o projektu:
Na prozorima galerije Artget postavljaju se uvećane (bilbord) fotografije Beograda, Budimpešte, Londona i Firence. Fotografije su vidljive spolja, sa ulice. Istovremeno, unutar same galerije mozaički je izloženo oko stotinu fotografija ovih istih gradova, ali u manjim dimenzijama.
Ideja proejkta je da se ukaže na pojavljivanje novih boja u Beogradu, koje svedoce da grad polako, ali ipak, izlazi iz višedecenijskog sivila. Stoga se medju motivima nalaze i fotografije gradova koji su nedavno izašli iz slicnog turobnog perioda, poput Budimpešte, ali i gradovi cija moderna istorija ne poznaje takvo vreme, poput Londona ili Firence. Ova vizuelna analogija trebalo bi da pokaže kojom brzinom se zapravo Beograd izvlaci iz svog sivila. Mozaickim postavljanjem/posmatranjem fotografija sklopa se kompletnija slika pojavljivanja boje u Beogradu, odnosno uocava se pocetak vracanja "normalnom" životu.

"Boje ce spasiti Beograd, kao što su spasile i mnoge druge gradove."
Era Milivojević

O autoru:
Era Milivojevic (Užice 1944), diplomirao je 1965. godine na Školi za primenjene umetnosti u Novom Sadu, a zatim 1971. na Akademiji likovnih umetnosti u Beogradu, na odseku za slikarstvo u klasi prof. Stojana Celica. Clan je Udruženja likovnih umetnika Srbije. Nagrade: Nagrada Studija B za najbolju izložbu 1995. godine, Oktobarska nagrada za likovnu umetnost, 1998. godine.
Muzeji i kolekcije: Deseni, 1971. Zbirka Novih medija, Muzej savremene umetnosti, Beograd; Slika promena, 1981. Zbirka novih medija, Muzej savremene umetnosti, Beograd.
"Vec gotovo trideset godina rad Ere Milivojevica stavlja interpretatore u nezavidan položaj, prisiljavajuci ih da ispitujuci njegov rad, istovremeno preispituju i granice vlastitog interpretativnog modela. Milivojevic pripada grupi umetnika i kriticara koji su, pocetkom sedamdesetih, okupljeni oko galerije Studentskog kulturnog centra, zapoceli radikalni preokret na tadašnjoj likovnoj sceni. Milivojevicev rad svoja polazišta nalazi u konceptualnoj umetnosti, upravo u onom pristupu koji je Lucy Lippard nastojala da obuhvati iskazom "dematerijalizacija umetnickog dela". Ostajanje unutar samo ovako odredenih interpretativnih okvira, pokazuje se nedovoljnim. Pre svega jer Milivojevicevo razumevanje "dematerijalizacije" polazi od toga da i subjekt koji deluje - umetnik E.., nema jasne i cvrste granice, pa samim tim njih ne poseduje ni rad tog subjekta. Unutar ovako uspostavljene simetrije, ti okviri su podložni permanentnoj promeni, pa je i citav proces produkcije rada izmešten u ravan virtualnog. E.. se nanovo re/strukturira, aktuelizira, u svakoj pojedinacnoj situaciji, u svakom art-sessionu.
Na delu je onaj dišanovski diktum po kome se umetnik avangardne orijentacije poput šahiste krece unutar podrucja onog izracunljivog. Predvidajuci moguce promene na tabli/ploci u zavisnosti od svakog poteza, umetnik iscrtava, tacnije, šifrira jednu situaciju."

Jovan Čekić

Era Milivojevic, The CITIES, colored postcards
large-sized photography prints and photo exhibition

about the project:
Magnified (billboards) photos of Belgrade, Budapest, London and Florence are set up on the windows of the Artget Gallery. They can be seen from the outside, i.e. from the street. At the same time, around a hundred small dimension photos are exhibited in the shape of mosaic inside the gallery.
The idea of this project is to point out how some new colours have emerged in Belgrade. They affirm the fact that this city is gradually losing its decades-long gloomy looks. Among the motifs, there are, thus, photos of the cities that have recently got out of the similar gloomy period, such as Budapest, as well as the ones of the cities whose modern history does not know such periods, like London and Florence. This visual analogy should demonstrate how rapid Belgrade actually abandons its former looks. By mosaiclly setting up/ observing photos, a complete picture of how colours have emerged again in Belgrade is being created, i.e. one notices "normal" life reappear.

"Colours are going to save Belgrade in the way they have saved a number of other cities."
Era Milivojević

about the author:
Era Milivojevic (Užice 1944), graduated from Applied Arts School in Novi Sad in 1965 and the Academy of Fine Arts in Belgrade in 1971, the Department of Painting, under the tutorship of Prof Stojan Celic. He is a member of the Association of Fine Artist of Serbia.
Awards: Studio B Award for the best exhibition in 1995, October Award for Fine Arts in 1998 etc.
Museums and collections: Patterns, 1971, The Collection of New Media, The Museum of Contemporary Art, Belgrade; The image of changes, 1981, The Collection of New Media, The Museum of Contemporary Art, Belgrade
" The work of Era Milivojevic have put art interpreters in an uneviable position for almost thirty years, because they have been forced to examine even their own interpretive models while contempleting his work. Era Milivojevic belongs to a group of artists and critics who gathered around the Gallery of the Students' Cultural Center and initiated a radical turn on the fine art scene at the beginning of the 70s. Milivojevic finds starting points in conceptual art in his work, more precisely in the approach that Lucy Lippard tried to describe with the expression: "the dematerialization of an art work". This staying only within so determined interpretive frameworks appears to be insufficient, because Milivojevic's understanding of this "dematerialization" starts, first of all, from the fact that a performing subject , i.e. an artist, has no clear and established limits, therefore, these limits are not included in his/her work as well. Within so established symmetry, those frameworks are liable to permanent change and the whole process of work is displaced onto the level of the virtual. Era Milivojevic (re)structures and reactualises his work in every single situation or art session.
That Duchamp-like dictum is at work according to which an artist of avant-garde orientation moves like a chess player within the field of the calculable. Anticipating possible changes on the chess board dependent on every move, an artist creates, more precisely, enciphers one situation."

Jovan Čekić