haračić from Sarajevo.

It's the end of December, and the gallery continues to operate despite everything. We’re closing out 2023. Isidora and I are sitting in "Vespa," and she emphasizes the importance of collector awareness, the awareness that artists should live off their art, that this is the direction we need to move towards, to wake up to. She says the key sentence: "Artists are as necessary as lawyers." She continues to explain, and I think, "Bravo, Isidora, here’s the headline." And that’s how it was; it became the headline, and it even appeared on the front page of "Glas" on December 4, 2023.

The new season in the gallery began in March 2024 with the exhibition "Feasibility Studies" by Nikola Kekrović. It was a great exhibition, perfect for the start. Then, artist Katarina Aćimović presented "Fish", and May was marked by the exhibition "Abuse of Office" by Aleksandar Milošević. This was a sensation. Next to the gallery, there was no "Russian Train" café, and we hope it won’t be, but when I arrived at the opening of this exhibition, symbolically on May 9th, Lamela I was bursting with Krajina music, while the exhibition tackled serious questions of survival and labor.

In June, the exhibition "Vrela" by Marijana Đaković opened, along with "Sex and Politics" in collaboration with DKC Incel, and "Land of Mine" by Irena Pejčić. In October, artist Mathieu Hendrickx performed his work. The end of the year was marked by the exhibitions "Neugenika" by Andreja Kargačin, the guest exhibition "Family Photography" by the artists of "Vagon" at the "Štab" gallery in Belgrade, and the exhibition "Almost Every Night" by Sofia Pavković from Belgrade.

However, the end of 2024 was particularly special for me. Together with Isidora, Vanja Gajić, Una Filipović, and Anđela Rakočević, I performed "Summoning the Light" at "Vagon". It was truly a summoning of light, an incredibly unusual, different, and special experience. A real cleansing, even though many called us a cult. Kružo was shocked, but we were purified. It was beautiful. The official closure of the year at the gallery was marked by the exhibition "Blue Harmony" by artist Edina Kožljak.

"Vagon" summons light, shocks, tells stories, connects people, connects the unconnectable. And it's just one wagon.

 

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Ulaz slobodan – dobrodošli u Vagon! https://vagon.gallery/en/ulaz-slobodan-dobrodosli-u-vagon/ Tue, 15 Apr 2025 19:08:24 +0000 https://vagon.gallery/?p=13104 Otvaramo vam vrata “Vagona” i zato ne čekajte, nego na vrijeme  kročite s nama u naš vagon snova i ideja. U stalnoj smo vožnji ka novim stanicama i spoznajama, a svaki događaj koji nam se dešava je eksplozija  kreativnosti. Pišemo vam otkrivajući naše umjetnike, stremljenja i snove. Pišemo vam o energiji, prenosimo priče mladih, talentovanih […]

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We’re opening the doors of “Vagon” to you – so don’t wait, step into our wagon of dreams and ideas on time. We're on a constant ride toward new stations and discoveries, and every event is an explosion of creativity.

We write to you revealing our artists, aspirations, and dreams. We write to you about energy, sharing the stories of young, talented artists who want to create in a better world — who want to awaken the consciousness of society and finally reach the point where they can live from their work.

We write about them, about new events, new exhibitions in the gallery, and everything that shapes the cultural scene today. We live in turbulent times, again, because every generation in the Balkans must go through such a period. Still, our train is ready to head toward a better life, and we will write to you about all of this on our blog. About influences, time, social and psychological life, and all the events that affect us and influence the creation of art.

We will be your guide on the waves of new ideas, raising questions, providing answers, and awakening inspiration.

Follow us, because every month we stop at a new station, and these are moments you don't want to miss!

 

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