Nina Todorovic

Art in Belgrade - Artists

2011-12-20T16:43:00.003+01:00

Art in Belgrade - Artists

Niski crtez - Exhibition of drawings in Nis, Serbia

2011-12-20T16:23:00.003+01:00

Niski crtez - Exhibition of drawings in Nis, Serbia

Galerija Savremene Likovne Umetnosti - Nis

Exhibition of the Cavafy Museum Art Collection

2011-12-20T16:13:00.001+01:00

Exhibition of the Cavafy Museum Art Collection
Hellenic Foundation of Culture - Branch of Alexandria, Egypt

My design portfolio

2011-11-30T12:58:00.001+01:00

http://www.behance.net/ninatodorovic

"HUMAN RIGHTS?" 2011 Art From World - The Exhibition

2011-11-12T18:22:00.001+01:00

"HUMAN RIGHTS?" 2011 Art From World - The Exhibition

ZEMUNSKI SALON 2011

2011-10-28T22:04:00.003+02:00

Zemun Salon
group exhibition
Gallery Stara Kapetanija
Zemun
Serbia
27. 10 - 13. 11. 2011.

Solo exhibition MARGINALIZATION - video

2011-10-21T11:52:00.003+02:00

La Casa | Giovani artisti serbi

2011-09-29T15:53:00.000+02:00

La Casa | Giovani artistiserbi

Friday, October 7 at 8:30pm - Sunday, January 29, 2012 at6:00pm

Galleria d’Arte Moderna Palazzo Forti

Volto Due Mori, 4 (ingresso da C.so S. Anastasia)

Verona, Italy

English version below

La Casa – Giovani artisti serbi

a cura di Aurora Fonda e Zara Audiello

Verona, Galleria d’Arte Moderna Palazzo Forti

7 ottobre - 29 gennaio 2012

http://www.aplusa.it/index.php/item/la-casa.html

Quarto appuntamento della rassegna d’Est, manifestazionevolta a indagare l’arte del Paesi dell’Europa Orientale, che ArtVerona proponein collaborazione con l'Assessorato alla Cultura – Galleria d'Arte ModernaPalazzo Forti del Comune di Verona, A+A - centro sloveno per l’arte contemporaneadi Venezia, il Ministero della Cultura Serba e l’Ambasciata Serba in Italia.

Protagonisti di questa edizione, alcuni artisti serbi - AnaAdamović, Nenad Andrić, Maja Beganović, Nebojša Despotović, Dušica Dražić, AnaJovanović, Iva Kontić, Žolt Kovač, Aleksandar Maćašev, Goran Micevski, AnaNedeljković, Branka Nedimović, Vladimir Nikolić, Nina Simonović, Boba MirjanaStojadinović, Marko Stojanović, Slobodan Stošić, Aleksandra Stratimirović, NinaTodorović, Miloš Tomić, Urtica - che cercheranno di riprogettare la strutturaoriginale di Palazzo Forti, creando un percorso inedito e singolare.

L’allestimento della mostra trae, infatti, ispirazione daiprestigiosi spazi dello storico palazzo, che nella loro imponente architettura,fanno trapelare i segni della sfarzosa residenza della nobile famiglia Emilei,che nel ‘400 trasformò la struttura medievale in una ricca dimora cittadina.Una caratteristica che appare esplicitamente nelle sale al pianterreno, inparticolare nelle decorazioni dei soffitti e delle pareti, e che ha portatoall’ideazione del progetto espositivo “La Casa”. Un percorso pensato proprioper la specificità di Palazzo Forti che, trasformato a suo tempo da dimora amuseo, tornerà per questa occasione al suo assetto originario di casa, doveogni sala sarà ammobiliata, diventando un’abitazione intima e accogliente.

Le opere di circa una ventina di artisti serbi sarannoallestite sia alle pareti sia sul pavimento, come parte integrantedell’arredamento, oltre che all’interno di armadi e cassetti, sui tavoli...

Il visitatore, entrando alla mostra, dovrà trasformarsi inuna presenza attiva; per prendere visione dell’esposizione completa, gli saràinfatti chiesto di aprire porte, cassettiere, armadietti: tutti elementicustodi di opere preziose, che non mancheranno di sorprendere e stimolare illato ludico, che si cela in ognuno di noi. Il pubblico sarà incoraggiato acercare e a riconoscere le opere dislocate tra gli spazi e gli arredamenti delPalazzo. Uno sforzo necessario che porterà a soffermarsi a guardare le operepresentate e a immergersi nella poetica dell’artista. Un processo che dovrebbeessere la prassi comune dei visitatori delle mostre, ma che purtroppo nonsempre accade.

La modalità espositiva delle opere degli artisti, ideata da AuroraFonda e dall’artista serbo Nenad Andrić, nasce infatti dalla volontà diriportare il visitatore a instaurare un rapporto più intimo con le opered’arte. Il fatto di ricreare una situazione “domestica” e informale, permetteràai fruitori di avvicinarsi e appropriarsi dei lavori esposti attraversoun’esperienza diretta e personale.

La casa è il luogo dove generalmente riusciamo a ritrovarela comodità e il conforto necessari a creare una situazione rilassata, nellaquale è possibile riflettere con tranquillità e spontaneità su ciò che cicirconda. La sede ideale per attività come la lettura e lo studio, nella qualepoter lasciar libera la mente, come anche l’occhio, che può abbandonarsi allalenta contemplazione delle opere d’arte che lo circondano.

Lo scopo della mostra è proprio questo: ricreare lasituazione ideale in cui il pubblico può abbandonarsi all’esperienza estetica,libero dai vincoli delle convenzioni sociali, ricalcando un atteggiamentoanalogo a quello che si assume una volta varcata la soglia di casa.

In questo ambiente saranno installate le opere di circa unaventina di artisti serbi, appartenenti alla nuova generazione, selezionati inmaniera da poter creare una sinergia con la struttura della sede ospitante. Unelemento che ha permesso di presentare lavori che eludono dalla storia recentedel Paese, e con cui troppo spesso e per comodità si cerca di identificare gliartisti serbi, tralasciando così quegli aspetti più interessanti delle lororicerche che possono competere con le espressioni artistiche internazionali.

Non solo, dai lavori selezionati emerge un comunedenominatore, individuato anche negli artisti delle altre nazionidell’ex-Jugoslavia, che consiste in una marcata componente ironica che sirivolge sia alla capacità di prendersi gioco di sé e del proprio contestosociale, sia nel modo di affrontare tematiche universali. I lavori in mostracolpiscono per la forma sagace di spiazzare il pubblico con linguaggi sottili,che rapidamente ci coinvolgono attraverso un’ironia pungente e diretta.

Le forme di espressione presentate spazieranno dalla pitturaalla scultura, dai video alla fotografia, alla web-art, offrendo un’ampia edettagliata panoramica delle figure artistiche più interessanti dell’attualescenario culturale serbo.

Sede Espositiva

Galleria d’Arte Moderna Palazzo Forti – Volto 2 Mori, 4(C.so S. Anastasia), 37121 Verona

www.palazzoforti.it

www.artverona.it

----------------------------------------------------------------------

Home – a collection of young serbian artists

curated by Aurora Fonda and Zara Audiello

Verona, Palazzo Forti gallery of modern art 7 October 2011 -29 January 2012

http://www.aplusa.it/index.php/item/la-casa.html

This exhibition, part of the D'Est series aimed atinvestigating the art of East European countries, is organized by ArtVerona incollaboration with the city department for culture and the Palazzo Fortigallery of modern art; A+A, the Slovenian centre for contemporary art, Venice;the Serbian ministry for culture; and the Serbian embassy in Italy.

The protagonists of this event are various Serbian artists -Ana Adamović, Nenad Andrić, Maja Beganović, Nebojša Despotović, Dušica Dražić,Ana Jovanović, Iva Kontić, Žolt Kovač, Aleksandar Maćašev, Goran Micevski, AnaNedeljković, Branka Nedimović, Vladimir Nikolić, Nina Simonović, Boba MirjanaStojadinović, Marko Stojanović, Slobodan Stošić, Aleksandra Stratimirović, NinaTodorović, Miloš Tomić, and Urtica - who will attempt to redesign the originalstructure of Palazzo Forti by creating an unusual and singular exhibitioninstallation.

The installation of the show is, in fact, inspired by theprestigious rooms of this historic building; their imposing architecture allowsa glimpse of the sumptuous residence of the Emilei family who, in the fifteenthcentury, transformed the medieval building into a splendid home in the city. Thisis a characteristic that is most apparent in the rooms on the first floor,above all in the decoration of the ceilings and the walls. And it was this thatled to the creation of the exhibition La Casa, or The Home. The show'sitinerary has been specifically studied to echo the particularity of PalazzoForti which, later transformed from a house into a museum, on this occasionwill return to its origins as a home where each room will be furnished tobecome an intimate and welcoming habitat.

The works by some twenty Serbian artists will be installedas an integral part of the furnishing, both on the walls and on the floor aswell as inside wardrobes, drawers, on tables...

On entering the show the visitors must become an activepresence; in fact, in order to have a comprehensive view of the wholeexhibition they will be asked to open doors, chests of drawers, and cabinets:these all act as custodians for precious works which will both surprise andsimulate the playful side we all have. The public will be encouraged to searchfor, and recognize, the works scattered around the rooms and furnishings of thePalazzo. This is a necessary effort which will induce us to stop and observethe works on show and immerse ourselves in the poetics of the artists. Thisought to be the usual practice of visitors to shows but sadly this does notalways happen.

This way of exhibiting the artists' works, originated byAurora Fonda and the Serbian artist Nenad Andrić, derived from their wish tocajole the visitors into having a more intimate relationship with the works ofart. The fact of having recreated a "domestic" and informal situationwill allow the viewers to approach and make the works their own through animmediate and personal experience.

A home is where we usually manage to find the necessaryconvenience and comfort for creating a relaxed atmosphere, one in which it ispossible to think tranquilly and spontaneously about what surrounds us: it isthe ideal centre for such activities as reading and studying, one where we canfree our mind as well as our eyes which can then permit themselves the slowcontemplation of the works of art surrounding them.

The aim of the show is precisely this: to recreate the idealsituation for the public to give itself up to an aesthetic experience, freefrom the chains of social conventions and able to have a similar attitude tothat we have once we have entered our front door.

In this setting there will be the works of some twentySerbian artists, all belonging to the new generation and selected so that theymight create an interaction with the structure of the building that hosts them.This is an aspect that has permitted the showing of works that are detachedfrom the recent history of the country: Serbian artists have been identifiedall too easily with this: the more interesting aspects of their concerns, whichare on a level with other international expressions of art, have thus beenoverlooked.

Furthermore, a common denominator emerges from the workschosen, one that can also be found in other nations of ex-Yugoslavia: this is amarkedly ironic component which is concerned both with the ability to ridiculeoneself and one's own social context, and with the manner of approachinguniversal themes. The works on show are striking for their knowing way ofdisorienting the public with subtle languages which quickly involve us withtheir pungent and spontaneous irony.

The forms of expression on show will range from painting tosculpture, video, photography, and web-art to offer a wide and detailedpanorama of the most interesting figures on the current Serbian cultural scene.

Venue:

Palazzo Forti gallery of modern art - Volto Due Mori, 4(entrance in Corso S. Anastasia), I-37121 Verona
www.palazzoforti.it

www.artverona.it

MARGINALIZACIJA / MARGINALIZATION

2011-09-28T12:55:00.001+02:00

Solo exhibition

Faculty of Fine Arts,

Center for Graphic Art & Visual Researches "AKADEMIJA"
Belgrade
Serbia

27. 09 - 11. 10. 2011.

Browse the catalog here (texts in Serbian and English):

Open publication - Free publishing - More alienation

Text in German:

Tr/Facing the city

Reflections on Nina Todorovic’s „Marginalization“

SimoneKraft

StädtischeStrukturen sind im 21. Jahrhundert zum normalen Habitat des Menschen geworden. Inwestlichen Ländern wohnt Dreiviertel der Bevölkerung in urbanen Gebieten,die Wanderungsbewegungen in städtische Räume sind stark wie nie zuvor.Weltweit leben zunehmend mehr Menschen in Städten als auf dem Land – Tendenzsteigend. Die Urbanisierung prägt die menschliche Lebenswelt immer nachhaltigerund grundsätzlicher.

Trotzdemzeichnet sich eine paradoxe Situation ab: Je präsenter und dominanter dieStädte und das urbane Lebensumfeld werden, desto „unsichtbarer“ werden sie. Wassich zunächst widersprüchlich liest, verweist auf ein vielschichtiges Phänomen,das sich ebenso im Stadtbild selbst als auch im Verhältnis der Stadtbewohner zuihrem Lebensumfeld beobachten lässt.

Sohaben die urbanen Bautendenzen in den vergangenen Jahrzehnten zu einemStadtbild geführt, das sich kontinuierlich wiederholt und die Städte dabei einanderimmer ähnlicher werden lässt. Die modernen Metropolen gleichen sich zunehmendan und verlieren ihr individuelles Gesicht: Wolkenkratzerwelten, Straßennetze, Satellitenstädtefolgen von den USA über Europa bis nach Afrika und Asien den immer gleichenMustern. Die Innenstädte werden mit denselben Ladenketten hinter stylischenGlasfassaden in Fußgängerzonen anonym und austauschbar. Die Individualität derStädte selbst schwindet, sie werden „unsichtbar“.

Gründehierfür sind zahlreich, ihnen erschöpfend nachzuspüren würde Bände füllen. Denn eine Stadt ist ein Konglomerat zahlreicherFaktoren, ein Zusammenspiel kultureller und sozialer ebenso wie ökonomischer,infrastruktureller und finanzieller Aspekte. Am deutlichsten sichtbar und damitunmittelbar erfahrbar wird Stadt aber im Gebauten: Architektonische Strukturenund Konstruktionen, Häuser, Straßen, Plätze, Brücken sind es, die das urbane„Gesicht“ prägen.

Geradediesem bringt der Großteil der Stadtbewohner jedoch überraschend wenigAufmerksamkeit entgegen. Die meisten Menschen nehmen die architektonischeUmgebung kaum bewusst wahr. Funktionale Nutzbauten wie Büros, Wohngebäude,Werkhallen, denen man tagtäglich begegnet, werden nicht beachtet, sie scheinenwie „unsichtbar“. Allenfalls außergewöhnliche Bauwerke aus vergangenen Zeitenoder extravagante moderne Bauten werden bemerkt und gegebenenfalls diskutiert.Die architektonischen „Hüllen“ unseres Alltags hingegen werden hingenommen,ohne ihnen viel Aufmerksamkeit zu widmen – erstaunlich, vergleicht man, welchesInteresse etwa einer anderen alltäglichen „Hülle” entgegengebracht wird: derKleidung.

Bedenktman die Bedeutung der Architektur, die nicht nur das menschliche Lebensumfeld –wir verbringen einen Großteil unseres Alltags in gebauten Räumen, nicht umsonstspricht man von „Lebens-Raum“ – gestaltet, sondern auch die kulturelle undhistorische Identität wesentlich mitformt und damit weit über das formaleErrichten von Gebäuden im engeren Sinne hinausgeht, überrascht diese Situationumso mehr.

Ineinem solchen Umfeld wird es dadurch letztlich auch immer schwieriger, sichselbst zu verorten. In „unsichtbar“ werdenden Städten rücken wir immer weiteran den Rand. Was ist Stadt? Wer bin ich in der Stadt? Was ist Stadt für mich?

NinaTodorovic nähert sich diesem Phänomen auf verschiedenen Ebenen an. Aus ihrempersönlichen Erleben heraus setzt sie sich intensiv mit ihrer urbanen Umweltauseinander und spürt dem architektonischen „Gesicht“ der Stadt nach.

Immerwieder hat die Künstlerin den Blick aus den Fenstern ihres Büros auf dieFassade des gegenüberliegenden Gebäudes festgehalten, tagsüber oder bei Dunkelheit,mit natürlichem Licht oder bei Neonbeleuchtung, mit Sonnenstrahlen, Reflexionenauf dem Fensterglas oder völlig „pur“. Anschließend wurden diese Aufnahmen digitalbearbeitetet und in unterschiedlichen Kombinationen zusammengestellt.

Dabeientstehen geometrische Formenspiele, die die vermeintlich tristen, unspektakulärenFassadenausschnitte eines modernen Bürobaus in ästhetische Kompositionenverwandeln. Der immer gleiche Blickwinkel offenbart überraschend vielfältige,abwechslungsreiche, fast abstrakte Ansichten. Dennoch bleibt die zugrundeliegendearchitektonische Struktur stets spür- und sichtbar.

Trotz– oder vielleicht auch gerade wegen – der reduzierten und repetierendenGestaltungsweise des gleichen Motivausschnitts eröffnet sich dem Betrachter einvielschichtiger Betrachtungsspielraum. So ist Todorovic’ Blick aus demBürofenster, vor dem eine Wand aufragt, eine sehr persönliche Reaktion auf ihrurbanes Umfeld. Sie steht damit für eine in der globalisierten Welt typischgewordene Büroexistenz – monoton, trist, am Arbeitsplatz buchstäblich „einsitzend“,im eigenen Leben gleichsam an den Rand gedrängt und ohneGestaltungsmöglichkeiten. Verschärft wird dies durch den Zwiespalt derKünstlerin, die ihre Zeit zwischen einer Tätigkeit zum Geldverdienen und derfreien künstlerischen Arbeit aufteilen muss. Damit steht sie stellvertretendfür unzählige andere, Künstler oder nicht, die im Wirtschaftslebenmarginalisiert werden.

Zugleichoffenbart ihr aufmerksamer Blick auf die Umgebung überraschende Aus- undAnsichten. Die bewusste Wahrnehmung des urbanen Umfelds schärft das Bewusstseinauch und gerade für die kleinen Details, die die Stadtarchitektur prägen. Durchihre Aufnahmen gibt Todorovic gleichsam der Stadt ihr Gesicht zurück, indemarchitektonische Strukturen in den Blick gerückt werden.

DemBetrachter eröffnet sich ein zunehmend komplexer werdender Assoziationskontext,der unterschiedlichste Kontexte streift. Isolation und zwischenmenschlichesVerstummen in einer von Telekommunikationsmedien bestimmten Welt, dieWahrnehmung von „Realität“ im Zeitalter der digitalen Bildbearbeitung, dieVerortung in einer sich immer schneller entwickelnden und immer mehr ins WWW verlagerndenWelt sind Themen, die die Künstlerin beschäftigen.

Nichtzuletzt sind Todorovic’ Arbeiten auch digital bearbeitet und stehen damit füreine Art der Bildpräsentation, die sich in den letzten Jahren durchgesetzt hat.Zugespitzt gesagt: Wir sehen die Welt durch Photoshop. Das Leben mit und ineiner allgegenwärtigen virtuellen Realität – ist es bedrohlich? Eröffnet esChancen? Steigt durch die zunehmende Verlagerung des Lebens in den virtuellenRaum nicht das Bedürfnis, sich in der realen Welt zu verorten – in der urbanenUmwelt?

Simone Kraft, M. A. ist Kunst- undArchitekturhistorikerin aus Heidelberg (D). Als freie Kuratorin hat sie mehrereinternationale Ausstellungen zu zeitgenössischer Kunst u.a. in Berlin kuratiertund ist Preisträgerin des Wolfgang Hartmann Preises 2011 für Kuratoren. Darüberhinaus publiziert sie regelmäßig in verschiedenen Kunst- und Architekturmedienund betreibt den Blog deconarch.comüber ARTitecture | Kunst undArchitektur. Sie promoviert derzeit über die dekonstruktivistischeArchitektur.

HUMAN RIGHTS? 2011

2011-09-25T01:13:00.000+02:00

HUMAN RIGHTS? 2011
a cura di Roberto Ronca
Art from World FONDAZIONE OPERA CAMPANA DEI CADUTI – ROVERETO (TN)

dal 17 settembre al 16 ottobre 2011

Fondazione Opera Campana dei Caduti - Colle di Miravalle

38068 Rovereto – Trento – ITALY

http://www.robertoronca.com/eventi/hr2011.htm

http://www.fondazioneoperacampana.it/

START UP 2011

2011-09-25T00:46:00.001+02:00

StART Up 2011

Rassegna internazionale
Artisti emergenti

a cura di Roberto Ronca

Dal 6 Agosto al 21 Agosto 2011

Castello di Acaya
Acaya, Vernole
LECCE
ITALIA

http://www.robertoronca.com/eventi/StArtUp2011.htm

International Prints Exhibition Award

2011-09-25T00:23:00.000+02:00

International Prints Exhibition Award

Uruguay

a cura di Noemi Silvera

Presentations & Prints Exhibitions, Uruguay 2011

http://printsaward.blogspot.com/

ARTISTS X PRINTS AWARD 2011

ARTISTAS Parte 1º
1 Regina Affonso, Portugal
2 Karen Alekyan, Armenia
3 Marcela Arias, Mexico
4 Cecilia Bossi, Italia
5 Horacio Carrena, Argentina
6 Enzo Correnti, Italia
7 Mina D'Elia, Italia
8 Paula Franca, Brasil
9 Christian Fogarolli, Italia
10 Gohar Galoyan, Armenia
11 Eva Harut, Rusia
12 Maya Lopez Muro, Argentina
13 Mayer, Uruguay
14 Francesco Mestria, Italia
15 Jongo Park, Korea
16 Nina Todorovic, Serbia
17 Alessandra Trischitta, Italia

ARTISTAS Parte 2º
1 Elmadani Belmadani
2Miriam Canali
3 Alessandra de Filippis
4Loris Gervasoni Klossowski
5_Guroga, Venezuela
6Patrizia Pianini
7 Dora Romano
8 Kathleen McHugh
9 Danilo Giusino
10 Giovanna Visan

CULTURAS:
Eva Harut (Cultura Armenia),
Miriam Canali (Cultura Africana)
Paolo Giusino (Europea)
Elmadani Belmadani (Morocco)
Giovanna Visan (Multi Culture)

http://youtu.be/lpfP1xQDY_0

2011-09-24T23:54:00.001+02:00

VIAGGIONELL’ESTETICA

DEL PAESAGGIOII

MATERIA EMEMORIA

foto edisegni di Gabriele d’Oltremare

d’Oltremare+ Todorović

multiplename

da archivioMusAA

vernissage sabato 23 luglio 2011 h.18.30

Palazzo delCapitano

CastelvecchioCalvisio (AQ)

23 luglio –16 agosto 2011

Saluti

DionisioCiuffini

Sindaco delComune di Castelvecchio Calvisio

Presentazione

LuiginaAntonacci

Assessorealla Cultura, Politiche Sociali e Ambiente

Commentocritico

PaolaArdizzola

PresidenteMusAA – MuseoArchitetturaArte

JOURNEYAT THE AESTHETICS

OFLANDSCAPE -
- MATTER AND MEMORY

photosand drawings by Gabriele d’Oltremare

d’Oltremare+ Todorović

multiplename

fromthe archive of MusAA

opening saturday the 23th of July 2011 at 18.30

Palazzo del Capitano

Castelvecchio Calvisio (AQ)

Julythe 23th – August the 16th 2011

Welcomespeech

DionisioCiuffini

The Mayor of Castelvecchio Calvisio

Introduction
Luigina Antonacci

Councillor for the Culture, Social Politics and Ambiance

Commento critico

Paola Ardizzola

President of the MusAA - MuseoArchitetturaArte

http://www.musaa.it/

Donkey Art Prize

2011-09-24T23:45:00.002+02:00

Donkey Art Prize
Cielo Gallery
25. 05 - 01. 06. 2011.
London
United Kingdom

www.donkeyartprize.com

Sugestija Linijom

2011-09-24T23:36:00.000+02:00

SUGESTIJA LINIJOM
Odabrani radovi iz kolekcije KCNS 2000-2009.
od 5-18. aprila 2011.

Likovni salon ponovo započinje sa radom, nakon pauze koja je zbog renoviranja zgrade Kulturnog centra, trajala od oktobra 2008. godine do aprila 2011.

Izborom radova iz kolekcije KCNS, koja je nastajala od samog početka rada galerije i koja do sada ima oko 170 radova, izdvojili smo radove 19 autora (Cvetko Lainović, Joškin Šiljan, Dragan Jankov, Milan Blanuša, Milica Kojčić, Milan Grahovac, Željka Momirov, Nina Todorović, Milan Matavulj, Miloš Vujanović, Ljubomir Vučinić, Gordana Ana Mirkov, Savo Peković, Pal Dečov, Svetlana Jevtić, Gabrijela Hajzler, Marija Čoban, Gordana Kazimirović Jankov, Lazar Marković), u čijem likovnom izrazu je naglašena linija. Izbor linije kao koncepcije izložbe nije slučajan. Linija je jedno od osnovnih sredstava izražavanja likovnog jezika. Najneposrednije predstavlja misao i stav autora, pa čak i kad je samo skica ili plan budućeg dela, ona, osim autorovog senzibiliteta i ideje, predstavlja jasnu nameru i pravac u kojem će delo biti izvedeno. Isto tako, niz od preko hiljadu dosadašnjih likovnih programa, od kojih ovom prilikom predstavljamo samo 19, predstavlja i most ka novom i simbolično sugeriše koncepcijsku nit okrenutu ka jeziku vizuelnih disciplina, ka inovativnom i spekulativnom kreativnom činu, nit koja se proteže od samog nastanka galerije, pa sve do brojnih budućih izložbi u ovom prostoru.

Osim izbora radova nekih od autora koji su u protekloj dekadi izlagali u Likovnom ili Malom likovnom salonu KCNS, u ovom katalogu, nalazi se i spisak svih programa realizovanih od 2000-2009. godine, kao i popis svih do sada sakupljenih radova.

http://www.kcns.org.rs/izlozbe11-1.htm

Forlì Fiera 9. edizione Vernice art fair

2011-09-24T23:18:00.000+02:00

Forlì Fiera 9. edizione Vernice art fair
25-27. marzo 2011
Forlì
Italia

Claudio Bandini
Giovanni Manzo
Susy Manzo
Nina Todorovic

5a Biennale Internazionale d'Arte di Ferrara - L'estasi dei sensi

2010-11-20T00:21:00.002+01:00

"HUMAN RIGHTS?"

2010-10-03T17:03:00.005+02:00

"HUMAN RIGHTS?"

a cura di Roberto Ronca

dal 18 Settembre al 17 Ottobre 2010

Campana dei Caduti

Rovereto

Italy

My works on the show "HUMAN RIGHTS?"

DEFENSIVE STRUCTURES UNDERGROUND 01, 04, 07

Lambda prints, 2009

40x72cm

"ART HAS LEFT THE GALLERY SPACES LONG TIME AGO"

2010-10-03T16:57:00.003+02:00

An interview I gave for "Danas" newspaper, about the workshop ARTEXPARTE, in Berazategui, Argentina,
on this link:

Umetnost je odavno izašla van galerijskih prostora

"Winter in Argentina"

2010-10-03T16:51:00.004+02:00

A journal that I have made about the workshop ArteXParte, and the whole trip to Argentina, here is the integral text, and also the link to what was published in our daily newspaper "Danas" (the shorter version):

Zima u Argentini

Petak, 10. 09. 2010.

Na prste prebiram koji mi je po redu dan, na ovom kontinentu. Deveti dan na putu, osmi dan u Argentini. Ovde je 18.31h, i opet računam, pet sati vremenske razlike, u nazad, u odnosu na Srbiju. Listam preko mobilnog telefona moj mail (Bogu hvala za WiFi), pa onda Facebook, dok ležim u krevetu i čekam da se, inače minorne zdravstvene tegobe, koje su na putu predimenzionirane, smire. Nevoljno otvaram laptop, vreme je da počnem da svodim račune. Trenutno se nalazim u malom gradu Florencio Varela, smeštena u kampu fudbalskog kluba Difensa y Justicia (Odbrana i Pravda). Danas smo završili rad na našem zajedničkom mozaiku, u obližnjem gradu Berazategui, u provinciji Buenos Aires. I opet prebrojavam dane. Još ne verujem da je posao završen. Boravak u Argentini još nije. Proganja me misao da jos nisam dovoljno videla, nisam još sve zabeležila. Posetila sam La Platu. Ali, centar Buenos Airesa je još uvek nedovoljno istražena teritorija. Videćemo... Ipak, videla sam, i ono što običan turista ne može da doživi, ono pravo i autentično što čini ovu zemlju, i što nije puka turistička atrakcija.
Aplicirajući na konkurs za umetnike, nisam bila ni svesna u šta se upuštam. Sve je išlo po automatizmu, još jedan u mnoštvu, na koji sam zaboravila ubrzo po aplikaciji, ne nadajući mnogo čemu, a pogotovu ne pozitivnom odgovoru. Tokom leta stiže poziv da učestvujem u umetničkoj radionici u Berazateguiju, povodom 50 godina samostalnosti tog grada. Posle, sve postaje ubrzani film, plan puta, kontakti sa italijanskim kolegama, zajednički let iz Rima, i kolaborativni rad sa uglednim italijanskim umetnikom Claudiom Bandiniem, sa kojim već imam druge započete umetničke projekte.
Fenomenalno iskustvo, i velika škola... Duh velikih južnoameričkih muralista se oseća na svakom koraku.
Napolju pljušti kiša. U Argentini je još uvek zima.

Subota, 11. 09. 2010.

“Vamos, vamos!” – standardni početak radnog dana za učesnike radionice, iako je subota... Glas našeg asistenta Bruna odzvanja hodnikom izmedju 7 i 8 ujutru, uz neminovno žustro lupanje na vrata, sada već promukao posle toliko dana posla, i toliko neprospavanih noći (treba se i družiti malo)... Preduhitrila sam ga, već sam spremna, i nestrpljiva da krenem put Berazateguija, gde nas čeka taksi za Buenos Aires) Oko devet sati, pedesetak umetnika se lenjo vuče ka autobusu koji neodoljivo podseća na onaj firme Krstić, iz čuvenog Šijanovog filma. Stižemo u Berazategui, u sportsko kulturni centar Roberto de Vicenzo, još jednom bacam pogled na naš skoro pet metara dugačak mozaik, koji uskoro treba da se montira na fasadu gradjevine. Fotografišem ga i žurim ka taksiju u kojem me već čekaju kolege iz Italije i sada već dobri prijatelji, Claudio Bandini i Maurizio Barraco. Još u toku vožnje gotovo opsesivno pravim serije fotografija, fascinirana arhitekturom predgradja, a onda i samog centra grada. Stižemo do čuvene Casa Rosada, predsedničke rezidencije, i sa Plaza de Mayo započinjemo dugu šetnju, bez nekog posebnog plana, idući samo po osećaju, i samo povremeno bacajući pogled na mapu, radi osnovne orjentacije. Nisam sigurna da mogu da opišem moje emocije. Ushićenje nije prava reč, kao ni očaranost. Prvobitno nestrpljenje i očajanje zbog nedostatka vremena potpuno nestaju, hodam i fotografišem, gledam u visinu, i konačno opušteno prihvatam sve vizuelne, zvučne, mirisne senzacije, prepuštam se gradu koji nosi duh evropskih metropola, začinjen egzotikom lokalnih tradicija. Monumentalno! Pešačimo dugačkim avenijama, i nije nam bitno gde ćemo završiti... U hodu odlučujemo da prihvatimo ranije upućen poziv na ručak, kod Maurizijevih prijatelja, u čuvenoj Recoleti. U goste nas primaju maestro Mario Lessa, kolega vajar, i njegova ljupka supruga Claudia Matas, profesor španskog jezika i književnosti. Tipičan, izuzetno ukusan argentinski ručak, uvod sa empanadom, koju prati neizostavno govedje meso, ovog puta punjeno mocarelom i povrćem, različite salate i naravno, crno vino, kojim Claudia nazdravlja u čast Dana profesora (El dia del Maestro)... Mogla bih da ostanem tamo, razmišljam... Sve mi prija... Uz dezert, zapisujem recepte, i sa domaćicom pričamo o Srbiji, o jeziku, o španskim i italijanskim piscima koje volimo obe, dok momci žučno razmatraju aktuelnu italijansku politiku. Naša komunikacija se odvija uglavnom na italijanskom jeziku, koji većina argentinaca razume dosta dobro, čak i kad se ne služi njime aktivno. Ubacujem po koju špansku reč ili frazu koje su mi ostale u sećanju sa davno odslušanog početnog kursa, još poneku englesku reč, vrlo retko... Malo je ovde onih koji se služe engleskim jezikom. Naprežem se da se izrazim na sva tri jezika korektno, i primećujem da počinjem da razmišljam na italijanskom. Dan ipak završavamo grozničavo, posle opuštenog popodneva, kupovinom poklona... Kupujem teglice Dulce de leche, karamel slatkiša koji se pojavljuje u različitim oblicima, i jednako je nezaobilazan kao i argentinska vina, i govedje meso, Tango da i ne pominjemo. Povratak je zanimljiv, vraćamo se na Plaza de Mayo, gde zatičemo neko javno okupljanje, sirene i vatromet... Našeg taksiste koji treba da nas vrati u Berazategui nema. Suluda špansko-italijanska komunikcija dostiže svoj vrhunac u bezuspešnim pokušajima da u roamingu pozovemo argentinski broj. Ne, ne... To jednostavno nije moguće. Od dva naša provajdera, čije usluge ravnopravno koristim, samo jedan pruža vrlo ograničene mogućnosti komunikacije u ovoj dalekoj zemlji. Vidim da se ni italijanski provajderi nisu ništa bolje pokazali. Ubrzo postajemo vrlo slični likovima iz starih komedija. U želji da što elegantnije rešimo situaciju sa transportom, samo se još više zapetljavamo... Lost in translation. Pred ponoć konačno stižemo u Berazategui, a zatim nastavljamo u Florencio Varela.
Izuzetan dan za nama.

Nedelja, 12. 09, 2010.

Claudiev rodjendan. I ponovo ubrzano spremanje, ne bismo li se što pre domogli Buenos Airesa, i nastavili obilazak. Lost in translation situacija se nastavlja. Nama koji smo u dolasku, zbog kvara na avionu Alitalie u startu kasnili 12 sati, nije saopšteno do kraja našeg boravka, da je ovo dan kada moramo da napustimo znameniti fudbalski kamp. Odličan šlagvort da demonstriram svoje vrlo solidno poznavanje živopisnih italijanskih psovki, te da se furiozno bacim na pakovanje mog ličnog haosa, i kao katapultom izbačena izletim pred kapiju, tvrdoglavo insistirajući da mi se hitno rezerviše hotel u BA. Potajno se radujem što se organizacioni propust desio. Osećam miris ultimativne slobode čekajući našeg vernog taksistu Fernanda, koji je svaki put pokazivao neobičnu ambiciju da i bez znanja stranih jezika bude i naš turistički vodič. Svojski se trudio da vožnju začini nerazumljivim komentarima, od kojih bismo razaznali samo reči kao Maradona, pampa, casa, caballo, carne i sl... Elem, ambiciozni i pobesneli srpsko-italijanski trio je i pored žarke želje da prvi napusti boravište, to učinio poslednji. Lepo smo se izljubili sa svim kolegama i našom uobičajeno zabrinutom organizatorkom Jaquelinom, srdačno ih ispratili, mašući, i gledajući kako “firmom Krstić” odlaze u još jedan turistički obilazak, blago je reći, živopisnih sela i stoički sačekali i Fernandovog kolegu, jer, Bože moj, imali smo suviše prljaga da bismo svi stali u jedna kola. Grand Hotel u centru BA. Konačno! Vrlo pristojna soba na posledjem spratu, i veoma zanimljiv pogled na gradsku panoramu. Pitam se da li sam zaslužila takav luksuz, ali ubrzo odbacujem tu dilemu kao neumesnu! Nastavljam da uživam! Ceo dan provodimo u šetnji, i završavamo u kvartu San Telmo, kroz koji se, čini mi se, kilometrima, proteže bazar na otvorenom, neka vrsta buvlje pijace, sa nezamislivim rukotvorinama, antikvitetima, živom muzikom i mirisom mesa, kojem na kraju nismo odoleli... Pravimo predah uz pikantne kobasice, u improvizovanoj bašti, usred te spektakularne vreve. Rešavamo problem poklona za porodice i sa olakšanjem svracamo u hotel, pa odmah nastavljamo u kvart Palermo, na suprotnoj strani grada... Restorani i tržni centri. Velike gužve...
Veče ipak završavamo mirno. Umorni i zadovoljni. Sutradan nas čeka dug put.

Ponedeljak, 13. 09. 2010.

Nisam spavala prethodne noći. Prepakivala sam svoj prtljag, kako bih ga svela na mere koje Alitalia propisuje. Zatim sam bezuspešno pokušavala da uhvatim bilo koju slobodnu mrežu, kako bih proverila svoj mail. A zatim sam nastavila da fotografišem noćnu panoramu, i eto ti već jutra... Silazim na doručak, moji italijani me strpljivo čekaju. Grabim Dulce de leche, slatka i slana peciva, šunku, sir, čaj, sok, zdravo sam gladna, uživam u svakom zalogaju, i dajem im povod za nove šale. Mediterancima je nezamislivo da jedu slano za doručak . Gledaju me kao da sam varvarin, ali se polako i navikavaju na tu kulturološku razliku... Mislim da smo najglasniji u restoranu. Prepričavamo dogadjaje od prethodnog dana kroz smeh.
Na putu do aerodroma ponovo se bistri italijanska politika, a onda se elegantno prelazi na obogaćivanje mog rečnika sicilijanskim psovkama, čisto da budem spremna u svakoj situaciji... Mrmljam za sebe “Hasta pronto, Buenos Aires...” Nadam se da ću se vratiti tamo jednog dana. Na aerodromu Ezeiza, bliži se vreme rastanka, maestro Barraco leti sa argentinskom kompanijom, dok Claudio i ja ostajemo verni Alitalii. Tek sad me zaista obuzima tuga zbog odlaska. Trošim poslednje pesose na suvenire u bescarinskoj zoni. Ulazimo u avion. Ne mogu više da komuniciram. Ne gledam filmove, ne slušam muziku, ne čitam knjigu, posmatram samo mapu leta, i želim nekako da obrnem kretanje aviona, želim da se razdaljina ne povećava... Nemam više volju čak ni da fotografišem. 13 sati leta!
Loše mi je.

Utorak, 14. 09. 2010.

Slećemo na Fiumicino, u 7.30 ujutru. Odustajem od prvobitnog plana da odem do Rima, i tamo provedem vreme preostalo do leta za Beograd. Loše mi je i želim samo da spavam. Claudio odlazi za Bolonju. Ko zna gde je Maurizio, i da li je već stigao u rodni Palermo. Ostajem sama. Obilazim free shopove. Osećam kako posustajem pod težinom ranca, posle dve neprospavane noći... Odlučujem da kupim neku knjigu, i ušuškam se u nekoj od čekaonica u nadi da ću sabrano i svesno dočekati povratak u Beograd. Podešavam čak i alarme na mobilnim telefonima, u slučaju da zaspim na nogama... Nalazim knjigu Vinicia Capossele, Non si muore tutte le mattine (Ne umire se svakog jutra), zgodan naslov, a autor mi je do ovog momenta bio poznat samo kao pevač. Uzimam je, zajedno sa još par sitnica, slatkiše, energy drink, i tražim mesto za sebe.... Ali iskusni svetski putnici su se već opružili duž sedišta. Zavidim im na dubokom snu i opuštenosti. Gledam u red letenja, kao da ću time nešto ubrzati, medjutim izgleda kao da se desilo upravo suprotno... Let za Beograd je prvo promenio izlaz za putnike, a zatim je volšebno nestao sa liste. Totalno rezignirana tražim informacije. Nemoguće je dobiti ih. Posle neka dva sata potrage, zapitkivanja, šetanja, nekoliko padanja u san, i dve kafe, ponovo vidim svoj grad u redu letenja, odlazim na kapiju H, i slušajući samo srpski oko sebe, shvatam koliko sam daleko čak i od Rima a kamoli od Argentine. I onda se dešava jedna čudna stvar... Prilazi mi plavokosa devojka i sa osmehom pita da li je se sećam. Lik mi je poznat, ali ne mogu da utvrdim odakle. Biljana Petrović, koleginica koju sam poslednji put videla pre četrnaest godina, kada se spremala da ode na studije u Italiju! Još interesantnije je što u poslednje vreme zajedno učestvujemo na istim izložbama u Italiji, a ja uopšte nisam uspela da povežem ime sa likom... Vreme je da počnem da pijem Ginkgo Bilobu, a i da nabavim naočare za čitanje! Treba me, doduše, razumeti, obe smo u medjuvremenu postale plavuše! Izuzetno me je obradovao ovaj susret... Zanemarljivo kratak let do Beograda provodim u polu-snu, koji se razbija na Beogradskom aerodromu gde otkrivam da su mi koferi stigli otvoreni, i ispremetani... Bez zaštitnog plastičnog omotača, i bez katanaca. Ko zna gde i kad se to desilo. U objašnjavanju i šetanju od šaltera za izgubljene i nadjene stvari do policije, a preko pulta Alitalie, i tako nekoliko puta, gubim sledeća dva sata, i na kraju odustajem, ne dobivši ni konkretan odgovor, ni zapisnik, niti bilo kakvu pomoć... Veliko finale dugog puta.

Sreda, 15. 09. 2010.

Registrujem alarme za budjenje, i potpuno ošamućena se spremam za odlazak na posao. Još uvek funkcionišem po argentinskom vremenu... Ulazim u prostorije TOS-a, i pokušavam da se mentalno vratim u prekinutu priču. Ne ide. Vadim poklone koje sam donela Marijani i Vladi, mojim kolegama. Mate čaj, i karamele... Obilazim ceo TOS i delim karamele, lep je običaj da se sa puta donese neki slatkiš za kolektiv. Razmena poruka sa Claudiom, listanje fotografija... Ostala sam u mislima u Grand hotelu, u Buenos Airesu. Borim se sa jetlegom, i gubim bitku, napad sna me hvata u pauzi za ručak, u obližnjem kafiću. Samo sam zažmurila, i sve je stalo.

Četvrtak, 16. 09. 2010.

Još jedna neprospavana noć za mnom. Odbijam da se vratim u kolosek. Pišem cele noći. Tražim Argentince po Facebooku. Registrujem se na sajtu koji administrira Mario Lessa, i opet sam tamo sa svima njima... Stižu poruke, sa svih strana... I maestro Barraco se javlja sa Sicilije, stigao je i muče ga isti problemi kao i mene...
Već je 6 ujutru. Za par sati moram na posao.
I opet mrmljam za sebe... Hasta pronto, Argentina. A presto, Italia.
Videćemo se opet, što pre, nadam se...

Nina Todorović
likovni umetnik iz Beograda

PART OF THE JOURNAL, PUBLISHED IN "DANAS", ON THIS LINK!

ENCUENTRO INTERNACIONAL DE ARTE PUBLICO ARTEXPARTE

2010-10-03T14:57:00.008+02:00

3-12. 09. 2010.

Berazategui, Buenos Aires, Argentina

COLLABORATIVE WORK WITH CLAUDIO BANDINI

MORE PHOTOS HERE:

Las ciudades ausentes

2010-10-03T14:21:00.003+02:00

Las ciudades ausentes

la Muestra personal de Nina Todorovic

en La Biennale de Montevideo

desde el 19 al 26 de Agosto 2010

Las obras de Nina Todorovic se centran en la fotografía arquitectónica, con un mensaje muy claro que se deja sentir ya en el título: Las ciudades ausentes.
La exploración visual que realiza de los espacios, no deja de ser inquietante; aborda espacios interiores y exteriores, hasta llegar a los espacios abstracto-metafísicos de la soledad humana y la alienación. Soledades humanas que, inhumanamente se suscitan en las estructuras de cemento; enriquecidas a su vez en el reflejo de elaboraciones digitales y en la búsqueda artística que realiza a través de instalaciones ambientales. Lo cual nos brinda la síntesis de una obra que incita a la reflexión, con toques muy interesantes y actuales.

Noemi Silvera

http://exhibitionsbook.blogspot.com/

OPEN MIND – OPEN WORLD International Triennial of Expanded Artistic Media

2010-08-10T01:26:00.003+02:00

OPEN MIND – OPEN WORLD
International Triennial of Expanded Artistic Media

Art Pavilion "Cvijeta Zuzoric"
Belgrade,

Serbia,

5th of August – 20th of September 2010

Viaggio nell'estetica del paesaggio - Materia e Memoria

2010-08-02T22:51:00.004+02:00

Viaggio nell'estetica del paesaggio - Materia e Memoria

foto e disegni di Gabriele d’Oltremare
d’Oltremare + Todorovic
archivio MusAA

Biblioteca Comunale Mozzagrogna (CH)
Abruzzo
Italia
August 2010.

Stockholm - Sweden

Dresden, Leipzig - Germany
Barcelona - Spain

MusAA

Catalog of the exhibition

VentiPerVenti IV edizione 2010

2010-08-02T22:27:00.005+02:00

VentiPerVenti IV edizione 2010

Lineadarte Officina Creativa

Napoli

Italia

June-July 2010.

"Marginalisation (Office 2010)"

Catalog of the show 20x20 edizione 2010.

Serbian Contemporary 2010, Eskilstuna Art Museum, Sweden

2010-08-02T21:34:00.004+02:00

Serbian Contemporary 2010

Eskilstuna Art Museum

Eskilstuna

Sweden

March-April 2010.

Formverk (art zone) curates the exhibition Serbian Contemporary at Eskilstuna art museum, with six artists from Serbia: Bosiljka Zirojevic, Igor Lecic (Leche), Djula Santa, Anica Vucetic, Predrag Terzic and Nina Todorovic.

Formverk

Serbisk Samtid

BAMBOLA

2010-08-02T00:37:00.007+02:00

Bambola

Lineadarte Officina Creativa

Napoli

Italia

April-May 2010.

"Do it" - polyptich

Catalog of the show Bambola

An interview for DECONARCH.com

2010-08-02T00:25:00.003+02:00

An interview with Nina Todorovic for DECONARCH.com - CLICK HERE!

DECONARCH

DECONARCH on FB

Arte Fiera Forli', Immagina

2010-08-01T23:59:00.004+02:00

Arte Fiera Forli', Immagina

Forli'

Italia

November 2009.

My works have been presented by the FM6366ART gallery from Napoli, Italia.

My page on FM6366ART gallery site

FM6366ART gallery

ImmaginaFiera 2009

11. foto incontro

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11. foto incontro

Kulturni dom

Gorizia

Italia

October 2009.

Daniele Barbagli .it
Nino Cannizzaro .it
Blaž Erzetič .si
Nataša Radović .hr
Igor Skorjanc .it
Nina Todorović .rs
Circolo Fotografico “Photo 88” .it

Catalog of the show

Photos of the set-up

AT THE ZENITH

2010-08-01T22:46:00.005+02:00

At the Zenith

Magacin gallery

Belgrade

Serbia

October 2009.

The exhibition under the title AT THE ZENITH represents the continuing of the international

project WARMING, initiated in 2008, by the Swedish artists Niclas Hallberg and

Stina Pehrsdotter. WARMING was a workshop and an exhibition, in the artist-run space

Formverk (art zone), Eskilstuna, Sweden. The persons running the space are the artists

Hallberg and Pehrsdotter, already well known on the Serbian art scene. The theme of

WARMING was given by the group of Serbian artists, and during their visit to Sweden

the o cial collaboration between the artists of two countries started. That collaboration

is now continuing trough the exhibition, entitled AT THE ZENITH, for which the

theme was suggested by the well-known and respected art professor, art historian

and critic Tom Sandqvist, Sweden.

The collaboration has grown, in this occasion, so, besides three Swedish artists,

among the participants will also be one artist from Denmark. The exhibition will deal

with the theme of Zenith, and personal perceptions of this notion, trough di erent

media (video, ambiental and video installations, paintings, drawings, digital photo).

The participating artists are: Stina Pehrsdotter, Niclas Hallberg, Paul Bodoni (Sweden);

Michael Chang (Denmark); Anica Vucetic, Vera Stevanovic, Zoran Todovic, Predrag

Terzic, Isidora Ficovic, Daniel Loncar, Nina Todorovic (Serbia).

Nome Proprio PersonaUmana, V° Incontro artisti contemporanei

2010-08-01T22:22:00.003+02:00

Nome Proprio PersonaUmana

V° Incontro artisti contemporanei

Carrozzeria Rizieri

Pontedera (Pisa)

Italia

September 2009.

Esserci senza esserci tre 2010

2010-08-01T20:40:00.002+02:00

Esserci senza esserci tre 2010
mail art

Carrozzeria Rizieri
Pontedera (Pisa),
Italia

"Defended Structures"

September 2009.

Inter-Medium

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Inter-Medium

group show

Tap Gallery

Sydney

Australia

August-September 2009.

FASCINATING GEOMETRY

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FASCINATING GEOMETRY

group exhibition

curated by

Vesna Lakicevic Pavicevic

Mirjana Radojcic

Marijana Milosavljevic

Miroslav Karic

Participants:

Era Milivojević, Novak Koloman, Dragomir Ugren, Milija Belić, Slavimir Stojanović, Marko Marković, Branislav Nikolić, Vladimir Veljašević, Petar Goljović Kras, Mihailo Jurić, Veljko Vujačić, Irena Kelečević, Tijana Knežević, Nina Todorović, Branka Kuzmanović, Vera Večanski, Milica Crnobrnja Vukadinović i Ana Knežević.

MKM- Magacin gallery

Belgrade

Serbia

July - August 2009.

ART FOR L'AQUILA

2010-08-01T17:11:00.002+02:00

Art for L'Aquila

Italian Cultural Institute

London

June - July 2009.

Catalog of the exhibition

ALPHA NESTS - solo show, gallery BEOGRAD, Belgrade, Serbia

2010-08-01T16:53:00.002+02:00

ALPHA NESTS

ambiental installation

solo show

gallery BEOGRAD

Belgrade

Serbia

March - April 2009.

Catalog of the show

VOLO NEL COLORE

2010-08-01T16:31:00.005+02:00

Volo Nel Colore

a cura di

Paolo Vitale e Paula França

Manidesign

Napoli

Italia

June 2009.

IPERTÒPIA - solo exhibition, MUSPAC, L'Aquila, Italia

2010-08-01T15:51:00.005+02:00

IPERTÒPIA

mostra personale

a cura di

Paola Ardizzola

Museo Sperimentale d'Arte Contemporanea

L'Aquila

Italia

March 2009.

MUSPAC

Photos of the set-up

Catalog of the exhibition

WARMING - workshop in FORMVERK, Eskilstuna, Sweden

2010-08-01T15:16:00.008+02:00

WARMING - workshop in FORMWERK, Eskilstuna, Sweden
October 2008.

Seven artists from Belgrade, Serbia:

Nina Todorovic, Zoran Todovic, Anica Vucetic, Isidora Ficovic, Vera Stevanovic, Predrag Terzic and Daniel Loncar

http://www.formverk.se/warming/warming.html

http://www.facebook.com/album.php?aid=42805&id=575533010&l=99e4a15c7c

http://www.facebook.com/album.php?aid=42824&id=575533010&l=e5f495e25a

CURATORIAL WORKSHOP

2010-07-31T23:32:00.002+02:00

CURATORIAL WORKSHOP

Museum of the city of Skopje, Macedonia

collaborative project

author Goranco Gorgjevski

October 2008.

and

Remont gallery, Belgrade,

April 2009.

Illuminators

2010-07-31T23:20:00.004+02:00

Illuminators

Exhibition of actual art at the airport Koltsovo. Yekaterinburg. Russia. From april 11th to july 11th 2008

"DIGITAL SPACES 035 – Peeking at…"

AUTUMN SALON 2007.

2007-11-19T18:24:00.000+01:00

Autumn salon 2007.
Gallery “Stara Kapetanija”
Zemun
Serbia

"In The Light Of Milena"

2007-11-19T18:16:00.000+01:00

Nina Todorovic's
Pattern recognition - Factor of anxiety I, 2007.
oil on canvas

11th International Biennial
"In The Light Of Milena"

The Art Gallery Milena Pavlovic Barilli
Pozarevac
Serbia
5 - 30. November, 2007.

The 2nd International Ex-libris Competition – Ankara 2007

2007-11-19T18:07:00.000+01:00

The 2nd International Ex-libris Competition

Ankara 2007

Turkey

AUTUMN EXHIBITION 2007

2007-11-19T17:51:00.001+01:00

Autumn exhibition 2007.

18. october - 07. november 2007.

Art pavillion “Cvijeta Zuzorić”

Belgrade

Serbia

JOURNALS OF SILENCE

2007-11-19T17:45:00.001+01:00

Journals of Silence
works on paper

NINA TODOROVIC
DRAGANA JACIMOVIC
GORAN DESANCIC

Todorcetov konak - Museum of Hajduk Veljko
Negotin
Serbia
september - october 2007.

Art colony in Ecka - 17-23. september 2007.

2007-11-19T17:30:00.000+01:00

Nina Todorovic's artworks - digital prints made in colony.

Participants in the art colony in Ecka:

Milan Blanusa, Belgrade
Goran Despotovski, Novi Sad
Dusko Kircanski, Zrenjanin
Lidija Marinkov - Pavlovic, Belgrade
Milan Nesic, Novi Sad
Nina Todorovic, Belgrade
Cedomir Vasic, Belgrade

WATERMARK(ED)

2007-09-12T22:46:00.000+02:00

Watermark(ed)
digital prints and ambiental installation

gallery “Stara Kapetanija”

Zemun

Serbia
21. 06 – 03. 07. 2007.,

Text from the catalogue, by Paola Ardizzola, curator and architect:

The river is inside us

On the real Danube again. (…)
Marvellous scenery. (…)
Just like Novi Sad, the whole of Vojvodina displays its multinational character, almost a concentrate of that unity of diversity that, generally, makes up Yugoslavia (…). An Italian living in Novi Sad, however, says he feels like Lieutenant Drogo in the desert of the Tartars, slumped in languid expectation of something that does not come.

Claudio Magris, Novi Sad and surroundings in the Danube, (Claudio Magris, Novi Sad e dintorni in Danubio), ed. Garzanti, Milano 1986.

Concretizing the course of things as a flowing river carries the meaning of both the primordial beginning and final destination. This precisely has been the undertaking pursued for several years now by artist Nina Todorović in full awareness of the semantic and symbolical potential of the river as a metaphor of human existence, transience of life, possessing something magical, wonderful and amazing but not free of all pain. In the same way that water runs its biological cycle and the symbolical paradigm of human life is not exhausted in the life/death parable being, conversely, perpetually renewed, so the artist tirelessly searches for the substantive internal rhythm inherent in human soul, which is, like water, perpetually renewed.
The artist has recently stated: “My work is fully based on emotions, and my emotions also influence my work”. This preoccupation, revealed in all her works, gains even more substance through her experiments with metalanguages resulting in a highly attentive and lively inquiry into the artistic, aesthetic and social.
In her work My insomnia sleeps in boxes, with a pronounced autobiographical connotation, Nina Todorović “packs” her night thoughts systematically and sequentially, arranging them in boxes that, like ancient memories filed by the human mind may be accessed by that particular user who in physical interaction with a work of art succeeds in completing an intensive process of internal assimilation of its substance.
Using documents and photos of mysterious and enchanting fragments of shades and architecture, small boxes show all the unrest only night can betray. Just as Shakespeare wrote that secrets are revealed under the cloak of night, so the artist, free from the light of day, discloses all her anxieties in the nocturnal orchestration of insomnia. Understood as pathology, insomnia requires a remedy recognized in medicine bottles filled with river water - the most striking primary element: water is medicine, the true agent of regeneration, curing, invigorating, healing, relieving.
The most recent undertaking/happening/installation of this artist anticipates the freezing of certain objects which are then left to thaw floating on the surface of river water. This artistic procedure that has no permanence and is only temporary, transient, possesses the power to enrich and disclose a relation between people and symbolically used objects, a relation that will forever remain imprinted on the soul, as evidenced by photographic documentation. The process of freezing the photos and scattered thoughts recorded by the artists is an exercise of intimate conversation with river waters and has dual meaning: the act of freezing in the true sense of the word points to whatever is preserved, kept “blocked” in ice, as a deep and inextinguishable thought. The ice-bound object contains the essential aesthetic appearing as a coded message by the artist’s hand. The second moment, anticipating the submerging of this artificial object full of allegorical meaning into river water, leaving it to inevitably melt, evokes the imaginariness of the artists as a base for the laws of nature and the needs inherited from our forefathers. That is because the final performance carries with it the feeling of communion to the extent that turns both nature and people into participants letting the object to melt in an etymologically ambiguous sense suggesting both melting as disintegration and melting as dissolution. The object becomes part of the river through the simultaneous dissolution of the artist’s thoughts, dreams, hopes and utopias, so that she herself becomes part of the river and the river forever a part of her.
A series of digital prints that, put together, assume the power of a giant polyptych in the Watermark(ed) installations, simultaneously address the presence of nature and architecture: in a clear presentation of alienated modern cities the artist interplays natural elements, e.g. shells of remarkable evocative power. These objects obtain the aesthetic-compositional power that restores human sensibility, changed by the invasion of ever growing cities on the nature, to the level of primary and physiological perception.
The concept enters the scope of revendication of the substantial expression of body and nature as a struggle against the logic of a “mechanizing” city life, a topic close to the poetics of German expressionists of the 1920s: against the unruly town settlements, architects call a glass-winged angel who, having erected its tent in the heart of the metropolis finds itself entangled in on its outskirts. Trying to close this gap the artist seeks to let this expressionist angel soar high by restoring the unobstructed rhythm of nature, which alone may ensure persistence, perception and communication.
Already in her successful sequel Digital Spaces (in, between and out) Nina Todorović shows modern urban environments with a specific obsessive repetition of perfectly laid out pictures combined to create a powerful representative texture, as moments of metropolitan life caught on “stills” of a motion picture. Lightly touching the poetics similar to that of Italo Calvino’s Invisible Cities (Le città invisibili) wherein possible urban ambiences are multiplied into tracts of memory, desire, utopia, etc., the artist demonstrates her special attraction to the geometry of the architectural object, and geometry’s laws of symmetry, balance and proportion which she presents in striking abstractions related to the modern city. In its entirety this work generates a unity of imposing walls, readable individually or as a whole, that explicitly recall the walls of the present day society wherein overabundant and virtual communication - made of an excessive number of always available news and information, and redundant words that travel too fast - annihilates its own essential purpose. Communication is an exchange of emotions among people, nature and objects, unfolding through glimpses, skin and movement and fixing in memory the substantive value of its magnetic attractive power. Nina Todorović does not intend to give up this ongoing internal, intimate and quiet dialogue. Precisely in these digital elaborations does she arrive at a possible reconciliation, a synthesis of nature and the city: in a remarkably poetic act the artist nourishes hope of re-possessing nature by adding natural elements to cities in an endless string. In her installation of jars filled with river water and refuse Nina Todorović entrusts to natural elements her deepest thoughts written on transparent paper left afloat. The jars, placed on a mirror-like surface openly reflect the thoughts of the artist by means of records made of dreams and striking episodes related to water – thoughts the artist wishes to share with the viewer.
The artist possesses a rare and precious perception of a multi-spatial dimension typical of arhitecture, which allows her to capture immobility and movement, through the change of light resembling Italian artists of the early 20th century, from Sironi’s urban scenes to de Chirico’s metaphysical spaces.
Her almost obsessive interest in architecture in Late night programming does not suggest complacency in aesthetic contemplations. Quite the contrary, Nina Todorović’s affinity for architecture is what historian Bruno Zevi identifies as its final objective, or rather social content: segments of towns, palaces in night, geometries materialized in the alternation of windows, walls and eaves in a screaming protest against the loneliness of people living below, against loneliness that goes missing in a work of art because it is often missing in the essential rhythm, in a laconic evocation of loneliness recalling E. Hopper’s settings and, if possible, still more pronounced precisely due to the absence of human presence and just as capable of recalling to mind all the loneliness there is. Thus, human absence leads to the presence of loneliness – unmistakeable, unadulterated, unambiguous. The fact that these are night thoughts, fragments of river-related photos or materials (send, clay, leaves, algae, rocks, wood...) speaks of a paradigmatic process of their appropriation by Nina Todorović, always using the “packing” mechanism which becomes the genuine stylistic code of the artist, capable of showing what a specific body should be by itself in a desperate attempt to keep and preserve it, leaving it to posterity to become part of a flow, in an endless natural process time-wise adjusted with the internal breath of man. Therefore, we cannot but agree with J.W. Goethe who says:
Des Menschen Seele
Gleicht dem Wasser:
Vom Himmel kommt es,
Zum Himmel steigt es,
Und wieder nieder
Zur Erde muss es,
Ewig wechselnd.

Gesang der Geister über den Wassern (Song of the Spirits over the Waters)

(Human soul / resembles the water: / from the sky it comes, / to the sky it rises / and again down/ to the earth it must/ eternally changing).
For Nina Todorović the pure, uncorrupted spirit lies in the river flows of Serbia, and she shows her deference for it with this personal expression of appreciation, which in her rendition of the ephemerality of the FLOW reveals the true measure of her overall artistic poetics.

Paola Ardizzola
L’Aquila, spring 2007.

SupermARTket in Belgrade

2007-09-12T22:31:00.000+02:00

SupermARTket in Belgrade
10.05. - 20.05.2007.
Maxi supermarket
Višnjićeva 10,
Belgrade,

Serbia

Participants:

Anica Vučetić / Bojan Cvetković / Duška Stefanović / Goran Dimić / Hana Rajković / Aleksandar Jestrpvić - Jamesdin / Miodrag Krkobabić / Maja Josifović / Marko Crnobrnja / Marko Stojanović / Nina Todorović / Ratka Lugumerski / Veljko Onjin / Viktor Šekularac / Gabriel Glid / Žana Poliakov / Vladimir Perić / Lana Vasiljević

Nina Todorović's work:

RECOGNIZING THE ABSENT CITY
Digital print Recognizing The Absent City (2005) represents another one in series of works, of a big cycle under the name of LATE NIGHT PROGRAMMING, started as studies of urban architecture night sights.
Commands Power off/on, Shut down, Turn off/on, Switch off/on, Plug in... started simulating life functions, and now we are facing with the absurdity of situation in which Power on inevitably leads towards the mental absence in real time, which again, it seems, leads to dying out of category of physical/physiological.
The presence in virtual space, therefore, is causing the absence in real space, spiritual, and also physical. Life functions are put to sleep or completely shut down, and frightening fact of our time is that surveillance systems conquered everything and became self-sufficient.
This work is homage to Argentine writer Ricardo Piglia, and inspired by his novel The Absent City.
It is meant to be printed out and exhibited as billboard. Scale is variable.

Spring show 2007

2007-09-12T22:21:00.000+02:00

Spring show 2007
Art gallery "Stara Kapetanija"
Zemun,Serbia
12 – 22. april 2007.

Spring exhibition 2007

2007-09-12T21:32:00.000+02:00

Spring exhibition 2007
Art Pavilion Cvijeta Zuzorić
22. 03 – 15. 04. 2007.

namaTRE.ba

2007-09-12T21:16:00.000+02:00

namaTRE.ba

project/exhibition PART ONE
contemporary video art and photography

Trebinje, Bosnia and Herzegovina

March 2007.

SEARCHING FOR THE LOST SPACE

2007-03-21T17:52:00.000+01:00

SEARCHING FOR THE LOST SPACE

ART CLUB CANALETTO gallery

9 – 30th of March 2007.

Belgrade

Serbia

Participants:

Andjelka Vujović, Dragana Mladenović, Marija Nakić, Marko Crnobrnja, Milica Crnobrnja Vukadinović, Mirjana Odić, Nina Todorović, Senka Mihajlović, Vladimir Antović

THE PIXELSTORM AWARD

2007-02-27T20:47:00.000+01:00

THE PIXELSTORM AWARD
The International Pixelstorm-Award is a digital competition, and was invented by Andres Wanner.

http://www.pixelstorm-award.ch/

Winners for 2007. are:
Golden Pixel - Standby, Rob & HP FAQ 42
Publikumspreis 2007 - Paul der Pförtner, Simon Stotz
Sternschnuppe-Award - Sternbilder, Roman Schnyder
Wachtraum-Award - Geometry Of Insomnia, Nina Todorovic
Nachtschicht-Award - Fusion, Paloma Lopez Graninger
Endless-Night-Award - Nachtschicht bei Equipo, Equipo

The jury statement for Nina Todorovic’s GEOMETRY OF INSOMNIA:
Wachtraum-Award - Geometry Of Insomnia, Nina Todorovic
The jury would like to honour this non-moving, non-interactive work, which is a serious and yet mysterious contribution to the subject. We guessed for a long time how it was made, its atmospheric qualities refer to photography, digital image-processing, and 3D-Imaging, and yet none of the above seemed to be clearly the origin. Because of the scary and emotional connotations, and its sharp presence on the other hand, this work was given the Wachtraum-Award (Daydream-Award).

CROSSWAYS II

2007-02-27T20:44:00.000+01:00

CROSSWAYS II
Participants:
Dragana Jaćimović, Marina Popović, Ivana Dragutinović Sokolovski,
Nina Todorović, Dragana Stanković
SULUJ gallery
The 17th - 31st of January, 2007.
Belgrade
Serbia

Geometry of Insomnia - Skopje, Macedonia

2007-02-27T20:41:00.000+01:00

Geometry of Insomnia
Digital prints
Mladinski Kulturen Centar
October, 2006.
Skoplje
Macedonia

Protection of Nature/XII Biennial of Visual Arts

2007-02-27T20:36:00.000+01:00

Protection of Nature/XII Biennial of Visual Arts
Gallery of Contemporary Art
Dvorište gallery
National Museum
Cultural Center Pančevo Hall
Town sites
The 2nd – 30th of September, 2006.
Pančevo
Serbia

Selection commitee:
Lidija Merenik
Slobodan Jovanović
Ivan Grubanov

From the text „Big issues swept aside“ by Lidija Merenik and Slobodan Jovanović:
„...Nina Todorović archives her insomnia: on the installation My Insomnia Sleeps In Boxes (She lives by night I – XI); the water element is in mystical relationship with insomnia. Part of the installation is made up of apothecary glass jars where river water is held and as such, has more than one meaning for the author: „They are a cure and a poison and a tranquilizer and a cause of anxieties...“

Competition BombART, Italy

2007-02-27T20:28:00.000+01:00

Competition BombART
Mediterannean Art Meeting
The 9th – the 17th of September, 2006.
Lago di Bomba
Abruzzo
Italy

Selection committee:
Paola Ardizzola
Hela Bonaci

Winners:
Maria Rebecca Ballestra, Italy
Mirjana Batinić, Croatia
Maja Beganović, Serbia
Stefania Cucciardi, Italy
Lana Hunjić, Bosnia and Hertzegovina
Nataša Matović, Serbia
Tanja Perišić, Croatia
Piotr versus Pietro, Italy
Nevena Popović, Serbia
Nina Todorović, Serbia

Project WATERMARK(ED) – Nina Todorovic
http://www.ulus-art.co.yu/Nina_Todorovic/osmawatermarked.htm

The installation Watermark(ed) , by which the whole project is titled, represents the logical continuation of the previous artwork - My Insomnia Sleeps in Boxes. I keep on “packing” dreams and river sights, all together with water and other river materials (sand, mud, leaves, algae, stones, wood…) in jars, bottles and Petri dishes. In all those dishes, on transparent foils, sunk in the water, the fragments of my dreams are written, all together with printed out, transparent photos. All dishes are placed on the large mirror, so they can be translucent and their contents can be seen and read – the text and pictures. I perceive water as an universal power, with great respect and awe. This is my personal homage to rivers Danube and Tisa , and primarily to magical places in every way, to Begecka Jama and Mrtva Tisa. The photos represent the installation view, made during BombArt workshop, within Mediterannean Art Meeting, on the lake Bomba, Abruzzo, Italy.

Digital spaces (in, between and out)

2007-02-27T20:26:00.000+01:00

Digital spaces (in, between and out)
Digital prints
HEART gallery
The 14th – 26th of August, 2006.
Belgrade
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/sedmadigitalniprostori.htm

Geometry of Insomnia - Novi Sad

2007-02-27T20:23:00.000+01:00

Geometry of Insomnia
Digital prints
Art salon of Cultural Center
The 12th – 23rd of June, 2006.
Novi Sad, Vojvodina
Serbia

The Art of the Young 2006.

2007-02-27T20:21:00.000+01:00

The Art of the Young 2006.
Niš Art Foundation
May – June, 2006.
Gallery Serbia, Niš and
Gallery of DIN, and affiliate of Philip Morris International, Belgrade
Serbia

Award for new media

2007-02-27T20:18:00.000+01:00

Award for new media
Spring exhibition 2006
Art pavillion “Cvijeta Zuzorić”
Belgrade
Serbia

Special award

2007-02-27T20:16:00.000+01:00

Special award of “Sopoćanska vidjenja” colony
Spring salon 2006.
Gallery “Stara Kapetanija”
Zemun
Serbia

Geometry of Insomnia

2007-02-27T20:12:00.000+01:00

Geometry of Insomnia
Digital prints
Remont gallery
The 10th – 28th of April, 2006.
Belgrade
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/sestageometrijanesanice.htm

The GEOMETRY OF INSOMNIA series represents the continuing of exploration of „LATE NIGHT PROGRAMMING“ phenomenon. Dealing with insomnia of indirectly present individuals is explained here by opening of two parallel problems. Physical, mental and emotional „exercises“ that are imposed to us by reality, are inevitably leading to crucial moments, moments of comprehension of mechanisms of chance, which are ruling the world, and real insights in personal existence. Large scale digital print (scale is variable) is emphasizing that. It is inspired by the short story Benny Does Dublin, by Dermot Bolger. On the other hand, running away, escaping from introspection is leading to other kind of activities – giving up to the illusion of communication and interaction, we are putting ourselves to sleep, by plugging into our machines - computers, TV, cell phones, etc... The only thing that witnesses of human existence are rays of light, innumerable frozen sequences, blurry and sharp sights of everpresent insomnia. Small scale digital prints are representing that side.

Dislocation – Utopian space(s)

2007-02-27T20:06:00.000+01:00

Dislocation – Utopian space(s)
O3ONE gallery,
curators Mara Prohaska and Maida Gruden,
The 26th of December 2005 – the 15th of January 2006.
Belgrade
Serbia

Participants:
A. Asllani, B. Jakić, Jamesdin, M. Josifović, B. Kuzmanović, S. Marković Mikrob, E. Milivojević, V. Protić, M. Putnik, D. Tadić, P. Terzić, N. Todorović, I. Fićović

http://www.ulus-art.co.yu/Nina_Todorovic/petanesanicekutije.htm

My insomnia sleeps in boxes (She lives by night I-XI)

In her work My insomnia sleeps in boxes an artist Nina Todorovic successively puts contents one into another. She works on neat and persistent packing of her insomnia into dreams, dreams into drawers, and drawers into chest of drawers. Unpacking of the same ones is up to an observer. Playing the game of permanent hiding and revealing, she indicates that it is about inner story which is made public at this exhibition and easily accessible to everybody. Contrast between fragile material of the boxes of matches and heavy and massive wood of the chest of drawers shows the need to search for protection of her vulnerability in a stable structure.
Freudian logic of dreams implies liberation from "spacial and temporal order of events”: Thus, images of remembrance and desires, remade experiences from the past network out of principles of coherence and continuity. It is suggested in recent literature to implement this model in everyday life. Skilful connection of different elements and networking of different fragments lead to different meanings. They would, by the effect of surprise more than by the effect of explanation, inevitably encourage micro-utopian potential. However, does this model represent a reliable base for the one who searches for a constancy and certainty?
Although the artist herself sees reaching of subconscious in dreams as a kind of cosmic-utopian voyage, she consciously denies the possibility of great social utopia in modern society. Using visual patterns inside these boxes she documents her insomnia. Those abstract night scenes deal with the phenomenon of night activities, life in a city, loneliness and alienation, connoting the phenomenon of night re-examining as present problem that goes beyond the domain of personal and individual. The fact that people suffering from insomnia lose their personality and become liable to suggestion is known as well as the fact that faith in change is defeated in advance within unstable identities.
Dreams that overwhelm the body at some point are illustrated in textual patterns (notes about their contents) that the boxes are coated with. However, her notes about dreams represent retrospective insight into the dream content while the content itself represents some kind of real event retrospection. Intention of the artist to show her mistrust of justification for offered models of tomorrow and to point out, once again, the effect of her disbelief, is even more emphasized by double retrospection.

Mara Prohaska

Geometry of Solitude

2007-02-27T20:03:00.000+01:00

Geometry of Solitude
Digital prints
Gallery of “Goce Delčev” library,
in organisation of Štip Youth Home
December, 2005.
Štip
Macedonia

The Award of Merit

2007-02-27T19:57:00.000+01:00

The Award of Merit
for the painting “Geometry of Insomnia” I
Spring Salon 2005
Art pavillion “Cvijeta Zuzorić”
Belgrade
Serbia

Late Night Programming

2007-02-27T19:52:00.000+01:00

Late Night Programming
Paintings
ULUS gallery
The 2nd – the 15th of February, 2005.
Belgrade
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/cetvrtanocniprogram.htm

Why should one believe in the intimistic, abstract painting today?

Blue Skies, Constructions of Silence and the Late Night Programming as the most recent in the series are titles of cycles marking Nina Todorović's advance along the identification line towards the instance of the subject, presumably believing, which would as such ensure a vantage point making all statements meaningful and all beliefs attainable. However, due to the loss of historical perception, the idea of progress, utopia of future and the collapse of numerous referential systems, instead of a response of a believing subject the painter's demand for meaning bounced back from the surrounding architecture to return to her as a new and unexpected form of intimate and singular communication.
Under the influence of new information and communication technologies, as well as some entirely local rights and customs, the democratic institutions have lost their role in the formation of social images. Places to be fitted into the conscious plane of meaning are replaced but virtual democracy, which, in Nina's case, became mixed with the unconscious registering of the wish to find the meaning in night reflections. Instead of meaning, but not in opposition to it, emerged the paintings that emulate the aesthetics of disappearance (Virilio) and fulfill the task of presenting virtual codes (not now and not here), rehabilitating the contents, which are impossible to manipulate and would therefore not be represented by the digital media.
The fluidity and multifactedness of the Late Night Programming are offered instead of the believing subject, but the exhibition is not an index of the crisis of meaning, but of a profiled awareness of the author faced with the impossibility to control the wide context and encompass the totality of a phenomenon.

Maja Ćirić

selection

2007-02-27T19:38:00.000+01:00

In the year 2003. the city of Belgrade's Department of Culture awarded Nina Todorovic's "Blue Skies Smiling I" a place in its' permanent collection after issuing a call to artists for submissions to a public exhibition, for official jury selection.

Constructions of Silence

2007-02-27T19:34:00.000+01:00

Constructions of Silence
Works on paper
Gallery of the Students' Cultural Center
The 25th of November – the 8th of December, 2003.
Kragujevac
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/cetvrta.htm

Zoom in by Anthropometric Calculations

The greatness of Nina Todorovic’s small scale works is in their ability to indirectly transcend the life of the individual in an urban setting, by excluding the human figure and taking over the material culture. Cityscapes is a world that the artist is observing in its entirety, reflected in what she sees from her overall perspective, and presented through different vantage points. The architecture/universal in her work is transformed into an individual living experience, and utilizes anthropomorphism as a primary metaphoric process in the execution. By observing / meditating on the architecture, which is always an effect of micro/macro ideological systems, a sensitive glance is capable of bringing you back to the individual who, where we don’t expect, establishes an anthropometrical referral system. Oppositions out/in, near/far, center/periphery, active/passive, light/dark are taken from the organization of a body and testify to the human eye that observes Cityscapes and presents it through anthropometrical calculations. Marks of previous buildings testify to a process of permanent construction in our environment. A process that influences the creation of personal politics of memory. Although their origin is not in the nature, forms of buildings, as every landscape, have developed from the process of transforming the World.
The result of taking over the timeless architectural structure from the urban environment that became commercialized, is an individual contemplative rhythm. And painting is, in scale and process intimate, despite the fact that it is inspired by structures occupying a public space. The geometric/chromatic abstractions in Nina Todorovic’s works are always referring to some exterior, or a missing piece, whether it is an auto-reflective subject or a fragmentary reflection of an external source of light. The possibility of seeing those fragments hides one truth: human sight is always found between mimesis and abstraction, and the essence often slips away...

Maja Ćirić

Blue skies smiling at me...

2007-02-27T19:31:00.000+01:00

Blue skies smiling at me...
Paintings
Gallery of the Cultural Center
October, 2003.
Čačak
Serbia

BLUE SKIES

2007-02-27T19:01:00.000+01:00

BLUE SKIES
Master exhibition
Paintings
Gallery of the Faculty of Fine Arts
The 7th – the 14th of May, 2002.
Belgrade
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/treca.htm

FROM MASTER'S WORK:
»What a picture presents, differs from what it testifies.«
Pascal Bonitzer – »Film and Painting«

... »Blue Skies« originated from silence, but continues its life in calmness.
By it, I make difference between such two terms.
I understand silence as a consciously chosen human action that could be broken at any moment.
Being calm is different, at least in this case.
Indeed, it could originate from silence, but it, also, could make a conesquence of something else.
Calmness in the cycle »Blue Skies« doesn't make a meditative Zen - garden calmness, it is a calmness of a day after... Beginning calmness, after the disappearence of everything else.
De Chirico narrated that architecture complements nature.
In mentioned Zen – gardens exists a principle of removing everything superflouous from nature, leaving only the essence.
In urban landscape exists a violently removal of the very nature.
Both in the first and in the second example, we come to the reality condensation, and to some sort of self – limitation.
Controlled coincidence governs the Zen – gardens. Dosed anguish, that pursues us to balance indefinitely on an edge, governs, probably, a city.

Paintings - Gallery of the Media Center

2007-02-27T18:58:00.000+01:00

Paintings
Gallery of the Media Center
August – September, 2001.
Belgrade
Serbia

Blue Skies – ambiental installation

2007-02-27T18:54:00.000+01:00

Blue Skies
ambiental installation
Great Gallery of
the Students' Cultural Center
May, 2001.
Belgrade
Serbia

Paintings - Nina Todorović and Predrag Terzić

2007-02-27T18:48:00.000+01:00

Paintings
Nina Todorović and Predrag Terzić
Gallery of the Native Museum of Ruma
The 11th of May – the 1st of June, 2001.
Ruma, Vojvodina
Serbia

Silences

2007-02-27T18:40:00.000+01:00

The first solo show

Silences
Kolarac Foundation Gallery
The 21st of March – the 3rd of April 2000.
Belgrade
Serbia

http://www.ulus-art.co.yu/Nina_Todorovic/druga.htm

SLOPING SHADOWS

About Nina Todorović's paintings

It could be possibly said that visual comprehension of buildings, of works of architecture and even of sculptures, in the most general sense - reflections of painters of human creations incorporating smaller or grater artistic ambitions, form a specific family of paintings. Those are paintings of images, "second degree" paintings captured scenes of something that is not nature, but that in our sub - consciousness, sub - consciousness of a man born and grown up in town melted into and transferred into nature, long ago. It seems that notion "urban landscapes" sufficiently speaks about this psychological identification by itself. For an urban man homeland is not a vision of idyllic clearings or of reddish autumn forests but of a shabby, chaotic world of contours, of surfaces and of perspective plans. And as a traditional landscape is not only whichever fragmental scene of the nature thus are neither urban images unintentionally chosen fragments - those are privileged, specially chosen plans apt to express something quite different, something more than just a transmitted spectacle.Starting from the nearest surrounding views - views from a classroom in this case - from a studio, of a nearby modern building portico and visually initiating parts of a naked reduced interior - Nina Todorović overcame factorial layer offered by proposal and decided to follow trace of an atmosphere that is under certain conditions formed around them, in a long and carefully developed process. This process induced to purified scenes and to a zone in which subjective experience of light is a moment of afternoon quietness created by oblique pink rays, namely what is offered to an observer of these paintings as an experience, impression or poetic practice.Paintings made by Nina Todorović are developed in cycles - experiences of deducting are carried over to works with a changed iconography as well, new paintings, made from a new "observing point". These experiences are varied on canvases with an identical iconographic proposal: the same high wall is not reappearing only under conditions of a changed choice of colors but these painting exercises are psychological content variations at the same time.This almost melancholic impression that to a different degree is attributed to all Nina Todorović's paintings is achieved neither by applying thin colour layers nor by quick brush touches that in another way reflect inside dynamics. Surfaces of her paintings are active, pigment saturated zones in layers. Pastel tones and a rich stuff are there to point out impression of a thickening silence and tranquillity a sanctuary so much desired at times of noise and rage.

Mileta Prodanović

Nina Todorovic

Art in Belgrade - Artists

Niski crtez - Exhibition of drawings in Nis, Serbia

Exhibition of the Cavafy Museum Art Collection

My design portfolio

"HUMAN RIGHTS?" 2011 Art From World - The Exhibition

"HUMAN RIGHTS?" 2011 Art From World - The Exhibition

ZEMUNSKI SALON 2011

Solo exhibition MARGINALIZATION - video

La Casa | Giovani artisti serbi

MARGINALIZACIJA / MARGINALIZATION

HUMAN RIGHTS? 2011

START UP 2011

International Prints Exhibition Award

International Prints Exhibition Award

Donkey Art Prize

Sugestija Linijom

Forlì Fiera 9. edizione Vernice art fair

5a Biennale Internazionale d'Arte di Ferrara - L'estasi dei sensi

"HUMAN RIGHTS?"

"ART HAS LEFT THE GALLERY SPACES LONG TIME AGO"

An interview I gave for "Danas" newspaper, about the workshop ARTEXPARTE, in Berazategui, Argentina,on this link:

Umetnost je odavno izašla van galerijskih prostora

"Winter in Argentina"

ENCUENTRO INTERNACIONAL DE ARTE PUBLICO ARTEXPARTE

Las ciudades ausentes

OPEN MIND – OPEN WORLD International Triennial of Expanded Artistic Media

Viaggio nell'estetica del paesaggio - Materia e Memoria

Viaggio nell'estetica del paesaggio - Materia e Memoria

foto e disegni di Gabriele d’Oltremared’Oltremare + Todorovicarchivio MusAA

Biblioteca Comunale Mozzagrogna (CH)AbruzzoItaliaAugust 2010.

VentiPerVenti IV edizione 2010

Serbian Contemporary 2010, Eskilstuna Art Museum, Sweden

Serbisk Samtid

BAMBOLA

An interview for DECONARCH.com

Arte Fiera Forli', Immagina

11. foto incontro

AT THE ZENITH

Nome Proprio PersonaUmana, V° Incontro artisti contemporanei

Esserci senza esserci tre 2010

Inter-Medium

FASCINATING GEOMETRY

ART FOR L'AQUILA

ALPHA NESTS - solo show, gallery BEOGRAD, Belgrade, Serbia

VOLO NEL COLORE

IPERTÒPIA - solo exhibition, MUSPAC, L'Aquila, Italia

WARMING - workshop in FORMVERK, Eskilstuna, Sweden

WARMING - workshop in FORMWERK, Eskilstuna, SwedenOctober 2008.

CURATORIAL WORKSHOP

Illuminators

AUTUMN SALON 2007.

"In The Light Of Milena"

The 2nd International Ex-libris Competition – Ankara 2007

AUTUMN EXHIBITION 2007

JOURNALS OF SILENCE

Art colony in Ecka - 17-23. september 2007.

WATERMARK(ED)

SupermARTket in Belgrade

Spring show 2007

Spring exhibition 2007

namaTRE.ba

SEARCHING FOR THE LOST SPACE

THE PIXELSTORM AWARD

CROSSWAYS II

Geometry of Insomnia - Skopje, Macedonia

Protection of Nature/XII Biennial of Visual Arts

Competition BombART, Italy

Digital spaces (in, between and out)

Geometry of Insomnia - Novi Sad

The Art of the Young 2006.

Award for new media

Special award

Geometry of Insomnia

Dislocation – Utopian space(s)

Geometry of Solitude

The Award of Merit

Late Night Programming

selection

Constructions of Silence

An interview I gave for "Danas" newspaper, about the workshop ARTEXPARTE, in Berazategui, Argentina,
on this link:

foto e disegni di Gabriele d’Oltremare
d’Oltremare + Todorovic
archivio MusAA

Biblioteca Comunale Mozzagrogna (CH)
Abruzzo
Italia
August 2010.

WARMING - workshop in FORMWERK, Eskilstuna, Sweden
October 2008.