KRUG (Monografija) – Snežana Mocović

Prostor zajednice Krug – kustosiranje kao umetnička praksa

Svet savremene umetnosti ulazi u jako buran period. Globalizovano društvo i njegove finansijske i kulturne ustanove, na kojima se savremena umetnost zasnivala, menjaju se pred našim očima. Promene koje su pred nama zahtevaju istinski nov odnos javnosti prema instituciji umetnosti i nova umrežavanja umetnica i umetnika. Odgovor kustoskinje i lingvistkinje Snežane Mocović na ove izazove bio je otvaranje prostora zajednice Krug 2022. godine. Zajednica nije bila strogo definisana, ali prostor koji Krug zauzima bio je i ostao jasno određen. Fizički, on se nalazio u jednom beogradskom stanu-galeriji, da bi zatim postao platforma preko koje se organizuju izložbe širom Balkana. Idejno, PZ Krug se prostire u sferi koja se može nazvati „intimnost bez banalnog intimizma“ i zato može da ima važnu ulogu u raspletu trenutne krize u savremenoj umetnosti. U ovoj knjizi možete pratiti njegov razvoj, od početka do danas.

U periodu od 2022. do 2025. godine, PZ Krug bio je vezan za pomenuti stan u Kumanovskoj u Beogradu. Iako trend pretvaranja stanova u galerije nije nova pojava u svetu umetnosti, on je za PZ Krug imao drugo značenje nego ono koje je nekad imao u Londonu, Berlinu i dr. To je zato što Krug i nije klasična galerija, već misao o intimnosti u savremenoj umetnosti koja traje kroz vreme i prostor. Primeri ovakve kustosko-umetničke prakse iz istorije PZ Kruga su brojni. Izdvajamo radove mađarskih umetnika Sofije Hevele i Đerđa Tornjija (Zsofia Hevele, Gergö Tornyi), koji su nas suočili sa prazninom napuštenih prostora, ali i s politikom odbacivanja predmeta i tela u njima. Vredi pomenuti i Kvir Kino Klub Dejana Dejanovića, koji nam je ponudio nepisanu istoriju kvir filma, dok je Ksenija Nakić-Alfirević tematizovala iskustvo razvoda braka kroz seriju selfija. Ona je svakako iznosila svoju intimnu priču o gubitku, ali ju je istovremeno suočavala s nemilosrdnom i neumornom logikom predstavljanja sebe na savremenom tržištu rada.

Nakon 2025. godine PZ Krug se menja. Prostor u Kumanovskoj se zatvara, ali se sam Krug otvara i postaje platforma – Krug II. Realizovane izložbe u Ohridu (R. S. Makedonija) i Oprtalju (Istra, R. Hrvatska), dva sasvim različita prostora i konteksta, samo potvrđuju da su ideje PZ Kruga vitalno jezgro koje će i ubuduće okupljati stvaraoce koji, u opštem rasturu institucija umetnosti, traže svoj umetnički krug.

dr Marko Đorđević

Community Space Krug – Curating as Artistic Practice

The world of contemporary art is entering a very turbulent period. The globalized society and its financial and cultural institutions, on which contemporary art has been based, are changing before our eyes. The changes that lie ahead require a truly new relationship between the public and the institution of art, as well as new networking between artists themselves. Curator Snežana Mocović’s response to these challenges was the opening of the community space Krug in 2022. The community was not strictly defined, but the space that Krug occupies was and is clearly defined. Physically, it was located in a Belgrade apartment-gallery, and then became a platform through which exhibitions are organized throughout the Balkans. Conceptually, CS Krug extends into a sphere that can be called “intimacy without banal intimism” and can therefore play an important role in resolving the current crisis in contemporary art. In this book, you can follow its development, from the very beginning to the present day.

Between 2022 and 2025, CS Krug was based in the aforementioned apartment in Kumanovska Street in Belgrade. Although the trend of turning apartments into galleries is not a new phenomenon in the art world, CS Krug did it differently. This is because Krug is not a classic gallery, but rather a thought about intimacy in contemporary art that lasts through time and space. There are numerous examples of this curatorial and artistic practice in CS Krug’s rich history. We highlight the works of Hungarian artists Zsofia Hevele and Gergö Tornyi, who confronted us with the emptiness of abandoned spaces, but also with the politics of discarding objects and bodies in them. In this context, Dejan Dejanović’s Queer Cinema Club is also worth mentioning. Ksenija Nakić-Alfirević thematized her experience of going through a divorce while engaging in the relentless practice of networking on the job market.

After 2025, CS Krug entered a state of change. The space in Kumanovska has closed down, but Krug itself has opened up and become a platform – Krug II. The exhibitions held in Ohrid (Republic of North Macedonia) and Oprtalj (Istria, Republic of Croatia), two completely different spaces and contexts, only confirm that the ideas of CS Krug are a vital core that will continue to draw in creators who, in the general disintegration of art institutions, are looking for their own artistic circle.

Marko Đorđević, PhD