Starting from the common curatorial concept of Serbia’s project Self(up)bringing, the work SEE/SAW explores the construction of a community and society through the creation of an individual and himself.
Seesaw represents an element from a children’s playground that functions through the involvement of at least two people who are in a relationship of strong dependence and counterweight which produces the action. As a wordplay, See (present tense) and Saw (past tense) represent encounters of various experiences that affect the self-(up)bringing process, opening the question “Who am I?”, “Who was I?”, And “Why I’m still transforming? “and “How is the world transforming around me?“.
Every segment of our being and our environment is susceptible to constant change. Continuous change faces us with the time we left behind, as well as with the one that follows. In reflective objects of the environment that can be one’s eyes, we become aware that the child’s appearance becomes a memory. Often, we forget everything that has built us, but in an encounter with the familiar, it is possible to bring it back.
The game as a research element has been for a long time unjustly expelled from the process of creation in numerous artistic practices. This phenomenon is on the one hand counterintuitive, if we consider that a great percentage of art today is purely intellectual creation – and in all research, and therefore intellectual research as well, the game is an irreplaceable starting point for discoveries. In all spheres of work, and particularly in art, the most powerful results come from the complete abandonment of work, so the boundary between “serious” work and the child’s playfulness is completely voided. Work and play become one and the same thing.
Presenting Organization Museum of Applied Arts, Belgrade; Faculty of Technical Sciences, University of Novi Sad; SCEN – Centre for Scene Design, Architecture and Technology (OISTAT Centre for Serbia); Programme Council: Ljiljana Miletić Abramović, Tatjana Dadić Dinulović, Slobodan Danko Selinkić, Milica Cukić and Dobrivoje Milijanović; Comissioners: Ljiljana Miletić Abramović and Tatjana Dadić Dinulović
Curator Romana Bošković Živanović
Curatorial Team Deneš Debrei, Milena Kordić, Zora Mojsilović Popović, Andrija Pavlović, Mirko Stojković
Artists Lara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac, Aleksandra Vučković
Team Project Manager – Aleksandra Pešterac; Assistant Project Manager – Bojana Nikolić; Production Manager – Andrija Dinulović; Mentoring Team – Selena Orb (alias Darinka Mihajlović), Draško Adžić, Dragana Vilotić; Exhibition Consultant – Pavle Dinulović; Production Team – Aleksandra Lozanović (Executive Production), Janko Dimitrijević, Neda Šorak Krndija, Anđa Brstina; Technical Production Team – Serbian National Theatre, Novi Sad; Vladimir Savić (Technical Production Manager), Igor Ljubić, Milena Grošin, Nađa Vukorep; Technical Production Supervisor – Vladimir Ilić; Technical Elaboration – Vladimir Savić, Igor Ljubić, Milena Grošin, Nađa Vukorep; Serbian Catalogue Graphic Design & Pre-press – Mia David; Serbian Catalogue Production – Bojana Nikolić; Photo Team – Nemanja Knežević (Manager), Ivanino DeVillano Đukić, Staša Vučetić
Partners Supported by Ministry of Culture and Information of the Republic of Serbia