Bitef

x BITEF I ATELJE 212 / BITEF I BITEF TEATAR ATEUE 212, 20:00 / BITEF TEATAR, 21:00 KUSTOSKINJA: mr Vesna Bogunović, teoretičarka umetnosti i medija Dve dokumentarne iziožbe projekat su koji se u formi fragmentarnog, kolažnog prikaza razvija iz same umetničke koncepcije Beogradskog internacionalnog teatarskog festivala. Naime, one koncepcijski odgovaraju Bitefovoj heterogenoj i otvorenoj repertoarskoj orijentaciji, koja je opstajala u različitim, podjednako zanimijivim i značajnim istorijskim periodima i koji su svi obuhvaćeni ovim projektom. Ove iziožbe predstavljaju svojevrstan oblik kulturno-društvenog komentara, izmedu ostalog i zbog toga što se odvijaju u prostorima koji nisu izlagački: u prozorima Ateljea 212 okrenutim ka ulici i u kiubu Bitef teatra. Ovi prostori su izabrani, pre svega, zbog toga što je reč o dve ustanove koje su prvih dvadeset, odnosno drugih trideset godina organizovale i/ili organizuju manifestaciju Bitef: Ateljeu

212 gde je Bitef ponikao, i Bitef teatru koji je nastao iz koncepta festivala i koji je organizaciono i programski neraskidivo s njim povezan. Drugi razlog za izbor baš ovih neizlagačkih prostora jeste naša želja da izložbe, kao i sam Bitef, budu u snažnoj i direktnoj interakciji sa (širokom) publikom, a izvan uobičajenih prostora, okolnosti i oblika prikazivanja umetničkih radova. Foto-artefakti Bitefa, izvučeni s polica, iz koverata, iz posebnim jezikom obeleženih kutija, fondova i fototeka, u svojim novonastalim aranžmanima nisu skladišta već, voieli bismo u to da verujemo, umetnička dela sama po sebi. Taj inherentni umetnički kvalitet ovih postavki-instalacija proističe i iz toga što su načini/koncepti izlaganja fotografija morali da se prilagode arhitektonskim, urbanističkim i svetlosnim osobenostima prostora u kojima su izložbe postavljene. Izložbe imaju za cilj da, pored drugačijeg iščitavanja umetničke, socijalne i duhovne dimenzije pozorišnih predstava, ukažu i na vrednost i potrebu dokumentarističkog otkrivanja duha vremena u kome (se) festival stvara. Tako istovremeno ukazuju na potrebu očuvanja i daljeg predstavIjanja autentičnog „enciklopedijskog zapisa“ ove visoko rangirane institucije svetske pozorišne kulture.

X BITEF AND ATEUE 212 / BITEF AND BITEF THEATRE ATELJE 212, 20:00 / BITEF THEATRE, 21:00 CURATOR: Vesna Bogunović, MA, Art and Media Theoretician Two documentary exhibitions are a project which, in the form of a fragmentary, collage presentation, has evolved from the art concept of Belgrade International Theatre Festival. They correspond with Bitef’s heterogeneous and open programme orientation which survived in different, equally interesting and significant historical periods, all covered by the project. These exhibitions are a specific form of cultural and social commentary, among other things because they are displayed in non-exhibition spaces: in the Atelje 212 windows facing the street and in the Bitef Theatre club. The spaces were chosen primarily because these are the two institutions which during the first twenty, i.e. the second thirty years have organised and/or organise Bitef events: Atelje 212 where Bitef originated and Bitef Theatre which emerged

from the festival concept and is inextricably linked with it in terms of programme and organisation. Another reason for the choice of precisely these non-exhibition spaces is our wish to make the exhibitions and Bitef itself interact forcefully and directly with the public (at large) outside the usual spaces, circumstances and forms of presenting art objects. Photo artefacts of Bitef, picked up from shelves, envelopes, boxes marked in a special language, funds and photo-libraries are not storage spaces in their new arrangements but, or so we would like to believe, works of art by themselves. The inherent artistic quality of the displays installations is also due to the way in which the manner/concept of display needed to be adjusted to the architectural, urban and lighting particularities of these alternative exhibition spaces. The purpose of the exhibitions is to demonstrate, in addition to a different reading of the artistic, social and spiritual dimension of theatre productions, the value and need for a documentary identification of the spirit of the age when the festival was created. Simultaneously, exibitinons speak of the need to preserve and continue presenting authentic “encyclopaedic record” of this highly-ranked institution of the world theatre culture.

82