Izložba u Galeriji Kulturnog centra Beograda, 1990. / Exhibition at Gallery of Cultural Center of Belgrade, 1990
Ratni i dramatični period raspada nekadašnje Jugoslavije još jednom je pokrenuo promenu u radu Slobodanke Stupar. Na ovom mestu treba spomenuti ciklus „Svedok“ nastao 1999–2003, koji se razvio na osnovu jedne male fotografije koju je autorka napravila nakon scena koje je videla na televiziji. Prikazano je bilo kako izvlače nekog čoveka iz ruševina posle bombardovanja zgrade
that monodrama was about to develop into a collective tragedy in the art of the 1990s. And then, new challenges in her work ensued as caused by time they originated from. War period including dramatic time of the dissolution of the former Yugoslavia had once again prompted a change in the work of Slobodanka Stupar. Here we ought to mention a series – “Witness” dating from 1999-2003 and developing as based on a small photograph that the author had taken after seeing some scenes on television. It was shown how a man was being rescued from the ruins after the bombing of the TV building in Belgrade. She painted her face and covered it with talcum powder thus replicating this face from the screen. Then she took a photo of her face, and later on she had processed this photograph on computer developing this whole series thereon. This is where video installation “Witness III” belongs as well. Bia Papadopoulou had written about it pointing out to several essential characteristics of this work. Initially, she introduced the idea of war in an earlier wall piece with the same title which was complemented by an audio installation. Stupar assumes the role of the ‘victim’ choosing the arrested moment, the floating of death in the air.24 As compared to earlier works, the same critic points out that the technological means have come to Bia Papadopoulou, catalog of the exhibition, 2003.
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