Vladimir Dado Djuranovic

albumVLADIMIRDADOĐURANOVIĆ

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Višegodišnjim dijalogom sa klasičnim likovnim

idiomima, umjetnik predano gradi prepoznatljivu

urbano-melanholičnu poetiku koja kroz temporalnu

integrisanost zapravo pokazuje svoju aktuelnost.

Figuracija, koju je umjetnik odabrao kao najpodesniji

izraz za transponovanje svojih ideja, intertekstualno

povezuje ikonografske modele popularne kulture i istorije

umjetnosti sa ličnom mitologijom. Tako se kao ishodišta,

kada je riječ o popularnoj kulturi, u cjelokupnom

Đuranovićevom opusu uočavaju elementi andergraund

stripa, noar filmova, rok muzike i video-spotova.

Sa druge strane, uticaji njemačkog ekspresionizma

(Maks Bekman), kao i Novih divljih (naročito Jerg

Imendorf), mogu se primijetiti kroz izvjesne formalno-

značenjske reminiscencije. Ovi uticaji nijesu slučajni,

već su posljedica umjetnikovog doživljaja svijeta koji je

tokom odrastanja formiran upravo na psihodeličnom

buntu rok kulture i estetici eklektične „nove slike“, na

LJILJANA KARADŽIĆ / Istoričarka umjetnosti

sakupljanje, tematizovanu kolekciju, ili pak na muzički

album. Tumačen u ličnom ključu, Album se odnosi na

autorovo pasionirano posmatranje ljudi u svakodnevnim

situacijama, odabiranje idejno i vizuelno podsticajnih

situacija i njihovo prevođenje u svoju umjetnost. Na

crtežima i slikama iz ovog ciklusa koji se može shvatiti

kao galerija likova, narativ je istovremeno čitljiv na prvi

pogled i enigmatičan. U prizorima, insceniranim poput

zamrznutih kadrova, najčešće se pojavljuje usamljena

figura situirana u gradsko okruženje ili prirodu kao neku

vrstu mizanscena s kojim nema istinske integracije. Na

osnovu atributa figura, a potom i naziva radova (Voajer,

Ulični slikar, Montenegrin, Zvijezda je rođena, Dorijan

Grej, Šoumen…) naizgled se dešifruje sadržaj i tipološki

registruju likovi. Međutim, razrješenje i konačni

odgovori izmiču u čudnoj ambivalenciji stvarnosti i

fikcije. Iako se prepoznaju elementi realnosti, sve je

začudno: proporcije su poremećene, likovi deformisani

U vremenu pluralizma, kada gri nbergovski model štafelajne slike kao najčvršće uporište visoke umjetnosti odavno više nije dominantan, i kada se autori rizomatično kreću kroz različite ekspanzivne medije, Dado Đuranović je ostao dosljedan figurativnom slikarstvu.

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skoro do groteske i monumentalizovani u odnosu na

okruženje koje zadobija karakter pozornice. Grotesknost

je u funkciji indirektnog, tihog subverzivnog prikazivanja

aktuelnog društvenog miljea i hipokrizije sa finom

dozom ironije kao samoodbranom od iscrpljujuće,

nerazlučive mješavine senzacionalističkog i beznačajnog

koju nameće stvarnost... Poremećaj veličina i krupno

kadriranje figura, naročito lica, daje radovima posebno

uzbudljivu emocionalnu vrijednost. Granično područje

krupnog plana lica ima ishodište u iščezavanju svake

predstave, odnosno njenom prevođenju u apstrakciju,

koje je u slučaju našeg umjetnika pojačano ekspresivnim,

gestualnim jezikom. Paskal Bonicer piše da konstitutivna

dvoznačnost krupnog plana u slici nosi u sebi najviši

stepen dvosmislenosti, ona je privlačna i odbojna,

zastrašujuća i zavodljiva. Upravo takvu dvoznačnost

posjeduju Đuranovićevi emotivno opustošeni antiheroji,

desperadosi, luzeri, egzibicionisti i marginalci razapeti

između htjenja i nemoći, koji na njegovim radovima

postaju junaci našeg doba.

Ovi egzistencijalistički narativi zaodjenuti su

maestralnim ekspresionističkim crtežom i gotovo

hedonističkim slikarstvom raskošnog i zavodljivog

kolorita. Samozaboravno uranjanje u sliku tokom procesa

stvaranja i fetišizirano povjerenje umjetnika u manuelnu

moć slikarstva kod posmatrača proizvodi estetski užitak

koji je u savremenoj umjetnosti često protjerivan ili

prećutkivan, kao neka vrsta jeresi. Danas, kada je

umjetnost polarizovana na onu koja je aktivno zapitana

i onu koja proizvodi užitak, djelo Dada Đuranovića koje

sintetiše oba pola, posebno dobija na značaju.

MARKET LJUBAVI / MARKET OF LOVE,akrilik na platnu, acrylic on canvas80 x 60 cm, 2016.

ČOVJEK SVITAC / MAN FIREFLY,ulje na platnu, oil on canvas200 x 160 cm, 2014.

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In the era of pluralism, when Grinberg’s

model of the easel painting, which gains

the firmest foothold of Fine and Applied

Arts, is no longer dominant, and when

the authors rhizomatically move through

different expansive media, Dado Đuranović

has remained true to figurative painting. By his multi-annual dialogue with classical art idioms,

Đuranović has been building a distinctive urban,

but melancholic poetry which, by means of temporal

integration, actually shows its up-to-dateness.

Figuration, chosen by the artist as the most appropriate

way of transposing his ideas, intertextually links the

iconographic models of popular culture and art history

with personal mythology, resulting in, when it comes

to popular culture and the entire oeuvre his work, the

elements of underground comic, film noirs, rock music

and videos. On the other hand, the influence of German

Expressionism (Max Beckmann), as well as the New Wild

movement (especially Joerg Immendorf), can be seen

through some formal semantic reminiscences. These

impacts are not random but are the result of the artist’s

experience of the world that was formed, precisely, on

the psychedelic revolt of the rock culture and aesthetics

of the eclectic “new image” in the years of his upbringing.

The name itself of the new cycle of his works Alburn refers

LJILJANA KARADŽIĆ / Art historian

to the collection, a thematic one, or the music album.

Interpreted in a personal key, it refers to the author’s

passionate observing of people in everyday situations,

choosing conceptual and visually stimulating situations

and their transforming into pieces of art. The drawings

and paintings of this cycle, which can be understood of as

a gallery of characters, reveal, at a glance, readable and, at

the same time, enigmatic narrative. The paintings usually

show one, detached figure, in the urban environment

and nature, which, staged like a frozen picture, create

a scene similar to the mise-en-scene, showing no

fundamental integration. The attributes of the figures,

along with the names of the works (The Voyeur, The

Street Painter, Montenegrin, The Star Is Born, Dorian

Gray, The Showman...) seem to decode the content

and typologically register the characters. However, the

comprehensibility and definitive answers of his art elude

in a strange ambivalence of reality and fiction. Although

we recognize the elements of reality, everything seems

strange: proportions are disrupted, while deformed and

almost grotesque figures, monumentalized in relation

to the environment become a stage. Grotesqueness is

always indirect, quietly and subversively displaying the

current social milieu and hypocrisy with a nice touch of

irony as a self-defense from the exhausting, unresolved

mixtures of sensational and trivial imposed by reality...

An evident disruption of sizes and large staffing figures,

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especially the faces, gives the works a special thrilling

and emotional value. Border area of the close-up facial

images results in the disappearance of each show, and

its conversion into an abstraction, which is, in the case of

this artist, is increased by expressive, gestural language.

Pascal Bonitzer points out that the constitutive ambiguity

of close-ups in a painting always carries the highest level

of ambiguity, as it is attractive and repulsive, terrifying

and seductive at the same time. Precisely this ambiguity

can be recognized in the emotionally devastated

antiheroes of the painter, those desperadoes, losers,

exhibitionists and marginal characters, torn between the

desire and the powerlessness of his works, eventually

become the heroes of our time.

These existentialist narratives are wrapped into his

masterful expressionist drawings and hedonistic

paintings whose colours are always rich and seductive.

Self-absorbed immersion into an image during the

process of creating and fetishized confidence of the artist

in the manual power of painting, produces aesthetic

pleasure in the eye of the beholder, which has always

been expelled or unusually ignored, as a kind of heresy.

Nowadays, when art is polarized into one that is actively

asks the one that produces pleasure, the works of Dado

Đuranović, synthesizing both poles, are especially

important and valuable.

PREDGRAĐE / SUBURBakrilik na platnu, acrylic on canvas80 x 60 cm, 2015.

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ELEKTRIČNI VOJNIK /ELECTRIC SOLDIER,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

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ELEKTRIČNI VOJNIK /ELECTRIC SOLDIER,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

NARCIS /NARCIST,akrilik na platnu, acrylic on canvas,80 x 60 cm, 2015.

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MLIJEČNI PUT /MILKY WAY,akrilik na platnu,acrylic on canvas,150 x120 cm, 2016.

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PANTOMIMA /PANTOMIME,akrilik na platnu,acrylic on canvas,150 x120 cm, 2016.

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„Underground nije koherentan i jasno prepoznatljiv

„pravac“ ili „stil“ u umjetnosti devedesetih. Radi se

prije svega o senzibilitetu autora koji primarno djeluju

u području figurativnog, reprezentacijskog slikarstva te

manjim dijelom performansa i videa; zajednička im je

NATAŠA NIKČEVIĆ / Istoričarka umjetnosti

MELANHOLIJA OTPORApovezanost s popularnom muzikom kao i s različitim

oblicima popularne kulture stripom, grafitima,

reklamama, omladinskom subkulturom, filmom.“

Jedan od najdosljednijih crnogorskih underground

umjetnika i najinventivnijih je Vladimir Dado Đuranović

u ciklusu slika i crteža Album. Prizori formiraju različitu

mrežu pitanja društvene stvarnosti, kolektivne i lične

memorije, i individualne mitologije stvarajući predstave

sa ukusom mita, kako to objašnjava Levi Stros. Na ovom

„kreativnom dnevniku“, koji umjetnik naziva Albumom

što je neka vrsta ličnog tumačenja uticaja muzike na

njegovo djelo, centralno mjesto zauzima ljudska figura.

Ona je naslikana u pokretu, jer se tako dobija dinamika,

pa čak i apsurd. Kompozicije su na slikama najčešće

struktuirane sa jednom ili više figura u enterijeru ili

eksterijeru izložene intenzivnom izvoru svjetlosti. Time

projektuju sjenku koju, kako to kaže umjetnik, vuku

za sobom. Sjenka ima ulogu pojačavanja dramatike

prizora što je bilo evidentno i u ciklusu Light. Subjekt

je uveden u sliku upravo po načelu koje proklamuje

Bart kao protagonista narativa koji su sasvim čitljivi, a

katkada zamršeni do potpune neraspletivosti. Vizuelna

reprezentacija pejzaža ili eksterijera predstavlja odraz

unutarnjih stanja i iskustava, povijesti ili priča. Često je

BILJKE / PLANTS, akrilik na platnu, acrylic on canvas, 80 x 60 cm, 2015.

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kadrirano lice, s velikim skraćenjima, a tu su i ruže kao

lajt motiv, slikarske četkice i boje, megafon, zaumne,

prijeteće biljke, koturovi. Postoje i slike životinja - zebre,

tigra, Miki Mausa.

U filmskoj tehnologiji jump cuts označava specifičan

način montaže, skokovitih „nekoherentnih“ montažnih

rezova na što podsjete Đuranovićeve slike i crteži.

Ustrojstvo prizora struktuirano je repozicioniranjem

različitih elemenata, inverzijom i subverzijom,

ukidanjem uzročno-posljedičnih relacija. Ovaj slikarski

rez u tkivo stvarnosti, u mitologiju svakodnevice nije

lišen zavodljivog kolorističkog hedonizma. Slikarska

boja je negdje nanesena lazurno, a najčešće u gustim čak

pastoznim namazima što narativ slike čini integrisanim.

Ekspresivni sudari boja, jaka kontura, izvanredna

materijalizacija i inventivna upotreba svijetla su elementi

ovih slikarskih psihodeličnih senzacija.

Filozofija egzistencijalizma, Kafka, Kami, Sioran,

ekspresionizam, nova figuracija, pop-art, strip, film,

crnogorsko društvo u tranziciji, referentni su punktumi

slika i crteža Vladimira Dada Đuranovića. U novim

crtežima iz ciklusa Album registruje se niz značajnih

promjena u strukturi, ikononografiji i mediju koji koristi.

Kafkijanska atmosfera, čovjek-otpadnik postojanja,

izgubljen u lavirintima savremenog potrošačkog društva,

erozija vrijednosti, otuđenost, apsurd, prelomljena je i

izukrštana u scenama: šetnji, zagrljaja…

Kada se uporedi svjetlost u crtežima Light sa ovom na

slikama i crtežima iz ciklusa Album njena uloga je ista -

svjetlost je kohezioni element i sredstvo par excellence,

mada je njena transpozicija vrlo različita. Najjača svjetlost

može da odgonetne svijet ma koliko bio zagonetan,

zapisao je Franc Kafka. Ova Đuranovićeva mitologija

svakodnevice je „odgonetanje svijeta”, metaforičko

kazivanje o nekim bitnim egzistencijalnim spoznajama

kroz „ekspresionizam koji je sproveden kroz svijest /

svijet medijskih poruka”, kvintesencija njegovog opusa.

HIP HOP STIL / HIP HOP STYLE, akrilik na platnu, acrylic on canvas, 80 x 60 cm, 2016.

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“Underground is not a coherent and clearly distinguishable

‘direction’ or ‘style’ in the art of the nineties. First of all,

it is about the sensibility of authors who are primarily

active in the field of figurative, representational painting

and partly in the field of performance and video; they

share a connection with popular music as well as various

forms of popular culture, comics, graffiti, advertising,

youth subculture, film.” Vladimir Dado Djuranovic is

one of the most consistent and inventive Montenegrin

underground artists as is shown in his series of paintings

and drawings entitled

. The scenes form a different network of social reality

issues, collective and personal memory as well as

individual mythology, creating performances with

the taste of myth, as explained by Levi-Strauss. In this

“creative diary”, called The Album by the artist, which

is a kind of personal interpretation of the influence of

music in his work, the central place is occupied by the

human figure. It is depicted in motion because, in this

way, dynamics and even the absurd are achieved. The

compositions are usually structured with one or more

figures placed in the interior or exterior which are

exposed to an intense source of light. Thus they project

a shadow which, as the artist says, they drag behind. The

shadow has the role of strengthening the drama of the

scene which was also evident in the series Light. The

subject is introduced into the image precisely by the

principle proclaimed by Barthes, as the protagonist of

narratives that are fully legible while sometimes intricate

and completely disentangled. Visual representation of

landscape or the exterior reflects the inner conditions

and experiences, history or narratives. Often the face is

framed, with large shortenings and there are also roses,

painting brushes and paint, a megaphone, peculiar,

threatening plants and coils as a leitmotif. There are also

images of animals - a zebra, a tiger, Mickey Mouse.

In the film technology, jump cuts signify a specific way

of montage, rapid “incoherent” mounting cuts that

Djuranovic’s paintings and drawings remind us of. The

organization of scenes is structured by repositioning

of various elements, by inversion and subversion, by

suspension of causal and consequential relations. This

painting cut into the texture of reality, into the mythology

of everyday life is not deprived of seductive colouristic

hedonism. Somewhere the paint is applied in a thin layer,

more often in a thick pastose spread which makes the

painting’s narrative appear more integrated. Expressive

collisions of colours, strong contours, extraordinary

materialisation and inventive use of light are elements of

these painting psychedelic sensations.

MELANCHOLY OF RESISTANCENATAŠA NIKČEVIĆ / Art historian

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The philosophy of Existentialism, Kafka, Camus, Cioran,

Expressionism, New Figuration, pop-art, comics, film,

the Montenegrin society in transition are reference

points for the paintings and drawings created by

Vladimir Dado Djuranovic. The new drawings from The

Album series register a number of significant changes

in structure, iconography and the medium he uses. A

Kafkaesque atmosphere, man-renegade of existence lost

in the labyrinths of modern consumer society, erosion

of values, alienation, absurd – all this is refracted and

intercrossed in scenes of walks, embraces...

When light in the drawings from the series Light is

compared with the light in paintings and drawings from

the series The Album its role is the same - light is a

cohesive element and a par excellence means, although

its transposition is very different. The strongest light can

unriddle the world no matter how enigmatic it is, Franz

Kafka wrote. Djuranovic’s mythology of everyday life

is an “unriddlement of the world”, a metaphorical tale

about some important existential cognitions through the

“expressionism conducted in the perception/world of

media messages”, the quintessence of his opus.

MONTENEGRIN / A MONTENEGRIN, akrilik na platnu, acrylic on canvas,80 x 60 cm, 2015.

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ZOO FILM /ZOO FILM, akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

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NOVI ŽIVOT /NEW LIFE,akrilik na platnu,acrylic on canvas,190 x 150 cm, 2016.

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SAGA O CRNOJ GORI /THE MONTENEGRO SAGA,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

PLAVI KRALJ /BLUE KING,akrilik na platnu,acrylic on canvas,150 x 120 cm, 2016.

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ŠOUMEN / SHOWMAN,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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TEHNO / TECHNO,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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MOJ SVIJET / MY WORLD,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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SAN / DREAM,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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ZVIJEZDA JE ROĐENA / A STAR IS BORN,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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PURPURNO SVJETLO / A PURPLE LIGHT,akrilik na platnu,acrylic on canvas,150 x 120 cm, 2016.

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VOAJER / VOYER,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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DOBAR DAN / GOOD AFTERNOON,akrilik na platnu,acrylic on canvas,150 x 120 cm, 2016.

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DORIJAN GREJ / DORIAN GRAY,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2016.

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ULIČNI SLIKAR / STREET PAINTER,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

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LJUBAVNICI / LOVERS,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

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IGRA / PLAY,akrilik na platnu,acrylic on canvas,80 x 60 cm, 2015.

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ALBUM / ALBUM,ugljen na papiru,charcoal on paper,42 x 29,7 cm, 2015.


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Vladimir Đuranović, rođen 1974. godine. Završio Školu primijenjenih umjetnosti u Sarajevu 1992. godine i

slikarstvo na Fakultetu likovnih umjetnosti na Cetinju 1997. godine, gdje je i magistrirao 2000. godine, u klasi profesora

– emeritusa Nikole Gvozdenovića. Angažovan je kao docent na istom Fakultetu. Član je Udruženja likovnih umjetnika

Crne Gore od 1997. godine.

Značajnije samostalne izložbe: „Santa Marija” u okviru likovnog programa „Grad teatar” – Budva 1997, Galerija

„Centar” – Podgorica 1999, „Umjetnički paviljon” – Podgorica 2003, Galerija „Spinaker” – Herceg Novi 2004, Galerija

„Art” – Podgorica 2005, Galerija „Centar” – Podgorica 2006, XXIV Internacionalni festival Sarajevo – „Sarajevska

zima” 2008, Galerija „Collegium artisticum”, „Moderna galerija” – Budva 2008, Galerija „Kristofor Stanković” –

Zagreb 2011, Izložbeni salon „Filodrammatica” – Rijeka 2011, Galerija „Roman Petrović” – Sarajevo 2016, Galerija

„Štab” – Beograd 2016.

Značajnije kolektivne izložbe: „Crnogorsko trijenale mladih”, Dvorac Petrovića – Podgorica 2001, „Hercegnovski

zimski salon” 2002, „Tragom ikonografije pop arta”, „Art” galerija – Podgorica, Sarajevo 2003, XI INTERBIFEP –

Tuzla 2004, „Aktuelni trenutak u crnogorskoj likovnoj umjetnosti” – Ljubljana 2004, „Novi talas” – Brisel, Sarajevo,

Pariz 2005/2006, XII INTERBIFEP – Tuzla 2006, „Osvrt na crnogorsku likovnu umjetnost” – Zagreb 2008, „33

crnogorska umjetnika” („Dani crnogorske kulture” 2010) – Galerija „Zvonimir” – Zagreb 2010, Bijenale vizuelnih

umjetnosti balkanskog regiona, „Hram – knjiga – zastava”, Čačak – Sarajevo 2011, Osten World Gallery of Drawings,

Osten Biennial of Drawing – Skopje 2014, XXXVI Crnogorski likovni salon „Trinaesti novembar”, Crnogorska galerija

umjetnosti „Miodrag Dado Đurić”, XVI INTERBIFEP 2015, International Gallery of Portrait/Tuzla, Salon „Petar

Lubarda”, Crnogorska Galerija umjetnosti „Miodrag Dado Đurić”, decembar 2015 – Cetinje itd.

Važnije nagrade: Nagrada za talente sa plaketom Centra savremene umjetnosti Crne Gore (1997); Nagrada

Udruženja likovnih umjetnika Crne Gore za crtež – „Milunović, Stijović, Lubarda” (2011); Nagrada Udruženja

likovnih umjetnika Crne Gore za sliku „Milunović, Stijović, Lubarda” (2014).

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Vladimir Đuranović was born in 1974. He graduated from the School of Applied Arts in Sarajevo 1992 and from

the Department of Painting at the Faculty of Fine Arts in Cetinje in 1997. Having earned a Master’s Degree in 2000

in the class of the professor Emeritus, Nikola Gvozdenović, Đuranović worked as an assistant professor at the same

faculty. He has been a member of The Association of Fine Artists of Montenegro (AFAM) since 1997.

Significant solo exhibitions: “Santa Maria” in the art program “Theatre City - Budva 1997; the gallery “Centar

“, Podgorica 1999; “Art Pavilion “ Podgorica 2003; the gallery” Spinnaker “ in Herceg Novi 2004; the gallery “Art”

Podgorica 2005; the gallery “Centar” in Podgorica 2006, The 14th International festival Sarajevo - Sarajevo Winter

2008; the gallery “Collegium Artisticum”, “Modern Gallery” Budva 2008; the gallery “Kristofer Stanković” in Zagreb

2011; the salon “Filodrammatica” in Rijeka, 2011, gallery „Roman Petrović” – Sarajevo 2016, gallery „Štab” – Belgrade

2016.

Significant group exhibitions: “Montenegrin Youth Triennial” in Petrovic Palace, Podgorica 2001; “Winter Salon

of Herceg Novi” 2002; “Tracing the Iconography of Pop Art” in the gallery “Art” in Podgorica and Sarajevo 2003; “The

11th Interbifep” in Tuzla in 2004; “The Current Moment in Montenegrin Art” in Ljubljana in 2004; “The New Wave”

in Brussels, Sarajevo and Paris in 2005/2006; The 12th Interbifep - Tuzla 2006; “The Review of the Montenegrin Fine

Arts” in Zagreb 2008, “33 Montenegrin Artists” (The Days of Montenegrin Culture 2010) in the gallery “Zvonimir

“- Zagreb 2010; The Biennial of Visual Arts of the Balkan Region” Temple - Book - Flag “ in Čačak - Sarajevo 2011;

“Osten World Gallery of Drawings, Osten Biennial of Drawing” in Skopje 2014; The 36th Montenegrin Art Salon The

Thirteenth of November “The Montenegrin art gallery”; ”Miodrag Dado Đurić“ The 16th Interbifep 2015 International

Gallery of Portrait / Tuzla, Petar Lubarda salon; The Montenegrin art gallery ”Miodrag Dado Đurić“ in December 2015

in Cetinje, etc.

The most important awards:The award for talent with the plaque given by The Centre of Contemporary Art of

Montenegro in 1997; The award of The Association of Fine Artists of Montenegro for drawing “Milunovic, Stijovic,

Lubarda” in 2011; The award of The Association of Fine Artists of Montenegro, “Milunovic, Stijovic, Lubarda” in 2014.

Adresa / Address: Studentska bb, Lamela 3, 81000 Podgorica, Crna Gora

Tel / Phone: +382 (0) 69 485 340, 020 512 868

E-mail: [email protected], [email protected]

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www.csucg.co.me Vladimir Dado ĐuranovićDvorac Petrovića, Kruševac bb, PodgoricaIzdavač Centar savremene umjetnosti Crne GoreZa izdavača Nenad ŠoškićKustoskinja Natalija ĐuranovićTekst Ljiljana KaradžićPrevod na engleski teksta Ljiljane Karadžić Milena Mrdak MićovićTekst Nataša NikčevićPrevod na engleski teksta Nataše Nikčević Darja Marija VuletićDizajn kataloga GARAŽAFotografije Duško MiljanićTehnička realizacija izložbe Novica Vuković, Sava Radević, Nebojša RaspopovićTiraž 150Štampa DPC, PodgoricaSeptembar 2016

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