Art at turning point
Saša Janjić, Curator of the Collection
The Serbian modern art scene is in an unenviable, but interesting situation today. Surrendered to the inevitable developments of the modern art system and the logic of capital, free of the burden of the past and the warring 90s, it is slowly focusing on itself, on elementary existential issues, and on finding new ways to present itself in a broader European and global milieu. Torn between authenticity, consistency and the reality of the new era, it is making small steps, trying to find a new language and join global artistic trends. In a word, it is at a turning point.
The transition period that our society is in at the present, is undeniably reflected on the functioning of the art scene. In the past several years we have been witness to discussions of the issue wheather a modern art scene exists at all in Serbia? Apparently it does, regardless of what we think of it and how we interpret it. Perhaps a more adequate questions would be how large is this scene and how good is it? The lack of professional spaces for exhibitions, as well as the systematic and continual investment in modern artistic production greatly impedes the work of artists, and therefore the actions of potential investors, are also affected by poor production possibilities of artists and galleries.The quality and the functioning of the scene, are additionally affected and weakened by the poor production capacities of the artists and galleries, as well as complete failure of the state, the Ministry of Culture, and society as a whole, to invest more seriously in modern visual art. The absence of a market and modern legislation, which would encourage investment in art, are additional reasons why we can discuss only the survival buy not the development of the art scene. In such a situation it is no surprise that an increasing number of our artists are seeking opportunities abroad.
Bearing all this in mind, company Yettel, which operates in Serbia, has decided to create a collection of works by local artists, and thus contribute to resolving many problems and actively take part in creating a modern European society in Serbia. Modern companies create their identity, among other things, by collecting works by modern artists, thus conveying their message that they are prepared to keep up with new ideas and new social relations. Yettel is no exception and it has similar collections in all the countries where it operates. In this way, Yettel expresses its high level of social awareness regarding the need to return part of the profits generated in a given setting, through different investments, primarily in the most vulnerable sectors of society. We, who have professional and daily contact with art know that unfortunately in Serbia art is among the most vulnerable ones.
The Yettel corporate collection does not aim to present the current state of the Serbian art scene. It is not created with a specific goal; it does not address a certain circle of people and it does not aim to compensate for the shortcomings of similar museum collections. It does not follow any line nor is it oriented left nor right, or politically or ideologically tainted. It is primarily envisioned and created as a corporate art collection which is to “live” in a corporate, but also a public space.
The Yettel corporate collection does not aim to present the current state of the Serbian art scene. It is not created with a specific goal; it does not address a certain circle of people and it does not aim to compensate for the shortcomings of similar museum collections. It does not follow any line nor is it oriented left nor right, or politically or ideologically tainted. It is primarily envisioned and created as a corporate art collection which is to “live” in a corporate, but also a public space.
The basis of the collection is newer works, created after 2000, but it also includes slightly older works, from the 1990s. The collection consists of around 150 works by 46 artists. Since the collection is primarily intended for office spaces, the selection of works was influenced by this function, which is why we primarily focused on works that would stimulate and blend into the daily functioning of employees. However, this under no circumstances means that the selection was made at the cost of quality. Works such as the series of drawings Gott Liebt Die Serben by Raša Todosijević, Yugo Museum by Mrđan Bajić, Praise to the Hand - the Angel of History IV by Mileta Prodanović, sculptures Rest and Mini Bar by Gabriel Glid, photographs by Jovan Ćekić and Dragan Dangubić, Škart’s embriodery and Talent’s installation Key Witness, are some of the most significant works of newer Serbian art. In a way these works legitimize the collection as being respectable and in accordance with the reputation and size of the company which they are part of.
In addition to these well-known pieces, a great partion of the collection consists of works by young artists that are positioning themselves on the artistic map, and tearing down stereotypes and building a new image of Serbia. By creating a new metalanguage of communication, communication based on new technologies, they do away with political, ideological, ethnic and social boundaries. This is why it should not be at all surprising that it was a telecommunications company that chose art, as a sophisticated form of communication, to relay its message and express its convictions and views in this field.
This collection is embodied in the sentence See further – art and communication. It reflects in the best possible way the thinking and views of Yettel, as a multinational company which, by its business determination, is always looking ahead and going one step in front of the times, but also Serbian art which is looking to the future hoping that an equal dialogue and partnership with the world is possible. Investing in the modern Serbian art scene is a bold step, particularly considering the difficult period that both the art scene and society in Serbia have endured in the past twenty years. In an unorganized incoherent system, where even the smallest political or social change has long-term consequences, the decision to invest in culture and art is praiseworthy. The collection also testifies to the company’s determination to stay in Serbia and develop its position in society, not only in the business world but also in the art world. This initiative represents a serious, systematic, prudent investment in culture and art, and an attempt to at least symbolically help artists and revive hope that all is not lost.
This collection is embodied in the sentence See further – art and communication. It reflects in the best possible way the thinking and views of Yettel, as a multinational company which, by its business determination, is always looking ahead and going one step in front of the times, but also Serbian art which is looking to the future hoping that an equal dialogue and partnership with the world is possible. Investing in the modern Serbian art scene is a bold step, particularly considering the difficult period that both the art scene and society in Serbia have endured in the past twenty years. In an unorganized incoherent system, where even the smallest political or social change has long-term consequences, the decision to invest in culture and art is praiseworthy. The collection also testifies to the company’s determination to stay in Serbia and develop its position in society, not only in the business world but also in the art world. This initiative represents a serious, systematic, prudent investment in culture and art, and an attempt to at least symbolically help artists and revive hope that all is not lost.
We hope that the example of the Yettel, which is uncustomary in our country, will be followed by numerous Serbian companies and that they will start investing in local art production, which has demonstrated that it has the quality, knowledge and originality, but also that it needs encouragement and support from the local milieu.