Andando in ufficio, mi è caduto l’occhio su un dazebao, in cui si ricordavano gli anni Settanta: correndo dietro alla navetta, non ho fatto in tempo a leggerlo tutto.
Però, mi ha colpito lo slogan che usava come titolo
Senza Memoria non c’è Futuro
che individua in pieno uno dei drammi della contemporaneità, la scomparsa del ricordo condiviso, su cui fondare una riflessione critica sul Presente e sui modelli di sviluppo e crescita della propria Società.
Scomparsa che è cominciata con il Postmoderno, che, con la negazione dell’Idea di Avanguardia, ha reso inutile i concetti di Tempo e di Divenire, cancellando il valore delle mappe mentali con cui li costruiamo nella coscienza del Singolo e della Comunità e che è culminata nel nostro mondo cyberpunk, in cui il virtuale ci ha imprigionati in un Presente tanto eterno, quanto fugace.
Per cui la Memoria è diventato un concetto evanescente, continuamente cancellato e riscritto, secondo le esigenze contingente: non solo dal Potere, come previsto da Orwell in 1984, ma anche dal singolo, per giustificare i suoi egoismi e fallimenti.
Basti pensare, per esempio parlando del piccolo e del concreto, a come gentrificazione dell’Esquilino abbia sostituito al Rione reale e problematico degli anni Settanta e Ottanta, uno idilliaco, da set di Happy Days, per chiedere una politica di esclusione nei confronti dei poveri e dei disadattati.
Per cui, a questo punto, il compito dell’Arte e della Narrativa è anche combattere a difesa della memoria, non per puro conservatorismo, che di fatto è il volere difendere a tutti i costi gli errori del Passato, ma per mantenere la coscienza di chi siamo.
Nina Todorovic, con la sua fotografia, che è un’archeologia della memoria urbana di Belgrado e della Serbia, fa proprio questo. E la sintesi di questa lotta contro il Nulla, sarà esposta dall’otto giugno al Museo di Arti Applicate di Belgrado, città che prima o poi riuscirò a visitare…
Solo exhibition of Nina Todorović
Mapping of Deconstruction
8th June – 28th June, 2017
Opening ceremony: Thursday, 8th June, 2017, at 7 p.m.
Exhibition curator: Slobodan Jovanović
Organiser: Museum of Applied Art, Belgrade
Nina Todorović’s exhibition Mapping of Deconstruction held at the Museum of Applied Art represents the continuation of the research that this artist has been developing within the project Architecture of Memory and that she has displayed in several gallery spaces in Serbia and the region. What characterises the entire work of Nina Todorović is an evolutionary continuity which generates links among her earlier artworks, and leads us to new areas of research featuring the development of this artist. The starting steps in the creation of the project Architecture of Memory coincided with the beginning of the transition period in Serbia in the 2000s. Changing of the city’s structure and its appearance, mostly the urban core of Belgrade, expansion of the existing facilities, and uncontrolled and unplanned construction of new residential buildings created the context in which Nina Todorović was moving at the time – context that has not disappeared, but still makes the starting point of her artworks.
At the exhibition Mapping of Deconstruction, the artist records the imprints of demolished, missing houses, not only in Belgrade, but also in other towns in Serbia, by means of digital images as the starting medium.
Each exhibition of Nina Todorović actively includes exhibiting space so that the works are perceived not only as exhibits, but primarily as conceptual wholes with the characteristics of art installations. Thus, each spatial segment in the Museum of Applied Art is designed as an ambient event, where windows are also used as active exhibiting places that are in dialogue with the exhibited photographic works. The artist very thoughtfully directs the visitor’s moving through the exhibition. Firstly, she presents him/her the large-format digital prints of the façades directly mounted on the walls of the room hosting frames and transparent foils with the motifs of maps placed on windows. Then, the visitor enters the room hosting original photographs surrounded with the prints modified by a glitch generator, printed on aluminium, in order to take him/her, through the passage of the artist’s works created in mixed media by manual interventions with acrylic paints, under the title Nefelomanzia, as well as through the collages titled Architecture of Memory (Deconstruction), to the next segment composed of several ambient installations. There is also the installation composed of plexiglass pieces titled Pattern Recognition (Deconstruction) through which the visitor moves, and where each point reveals a new chaotic situation. In the installation Life’s a Glitch (Deconstruction) the visitor meets with an imaginary, holographic, three-dimensional space resembling the ghost made from the photographs of the demolished houses’ imprints, modified by a glitch program. A glitch is a fault or a short-lived, transient error in a system, which usually corrects itself, and is therefore difficult to detect and troubleshoot. Inspired by the function, place and symbolic meaning of this phenomenon, many artists have created the works which incorporate a glitch in different manners. Installation Decoding of Altered Memory is composed of a long line of binary codes printed on the several-dozen-meter-long strips hanging from the ceiling.
The essence of Nina Todorović’s work still adheres to the phenomenon of memory and research presented in a completely new manner. Using a trans-disciplinary approach in the manner of documenting, Nina perceives the past, present and future, in which neither an individual nor a collective are marginalised, but in which they have an active social role.
Nina Todorović was born in Belgrade, in 1973. In 1999 she graduated from the Faculty of Fine Arts, Department of Painting, class of professor Čedomir Vasić, and continued with the post-graduate studies in the same class. In 2002 she finished post-graduate studies, Master’s Degree. In 2014 she obtained her doctoral degree in art, at the Faculty of Fine Arts, Belgrade (mentor professor Mileta Prodanović, D.A.). Since 1995 she has been actively exhibiting her artworks, and so far she has had 42 solo shows and participated in more than 200 group exhibitions and numerous art colonies, workshops and web projects in Serbia and abroad (Canada, Belgium, Hungary, Macedonia, USA, Slovenia, Estonia, Germany, Italy, Switzerland, Russia, Sweden, Great Britain, Australia, Uruguay, Argentina, Egypt, France, and Austria).
Since 2000 she has been a member of the Serbian Association of Artists (ULUS), having the status of a freelance artist.
MUESUM OF APPLIED ART, 18 Vuka Karadžića Street
Opening hours of the Museum and its shop: Tuesday – Saturday, 11 a.m. – 7 p.m.