SI Offsite | Fade In 2: Ext. Modernist Home – Night
Curated by Swiss Institute with Julie Boukobza and produced by Balkan Projects, this exhibition is an investigation of the role that art plays in narrative film and television.
exhibition element (MA-SARCB-00075) (2016) by Bojan ŠarčevićSwiss Institute / Contemporary Art New York
Inhabiting the rooms of the Museum of Contemporary Art – Belgrade’s Milica Zorić and Rodoljub Čolaković Gallery-Legacy, FADE IN 2: EXT. MODERNIST HOME – NIGHT investigates the role that art plays in narrative film and television.
Murder (1997) by Raša TodosijevićSwiss Institute / Contemporary Art New York
The exhibition acts as a sequel to FADE IN: INT. ART GALLERY – DAY, which was on view at Swiss Institute in March 2016.
FADE IN 2: EXT. MODERNIST HOME – NIGHT (2017)Swiss Institute / Contemporary Art New York
FADE IN 2 reimagines the original exhibition in the Gallery-Legacy Čolaković, the converted former residence of Milica Zorić and Rodoljub Čolaković, now one of a venues of the Museum of Contemporary Art, Belgrade.
The space’s storied history as a residence, hotbed of organized crime and art museum further reinforces the exhibition’s ambition to recast the gallery in a new role as a set for dramatic scenes.
Liz's zards Cereales and Pomegrenates (2017) by Daiga GrantinaSwiss Institute / Contemporary Art New York
This new iteration allows participating artists to further reclaim the manner in which art is represented on screen, whether as props, set dressings, plot devices, or character cues.
Heiner Müller (2017) by Tobias SpichtigSwiss Institute / Contemporary Art New York
The nature of the exhibition is such that sculptures, paintings, performances and installations transition from prop to image to art object.
“Why there is no tragedy in art anymore?" (2017) by Siniša IlićSwiss Institute / Contemporary Art New York
The exhibition stages an enquiry into whether these fictional depictions in mass media ultimately have greater influence in defining a collective understanding of art than art itself does.
The preciousness of art objects anchors their roles as plot drivers, and anxieties intensify regarding the vitality of artworks and their perceived abilities to wield power over viewers or to capture spirits.
Why there is no tragedy in art anymore? (2017) by Siniša IlićSwiss Institute / Contemporary Art New York
The preciousness of art objects anchors their roles as plot drivers, and anxieties intensify regarding the vitality of artworks and their perceived abilities to wield power over viewers.
Mute Scenes (2017) by Rodrigo MatheusSwiss Institute / Contemporary Art New York
From many such narratives, FADE IN 2 draws out the art objects, granting them the status only previously achieved on-screen, whilst pointing to moments in which one form of media wrangles with the power of another.
Landscape with a Woman (2017) by Aleksandra DomanovićSwiss Institute / Contemporary Art New York
Newly commissioned works in the exhibition by Darja Bajagić, Aleksandra Domanović and Siniša Ilić delve into the canon of Serbian and ex-Yugoslavian cinema, enabling a coalescence of filmic, social and political histories.
