For this atlas, Dutch designer Annelys de Vet invited more than thirty young Serbian artists and designers to map their country from an individual perspective. The contributions portray moving stories, some cynical or critical, others intimate and vulnerable. The unconventional images offer a new insight into a nation whose identity is scattered. They do not voice opinions but share human observations. As one of the authors puts it, “I don’t know what personal is, what I am, who I am, what Serbia is. All the borders change continually; everything changes from day to day. Nationality, identity – I don’t know, I don’t know what that is.”  The works reach directly to the soul of the society and constitute a confrontational crash course in Serbian culture. Through mapping cultural identity in this way, the Subjective Atlas of Serbia functions as a tool for understanding contemporary society at this place, at this moment.

De subjectieve atlassen stellen in vraag wat een land maakt tot wat het is voor diens inwoners, door een breed spectrum aan ervaringen plaats te geven.

Martelart Chess Teugels, 'Een subjectieve blik in en op Hongarije', 22 11 11

The funny thing about Subjective Atlas of Serbia is that it feels like a compilation or a mixtape rather than a piece of experimental art, and by that I mean it’s not playing with pretenses or applauding itself for its clever exclusivity.

Melina, Invisible Adventure, 22 07 11

Het boek is een erg speelse en spitsvondige verzameling interpretaties van het begrip ‘Servië’ door verschillende jonge Servische kunstenaars.

Sven Peeters, Balkanboeken, 09 12 09

Subjective Atlas of Serbia, the funniest book ever written about Serbia.

Karl Haudbourg, Rand Rave, 27 04 09

The images of Serbia are ranging from gloomy to ironic, but seem to express a clear message: Take me out of here! Mobility, or rather the lack thereof, is concern number one with Serbian youngsters.

Martijn van Tol, Radio Nederland Wereldomroep, 18 12 08

Two intimate, engaging, depressing and often hilarious books that explore Serbia and Palestine from each contributor’s individual perspective

Douglas Haddow, Critical Contours, PBLKS, 08 09 08

The Subjective Atlas of Serbia is an initiative of De Balie in Amsterdam,
Dom Omladine in Belgrade, and the Dutch designer Annelys de Vet.
Its publication was made possible thanks to the financial support of
the Netherlands Foundation for Visual Arts, Design and Architecture.
Most of the work was done during a workshop held at Magacin in
November 2008. More than thirty Serbian designers, artists, architects
and students contributed to the project.

Concept & editing
Annelys de Vet

Production
Dom Omladine (Marija Kovač)

Introduction
Vladimir Arsenijević

Contributors
Ivana Barandovski, Filip Cakić, Olja Cvijanović, Buba Čvorić, Smaragdina
Garić, Dragana Grujičić, Nataša Jovanović, Nevena Kocić, Stevan Kostić,
Marija Kovač, Simon Kuzmanović, Vuk Kuzmanović, Milena Ljubojević,
Maja Lukić, Zorana Lužanin, Milena Maksimović, Predrag Marković, Marko
Marović, Marija Miković, Vladimir Milenković, Miroslav Milović, Svetlana
Pavković, Milorad Pejanović, Aleksandra Petković, Nevena Popović, Dunja
Rezić, Iva Spasojević, Maja Stević, Marija Strajnić, Tatjana Stratimirović,
Hana Tegeltija, Marina Tomić, Tijana Vitomir, Mina Vukosavljević, Dimitar
Vuksanov, Ana Zekonja

Proofreading
Vladimir Brašanac

Graphic design
Annelys de Vet i.c.w. all contributors

Typeface
Adam BP by A. Koovit

Printing
Tim Agency, Belgrade

Print run
2,500

With special thanks to
Sergej Beuk, Richard de Boer, Jenneke den Bol, Sebastiaan ter Burg,
Miško Čeperac, Karel Deckers, Ivar Hoekstra, Vinca Kruk, Milan Lučić,
Lode Luijters, Rudy J. Luijters, Miroslav Milović, Jasmina Tešanović,
Ana Vilenica, Ellen Walraven

Publisher
Dom Omladine
Makedonska 22/IV
11 000 Belgrade
Serbia
www.domomladine.org

Distribution
Pegasus
PO Box 11470
NL-1001 GL Amsterdam
The Netherlands
pegasus@pegasusboek.nl
www.pegasusboek.nl
ISBN

987-86-7698-020-8

Subjective atlases exhibited at Unmapping the World, EXP´13 Lisbon
11 11 13
Search/Find/Like/Share
25 05 13
Presentation Subjective Atlases

Presentation Subjective Atlases

13 December, 2012
Grand Hornu

13 12 12
Small Stories - bigger picture

Small Stories Bigger Picture
MOTI (Museum for the Image), Breda
13 sept – 16 dec 2012

 

 

 

 

13 09 12
Nieuwe Oogst

De Nieuwe Oogst
8 june – 19 august 2012
Design Vlaanderen, Brussel

 

08 06 12
Tokyo Graphic Design Passport - lecture

TOKYO GRAPHIC DESIGN PASSPORT
LECTURE at Art gallery (Arts Chiyoda), Tokyo

 

29 10 11
Presentation & Launch in WIELS

SUBJECTIVE ATLASES
Presentations & launch @ WIELS Contemporary Art Centre, Brussels

With Annelys de Vet, Regula Staempfli, Attila Bujdosó, Aliz Krisztina Borsa,  Moniek Driesse and Koen van Synghel (moderator)

20 10 11
Launch of Subjective Atlas of Serbia

Launch of Subjective Atlas of Serbia

17 april 2009
De Balie, Kleine-Gartmanplantsoen 10, 1017RR Amsterdam

 

SUBJECTIVE ATLAS OF SERBIA van Annelys de Vet (boekpresentatie en expositie)
DWELLING AND BELONGING van Mark Nozeman (fotoexpositie work in progress)

17 04 09

November 2013

11

Subjective atlases exhibited at Unmapping the World, EXP´13 Lisbon
Subjective atlases exhibited at Unmapping the World, EXP´13 Lisbon

November 2013

11

A map is a coded compact representation of reality, and coding means making choices, classifying and simplifying many layers of information. Any choice that is made in the context of the territories shown, is political. As such, a map can never be neutral. Taking into account that maps play a regular role in the discourse, in the talk that shapes our world, makes them objects that should be constantly critically questioned. Which authority draws the lines? What really defines our borders? Do geographic boundaries limit our territories or are they specified by the speed of internet, tax havens, piracy, Google, Ikea or our holiday destinations?

To explore these questions UNMAPPING THE WORLD presents critical and poetic works that capture plural truths about nations, borderlines and the individual within them. The mapping projects build a narrative with the history and collection of the exhibition venue: the Tropical Research Institute. This association became the main cartographic institute of Portugal in the 19th century. From here on the world would be mapped, atlases were developed, studied and shared. Portugal sent scientists and researchers to draw the “new” worlds, according to the ruling European standards of measuring, interpreting and traveling. Firstly, mapping focused on the coastlines of these territories that were visited by boat. Slowly more and more land was put in perspective. But despite all the knowledge gained since, we are still not able to map the effects of those colonial times. In UNMAPPING THE WORLD therefore, we question if the early, rather empty maps, with large “unexplored” areas, could possibly be a more precise representation of reality then modern detailed charts, because they accept and embed the unknown.

No contemporary “cartographic commission” assigned somebody to make the contemporary maps shown in this exhibition, but the visual authors found partners and institutes to develop their works, from a sense of urgency to share the information and the narratives. 21st century societies are shown from bottom-up through the eyes of designers, artists and architects. They are involved in the subjects they show and don’t take neutral positions, but critical and transparent ones. As such, the projects not only reveal their own information, but also reveal meta-positions about map making.

All artists merge and explore the borders of their own artistic practices; they form international collectives in different countries and time-zones, mix disciplines and take positions. What binds them are investigative practices in which research and design complement each other. Their goal is not to give form to information, but to deal with it in a critical and transparent way. This also counts for the curators, who are practicing designers themselves. One based in Belgium and the other in Portugal, they both engage in education, research and design. This exhibition brought their worlds together, as part of an ongoing research to explore the right project vocabulary to determine the boundaries of contemporary reactive map making. This exploration is essential because the liquid times we live in require a fundamentally different approach to cartography, one that doesn’t draw borders, but opens them up in the mind.

May 2013

25

Search/Find/Like/Share
Search/Find/Like/Share

May 2013

25

Search/Find/Like/Share shows visual stories about a society in transition. In response to recent political, social and economic crises society requires social commitment: involvement on large scale and conscious choices on a small base. By visually unravelling the complex structures of our time designers and photographers create a transparent view of the world. Their visual stories make the audience more aware of their own environment and behaviour on a personal to social level.

Today, design cannot only be defined by just technical performance, aesthetics, or creativity. As the role of the image in our society increases, the influence designers have on our behaviour and opinions grows. Design is part of creating further awareness and understanding about our new world order. The social relevance of design will not be determined by design itself, but by the designers attitude towards society.

Using visual storytelling as a tool, designers communicate events and opinions in a way that stands out from the continuous stream of images we encounter everyday. As there is always more than one side to a story, there are also different perspectives from which the visual storyteller can work. By exploring these various perspectives designers show the influence they can have on a society dominated by images.

Attitudes of image-makers, rather than disciplines or media form the core of the exhibition. The covered attitudes proceed from a society that is open to criticism, reflection and opinions of others in the formation of its own worldview. The role of an image-maker goes beyond shaping information; the image-maker is responsible for the interpretation and transfer of content.

Combining a socially relevant attitude these various perspectives on storytelling extends the designers role to:
Journalist – which creates compact and comprehensible reflections on the news stories of the day.
Scientist – which dissects complex systems so as to find a transparent view.
Agitator – which questions and shapes our personal opinions by provoking public debate.
Poet – which shares their personal reflections on reality to trigger the imagination.

By pushing the creative boundaries while acting responsibly, attitude-based designers will lead the way in the future of visual culture. Through exploring various roles, a designer can show how our changing behaviour coupled alongside our core human values, can be used to create a new level of understanding. It’s all about, Search, Find, Like, and Share.

December 2012

13

Presentation Subjective Atlases
Presentation Subjective Atlases

December 2012

13

La Province de Hainaut souhaite saluer ce patrimoine vivant à travers une exposition collective qui réunira sous un même concept des sites et événements aussi divers que les Gilles de Binche, la Ducasse de Mons, la Ducasse d’Ath, les Beffrois, les Ascenseurs hydrauliques du Canal du Centre historique, les sites charbonniers du Bois du Cazier, Bois du Luc et Grand-Hornu, la cathédrale de Tournai et les minières de Spiennes.
Jouant sur le dénominateur commun de ces identités si distinctes, à savoir la notion de territoire, l’exposition exploitera le concept de l’atlas, ouvrage qui, au-delà de ses cartes géographiques, fournit une représentation des conceptions politiques, sociales, idéologiques et culturelles d’une société ou d’une culture donnée.

Sous la direction artistique de la graphiste Annelys De Vet, la Province de Hainaut et ses partenaires éditeront un Atlas Subjectif du Hainaut défini par son patrimoine classé à l’Unesco. Ultime volume d’une collection qui cartographie des pays et réalités aussi divers que la Hongrie, la Palestine, le Mexique ou les Pays-Bas, cet ouvrage remplira les conditions particulières formulées par Annelys De Vet.

Celles-ci prévoient que le contenu projette une certaine vision, subjective, d’un pays ou d’une région, grâce à la participation de ses habitants. Ceux-ci sont invités à cartographier leur pays à leur manière, politique, critique, culinaire, romantique, humoristique. L’implication personnelle est donc le point de départ d’un projet qui entend produire des images humaines, non conventionnelles.

Les 14 sites classés seront les relais de l’équipe éditoriale vers les citoyens. Durant quatre mois, ceux-ci seront invités, via des associations, des écoles et les réseaux des quatorze partenaires, à produire photographies, dessins, cartes, drapeaux et autres travaux à publier au fil des pages, en fonction de thèmes pertinents, offrant des points de vue alternatifs sur le patrimoine et l’histoire du Hainaut sous le prisme des sites classés à l’Unesco.

Le matériel produit dans le cadre de la publication fournira la matière de l’exposition qui se tiendra au Centre Wallonie-Bruxelles de Paris, assurant ainsi le rayonnement de la Province de Hainaut à travers son patrimoine et le regard décalé qu’elle porte sur une réalité multiple.

Cette invitation s’adresse aux directions et équipes des 14 patrimoines classés ainsi qu’à tous les relais potentiels du projet Subjective Atlas. Ceux-ci peuvent être des représentants d’écoles, d’académies, d’associations d’artistes, d’associations citoyennes ou des artistes, designers, graphistes, architectes, stylistes et autres créatifs individuels. Ils seront invités à contribuer à la réalisation de l’Atlas par de petites contributions personnelles.

Presentation Subjective Atlases

13 December, 2012
Grand Hornu

September 2012

13

Small Stories - bigger picture
Small Stories - bigger picture

September 2012

13

“We’re all part of a visual culture, a society that increasingly communicates with images. Various platforms are within everybody’s reach and the amount of images available via the Internet is vast. A combination of portable hardware and online software enables everyone, private and public, professional and amateur to share thoughts and adventures at any time and place.

Although we learn how to use language at school, visual literacy is not a common capability. The enormous quantity of visual stimuli in our environment makes it increasingly difficult to pinpoint the message of an image or to see it in its proper perspective. Contemporary tactics are necessary to clarify complex information in a way that people can understand, remember and interpret.

Designers are developing a way of transferring knowledge that has been used since prehistoric times: story telling. By blending other disciplines as photography, film, animation and graphic design new image forms emerge that visualize events, information and opinions.

The exhibition shows how image-makers create and share visual stories from various perspectives. Nowadays an image-maker can act as a poet, journalist, scientist and agitator. Their compact visual stories provide us with a wide scope of the world we live ”

 

Small Stories Bigger Picture
MOTI (Museum for the Image), Breda
13 sept – 16 dec 2012

 

 

 

 

June 2012

08

Nieuwe Oogst
Nieuwe Oogst

June 2012

08

Presentation of series Subjective Atlases as part of exhibition 'De Nieuwe Oogst'

 

De Nieuwe Oogst
8 june – 19 august 2012
Design Vlaanderen, Brussel

 

October 2011

29

Tokyo Graphic Design Passport - lecture
Tokyo Graphic Design Passport - lecture

October 2011

29

TOKYO GRAPHIC DESIGN PASSPORT
LECTURE at Art gallery (Arts Chiyoda), Tokyo

 

October 2011

20

Presentation & Launch in WIELS
Presentation & Launch in WIELS

October 2011

20

On the occasion of the two latest issues 'Subjective Atlas of Hungary' and 'Subjective Atlas of Mexico' a special night is organized in WIELS Brussels (international laboratory for contemporary art). Moderated by Koen van Synghel (architect, critic) there will be presentations by dr. Regula Staempfli (political scientist and lecturer at Switzerland's Academy of Mass Media [MAZ], author of several books on Swiss and European politics), Annelys de Vet (cultural designer, head Sandberg Institute Amsterdam Design Department, initiator and editor Subjective Atlases), Attila Bujdosó (architect, senior research supervisor at Kitchen Budpapest, co-editor 'Subjective Atlas of Hungary'), Aliz Krisztina Borsa (typographer, co-designer 'Subjective Atlas of Hungary'), Moniek Driesse (designer, co-editor and designer 'Subjective Atlas of Mexico').

SUBJECTIVE ATLASES
Presentations & launch @ WIELS Contemporary Art Centre, Brussels

With Annelys de Vet, Regula Staempfli, Attila Bujdosó, Aliz Krisztina Borsa,  Moniek Driesse and Koen van Synghel (moderator)

April 2009

17

Launch of Subjective Atlas of Serbia
Launch of Subjective Atlas of Serbia

April 2009

17

AMSTERDAM 6 APRIL 2009 Grafisch ontwerper Annelys de Vet vergezelde De Balie vorig jaar bij een uitwisselingsprogramma naar Belgrado in Servië. Het resultaat van haar workshop, het boek ‘Subjective Atlas of Serbia’ wordt op vrijdag 17 april om 20:30 in De Balie in Amsterdam gepresenteerd. De mooiste beelden uit de Atlas zijn vanaf 8 april te zien in De Balie waar ook de fotografie van Mark Nozeman wordt gepresenteerd. Nozeman ging op zoek naar de relatie tussen de individuele identiteit en het hedendaagse Servië.

Een atlas met persoonlijke beelden van Servië, dat was de vraag aan een groep jonge ontwerpers en kunstenaars. De Vet heeft vaker de opdracht tot het persoonlijk ‘mappen’ van een land met veel succes verstrekt. In de reeks subjectieve atlassen bevinden zich Nederland, Europa en Palestina. Haar doel is om andere beelden van landen te genereren, die meer recht doen aan de dagelijkse werkelijkheid. Vervolgens worden deze vrij verstrekt aan iedereen die ze wil gebruiken, om zo het domein van de clichébeelden en ‘mediaklassiekers’ te infiltreren met persoonlijke en authentieke observaties en beelden. Het mappen van culturele identiteiten wordt een middel om hedendaagse complexe samenlevingen, zoals die van Servië, vast te leggen en te begrijpen.

Op vrijdagavond 17 april geeft journalist Richard de Boer een korte inleiding op de politieke situatie in Servië. Annelys de Vet geeft een toelichting op de publicatie met ironische, humoristische, romantische, sceptische en culinaire beelden. Daarna volgen presentaties van vooraanstaande jonge Servische kunstenaars en ontwerpers. Voor sommigen van hen is het de eerste keer dat ze een EU- land kunnen bezoeken, als gevolg van de strenge Europese visapolitiek. Kunstenaar en muzikant Vuk Kuzmanovic zal traditionele muziek als ook zijn eigen hedendaagse versies spelen. De rakia van Servische bodem doet de rest. Vanaf 22:00 zijn er korte films te zien van de jongste generatie Servische makers, die ook op zaterdag 18 april om 20:30 worden vertoond in de cinemazaal.

Mark Nozeman legde de generatie tussen de 18 en 35 jaar vast in kwetsbare en tegelijk ongenaakbare poses in hun eigen omgeving. Intieme doorkijkjes in het alledaagse Servisch bestaan die de erfenis tonen van een land tien jaar na de Nato bombardementen. Deze ‘work in progress’ presentatie vormt een indringende opmaat van de expositie en publicatie van het project Dwelling and Belonging waarin Nozeman de ‘restless state of mind of the Europeans today’ onderzoekt.

Launch of Subjective Atlas of Serbia

17 april 2009
De Balie, Kleine-Gartmanplantsoen 10, 1017RR Amsterdam

 

SUBJECTIVE ATLAS OF SERBIA van Annelys de Vet (boekpresentatie en expositie)
DWELLING AND BELONGING van Mark Nozeman (fotoexpositie work in progress)