FRAGMENTI | FRAGMENTS

Vladimir Rankovi}

FRAGMENTIFRAGMENTS

Galerija Narodnog muzeja Kragujevac // Gallery ofNational Museum Kragujevac

Galerija SKC, Beograd // SKC Gallery, Belgrade19–27. februar 2015. godine // February 19–27, 2015

Vladimir Rankovi}

FRAGMENTI // FRAGMENTS

Neveni – prvi Fragmenti prona|eni su u i{~ekivanju da bude ro|ena, poslednji Fragment njen je prviTo Nevena – first Fragments were found while anticipating her birth, the last fragment being her first

Ne de{ava se ~esto da umetnik sa sigurno{}u zna ta~an trenutak po~etkarada na umetni~kom projektu. Prilago|avaju}i svoj intimni prostor predsto -je}oj velikoj, ìvotnoj promeni, Vladimir Rankovi} je, 7. decembra 2012.godine, u 10:40 ~asova, sasvim slu~ajno na{ao komad tapeta, godinamaskriven te{kim komadom name{taja. Bri`ljivo skinut sa zida, taj komadotkrio je jo{ jedan sloj dekorisanja, povla~e}i sa sobom lan~anu reakcijuse }anja i emocionalne povezanosti umetnika sa prostorom u kom je proveonajve}i deo svog ìvota. Usledilo je traganje za delovima pro{lih vremenai njihovo nalaènje kao ostataka fotelja, kreveta, posteljine, posu|a… Svakikomad pri~ao je pri~u, li~nu, lirsku, na trenutke setnu, pri~u o dragim bi}i -ma koja su obeleìla i koja obeleàvaju umetnikovo postojanje.

Vladimir Rankovi} je svoje umetni~ko istraìvanje posvetio odnosusubjekta i prostora. Prostor, privatni/javni, stalni/privremeni, uti~e na su -bjekt i menja ga. Subjekt gradi i razara, menja prostor u kojem boravi,pri lago|ava ga sebi. Interakcija sa prostorom okupira umetnika i odre|ujenjegovo delovanje koje se ispoljava kroz vizuelne bele{ke, fotografije, de li -mi~ne rekonstrukcije… Najvi{i nivo autenti~nosti u odnosu subjekt – pro -stor, Rankovi} nudi posmatra~u upravo svojim Fragmentima. Delimi~no ili

potpuno zapu{teni, odba~eni, Fragmenti, ~uvaju i reflektuju njegova se -}a nja, pruàju presek vremenskih intervala pro{losti. On ih ne ulep{ava,ne popravlja, on ih izme{ta, konzervira i predstavlja. Njihov broj je ogra ni -~en uspehom traganja, njihov izgled je zate~en, odre|en zaslugom drugih,a Rankovi} ovde „ni{ta ne stvara“, ve} je tu da, kako sam veruje, „po sloì,pri kaè i ukaè na postoje}e, da ne{to uobli~i i eventualno ga refor mu li {e“.1

Posmatra~ moè prepoznati mustru, cvetove na posteljini, moè se prise -ti ti istog takvog tanjira kojim se u jednom trenutku sluìo, jer svako vremeima svoju uniformnost, ali kada se Fragmenti istrgnu iz prvobitnog kon -te ksta i obo je uspomenama, sanjarenjima i nostalgijom, oni dobijaju novuulogu – po staju dnevni~ki zapisi, posrednici izme|u pro {losti i sa da {njo -sti, ~uvari se}anja…

Blisko Ba{larovoj misli i zapitanosti „moè li se kroz uspomene na sveku}e u kojima smo nalazili uto~i{te […] izdvojiti intimna i konkretna su -{tina koja bi bila opravdanje neobi~nog valera svih na{ih slika za{ti}eneintimnosti?“,2 izlo`bom Fragmenti, Vladimir Rankovi} nudi poetiku pro-stora, svog prostora, evociraju}i posmatra~eva uspavana/probu|ena se -}anja, na neke sopstvene biv{e/sada{nje prostore.

1 Anet Mesaè, Re~ za re~, 2006.2 Gaston Ba{lar, Poetika prostora, 1958.

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FRAGMENTI

Irena Kneèvi}

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It is not often the case that an artist can pinpoint with certainty the exactmoment in which an artistic project commenced. It was on December 7in 10:40 am that, by pure chance, while refurnishing his personal spaceto suit the forthcoming, great life-changing event,Vladimir Rankovi} stum-bled upon a piece of wallpaper, eclipsed for years by a heavy piece of fur-niture. After being carefully taken down from the wall, the piece revealedyet another layer of decoration that set off a chain reaction of memoriesand emotional connectedness between the artist and the space in whichhe has spent the greatest part of his life. What followed was a search forfragments of times past, which were indeed found in the form of residue ofarmchairs, beds, linen, dishes… Each piece had a personal, lyrical andat times wistful story to tell about the loved ones who once marked theexistence of the artist and who still do so.

Vladimir Rankovi} has dedicated his artistic research to subject – spacerelationships. This space, both public and private, permanent and tempora-ry, influences the subject and alters him. The subject builds and destroys,re works the space he inhabits, tailors it to suit his own needs. The artist isimmersed in his interaction with space which in turn determines his actionsand manifests itself in the form of visual notes, photographs, partial recon-structions… It is precisely through his Fragments that Vladimir Ranko -vi} offers the highest degree of authenticity in a subject – space relations-

hip to a viewer. Partially or completely neglected and abandoned, theseFragments preserve and mirror his memories; they offer a cross-section ofepisodes from the past. He neither embellishes nor restores them; insteadhe conserves, dislocates and exhibits these fragments. Their numbers arelimited by success of the search; their appearance is exactly the same aswhen first found, defined by and credited to someone else; Ranko vi}''doesn't create something'' in this case, but instead, as he himself belie ves,he is here ''to sort through, to show, to point out what already exists, to putit into form and sometimes reformulate it''.1 The viewer may recognize thedesign, the flowery linen, might recall to mind the same plate that he him -self once used, since each time has its uniformity, but once Fragmentsare removed from the original context and colored by memories, dreamsand nostalgia, they are assigned a new role – they become diary entries,mediators between the present and the past, guardians of memories…

Along the lines of Bachelard's notion and query of ''whether we cantranscend our memories of all the houses in which we have found shelter[…], whether we can isolate an intimate, concrete essence that would bea justification of the uncommon value of all of our images of protectedintimacy?'',2 in his exhibition Fragments, Vladimir Rankovi} offers a poeticsof space, his own space, thus sparking the viewer's dormant/alert memo-ries of some on his own former/current spaces.

1 Annette Messager, Word for Word, 20062 Gaston Bachelard, The Poetics of Space, 1958

FRAGMENTS

Irena Kneèvi}

Najstarije, maglovito se}anje (sredina sedamdesetih)Kragujevac, Borisa Kidri~a 2/33, soliter B

Postojao je krevet sa koga se pruào pogled na prostranstva kuhinje, i, uzkrevet, tri fotelje.

The Oldest, Vaguest Memory(Mid-seventies)Kragujevac, Borisa Kidri~a 2/33, high-rise B

There was a bed which commanded a view of the vast expenses of thekitchen, and next to the bed, three armchairs.

Ono {to nas je do~ekalo (1977. godina)Kragujevac, Bulevar Oktobarske revolucije 22/27

Novi stan ~inio se gotovo zastra{uju}e prostran, svetao i ~ist. Velika sobaizgledala je potpuno isto kao i velike sobe u preostalih 69 stanova u soliteru.I potpuno isto kao 70 velikih soba u susednom, soliteru broj 24, u koji suse stanari uselili nekoliko godina ranije.

What We Found(1977)Kragujevac, Bulevar Oktobarske revolucije 22/27

The new flat seemed frighteningly spacious, bright and clean. The big roomlooked completely identical to other big rooms of the remaining 69 flats inthe high-rise. And it was completely identical to 70 big rooms of the ne -ighboring high-rise number 24, where tenants had moved in a few yearsearlier.

Dìn koji ljulja drvo i deli}i bajki, od cvetova (od sredine osamdesetih do 2004. godine)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

Vremenom, neka ranije neka kasnije, velike sobe po~ele su da dobijaju no viizgled i da gube uniformnost. Baba Vinka odabrala je tamne tapete na ko -jima su se, uz obilatu pomo} ma{te, a deci ma{te ne manjka, skri va li ju na cimnogih pri~a. Promena se dogodila u vreme koje je bilo sre }no, ili je barizgledalo da je tako. Slede}a je morala da sa~eka dvadesetak godina, donovog vremena u kojem se javila nada da }e sve biti dobro.

A Giant Shaking a Tree and Flowery Fragments of Fairy Tales(From mid-eighties until 2004)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

In time, these big rooms started to shed their uniformity and to acquire newlooks, some sooner and some later. Hidden within the dark wallpapers thatgrandma Vinka had chosen were heroes of countless tales, placed there byimagination, of which children are never in short supply. This change oc -cur red at a time which was merry, or at least it appeared as such. The nextone would have to wait for another twenty years and another time markedby a hope that all would be well.

Posteljina za crtanje cve}a(kraj sedamdesetih i po~etak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27 i Bulevar Oktobarskerevolucije 3/27

Krevet je, u vreme pred spavanje, postajao ~itav svet, a cvetna mustra ~inilase beskrajno raznolikom. Mada su jarke boje cvetova veoma brzo izbledelei posteljina postala stara, ipak je ispunila svoju svrhu – dete je uspevalo danacrta cvet nalik bilo kojem sa nje.

Bed Linen used for Copying Flowers(Late seventies and early eighties)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarskerevolucije 3/27

Right before bedtime, the bed would turn into a whole new world, and aflower design seemed endlessly manifold. Even though the bright colors ofthe flowers soon faded away and linen itself was worn out, it served its pur -pose nevertheless – the child managed to draw any flower seen on it.

Novi, daleki dom(od 2001. godine)Nik{i}, Crna Gora, Voja Samardì}a Crnog 12

Ku}a u Nik{i}u je, uprkos mnogim neobi~nostima, od prvoga trenutka unjoj – postala dom.

A New, Distant Home(Since 2001)Nik{i}, Montenegro, Voja Samardì}a Crnog 12

In spite of its many peculiarities, the house in Nik{i} became a home fromthe very first moment.

Vladimir Rankovi} ro|en je u Kragujevcu 1973. godine. Diplomirao jena Fakultetu primenjenih umetnosti u Beogradu, odsek Primenjena gra -fika, atelje Grafika i knjiga. Student je doktorskih interdisciplinarnih stu -dija Teorija umetnosti i medija na Univerzitetu umetnosti u Beogradu.Docent je za oblast Grafika i grafi~ke tehnike na Filolo{ko-umetni~komfakultetu u Kragujevcu. U svom umetni~kom radu bavi se odnosom su -bje kta i prostora.

Samostalne izlo`be (izbor)„Rekonstrukcije“, grafike – ambijentalna instalacija, Galerija Na ro dnog

muzeja, Kragujevac, 2014.„‘Wrap Your Troubles in Dreams’“, slike, Centar za kulturu, Galerija „Ilija

[obaji}“, Nik{i}, Crna Gora, 2011.„Bauljanje“ (Predrag Lojanica: „Vaskrsnu}e telo“, slike / Vladimir

Rankovi}: „Presek“, instalacija), Umetni~ki centar Univerzitetskebiblioteke „Svetozar Markovi}“, Be o gra d, 2009.

„Gosti – reprodukcije nepostoje}ih slika“, grafike, Likovni salon Ku ltur nogcentra, Novi Sad, 2008.

„Tu|i prostori – ‘@ivi li ~ovek od iznutra ka spolja ili od spolja kaiznutra?’“, instalacija, Galerija Doma omladine, Beograd, 2007.

„Tu|i prostori – 12 | 12“, ambijentalna instalacija, Galerija Studentskogkulturnog centra, Kragujevac 2007.

„Me|uprostor“ (Rado{ Antonijevi}: „[ator De~ani M1“, instalacija /Vladimir Rankovi}: „Kreveti Balkana“, instalacija), Me|unarodni fe stival „PatosOFFiranje“, Galerija Centra za kulturu, Smederevo, 2007.

„Prostori“, crteì, Moderna galerija Na ro dnog muzeja, Kragujevac, 2006.

„Fragmenti“, katalog1 Najstarije, maglovito se}anje

(sredina sedamdesetih)Kragujevac, Borisa Kidri~a 2/33, soliter B

2 Zmajski vladar jezera Dungting (od sredine sedamdesetih)Kragujevac, Borisa Kidri~a 2/33, soliter B; Bulevar Oktobarske

revolucije 22/27; Bulevar Oktobarske revolucije 3/27 i Lepeni~kibulevar 3/27

3 Ono {to nas je do~ekalo (1977. godina)Kragujevac, Bulevar Oktobarske revolucije 22/27

4 Dìn koji ljulja drvo i deli}i bajki, od cvetova (od sredine osamdesetih do 2004. godine)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki

bulevar 3/27

5 Novi ~lan porodice i njen krevet (1978. godina)Kragujevac, Bulevar Oktobarske revolucije 22/27

6 Mala soba, de~ja soba…(kraj sedamdesetih i po~etak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/277 Posteljina za crtanje cve}a

(kraj sedamdesetih i po~etak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27 i Bulevar Oktobarske

revolucije 3/27 8 Tajno skrovi{te

(kraj sedamdesetih i po~etak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/279 Krevet

(sredina osamdesetih, devedesete i prvih nekoliko godinadvehiljaditih)

Kragujevac, Bulevar Oktobarske revolucije 3/27 ili Ulica Mar{ala Tita5/II-15, a zatim Bulevar Oktobarske revolucije 3/27 i Lepeni~kibulevar 3/27

10 No}na menaèrija (kraj sedamdesetih i po~etak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/27 11 Babina i dedina soba

(od sredine osamdesetih do 2004. godine)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki

bulevar 3/27 12 Dedin belo-plavi jastuk

(osamdesete, do 1987. godine)Vin~a, kod Topole

13 Novi, daleki dom(od 2001. godine)Nik{i}, Crna Gora, Voja Samardì}a Crnog 12

14 Putovanja(od 2004. godine)Kragujevac, Lepeni~ki bulevar 3/27

15 Poslednji fragment(2012. i po~etak 2013. godine)Kragujevac, Lepeni~ki bulevar 3/27

E-mail: [email protected]

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Vladimir Rankovi} was born in Kragujevac, Serbia, in 1973. He graduatedfrom the Faculty of Applied Arts, University of Arts in Belgrade, Serbia,Department of Graphic Art, Group for Printmaking and Book Design. He isa PhD student in inter disciplinary studies of Theory of Arts and Media atthe University of Arts in Belgrade. He is Assistant Professor at the Facultyof Philology and Arts, University of Kragujevac, for the specialized field ofPrintmaking and print techniques. His art revolves around subject – spacerelationships.

Solo exhibitions (selection)"Reconstructions", prints – ambiental installation, Gallery of National

Museum, Kragujevac, Serbia, 2014"'Wrap Your Troubles in Dreams'", paintings, Cultural Centre, "Ilija

[obaji}" Gallery, Nik{i}, Montenegro, 2011"Crawling" (Predrag Lojanica: "The Body Will Resurrect", paintings /

Vladimir Rankovi}: "Intersection", installation), Art Center ofUniversity Library “Svetozar Markovi}”, Belgrade, Serbia, 2009

"Guests – Reproductions of Nonexistent Paintings", prints, Plastic ArtSalon of the Cultural Centre, Novi Sad, Serbia, 2008

"Somebody Else's Spaces – 'Does a Man Live From Within to Without orFrom Without to Within?'", installation, Youth Cultural Centre Gallery,Belgrade, Serbia, 2007

"Somebody Else's Spaces – 12 | 12", ambiental installation, StudentsCultural Centre Gallery, Kragujevac, Serbia, 2007

"Interspace" (Rado{ Antonijevi}: "Tent De~ani M1", installation / VladimirRankovi}: "The Balkan Beds", installation), International MultimediaFestival "PatosOFFiranje", Cultural Centre Gallery, Smederevo,Serbia, 2007

"Spaces", drawings, Modern Gallery of National Museum, Kragujevac,Serbia, 2006

"Frag ments", catalogue1 The Oldest, Vaguest Memory

(Mid-seventies)Kragujevac, Borisa Kidri~a 2/33, high-rise B

2 A Dragon King of the Donting Lake(From the mid-seventies onward)Kragujevac, Borisa Kidri~a 2/33, high-rise B; Bulevar Oktobarske

revolucije 22/27; Bulevar Oktobarske revolucije 3/27 andLepeni~ki bulevar 3/27

3 What We Found(1977)Kragujevac, Bulevar Oktobarske revolucije 22/27

4 A Giant Shaking a Tree and Flowery Fragments of Fairy Tales(From mid-eighties until 2004)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

5 New Family Member and Her Bed(1978)Kragujevac, Bulevar Oktobarske revolucije 22/27

6 Little Room, Children's Room…(Late seventies and early eighties)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/277 Bed Linen used for Copying Flowers

(Late seventies and early eighties)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/278 A Secret Hiding Place

Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarskerevolucije 3/27

9 The Bed(Mid-eighties, the nineties and first few years after 2000)Kragujevac, Bulevar Oktobarske revolucije 3/27 or Mar{ala Tita 5/II-15,

and then Bulevar Oktobarske revolucije 3/27 and Lepeni~kibulevar 3/27

10 Night Menagerie(Late seventies and early eighties)Kragujevac, Bulevar Oktobarske revolucije 22/27, Bulevar Oktobarske

revolucije 3/2711 Grandpa's and Grandma's Room

(From mid-eighties until 2004)Kragujevac, Bulevar Oktobarske revolucije 3/27, Lepeni~ki bulevar 3/27

12 Grandpa's white-blue Pillow(The eighties, up till 1987)Vin~a, near Topola (Serbia)

13 A New, Distant Home(Since 2001)Nik{i} (Montenegro), Voja Samardì}a Crnog 12

14 Travelling(Since 2004)Kragujevac, Lepeni~ki bulevar 3/27

15 The Last Fragment(2012 and early 2013)Kragujevac, Lepeni~ki bulevar 3/27

E-mail: [email protected]

Vladimir Rankovi}FRAGMENTI // FRAGMENTS

Studentski kulturni centar, Beograd // Student Cultural Centre, BelgradeGalerija SKC // SKC Gallery

Urednik programa Galerije SKC // SKC Gallery Program ManagerAn|elija Stanojevi}

Prevod // TranslatonMilo{ Arsi}

Fotografije // PhotographsPredrag Cile Mihajlovi}

Vladimir Rankovi}

Likovno-grafi~ko oblikovanje kataloga // Design of the catalogueVladimir Rankovi}

[tampa // Printed bySpektar 7, Kragujevac

Tira` // Circulation150

Izlo`bu je pomogao Filolo{ko-umetni~ki fakultet, Kragujevac.The exhibition is supported by the Faculty of Philology and Arts, Kragujevac.

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FRAGMENTI | FRAGMENTS