Jesa Denegri
THE CONTEXTS OF MIRJANA DJORDJEVIC`S ART

In the extremely negative conditions of the 90s, when the ranges and values in numerous spheres of life, including ,also, those in culture and art, became questionable,the beginning and the formation of Mirjana Djordjevic`s work were underway. Her first exhibtions and, immediately, the following ones pointed out, very soon, her exceptional talent and her serious personality, her early conceptual and performing maturity, her ability to make her way, to prove and confirm herself, not only in the domestic but, also, in the international arts scene during the last decade.She attracted attention , already in 1991, with her exhibtion and award at the 16th Biennial of Young Yugoslav Artists, in Rijeka.Another award followed, in 1992, at the 4th Asian-European Art Biennial in, Ankara. In 1993, she had the exhibtion at the exhibition La Coesistenca dell` Arte, which was the part of the 45th Venice Biennial. Then, in 1994, she participated at the exhibition Europa 94 - Junge Europaische Kunst, in Munich ; and- in the same year, she received another recognition at the 1st Yugoslav Youth Biennal,in Vrsac, and organised her individual exhibition in the Salon of the Museum of Contemporary Art, in Belgrade. Furthermore, she took part at the group of, so-called, contemplative exhibitions - Resume - , a series of exhibitions throughout Serbia,at The Tendencies of the Nineties : Hiatus of Modernism and Postmodernism, in Novi Sad and Belgrade and, at the exhibition Examples of Abstract Art :One Radical History,in Belgrade, in 1995-96. Another recognition followed and this time it was at the Sculpture Triennial in Pancevo, in 1996. In the second half of the decade, the presence of this artist in the domestic scene, has still remained very noticeable though, with intentionally reduced and selected number of appearances from which two individual exhibitions - Kill Your Idol /1999/ and Inside/Outside /2000/, both in Belgrade, the Centre of Youth Gallery, and several group shows, such as Stirring Streaming Dreaming /Gratz/, Seven Thesis of Serbian Sculpture /Pancevo/, Inside/ Outside /Warsaw,2000/ could be distinguished.The 90s are, therefore, the period of Mirjana Djordjevic`s full affirmation. Her appearance and results, apart from being the evidence of one entirely personal undertaking, reflect, at the same time, the way in which one of the representatives of the Belgrade artistic circle, caught by the force of historical circumstances in a “ closed society” has succeeded and how he has succeeded, in spite of that, to keep, equally, in step with certain global problems and ideas, in this very tumultuous period of art, at the end of the 20th century. Art, at the end of the century ( with its imperceptible turn into the next one), is, namely, art of the extremely open streams, scopes, languages, speeches and subject-matters, where , though, there is a lot of space, only the outstanding individuals, confirmed on their own bases and opuses, can be set aside.

The context of Art at the End of the Century

Even from the most general insight into the current artistic practices, it becomes evident that entire up-to-date art can not be assigned to any generalisations at all. Any dominant mainstream can not be definitely, established in such art.The concepts like pluralism, heterogeneity, heteroglossy, heterotopy remain to be valid for the present situation, in totally diverse artistic happenings. Art at the end of the century is extremely fragmentary, its configuration of (in) numerable individual appearances, options, speeches and attitudes is dislocated and scattered into mutually incompatible positions. Even in this kind of structure of the entire artistic climate, such thesis have appeared which, as the characteristic state of art of its last period, have recognised and emphasised the mood of moderate “coolness” of the expressive tones. For indicating this atmosphere, the term non-expressionism has been introduced and used ( in difference to the term neo-expressionism , as the feature of art , especially of the painting at the end of the 70s and the beginning of the 80s). In the same context, some authors have issued the terms such as cool trans-avantgarde, cool baroque, the other modern, modern after postmodern, neo-conceptualism, neo arte povera.One spoke about the regeneration of modern project, to which, instead of the former - firm and hard, the attributes such as fragile and soft, were attached. All this hypothesis, in spite of the considerable mutual differences, had, at least, one thing in common: they stopped to recommend retro and anachro phenomena, to strum the memory of the history of art, to use excessively the citations and repetitions , with or without changes, in a word, they left all those methods and strategies characteristic of the typical postmodernistic and , more often than not, of the anti-modernistic eclecticism of the former period. New technologies, new media, new formative and operative methods became the important features and means for one stream in art of the 90s which, of course, had no longer any need or strength to support , either in program or in ideology, their exclusive promotions. On the contrary, it puts into effect, without any eagerness or shuddering , the pragmatic use of those means, which is deprived of every utopian projection. In some of its basic prerequisites, this art of the 90s goes around and jumps over the ideals of art in the previous decades, especially those connected to the expressive, presentable and figurative painting of the 80s, in order to be attached to the conceptions, acts and behaviour which are, in principle, related to those that can be found in new art of the 60`s and 70s. By doing this, it understands and accepts the spiritual heritage and mentality of the historical avantgardes and the post-war neo-avantgardes, though, with no illusions that an artist and art, in the contemporary post-ideological and post-political society, could undertake and perform the leading or, at least, socially active rolls. Art at the end of the century is, as a matter of fact, one great spectacle of the hyper-production and hyper-consumption of the artistic and para-artistic happenings, obsessions, situations, information, carried out with the ambitions to make sense from all of that, at least, for their creators , to make all of that mean something important to them and to the others,too and, after all, to make all of that , in its utmost consequence, able to move the borders and to test the possibilities of the artistic appearances, speeches, languages, concepts and experiences. Although it seems that everything in art is, already, experienced and discovered, the current practices find out new devices for some new discovery, for some undone experiment,for some yet unseen movement to the unknown. By doing this, these practices, in fact, act in the revolutionary and violent way of behaviour, which has been left in heritage to today’s artists by the generations of protagonists of historical modern and avant-garde, who have been the creators of the inexhaustible possessions of ideas, methods and achievements in the entire
art of the 20th century.

The Post-Duchamp`s Concept of Art

There exists one concept, in the theory of art of the last decades, which meaning is used not only for marking the historical periodizations but,also, for marking the conceptual and operative features of the artistic way of thinking : that is the concept of post-Duchamp`s character of art. The whole art,that chronologically comes “after Duchamp “ does not, of course, go under this classification. It is case, only, with that art which, in its deep structure, takes care about inheritance and consequences of Duchamp`s epistemological turning point, which understands the important changes in the nature of art , caused by his actions,among which the most radical is the ready-made method and its direct or indirect repercussions. According to logic of this way of artistic thinking, an artist, at the starting point of his answering to certain problem, establishes the basic idea and, in accordance to it, s/he makes farther decisions about the formal system of concrete work, which means that, in the artistic process, the priority is given to the idea and not to the final realisation of object , which, for its part, is not eliminated or set aside from the world of artistic products but is, rather, brought, such as it is, in tight dependence on the concept, on the mental proposition according to which certain idea is materialized, either in plastic form or in some overtaken, ready-made object. The basic way of artistic thinking of Mirjana Djordjevic is, exactly, the way of post-Duchamp`s understanding of art : it implies, namely, the priority of the idea over the form and object, but, nevertheless, it demands very precise and perfect realization of the visible and tactile artefact. In the operations of this artist, the ready-made strategy is accepted , not as some bare and direct approportion of the ready-made object but, as the creative use of various non-artistic experiences, methods, media, data, actions and, all of these for the sake of the specific way of her own artistic expression. Far from being literal, Mirjana Djordjevic`s work functions as one transformed and flexible ready-made, which means that this kind of work is based on constructing, taking, separating, merging, combining, installing, disassembling, feigning, simulating, and even counterfeiting of various forms, signs, codes, “ icons “ and pictures taken from the world of art or out of it but, always, introduced and translated into the concrete context of the world of art. Therefore, the world of art and the world out of it are merged and assimilated in one, that is, the internal problems of art and the external contexts make one integral and unseparable totality. The context (s), in which the work of art comes into being, is / are inscribed in the meaning of the work itself, it / they even determine (s) its origin and, the work, for its part, returns and turns to that / those context(s), it lives actively and influentially, it means and shines exactly in its total (artistic, cultural, social, political) environment.

The Circumstances and Environments of Spiritual Formation

In one conversation from 1991, Mirjana Djordjevic confirmed that she was “a spiritual child” of the environment and climate around and inside the Student Cultural Centre (SCE), and, especially, its Art Gallery, and, about her generation , she said : “we grew up in the SCC, we developed our criteria of values, already, in the time of new wave, through attending rock programs, exhibitions and some other contents... Ivan Ilic and I have started together and, in the period of two years, carried out a series of exhibtions.

As her direct forerunners, she mentions four representatives of new Belgrade sculpture at the turn from the 80s into the 90s; as her relatives in the close sphere of contemporary music, she mentions bands: Darkwood Dub, Pressing, Euphoria. It is, in fact, “the generation circle” of the early 90s, which, connected, as it were, by common sensibility, affinities, friendship and, above all, work, gravitated to create and demonstrate its expressive language, to express its own view of the world. In the field of fine arts, that language, in the characteristic meaning of the epochal artistic atmosphere, could be marked by, already mentioned, German Celant`s term non-expressionism, as an adequate mark for the production which was being announced, in the specific circumstances in the domestic arts scene at the end of the 80s, exactly, by the representatives of new Belgrade sculpture. This language would be promoted, to its extreme crystallisation in conceptual and performing aspect, by Mirjana Djordjevic and Ivan Ilic, who would leave manual labour and heterogeneous materials, in junction of rejected industrial and natural parts, and avoid the method of mixing and installing in the construction of sculptural form. All of these would be done in the name of perfect mechanic preciseness in the manufacture of form , achieved by the means of developed industrial technology and, in such way, finished production of homogenous elements, arranged in the spatial ensembles according to the principle of minimalist post-sculptural method of serialization and repetition of identical or very related modular units. Exactly these features of artistic work point out the emphasised contribution of mental and conceptual factors, in the detailed and strict process of thinking, as well as in the precise projection of formative solutions, which are the prerequisites for entering into the process of final technical elaboration and ralization of any concrete element of the work. In regard to these features, Mirjana Djordjevic, in the early 90s, was not so much attached to the previous generation of new Belgrade sculptors and, especially, not to the generation and movement of manual sculpture of the 80s, to which she is, in every important aspect, quite opposite. As a matter of fact, she was attached to the mental and analytical positions in the lap of new art of the 70s, that is, to the cult heritage of Belgrade conceptualism, which, at one time, also, had a strong base in the SCC Gallery, just as the generation to which Mirjana Djordjevic belongs.
In a series of consecutive artistic waves (new art of the 70s - new sculpture of the 80s - techno-art of the 90s) which appeared, formed and developed in this momentous working and exhibiting place of Belgrade experimental art in the last three decades, Mirjana Djordjevic (together with Ivan Ilic) has created the strategic point , defined, by the artist herself, as technospiritual , representing, thus, the most radical section of domestic art in the first half of the 90s. Mirjana Djordjevic`s first, very noticeable, exhibtions and breaches in the then international arts scene resulted exactly from these bases, experiences, achievements and qualitative peaks.

In the Context of Multicultural Dialogue

The participation in two very important international artistic exhibtions, in the first half of the 90s, La Coesistenza dell` Arte (1993) and Europa 94 (1994), determined the referential field of Mirjana Djordjevic`s art, in one very tumultuous historical moment. The idea “coexistence of art” (the name of the exhibition at the Venice Biennial) emerged from the critical concept of Achil Bonita Olive (who was the main selector of the Biennial (1993)) about the essentially multicultural and transactional nature of contemporary art, which was, in this case, applied to the narrower area of Central Europe, soon after the constitution of new states on the territory of former countries such as Yugoslavia and Chechoslowakia, together with those existing for a long time such as Austria and Italy. From that very complex area, very prominent artists, born in the 40`s and 50`s, were selected : Marina Abramovic, Braco Dimitrijevic, Dokupil, Nunzio, Pizzicannella, Dessi, Schmalix, Marijetica Potrc, Dubravka Rakoci and so on, up to those in the next generations, among which Manfred Erjautz (1966) and, exactly, Mirjana Djordjevic (1967) were the youngest. The artists were not, of course, selected and invited as the representatives or members of their national environments but, as the autonomous individuals and among them there was absolute lingual and over-national coexistence. It was very important that something like that happened in the circumstances of strong tensions which, at that very moment, existed among the countries, newly created on the ruins of the formerly common country. To take part in the exhibition which, in such very delicate circumstances, pleaded for the autonomous individual apolitical position of the contemporary artist, in one, for such position, very unpleasant historical moment, meant to take part, not only in one highly qualitative selection but, also, in one international cultural project which had important moral connotation and made sensation in the audience of that time. Because of all, above mentioned, reasons this Biennial in Venice has remained one of the most important references in the whole artistic biography of Mirjana Djordjevic, so far. Nearly, all this could be said for her participation at the Munich Exhibition Young European Art, with extremely multicultural gathering of artists, who were active in the region from the utmost Western to the utmost Eastern border of the continent and demonstrated, thus, that the youngest generation of European artists of that time attributed importance , not to the national but, only, to the artistic genealogy and, first of all and above all, to the character and quality of work itself. As far as the quality is concerned, with her works Horizontal / Vertical (1992, at the Venice exhibition) and Star and Shadow (1994, at the Munich exhibition), Mirjana Djordjevic withstood very strong competition among the participants in these exhibtions, and, thus, showed that, for one modern artist, the attainment of international status did not depend on the environment he came from or on the age but, in the first place, on the manner and scope of artist’s participation in the multicultural artistic dialogue.

Lingual and Operative Context: Technospiritual

For deterring and naming of Mirjana Djordjevic`s early artistic production, to which the works, showed at the above mentioned exhibitions, belong, it is possible to speak of different terminological symbols thanks to the open possibilities of reading and interpreting of that production. However, the artist herself was, at first, inclined to see her art in the light of the term technospiritual, basically, the completely transparent term in positioning the meaning of both compound units: that is, techno, as material and method, spiritual, as spiritual content, the sense and the aim of entire project. According to her “the highly sophisticated technological artistic practice at the end of the 20th century is technospiritual”. During the 20th century, as it is well- known, the constant development of technical methods and introducing with those methods of new technologies have been in progress all the time. The development and introducing have become the constant part of modern and post-modern art. In one contemporary civilisation, it is impossible for art to survive if it does not, constantly, carry out and increase its operative projects.Art that suits the characteristic look of that civilisation used to be, at first, idealistically fascinated by the inexhaustible promises and potentials of new technologies ( to begin with futurism and constructivism up to their numerous consequences) and, then, in the circumstances of the advanced mass-media culture, art has, definitely, got accustomed to new technologies, as if it were its normal state; deprived of mass-media and utopian projections, it accepted new technologies in respect to their pragmatic aspect not merely as technical helping devices in the realization of artistic ideas but, also, as initial, conceptual and imaginative suppositions in the time of appearance of those ideas. For Mirjana Djordjevic and for her generation, there have been no more dilemmas whether to use or not new technologies, the only question is in the way and means of their use. “I have trust in machine”, she claims decisively and adds: “I prefer the preciseness and non-expressiveness of machine to the spontaneity and expressiveness of hand. Machine maximally emphasises features and energy of some material... My works are adequate for the time in which they come into being. Therefore, I use technology and it works for me. My reasons are practical and they are concerned, above all, with the methodology of work”.

Lingual and Operative Context: the Principle of Multiplication

In the conditions of developed techno art, the author is not, of course, obligated to work out his / her work by him / herself (with the hand or some helping devices); moreover, s / he has not to work them out with help of new technologies, too - his / her role has to be the role of ideological creator, carrier of the project, while his / her assistants and performers are the specialists in various professions, “craftsmen”, “technicians”, “programmers”. In the base of this kind of art lies the post-Duchamp`s strategy of approportion of everything that, fundamentally and factually, surrounds certain artist, the entire material and spiritual repertoire and reservoir of the possible uses which are placed at the contemporary artist`s disposal, without any prejudice, while s / he , as an artist has a task to rearrange the gathered material, in his / her own way and for his / her own artistic purposes and aims. A work of art, based on this conceptual and operative principle, has no longer to be and, more often than not, it is not unique but, rather, technically, industrially and by the means of mass-media multiplicated. The pragmatic concept “production” instead of the metaphysical “creation” is more appropriate for the actual artistic occurrences and comprehension. Benjamin’s olden idea about “the work of art in the time of technical reproductivity” has become almost general point and fundamental heritage of modern and post-modern artistic phenomenologies. The principle of multiplication becomes the basic mechanism in production of forms, objects, signs, codes, information, structures, constructions and reconstructions in contemporary art. Closely acquainted with this principle, Mirjana Djordjevic, speaks of her exemplary historical specimen - Moholy-Nagy and his famous purchase of picture, by the phone, which was, according to author’s precise technical data and parameters, wrought out by industrial operators. According to Mirjana Djordjevic, the current work , adequately based on this historical model, requires, if it tends to be realized, “a manufacture of project, a conference with the technologist which implies the examination of all phases in production, features of material, machine / tool and time necessary for the process of realization..., approval of the final piece (s) of work, the artistic objects made in technological, mechanical way, acquiring, thus, the features such as: preciseness, sharp edge, screen surface”. In Mirjana Djordjevic`s work, the concepts techno and multi, refer basically in the same way but, in different modalities of media, to objects - installations - ambience from the beginning and middle of the 90s, and, also, to her later video work Inside / Outside (1999) and to those works in which she has used photography presented either in a gallery or out of it, just like in the presentation of billboards (Windows 99, Kill Your Idols, Respect Yourself all from1999 and Risk Yourself from 2000. Namely, in the case of objects - installations - ambiences, the abstract and un-iconic shapes are multiplicated through perfect and standardised mechanical production while, in the case of video and photo works, the idea and the iconic picture, movable or static, are performed by the multimedia methods of multiplication, like in TV production or like the look of urban advertising board is simulated by using the illusion provided by the act of sending the advertising message, formed to emphasise individual, artistic contexts and meanings. The important fact, in both cases and for both models, is that the work itself is serial, even if, as events turned round, only one specimen of that work is produced. It means that this kind of work does not feel any respect toward the absolute priority and authority of the original over the repetitive and repeated model, what’s more, it intentiously disturbs them. Furthermore, this kind of work does not even hesitate to use the copy (and even the copies of the copy), and, by doing this, it admits that some work, originated in time of entirely legitimate and legal reproductivity of an artistic object, does not owe to the aura of material originality and rarity of object for its status and, in the final consequence, for its value but, quite contrary, it owes, for all this, to the essence of spiritual meaning, that is, to its content, to the idea it has in itself and, which it sends to its environment together with psychological, sociological, anthropological, ideological, and not, at any cost, only aesthetic cognition and message.

Contexts and Parallels of the Work of Art: Relation with Architecture and Design

The majority of Mirjana Djordjevic`s works has been planned, in advance, for some fixed exhibit place. If, nevertheless, some finished work has to be exhibited in one unpredictable and, on the spot caught place then, this work obligatory requires to be adapted to the changed conditions of presentation. For Mirjana Djordjevic, the architectural environment of some exhibit place does not, therefore, represent some empty and neutral frame, in which the art of work has to be some / anyhow placed, what usually happens at the standard gallery exhibitions of classic (painting or sculptural) displays. The work in Mirjana Djordjevic`s practice is, rather, treated as some kind of modificator and articulator of space and, therefore, the terms : installation, ambience, in situ, site specific, assembly-line exhibitions, pattern, turn to be very suitable for indicating the relation form - space, and for indicating the basic character of her art. At the same time, these terms confirm that, in her case, the forms tend togrow, organically, in their environment (wall, floor, emptiness of some architectural building). In consequence, her artistic projects and realisations deal with the formulations and re-formulations of places caught on the spot ; they make certain physical environment, with effect of artistic form, turn into one more spiritual environment of spectators temporary stay in the locality of reflection of artistic object. The artist who thinks and acts in this way, behaves, in fact, as an architect / designer of projects, neither functional nor functionalistic; that artist is a creator and not, merely, a technician of the living environment which, only with the amazing output of art and work of art, becomes elevated in reference to the plain everyday reality. The work of art achieves its full identity both in form and meaning, in its joining with space of its environment. The artist who is able to shape, not only his / her final object but, also, to “re-shape”the surrounding ambience of that object is the artist, ready to correspond to the imperatives of mobile, dislocated, multi-dimensional and multi-medial features of contemporary artistic productions. Mirjana Djordjevic is the artist who has, exactly, that kind of sensibility and mentality, the artist for whom standard categorical and disciplinary qualitifcators, such as painter / sculptor, are not valid; for her, the limitations of media, techniques, operative specialities of artistic methods, does not make any obstacles. Her work is based on the multimedia and interdisciplinary
features, and, thus, one of the possible denotations, for marking the character of her work,
can be, already mentioned, hypotheses about the profile of contemporary artist as an architect and designer of temporary interior ( gallery, museum, in a word, exhibit -) places and ambiences.

Artistic Speech Made in the First Person

In Mirjana Djordjevic`s practice, however, one can not only find the artistic interventions in interior cultural places but, also those made in exterior urban ambience which is, in this case, realized in the project Respect Yourself , presented at BELEF (Belgrade Summer Festival) in 1999. For its presentation the form of billboard was used which was placed at one very outstanding and noticeable place (namely, near the Branko`s Bridge, in Belgrade). In respect to media, the method of advertising was used in this work. The strategy of transmission of the advertising information was simulated and , this time, instead of convincing the spectator into the attractiveness of some usable object or some spectacular happening,it turned the character of the message from the public into private sphere - the sphere of artist’s image and environment, of her modified look (like a fashion mode). The whole operation of distinguishing and emphasising the artist’s image had but one aim - to put in the first plan the strategy of artistic behaviour and speech made in the first person. The method of putting of one designing intervention out of function is, namely, again in circulation but, in difference to the previous example where the material products and objects are put out of function, now it is done with the massage on the board and the information announced on the poster.This operation is done in such way to transfer the genre of portrait and self-portrait from the unique status of aesthetic object ( painting / sculptural) to the status of multiplied original, as it suits to the medium of poster in which this work has been technically realized. Along with this, the message that is offered and the meaning that is read from the view of this work are related to the problem of focusing the role of one self-confident and self-conscious artist as the main protagonist in the world of art. This work, thus, testifies about the existence of so emphasised sense of individuality as an exemplary way of behaviour of every single person who esteems him / herself and the others,too, and, therefore, accepts and defends the principle of difference as the criterion of conduct in the social context where s / he as an artist exists and acts just like any other person. All this, in fact, is nothing else but one eminently political attitude with critical relation of one individual toward all possible means of manipulation with mass-media, in the name of collective ideologies, to which the opposite is being sought in the ideology of artistic individualism as the last strong point where the contemporary art and contemporary artist still can found and maintain their professional and ethical autonomy.

Form As a Sign : Reading According to the Symbolic Key

As the key words, which importantly mark her work, Mirjana Djordjevic mentions the following relations sign-meaning, archetype - prototype - stereotype ,and thus, she points to the conclusion that the additional contents and their readings, according to the symbolic key ( and not at all, only the visual perception and aesthetic look of forms and exhibtions ) are necessary for understanding of the underlying meaning and extreme sense of conceptual ideas and operative methods of this artist. Just because they are, for the most part, derived by the developed industrial helping devices or presented by current media technologies and, as a rule, in co-operation with the specialists for various professions, the realizations of Mirjana Djordjevic`s artistic notions contain highly cherished formal perfection. Surely, this is not the only thing that makes them perfect forms or attractive exhibtions but, it is, generally, a case of un-iconic, iconic and para-iconic signs, groups and compositions made of these signs which are, inside the artistic creations, in a definite way codified ciphers which require to be adequately decodified and deciphered. In Mirjana Djordjevic`s work in the first half of the 90s, the basic forms - signs are easily recognisable and readable in their visual appearance : they are - square - cube, circle - ball, horizontal - vertical, star (regular and in the projection of “shadow”), cross and its repetition in ornamental pattern - its origin comes down from the ornaments on garments of medieval church dignitaries ( in her work Untitled 1, 1990, performed in the summer workshop in the Gallery of Student Cultural Centre). It is, here, the matter of double turnover strategy : form and exhibtion as sign and symbol and conversely, sign and symbol as form and exhibtion are the constant things in Mirjana Djordjevic`s operative methodology. In this methodology, the archetypal and universal signs and symbols have been “emptied” to reach the status of primary plastic forms just as, conversely, such forms have been“filled” to reach the status of archetypal and universal sign and symbol.In fact, the same strategy of turnover the signs can be applied to the status of exhibtion which was used in Mirjana Djordjevic`s work at the end of the decade. That is to say, in the installation Kill Your Idols, (1998-99), which contains the explicit reference to the well-known work of Janis Kounellis Tragedia Civile (1975), the change of medium is evident at the first sight, and on the billboard, Respect Yourself, the photography of enormous format has been used like the advertising poster in a public place. From this change of medium, the change in the way of representation and presentation of work has come out, as well as, the change of its essential meaning in which the subject-matter of the artistic speech made in the first person has been, this time, directly included. One important thing which has been never changed,for all that change of medium, is the constant trust that art and artist, due to his / her responsibility towards him / herself and to his / her work, still survive; no matter what happens around them, art and artist have to fight for themselves and their works and to provide obligatory dignity and (self) respect.

Art of Art

One early work of Mirjana Djordjevic - Identity - State, from 1990, (consisted of 24 plates, placed in two horizontal rows or in circle and, on each plate the faces of great artists ( Boccioni, Duchamp, Maljevic, Mondrian, Polloc, Fontana, Klein, Newman, Warhol, Beuys, Smithson, De Maria) and one of their representative works have been printed by the technique of photoceramics) shows the following conviction of this artist, confirmed by her statement in one conversation : “Art originates from art. Art is the material in the development of language of art...” At the same place she, also, speaks of the important features of herown work : “Exactness - exactitude - regularity- preciseness- measure - dimension- proportion - ratio - order - sequence - system - hierarchy - relation - connection - harmony - rationality- analytic - idea - symbol- sign - time - space - essence - truth”. It can be concluded that Mirjana Djordjevic`s artistic education counts the experiences of historical avantgardes, post-war avantgardes and high modernism. This experience implies the abstract way of thinking in clear concepts, it points to the extremely mental and conceptual comprehension of art but, for all that, it does not demand obligatory de-materialization of the artistic object or reduction of work to language but, quite contrary, it calls for shaping in material and absolutely precise performing; therefore, there exist sensual relation, tactility, visualisation, media intervening. The structure of described work implies remaining inside of the referential field of art and history of art; this kind of work has as its subject-matter and meaning exactly that concept of artistic and, there is no coming out from that referential field even, when the artist starts to use, instead of un-iconic, the iconic signs, static or movable pictures (notions), no matter whether they are pointed out by photography technique or transmitted from the screen. In her recent works, numerous iconic signs have entered in the sphere of her interests, she has been attracted by iconography of popular and media culture, she has been interested in visualisation and symbolism of film, TV, fashion, design, she has become familiar with directing and with rituals of behaviour in the society of spectacle but, none-the-less, all this has not led her work exclusively into the sphere of politics and sociology - it has remained artistic in a highly formalized (but, not formalistic, too) and sophisticated sense of that notion. Mirjana Djordjevic`s art is, therefore, art of art, which means that it is a case of art which, in its scope from early formative to present mature phase, has had, recognized and expressed awareness of its historical and contemplative sources.On these sources, the conceptual assumptions and operative methods are built, the meanings are formed and formulated. Even in her recent, works, when she has used the iconic signs and media exhibtions, she has never come out of the strictly circled artistic field, that is, out of comprehension of art as being one specific and autonomous expressive practice which does not cease to exist although it constantly keeps in touch with surrounding cultural and social contexts, in a word, with the happenings and contexts of life.

International High Art

Belgrade, and in a larger scope - Serbian / Yugoslav, arts scene of the 90s is a very complex conglomeration of individual and group appearances, attitudes, positions and, in final consequence, artistic ideologies among which there is not any closer points of contact or if these contacts still exist, they can be found in friendly relations of close affinities and, also, in latent relations of rivalry, competition and, sometimes, polemics and even, confrontation - all with one aim - to achieve and maintain the noticeable and prominent status in that scene.Compared to some more developed European scenes, the domestic one is not so heterogeneous either in quality or in quantity of its production.However, this does not makeit is less complex, less interesting and exciting, especially for those who participate in this scene and, inside of it, carry out their practice and form their interests and positions. Mirjana Djordjevic`s place on the map of this scene is very noticeable and distinguished, in the first place, because of the quality of her accomplishments, especially those which belong to her personal anthology. This place is, also, distinguished because of the specific lingual and contemplative position of this art which, in the domestic sceneof the 90s, has not had many relatives although, there have existed certain authors with whom Mirjana has maintained close co-operative relations and shared some more global views. Typology and ideology of Mirjana Djordjevic`s art could be determined as a model of international high art which implies that, here, it is a case of art based on respect, adoption and development of certain experiences of European / world radical modernistic and avant-garde provenience. In the domestic scene of the 90s, this kind of art was in the position of extreme minority surrounded by: the aggressive, local anti-modernism to which the governing, nationalistically disposed circles used to be attached; the local moderate modernism and postmodernism which because of its ability to be easily fit in the dominant mentality of environment became the most acceptable kind of art for liberal, intellectual circles; and, finally, the local alternative which, for its part, used to react in a drastic and direct way to the crisis and the entire decay of post-socialistic everyday events. None of these options was not attractive at all to Mirjana Djordjevic`s comprehension of art.Moreover, she was opposite to each of them , for different reasons, and the difference which existed in reference to them was, in her case, based, not only on her personal affinities, but, also, on the features of her spiritual and cultural formation inside of which the concept of art was formed and, then, realized in her concrete practice and production.

Namely, Mirjana Djordjevic`s spiritual formation is, according to its basic features, the formation of highly educated and promptly informed young urban artist in conditions of global current pluralistic and polyvalent cultural situation. This kind of pluralistic formation implies knowledge and experiences of historical avantgardes, post-war neo- and post-avantgardes, high elitist modernistic art and, also, knowledge - simply genetically and existentially innate to her generation - about popular and massmedia cultural heritage in a wide scope from film, rock music and TV to the various genres of current literature. Exactly from this kind of formation, the basic features of her art originate. These features are based on merging and crossing of highly cherished formative aesthetic, filled with spiritual reflection of specific techno-sublimate (in production, approximately, from the first half of the decade) and on certain notional motives, performing methods and manners of the presentation of work in the frame of mass-media technologies and their appliances in artistic purposes in a form of static (photographic) and movable (screen) technical pictures (in production, approximately from the second half of the decade.) The artist who deals with and uses this kind of lingual typologies and operative methodologies, is the author who is thoroughly involved in today’s period of technological and post-industrial civilisation as one general frame in which the contemporary art can be nothing else but, international, trans-national, multi-cultural and global art. This, of course, does not endanger, either individuality, originality and independence of every single artist, or his / her organic foundation in completely specific cultural needs and features of the environment from which they come and in which they work. Therefore, there is nothing contradictory or paradoxical in the statement that Mirjana Djordjevic, because of features and position of her art, is both Belgrade and European author - Belgrade, because of the circumstances of her development and the effects and influences that have existed in the environment of her development ; European, because she has broaden her development with the additional studies at one very prominent high school of fine arts, according to standards, which donot need to be mentioned when it is known that among the professors of that school are, in the world, very prominent persons such as Konellis, Rinke, Uecker, Cragg, Jeletova, B. and H. Becher, G. Merz and the others. Being aware of these circumstances and relations, as well as, of her own way of measuring inside the valuable parameters which come out of them, Mirjana Djordjevic considers herself as “the citizen of the world” and, as an artist she considers herself as the participant of the world artistic scene. If the opportunity presents itself, she is ready to take part, with full and equal rights, in today’s global artistic dialogue ( that has ben, after all, confirmed by her exhibtions and recognitions on, early mentioned, international shows).

When the contemporary art and contemporary artist are in a question, the key signs, under which stands all that is connected with it, are : links, bonds, networks of circulation and relations of everything that in the production of art and in the distribution of art has its obligatory unchangeable roles. To take part in the creation of such artistic climate and in the circulation of its artistic products is a great necessity of everybody who is preoccupied with art, for whom art represents great need, passion, adventure, wish which looks for and brings fulfilment but, also, makes one feel that somewhere, beyond the artist’s immediate scope and reach, there is something which constantly slips him / her by but, nevertheless, it pushes him / her to consecutive temptation and confirmation, to never definitively consolidated and accomplished identity. As very young, Mirjana Djordjevic was introduced to exactly those irresistible artistic challenges and she has not yet met her wishes of those challenges. With the experiences and knowledge she has acquired in meanwhile, she has comprehended that human being, in its deepest nature, can be truly and really fulfilled and confirmed exactly in art (although, of course, not only there).In order to achieve this, however, the artist has to be ready, in him / herself, to carry on to the end and, around him / herself, to set and behave him/ herself without making any fatal concessions.
Jesa Dengri

Jesa Dengri, born Split, September 5, 1936. Graduated from the Faculty of Philosophy, Belgrade.
PhD on Continuity of Costructive Art Approach: EXAT-51 – New Trends, 1989. Worked for the Museum of Contemporary Art, Belgrade, from 1965 – 1989. Professor at the Faculty of Philosophy Belgrade since 1989. Published books: EXAT-51, Zagreb 1979, Abstract Trends in Croatia, Split, 1985, Themes of Serbian Art: Fifties-Nineties (in five volumes), Novi Sad 1993-1999, Fragments of Postmodern Pluralism: Belgrade Art Scene of the Eighties, Belgrade 1997, A Possible History of Modern Art: Belgrade as an International Art Scene 1965-1998, Belgrade 1998.
Member of the Association of International Critics of Art – AICA.

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Ješa Denegri
KONTEKSTI UMETNOSTI MIRJANE DJORDJEVIC

U krajnje nepovoljnim ukupnim prilikama devedesetih, u kojima su bili dovedeni u pitanje dometi i vrednosti u brojnim podrucjima života ne mimoilazeci ni one u kulturi i umetnosti, odvijalo se formiranje i pocetak rada Mirjane Djordjevic ciji su vec prvi a odmah potom i sledeci nastupi ubrzo ukazali na njenu izuzetnu nadarenost, ozbiljnost, ranu koncepcijsku i izvodjacku zrelost, na sposobnost da se probije, dokaže i potvrdi ne samo na domacoj nego i na medjunarodnoj umetnickoj sceni protekle decenije. Skrenula je na sebe pažnju još 1991. nastupom i nagradom na Bijenalu mladih u Rijeci, sledi 1992. opet nagrada na Evroazijsom bijenalu u Ankari, 1993. Beleži nastup na izložbi La coesistenza dell'arte u sastavu venecijanskog bijenala, ucešce na izložbi Europa 94 - Junge europaische kunst u Minhenu 1994, iste godine dobija priznanje na bijenalu mladih u Vršcu i priredjuje samostalnu izložbu u Salonu muzeja savremene umetnosti u Beogradu, ucestvuje na problemskim izložbama Rezime – ciklus izložbi po Srbiji, Tendencije devedesetih: hijatusi modernizma i postmodernizma u Novom Sadu i Beogradu i Primeri apstraktne umetnosti: jedna radikalna istorija u Beogradu tokom 1995-96. Sledi još jedno priznanje, ovoga puta na Trijenalu jugoslovenske skulpture u Pancevu 1996. U drugoj polovini decenije prisustvo umetnice na domacoj umetnickoj sceni i dalje ostaje vrlo markantno iako s namerno proredjenim i selektivnim brojem nastupa, od kojih se izdvajaju dve samostalne izložbe, Kill Your Idols 1999. i Inside/Outside 2000, obe u Galeriji Doma Omladine kao i grupne Stirring Streaming Dreaming u Gracu, Sedam teza srpske skulpture u Pancevu i Inside/Outside u Varšavi 2000. Devedesete su, dakle, period pune afirmacije Mirjane Djordjevic, njena pojava i rezultati osim što su dokaz jednog sasvim licnog podviga u isto vreme je i pokazatelj nacina koji potvrdjuje da je i kako je jedan od predstavnika beogradske umetnicke sredine zatecen silom istorijskih prilika u "zatvorenom društvu" ipak uspevao da održi ravnopravni korak sa pojedinim globalnim problemima i idejama u vrlo burnom razdoblju umetnosti kraja XX veka. Umetnost, naime, kraja veka (s neosetnim prelaskom u sledeci) umetnost je krajnje otvorenih tokova, podrucja, jezika, postupaka, tematika u kojima bez obzira što u njoj mesta ima za mnoge iz takvog mnoštva izdvajaju se tek izraziti i na sopstvenim temeljima i opusima dokazani pojedinci.

Kontekst umetnosti kraja veka

Cak iz najopštijeg uvida u tekuce umetnicke prakse evidentno je da se ukupna aktuelna umetnost devedesetih više ne može podvesti ni pod kakve generalizacije, definitivno ne može da se u toj umetnosti uspostavi dominantni mainstream, u vreme i po kljucu postmoderne uvedeni pojmovi poput pluralizma, heterogenosti, heteroglosije, heterotopije ostaju da važe i za sadašnju situaciju u potpuno disperzivnim umetnickim zbivanjima. Umetnost kraja veka živi, dakle, svoju ekstremno fragmentovanu, na medjusobno nesvodljive pozicije razudjenu i dislociranu konfiguraciju (bez)brojnih pojedinacnih pojava, opcija, govora, stavova. No i u takvom sklopu ukupne umetnicke klime ipak ispoljile su se teze koje u umetnosti poslednjeg perioda kao njeno karakteristicno stanje prepoznavaju i naglašavaju raspoloženje izvesnog "hladjenja" izražajnih tonova, a za oznacavanje takve atmosfere upotrebljen je i uveden pojam neekspresionizam (za razliku od pojma neoekspresionizam kao svojstva umetnosti, posebno slikarstva s kraja sedamdesetih i ranih osamdesetih). A u istom kontekstu pojedini su autori pustili u opticaj kriticke termine kao što su hladna transavangarda, hladni barok, druga moderna, moderna posle postmoderne, neokonceptualizam, neo arte povera, govorilo se o obnovi modernog projekta kojemu se za razliku od nekadašnjeg cvrstog i tvrdog pridaju atributi krhkog i mekog. A za sve ove hipoteze, uprkos znatnim medjusobnim razlikama, bilo je zajednicko barem to što odustaju od zagovaranja retro i anahro fenomena, od prebiranja po memoriji istorije umetnosti, od prevelike upotrebe citata i ponavljanja bez i sa razlikama, zapravo od svih onih postupaka i strategija karakteristicnih za tipicni postmodernisticki a cesto i antimodernisticki eklekticizam prethodnog perioda. Nove tehnologije, novi mediji, novi oblikovni i operativni postupci postaju bitna svojstva i sredstva jednog toka u umetnosti devedesetih koja, naravno, više nema potrebe a ni moci da se programski i ideološki zalaže za njihovu ekskluzivnu promociju, nego bez ikakvog zanosa ali i zazora sprovodi u delo pragmaticnu upotrebu tih sredstava lišenu bilo kakve utopijske projekcije. U nekim svojim temeljnim predispozicijama takva umetnost devedesetih zaobilazi i preskaze ideale umetnosti prethodne decenije, posebno one ekspresivnog, predstavnog i figurativnog slikarstva osamdesetih, da bi se nadovezala na koncepcije, postupke i ponašanja u principu srodna onim nove umetnosti kasnih šezdesetih i sedamdesetih, podrazumevajuci i prihvatajuci duhovno nasledje i mentalitet istorijskih avangardi i posleratnih neoavangardi, mada bez ikakve iluzije u to da bi umetnost i umetnik u savremenom postideološkom i postpolitickom društvu mogli da preuzmu i obave predvodnicke ili barem primetne socijalno aktivisticke uloge. Umetnost kraja veka jeste, u stvari, veliki spektakl permanentne hiperprodukcije i hiperpotrošnje umetnickih i paraumetnickih zbivanja, opsesija, situacija, informacija, obavljenih s ambicijama da sve to makar za njihove tvorce ima neki smisao, da to i njima i drugima nešto važno znaci, da sve to ipak u krajnjoj konsekvenciji pomera granice i preispituje mogucnosti umetnickih pojava, govora, jezika, pojmova, iskustava. Iako se cini da je u umetnosti vec sve iskušeno i iznadjeno, savremene prakse nalaze nacine za neko novo otkrice, za neki neobavljeni eksperiment, za neki dosad neispoljeni pomak u nepoznato, cime u suštini te prakse deluju u znaku prevratnickog i prestupnickog ponašanja kojega su današnjim umetnicima preneli u nasledje generacije protagonista istorijske moderne i istorijskih avangardi kao tvorci neiscrpnih tekovina ideja, postupaka i dostignuca u ukupnoj umetnosti XX veka.

Post-dišanovski pojam umetnosti

Postoji u istoriji i teoriji umetnosti poslednjih decenija pojam cije znacenje nije jedino u funkciji obeležavanja istorijske periodizacije nego je, zapravo, pre u funkciji oznacavanja konceptualnih i operativnih svojstava umetnickog mišljenja: to je pojam post-dišanovskog karaktera umetnosti. Naravno, celokupna umetnost hronološki "posle Duchampa" nipošto ne potpada pod ovu kvalifikaciju, pod nju potpada jedino ona umetnost koja u svojoj dubinskoj konstituciji vodi bitnog racuna o tekovinama i posledicama Duchampovog epistemološkog preloma, a što podrazumeva kljucne promene prirode umetnosti izazvane njegovim zahvatima od kojih je najradikalniji postupak i strategija ready-made i njenih direktnih ili indirektnih reperkusija. Po logici takvog nacina umetnickog mišljenja umetnik u polaznom stadijumu rešavanja odredjenog problema utvrdjuje osnovnu ideju i u skladu sa njom donosi dalje odluke o formalnom ustrojstvu konkretnog rada, što znaci da u umetnickom procesu prvenstvo pripada zamisli pred konacnom realizacijom objekta koji ipak nipošto nije odstranjen i izdvojen iz sveta umetnickih produkata, nego je upravo kao objekt doveden u tesnu zavisnost od koncepta, mentalne propozicije po kojoj odredjena ideja materijalizovana u plastickom obliku ili u preuzetom gotovom predmetu. Osnovni nacin umetnickog mišljenja Mirjane Djordjevic upravo je nacin takvog post-dišanovskog poimanja umetnosti: podrazumeva, naime, prvenstvo ideje nad oblikom i objektom, ali ipak obavezno zahteva vrlo preciznu i perfektnu realizaciju vidljivog i taktilnog artefakta. U operacijama ove umetnice prihvacena je, dakle strategija ready-madea, ali ne kao gola i direktna aproprijacija gotovog predmeta nego kao kreativno korišcenje razlicitih izvanumetnickih znanja, metoda, medija, podataka, postupaka, a sve to u cilju specificnog nacina sopstvenog umetnickog izražavanja. Pre nego kao doslovni predmeti, delo Mirjane Djordjevic funkcionise kao transformisani i fleksibilni mentalni ready-made, što znaci da je takvo delo zasnovano na konstruisanju, uzimanju, izdvajanju, navodjenju, ukrštanju, kombinovanju, montiranju, demontiranju, fingiranju, simuliranju, cak i krivotvorenju razlicitih oblika, znakova, kodova, "ikona", predstava iz sveta umetnosti ili iz sveta izvan umetnosti, ali uvek uvedenih i prevedenih u konkretni kontekst sveta umetnosti. Otuda, u operacijama Mirjane Djordjevic svet umetnosti i svet izvan umetnosti prožimaju se i stapaju u jedno, a to znaci da interni problemi umetnosti i njeni eksterni konteksti cine integralnu i nerazdvojnu celinu. Kontekst u kojemu (u kojima) umetnicko delo nastaje upisuje se u znacenje samoga dela, cak determinišše njegov nastanak, a delo se pak sa svoje strane vraca i obraca tome kontekstu, aktivno i uticajno živi, znaci i zraci upravo u svome ukupnom (umetnickom, kulturnom, socijalnom, politickom) okruženju.

Okolnosti i okruženje duhovnog formiranja

U jednom razgovoru iz 1991. Mirjana Djordjevic potvrdjuje da je "duhovno dete" ambijenta i klime oko i unutar Studentskog kulturnog centra i posebno njegove likovne galerije, za sebe i deo svoje generacije reci ce da "smo odrasli u SKC-u, razvili smo kriterijume vrednovanja, još od vremena new wave-a, preko pracenja rock programa, izložbi i ostalih sadržaja... Startujemo Ivan Ilic i ja zajedno i tokom dve godine ostvarujemo niz nastupa..." Kao svoje neposredne generacijske prethodnike pominje cetvoricu predstavnika nove beogradske skulpture na prelazu iz osamdesetih u devedesete, kao srodnike u bliskoj oblasti istovremene muzike navodi grupe Darkwood Dub, Presing i Euforija. Posredi je "generacijski krug" ranih devedesetih koji povezan zajednickim senzibilitetom, afinitetima, druženjem i pre svega radom teži da oformi i ispolji svoj izražajni jezik, iskaže svoj pogled na svet. U likovnom polju, taj jezik bi u karakteristicnom znacenju epohalne umetnicke atmosfere mogao da se obeleži vec pomenutim terminom Neekspresionizam Germana Celanta kao adekvatne oznake za produkciju koju u specificnim okolnostima domace umetnicke scene kraja osamdesetih najavljuju upravo predstavnici nove beogradske skulpture, a koji ce, taj jezik, do krajnje kristalizacije u konceptualnom i izvodjackom pogledu profilisati Mirjana Djordjevic i Ivan Ilic tako što ce napustiti manuelnost, heterogenost materijala u spoju odbacenih industrijskih i prirodnih delova, izbeci ce kolažno-montažni princip kao metod gradnje skulptorskog oblika, a sve to izvršice u ime savršene mašinske preciznosti obrade forme postignute razvijenom industrijskom tehnologijom i na taj nacin obavljenom produkcijom homogenih elemenata sklopljenih u prostorne ansamble na principu minimalistickog post-skulptorskog postupka serijalnosti i repeticije identicnih ili vrlo srodnih modularnih jedinica. A upravo takva svojstva umetnickog dela upucuju na vrlo naglašeni udeo mentalnog i konceptualnog faktora pri detaljnom i strogom promišlanju, kao i tacnom projektovanju oblikovnih rešenja, što je preduslov ulasku u proces finalne tehnicke elaboracije i realizacije svakog konkretnog elementa dela. Po takvim osobinama svoje umetnosti Mirjana Djordjevic se ranih devedesetih nadovezuje ne toliko na prethodnu generaciju novih beogradskih skulptora, a pogotovo ne na generaciju i smer manuelne predstavne skulpture osamdesetih cemu je u svemu bitnom potpuno suprotna, nego se zapravo nastavlja na mentalne i analiticke pozicije u krilu nove umetnosti sedamdesetih, dakle na vec kultno nasledje beogradskog konceptualizma koji je kao i generacija Mirjane Djordjevic svojevremeno imao cvrsto uporište takodje u okrilju galerije Studentskog kulturnog centra. U nizu uzastopnih umetnickih talasa (nova umetnost sedamdesetih - nova skulptura kasnih osamdesetih - tehnoumetnost ranih devedesetih) koji su se pojavili, formirali i razvili u ovom kljucnom radnom i izlagackom prostoru beogradske inovativne umetnosti u toku poslednje tri decenije, Mirjana Djordjevic (zajedno sa Ivanom Ilicem) cini poziciju koju ce sama umetnica definisati pojmom tehnospiritualno predstavljajuci najradikalnije problemsko poglavlje domace umetnosti prve polovine devedesetih, a upravo iz tih temelja, iskustava, dometa i kvalitetnih vrhunaca proizici ce vrlo primetni prvi nastupi i proboji Mirjane Djordjevic na tadašnjoj medjunarodnoj umetnickoj sceni.

U kontekstu multikulturalnog dijaloga

Ucešce na dve znacajne medjunarodne umetnicke priredbe u prvoj polovini devedesetih - La coesistenza dell'arte, 1993. i Europa '94, 1994. - odredjuju referentno polje umetnosti Mirjane Djordjevic u jednom izuzetno burnom istorijskom trenutku. Ideja "koegzistencije umetnosti" (kako glasi naziv izložbe u sastavu venecijanskog Bijenala) proizlazi iz kritickog koncepta Achilla Bonita Olive kao glavnog selektora Bijenala 1993. o suštinskoj multikulturalnoj i transnacionalnoj prirodi savremene umetnosti primenjenog u ovom slucaju na uže podrucje Srednje Evrope nedugo posle nastanka novih država na tlu prethodne Jugoslavije i Cehoslovacke, uz odavno postojece kao što su Austrija i Italija. Sa toga, dakle, vrlo kompleksnog multikulturnog prostora odabrani su prestižni umetnici rodjeni u cetrdesetim i pedesetim godinama kao što su Marina Abramovic, Braco Dimitrijevic, Dokupil, Nunzio, Pizzicannella, Dessi, Schmalix, Marijetica Potrc, Dubravka Rakoci i dr, sve do onih u sledecim generacijama medju kojima su ubedljivo najmladji bili Manfred Erjautz (1966) i upravo Mirjana Djordjevic (1967). U sklopu ove selekcije umetnici, naravno, nisu pozvani kao predstavnici i pripadnici svojih nacionalnih sredina, nego kao autonomni pojedinci medju kojima postoji potpuna jezicka i nadnacionalna koegzistencija, što je bilo vrlo bitno da se desi u okolnostima velikih tenzija koje su toga casa vladale medju zemljama nastalim na razvalinama prethodne zajednicke države. Biti prisutan u sastavu izložbe koja je u takvim krajnje osetljivim prilikama pledirala za autonomnu individualnu iznad i izvanpoliticku poziciju savremenog umetnika u jednom po takvu poziciju nepovoljnom istorijskom trenutku znacilo je ucestvovati ne samo u jednoj visoko kvalitetnoj umetnickoj selekciji nego i sudelovati u jednom medjunarodnom kulturnom poduhvatu sa velikom moralnom težinom i krupnim odjecima u tadašnjoj javnosti, a iz svih navedenih razloga ovaj venecijanski nastup ostace jedna od kljucnih referenci u ukupnoj dosadašnjoj umetnickoj biografiji Mirjane Djordjevic. Otprilike to isto važice takodjke i za njeno ucešce na minhenskoj izložbi Mlada evropska umetnost sa izrazito multikulturalnim sastavom umetnika aktivnih u prostoru od krajnje zapadne do krajnje istocne granice kontinenta, pokazujuci da tada najmladjoj generaciji evropskih autora više nije bitna nacionalna nego jedino umetnicka genealogija, a pre i iznad svega bitan je karakter i kvalitet samog rada. što se pak tice kvaliteta, sa radovima Horizontala - Vertikala, 1992. na venecijanskoj i Zvezda i Senka, 1994. na minhenskoj izložbi, Mirjana Djordjevic suvereno je podnela veoma jaku konkurenciju sa ucesnicima ovih priredbi pokazavši da za savremenog umetnika dostizanje do medjunarodnog statusa ne zavisi u suštini ni od sredine iz koje dolazi niti od životne dobi, nego prvenstveno od nacina i dometa sa kojima kao pojedinac sudeluje u multikulturnom umetnickom dijalogu.

Jezicki i operativni kontekst: tehnospiritualno

Za odredjivanje i imenovanje karaktera rane umetnicke produkcije Mirjane Djordjevic, kojoj pripadaju radovi prikazani na pomenutim izložbama, moguce je pomenuti razlicite terminološke oznake zato jer to nude otvorene mogucnosti citanja i tumacenja te produkcije, no sama umetnica najpre je bila sklona da sopstveni rad vidi u svetlu pojma tehnospiritualno. Pojma u osnovi sasvim jasnog u pozicioniranju znacenja obe jedinice ove složenice: dakle, tehno, kao materijal i postupak, spiritualno kao duhovni sadržaj, smisao i cilj celokupnog poduhvata. Po njenoj tvrdnji, "tehnospiritualna je visoko sofisticirana tehnološka umetnicka praksa na kraju XX veka". Kroz ceo XX vek, kao što je uostalom dobro poznato, traje u umetnosti stalno širenje tehnickih postupaka i uvodjenje u te postupke novih tehnologija, to širenje i uvodjenje bitna je konstanta moderne/postmoderne umetnosti, u savremenoj civilizaciji umetnost naprosto ne može da opstane ukoliko neprestano ne obavlja i dogradjuje svoje operativne poduhvate. Umetnost koja odgovara karakteristicnom liku te civilizacije najpre je bila idealisticki fascinirana neiscrpnim obecanjima i potencijalima novih tehnologija (pocevši od futurizma i konstruktivizma sve do njihovih brojnih kasnijih posledica), da bi se u prilikama odmakle masmedijske kulture umetnost s novim tehnologijama definitivno srodila kao sa svojim normalnim stanjem, lišivši se masmedijskih i utopijskih projekcija i prihvativši nove tehnologije sa njihove pragmaticne strane i to ne samo kao tehnicka pomagala pri realizaciji umetnickih zamisli nego i kao inicijalne konceptualne i imaginativne pretpostavke pri nastanku tih zamisli. Za generaciju Mirjane Djordjevic i posebno za nju samu, nema više nikakvih dilema oko pitanja da li ili ne koristiti nove tehnologije, pitanje je jedino nacina i sredstava kako ih koristiti. "Imam poverenja u mašinu", decidirano tvrdi umetnica i dodaje: "Pre sam za preciznost i neekspresivnost mašine nego za spontanost i ekspresivnost ruke. Mašina maksimalno potencira osobine i energiju materijala... Moji radovi su adekvatni vremenu u kom nastaju. Stoga tehnologiju koristim, ona mi služi. Moji razlozi su prakticni i ticu se pre svega metodologije rada”.

Jezicki i operativni kontekst: princip multiplikacije

U uslovima razvijene tehno umetnosti autor, naravno, više nije obavezan da sam izvodi (rukom, prirucnim pomagalima) sopstvene radove; štaviše, ne mora sam da ih izvodi niti pomocu novih tehnologija, njegova uloga je u tome da bude idejni tvorac, nosilac projekta, dok su mu pomagaci i izvodjaci rada specijalisti raznih profesija, "majstori", "tehnicari", "programeri". U temelju ovakve umetnosti jeste post-dišanovska strategija aproprijacije nacelno i fakticki svega što umetnika okružuje, ceo ne samo materijalni nego i duhovni repertoar i rezervoar mogucnosti upotrebe savremenom umetniku bez predrasuda može da stoji na raspolaganju, a pri tome njegov zadatak kao umetnika jeste u tome da izvrši individualno preudešavanje preuzetog gradiva u sopstvene umetnicke namere i ciljeve. Delo zasnovano na takvom konceptualnom i operativnom principu ne mora da bude i najcešce više nije unikatno, ono je "tehnicki, industrijski, masmedijski) umnoženo, pragmaticni pojam "produkcija" umesto metafizickog pojma "kreacija" primereniji je aktuelnim umetnickim pojavama i shvatanjima. Davna Benjaminova ideja o "umetnickom delu u vremenu tehnicke reproduktivnosti" postala je gotovo opšte mesto i temeljno nasledje modernih i postmodernih umetnickih fenomenologija, princip multiplikacije postaje bazicni mehanizam proizvodnje oblika, objekata, znakova, kodova, informacija, struktura, konstrukcija i dekonstrukcija savremene umetnosti. Sasvim srodna sa ovim principom, Mirjana Djordjevic pominje kao sebi uzoran istorijski primer slucaj Moholy-Nagya i njegovu cuvenu narudžbinu slike telefonom koju su na osnovu autorovih precizno zadatih tehnickih podataka i parametara izradili industrijski operativci. A da bi savremeno delo zasnovano adekvatno ovom istorijskom modelu moglo da bude ostvareno, ono po recima umetnice zahteva "izradu projekta, konsultovanje sa tehnologom, što podrazumeva razmatranje svih proizvodnih faza, kao i osobine materijala, osobine mašine/alata, vremena neophodnog za izvodjenje..., odobravanje finalnog/ih komada, umetnickih objekata nastalih tehnološkim, mašinskim putem, koji ovim postupkom postižu osobine kao što su: preciznost, oštra ivica, ekranska površina". Pojmovi tehno i multi u radu Mirjane Djordjevic odnose se nacelno podjednako iako u razlicitim medijskim modalitetima na objekte - instalacije - ambijente sa pocetka i sredine devedesetih, kao i na njen kasniji video rad Inside/Outside, 1999. i na radove u kojima koristi fotografiju u galerijskoj postavci ili pak u izvangalerijskom nacinu prezentacije billboarda ( Windows 99, Kill Your Idols, Respect Yourself, svi iz 1999. i Risk Yourself iz 2000.). Naime, u slucaju objekata - instalacija - ambijenata apstraktni i anikonicki oblici multiplikovani su sa savršenom i stanradizovanom mašinskom izradom, u slucaju pak video i foto radova predstava i ikonicka pokretna ili staticna slika izvedena je multimedijskim postupcima multiplikacije poput televizijske produkcije ili poput simulacije izgleda urbanog reklamnog panoa koristeci privid postupka odašiljanja advertising poruke saobražene u svrhe isticanja umetnickog individualnog sadržaja i znacenja. Bitno je, medjutim, u oba ova slucaja i oba modela to da je rad u principu serijski cak i kada je sticajem prilika izveden u jednom jedinom primerku, što znaci da takav rad ne poštuje nego cak namerno narušava apsolutni prioritet i autoritet originala nad ponovljivim i ponovljenim predloškom. Takav rad, nadalje, ne ustrucava se ni od upotrebe kopije (cak i kopije kopije) priznajuci time da delo koje nastaje u vremenu potpuno legitimne i legalizovane visokotiražne reproduktivnosti umetnickog predmeta svoj status i u krajnjoj konsekvenciji svoju vrednost ne duguje auri materijalne neponovljivosti i retkosti objekta, nego naprotiv sve to duguje suštini duhovnog znacenja, dakle svome sadržaju, ideji koju u sebi poseduje i koju emituje u svoju okolinu prenoseci u nju psihološku, sociološku, antropološku, ideološku, a nipošto jedino estetsku spoznaju i poruku.

Konteksti i paralele umetnickog rada: odnosi sa arhitekturom i dizajnom

Vecina radova Mirjane Djordjevic unapred je mišljena za odredjeni izlagacki prostor, a ukoliko neki gotovi rad ipak mora da bude postavljen u nepredvidjenom i zatecenom prostoru onda obavezno taj rad zahteva da se prilagodi izmenjenim uslovima prezentacije. Arhitektonska okolina konkretnog izlagackog mesta nije, dakle, za ovu umetnicu prazni i neutralni okvir u koji rad treba nekako/bilokako da bude smešten, što se najcešce dešava pri standardnim galerijskim postavkama klasicnih (slikarskih, skulptorskih) eksponata, nego se rad u praksi Mirjane Djordjevic u principu tretira kao modifikator i artikulator prostora, te otuda termini kao što su instalacija, ambijent, in situ, site specific, serijska postavka, raster, pattern i sl. postaju vrlo pogodni pri ozna?avanju relacije oblik-prostor, kao i pri obeležavanju samog osnovnog karaktera rada ove umetnice. To su ujedno termini koji potvrdjuju da u njenom slucaju oblici teže da organski srastu sa njihovom okolinom (zidom, podom, prazninom arhitektonskog zdanja). Otuda se njeni umetnicki projekti i realizacije bave formulacijama i preformulacijama zatecene okoline, cine da odredjena fizicka sredina dejstvom umetnickog oblika postaje oduhovljena sredina posmatracevog privremenog boravka u lokalitetu zracenja umetnickog objekta. Umetnik koji tako razmišlja i tako deluje ponaša se, zapravo, kao svojevrsni arhitekt/dizajner nefunkcionalnih i nefunkcionalistickih projekata, takav umetnik je kreativani a ne jedino tehnicki dopunitelj i dograditelj zadate mu životne okoline koja tek zacudnim ucinkom umetnosti i istim takvim prisustvom umetnickog dela postaje uzdignuta nad obicnošcu svakodnevne stvarnosti. Delo koje svoj puni oblikovni i znacenjski identitet postiže sjedinjenjem sa prostorom svoga okruženja, umetnik kao oblikovatelj ne samo sopstvenog finalnog objekta nego ujedno i kao preoblikovatelj okolnog ambijenta svoga objekta, umetnik je spreman da odgovori imperativima mobilnih, dislociranih, višedimenzionalnih i multimedijskih svojstava savremenih umetnickih produkcija. Mirjana Djordjevic umetnica je upravo takvog senzibiliteta i mentaliteta, umetnica za koju ne važe standardni kategorijalni i disciplinarni kvalifikativi kao što su slikar ili skulptor, za nju prepreku ne cine granice medija, tehnika, operativnih specijalnosti umetnickih postupaka, nego se njen rad zasniva na multimedijalnim i interdisciplinarnim svojstvima, te otuda jedan od mogucih naziva za oznacavanje karaktera njenog rada može da bude vec pomenuta pretpostvka o profilu savremenog umetnika kao nefunkcionalng arhitekte i dizajnera privremenih enterijerskih (galerijskih, muzejskih, jednom recju izlagackih) prostora i ambijenata.

Umetnicki govor u prvom licu

Ali u praksi Mirjane Djordjevic ne radi se jedino o umetnickim zahvatima u enterijernom kulturnom prostoru nego i o intervencijama u eksternom urbanom ambijentu, što je u ovom slucaju realizovano u projektu Respect Yourself, u sklopu Belefa 1999, za ciju je prezentaciju korišcena forma billboarda postavljenog na jednom vrlo istaknutom i uocljivom javnom mestu (konkretno u blizini Brankovog mosta u Beogradu). U medijskom smislu korišten je u ovom radu dizajnerski postupak advertisinga, simulirana je strategija prenosa reklamne informacije koja ovoga puta umesto da ubedjuje gledaoca u privlacnost nekog upotrebnog predmeta ili spektakularnog dogadjaja obrce karakter poruke iz javne u privatnu sferu lika i okruženja same umetnice, njenog modifikovanog izgleda (poput modnog modela), a cela ova operacija izdvajanja i naglašavanja lika umetnice izvedena je sa ciljem isticanja u prvi plan strategije umetnickog ponašanja i govora u prvom licu. Ponovo je, naime, u opticaju postupak defunkcionalizacije jednog dizajnerskog zahvata, no za razliku od prethodnog primera defunkcionalizacije materijalnih produkata i predmeta sada je obavljena defunkcionalizacija poruke na panou (billboardu) objavljene informacije. A ta operacija izvršena je tako što se žanr portretne i autoportretne slike iz unikatnog statusa estetskog (likovnog, slikarskog) objekta prenosi u status umnoženog predloška, kako to odgovara mediju plakata u kojemu je ovaj rad tehnicki realizovan. Pri tome, poruka koja se nudi i znacenje koje se cita iz prizora ovog rada odnosi se na problem centriranja uloge samouverenog i samosvesnog umetnika (umetnice) kao prvenstvenog aktera sveta umetnosti, cime ovaj rad svedoci o postojanju potenciranog osecanja individualnosti kao uzornom ponašanju svakog pojedinca koji drži do sebe ali i do drugog, te otuda prihvata i brani princip razlike kao kriterijuma ophodjenja u socijalnom kontekstu u kojemu umetnik (umetnica) kao i svaka druga osoba postoji i deluje. A sve to, zapravo, nije u suštini ništa drugo nego jedan eminentno politicki stav kritickog odnosa pojedinca prema svim mogucim manipilacijama masovnim medijima u ime kolektivistickih ideologija, cemu se suprotnost traži u ideologiji umetnickog inividualizma kao poslednjeg uporišta u kojemu savremena umetnost i savremeni umetnik još uvek može da utemeljuje i održava sopstvenu profesionalnu i eticku autonomiju.

Forma kao znak: citanje po simbolickom kljucu

Medju kljucne reci (Key Words) koje bitno obeležavaju njen rad, Mirjana Djordjevic navodi relacije znak - znacenje i arhetip - prototip - stereotip, upucujuci time na zakljucak da su dodatni sadržaji i njihova citanja po simbolickom kljucu, a nipošto jedino vizuelna percepcija i estetski izgled formi i predstava, obavezni za razumevanje podteksta i krajnjeg smisla konceptualnih zamisli i operativnih postupaka ove umetnice. Upravo zato jer su u glavnini izvedeni razvijenim industrijskim pomagalima ili pak saopšteni savremenim medijskim tehnologijama, po pravilu uz saradnju specijlista za razlicite profesionalne oblasti, realizacije umetnickih zamisli Mirjane Djordjevic poseduju visoko odnegovanu formalnu perfekciju, ali to ih dakako ne cini jedino perfektnim formama ili atraktivnim predstavama za sebe i po sebi, nego su odreda posredi anikonicki, ikonicki ili paraikonicki znakovi, skupovi ili sklopovi takvih znakova, unutar umetnickih tvorevina na odredjeni nacin kodirane šifre koje zahtevaju njima adekvatno dekodiranje i dešifrovanje. Osnovni oblici-znakovi u delu Mirjane ?or?evi? u prvoj polovini devedesetih lako su prepoznatljivi i ?itljivi u svome vizuelnom izgledu: to su kvadrat - kocka, krug - kugla, horizontala - vertikala, zvezda (pravilna i u projekciji "senke"), krst i repeticija krsta u ornamentalnom patternu cije je poreklo u ukrasima odeždi srednjovekovnih crkvenih velikodostojnika (u radu Bez Naziva 1, 1990, izvedenog u letnjoj radionici Galerije Studentskog kulturnog centra). Posredi je strategija dvostrukog obrata: forma i predstava kao znak i simbol, odnosno znak i simbol kao forma i predstava konstante su u operativnoj metodologiji Mirjane Djordjevic, u kojoj su, toj metodologiji, arhetipski i univerzalni znakovi i simboli "ispražnjeni" do statusa primarnih plastickih formi, kao što su obrnuto takve forme "ispunjavane" do statusa arhetipskog i univerzalnog znaka i simbola. A u principu ta ista strategija obrtanja znakova važi i za status predstave koja se u radu Mirjane Djordjevic javlja i koristi pri kraju decenije. Naime, u instalaciji Kill Your Idols, 1998-99. (koja sadrži izricitu referenciju na poznati rad Jannisa Kounellisa Tragedia Civile iz 1975) evidentna je vec na prvi pogled promena izražajnog medija da bi u billboardu pod nazivom Respect Yourself došlo do upotrebe fotografije ogromnog formata poput reklamnog plakata u javnom prostoru. A iz te promene medija proistekla je i promena nacina reprezentacije i prezentacije rada, kao i njegovog suštinskog znacenja u koji je sada direktno ukljucena tematika umetnickog govora u prvom licu, pri cemu ono bitno što se sa promenom medija ipak ne menja jeste konstantna vera u to da umetnost i umetnik zahvaljujuci jedino odgovornosti prema sebi i sopstvenom radu uprkos svega ipak o(p)staju bez obzira što se uokolo njih dešavalo umetnost i umetnik moraju za sebe i svoja dela da izbore i obezbede obavezno dostojanstvo (samo)poštovanje.

Umetnost umetnosti

Jedan rani rad Mirjanje Djordjevic - Identitet-Stanje, 1990. – koje ga cine, postavljeni u dva horizontalna reda ili kružno, ukupno 24 tanjira na kojima su tehnikom fotokeramike otisnuti likovi i po jedno karakteristicno delo velikih umetnika epohe - Boccioni, Duchamp, Maljevic, Mondrian, Pollock, Fontana, Klein, Newman, Warhol, Beuys, Smithson, De Maria - odaje sledece ubedjenje umetnice potvrdjeno njenom tvrdnjom u jednom razgovoru: "Umetnost nastaje iz umetnosti. Umetnost je materijal u razvijanju jezika umetnosti...". I na istom mestu, kao bitna svojstva sopstvenog rada navodi: "Tacnost-egzaktnost-neproizvoljnost-preciznost-mera-dimenzija-proporcija-razmera-red-redosled-poredak-hijerarhija-relacija-odnos-sklad-racionalnost-analiticnost-ideja-simbol-znak-vreme-prostor-suština-istina". Odatle se zaklju?uje da umetnicko obrazovanje Mirjane Djordjevic racuna na iskustva istorijskih avangardi, posleratnih neoavangardi i visokog modernizma, to iskustvo podrazumeva apstraktno mišljenje u cistim pojmovima, upucuje na izrazito mentalno i konceptualno poimanje umetnosti, pri cemu ipak ne zahteva obavezu dematerijalizacije umetnickog predmeta niti svodjenje rada na sam jezik, nego naprotiv traži oblikovanje u materijalu, krajnje precizno izvodjenje, otuda i culni odnos, taktilnost, vizuelnost, medijsko posredovanje. Struktura opisanog rada podrazumeva ostanak unutar referentnog polja umetnosti i istorije umetnosti, takvo umetnicko delo za svoju tematiku i znacenje ima sam pojam umetnickog, do izlaska izvan tog referentnog polja ne dolazi cak ni kada umetnica umesto anikonickim pocne da se koristi ikonickim znacima, statickim ili pokretnim slikama (predstavama), bilo da su predocene tehnikom fotografije ili su pak emitovane sa ekrana. Sa novijim radovima u podrucje interesovanja umetnice ulaze brojna ikonicka oznacavanja, privlaci je ikonografija popularne i medijske kulture, zanima je vizuelnost i znakovnost filma, televizije, mode, dizajna, bliska joj je režija i rituali ponašanja u društvu spektakla, no sve to ipak ne odvodi sadržaje njenog rada iskljucivo u sferu sociologije ili politike, nego ostaje umetnicko u visoko formalizovanom (ali ne i formalistickom) i sofisticiranom smislu toga pojma. Umetnost Mirjane Djordjevic jeste, dakle, umetnost umetnosti, što znaci da je u ovom slucaju po sredi umetnost koja u rasponu od svog ranog formativnog do sadašnjeg zrelog stadijuma poseduje, prepoznaje i iskazuje svest o sopstvenim istorijskim i problemskim izvorima, na tim izvorima gradi sopstvene konceptualne postavke i operativne postupke, formira i formuliše znacenja koja cak i kada se kao u novijim radovima koristi ikonickim znacima i medijskim predstavama ne izlazi izvan strogo opcrtanog umetnickog polja, dakle izvan poimanja umetnosti kao specificne i autonomne izražajne prakse koja to ne prestaje da bude iako stalno održava u opticaju tesne veze i spone sa okolnim kulturnim i socijalnim kontekstima, jednom recju sa životnim zbivanjima i sadržajima.

Visoka internacionalna umetnost

Beogradska, u širem rasponu srpska/jugoslovenska umetnicka scena devedesetih složeni je konglomerat pojedinacnih i skupnih pojava, stavova, pozicija, u krajnjoj konsekvekciji i umetnickih ideologija medju kojima nema nikakvih pobližih dodira ili, ukoliko ti dodiri ipak postoje, nalaze se u kolegijalnim odnosima bliskih afiniteta ali takodje i u latentnim odnosima konkurencije, kompeticije, povremeno polemike, cak i konfrontacije, sve sa ciljem postizanja i održavanja vidljivog i prestižnog statusa na toj sceni. U poredjenju sa nekim razvijenijim evropskim, domaca umetnicka scena nije toliko razudjena ni kvalitetom niti kvantitetom svoje produkcije, no to je gledano iznutra ne cini manje slojevitom, zanimljivom i uzbudljivom, narocito za one koji na toj sceni kao protagonisti ucestvuju, unutar nje ostvaruju svoju praksu i grade svoje interese i položaje. Na mapi te scene mesto umetnosti Mirjane Djordjevic je vrlo vidljivo i vrlo istaknuto, ono je to pre svega zbog kvaliteta njenih ostvarenja, posebno onih koji spadaju u njenu licnu antologiju. Ali to mesto je i zasebno zbog specificne jezicke i problemske pozicije ove umetnosti koja na domacoj sceni devedesetih nema mnogih srodnika iako, naravno, postoje pojedini autori sa kojima je umetnica održavala ili održava bliske saradnicke relacije i deli neke globalnije zajednicke poglede. U sklopu s njima, tipologija i ideologija umetnosti Mirjane Djordjevic mogla bi se oznaciti kao model visoke internacionalne umetnosti, pod kojim terminom porazumeva se da je ovde posredi umetnost koja se temelji na uvažavanju, usvajanju i razradjivanju pojedinih iskustava evropske/svetske radikalne modernisticke i avangardisticke provenijencije. U domacim devedesetim ovakva se umetnost nalazila u izrazitom manjinskom položaju u okruženju agresivnog lokalnog antimodernizma uz koji su se vezivali vladajuci nacionalisticki nastrojeni krugovi, lokalnog umerenog modernizma i postmodernizma koji je zbog svojih osobina lake uklopljivosti u dominantni mentalitet sredine postao najprihvatljivija umetnost liberalnih intelektualnih krugova, kao i lokalne alternative koja je direktno i drasticno reagovala na politicku krizu i sveukupni sunovrat postsocijalisticke svakodnevice. Za poimanje umetnosti Mirjane Djordjevic ni jedna od ovih opcija nije bila ni malo privlacna, štaviše svakoj od njih iz drugacijih razloga bila je u principu suprotna, a razlika koja je u odnosu na sve njih postojala u slucaju Mirjane Djordjevic temeljila se ne samo na njenim licnim sklonostima nego je bila zasnovana i na osobinama njene duhovne i kulturne formacije unutar koje je izgradjivan i sam pojam umetnosti realizovan u njenoj konkretnoj praksi i produkciji.

Naime, duhovna formacija Mirjane Djordjevic po svojim je osnovnim karakteristikama formacija višestruko obrazovanog i ažurno informisanog mladog urbanog umetnika (umetnice) u uslovima globalne savremene pluralisticke i polivalentne kulturne situacije. Takva pluralisticka formacija podrazumeva saznanja i iskustva istorijskih avangardi, posleratnih neo- i post-avangardi, kao i visoke elitne modernisticke umetnosti, ali takodje i saznanja - njenoj generaciji naprosto genetski i egzistencijalno urodjena - o tekovinama popularne i masmedijske kulture u širokom rasponu od rok muzike, filma, televizije, do razlicitih žanrova savremene literature. I upravo iz takve formacije proizlaze osnovna svojstva njene umetnosti zasnovane na prožimanju i ukrštanju vrhunski odnegovane oblikovne estetike ispunjene duhovnim zracenjem specificnog tehno-sublima u produkciji otprilike iz prve polovine decenije, te pojedinih predstavnih motiva, izvo?a?kih postupaka i nacina prezentacije rada u sklopu masovnih medijskih tehnologija i njihovih primena u umetnicke svrhe u vidu staticnih (fotografskih) i pokretnih (ekranskih) medijskih/tehnickih slika u produkciji otprilike iz druge polovine decenije. Umetnik (umetnica) koji (koja) se bavi i koristi ovakvim jezickim tipologijama i operativnim metodologijama autor je do korena ugradjen u sadašnje odmaklo razdoblje tehnološke i postindustrijske civilizacije kao generalnog okvira u kojemu savremena umetnost može da bude jedino internacionalna, transnacionalna, multikulturalna, globalisticka, što naravno ne dovodi u pitanje ne samo individualnost, originalnost i samosvojnost pojedinacnog umetnika (umetnice) nego ni njegovo (njeno) organsko utemeljenje u sasvim specificnim kulturnim potrebama i svojstvima sredine iz koje proizlaze i u kojoj deluju. Otuda nema niceg kontradiktornog i paradoksalnog u tvrdnji da je zbog osobina i položaja svoje umetnosti Mirjana Djordjevic u isti mah i beogradski i evropski autor. Beogradski zbog okolnosti svoga formiranja i nacina delovanja i uticaja u sredini svoga formiranja, evropski zato jer je svoje formiranje dopunila dodatnim studijem na jednoj vrlo uglednoj visokoj umetnickoj školi po standardima koji se podrazumevaju kada se zna da su medju profesorima te škole svetski prestižne licnosti poput Kounellisa, Rinkea, Ueckera, Cragga, Jetelove, B.i H.Becher, G. Merza i dr. Svesna tih okolnosti i relacija, kao i svojih odmeravanja unutar vrednosnih parametara koji otuda proizlaze Mirjana Djordjevic se oseca "gradjaninom sveta", a kao umetnica ucesnicom svetske umetnicke scene, pod uslovom da joj se za to ukaže prilika spremna je da punopravno i ravnopravno sudeluje u današnjem globalnom umetnickom dijalogu (o cemu, uostalom, potvrde daju njeni nastupi i priznanja na ranije pomenutim medjunarodnim priredbama).

Kada su savremena umetnost i savremeni umetnik u pitanju, kljucni znaci pod kojima sve što je s tim u vezi stoji jesu znaci spone, sprege, mreže, protoka, odnosa svega sa svim što u produkciji umetnosti i u distribuciji umetnosti ima svoje obavezne nezamenljive uloge. Ucestvovati u nastanku takve umetnicke klime i u cirkulaciji njenih umetnickih produkata za svakoga ko se njome bavi i zanosi umetnost je velika potreba, strast, avantura, želja koja traži i donosi zadovoljstvo i zadovoljenje, ali takodje i navodi na osecanje da negde izvan umetnikovog trenutnog dosega i dohvata postoji i još nešto što mu stalno izmice a ipak ga tera na uvek uzastopno iskušavanje i dokazivanje, na nikada definitivno utvrdjivanje i postizanje sopstvenog identiteta. Kao vrlo mlada Mirjana Djordjevic je upoznala upravo takve neodoljive umetnicke izazove, do danas takvih izazova nije se zasitila, sa iskustvom i saznanjima koje je u medjuvremenu stekla spoznala je da se ljudski subjekt u svojoj najdubljoj prirodi upravo (mada, naravno, ne i jedino) u umetnosti istinski i istinito ostvaruje i potvrdjuje. No, da bi se to postiglo umetnik mora biti spreman da u sebi ide do kraja, oko sebe mora da se postavlja i ponaša bez ikakvih fatalnih ustupaka.
Jesa Denegri

Jesa Denegri, Split, 05.IX 1936, zavrsio Filozofski fakultet u Beogradu, doktorirao sa tezom Kontinuitet umetnosti konstruktivnog pristupa: EXAT-51 - Nove tendencije, 1989. Od 1965- 1989. zaposlen u Muzeju savremene umetnosti u Beogradu, od 1989. profesor na Filozofskom fakultetu u Beogradu. Knjige: EXAT-51, Zagreb 1979, Apstraktne tendencije u Hrvatskoj, Split, 1985, Teme srpske umetnosti: pedesete-devedesete (u pet knjiga), Novi Sad 1993-1999, Fragmenti postmodernog pluralizma: beogradska umetnicka scena osamdesetih, Beograd 1997, Jedna moguca istorija moderne umetnosti: Beograd kao internacionalna umetnicka scena 1965-1998, Beograd 1998. Clan medjunarodnog udruzenja umetnickih kriticara AICA.