Sarajevo100 je prije svega koncepcijski i estetski izazov: kako je moguće sažeti stogodišnju istoriju jednog grada u formu jednog plakata? Kakvi su uslovi recepcije potrebni da bi se ta sažeta vizuelna poruka adekvatno dešifrovala kako bi se u njoj pronašla relevantna istorijska sadržina? Odgovor na drugo pitanje već je sadržan u samom procesu organizacije projekta, koji, pored razmjene ideja u internacionalnoj zajednici grafičkih dizajnera/ica, obuhvata i spektar edukacijskih i interpretativnih ciljeva.
Savremene tendencije grafičkog dizajna, kao značajna oblast vizualne kulture, involvirane su u kritička preispitivanja dominantnih istorijskih narativa i projekcija budućnosti. Izazov projekta Sarajevo100 ukazuje na tu involviranost. U “Hijeroglifima budućnosti” Brian Holmes ističe značaj estetske upotrebe i produkcije slika i poruka, slogana i lingvističkih igara, sa ciljem da se u javni prostor iznesu lične interpretacije kolektivnih ideja. Pri tome se ne radi o sloganima u tradicionalnom smislu nego o iznošenju određenog stava, sa namjerom da se izbjegne svaka vrsta instrumentalizacije tog stava.
Jedan od primjera na ovoj izložbi je plakat Dalide Karić-Hadžiahmetović na kojem upečatljivi simbol sa bosansko-hercegovačkih stećaka - otvoreni dlan – oživljava kao dlan našeg današnjeg susjeda. Pored njega, preveden na engleski, citat sa konkretnog stećka iz nekropole u Radimlji Let this hand make you think what you are doing with your hands. Na dlanu je utisnuta mapa Sarajeva. Čitanje sudbine jednog grada sa dlana istorije predstavlja jedan nivo interpretacije, dok je drugi nivo sadržan u bogatstvu značenja otvorenog dlana kao simbola dobrodošlice, ali i upozorenja - upozorenja upućenog prije svega dominantnim silama koje “rukuju” sudbinama malih zemalja kakva je Bosna i Hercegovina.
Međutim, kritički pristup nije zajednički svim pozvanim dizajnerima i njihovim studentima, niti se takav pristup eksplicitno navodi u propozicijama projekta, tako da neki do izloženih plakata ostaju u domenu dekorativnog ili na granici sentimentalnog i egzotičnog. Za razliku od toga, jedan plakat (autor je Borut Vild) se naročito izdvaja načinom na koji je lična sentimentalna uspomena dovedena u vezu sa kolektivnom sviješću o gubitku i iznova pronađenoj ljepoti. Pored napuknute figurine malog frulaša (anđela koji sjedi na zemaljskoj kugli) stoji zapis: “Kupljen na sarajevskom buvljaku krajem osamesetih / pao sa police devedesetih / ponovo sastavljen februara 2014 / nedostaje par delova / još uvek lep”...
[1] Brian Holmes, “Hieroglyphs of the future: Jacques Rancière and the Aesthetics of Equality.” Cabinet, issue 4, Fall 2001
Branka Vujanović
Amra, Dada, Mila i ja smo bili studenti profesora Mladena Kolobarića, jednog od pionira angažovanog plakata, ne samo u Bosni i Hercegovini, već i na području bivše Jugoslavije – prostoru koji danas nazivamo regijom. Mladenova lična stvaralačka preokupacija reflektirala se i kroz kreiranje plakata o zaštiti čovjekove okoline, sa svim svojim aspektima: voda, zrak, šume, buka, hrana i slično.
U mnogobrojnim generacijama studenata odsjeka grafičkog dizajna Akademije likovnih umjetnosti u Sarajevu, Mladen je uporno i nesebično razvijao senzibilitet za stvari koje nas okružuju. Ukazivao je na probleme koji vape za intervencijom grafičkih dizajnera. Razvijao je u nama svijest o društvenoj odgovornosti profesije za koju se spremamo. Ukazivao nam je na to da sve što dizajniramo na neki način utiče na odluke drugih, bez obzira da li kupuju knjige, odlaze u pozorište ili pokušavaju da se snađu na nepoznatom aerodromu – čak i onda kad glasaju za neku političku stranku.
Svako od nas ponaosob ima vlastite interese angažovanosti koje sprovodimo kroz različite oblike izražavanja; bilo vizuelnog, verbalnog ili akcionog karaktera. Nije nimalo slučajno što smo se baš nas četvero našli prije dvije godine i pokrenuli ovaj projekat u želji da u 2014. godini, u formi pozivne izložbe, okupimo u Sarajevu na jednom mjestu afirmisane dizajnere iz cijelog svijeta, uključujuci dizjnere iz Bosne i Hercegovine i regije, mlade perspektivne dizajnere, kao i studente. Susretom generacija koje stvaraju u dva različita stoljeća željeli smo da doprinesemo obilježavanju događaja koji su ucrtali Sarajevo u mapu dešavanja koja su promjenila svijet u kome danas živimo i stvaramo.
Sudeći prema odazivu na naš poziv, možemo sa sigurnošću zaključiti da je svijest današnjih dizajnera širom svijeta ne samo prisutna već i uveliko razvijena, kao i da se Mladenovo pedagoško ulaganje u studente uveliko materijalizovalo kroz naš rad na ovom projektu.
Čedomir Kostović
Sarajevo100 is first and foremost a conceptual and aesthetic challenge: how to merge those hundred years of the city’s history in the form of a poster? Furthermore, which conditions of reception are needed in order to properly decode such a zipped visual message and to find in it a relevant historical content? The answer to the second question is contained in the very process of organizing this project, that includes not only an exchange of ideas within the international community of graphic designers but also embarks upon the specter of educational and interpretative goals.
Contemporary tendencies in graphic design, as an important branch of visual culture, are involved in the critical investigations of the dominant historical narratives and projections of the future. The challenge of the project Sarajevo100 points to that involvement. In his “Hieroglyphs of the future” from 2001 Brian Holmes emphasized the significance of the aesthetic use and production of images and messages, slogans and linguistic games that expose the personal interpretations of collective ideas into the public space. The slogans of this kind do not abide to the traditional use but express the attitudes that resist any kind of instrumentalization.
One of the telling examples from this exhibition is the poster by Dalida Karić-Hadžiahmetović on which we see the open palm, a recognizable symbol from the medieval stones of Bosnia-Herzegovina, coming to life as a palm of our contemporary neighbour. Next to it, translated in English, the inscription from a particular tombstone (stećak) from Radimlja necropolis: “Let this hand make you think what you are doing with your hands”. The city map of Sarajevo is printed on the palm. Reading the destiny of the city from the palm of history could be one level of interpretation. On another level, taking cue from the meaning of the open palm as a symbol of welcoming as well as of warning, the translated message should be read as oriented towards the dominant forces that «handle» the destinies of the small countries such as Bosnia-Herzegovina.
The critical approach, however, is not comon to all invited designers and their students, nor is such an approach explicitly requested by the project’s propositions. Some of the exhibits remain in the strictly decorative domain or border on the sentimental and exotic. In contrast to these, there is one particularly striking poster that brings a personal sentimental memorabilia in connection with a collective awareness of the loss and the newfound beauty. The author is Borut Vild. Next to the figure of a small flute player (an angel siting on the globe) is a notation: “Bought at Sarajevo flea market in the late Eighties / Fell of the shelf in the Nineties / Reassembled in February 2014 / A few parts are missing / Still beautiful”…
[1] Brian Holmes, “Hieroglyphs of the future: Jacques Rancière and the Aesthetics of Equality.” Cabinet, issue 4, Fall 2001
Branka Vujanović
All four of us – Amra, Dada, Mila and myself – are former students of Professor Mladen Kolobarić, one of the pioneers of social posters design not only in Bosnia and Herzegovina, but also in the former Yugoslavia – the space that is now called "the region". Mladen’s personal creative interest is reflected through the posters he created on the theme of protection of environment, addressing all its aspects: water, air, forests, noise, and food, just to mention a few.
While teaching many generations of students at the graphic design department of the Academy of Fine Arts in Sarajevo, Mladen persistently and selflessly worked on developing sensibility for things in the our surroundings. He pointed out to the problems that cry out for intervention of graphic designer. He has developed in us a strong sense of social responsibility of the profession for which we were getting ready to work in. He pointed out to us that everything we design in some way influences decisions of others, regardless of whether they decide to buy the book, to go to the theater, or trying to cope with the unfamiliar airport, even when they vote for their political party.
Every one of us has own interest of engagement conducted by the various forms of expression, whether it is visual, verbal or other action in character. It is no accident that four of us got together two years ago and started this project with desire that in the year 2014 in Sarajevo we assemble an invitational exhibition of artwork of well known designers from all around the world, including designers of our region, emerging designers and students. Our goal was to gather the generations that create in two different centuries and contribute to the marking of the events that put Sarajevo on the map of events that changed the world in which we live and create.
Judging by the response to our call, we can conclude that the social consciousness of designers of today is not only present but also highly developed, and that Mladen’s pedagogical investment in his students is largely materialized through our work on this project.
Cedomir Kostovic