tual approaches throughperformances andvideoworks, led by the famous sextet from SKC - Marina Abramović, EraMilivojević, Neša Paripović, Zoran Popović, Raša Todosijević andGergelj Urkom.Their celebrated concert opus was documented by SKC’s official photographer, while part of the private life of the musicians and artists was conveyed by Goranka. The most common reaction of the MCAB audience is a sentimental sigh and a comment about how young all those carriers of change had been,” laughs Matić. Newwave She naturally couldn’t convey the sound of theNew Wave in picture, but she could convey the mood of the protagonists of that movement – through the carefree faces ofMilanMladenović,Margita Stefanović and Ivan Vdović, who spread good vibes with the songs of Šarlo Akrobata and Ekatarina Velika, even if they spoke the language of rebellion. The lyrics of the group Idoli were rich in specific humour, which can be seen in the theatrical poses of Vlada Divljan, Srđan Šaper and the rest. “I also designed album covers for some groups, according to the principle – I play as much as you pay. Specifically, I used wooden crayons to draw a crumpled heart on black-and-white templates, and then used my finger or a piece of cottonwool to smear the pigment obtained,” explains Goranka, before wondering how she’d beensoprecise.Within the scopeof the exhibition, these album covers look even more retro, as reminders of a time when just a little was enough. Ordinary life Ordinary life was at the centre of Goranka’s attention even when she was immortalising queues in front of grocery shops during the ‘90s, but also the crowds in front of the ticket offices of cinemas, all of which were later closed. During that decade it was also commonplace to see street demonstrations, which Goranka also didn’t overlook in her work. The Tjentište Memorial Complex, where visitors engraved names on the walls, and, for example, shot at Tito, caused damage to the iconography of naive painter KrstoHegedušić. “The guards of the Memorial Complex to the Battle of Sutjeska calmly allowed this to happen, but I had to react at least photographically,” stresses Matić. By combining the seemingly incompatible, she created photo-collages of destroyed frescoes and elements of Tjentište’s surrounding nature, where thewilderness stands as a silent witness to the turmoil that Goranka found it increasingly tough to bear. Escape in art That’s why shewithdrew toworkwith students and fled from reportage photography to the artistic kind. She had, on occasion, been inclined to this form even earlier, through her Moravica cycle, when she recorded one of the many kafana inns in her father’s home region of Gorski Kotar (Croatia), under the title Goranka. It was also through artistic photography that she monitored the development of fashion from the end of the 19th century onwards, following the destiny of the female line of her family with the cycle Matrilineal Mirror. “The first motif from the domain of the private was a photo portrait of my grandmother – a beautiful lady who I’d considered ugly as a child because of her funny ‘telephone’ hairstyle,” reveals Goranka. She has received many important awards for her work, such as those of the 39th October Salon, newspaper Politika, the Applied Artists and Designers Association of Serbia, the Maja Maršićević-Tasić Foundation, as well as Tanja Petrović, and the Lifetime Achievement Award of theAssociationof Journalists of Serbia.That’s because this “multifaceted” figure was also partly engaged in the media, from the magazines Jukebox and Start to newspaper Politika and weekly Vreme. The reward for visitors to the MCAB is a romantic journey through history, filled with the crowds and clutter of this dramatic corner of the world. U okviru postavke omoti albuma izgledaju još više retro, kao uspomena na vreme kad je i malo bilo dovoljno / Within the scope of the exhibition, album covers look even more retro, as reminders of a time when just a little was enough Photography » Fotografija | 39