Artist's project Darje Bajagić and curators Ana Simone Zelenović worthily represents Montenegro at the most important world event when it comes to contemporary art, said the director of the Museum of Contemporary Art on Thursday at the opening of the Montenegrin Pavilion at the 60th Biennale of Contemporary Art in Venice Vladislav Scepanovic who, as the commissioner of the exhibition, spoke at the beginning.
The exhibition called "It Takes an Island to Feel This Good" (It Takes an Island to Feel This Good) attracted a large audience that gathered in the Venetian district of Ospedaleto, where the exhibition was presented this year. Gallerists and curators from the United States, Europe and the region, artists representing neighboring countries, a delegation from the Ministry of Culture and Media of Montenegro, the Museum of Contemporary Art of Montenegro, as well as the Ministry of Culture of the Republic of Serbia, as well as many other dignitaries, attended the opening of the Black Pavilion Up in Venice.
Šćepanović pointed out that the project of Darje Bajagić and Ana Simone Zelenović "worthily represents Montenegro at this most important world event when it comes to contemporary art".
"This work is thematically related to Montenegro and reflects the recognition of the pavilion in the national sense, but at the same time it is also a global theme, which is a reflection of contemporary society in relation to cultural heritage, but also the ideology of bizarre enjoyment that introduces us to the accumulation of capital and the production of egoistic need. It is also related to the theme of the biennale, so I can say that it has great potential for a multi-layered interpretation, but also a strong emotional impact on the observer," Šćepanović said.
Those present at the opening were greeted by an artist who, with her life story and project representing Montenegro, corresponds in a special way with the theme of the 60th Biennale "Strangers everywhere".
"I am glad to share a series of papers with all of you at this prestigious event - papers that are the culmination of two years of research conducted in Montenegro, both in the State Archives and in the field. The collected archival material is, as you can see, integrated through images. I came to Montenegro for the first time after 1990 in the summer of 2021, after spending my formative years abroad, 10 years in Egypt, and the next 21 in the United States, where in 2014 I received a master's degree in fine arts at Yale University. Returning to Montenegro, I was enchanted by the sight of the island of Mamula", said Bajagić and further presented her concept that combines archival materials with characteristic referential and symbolic interventions.
In Venice, Bajagić spoke about the island of Mamula and its history, as a fortress, prison, camp and, ultimately, as a luxury hotel whose slogan inspired the exhibition.
"By chance, in 2022 I moved to the Luštica peninsula, near Mamula, where my initial fascination grew into the central focus of my research work and artistic practice. However, it is no coincidence that the history of my family is closely connected with the creation of this series, which finds its inspiration and origin in Montenegro. Specifically, my grandfather Raško Radović, a partisan fighter, was captured by Italian fascists during World War II, after which he was imprisoned in (yet another) island concentration camp in Ponza, Italy. Despite everything, he managed to escape. Tragically, while walking home to Montenegro, he encountered his late brother among the victims of the firing squad. Therefore, it is a great honor for me that I now have the opportunity to share the completed series with a global audience right here, at the Venice Biennale, representing my homeland, Montenegro - a privilege that I deeply appreciate," said Bajagić.
She added that this is a particularly significant presentation for her, as well as for the country, because it reminds, and with the exhibition includes, a segment of the "common, albeit dark, history of Italy and Montenegro, which has remained neglected in memory".
Curator Zelenović added that the exhibition is an exploration of the culture of collective memory and our connection with the common historical heritage.
"Bajagić delves into these topics by exploring the intricate and layered history of the Montenegrin island of Mamula. On this island there is a former military fortification, originally built in 1853 under the patronage of Austro-Hungarian general Lazar Mamula. During World War II, the fascist forces of the Kingdom of Italy under Benito Mussolini converted this structure into a concentration camp. Recently, the fortress underwent another transformation, this time into a luxury hotel, through a process that was started in 2015 with the help of foreign investments," she summarized.
Zelenović stated that such exhibitions are of great importance in the modern age, because they indicate that the study of history goes hand in hand with the study of ourselves, and that it requires enormous courage.
"Also, it emphasizes the necessity of a brave nation to undertake such ventures", emphasized Zelenović and added:
"Bajagić, with her unique artistic methodology, navigates the intersections of facts and reality with a noticeable note of ambiguity. This approach shows an apparent detachment, encouraging the exploration of the essence of reality and its subjective interpretation. Using photocopies collected from the archive collections of the State Archives of Montenegro, her artistic compositions create a disturbing ambience, characterized by a lack of explicit information or instructions for interpretation. This intentional absence creates an environment suitable for the autonomous engagement of the observer, forcing individuals to face their (own) personal reactions, uncertainties and unrest", explained the curator, emphasizing that Bajagić refrains from taking positions or moralizing in his practice, and avoids offering solutions.
Minister of Culture and Media of Montenegro Tamara Vujovic she said at the opening that the project "It Takes an Island to Feel This Good" was created by Darja Bajagić, who spent less than two years researching the island of Mamula and its history in the archives of Montenegro, and who used the collected material as the basis for the visual composition of paintings and sculptures , continues and builds on the theme of the Biennale "Strangers everywhere".
"The project raises critical and relevant philosophical questions about the position of the Other, exploring how determining this position determines power relations in society, laying the foundations for reflection on the complex social and political dynamics that shape our everyday lives. He teaches us to never assume we know what something means out of context. It answers the questions: what is memory and what is the connection between what was and us who remember?" said Vujović and added:
"Changing the purpose of the island, which teaches us how to find understanding for the incomprehensible, and perhaps to try to turn the course of fate of our own and other people's lives, where there is an opportunity to make decisions," said the Montenegrin minister.
Commissioner Šćepanović reminded that behind the complete team, which is responsible for the Montenegrin setup, there is great effort, commitment, and professionalism, and he thanked them for that. The patron of the Montenegrin pavilion is the Ministry of Culture and Media, and the organizer and executive producer is the Museum of Contemporary Art of Montenegro.
"We hope that this presentation will be successful and that it will open new paths for future presentations of Montenegro," Šćepanović said.
The pavilion is more visible, the place is busy and visited
The Ospedaleto area, where the Montenegrin pavilion in Venice is located this year, is located between Giardino and Arsenal, which are the epicenter and heart of the Biennale itself. The Ospedaleto offers a significantly better position compared to the Palazzo Malipiero, where Montenegro has been represented for years. It is a busy part of the city, a station between the most sought-after pavilions, which provides the opportunity to visit it even for those who are not looking for and do not come with the intention of visiting the Montenegrin pavilion.
The director of MSUCG, Vladislav Šćepanović, spoke about this at the opening, and earlier he pointed out that he will continue to look for an even better space, in order to present Montenegro as prominently as possible.
"As some of you know, at this Biennale, Montenegro appears in a new space. I thought that the place where Montenegro was presented before was quite isolated and therefore limited in communication with a large audience from all over the world. I tried to find a better place where the Montenegrin pavilion will be more visible and where we will be able to better present our projects. That's how we came to this space, which, in my opinion, will fulfill those criteria", Šćepanović said.
Minister Vujović added that "the Ministry of Culture and Media, as the general sponsor of Montenegro's participation in the 60th Venice Biennale, this year more than ever has reason to feel very proud".
"The organizer of our performance in Venice is a new institution of culture in Montenegro, the Museum of Contemporary Art, which we believe is already bringing new values to the Montenegrin cultural identity, and the contemporary scene in particular. Another reason contributes significantly to this feeling, and that is that we are presenting our artistic concept to the world in a new location - Ospedaletto in a prominent position in Venice," said Vujović and said:
"That's why I invite everyone to come and visit our pavilion, to be proud of the Montenegrin contemporary cultural scene and our Darja, and the Ministry and cultural institutions will continue to work on the best possible presentation of Montenegrin culture on the international stage."
Art is an island of freedom
The Venice Biennale is not just an art exhibition, the Minister of Culture of Montenegro pointed out.
"It is a testament to the power of art as a language that transcends words and borders. Through the works of artists, we are reminded that our stories, although unique, are connected in a common human destiny. "Art reminds us that we are all strangers in this common journey called human life, and that we defend ourselves against the horror of transience," said Vujović.
At this year's Venice Biennale, the theme "Strangers Everywhere" opens the door to considering the richness of art through the prism of migration, identity and universal connection, she believes.
"Through the double meaning of the theme - that we are all foreigners and that the inner feeling of foreignness is universal - the Biennale 2024 invites us to see the world from the perspective of artists of different backgrounds, especially those who have been historically marginalized. The Venice Biennale provides a platform for artists who are themselves strangers - immigrants, exiles, diaspora - giving them the opportunity to tell their stories on the global stage, witnessing the power of art in giving a voice to those who are often left without one... And art, especially modern , is freed from these considerations and correctness, it represents a real island of freedom, a place of autonomy for asking questions, an island - limited, but self-sufficient. Is the island - a story about freedom, like modern art - the homeland of ultimate freedom", added Vujović.
Bonus video:
