IMAGES

BIOGRAPHY

MILAN BOSNIĆ
Born in 1969.

MILICA MILIĆEVIĆ
Born in 1979.

Both live and work in Belgrade.

SELECTED SOLO EXHIBITIONS
2010 - Raum für Kunst und Natur, Bonn, Germany; Working Title, Nova Gallery, Belgrade;
2009 - June, Urban Utopia, Gallery ‘Beograd’, Belgrade, Serbia; Face to Face, Photon Gallery, Ljubljana, Slovenia; Urban Utopia, Plevnik - Kronkowska Gallery, Celje, Slovenia;
2008 -.November, Facing Finland, KulttuuriKauppila, Ii, Finland;
2007 - Likovni Salon Celje, Celje, Slovenia, Significant Other – Joint Venture, Remont Gallery, Belgrade, Serbia.

SELECTED GROUP EXHIBITIONS
2010 – 4th Bucharest Biennial of Young Artists, Romania (curator Mica Gherghescu);
2009 -.Inauguration exhibition at Nova Gallery, Belgrade; Belgrade Non-Places, Salon of the Museum of Contemporary Art, Belgrade; Photonic Moments IV, Magacin in Kraljevica Marka, Belgrade; Telenor Collection of the Serbian Modern Art, Cultural Centre, Vrsac, Serbia; Telenor Collection, Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia;
2008 - Photonic Moments IV, Mala Galerija, Cankarjev; Dom, Ljubljana, Slovenia; Hotel Mariakape: a portrait by Katie Jane, Hoorn, Netherlands; Sistem Binario – BELEF ‘08, Belgrade; Rondo artists, Rondo gallery space, Graz, Austria; Micro Narratives, Museum of Modern Art Saint Etienne, France; Telenor Collection, Cvijeta Zuzoric Art Pavilion, Belgrade;
2007 - Urban mythologies, Sales Art Gallery ‘Beograd’, Belgrade; December, Belgrade Beauty, New Moment Ideas Gallery, Belgrade; Break festival, Ljubljana, Slovenia; 48th Oktobarski Salon, Belgrade; Equal
Opportunities, C2C Gallery, Prague.

CONTACT: distruktura@yahoo.com

PROJECTS

„Here and There” is an artistic intervention which occupies both public and gallery space and is linked with wireless internet connection.
For the purpose of the fourth edition of the Young Artists’ Biennial Bucharest 2010 we would realize the idea of video surveillance in a montage space set somewhere in the city (preferably in a location with high circulation of people), while the footage would be played live in the main exhibition space of the Biennial using wireless internet connection. This work correlates with the theme of the Biennial in terms of activating the techniques of control and forms of video surveillance. We use such policing instruments as a work tool for analysis and discussion on the forms of the power game.
In this case surveillance cameras are used in order to separate and emphasize certain space. In this way that place becomes a place of great attention and action where the participants are able to assume double role. One is to be a protagonist, to exist in that determined space and thus draw attention to oneself, “to become visible”, while the other role is a role of the observer who remains unidentified, protected, with a certain amount of control and power. Those are the roles of the observer and the observed. Many of us take both of these roles from time to time.
As an artistic intervention it becomes a form of inverse surveillance as an activity undertaken by those who are generally the subject of surveillance, and to be precise, a form of sousveillance as a community-based recording without necessarily involving any specific political agenda. Since “sousveillance” denotes bringing the camera or other means of observation down to human level, we are making the surveillance available to everyone so that ordinary people can watch, rather than higher authorities.
Here we’re approaching the conclusion of some of the sousveillance theories saying that Big Brother is “us”, not “them”. With the latest technological advances these tracking and recording systems became accessible to all of us within our mobile phones, cameras and computers, making us play their game. The reason sousveillance is such a concern is that it is not under control and there are no transparently obvious ways it could be brought under control.
On one hand, an object under surveillance in public place will emphasize the issue of “endemic surveillance” and post 9/11 mentality. State-of-the-art surveillance is increasingly being used in more every-day settings. By local police and businesses. In banks, schools and stores. Our every move could be captured by cameras, whether we’re shopping in the grocery store or driving on the freeway. Proponents say it will keep us safe, but at what cost? It turns out that the most efficient delivery system for capitalism is actually a communist- style police state, fortressed with American “homeland security” technologies, pumped up with “war on terror” rhetoric. Discussing on latest people-tracking technology and reports on methods to keep its citizens safe we are “sleepwalking into a surveillance society” with zero privacy under the unblinking eye of the state.
On the other hand, realizing there is an opportunity to assume the role of the observer, it will be hard to refuse to go along with the attempt to observe from the distance with the sense of power and control. To switch roles and become a “watcher”. 
diSTRUKTURA

BIBLIOGRAPHY