{"id":36,"date":"2023-02-18T01:27:05","date_gmt":"2023-02-18T01:27:05","guid":{"rendered":"https:\/\/urbanjournalism.institute\/forecast\/forecast-2023\/culture\/a-historic-year-for-novi-sad\/"},"modified":"2023-02-18T01:27:05","modified_gmt":"2023-02-18T01:27:05","slug":"a-historic-year-for-novi-sad","status":"publish","type":"page","link":"https:\/\/urbanjournalism.institute\/forecast\/forecast-2023\/culture\/a-historic-year-for-novi-sad\/","title":{"rendered":"A historic year for Novi Sad"},"content":{"rendered":"\n
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A historic year for Novi Sad<\/h1>\n\n\n\n

Nemanja Milenkovi\u0107<\/em><\/h4>\n\n\n\n

Director, Novi Sad \u2013 European Capital of Culture Foundation\u00a0<\/em><\/p>\n<\/div><\/div>\n\n\n\n

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Panoramic view of Novi Sad, Vojvodina, Serbia.<\/em>
\u00a9 BGStock72<\/em><\/figcaption><\/figure>\n\n\n\n
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For every city that becomes the European Capital of Culture, its implementation is a feat. When it comes to Novi Sad, between COVID-19 and the situation in which Europe has been in since March 2022, what happened is nothing short of a miracle. Everything that we promised, we not only fulfilled, we exceeded, even though in 2015, when we first submitted the application, it had seemed ambitious, dream-like even. For example, instead of three new spaces for culture, we now have nine, and there will be even more. Instead of \u2018just\u2019 renovating the former shipyard, the \u201cSuburbium\u201d, a 300-year-old neighbourhood, is also being renovated. It triggered the renovation of the Alma\u0161 and other neighbourhoods. The City Concert Hall was completed, along with the Music and Ballet School, and no one thought that we would have an artistic director of global importance such as Stefan Milenkovi\u0107 for those newly opened institutions. Therefore, everything that was done was twofold, and often even more. <\/p>\n\n\n\n

In terms of the programme, we set a great precedent. It is said that the European Capital of Culture is a co-financing project, however, very few Capitals of Culture work in the way that we managed. By connecting all the stakeholders, we knew that we would get added value. With one of the smallest programme budgets for the European Capital of Culture (ECoC), we practically doubled that value. In what ways? From the start, we advocated the principle with the institutions and the extra-institutional scene: \u2018People, this is a joint project\u2019. We advocated that their future programme plans should be connected with and awarded to the most successful cities partaking in this project. The ECoC concept is for them to plan the annual programme structure together with us. Through the culture of togetherness, we have overcome the limitations that stood before us. By working together, we managed to present an incredible 4,000 events and 6,000 artists from all over the world \u2013 in a year. <\/p>\n\n\n\n

The year 2022 was an historic one, to put it simply, both in the spatial sense, with 40,000 renovated square metres, and in terms of the programme, knowing the fact that world-class artists were part of Novi Sad\u2019s everyday life, with an average of ten events per day. <\/p>\n\n\n\n

In addition to all that, I must point out that success is all the greater if you take into account the fact that no ECoC had programmes ready before the title year. With everything that happened in 2022, we have already organised six \u201cDo\u010deks\u201d and five \u201cKaleidoscopes of Culture\u201d annual events, which themselves have been awarded the European Trend Brand prize in the field of culture. Hence, the only recommendation from the last evaluation panel of the European Commission was that we keep the legacies we had created, which was the highest possible praise. Therefore, I can say, based on the results and numbers, that this is one of the best European Capitals of Culture ever, which is further confirmed by the Melina Mercouri International Prize, which is being awarded to the most successful cities partaking in this project.<\/p>\n\n\n\n

Each ECoC gives out a proposal and a plan for a \u201clegacy moment\u201d, and we set those up back in 2016, seven years ahead of our city being the ECoC, through people, processes, places, and programmes. In terms of human resources, young professionals remain living and working in Novi Sad, and the region. We will continue to work on further development of spatial and programme legacies, which are such a unique model in Europe \u2013 a network of cultural spaces within neighbourhoods and smaller cities, towns, and villages close to Novi Sad, the District, the City Concert Hall, the Do\u010dek and Kaleidoscope of Culture programme and events, the Flags of the Future, and others. <\/p>\n\n\n\n

Moreover, the knowledge that was created during the ECoC did not just stay in Novi Sad, Serbia, it has spread throughout the region of the Balkans and the rest of Eastern Europe. I am most proud of the team of young, creative, and dedicated people that persevered on this unique journey.<\/p>\n\n\n\n

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Emerik Feje\u0161, Novi Sad, 1960, tempera on paper, 49,2 x 57 cm\u00a0<\/em>
\u00a9 Ilija Gubi\u0107<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Emerik Feje\u0161\u00a0<\/em><\/h4>\n\n\n\n

(Osijek, 1904 – Novi Sad, 1969) <\/strong><\/p>\n\n\n\n

is considered one of the most important representatives of na\u00efve art in Yugoslavia (former), being the protagonist of urban scenes in art. He worked as a manufacturer and seller of buttons, and as a seller in antique shops in various cities in Yugoslavia. In Novi Sad, due to illness, he left his craft, and in 1949, began painting. He painted cities that, in most cases, he never visited, by looking at postcards and photos of cities in newspapers. Organized within the official programme of the Novi Sad – European Capital of Culture 2022, two exhibitions were organized in October 2022 to showcase Feje\u0161\u2019s art. One in the Novi Sad Cultural Center, presenting Feje\u0161\u2019s art from the collection of the Museum of Na\u00efve and Marginal Art in Belgrade, and the other in the Tourism Office of Novi Sad, where the work of Feje\u0161 was shown in contrast to another self-taught artist, V\u0169 D\u00e2n T\u00e2n.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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V\u0169 D\u00e2n T\u00e2n<\/em><\/h4>\n\n\n\n

(Hanoi, 1946-2009)<\/strong><\/strong><\/p>\n\n\n\n

from Vietnam, is described as one of the first Southeast Asian contemporary artists and conceptualists. Feje\u0161 and V\u0169, both unconventional painters of the 20th century and autodidacts, were, through their careers, presenting their visions of Europe. Feje\u0161, who never experienced it because of poverty, with his paintings of cities in Europe; and V\u0169 D\u00e2n T\u00e2n, a well-travelled artist, with his image-text Money series, where he challenged the artistic orthodoxies of the day with their formal freedom and semantic originality. V\u0169 D\u00e2n T\u00e2n is an important figure in Vietnamese art history, both for his artistic production, and his role in providing a platform for early contemporary art in Vietnam.<\/p>\n<\/div>\n\n\n\n

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\"\"
V\u0169 D\u00e2n T\u00e2n<\/em>
Money series\u00a0<\/em>
Euros \u2013 Patria o muerte.<\/em>
Chinese ink, acrylic and correction pen on paper, 21 x 29,5 cm,\u00a0<\/em>
1998-1999<\/em>
\u00a9 Vu Dan Tan Foundation<\/em><\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

A historic year for Novi Sad Nemanja Milenkovi\u0107 Director, Novi Sad \u2013 European Capital of Culture Foundation\u00a0 For every city that becomes the European Capital of Culture, its implementation is a feat. 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