Slobodanka stupar, from object to concept and beyond by Slobodanka Stupar

SLOBODANKA STUPAR Od predmeta do koncepta i dalje... From object to concept and beyond...

Posebna izdanja

Special editions

Izdavač Prodajna galerija „Beograd”

Publisher Sales Gallery “Beograd”

Za izdavača mr Mihailo M. Petković

For the publisher Mihailo M. Petković, MFA

Urednik Dragica Vuković

Editor Dragica Vuković

Tekst monografije Jovan Despotović

Text of the monography Jovan Despotović

Recenzija prof. dr Jerko Denegri

Review Professor Jerko Denegri, Ph.D.

Monografija je štampana uz finansijsku pomoć Ministarstva za kulturu i informisanje Republike Srbije

Sadržaj

Contents

Jovan Despotović

Od predmeta do koncepta i dalje...

From Object to Concept and Beyond...

Radovi

Works

Otisci, gest, materija

Prints, Gesture, Matter

Drama devedesetih

The Nineties’ Drama

Svedok

Witness

139

Novi vek, novi izazovi i zaokruživanje

New Century, New Challenges and Rounding Out

153

Appendix

219

Josip Depolo

220

Kosta Bogdanović

225

Žana Gvozdenović

229

Grafike Slobodanke Stupar

Prints of Slobodanka Stupar

Ljiljana Ćinkul

233

Betina Mete

Betina Mette

237

„Devet vrata u Ništa“ i „Vertikala/Prolaz“

“Nine Doors to Nowhere” and “Vertical/The Passage”

Bia Papadopulu

Bia Papadopoulou

Svedok

Witness

CV u prvom licu

First person CV

247

Biografija

Biography

252

Bibliografija

Bibliography

262

241

Ä&#x152;as fotografije na FPU, 1973. Lesson of photography at School of Applied Arts, 1973

Jovan Despotović

OD PREDMETA DO KONCEPTA I DALJE... NEKOLIKO UVODNIH NAPOMENA Već u trenutku kada se pojavila na umetničkoj sceni, krajem sedamdesetih godina, Slobodanka Stupar je istovremeno pokazala dve bitne osobine koje su odredile njen kasniji stvaralački razvoj. Taj period, kraj osme decenije, u našoj umetnosti obeležen je opadanjem stvaralačke energije konceptualizma i prvim najavama slikarske obnove koja je obeležila početak osamdesetih godina. Dakle, radilo se o prelaznom periodu u kome su se preplitale dve, po svim karakteristikama, međusobno isključujuće estetičke i stvaralačke ideologije. Ta atmosfera promene zahvatila je već od prvih radova i Slobodanku Stupar, tako da od tog vremena možemo pratiti razvoj ove autorke, koji je pokazivao obe karakteristike – njihovu jasnu konceptualnu postavku, vremenom modifikovanu, koju je zadržala do danas, ali i potrebu da delo, sam umetnički rad, stalno bude materijalizovan,

FROM OBJECT TO CONCEPT AND BEYOND... A FEW OPENING REMARKS From the very moment when she appeared on the artistic scene at the end of the 1970s, Slobodanka Stupar has at the same time demonstrated two essential traits determining her subsequent creative development. That period, the end of the eight decade, has been noted down in our art as a decline of creative energies of conceptualism and a glimpse of the pictorial renewal marking the beginning of the 1980s. So, this was about a transitional period wherein two aesthetical and creative ideologies, mutually exclusive in all their characteristics, had been intertwining. This atmosphere of change had also taken hold of Slobodanka Stupar, since her very first works, thus starting from this period we can trace the development of this author displaying both characteristics – their clear conceptual staging, modified with time, which she

doveden do fizički oblikovanog vizuelnog stanja i realizovan kao medijski opredmećena forma u brojnim varijacijama. Slobodanka Stupar je tokom svog razvoja od tradicionalne (akademske) i eksperimentalne grafike, te ranih vrsta ispitivanja prostora i kreiranja ambijenata (i to ne samo njegove uobičajene vizualizacije već u jednom trenutku i akustične i poetičke), objekata, instalacija, oprostorenih postavki, dospela do (re)interpretacije, za nju, važnih pojmovnih i filozofskih upita o biću umetnosti ili, bolje reći, ušla je u aktuelnu vizuelnu problemsku diskusiju o samom delu, ali i o postavci produkcije takvog rada u najnovijem periodu. Ali ovaj ukratko skiciran složeni umetnički put Slobodanka Stupar je prošla lagano, bez nejasnih i neodređenih međufaza. Uvek je tačno znala šta je htela i želela da postigne u radu, kakav vizuelni, semantički i estetički utisak da proizvede i, naročito, na koji način da stigne do željenog cilja. Iako izgleda da je postojala ogromna razlika od njenih početnih radova, koje je prvobitno izlagala krajem sedamdesetih godina,1 do najnovijih,2 s početka druge decenije XXI Na prvoj samostalnoj izložbi u Galeriji Grafički kolektiv, Beograd, 1979. Videti poetički inspirisan tekst „Ako mi je malo svjetlosti“ Petra Gudelja objavljen u katalogu izložbe i osvrt Dušana Đokića u Umetnosti br. 65 iz iste godine.

Izlaganih 2011. u Prodajnoj galeriji Beograd pod nazivom „Subjektil je Subjektil“.

had maintained to date, as well as a need to constantly see the work of art, the artwork itself, through to its materialization, bringing it to its physically shaped visual status and realizing it as a mediumwise objectified form in its many variations. In the course of her artistic development, Slobodanka Stupar has moved from a traditional (academic) and experimental graphics and early types of spatial examining and creating the ambients (and not merely its usual visualization, but at one point also acoustic and poetic ones), objects, installations, spatialized staging, arriving at (re)interpretation of those notions and philosophical questions, which were important to her, about the very being of art or better yet, she had entered into actual visual problematic discussion about the work of art itself, as well as the staging for the production of such artwork in the most recent period. But Slobodanka Stupar has passed this, briefly outlined, complex artistic path slowly, without unclear and indefinite interim phases. She had always unmistakably known what she wanted and longed to achieve in her work, what kind of visual, semantic, and aesthetic impression to produce, and notably, what is the way for her to arrive at her desired goal. Even though it seems there’s been a huge difference between her works at the beginning, which she initially exhibited at the end of

Slobodanka Stupar, Petar Omčikus, Ante Marinović, Goran Gvardiol, 1975.

veka, ona nije ni toliko velika a još manje neobjašnjiva ako se uoče i tačno razumeju razlozi svih njenih mena i programskih usložnjavanja tokom svih ovih godina. Potreba, ili čak i žeđ za materijalizovanim umetničkim predmetom posle ikonoklazma konceptualne umetnosti, otvorila je mnoge mogućnosti koje su umetnicima novih generacija stajale na raspolaganju. Bilo je samo pitanje autentičnosti i ubedljivosti određenih pojava da bi se dobila precizna slika o pojedinim fenomenima recentnih radnih praksi. Delo Slobodanke Stupar tokom tog, već tri decenije dugog perioda, pokazalo je obe osobine: i samosvojnost dela i medijsko utemeljenje bez ikakvih mistifikacija koje su često pratile istovremene pojave usmerene ka istom cilju kao i idejnu postavku dela ili ambijenta, koje je bilo zahtevno slediti.

the 1970s1 through her most recent ones2 from the beginning of the second decade of the 21st century, it’s neither so big, nor inexplicable in the least, should one consider and accurately interpret the reasons for all of her phases and program complexifyings during all these years. Such need, or even thirst for materialized artistic object following the iconoclasm of the conceptual art, opened many possibilities for the artists of the new generations to draw from. It was only the question of authenticity and persuasiveness of certain occurrences to help achieve a precise picture in certain phenomena among recent artifices. The work of Slobodanka Stupar during that period, lasting for as long as three decades now, manifested both characteristics: the authenticity of the work and media foundation without any mystifications, often accompanying simultaneous occurrences directed towards the same goal, as well as an ideational staging of the artwork or ambient which was quite demanding to follow. At her first independent exhibit at the Graphic Collective Gallery, Belgrade, 1979. See poetically inspired text “If I weren’t having Enough Light” („Ako mi je malo svjetlosti“) by Petar Gudelj published in the catalog of the exhibit and review by Dušan Đokić in Art (Umetnost) No. 65 from the same year.

Exhibited in 2011 at Gallery Beograd titled “Subjectile is Subjectile”.

PRVA EPIZODA – POSTAVLJANJE TEMELJA

Kako je po umetničkom obrazovanju graf ičarka (diplomirala je unutrašnju arhitekturu i grafiku na Fakultetu primenjenih umetnosti u Beogradu, potom je magistrirala istu disciplinu na Fakultetu likovnih umetnosti takođe u Beogradu, najzad je specijalizovala grafičku tehniku u Školi lepih umetnosti u Atini, koja je od tada postala neka vrsta njene druge umetničke kuće), razumljivo je što je u temelju plastičkog izraza Slobodanke Stupar postavljen crtež, ali koji je u njenoj vrlo specifikovanoj i personalizovanoj radnoj praksi stekao naročitu sudbinu. U tom smislu uobičajene grafičke postupke autorka je radila i izlagala od 1979. do 1984. godine. Na crtežu i crtanju temelji se svaki grafički izraz po definiciji tog medija, a ta tehnološka ograničenja koja postoje kao striktni tehnički postulati njenih mnogobrojnih disciplina proširivana su, u slučaju Slobodanke Stupar, na najrazličitije načine i, videćemo, u različitim pravcima. Očigledno nezadovoljna ograničenji ma koja postavlja grafika kao stara i strogo determinisana umetnička disciplina, Slobodanka Stupar se okrenula onome što je najmanje karakteristično za grafiku – prostoru. U jednom tekstu početkom osamdesetih ona je najbolje objasnila zašto je prostor postao neophodan u njenim radovima:

FIRST EPISODE – LAYING THE FOUNDATIONS

Her being a graphic artist by education (she graduated in interior architectural design and graphic arts at the Faculty of Applied Arts in Belgrade, and then she got her masters degree in the same discipline at the Faculty of Fine Arts also in Belgrade; she had eventually specialized graphic techniques at the School of Fine Arts in Athens, the latter becoming her other artistic domicile of sorts ever since), it is understandable that what lies at the foundations of the plasticist expression of Slobodanka Stupar is the drawing, but one which has attained a distinct destiny within her specified and personalized artifice. In that sense, the author has applied and exhibited usual graphic methods between 1979 and 1984. The drawings and the drawing technique are the basis for each and every graphic expression due to the definition of that medium, and these technological limitations existing in the form of strict technical postulates of her many disciplines have been expanded, in the case of Slobodanka Stupar, in most peculiar ways and, as we will see, in different directions. Evidently dissatisfied with the limitations set out by graphics being an age-old and strictly determined artistic discipline, Slobodanka Stupar has turned to that which is the least characteristic of graph-

U prostoru pogled se kreće, klizi, spušta, diže se ka horizontu. Klizeći, pogled se zaustavlja, uzbuđenje zaustavlja pogled. Svaki prizor je pojedinačno uzbuđenje, zaustavljeni, zadržani doživljaj. Slika prostora se sastoji od pojedinačnih uzbuđenja. Slika prostora je beskonačna... Prostor je beskonačan – slika prostora je beskonačna. Konačan je samo svaki pojedinačni doživljaj od kojih se sastoji slika prostora, ali sam je prostor beskonačan a tako i slika prostora.3 Prostor je ovde doživljen kao predeo, dakle ne u apstraktnom ili opštem smislu već precizno, jedan njegov konkretni deo koji se može shvatiti i kao neka vrsta tradicionalne slikarske teme poput pejsaža. Ali, da se ne bi brkali ovi slični pojmovi, Slobodanka Stupar na istom mestu iznosi još jednu bitnu konstataciju, odnosno odrednicu, a to je horizont: Horizont je granica (…hm?) do koje doseže misao u tom trenutku. Dalje od toga, preko nje se nalazi „s onu stranu“. Pomerajući se u prostoru, ja-posmatrač pomeram i granicu do koje doseže moja misao, ali u okviru jedne misli horizont je uvek tu, nepomerljiv i dat po sebi. Linija horizonta je i granica, međa tog trenutka u vremenu, ali je i nada u neomeđenost... Kroz uski procep između linije Iz neobjavljenog teksta Slobodanke Stupar, „Prostor–vreme–misao“, od 7. marta 1981. godine. Tekst se odnosi na „predele“, jedinu temu njenih grafika u tom periodu, koji pomaže tačnijem razumevanju smisla ove vrste radova.

ics – the space. In one of her writings at the beginning of the 1980s she had offered the best explanation as to why space had become indispensable in her works: In space, the gaze moves, glides, goes down, and goes up towards the horizon. Gliding, the gaze stops, excitement stops the gaze. Each view is a respective excitement in itself, arrested, suspended experience. The picture of space consists of respective excitements. The picture of space is infinite… Space is infinite – the picture of space is infinite. The only thing that’s finite is each respective experience comprising the picture of space, but the space itself is infinite and therefore the picture of space as well.3 Space is experienced here as landscape, hence not in an abstract or general sense, but expressly, as one particular part thereof, which may be understood as a traditional pictorial theme of sorts, such as paysage. Nevertheless, in order to avoid mixing these similar notions, Slobodanka Stupar makes one more statement in the same place, introducing another essential determination, being the horizon. Horizon is the limit (…hm?) whereto the thought is reaching at that moment. Beyond that is what’s ‘on the yonder side’. Moving From the unpublished text by Slobodanka Stupar, Space-Time-Thought, dated 7 March 1981. The text pertains to the “landscapes”, the only theme of her graphics in that period, which helps to understand the sense of this kind of works more precisely.

Alternativni umetnički prostor Nosorog, Novi Sad 1984. / Alternative art space Nosorog, Novi Sad 1984 (Dolores Ćaće, Slobodanka Stupar, Zoran Belić) 12

horizonta i neba-koga-nema, tu treba proći u nove prostor–vreme–misao. U jednom doživljaju prostora linija horizonta je najviše uzbuđenje, ona je gornja granica do koje uzbuđenje može da raste, granica uzbuđenosti tim prostorom, u tom trenutku u vremenu, okvirima u kojima se kreće misao. Ona je vrhunac uzbuđenja jer je granica između doživljenog ovog ovde i nepoznatog, s druge strane linije horizonta. Ona je i poziv, ona mami misao da sklizne po njoj i preko nje u prostore iza.4 Ovaj kratki zapis je zapravo, videće se kasnije, nagoveštaj daljeg kretanja Slobodanke Stupar. Granice prostora, a to znači i samog rada u tehničkom smislu, Na istom mestu.

in space, I-the-spectator also move the limit whereto my thought is reaching, but within one thought, the horizon is always there, immovable and given in itself. The horizon line is the limit, the boundary of that moment in space, but it’s also a hope of boundlessness… Through a slight crevice between the horizon line and the sky-which-is-not, that’s where one ought to pass into new space-timethought. In a single experience of space, the horizon line is the utmost excitement, it is the upper limit whereto excitement may grow, a limit for the excitement with that space, at that moment in time, frameworks for the movement of the thought. It is the climax of excitement, since it is the boundary line between what is experienced as right here and now and the unknown, on the other side of the horizon line. It’s also a call, it lures the thought to glide across it and beyond into the space off yonder.4 This short note, in fact, will have been – as we will soon learn – an indication of further movement of Slobodanka Stupar. The boundaries of space, meaning the work itself in a technical sense, are being moved towards its horizon, and the artist, together with the spectators, is moving beyond optical and physical space accessing imaginary worlds, those being beyond or on the other side of the boundary lines of the horizon. All the while, though, in her aquatinta engravings at that time, she had always re Ibid.

pomeraju se prema njegovom horizontu, a umetnica se, zajedno s posmatračima, kreće izvan optičkog i fizičkog prostora i ulazi u imaginarne svetove, one koji su izvan ili preko granica horizonta. Ali, pri tome, ona je u tadašnjim akvatintama uvek ostala u vezi s realnim oblicima raznih vrsta, od reminiscencija na delove primorskog krajolika (more, stene, obale...),5 kasnije do fizičkih otisaka, napokon i do opredmećivanja reči i celih sentencija. Ostalo je da se samo ispita kojim se to sredstvima može postići, zapravo, kako do toga umetnički i medijski dospeti. Postojale su razne mogućnosti. Prema vlastitom temperamentu, ona se opredelila najpre za eksperimente, a potom i za definitivno prihvaćen izraz, za otisak na grafičkoj ploči koji ne samo da je za nju bio neophodni produkt za štampanje crteža na listu papira, kasnije i fizičkih otisaka tela, već i vrsta samostalnog umetničkog dela. A da bi ploča dostigla takav status, Slobodanka Stupar započinje mukotrpno, dugotrajno i precizno delovanje po njoj – najpre crtanjem, pa kiselinama, fizičkom akcijom, napokon i ostavljanjem tragova svoga tela poput svojevrsnih dokaza ne samo o radu već i o vlastitom prisustvu u njemu.

Videti osvrt Josipa Depola, objavljen u časopisu Oko, jul–avgust 1982, na izložbu u Studiu Galerije Forum u Zagrebu.

mained connected to the realistic shapes of different kinds, from the reminiscences of the parts of the seaside landscape (sea, rocks, coastlines…),5 subsequently to physical body prints, and eventually through to the objectifying of the words and entire sententiae. What remained to be researched was the question of the means to achieve this, in other words, how to reach this artistically and mediawise. There were lots of possibilities. In accordance with her own temperament, she had chosen at first to experiment, and subsequently chose a definitely accepted expression, a print on a graphic plate, which was for her a necessary product for the printing of drawings on paper sheets, subsequently physical body prints, as well as a type of independent artwork. And in order that the plate may achieve such status, Slobodanka Stupar starts out a painstaking, lengthy, and precise impacting thereof – initially by drawing, then by acid, physical action, eventually leaving the traces of her body as evidence of sorts of not only her artifice, but her very presence therewithin.

See review by Josip Depolo published in the periodical Oko July-August 1982 of the exhibit in the Gallery Forum Studio in Zagreb.

Simfonija, zvučno-poetska struktura, festival Druga nova muzika u Studentskom kulturnom centru Beograd, 1984. Symphony, acoustic-poetic structure, Second New Music Festival at Student Cultural Center Belgrade, 1984 (Miroslav Mandić, Vesna Milović, Zoran Belić, Slobodanka Stupar, Miša Savić, Miomir Milovanović)

KRETANJE U NEIZVESNOST 14

Svesna da je zaokružila dotadašnji opus, Slobodanka Stupar se nadalje, tokom prve polovine osamdesetih, okrenula ispitivanju prostora, ali ne više na vizuelni način već kao zvučni ambijent koji joj je otvorio mnoge mogućnosti. Od svih njih, kao njeno konačno opredeljenje, ostale su, napokon, ispisane reči i sentence. Jedan njen rad, prvi put realizovan 1984, pod nazivom „Simfonija“ 6, posebno Videti neobjavljeni autorkin tekst „Simfonija – zvučna struktura u četiri stava“ iz 1984. godine. Rad je izveden prvo na festivalu Druga nova muzika u SKC-u, Beograd, 1984, a potom na manifestaciji Tajni život grada, Beograd, 1986.

MOVING INTO THE UNCERTAINTY

Being aware that she had rounded out her past opus, Slobodanka Stupar has further turned to researching of space in the first half of the 1980s, albeit not in a visual way any more, but as an acoustic ambient opening up many possibilities to her. Thereamong, as her final determination, eventually, the words and the sententiae written out remained. One of her works, realized for the first time in 1984 titled “Symphony”6, particu See author’s unpublished text “Symphony – Acoustic Structure in 4 Movements” from 1984. The work was performed first at the festival Second New Music in Student Cultural Center – SKC, Belgrade 1984, and then at the manifestation City Secret Life, Belgrade, 1986.

privlači pažnju. Kao član grupe Zajednica za istraživanje prostora, ona je okupila grupu od devet učesnika i autora pojedinačnih tekstova, među kojima su bili Miša Savić, Miodrag Lazarov Pashu, Dinka Pignon (Nataša Bogojević u drugom izvođenju 1986), Miroslav Mandić, Zoran Belić, Ružica Petrović, Vesna Milović, Miomir Milovanović (Veljko Nikolić – Papa Nick u drugom izvođenju), koji su sedeli u krugu i čitali svoje tekstove sačinjene od po devet rečenica koje su se sastojale isključivo od reči koje su počinjale slovom „S“. Ovaj akustički performans-rad sastojao se od četiri stava ili četiri kruga čitanja tekstova, koji je izvođen kružnim čitanjem u pravcu kretanja kazaljki na satu.7 U trećem krugu čitanja.

larly stands out. As a member of the group “Space Research Community” (Other artists from this group refer to it as “Community for Research of Mental Territories”) she gathered a group of nine participants and authors of respective texts, including Miša Savić, Miodrag Lazarov-Pashu, Dinka Pignon (Nataša Bogojević in the second performance in 1986), Miroslav Mandić, Zoran Belić, Ružica Petrović, Vesna Milović, Miomir Milovanović (Veljko Nikolić “Papa Nick” in the second performance), who sat in a circle, reading their texts comprising nine sentences, consisting only of the words beginning with the letter S. This acoustic performance-work comprised 4 movements or 4 rounds of text reading, performed by circular clockwise reading.7 Upon introductory reading of the integral texts in the 1st movement and the intertwining of the texts in the 2nd part, in the 3rd movement of this performance, all participants were each reading one respective sentence of the text simultaneously, subsequently passing the sheet with the text clockwise until all texts would have completed the circle and been read. The acoustics of the text had been developing from almost inaudible whisper in the first round of the reading through to shouting on top of one’s lungs in the last one, i.e. the ninth round of the reading. The work was complemented by the sound of the cello In the 3rd round of the reading.

Simfonija, zvučno-poetska struktura, festival Tajni

Symphony, acoustic-poetic structure, City Secret Life

život grada, Beograd, 1986. (Petar Marinović, čelo,

Festival Belgrade, 1986 (Petar Marinović, cello, Ve-

Vesna Milović, Zoran Belić, Slobodanka Stupar)

sna Milović, Zoran Belić, Slobodanka Stupar)

Nakon uvodnog čitanja integralnih tekstova u prvom stavu i prožimanja tekstova u drugom delu, u trećem stavu ovog performansa svi učesnici su istovremeno čitali po jednu rečenicu teksta, a zatim dodavali list s tekstom u pravcu kazaljki na satu dok svi tekstovi ne prođu ceo krug i dok se svi ne pročitaju. Zvučnost čitanja se razvijala od skoro nečujnog šapata u prvom krugu čitanja do maksimalnog vikanja u poslednjem, devetom krugu čitanja. Rad je upotpunjen zvukom violončela Petra Marinovića, koji u toku ovog čitanja svira na svakih sedam sekundi si/b – sol. Završen je slobodnim zvucima i nesnosnom galamom, da bi u četvrtom, završnom stavu, koji je bio neka vrsta dijagonale kroz sve tekstove, reski zvuk drvenih udaraljki, nakon sedam sekundi potpune tišine, zaustavio ovaj zvučno-poetski performans.

played by Petar Marinović who had been playing, in the course of this reading, in the intervals of 7 seconds si/b – sol. It was completed by deliberate sounds and unbearable clamor, until in the 4th closing movement, which was being a diagonal of sorts throughout all of the texts, a sharp sound of wood percussions, following 7 seconds of dead silence, halted this acoustic-poetic performance. This extensive description is to help us understand the origin of the subsequent interest on the part of Slobodanka Stupar for the possibilities of words and sentences in her visual art, this time not in acoustic ambient, but on the surface of a graphic print, having taken the form of three-dimensional object at one point. Another one of her works was crucial for this author’s further development. Namely, this is about the work “Spiral”

Ovaj opširni opis treba da nam pomogne da razumemo odakle potiče kasnije interesovanje Slobodanke Stupar za mogućnost reči i rečenica u njenoj vizuelnoj umetnosti, ne više u akustičnom ambijentu već na površini grafičkog otiska koji je u jednom trenutku poprimio i formu trodimenzionalnog objekta. Još jedan rad Slobodanke Stupar bio je presudan za njen dalji razvoj. Naime, radi se o delu „Spirala“, takođe iz 1984. godine.8 Ona je zapravo održala jedno predavanje, uz taj rad, započeto citatima iz Rječnika simbola: / Kamen nije neživa masa, živi kamenovi što su pali s neba ostaju živi i posle pada… Kamen je simbol Zemlje Majke i u tome je bio jedan od aspekata simbolizma Kibele.

also dating from 19848. She had actually held a lecture, with this work, starting with quotes from the Dictionary of Symbols: Even Stone itself is not inanimate mass, living stones having fallen from the heavens remain living after the fall… Stone is a symbol of Earth-Mother and therein lies one of the aspects of the symbolism of Cybele. The author points out that in this space – meaning and energy, may be viewed in the context of something which is preceding. She continues that here also, we may speak about spiritual strength and collective energy developing around respective objects (which have a soul) whose souls unite here printing themselves into this Performed in the gallery Nosorog in Novi Sad, which was actually private space owned by Branko Kovačević, the lector in Dnevnik newspaper at the time, and who had offered it in the period 1983/1984 to the artists to work on their projects there. They had been arranging their works there respectively for a month’s time, or held their initiatives, performances, lectures et al.

Koji je izveden u galeriji Nosorog u Novom Sadu, privatnom prostoru Branka Kovačevića, u to vreme lektora u novinskoj kući Dnevnik, koji ga je u periodu 1983/1984. ustupio umetnicima da u njemu rade projekte. Tu su oni pojedinačno, na po mesec dana, radili radove ili akcije, performanse, predavanja i slično.

space. Hence this is once again about her interest in space, “such as this one where people with certain ideas and programs are gathering and which we may consider as ‘powerhouse’ in such sense as e.g. anthropologists and Castaneda are calling certain places where collective energies are aggregated (such as temples, certain places in nature, perhaps stadiums, et al., perhaps even public squares and streets).”9 And the “Spiral”10 itself represents and symbolizes Predavanje-performans Spirala, Nosorog, Novi Sad 1984. / Lecture-performance Spyral, Nosorog, Novi Sad 1984. (Jadranka Bunuševac, Miško Šuvaković, Dubravka Đurić, Stevan Knežević)

Autorka ističe kako se u ovom prostoru – značenje i energija, mogu posmatrati u kontekstu nečeg prethodnog. Tu isto, nastavlja ona, možemo govoriti o duhovnoj snazi i kolektivnoj energiji koja se gradi oko pojedinačnih predmeta (koji poseduju dušu) čije se duše ovde ujedinjuju utiskujući se u ovaj prostor. Dakle, ponovo je reč o njenom interesovanju za prostor, onom „kao ovaj gde se ljudi s određenim idejama i programom okupljaju i koji možemo posmatrati i kao ’mesto moći’ u smislu u kom antropolozi i Kastaneda, na primer, nazivaju pojedina mesta gde se stiču kolektivne energije (kao hramovi, pojedina mesta u prirodi, možda stadioni i sl. Možda čak i trgovi i ulice).“9 Na istom mestu.

Ibid.

The author gave the following description: “This work was begun at a moment when I began to select the stones for a pile and then when others (you) received an invitation to bring one stone each, when they selected it and left for Nosorog with these stones. Then we arranged these stones here to form a spiral. By the very movement of these stones towards the center of this space wherein the work would have been executed, a spiral was achieved in its contracting aspect. The emanating aspect has been – we will walk away from this place and each one of us will have taken this work in their own mind / while the thought itself of this work in the mind of each individual, same as any other thought is expanding and emanating / and this is the expanding aspect of the spiral. Hence this is the work itself in a horizontal plane and its spiral in its contracting and its emanating aspect. In all this, I sense yet a vertical, the connection between what is downward and what is upward, the earth and the heavens, body and spirit. Since in this space we make and think art, which is the process of the mind and the spirit, same as the senses, i.e.

A sama „Spirala“10 i predstavlja i simbolizuje, i jeste neprekidno kružno kretanje iz središta ka periferiji i istovremeno s periferije ka tom središtu – sažimajući involutivni i šireći evolutivni aspekt sadržaja. Taj evolutivni aspekt je ono što Slobodanku Stupar i nadalje vodi u nove imaginativne avanture koje, ispostaviće se, zapravo nikada i neće Autorka je dala sledeći opis: „Ovaj rad je započet u trenutku kad sam počela da odabiram kamenje za gomilu i zatim kada su drugi (vi) primili poziv da ponesu po kamen, kada su ga odabrali i uputili se ka Nosorogu s tim kamenjem. Zatim smo to kamenje ovde složili u spiralu. Samim tim kretanjem kamenja ka središtu ovog prostora na kome će rad biti izveden, ostvarena je spirala u svom sažimajućem aspektu. Emanirajući aspekt je – mi ćemo se razići s ovog mesta i svako od nas će u svesti poneti ovaj rad (a pritom i sama misao o radu u svesti svakog pojedinca, kao i svaka druga misao se širi i emanira) i to je šireći aspekt spirale. To je, dakle, u horizontalnoj ravni sam taj rad i njegova spirala u svom sažimajućem i svom emanirajućem aspektu. U svemu ovome ja osećam još i vertikalu, vezu onoga što je dole i onoga što je gore, zemlje i neba, tela i duha. Budući da u ovom prostoru mi činimo i mislimo umetnost koja je proces uma i duha, isto kao i čula, tj. tela (umetnost sama je upravo to sećanje na vertikalu) zato iz centra spirale ja podižem ’kamenje koje je palo s neba i koje je zadržalo ljudski miris i koje je ostalo živo i posle pada i koje je neobrađeno ljudskom rukom i tako poseduje savršenstvo iskonskog stanja i koje je sinonim za spoznaju i simbol mudrosti’ (Rječnik simbola) i tako uspostavljam vertikalnu dimenziju ovog rada.“

and is a perpetual circular motion from the center towards the periphery and simultaneously from the periphery towards the center – both sublimating the involute and expanding the evolute aspect of the content. That evolute aspect is what keeps taking Slobodanka Stupar farther toward new imaginative adventures which, as it turns out, will never be interrupted. This is, of course, in itself an essential condition to determine her creative art. Art as an act of necessity – stresses Slobodanka Stupar. Necessity from internal impulses and accumulated energies that must be visually objectified into forms of aesthetic contents. As a trilogy of sorts, one other worklecture by her appears, titled “The Space of Touch”11. She introduces in her practice bodies (the art itself is precisely this reminiscence of the vertical), hence from the center of the spiral I raise the stones that have fallen from the heavens, having also kept human scent, and which have remained alive upon the fall, and which have been in the rough, unworked by human hand, thus possessing the perfection of the primordial status, having been the synonym for the recognition and the symbol of wisdom (Dictionary of Symbols). Thus I achieve a vertical dimension of this work.” This was in fact a lecture held in the summer of 1986 at the Open School Djurdjevo, wherein the practice has been for the artists to talk about their distinctly personal experience or topic that they had been dealing with from a special and personal angle. And when it comes to touch, in the same place, she says: “Prayer cylinders from the Buddhist temples,

biti prekinute. To je, uostalom, i suštinski uslov za određivanje njenog stvaralaštva. Umetnost kao čin nužnosti – ističe Slobodanka Stupar. Nužnost od unutrašnjih impulsa i nagomilanih energija koje moraju da budu vizuelno opredmećene u forme estetičkih sadržaja. Kao svojevrsna trilogija, javlja se još jedan njen rad-predavanje pod nazivom „Prostor dodira“ 11. Ona sada uvodi u praksu telo umetnika i dodir: Telesnost, telo u Svetu i kako se ono odnosi, dodiruje sa Svetom. Svet to je sve ono što nije – Ja. Granica sopstvene telesnosti je koža, kao da je telo ili Ja u nju zatvoreno, ona je granična površina koja odvaja ono što je Ja od Sveta, svega što nije Ja. Ali se koža može misliti i kao ono što to Ja sa Svetom spaja, budući granična površina, ona pripada i ovoj i onoj strani, 20

To je bilo zapravo predavanje održano u leto 1986. u otvorenoj Đurđevačkoj školi u kojoj je praksa bila da umetnici govore o nekom svom sasvim ličnom iskustvu ili temi kojom su se bavili iz posebnog i ličnog ugla. A o dodiru ona na istom mestu kaže: „Molitveni valjci budističkih hramova, njihovo dodirivanje i okretanje imaju značenje isto kao i pročitana molitva, slično je i s brojanicama. Mislim li opet o tim bezbrojnim dodirima u kojima je strast verovanja i o tome da se onaj koji dodiruje utiskuje u ono što dodiruje – isto kao što sa sobom odnosi trag ili otisak onoga što dodiruje – pa zatim o molitvi i svim njenim dimenzijama i slojevima i koji sad to prostor otvara, ja opet vidim kako se prostor dodira širi u svim pravcima.“

the body of the artist and the touch: Carnality, body in the World and how it relates to and touches the World. The World is everything which is not – I. The boundary of one’s own carnality is the skin, as if the body or I is confined in it, it is a boundary surface separating that which is I from the World, everything which is not I. But the skin may also be thought upon as that which is connecting this I with the World, and having been a boundary surface it belongs to both this side and the other one, it is a membrane by which I get in touch with the World. Between the World and my skin there is nothing – except touch. These works-principles: “Symphony”, “Spiral”, and “The Space of Touch” have definitely determined her creative points of departure in the next period. All of the movements and the seeking have led her to a spiral symphony in the space of touch, to summarize and attempt (even though we are aware that’s not always appropriate) to define her work in a lapidary way. and their touching and turning have the same meaning as reading a prayer, similarly as the rosaries. If I should think again about these countless touches, wherein the passion of the belief is bound, and about the one touching actually imprinting themselves into what they are touching – and likewise taking away their trail along with themselves or the print of what they are touching – and then about prayer in all its dimensions and layers and what space this is now opening, once again I see that the space of touch expands in all directions.”

ona je ta membrana kojom se Ja sa Svetom dodirujem. Između Sveta i moje kože nema ničega, samo dodir. Ovi radovi-principi – „Simfonija“, „Spirala“ i „Prostor dodira“ – definitivno su odredili njena kreativna ishodišta u narednom periodu. Sva kretanja i traženja dovela su je do spiralne simfonije u prostoru dodira, da sažmemo i pokušamo (mada smo svesni da to nije uvek uputno) da definišemo njen rad na jedan lapidaran način. Kritika je već bila spremna da sagleda simptome njene dalje umetničke sudbine – otiskivanja sopstvenog tela. Tako je primetila da njeno telo postaje objekat operativno-meditativnog okružja12 i da je ona u novim radovima – grafikama i kontraskulpturama13 otpočela da otiskuje delove sopstvenog tela ili cele figure. Danas te grafike, a i ploče s kojih su otisnute a koje autorka čuva i izlaže kao posebne radove, izgledaju zaista revolucionarno za tzv. beogradsku školu koja je u to vreme još izbegavala tu vrstu eksperimenata.

Studentski Kulturni Centar 1985. Student Cultural Center 1985 (Miodrag Lazarov Pashu, Miroslav Mandić, Slobodanka Stupar, Dragoslav Krnajski)

The critics were ready, as it is, to note the symptoms of her further artistic destiny – printing her own body. Thus, they have perceived that her body becomes an object of operative-meditative environment12 and that she had begun in her new works – graphics and contrasculptures13, to print parts of her own body or the entire body contour. Nowadays, these graphics, as well as the plates wherefrom they were printed, the latter having been kept and exhibited by the artist as respective works, look truly avantgarde for the so-called Belgrade School, which was still avoiding this type of experiments at that time.

See: Kosta Bogdanović, foreword of the catalog for the exhibition in the Gallery of the Kolarac National Hall, 1985.

Videti: Kosta Bogdanović, predgovor kataloga izložbe u Galeriji Kolarčevog narodnog univerziteta, 1985.

Videti: Dušan Đokić, katalog izložbe u Galeriji Doma kulture u Smederevu, 1986.

See: Dušan Đokić, catalog for the exhibition in the Gallery of the Smederevo Culture Hall, 1986.

Predavanje-performans Spirala Nosorog, Novi Sad 1984. Lecture-performance Spiral, Nosorog, Novi Sad 1984

OTISCI, GEST I MATERIJA, INSTALACIJE

No, to nije sprečilo Slobodanku Stupar da nastavi da u prvoj polovini osamdesetih ide tim putem i da od jedne male, početne serije radova načini čitav opus jasno kritički vrednovan. Kosta Bogdanović o ovim, novim, telesnim otiskivanjima govori kao o upotrebi tela ili kao rad tela, čime je ona, kako ističe, objedinila dva medija, svoj raniji – grafiku i za nju novi – skulpturu14. Autorka sada više ne otiskuje na papiru samo ranije pripremljen crtež izveden na grafičkoj ploči već vlastito telo ili njegove delove kombinovane s ranijim grafičkim metodama. Tako je ona dobila vizuelno neobične ikoničke predstave na prepletu figurativnog i apstraktnog. Kao i ranije, kompozicija prizora je važna, ali sada je ona donekle prepuštena i spontanosti kreativne volje autorke, ili pak slučajnostima koje su nastale donekle nekontrolisanim ostavljanjem tragova i razornim dejstvom jake kiseline. Kada Dušan Đokić govori o ovim grafikama i kontraskulpturama15, on ih ističe kao novi grafički i plastički zaokret koji je Slobodanku Stupar doveo do ritualnog i arhetipskog. To je zapravo i bio radikalni iskorak od čistog grafičkog posredovanja kreativne volje autorke do direktnog uvođenja sebe same u delo,

PRINTS, GESTURE AND MATTER, INSTALLATIONS

Nevertheless, this had not prevented Slobodanka Stupar’s continuing to follow this path in the first half of the 1980s, turning one small, initial series of works into an entire opus, which was clearly valuated in a critical sense. Kosta Bogdanović refers to these new, carnal prints as using the body or as body work whereby, in his words, she had merged two media, her previous one – graphics and a new one to her – sculpture14. Now, the author is not merely printing on paper a previously prepared drawing executed on a graphic plate, but her own body or its parts combined with prior graphic methods. Thus she had arrived at visually extraordinary iconic representations based on interweaving figurative and abstract. Same as before, the composition of the sight is important, except now it has to some extent been also left to the spontaneity of the author’s creative volition, or in turn, to chance originating in part by uncontrolled leaving of traces and destructive impact of strong acid. When Dušan Đokić talks about these graphics and “contrasculptures”15 he singles them out as “new graphic and plasticist turnaround” See footnote 12.

Videti napomenu 12.

Videti: Dušan Đokić, katatalog izložbe u Galeriji Doma kulture u Smederevu, 1986.

See: Dušan Djokić, catalog for the exhibition in the Gallery of the Smederevo Culture Hall, 1986.

čime ono dobija na jednoj, znatno višoj autentičnosti i specifičnosti. A Žana Gvozdenović o istim radovima govori kao o beleženju hoda16 autorke, čime je ona postala isključivi protagonista sopstvene umetnosti. To je zapravo bio vid jednog drugačijeg fizičkog zauzimanja prostora telesnim prisustvom, i to na dva načina: crtežom na grafičkoj ploči, koji je postao gestualan na način apstraktnog ekspresionizma kada su umetnici takođe time ukazivali na aktivno fizičko prisustvo u radu, a bukvalnim uvođenjem umetnika-autora u vlastito delo. Ali na ovom mestu treba ukazati i na jedan kratkotrajni izlet Slobodanke Videti: Žana Gvozdenović, „Grafike Slobodanke Stupar“, predgovor kataloga, Kulturno-informativni centar SFRJ, Beč, 1986. i u Galeriji Kreonidis, Atina, 1987. Isti autor: „Prevlast pokreta“, 1988, tekst uz izložbu u Galeriji Kiriazis, Atina.

Izložba u Galeriji Kolarčevog narodnog univerziteta, 1985. / Exhibition at the Gallery of the Kolarac National Hall, 1985

leading Slobodanka Stupar to ritual and archetypal. This had actually been a radical way to step out from pure graphic mediation of the author’s creative volition towards direct introduction of oneself into the work of art, thus giving the latter a superior authenticity and specificity. In turn, Žana Gvozdenović depicts the same works as recording the journey16 of 16

See: Žana Gvozdenović, “Graphics of Slobodanka Stupar”, foreword of the catalog, Culture and Information Center of the SFR Yugoslavia, Vienna, 1986 and in Gallery Kreonidis, Athens, 1987, same author: “Supremacy of the Movement”, 1988, text accompanying the exhibit in the Gallery Kyriazis, Athens.

Stupar u slikarstvo. Naime, kada je, načas, osetila kako joj ravnina otisnutog crteža ili tela na papiru nije dovoljna, započela je jednu seriju slika izvedenih uljem na platnu, nastalih od 1988, koje je izložila krajem te decenije.17 Iako se i u njima meša apstraktno s predmetnim, pri čemu je figura gotovo potpuno potisnuta, uronjena u gustu slikarsku pastu koja dominira prizorom, sada već na korak od enformela, Slobodanka Stupar ispituje ono što joj nije bilo moguće u grafici – vizuelno dejstvo same materije i njeno zračenje prema posmatraču. Očigledno je postala zainteresovana za Videti katalog s predgovorom Irine Subotić za izložbu u Likovnoj galeriji Kulturnog centra Beograd, a kasnije ponovljenoj u Galeriji „Lazar Vozarević“ u Sremskoj Mitrovici, Galeriji „Terra“ u Kikindi i Galeriji savremene likovne umetnosti u Nišu, sve tokom 1990. godine.

the author, whereby she has become the sole actor in her own art. This had actually been a different kind of physical seizing of the space by carnal presence notably in two ways: via drawing on a graphic plate, which had become gestural in a manner of abstract expressionism when the authors had thereby also indicated an active physical presence in the work, and literal introduction of the artist-author into their own work of art. It’s in this place that one ought to also point out to a short-lived excursion into painting by Slobodanka Stupar. Namely, when she had felt for a moment that the flatness of the printed drawing or body on paper is not enough for her, she began a series of paintings done in oil on canvas having been created as of 1988, which

Izložba u Galeriji Kulturnog centra Beograd, 1990. / Exhibition at Gallery of Cultural Center of Belgrade, 1990.

perceptivno svojstvo svojih radova koliko i za utisak koji je moguće proizvesti. O njima Irina Subotić govori kao o nastavku njenih transformacija, sada kao o transponovanju njenog fizičkog bića na drugi, novi način.18 Ove parafraze krsta (prema Maljevičevom uzoru), sem što su pastuozne mase nanete na platno, one su i dalje način prisustva autora u delu, ali sada, kako smo videli, na drugačiji način. Fizički rad ruke, ali i njeno prisustvo u plastičkom prizoru, Slobodanke Stupar (otuda i naziv izložbe – „Ruke i krstovi“) toliko je nametljiv da se uglavnom previđa i postojanje oblika u ovim slikama. Na istom mestu.

she exhibited at the end of that decade.17 Even though abstract intermingles with objectified therein as well, while the figure has been almost completely pushed out, immersed in thick painting paste dominating the scene, and now being one step away from enformel, Slobodanka Stupar researches that which was not possible for her to have in graphics – visual impact of the matter itself and its radiating towards the spectator. She had evidently become equally interested in a perceptive trait of her works as well as for the impression which was possible to make. Irina Subotić talks about these as of a continuation of her transformations, now in the form of transposing of her physical being in a different, new way.18 These paraphrases of the cross (after Malevich’s model), except for the pasty mass having been applied on canvas, they still provide for the presence of the author in the work, this time, as we have seen, in a different way. The physical work of the hand – including its presence in the plasticist sight – of Slobodanka Stupar (hence the title of the exhibition – “Hands and Crosses”) is so imposing that one mostly oversees the existence of the See catalog with the foreword by Irina Subotić for the exhibition in the Fine Arts Gallery of the Belgrade Cultural Center, later restaged in Gallery “Lazar Vozarević” in Sremska Mitrovica, Gallery “Terra” in Kikinda and Contemporary Fine Arts Gallery in Niš, all in the course of 1990.

Ibid.

U Umjetnickoj koloniji Željezara Sisak 1987. At the Art Colony Željezara Sisak 1987

One su u osnovi apstraktne, ali prikriveno i figurativne te (meta)predmetne, čime su svakako ponovni dokaz konstantnog, kako smo već ranije utvrdili, fizičkog prisustva umetnice, sada slikarskim gestom, stalnim i mnogobrojnim premazima boje preko boje, nanošenjem poteza na potez, novim nanosima na već postojeće. Ovde treba istaći da je Slobodanka Stupar načinila još jedan korak udaljavajući se od grafike, ali ostajući u njenom kreativnom domenu. Naime, ako je ranije u grafici skidala slojeve i ucrtavala forme u koje je

shapes in these paintings as well. They are in essence abstract, but covertly figurative as well, hence being (meta)objectified, whereby they have been, without a doubt, another proof of constant, as previously discussed, physical presence of the artist, this time by a painting gesture, permanent and multiple painting of one coat of color upon another, applying stroke upon stroke, new layers over existing ones. At this point, one needs to point out that Slobodanka Stupar has taken one more step away from the graphics, albeit remaining in its creative sphere. Namely, as she previously peeled off layers in graphics, drawing in forms wherein she introduced printing color, now this process had been replaced exclusively with applying thick and heavy paste across the surface of the canvas as supported by additional drawing. The critics had pointed out that this was actually her synthetic creative phase19, explaining this by author’s creative restlessnes and vitality of spirit, and also because they come across as syntheses of experiences in Slobodanka Stupar’s creative opus up to that point, as well as, to paraphrase the author of the review, the actual pictorial status wherein the surprises have been the norm. It was written that Drawings, as active and intuitive reflex become traces of hands, pencil, and their energy charged with pent-up expression and Quoted in the review of this exhibit by Ljiljana Ćinkul, broadcast on Radio Belgrade Third Program in 1990.

unosila štamparsku boju, sada je ovaj postupak zamenjen isključivo nanošenjem guste i teške paste po površini platna dopunjene crtežom. Kritika je istakla do je to u stvari bila njena sintetička stvaralačka faza 19 obrazlažući to autorkinim kreativnim nemirom i vitalnošću duha i jer deluju kao sinteze iskustava dotadašnjeg stvaralaštva Slobodanke Stupar, ali, da parafraziramo autorku osvrta, i aktuelne likovne situacije u kojoj su iznenađenja stalna. Navedeno je kako Crteži, kao aktivni i intuitivni refleks postaju tragovi ruku, olovke, a naboj njihove energije ekspresijom i gestom sugerišu određena mentalna stanja. Njihovo angažovano značenje govori o privrženosti jednom plastičkom načinu razmišljanja u kojem se poetski impuls odražava putem plastičkog dodira. Proveravajući našu osetljivost, Slobodanka Stupar otkriva suštinski teskobu u kojoj smo uklešteni i nemoćni u datom prostoru.20

Molitvenik 1987. liveno gvožđe / Prayerbook, 1987, cast iron 181 x 32 x 32 cm Zbirka likovne Kolonije Željezara Sisak, Hrvatska / Collection of Art Colony Željezara Sisak, Croatia

Navedeno u osvrtu Ljiljane Ćinkul na ovu izložbu, objavljenom na Trećem programu Radio Beograda 1990.

Na istom mestu.

gesture is suggesting certain mental states. Their engaged meaning speaks about dedication to a plasticist way of thinking wherein poetic impuls is reflected via plasticist touch. Investigating our sensitivity Slobodanka Stupar essentially discovers the anxiety of a given space whrerein we are stuck and powerless.20 Ibid.

DRAMA DEVEDESETIH

Devedesete godine, bremenite svim razornim političkim zbivanjima u tadašnjoj Jugoslaviji, donele su, uprkos tome (ili baš zbog toga), delima Slobodanke Stupar konačno pročišćenje. Njeno kretanje ka akcionom delovanju, zapravo ka gestualnosti, bilo je logično i nikako nije bilo izvedeno samo iz pređašnjeg iskustva – ono je dakle označilo još jedan, poseban vid fizičkog, autorskog, individualnog radnog prisustva umetnice u vlastitom delu, što je zapravo samo nastavak ranijeg rada u novim okolnostima opšte drame i kretanje od mentalnih propozicija u praksi ka sve izrazitijem telesnom dejstvu tokom kreativnog čina. Već početkom devedesetih skrenuta je pažnja na tu izmenjenu njenu, već ranije pomenutu sintetičku fazu. Videli smo kako je do tog momenta plastički izraz Slobodanka Stupar postignut postupno, logičnim razvitkom u nekoliko faza. Njena predistorija kretala se od čiste grafike (tačnije akvatinte) kombinovane s crtežom do recentnih instalacija s početka devedesetih ili, od estetike predela i tihog melanholičnog ugođaja, kako je kritika njene umetnosti zabeležila početkom osamdesetih godina tumačeći tadašnje tematsko i poetičko područje u kome se ona kretala, pa sve do primarne gestualnosti i ambijentalnih instalacija devedesetih. Kratkotrajna saradnja sa Zajednicom za istraživanje prostora, 1983–1986, otkrila je da, sem

THE NINETIES’ DRAMA

The nineties had delivered a load of destructive political events in the former Yugoslavia, but despite that (or because of that) they had brought a final purification to the works of Slobodanka Stupar. Her movement towards practicing action, i.e. towards the gestural was logical and by no means brought forth merely by previous experience – therefore, it had marked one more, special kind of physical, author’s, individual working presence of the artist in her own work, which had only been a continuation of her previous work in new circumstances of a general drama and the movement from mental propositions in practice towards ever more expressly carnal impact during the creative act. It was back in the early 1990s that attention was called to her altered aforementioned – synthetic phase. We have seen how up to that moment the plasticist expression of Slobodanka Stupar has been achieved gradually, via logical development in several phases. Her prehistory had moved from pure graphics (i.e. aquatinta) combined with drawing through recent installations from the early 1990s or, from the aesthetics of landscape and quiet melancholy setting as the critics of her art have recorded in the early 1980s, interpreting thematic and poetic realm area wherein she moved, all the way to the primary gestural and the ambient installations of the 1990s. Short-lived cooperation with the Space Research Com-

očiglednog vizuelnog istraživajna, Slobodanka Stupar podjednako poklanja stvaralačku pažnju i mentalnim propozicijama rada, onima koje su veoma često bivale previđane u brojnim umetničkim praksama poznog modernizma tog vremena. Ta njena osobina, najpre latentno a potom i eksplicitno, ostala je u radu i tokom kasnijih perioda, kada će se pojaviti i neke nove karakteristike. Sredinom osamdesetih godina njene grafike i skulpture postale su otisci i tragovi (sopstvenog) tela pokazujući time dalje kretanje ove specifične delatnosti od mentalne do fizičke prisutnosti umetnika-stvaraoca u vlastitom delu. Identifikovanje grafičkog postupka s telesnim otiskivanjem, otuda i njeno tadašnje interesovanje za rad s glinom – kao skulptura i kontraskulptura, a što je očigledno bio ivklajnovski umetnički legat koji je deo kritike osporavao. Ovde se zaista može otvoriti jedno problemsko pitanje: neosporno je da je rad Iva Klajna uticao na Slobodanku Stupar (D. Đokić), ali ne na direktan način. Naime, Klajn je u boju utapao svoje modele i zatim njihovim telima, kao svojevrsnim živim četkama slikao po površini platna, a Slobodanka Stupar je pak na svoje telo nanosila medijum pa ga potom otiskivala na grafičku ploču (K. Bogdanović)21. Zapravo, u medijskom smislu, to je rađeno tehnikom poznatom

Videti napomene 12 i 13.

munity in 1983-1986 had revealed that, except evident visual reaserch, Slobodanka Stupar devotes her creative attention equally to the mental propositions of the work, namely those that were often being overlooked in numerous artistic practices of late modernism of the time. That trait of hers, latently at first and then explicitly, remained in her work in subsequent periods as well, when some new characteristics will have also emerged. In mid-1980s, her graphics and sculptures became prints and traces of (her own) body thus indicating further developments in this specific activity from mental to physical presence of artist-author in one’s own work. Identifying graphic process with body printing, hence her interest at the time for working with clay – as sculpture and contrasculpture, which was evidently yveskleinean artistic legacy otherwise disputed by one part of the critics. Here, one can definitely suggest a problematic issue: it is evident that the work of Yves Klein influenced Slobodanka Stupar (D. Djokić), but not directly. Namely, Klein had been immersing his models in paint and then, using their bodies as living brushes of sorts, he painted across the surface of the canvas. Slobodanka Stupar had applied the medium on her body and then printed it on a graphic plate (K. Bogdanović)21. Namely, mediumwise this was done using the technique known as

See footnotes 12 and 13.

kao rezervaž.22 Tim medijem je autorka premazivala svoju kožu i otiskivala je na ploču da bi u grafičkom procesu dobila matricu za štampanje slike tog otiska – dakle – otisak otiska nje same. U konceptualnom smislu, to je ona koža i onaj prostor dodira o kome je ranije pisala. Razlika u odnosu na Iv Klajna, ne samo što je on svoje modele koristio kao žive četke a Slobodanka Stupar svoje sopstvene otiske, već se kod nje pre svega radi o tom smanjivanju i ukidanju rastojanja između autorke i njenog rada i naizmenično ili istovremeno doživljaju da se taj dodir širi na sve 23. Dakle, na prvi pogled, rezultat rada je isti, ali je drugačiji proces stvaranja – u tome je i bitna razlika između ova dva umetnika – doveo delatnost Slobodanke Stupar u egzistencijalno i ekspresivno područje ontološke monodrame umetnosti osamdesetih, što je dakako tada bila tema dana u plastičkom stvaralaštvu. No, ta monodrama uskoro će prerasti u kolektivnu tragediju u umetnosti devedesetih. I tada su u njenom radu ponovo usledili novi izazovi prouzrokovani vremenom u kome su nastali.

reservage22. The author applied this media on her skin and printed it on the plate in order to achieve through graphic process the matrix for the printing of the image of that print – hence – the print of the print of herself. In a conceptual sense, this is precisely the skin and the space of touch that she previously wrote about. The difference in relation to Yves Klein lies not only in the fact that he used his models as living brushes, while Slobodanka Stupar used her own prints, but also in the fact that she is concerned primarily with the decreasing and canceling of the distance between the author and her work and intermittently or simultaneously the impression that this touch is spreading to everything23. Thus, at the first glance the result of the work is the same, but the creative process being different – and this is a crucial difference between these two artists – it has brought the work of Slobodanka Stupar into existential and expressive area of ontological monodrama of the art in the 1980s, which had definitely been the topic of the hour in the plasticist creative output. Nevertheless, soon enough

One part of the zinc plate surface is covered by medium which is basically a thick mix of water and sugar and then by immersing in water the sugar gets to melt, taking with it the bitumen coat protecting the plate from the acid. Those spots will be etched by the acid, thus producing a matrix for the graphics.

Na cinkanoj ploči se deo površine pokrije medijem koji je bazično gusta smeša vode i šećera, a onda se potapanjem u vodu šečer otopi i odnese sa sobom i bitumen premaz koji štiti ploču od kiseline. Ta mesta će kiselina nagristi i tako napraviti matricu za grafiku.

Prema rečima Slobodanke Stupar.

In Slobodanka Stupar’s words.

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.

Televizije u Beogradu. Ona je namazala svoje lice i naprašila ga talkom tako da je ponovila to lice s ekrana. Zatim ga je snimila kao fotografiju. Kasnije je tu fotografiju svog lica naknadno kompjuterski obrađivala i ceo ovaj ciklus je od nje razvila. Tu spada i video instalacija „Svedok III“. O njemu je Bia Papadopulo pisala ističući nekoliko bitnih osobina. Najpre, ona unosi ideju rata u jednom ranijem zidnom radu s istim nazivom, koji je upotpunjen zvučnom instalacijom. Stuparova se postavlja u ulogu „žrtve“ birajući zaustavljeni trenutak, plutanje smrti u vazduhu.24 U odnosu na ranije radove, ista kritičarka ističe kako tehnološka sredstva zamenjuju manuelni rad na grafici, ali daju odgovarajuće likovne rezultate jer se prati suštinski ista logika sukcesivnih spontanih intervencija u toku kojih su slučajnosti dobrodošle.25 Ove kompjuterske slike izazivaju kod gledalaca osećanja neizlečive tuge. Pravi se ravnoteža između njenog ličnog i kolektivnog iskustva pretočenog u strah od događaja, užasnih zbivanja te epohe. Stuparova umnožava i rotira modul sliku i stvara vrtlog koji uvlači gledaoca u segmente realnosti odštampanog prikaza. Ženski lik koji gleda ali ne govori gradi vrtoglavi lavirint koji skicira jedan svet u kome pohlepa i opšta žeđ za novcem i moći zasenjuju sve. Stuparova, međutim, ne gubi svoj crni humor.

replace the manual labor of the original engraving, but they also have brought about corresponding morphological results since the same essential logic, applied to the successive spontaneous interventions, is still adhered to, along with the acceptance of chance, the fluidity of occurrence.25These computer images invoke a sense of incurable sorrow in spectators. The balance is achieved between her personal and collective experience transformed into fear of events, horrible developments of the epoch. The image pattern of Stupar is multiplied and revolves creating a whirling vortex which lures the spectator into the various realities of the printed image. The female figure which looks outward but does not speak builds for us a labyrinth of vertigo sketching in a world where greed and a mass thirst for lucre and power cast a shadow over everything. But Stupar has not lost her macabre sense of humor. Her face is oppressively and hermetically enclosed in small glass vases insuring her isolation from the social whole and her complete silence, while above them the cushions are placed made of preposterous bourgeois fabrics. In this unity of works – which interrelates the joke with the tragic, just like the theater of the Absurd – the artist mocks her own self and the distant position from which she commiserates; at certain times she appears to be split between the role of the victim and the indirect victimizer, of the silent witness

Bia Papadopulu, kat. Izložbe, 2003.

Na istom mestu.

Ibid.

Svedok, Galerija Artforum Solun, 2001. Witness, Gallery Artforum Thessaloniki, 2001

Svedok, 1999, fotografija Witness, 1999, photography

Njen lik je čvrsto i hermetički zatvoren u male staklene tegle koje obezbeđuju izolaciju od ostatka sveta i potpunu tišinu, a na njih su postavljeni jastuci od luksuznog buržoaskog materijala. U ovom ciklusu radova koji, baš kao u teatru apsurda, prepliću smešno s tragičnim, umetnica se podsmeva i samoj sebi zbog distanciranog položaja s koga saoseća; ponekad se čak čini kao da je rascepljena između uloga žrtve i indirektnog krivca, nemog svedoka jednog sveta sravnjenog usred moralnog propadanja.26 Sem iznenađenja, kako je ranije istaknuto, za Slobodanku Stupar su i promene u radu postale stalne. Već od početka devedesetih godina ona je započela jedan potpuno drugačiji ciklus radova koji je Na istom mestu.

of a world razed to the ground amid moral decline. 26 In addition to surprises, as stressed before, as for Slobodanka Stupar the changes in her work have become constant. Starting as of early 1990s she had begun a completely different series of works demonstrating some totally new plasticist characteristics. Namely, these were the works executed by drawing on paper and rice paper that she had exhibited in Rozmarin Gallery in Munich and in Ligue Franco-Hellenique in Athens in 1992, and then in Simultanhalle in Köln in 1995, when they were staged as spatial installations for the first time. In fact, these comprised several multipartite works having large dimensions: “Vertical/Passage” and “Nine Doors to Nothing”. German critics stressed that they fascinate with their playing with light, their chiaroscuro contrasts, intermittent alternating of strong and finely differentiated forms27. And, in the foreword of the catalogue for the exhibition in Köln, Dr. Bettina Mette had indicated that for Slobodanka Stupar material had become a decisive element in her work leading her towards her creative goal. She also stresses the following: The work of Slobodanka Stupar is dominated by the dynamics of the gestrure. She fixes the moment of tension and the solution which follows… her work is not a game involving ran Ibid.

Jürgen Schön, “Playing with Light”, Kölner Stadt-Anzeiger, review of the exhibition in Simultanhalle Köln, 1995. 27

pokazao neke sasvim nove plastičke osobine. Naime, u pitanju su radovi izvedeni crtanjem na hartiji i pirinčanom papiru koje je izlagala u minhenskoj Rozmarin galeriji i Ligue Franco-Héllénique u Atini 1992, a potom i u Simultanhalle u Kelnu 1995, kada su prvi put bili postavljeni kao prostorne instalacije. Zapravo, to je bilo nekoliko višedelnih radova velikih dimenzija: „Vertikala/Prolaz“ i „Devet vrata u Ništa“. Nemačka kritika je istakla kako oni fasciniraju igrom sa svetlošću, njihovim svetlo-tamnim kontrastima, naizmeničnom smenom snažnih i fino diferenciranih formi27. A u predgovoru kataloga za kelnsku izložbu dr Betina Mete ukazala je kako je za Slobodanku Stupar materijal postao odlučni element u radu koji ju je vodio ka kreativnom cilju. Ona ističe i sledeće: Radom Slobodanke Stupar dominira dinamika gesta. Ona fiksira trenutak tenzije i solucije koja sledi… njen rad nije igra sa slučajnim koincidencijama: on markira momenat apsolutne koncentracije, najviše tenzije tela i uma… Pirinčani papir je istovremeno vazdušast i transparentan, delikatan i snažan… on propušta ulje i pigment da se probiju na drugu stranu papira. S još nekim materijalima koje je umetnica unela u ove radove, poput ogledala i metalne vune, oni su dobili pomešane osobine (haotične strukture Jürgen Schön, „Igra svetlosti“, Kölner Stadt-Anzeiger, prikaz izlozbe u Simultanhalle Keln, 1995.

dom coincidences: it points out to a moment of absolute concentration, utmost tension of body and mind… Rice paper is at the same time airy and transparent, delicate and strong… It lets the oil and pygment permeate through to the other side of the paper. With some other materials that the artist had introduced in these works, such as mirrors and metal wool, they got mixed characteristics (chaotic structures of the steel wool – B. Mette) of being lightweight and heavy, of the protruding and deflected light, reflecting and absorbing the shape. While “Nine Doors to Nothing” were hovering in the space, the “Vertical/Passage” comprising twelve parts (this was the second of the three stagings of the work “Vertical/Horizontal”) was executed in T-shape with the band of mirrors lined up vertically, creating the illusion that the space breaks suddenly and opens up a narrow crevice/ passage. 28 Following the graphics, then the prints, and then the gesture and the matter, this time the artist has demonstrated her readiness to face the challenges of the space by using such material (rice paper) enabling her to create a rounded out visual situation produced not merely, as before, by single works, but this time by complex and ambient wholes. And this was precisely such moment when we may identify that an already es28

The author had made a different composition for each exhibit respectively consisting of these 12 parts and mirrors.

čelične žice – B. Mete) lakoće i težine, probijanja i odbijanja svetla, reflektovanja i upijanja oblika. Dok su „Devet vrata u Ništa“ lebdela u prostoru, dotle su dvanaestodelna „Vertikala/Prolaz“ (to je bila druga od tri postavke rada „Vertikalno/Horizontalno“) izvedena u obliku T s trakom od ogledala po vertikali koja je pravila iluziju da prostor neočekivano puca i otvara uski procep/prolaz.28 Posle grafika, potom otisaka, zatim gesta i materije, sada je umetnica pokazala spremnost da se suoči s izazovima prostora upotrebom onog materijala (pirinčani papir) koji joj je omogućio da kreira jednu zaokruženu vizuelnu situaciju proizvedenu ne samo, kao ranije, pojedinačnim delima već sada i kompleksnim ambijentalnim celinama. I to je bio onaj trenutak za koji možemo ustvrditi kako je već afirmisana grafičarka Slobodanka Stupar postala respektabilna multimedijska umetnica čije je delo već bilo primećeno i izvan granica nekadašnje Jugoslavije.29

Autorka je za svaku izložbu pravila drugu kompoziciju od tih 12 delova i ogledala.

Već je bila izlagala u mnogim inostranim galerijama, poput: Richard Demarco galerija, Edinburg, 1984, Kreonidis galerija, Atina, 1987, Rozmarin galerija, Minhen, Ligue Franco-Héllénique, Atina, 1992, Simultanhalle galerija, Keln, Rathaus Keln, Keln, 1995, BBK (galerija Udruženja likovnih umetnika NRW), Keln, BAP,

tablished graphic artist Slobodanka Stupar has become a multimedia artist to be reckoned, whose work has already been noticed beyond the borders of the former Yugoslavia as well.29 An exhibition by Slobodanka Stupar titled “Doors and Other Recordings”30 held at the beginning of 1998 was designed and realized as an ambient whole comprising several parts. The works titled “OT” from 1992 have come closest to the traditional character of the drawing. OT is not “Ohne Titel” but an ever replicating shape in these works – rice paper on kraft paper is always placed in T-shape, and O is a circular gesture whereby the author is painting. The works from 1993/95 “Doors” (smaller ones have comprised the installation “9 Doors to Heavens”, while the large ones, which are respectively also called “Doors” have comprised the installa She had already exhibited in many galeries abroad, such as: Richard Demarco Gallery, Edinburgh, 1984, Kreonidis Gallery, Athens, 1987, Rozmarin Gallery, Munich, Ligue Franco-Héllénique, Athens, 1992, Simultanhalle Gallery, Cologne, Rathaus Köln, Cologne, 1995, BBK, (Artists’ Association of Fine Arts Gallery NRW), Cologne, BAP, Witten (Germany), 1996, Kaos Gallery, Cologne, 1997

Zepter Gallery, Belgrade, foreword to catalog by Gordana Stanišić, review was published in the periodical Arti, vol. 39, V-VIVII, Athens, 1998, and previously broadcast on Radio Belgrade Third Program the same year.

Izložba pod nazivom „Vrata i drugi zapisi“ 30 Slobodanke Stupar, koja je priređena početkom 1998, zamišljena je i realizovana kao ambijentalna celina sastavljena iz nekoliko delova. Najbliži tradicionalnom duhu crteža jesu radovi s nazivima „OT“, iz 1992. godine. OT nije „Ohne Titel“ već uvek ponavljani oblik u tim radovima – pirinčani papir na natronu uvek se postavlja u T oblik, a O je kružni gest kojim autorka slika. Radovi iz 1993/1995. „Doors/Vrata“ (od manjih su sačinjene instalacije „9 vrata u nebo“, a od velikih, koji se pojedinačno takođe zovu „Vrata“ bila je izvedena instalacija „Zid/ Vrata“, zatim tu je i rad „Jedro/Vetar“,31 koji takođe može da stoji i samostalno u prostoru jer, kao i veliki komadi „Vrata“, takođe ima dva lica. Radovi nazvani „Pismo“ nastali su od 1996. godine. Na njima se primenjuje direktni gestualni postupak dugotrajnog crtanja/pisanja sve do momenta kada se ispuni površina hartije crnom uljanom bojom ili istim postupkom belom bojom na površini pirinčanog papira. Momenat koji je ovde naglašen tiče se i verbalnog Witten (Nemačka), 1996, Kaos galerija, Keln, 1997. 30

Galerija Zepter, Beograd, pred. kat. Gordana Stanišić, prikaz je objavljen u časopisu Arti, vol. 39, V–VI–VII, Atina, 1998, prethodno emitovan na Trećem programu Radio Beograda iste godine.

Rad se nalazi u Muzeju Zepter.

tion “Wall/Doors”, then there is also the work “Sail/Wind”31, which can also be placed as a single work standing by itself in the space since, same as large pieces of “Doors”, it also has two fronts. The works titled “Letter” originate from 1996. Thereon, a direct gestural procedure of lengthy drawing/writing is applied until such moment when the surface of the paper is filled with black oil paint or, via the same procedure, with white paint on the surface of the rice paper. The moment which is emphasized here concerns a verbal content as well, which is written thereon cryptographically and constituting a large part of these paintings, despite being camouflaged. One needs to remember here as well that Slobodanka Stupar has also previously showed interest in the possibilities of combined visual-verbal communication with the spectators. Thus, at one point, back in mid-1980s, she pointed out to some, for her quite essential symbolic characteristics of certain words, such as: stone, hand, foot (step), guiding the spectator towards the solution of some significant sign functions of her works (at that moment, it was the aquatinta engravings). Now they are decoded in a semantically altered way by a new syntax apropriate for these works. The author herself had stressed this in her own author’s text “Mistery of Letter” in 2002, taking interest in the destiny of aesthetic text in pictorial This work is in Zepter Museum.

Približavanje instalacija u Galeriji BBK, Keln, 1996. Approaching installation at Gallery BBK, Cologne, 1996

sadržaja koji je na njima kriptografski ispisan a koji, iako zakamufliran, ipak čini bitan deo ovih slika. Na ovom mestu treba se podsetiti i na to da je Slobodanka Stupar već ranije pokazivala interesovanje i za mogućnost kombinovane vizuelno-verbalne komunikacije s gledaocima. Tako je jednom prilikom, još sredinom osamdesetih, ukazala na neke za nju bitne

works. (Due to essential meaning of this self-interpretation for the work of Slobodanka Stupar, we quote it in its entirety32) 32 Drawing-letter Drawing and writing is the same – they both originate from the same gesture, pattern, incision, scratch, premordial sign. The handwriting and what is called “handwriting” in painting and drawing, all this is closely connected to

simboličke karakteristike pojedinih reči poput kamen, ruka, stopalo (korak), koje su uputile posmatrače prema rešavanju nekih signifikantnih znakovnih funkcija njenih radova (u tom trenutku to je bila grafika u tehnici akvatinte). Sada se oni na semantičko izmenjeni način dekodiraju novom sintaksom primerenom tim delima. Sama umetnica, u autorskom tekstu

the heartbeat. Handwriting, in fact, often resembles the electrocardiogram – the tracing made by the heart itself by its own beating. The line of the drawing, the line of the handwriting – I can think it out as a thread of sorts, very thin thread that I can use to climb down. Into the depths of the meaning, depths of the language, depths of memory, collective memory. Sometime this thread may be as thin as cobweb threads, it may also break. And then, I might get lost within those depths. That’s why I have to be very careful, as a diver going down and diving into vast depths. Going from coloring, charming (‘šaranje – čaranje’ in Serbian, note by Translator) to sign and letter is the distance, space that may be seen as large, huge especially in time. When one enters a letter, when it “opens” and when one dives into the depths of time, all the way to the archesign, to that magic pattern on the ground, scratch on the body of the earth – that is a huge space in time. But all that is simultaneously here as well, preserved in that sign – in Letter. Each language, says Béla Hamvas, keeps within itself one part of the Truth that can only be expressed by it. Coloring-charming, this is where one small part of the Truth is. Mageia and mageirevo (Greek: magic and cooking) may be another small part of the Truth in another language. Bitumen – glass – diamond. Between bitumen, having solidifyed, and yet having preserved a trace of the hand gesture doing the coloring, as well as the gesture used in cooking, and the glass whereon a word (Logos) is incised by diamond, there is a distance, space, but a small one, perhaps only being an indication of space and a sign of nearness and closeness. Same as these materials, bitumen, glass, diamond, having been distant in

Rad u nastajanju, Atina, 1992.

Gestural abstraction, whose core stylistic family also comprises these works by Slobodanka Stupar, had evidently still had its quite inspired followers wherefor the pictorial ideas of late modernism had still been inspirational at that time. But, on the other hand, for some authors, Slobodanka Stupar definitely being among them, the mandatory canons formed in such schools have evidently been insufficient to express their aesthetic notions in a most consistent and most complete way. In the manner of the most engaged authors of the 1990s, she deconstructs, dissolves, and reduces their stylistic limits to

Work in progress, Athens, 1992

„Misterija pisma“, 2002, istakla je to interesujući se za sudbinu estetičkog teksta u likovnim radovima. (Zbog suštinskog značaja ovog samoiskaza za rad Slobodanke Stupar, tekst prenosimo u celini.32) 32 Crtež – pismo Crtanje i pisanje su isto – nastali su iz istog gesta, šare, ureza, ogrebotine, praznaka. Rukopis i ono što se zove „rukopis“ u slikarstvu i crtežu, sve je to u nekoj tesnoj vezi s otkucajima srca. Rukopis baš često i liči na neki elektrokardiogram – na zapis koji samo srce ostavlja svojim otkucajima. Linija crteža, linija rukopisa – ja nju mogu da mislim kao neku nit, jako tanku nit po kojoj mogu da se spustim. U dubine značenja, dubine jezika, dubine memorije, kolektivne memorije. Nekada je ta nit tanka kao nit paučine, može i da se prekine, i ja onda mogu da se izgubim u

character, density, coloring, and even value, are being far apart and yet close, taken out of diferent depths of the same matter, earthMother. Letters When I write letters (pairs of automatic notes written out with one tube each of black and white color on rice paper) I write down some thoughts. I always hold onto a thread, but then this flows freely in all directions uncontrollably. Sometimes during the writing a thought does surface, being hard and clear as diamond and then I could stop myself in order to write it down legibly, to preserve it. But there is no stopping and it usually drowns again in the depths, in density, in texture. Then I know that this is where it belongs, that it was not meant for it to be declared in any other given way but the way it did, and to stay there, and then radiate quietly from these depths. Then I give these cryptographically written texts to other artists as Letters, so they can reply to these. All forms are acceptable and welcome.

tim dubinama. Zato moram da budem veoma pažljiva, kao ronilac kada se spušta, zaranja u velike dubine. Od šaranja, čaranja do znaka i slova je rastojanje, prostor koji se može videti kao veliki, ogroman posebno u vremenu. Kad se uđe u slovo, kad se ono „rastvori“ i kad se zaroni u dubine vremena sve do arhiznaka, do one magijske šare na tlu, ogrebotine na telu zemlje – to je ogroman prostor u vremenu. Ali sve je to istovremeno i ovde, sačuvano u tom znaku – u Slovu. Svaki jezik, kaže Bela Hamvaš, čuva u sebi jedan deo istine koji samo on može da iskaže. Šaranje – čaranje, tu je jedan mali deo istine. Mageia i mageirevo (grč. magija i kuvati) možda je drugi mali deo istine sačuvan u jednom drugom jeziku, od onih što su imenovali svet. Bitumen – staklo – dijamant. Između bitumena koji je stvrdnjavajući se sačuvao trag gesta ruke koja šara, ali i pokreta kojim se kuva i stakla na kome je dijamantom urezana reč (Logos) jeste rastojanje, prostor, ali mali, možda samo kao naznaka prostora, i kao znak blizine i bliskosti. Kao što su i ti materijali, bitumen, staklo, dijamant udaljeni po karakteru, gustini, obojenosti, pa i vrednosti, udaljeni a bliski, izvađeni iz različitih dubina iste materije, Zemlje Matere. Pisma Kad pišem Pisma (parove automatskih zapisa ispisanih sa po jednom tubom crne i bele boje na pirinčanom papiru), ja zapisujem neke misli. Uhvatim se uvek za neku nit, ali to onda slobodno teče i u svim pravcima nekontrolisano. Ponekad u toku pisanja na površinu tako ispliva neka misao, čvrsta i jasna kao dijamant i tad bih mogla da se zaustavim da je zapišem čitko, da je sačuvam. Ali nema zaustavljanja i ona obično ponovo potone u dubine, u gustinu, u teksturu. Onda ja znam da joj je tu i mesto, da joj nije ni

such constituents, which merely indicate their origin (not wanting, by any means, to follow them obediently according to the requirements of the style or the poetics), thus she takes out from these dictionaries or archives of sorts exclusively those elements which suit her the best in temperament, sensibility, and mood preoccupying her in her current creative practice. This may be seen quite well primarily in the executed installations “9 Doors to Heavens” originating from 1992 and “3 K” from 1995, and especially in the central work at this exhibition, titled “Wall/ Doors”, executed between 1995‑1996. In these works the most profound creative motives of Slobodanka Stupar of the time are revealed. Changeable configuration and structure of these installations indicates such artistic character of actual pictorial creative art researching the paths of a more energetic activation of visual sensations of the galleries frequenting public, their sensual, real physical and optical participation in the perception and the complementary construction of the sense and the goals of contemporary artistic work transforming, once again, this time at the end of the century, in an altered way the phenomena of external realities. And the factor having the greatest role therein is light, appearing as a special and extraordinarily emphasized content of these works. The magic of the light strongly gripping the visitors at this

Gestualna apstrakcija, u čijoj se užoj stilskoj porodici nalaze ova dela Slobodanke Stupar, očigledno da je još uvek imala svoje vrlo inspirisane poklonike za koje su i tada bile podsticajne likovne ideje poznog modernizma. Ali, s druge strane, za neke autore, kojima bez sumnje pripada i Slobodanka Stupar, obavezujući kanoni formirani u ovakvim školama očigledno nisu bili dovoljni da najdoslednije i najpotpunije iskažu svoja estetska shvatanja. Njihove stilske limite ona poput najangažovanijih autora devedesetih dekonstruiše, razlaže i svodi na one konstituente koji tek naznačuju svoje poreklo (a nikako ne želi da ih, po zahtevima stila ili poetike, bespogovorno sledi) te iz tih svojevrsnih rečnika ili arhiva vadi isključivo one elemente koji joj najbolje odgovaraju po temperamentu, senzibilitetu i raspoloženju što je preokupiraju u trenutnoj praksi stvaranja. To se veoma dobro može uočiti ponajpre u izvedenim instalacijama „9 vrata u nebo“ nastala 1992. i „3 K“ iz 1995, a naročito u centralnom delu na ovoj izložbi s nazivom „Zid/Vrata“ rađenom 1995– 1996. godine. U ovim radovima najjasnije se otkrivaju i najdublji tadašnji kreativni motivi Slobodanke Stupar. Promenljiva dato da se drugačije nego baš tako objavi, da tu ostane i tako iz tih dubina tiho zrači. Onda te tako kriptografski ispisane tekstove dajem drugim umetnicima kao Pisma da mi na njih odgovore. Sve su forme prihvatljive i dobrodošle.

exhibition is being its utmost and most valuable artistic achievement. The use of the rice paper provides for a significant burst of light breaking through these works and their extraordinary transparency is raising and complexing the overall sensual and visual impression obtained at the exhibition. Thus obtained sensual incentive is leading directly to the sense of deconstruction in plasticist arts of the 1990s, as manifested in this special author’s example as well. A theoretical basis pertaining to this type of works was subsequently recognized 33 by Slobodanka Stupar in Derrida’s “Forcing the Subjectile”. 34 Determining the place of subjectility, he stresses: Placed between the above and the Because when she created Doors and Other Recordings she didn’t know about Derrida’s text at that time. This text about Subjectile she only read in 1996 and then it spread also to the works prior and of course posterior – thus she had come across the notion of the Subjectile accidentally, and it was precisely because she was seeking it; it came to her as confirmation and encouragement (quoted according to the testimony of Slobodanka Stupar).

Jacques Derrida, Forcener le subjectile, Paris, 1986. Our author has come across this text in IAPMA publication at the exhibit in Düren in 1996. (There is also another translation of Derrida’s essay, titled “Maddening the Subjectile”, by Mary Ann Caws, Yale French Studies No. 84, New Haven, Con. : Yale University Press, cop. 1994, note by Translator.)

konfiguracija i struktura ovih instalacija ukazuje na onaj umetnički karakter aktuelnog likovnog stvaralaštva koji istražuje puteve energičnijeg aktiviranja vizuelnih senzacija galerijske publike, njihovo čulno, realno fizičko i optičko učestvovanje u percepciji i komplementarnom izgrađivanju smisla i ciljeva savremenog umetničkog dela koje još jednom, sada na kraju veka, na izmenjeni način transformiše fenomene spoljašnje realnosti. A faktor koji u njima ima ponajveću ulogu jeste svetlost, koja se pojavljuje kao poseban i izvanredno naglašen sadržaj ovih dela. Svetlosna čarolija koja snažno obuzima posetioce ove izložbe njen je najviši i najvredniji umetnički domet. Upotreba pirinčanog papira omogućava značajni prodor svetla kroz ova dela, a njihova vanredna transparentnost podiže i usložnjava opšti čulni i vizuelni utisak koji se na izložbi dobija. Tako dobijenim čulnim podsticajem direktno se dolazi do smisla dekonstrukcije u plastičkim umetnostima devedesetih, kako se moglo videti i u ovom posebnom autorskom primeru. Teorijsku podlogu koja se odnosi i na ovu vrstu radova Slobodanka Stupar je naknadno prepoznala33 kod Deridinog Jer kada je radila „Vrata i druge Zapise“, tada još nije znala za Deridin tekst. Taj tekst o Subjektilu je pročitala 1996. i onda se on rasprostro i na radove pre i, naravno, posle – tako da je na pojam Subjektil slučajno naišla baš zato što ga je tražila; on joj je došao

9x2 >18, instalacija u galeriji Titanium, Atina, 2004. 9x2 >18, installation at Gallery Titanium, Athens, 2004

below, it is both a support and a surface, sometimes it is also the material of a painting or a sculpture, everything within them which can be distinguished from form as well as from sense and representation, that which escapes representation. Translated into the sphere of the visual, Derrida’s postulate may be interpreted as follows: evidently stable balance of the plasticist (with Derrida - textual) in reality is being a largely unstable construction. In other words, that kind of deconstruction (as substitution and upgrading of the Heidegger’s definition of destruction) belongs to key aesthetic determinants firstly in architecture, and then in the visual art of the 1990s. Slobodanka Stupar is an interesting personality in contemporary Serbian art

Forcing the Subjectile.34 Određujući mesto subjektilnosti, on kaže: Postavljena između nečeg gore i nečeg dole, ona je jednako i podloga i površina, ponekad ona je takođe materija slike ili skulpture, sve ono između njih koje se može razlučiti od forme kao i od osećanja i reprezentacije, koje izmiče reprezentaciji. Prevedeno na područje vizuelnog, Deridin postulat bi se mogao na sledeći način interpretirati: očevidno stabilna ravnoteža plastičkog (kod Deride – tekstualnog) u stvarnosti je uveliko nestabilna konstrukcija. Drugim rečima, ta vrsta dekonstrukcije (kao supstitucija i dogradnja Hajdegerovog pojma destrukcija) spada u ključne estetičke odrednice najpre u arhitekturi, a potom i u vizuelnoj umetnosti devedesetih godina. Slobodanka Stupar je zanimljiva ličnost u savremenoj srpskoj umetnosti ne samo po umetničkom opusu već, kako smo sada videli, i po jasnoj racionalizaciji sadržaja sopstevnog rada. Iako joj je dosta jednostavno i lako odrediti poetičku pripadnost u aktuelnim zbivanjima na likovnoj sceni, uzbudljiva imaginacija kojom ona očito raspolaže i toliko jednostavno ispoljava istovremeno joj osigurava i jednu izdvojenu poziciju u tom kreativnom toku. Ova njena kao potvrda i ohrabrenje (navedeno prema svedočenju Slobodanke Stupar). Jacques Derrida, Forcener le subjectile, Paris, 1986. Autorka je na ovaj tekst naišla u IAPMA publikaciji na izložbi u Durenu 1996. godine.

Između alfa i omega, tuš na paus papiru, foto Đorđe Odanović 1998. / Between alpha and omega, ink on tracing paper, photo Djordje Odanović 1998

not only in her artistic opus but, as we have now seen, in her clear rationalization of the content of her own work as well. Even though it is fairly simple to identify her poetic affiliation in actual developments on the artistic scene, an exciting imagination which she obviously possesses and is manifesting so easily is, at the same time, providing for her a separate position in such creative flow. This exhibition by her will remain as valuable information of both an especially successful work and as significant information about

izložba ostaće kao vrlo vredan podatak ne samo o jednom posebno uspešnom radu, već i kao značajan podatak o daljem živom razvoju ovdašnje likovne kulture.35

further vibrant development of the artistic culture in our parts.35

9x2 >18, instalacija u galeriji Titanium, Atina, 2004. 9x2 >18, instalation at Gallery Titanium, Athens, 2004

Videti: Sava Ristović, predgovori kataloga izložbi u Likovnoj galeriji Kulturnog centra Beograda, 2002, te Modernoj galeriji u Lazarevcu i Galeriji Zlatno oko u Novom Sadu, 2008. godine.

See: Sava Ristović, forewords of the catalog of the exhibitions in the Fine Arts Gallery of the Belgrade Cultural Center, 2002, and the Modern Gallery in Lazarevac and the Gallery Zlatno oko in Novi Sad, in 2008.

NOVI VEK, NOVI IZAZOVI I ZAOKRUŽIVANJE

Kada je Žak Derida pokrenuo problem jezika i njegove reprezentacije, 36 to je odmah postalo toliko podsticajno da je bilo samo pitanje vremena kada će se preseliti u sve druge forme tekstualnog ili vizuelnog izražavanja, najpre filozofa a potom i umetnika. Naravno da je bazična oblast ove škole, poznate kao dekonstrukcija, bila i ostala filozofija, a uz nju, kao neka vrsta večite pratilje a i svojevrsno polje za proveru teorijskih konkluzija, bio je književni tekst. No, od kada je u vizuelnoj umetnosti postalo legitimno (i nezaobilazno) da se takođe govori o njenom jeziku, Deridini dekonstruktivistički zaključci najednom su postali obavezni u kritičkim i teorijskim diskursima o pojedinim praksama i u ovoj kreativnoj disciplini – vizuelnoj tekstualizaciji. Izdvajanje elementarnih metafora i drugih figurativnih sredstava ili, jednostavnije – dekonstrukcija, postalo je adekvatno sredstvo za razumevanje i tumačenje recentnog vizuelnog stvaralaštva. Posebno u slučajevima ako je autor, a to je čest slučaj, pa i u primeru rada Slobodanke Stupar, od klasičnog likovnog izraza, koji duguje akademskom obrazovanju, prešao u polje vizuelnih ili Jacques Derrida, ’Speech and Phenomena’ and Other Essays on Husserl’s Theory of Signs, Northwestern University Press, 1973.

NEW CENTURY, NEW CHALLENGES AND ROUNDING OUT

When Jacques Derrida reactivated the problem of the language and its representation36 this immediately became so inspirational that it was only a matter of time when it would move to all other forms of textual and visual expression, firstly by the philosophers and subsequently the artists as well. Of course, the basic sphere of this school, known as deconstruction, would have been the philosophy itself, and right beside it, as some sort of permanent companion and also a field of sorts for the verification of theoretical conclusions, there was the literary text. Nevertheless, when it became legitimate (and unavoidable) in the visual art to talk about its language as well, Derrida’s deconstructivist conclusions had suddenly become mandatory in the critical and theoretical discourses on certain practices in this creative discipline as well – the visual textualization itself. The act of singling out elementary metaphors and other figurative means, or simply – deconstruction, became an adequate means for the understanding and the interpretation of recent visual creative output. Notably in such cases when the authors themselves, and this has been the case quite frequently – the case of Slo Jacques Derrida, Speech and Phenomena and Other Essays on Husserl’s Theory of Signs, Northwestern University Press, 1973.

Izložba u galeriji ULUS, Beograd, 2012. Exhibition at Gallery ULUS, Belgrade, 2012

tačnije – jezičkih istraživačkih praksi i semantičkih sklopova koji se unose u njegov rad. Taj pasaž je u njenom slučaju bio logičan jer je i sam grafički medij u radu Slobodanke Stupar bio slobodno primenjivan, bliži eksperimentu nego ponavljanju uobičajenih standarda proizvođenja radova. Ona se, dakle, kao što smo rekli, već na samom početku umetničke delatnosti uputila preispitivanju mogućnosti likovnog izraza. U umetnosti, to je praktično značilo zanemariti klasični jezik ekspresije i doći do čiste, samopotvrđujuće slike koja se gledaocu obraća samo svojim značenjem bez obzira na formu koju trenutno poprima. Ta direktna komunikacija, zapravo izaslanje vizuelnih i mentalnih podsticaja, ima vlastita pravila koja svaki autor

bodanka Stupar’s work inclusive – have transitioned from a classical pictorial expression, which they owed to academic education, to a sphere of visual, or more precisely – linguistic researching practices and semantic structures, which are being introduced in their work. In her case, that passage was logical, since the graphic medium itself was liberally applied in the work of Slobodanka Stupar, thus being closer to experiment then to a repetition of common standards of producing the works. As we have already mentioned, at the very beginning of her creative output, she has directed herself towards examination of the posibilities of the pictorial expression. In art, it meant practically neglecting the classical language of expression and arriving at pure, self-affirming image,

Izložba u galeriji ULUS, Beograd, 2012. Exhibition at Gallery ULUS, Belgrade, 2012

projektuje za sopstvene potrebe. Za postizanje onog cilja, koji je umetnik inicirao na samom početku produkovanja dela, bile su potrebne i nove tehničko-tehnološke postavke rada. Realizujući svoje oslikane, polutransparentne papire, Slobodanka Stupar je u ranijim fazama upravo nastojala da razbije njihovu dvodimenzionalnost, da prodre kroz njihovu površinu i uvede gledaoca u prostor, u instaliran ambijent radova-listova. Krećući se između tih uskih prolaza načinjenih od poluprozirnih zavesa, gledaoci su mogli jasno da vide u kom se pavcu kreće njeno kreativno i vizuelno interesovanje. Spajanjem nepomirljivog, a da bi se pratio neki diskurs (u ovom slučaju vizuelni), mora se doći do otklanjanja ili zaobilaženja uobičajenog razumevanja – razuma, da bi se nešto videlo, mora se plastički

which is addressing the spectator solely via its meaning, regardless of the form it’s been assuming at the moment. Such direct communication, or better yet, transmitting visual and mental stimuli has its own rules, which every author is projecting for their own use. In order to achieve such objectives as initiated by the artists themselves at the very beginning of the production of the work of art, the new technical and technological staging of production of the work was requried. Realizing her painted, semitransparent papers in her earlier phases, Slobodanka Stupar had endeavored precisely to break their two-dimensionality and burst through their surface, taking the spectator into space, into installed ambient of the works-sheets. Moving between these narrow passages made of semitransparent curtains the spectators could see clearly what direction her creative and visual interest is going in. Merging the irreconcilable, with a view to following some discourse (visual one in this case), one must arrive at removing or bypassing common understanding – ratio; in order to see something, the plasticist narrative must be reduced to a threshold of the recognizable for it to be perceived in the first place in the form of a new work of art. Slobodanka Stupar has precisely been dealing with this type of creative output in the recent years. It was from this new understanding of the function of a work of art that

narativ svesti na prag prepoznatljivog da bi on uopšte bio uočen u formi nekog novog dela. Slobodanka Stupar se poslednjih godina upravo bavi tom vrstom produkovanja rada. Iz tog, novog razumevanja funkcije dela nastali su i radovi na izložbi 2011. kao samodovoljne strukture smisla, ili uspostavljanja obima njihovog autoznačenja.37 Moguće je razlikovati dva osnova tipa radova Slobodanke Stupar koji su nastali u ovom periodu. Jedan je statičan i ima daleke odjeke u njenim grafičkim počecima, kako je već napomenuto, jer se u toj vrsti radova pojavljuju, makar rudimentarno, elementi tog medija. Na primer, nešto što bi ličilo na grafičke ploče oblikovano je u knjigu Šta je Subjektil koju je moguće prelistavati i pratiti njen dekomponovani sadržaj sačinjen od razlomljenih reči koje se prepliću, rasprostiru na nekoliko listova, dijagonalno, unatrag ili na neki drugi način ispisanih (urezanih kao u neku grafičku podlogu). Prve verzije rada „Forcing the Subjectila / What is Subjectile“ su iz 1997. i izvedene su na tablama akrilom, lakom, grafitima na platnu i čelikom. Ceo Deridin esej koji se čita na stranicama objekta knjige ispisan je na tim tablama38. Tu je i jedna zidna instalacija „Time is Now“ sačinjena od dvanaest objekata koji u sebi sadrže crnu bitumen masu koja po svojoj fakturi podseća na crnu štamparsku boju i

the works have originated also which she exhibited in 2011, as self-sufficient structures of sense, or establishing the scope of their autosemantics. 37 It is possible to differentiate two basic types of works by Slobodanka Stupar emerging in this period. One is static and it has remote echoes in her graphic beginnings, as previously discussed, since in this kind of works the elements of this medium appear if only rudimentarily. For example, something which is perhaps resembling graphic plates had been shaped into a book “What is Subjectile”, which one may flip through and follow its decomposed content made of broken words intermingling, stretching over several pages, being diagonally, backwards or in some other way written (etched as on a graphic plate). The first versions of the work “Forcing the Subjectile / What is Subjectile” are from 1997 and are executed on panels in acrylic, varnish, graphite on canvas and in steel. The entire Derrida’s essay, which one reads on the pages of the book object is written on these panels38. There’s also a wall installation “Time is Now” comprising 12 objects, containing black bitumen mass resembling in its texture the black printing color and its mixing to the correct thickness before application to the Exhibition “Subjectile is Subjectile”, Sales Gallery “Belgrade”, Belgrade, 2011.

Izložba „Subjektil je Subjektil“, Prodajna galerija „Beograd“, Beograd, 2011.

Rad je vlasništvo Muzeja grada Beograda.

The work is the property of the Belgrade City Museum.

njeno umešavanje do potrebne gustine pre nanošenja na ploču i stavljanja pod presu. Pri tome, oni su postavljeni na taj način da su od zida odmaknuti i da se na njemu otiskuju poput senke, poput privida nečega što je u samom delu realno, ali u prostoru rada istovremeno i nestvarno. Drugi je pokretan jer ima izgled videoradova koji u suštini, u ovom slučaju, nisu tako mišljeni, ali imaju njihovu sintaksu. Ovih nekoliko video-instalacija – „What is a Subjectile“, „Horizontal-Vertical“, „Sugar Life“ i „Wow“, pomeraju percepciju i kogniciju nekog umetničkog rada u pravcu uočavanja, prepoznavanja i razumevanja primarnih vizuelnih elemenata – putem fragmenta lika, oblika, ponavljajućih pokreta, uz dodatak isto tako rudimentarnih formi repeticija glasova, zvukova, pokreta, grimasa, čitanja fragmenta teksta (Jacques Derrida: Forcing the Subjectile39) i dr. To nam pomaže da se krećemo istim putem kao i autorka dok je produkovala ove radove stavljajući najpre sebe, a potom i posmatrače i ispod i iznad njih, između njihove ekranske slike i perceptivne aktivnosti prema kojoj smo usmereni. Sam rad je ovde proces, postupak njegovog nastajanja i oblikovanja u likovno i vizuelno delo. Proces nastanka rada sada je sam rad. Deo Deridinog teksta koji se izgovara u radu „Šta je subjektil“ glasi: Koncept pripada kodu slikarstva Videti napomenu 23.

plate and pressing. At the same time, they are placed away from the wall while being imprinted thereon like a shadow, like a semblance of something which is being real in the work of art itself, while at the same time being unreal in the space of the work. The other one is kinetic since it has an appearance of video works, which in essence, in this case, are not being as thought-out, but they have their syntax. These several video installations – “What is a Subjectile”, “Horizontal-Vertical”, “Sugar Life” and “Wow”, move the perception and cognition of an artwork in the direction of perception, recognition, and understanding of the primary visual elements – via fragments of image, shape, repetitious movements with an addition of equally rudimentary forms of the repetitions of voices, sounds, movements, mimics, readings of the text fragments (Jacques Derrida: Forcing the Subjectile39), et al. This enables us to traverse the same path as the artist herself during the creation of these works, putting first herself and then the spectators both under and above them, between their screen image and perceptual activity towards which we are being directed. Here, the work itself is a process, the procedure of its emerging and its being shaped into a pictorial and visual work. The process of the work’s emerging is the See footnote 23.

i odnosi se na ono što se na izvestan način nalazi ispod (sub-jectum) kao supstanca, subjekt ili sukubus. Smešten između onog sto je gore i onog sto je ispod, on je istovremeno i nosilac i površina, ponekad je takođe i materijal slike ili skulpture, sve ono između što može da se izdvoji od oblika kao i od značenja i reprezentacije... Ukoliko ovako vidimo stvari, uvereni smo da su ovi radovi Slobodanke Stupar svojevrsni vizuelni eseji nastali iz pojedinih tekstova Žaka Deride.40 Tako smo ujedno stigli i do početnih konstatacija iz prologa ovog napisa čime se ističe kreativno zaokruživanje njenog opusa.

work itself. The part of Derrida’s text which is being pronounced in the work “What is Subjectile” reads: The concept belongs to the code of painting and refers to that which, in a way, lies below (sub-jectum) as a substance, a subject or succubus. Placed between the above and the below, it is both a support and surface, sometimes it is also the material of a painting or a sculpture, everything within them, which may be distinguished from form, as well as from sense and representation… Looked at this way, we are convinced that these works by Slobodanka Stupar have been visual esseys of its kind originating from certain writings by Jacques Derrida.40 Thus we have also arrived at the initial ascertainments from the prologue of this essay pointing out at the creative rounding out of her opus. 53

More details about this may be found in the foreword of the catalog for the exhibit “Subjektil is Subjektil”, Sales Gallery “Belgrade” 2011.

Detaljnije o ovome videti u predgovoru kataloga izložbe „Subjektil je Subjektil“, Prodajna galerija „Beograd“, 2011.

NEKOLIKO ZAVRŠNIH NAPOMENA

Vizuelna umetnost se smatrala sredstvom za izražavanje doživljenog. Danas je ona, posebno u primeru rada Slobodanke Stupar, tehnološki kanal za prenošenje autorkinih optičkih senzacija i dekonstruisanih narativa. Na gledaocu je da posle primanja vizuelnog (i zvučnog) nadražaja rekonstruiše integrisani verbalni i vizuelni jezik izražen rečima, zvukom i pokretom. U tome mu pomaže izuzetna jednostavnost, zapravo čitljivost ovih radova koji komuniciraju na vizuelnoj osnovi s krajnje jednostavnim elementima. Njihovo razumevanje nije opterećeno tehnološkim ili značenjskim enigmama koje je Slobodanka Stupar vrlo svesno i vrlo prilježno izbegla, već je upravo na uspešno stabilizovanim osnovama smisla. Kako vidimo, centralni kreativni poriv Slobodanke Stupar je objedinjavanje reči i slike, proces stvaranja verbalne ikone, zapravo traganje za nečim što se nalazi između njih, ispod je kreativnog subjekta (sub-jektum) autora, a iznad značenja oblika, tj. njegove vidljive i retoričke pojavnosti. Tu se autorka potpuno naslanja na tumačenje dekonstrukcije jezika, sada prevedenog u sliku i vizuelnu predstavu koja gradi posmatrani prizor. A da li je dekonstrukcija u stvari preispitivanje? U ovom slučaju kreativne prakse očigledno da jeste. Jer, njome ne samo da se stvara određeno delo već se dovodi u pitanje ili naglašava značenje pojedinih reči

A FEW CLOSING REMARKS Visual art was considered as means for the expression of what is experienced. Today, especially in the case of Slobodanka Stupar’s work, it’s been a technological channel for the transmission of author’s optical sensations and deconstructed narratives. Upon their receiving the visual (and audio) stimuli, it is up to the spectators themselves to reconstruct the integrated verbal and visual language expressed by words, sound, and movement. What helps them to achieve that is an exceptional simplicity, i.e. readability of these works communicating on a visual basis with the simplest elements. Their understanding is not burdened with technological or semantic enigmas, which Slobodanka Stupar has avoided quite consciously and diligently, but resting precisely on successfully stabilized bases of the sense. As we can see, the central creative impulse of Slobodanka Stupar is the synthesis of the words and images, the process of creating verbal icons, in fact, a quest for something which is situated between them and is being below the creative subject (sub-jectum) of the author, while being above the meaning of the shape, i.e. its visible and rhetoric appearance. Here, the author leans fully on the interpretation of the deconstruction of the language, now translated into image and a visual representation constructing the sight which we are watching. But is the deconstruc-

izazivajući gledaoca da prekopava po vlastitim trezorima znanja, sećanja, osećanja... Slobodanka Stupar je uspešno izbegla sve moguće nesporazume oko smisla, što je svesno izostavljeno iz njenog dela, jer je on – smisao, već na prvi pogled, jednostavan, nimalno enigmatičan, provocira isključivo iskustva lagerovana u sećanjima i osećanjima posmatrača. U radovima ih umetnica usmerava prema elementarnom, prema prauzoru, praslici, prareči, prema često zaboravljenim ili potisnutim iskustvima davno uspostavljenih relacija sa svetom realnosti (dodirom, vidom, sluhom). A taj njen artificijelni svet je samo mapa mogućih kretanja kroz sećanja na prošlost, individualnu ili kolektivnu, umetničku ili prozaičnu, stvarnu ili izmaštanu, zaboravljenu ili duboko urezanu u iskustvu, kojom se možemo kretati u raznim pravcima a između onoga što je – napred i nazad, gore i dole, iznad i ispod, značenja i reprezentacije... U nameri da prekine konvencionalni način mišljenja o savremenoj grafici a time podstakne doživljaj vizuelne umetnosti kao evolucionom menjanju medija i formi, Slobodanka Stupar se bavila aspektima i mogućim inventivnostima nove umetnosti. Ovo je bilo njeno postignuće da se prikaže kako je recentno stvaralaštvo, koje je često opisivano kao opskurno i nerazumljivo, zapravo samo drugačije. U stvari, krajem XX veka savremena umetnost više ne deluje neobično, niti zagonetno. Ona ne samo da je postala prihvatljiva za većinu,

tion in fact an examinaton? In this case of creative practice, it evidently is. For it not only helps create a certain work, but it brings into question or stresses the meaning of certain words provoking the spectator to delve in their own treasuries of knowledge, recollections, and feelings… Slobodanka Stupar has succeeded in avoiding all posible misunderstandings about sense, which has consciosly been omitted in her work, since it has been – sense itself, at the frist glance being simple and not enigmatic in the least, provoking exclusively the experiences stored in the recollections and feelings of the spectator. In her works the artist directs them toward that which is elementary, towards the archetype, archeimage, archeword, towards often forgotten or suppressed experiences of relations established long ago with the reality realm (touch, sight, hearing). And this artificial world of hers is merely a map of possible directions for moving through reminiscences of the past, individual or collective, artistic or prosaic, real or imaginary, forgotten or deeply engraved in experience, whereby we can traverse in different directions between that which is – forward and backward, upward and downward, above and below, meaning and representation... In an attempt to challenge the conventional way of thinking about contemporary graphics and thereby encourage the experience of visual art as evolutionary changing of the media and forms, Slobo-

nego čak izgleda pomalo staromodno i zamoreno, barem u znalačkim krugovima koji su stalno čekali da se pojavi neka nova, avangardna originalnost. Put Slobodanke Stupar je izdržao ispit vremena i usput je na njemu ona napustila banalnost i običnost akademskog mišljena, kao što je stekla prednost različitosti koja je učinila da sama po sebi izgleda napredna. U stvari, uspešno je prevazišla tu istrošenu tradiciju koja je već dugo bila akademski zatvorena i odavno kodifikovana do svojevrsnog medijskog dogmatizma. Marsel Dišan je jednom rekao da slika umire posle 40 ili 50 godina, zbog toga što joj nestaje svežina. I grafika umire zbog toga. Mislim da grafika čak umire već posle nekoliko godina baš kao i čovek koji ju je načinio. Kasnije se to proglasi istorijom umetnosti. Tumači dela Slobodanke Stupar otkrili su koje su tačke u razvoju njene umetnosti pokazale neka posezanja u prošlost tragajući za metodom – mešavinom tehnika ili gestova, na primer, a zapravo je jasno upućivala da ona gleda napred, što joj je omogućavalo izuzetnu stvaralačku slobodu. I ona je tu imanentnu otvorenost umetnosti potpuno iskoristila. Prema tome, ukupni opus umetnosti Slobodanke Stupar izgleda kao dobra strategija za obnavljanje interesovanja za grafički rad koji je inaugurisao ono što se ispravno vidi kao moderna umetnost. Taj opus je obnovio svoju auru i emanaciju tako što se ovaj medij upotrebio na novi, autorski postavljen način. Ali da li je to

danka Stupar had dealt with aspects and possible inventivenesses of the new art. This was her achievement, displaying that recent creative output, having often been described as obscure and incomprehensible, is in fact only different. In fact, at the end of the 20th century, modern art does not come across as unusual or enigmatic any more. Not only that it has become broadly acceptable, but it almost looks a bit outdated and fatigued, at least in the connoisseur circles, having constantly been waiting for some new avant-garde originality to appear. The path of Slobodanka Stupar has endured the test of time, and while on her way, she had abandoned banality and ordinariness of the academic thought, just as she achieved the advantage of the differentiable, which in itself produced the image of being advanced. In fact, she had successfully overcome this wornout tradition, which has long been academically reserved and long since codified, having become a media dogmatism of sorts. Marcel Duchamp once said that a painting dies after 40 or 50 years because its freshness disappears. The graphics also die of same causes. I think that the graphics even die after several years, just like a human who has made it. Later on, this is pronounced history of art. The interpreters of the artwork of Slobodanka Stupar have discovered what landmarks in the development of her art have demonstrated certain reaching into the past on a quest for a method – mixture of techniques or gestures, for example,

Izložba u galeriji Red, Atina, 2009. Exhibition at Gallery Red, Athens, 2009

stvarno novo? Jeste, jer ne banalizuje i ne obesmišljava ono što je njime izraženo i koncepcijski jedinstveno realizovano. Ona grafikom, ili onime što je od nje ostalo, implicitno sagledava intrigantne reprize svakodnevnog artificijelnog sveta, kao da je nameravala da one izgledaju zagonetnije nego što jesu. Prikazi figura u njima su svojevremeno bili među najprovokativnijim u našoj umetnosti, među onima koji izdeljuju, rastaču, skrnave ili na drugi način iskrivljuju formu, ili oni koji je predstavljaju u položajima koji deluju nezamislivo zbog položaja ili načina otiskivanja čiji su razlozi za jednu vrstu kritike bili uznemiravajuće nejasni. U recentnoj umetnosti postoji

while she had clearly indicated that she is looking forward, which has enabled her to have exceptional artistic freedom. And she had used this immanent openness of the art to the full. Therefore, the total artistic opus of Slobodanka Stupar looks like a good strategy for the renewal of the interest in graphic work, having inaugurated that which has correctly been seen as modern art. That opus had renewed its aura and emanation by using this medium in a new way, according to each author’s own assumption respectively. But is this truly something new? Yes, it is, since it doesn’t banalize and it doesn’t rob of its meaning that which it expresses and realizes in a conceptually unique way. She uses the graphic, or what has left of it, to review implicitely the intriguing reruns of the everyday artificial world, as if she intended to make them look more enigmatic than they are. The images of the figures therein have at the time been among the most provocative in our art, among those who divide, dissolve, commit sacrilege, or in some other way distort the form, or those portreying them in the positions appearing unthinkable, due to the position itself or the mode of printing, while the reasons thereof for a critique of sorts had been disturbingly unclear. In the recent art there are countless representations like that – distortions and fragmenting of the clichés dominating the understanding of the contemporary figure or object – but the

bezbroj takvih prikaza – iskrivljavanja i fragmentisanja klišea koji dominiraju razumevanjem savremene figure ili predmeta – ali razlozi njihovog razvoja nisu bili dublje istraženi. Istaknuto je da moderni umetnik želi da izazove perceptivnu neodređenost i neizvesnost tako što nudi nove osećaje umesto da priča stare priče, čak i onda kada su one zbunjujuće protivrečne – zapravo, kada su postale vizuelne antinomije – bivajući unete u neku vrstu subjektivnih narativa. Ovo formalno, zapravo, tehničko objašnjenje njihove nelogičnosti uopšte ne opravdava očito promenjen karakter oblika, koji često izgleda raščlanjen, čak do tačke apsurdnosti, a nekada se nalazi na ivici dezintegracije da je u pomoć moralo da pritekne Deridino objašnjenje. Već smo se navikli na njih zbog upornosti Slobodanke Stupar, ali su oni zbog stalne evolucije i transformacija još uvek ostali prilično neobični, čak radikalni. Zbog toga je pitanje na koje možemo i nadalje tražiti odgovor u radovima Slobodanke Stupar – da li se današnja (i njena) umetnost stvara za sadašnje gledaoce ili možda za one koji će tek doći?

reasons for the development thereof have not been researched in depth. It has been pointed out that a modern artist wishes to provoke perceptive indefinitiveness and uncertainty by offering new senses instead of recounting the old tales, even when they are perplexingly contradictory – in fact, when they have become visual antinomies – being introduced into some kind of subjective narratives. This formal, and in fact, technical explanation of their illogicality does not justify in the least the evidently altered character of the shape, which often appears as disassembled to the point of absurd even, sometimes having been brought to the edge of disintegration, so that Derrida’s explanation had to come to the rescue. We had grown accustomed to them due to Slobodanka Stupar’s persistency, but due to their permanent evolution and transformations they have still remained rather unusual, even radical. Hence, the question that we can still continue to seek an answer to in the works of Slobodanka Stupar is – whether today’s (and her own) art is created for presentday spectators or maybe for those who are yet to come? Translated by Nevena Radošević

Kocka, 1985, foto Dinka Pignon Cube, 1985, photo Dinka Pignon

Molitvenik 1987. liveno gvožđe Prayerbook, 1987, cast iron 181 x 32 x 32 cm Zbirka likovne Kolonije Željezara Sisak, Hrvatska Collection of Art Colony Željezara Sisak, Croatia detalj / detail

RADOVI WORKS

OTISCI, GEST I MATERIJA

PRINTS, GESTURE AND MATTER

Finalno stanje ploÄ?a za grafiku Brisanje lika, 1983. Final status of the plates for the print Erasing of the image, 1983 4 x (65 x 50 cm)

Brisanje lika, poliptih 1983–1985. rezervaž, duboko ecovanje, akvatinta Erasing of the image, polyptich 1983–1985 reservage, deep eatching, aquatinta 152 x 570 cm / 5 x (152 x 114 cm)

Brisanje lika IV, 1983–1985. rezervaž, duboko ecovanje, akvatinta Erasing of the image IV, 1983–1985 reservage, deep eatching, aquatinta 152 x 114 cm

Dodir, 1985, kombinovane tehnike Contact, 1985, mixed technique 76 x 106 cm (65 x 100 cm)

Brisanje lika, 1983–1987, rezervaž, duboko ecovanje, akvatinta Erasing of the image, 1983–1987 reservage, deep eatching, aquatinta 135 x 105 cm

Htela bih da se popnem do crkve na brdu, 1987, rezerva탑, suva igla I would like to climb to the church on the hill, 1987, reservage, dry point 260 x 50 cm

Otisak, 1984, rezerva탑 Print, 1984, reservage 260 x 50 cm

Mera Ä?ovekova, 1987, kombinovane tehnike / Measure of a man, 1987, mixed techniques 195 x 185 cm

 9 x 2 > 18, 1985, bronza 9 x 2 > 18, 1985, bronze 169 x 9 x 9 cm

Između neba i zemlje, 1988, grafit, akril, štamparska boja na natronu Between heaven and earth, 1988, graphite, acrylic, graphic paint on kraft paper 190 x 90 cm

Između neba i zemlje, 1988. grafit, akril, štamparska boja na natronu Between heaven and earth, 1988 graphite, acrylic, graphic paint on kraft paper 190 x 90 cm

KAA! 1988, grafit, akril, štamparska boja na natronu KAA! 1988 graphite, acrylic, graphic paint on kraft paper 190 x 90 cm

Bez naziva, 1989. grafit, akril na natronu Untitled, 1989, graphite, acrylic, on kraft paper 190 x 90 cm

Strelac, 1989, grafit, akril, štamparska boja na natronu Archer, 1989, graphite, acrylic, graphic paint on kraft paper 90 x 190 cm

T-I-me, 1991, grafit, akril na natronu T-I-me, 1991, graphite, acrylic on kraft paper 90 x 80 cm

T-I-me, 1991, rezerva탑, suva igla T-I-me, 1991, reservage, dry point 107 x 76 cm (100 x 65 cm)

O vremenu, 1990, rezerva탑, suva igla About Time, 1990, reservage, dry point 107 x 76 cm (100 x 60 cm)

Strelac, 1990, rezerva탑, suva igla Archer, 1990, reservage, dry point 76 x 106 cm (60 x 100 cm)

KAA! 1989, suva igla, rezerva탑 KAA! 1989, dry point, reservage 106 x 76 cm (95 x 69 cm)

S, 1994, suva igla, rezerva탑 S, 1994, dry point, reservage 90 x 65 cm (74 x 54)

X, 1996, suva igla, rezerva탑 X, 1996, dry point, reservage 90 x 65 cm (74 x 54)

Y, 1996, suva igla, rezerva탑 Y, 1996, dry point, reservage 90 x 65 cm (74 x 54)

Između neba i zemlje, 1988. ulje na platnu Between heaven and earth, 1988 oil on canvas 180 x 140 cm

Raskršće, 1989, ulje na platnu Cross-section, 1989, oil on canvas 145 x 115 cm

RaskrĹĄÄ&#x2021;e/Crni krst, 1989, ulje na platnu, zbirka Savremene galerije, Zrenjanin Cross-section/Black Cross, 1989, oil on canvas, collection of Contemporary Gallery, Zrenjanin 140 x 140 cm

Krstovi / OmaĹž MaljeviÄ?u, 1989. ulje na platnu Crosses / Homage to Malevich, 1989 oil on canvas 145 x 345 cm / 3 x (145 x 115 cm)

Goloruk Storuk, 1989, ulje na platnu Bare-handed Hundred-handed, 1989 oil on canvas 180 x 140 cm

Ono što je levo i desno je u kružnom obruču jednog para ljudskih ruku (B. Mandić), 1991, ulje na platnu What’s on the left and on the right is embraced in the loop of a pair of human arms (B. Mandić), 1991 oil on canvas 140 x 140 cm

T-I-me, 1991, akril na platnu, zbirka Hajnca HeÄ?olda, Viten T-I-me, 1991, acrylic on canvas, collection Heinz Hetschold, Witten 100 x 90 cm

Rad u nastajanju, Atina, 1992. Work in progress, Athens, 1992

DRAMA DEVEDESETIH

THE NINETIES DRAMA

Door, 1992, laneno ulje, pigment na japanskom papiru Door, 1992, linseed oil, pigment on Japaneese paper 100 x 62 cm

Door, 1992, laneno ulje, pigment na japanskom papiru Door, 1992, linseed oil, pigment on Japaneese paper 102 x 70 cm

Door, 1992, laneno ulje, pigment na japanskom papiru i natronu Door, 1992, linseed oil, pigment on Japaneese paper and kraft paper 100 x 70 cm Museum Ludwig Cologne

Doors, 1992, laneno ulje, pigment na japanskom papiru Doors, 1992, linseed oil, pigment on Japaneese paper instalacija, dim. promenljive / installation, variable dim.

OT, 1992, laneno ulje, pigment na japanskom papiru i natronu OT, 1992, linseed oil, pigment on Japaneese paper and kraft paper 165 x 100 cm

OT, 1992, laneno ulje, pigment na japanskom papiru i natronu OT, 1992, linseed oil, pigment on Japaneese paper and kraft paper 135 x 100 cm

OT, 1992, laneno ulje, pigment na japanskom papiru i natronu OT, 1992, linseed oil, pigment on Japaneese paper and kraft paper 160 x 100 cm

OT, 1992, laneno ulje, pigment na japanskom papiru i natronu OT, 1992, linseed oil, pigment on Japaneese paper and kraft paper 150 x 100 cm vl./coll. Srđan Milak, Prague

Vertikala/Horizontala, 1993, ulje, pigment, japanski papir na kartonu Vertical/Horizontal, 1993, linseed oil, pigment on Japaneese paper and paperboard cca 275 x 310 cm

/1982. Vetroderine/ Vetroderine 1982. bakropis, akvatinta, 76 x 57 cm (50 x 65 cm)

Vertikalno/Prolaz, 1995, laneno ulje, pigment, japanski papir na kartonu, ogledalo Vertical/The Passage, 1995, linseed oil, pigment, Japaneese paper on paperboard, mirror cca 465 x 310 cm

Vertikala/Horizontala, 1996. ulje, pigment, japanski papir na kartonu, ogledalo Vertical/Horizontal, 1996 linseed oil, pigment, Japaneese paper and paperboard, mirror 290 x 465 x 400 cm

Jedro/Vetar, 1995. (str. a), laneno ulje, pigment na japanskim papirima, Muzej Zepter, Beograd The Sail/ The Wind, 1995 (side a) linseed oil, pigment on Japaneese paper, Zepter Museum, Belgrade 260 x 240 cm

Jedro/Vetar, 1995. (str. b), laneno ulje, pigment na japanskim papirima, Muzej Zepter Beograd The Sail/ The Wind, 1995 (side b), linseed oil, pigment on Japaneese paper, Zepter Museum, Belgrade 260 x 240 cm

Devet vrata u Ništa, 1995. laneno ulje, pigment na japanskom papiru Nine Doors to Nothing, 1995 linseed oil, pigment on Japaneese paper cca 200 x 600 x 90 cm

Pribli탑avanje, 1996, instalacija u BBK Keln, laneno ulje, pigment na japanskom papiru, ogledalo Approaching, 1996, installation at BBK Cologne, linseed oil, pigment on Japaneese paper cca 240 x 500 x 260 cm

Pribli탑avanje, 1996, instalacija u BBK Keln, laneno ulje, pigment na japanskom papiru, ogledalo Approaching, 1996, installation at BBK Cologne, linseed oil, pigment on Japaneese paper

ď ś Zid, 1995, instalacija u Rathaus Keln, laneno ulje, pigment, japanski papir, ogledalo Wall, 1995, installation at Rathaus Cologne, linseed oil, pigment, Japaneese paper, mirror cca 260 x 550 x 60 cm

Molitva, 1996, laneno ulje, pigment na japanskom papiru, votivni objekti, zbirka Hajnc HeÄ?old, Viten Prayer, 1996, linseed oil, pigment on Japaneese paper, votive objects, collection Heinz Hetschold Witten Germany 300 x 90 cm / promenljivo variable

Bez naziva, 1996, laneno ulje, pigment, japanski papir, ogledalo, Ä?eliÄ?na vuna, zbirka Jorgos Kostopulos, Atina Untitled, 1996, linseed oil, pigment, Japaneese paper, mirror, steel wool, collection Giorgos Kostopoulos, Athens 40 x 30 cm

Molitva 3K, 1995. laneno ulje, pigment na japanskom papiru, ogledalo, neon Prayer 3K, 1995, linseed oil, pigment on Japaneese paper, mirror, neon cca 280 x 180 cm

Molitva I, Molitva II, Molitva III, 1995-2000 laneno ulje, pigment na japanskom papiru Prayer I, Prayer II, Prayer III, 1995-2000 linseed oil, pigment on Japaneese paper 3 x (200 x 70 x 10 cm)

ď ˛ Collection Donopoulos, Greece

Haljina za let / Haljina za ostajanje, 1996, laneno ulje, pigment na japanskom papiru, Ä?eliÄ?na vuna, ogledalo Dress for flying / Dress for staying, 1996 linseed oil, pigment on Japaneese paper, steel wool, mirror cca 240 x 160 cm / cca 340 x 350 cm

Floating Identity, 2004, video instalacija na izlozbi „Brisanje“, Muzej 25. maj, Beograd Floating Identity, 2004, video installation at the exhibition “Erasing”, Museum 25th May, Belgrade

Ispred zida Vremena, 1997. Eleuzina, instalacija in situ, gaza, kamen, pozlata, pigment, staklo, nađeni objekti In front of Wall of Time, 1997 Eleusis, installation in situ, gauze, stone, gold leaves, pigment, glass, found objects

Ispred zida Vremena, 1997. Eleuzina, instalacija in situ In front of Wall of Time, 1997 Eleusis, installation in situ detalj / detail

Spirala/Vrtlog, 2001, bitumen na gazi, instalacija u galeriji Artforum, Solun Spiral/Whirlpool, 2001, bitumen on gauze, installation at Gallery Artforum, Thessaloniki 400 x 400 cm

Vrtlog, 2001, tuš na paus papiru, digitalni print Whirlpool, 2001, ink on tracing paper, digital print 30 x 20 cm

Vrtlog, 2001, tuš/akril na paus papiru, digitalni print Whirlpool, 2001, ink/acrylic on tracing paper, digital print 30 x 20 cm

SVEDOK

WITNESS

Svedok, 1999, digitalni print na gazi, čelik, zvučna instalacija Petar Marinović Witness, 1999, digital print on gauze, steel, sound installation Petar Marinović 160 x 190 cm

Svedok, 2000, digitalni print na pausu, staklo, Ä?elik, tekstil, paunovo pero Witness, 2000, digital print on tracing paper, textile, steel, peacock feather cca 190 x 40 x40 cm

Svedok, 2000, digitalni print na pausu, tekstil priv. zbirka GrÄ?ka Witness, 2000, digital print on tracing paper, textile Priv. collection Greece 100 x 120 cm

Svedok, 1999, digitalni print na pausu, staklo, Ä?elik vlasniĹĄtvo Marianna Ditsa, GrÄ?ka Witness, 1999, digital print on tracing paper, glass, steel collection Marianna Ditsa, Greece 28 x 42 x 36 cm

Svedok, 2000, digitalni print na tekstilu, Ä?elik, zvuÄ?na instalacija Witness, 2000, digital print on canvas, steel, sound installation 5 x (180 x 65 x 40 cm)

Svedok/Vrtlog, 2002. digitalni print na platnu Witness/Whirlpool, 2002 digital print on canvas 140 x 220 cm promenljivo / variable

Svedok, 2002, digitalni print na platnu Witness, 2002, digital print on canvas 120 x 270 cm promenljivo / variable

Svedok III, 2002, instalacija, video, lajtboksovi, tekstil Witness III, 2002, installation, video, light boxes, textile dimenzije promenljive / variable dim.

Svedok III, 2002, video Witness III, 2002, video detalji / details

Svedok III, 2002, instalacija, video, lajtboksovi, tekstil Witness III, 2002, installation, video, light boxes, textile dimenzije promenljive / dimensions variable

NOVI VEK, novi izazovi I ZAOKRUŽIVANJE

NEW CENTURY, new challenges AND ROUNDING OUT

Pišemo beleške, pisma, ideje, slogane,

Tekst je ispisan deset puta

molbe, zahteve, proteste, zaključke,

i to počevši sa vodom u kojoj

predloge, račune, zakone, ustave,

je rastvorena samo jedna kap

uputstva za upotrebu nekog hemijskog

crnog tuša, kako bi dodajući za

preperata kao što je boja ili deterdžent,

svako sledeće pisanje po nekoliko

ili za upotrebu neke mašine, recimo

kapi tuša i pojačavajući pritisak na

miksera ili kompjutera; pišemo nevino

četku, tekst postepeno postajao

i ignorantski, apsolutno nesvesni da

vidljiv, zatim čitljiv, da bi

dok to činimo u rukama držimo

se na kraju izgubio u

najveću od svih misterija: Slovo

misteriji crne teksture

Misterija Pisma, 1997, tuĹĄ na pausu, Ä?elik, tekst, Muzej grada Beograda Mystery of Letter, 1997, china ink on tracing paper, steel, text, Museum of City of Belgrade 75 x 23 x 26 cm

Γράφουμε ιδέες, σημειώσεις, γράμματα, ενστάσεις,

Το κείμενο έχει γραφτεί δέκα

συνθήματα, συμπεράσματα, διαμαρτυρίες,

φορές αρχίζοντας με πινέλο και νερό

αιτήσεις, λογαριασμούς, προτάσεις, νόμους,

με μόνο μια σταγόνα μαύρο μελάνι και

συντάγματα, οδηγίες για τη χρήση κάποιων

στη συνέχεια, προσθέτοντας σε κάθε επόμενο

χημικών, όπως μπογιά η απορρυπαντικό, η για

γράψιμο μερικές σταγόνες μελάνι και

τη χρήση μηχανών, όπως μίξερ η κομπιούτερ,

αυξάνοντας την πίεση στο πινέλο,

γράφουμε αθώα και ανίδεα, απολύτως ασυνείδητα

το κείμενο προοδευτικά γίνεται

ότι κάνοντάς το κρατάμε στα χέρια

αρχικά ορατό, κατόπιν ευανάγνωστο

μας το μεγαλύτερο απ΄ όλα

και τελικά χάνεται στο

τα μυστήρια : Το γράμμα

μυστήριο της μαύρης υφής

Misterija Pisma, 1998, tuš na pausu, čelik, tekst zbirka galerije Artforum, Grčka Mystery of Letter, 1998, china ink on tracing paper, steel, text collection of Gallery Artforum, Greece, 80 x 110 cm

Wir schreiben Nachrichten, Notizen, Beurteilungen,

Der text wird zehnmal hintereinander

Briefe, Rechnungen, Proteste, Slogans, Essays,

geschrieben, wobei anfangs nur ein Tropfen

Warnungen, Schlußfolgerungen, Vorschläge,

Chinesische Tinte im Wasser gelöst wird, und bei

Gesetze, Verfassungen, Anweisungen für den

jedem Mal mehr Tropfen Tinte zugefügt werden,

Einsatz eines Chemikalien, wie z.B. Farben oder

so daß er mehr und mehr sichtbar wird, bis er

Waschmittel; oder Maschinen, sagen wir einem

vollständig lesbar ist und dann infolge eines stetig

Mixer oder Computer; wir schreiben unschuldig

erhöhten Druckes der Hand auf den Pinsel Schritt

und ignorant, ohne überhaupt wahrzunehmen,

für Schritt im Mysterium der schwarze Textur

daß, während wir dies tun, wir in unserer Hand das

verschwindet, die am Ende mit Tinte geschrieben

größte aller Wunder halten: den Buchstaben.

ist, in der sich nur noch eine Spur Wasser findet.

Misterija Pisma, 1997. tuš na pausu, čelik, tekst, zbirka Akis Mihaelides, Grčka Mystery of Letter, 1997 china ink on tracing paper, steel, text Collection Akis Michaeledes, Greece 62 x 80 x 8 cm

We write notes, ideas, letters, slogans,

The text is written ten times

appeals, protests, applications, conclusions,

starting with a brush dipped in water

bills, suggestions, laws, constitutions,

containing only one drop of black ink,

instructions for use of certain chemicals

while on each subsequent writing

such as paint or detergent or for the

a few drops of ink are added and

use of machines like mixer or computer,

the pressure of the brush

we write innocently and ignorantly,

is increased so that the text

absolutely unaware that doing so we

progressively becomes at first visible,

are holding in our hands the greatest

then legible, finally to be lost in

of all the mysteries: The Letter.

the mystery of black texture.

Zatvoreno/Otvoreno, 1996. Galerija Kaos, Keln Closed/Open, 1996 Gallery Kaos, Cologne

Misterija Pisma, 2009, tuĹĄ na paus papiru, pleksiglas, Ä?elik, tekst Mystery of Letter, 2009, china ink on tracing paper, Plexiglas, steel, text 33 x 112 x 26 cm

Misterija Pisma, 2012, tuĹĄ na paus papiru, pleksiglas, Ä?elik, 5 pari tekstova Mystery of Letter, 2012, china ink on tracing paper, Plexiglas, steel, 5 sets of texts

Misterija Pisma / Zatvoreno Pismo, 1998. tuĹĄ na pausu, Ä?elik zbirka Bije Papadopulu Mystery of Letter / Closed Letter, 1998 china ink on tracing paper, steel Collection of Bia Papadopoulou 73 x 62 x 8 cm

Misterija Pisma, 2000. tuĹĄ na pausu, Ä?elik Mystery of Letter, 2000 china ink on tracing paper, steel 73 x 62 x 8 cm

Između alfa i omega, 1998. tuš na paus papiru, čelik, zvučna instalacija Between alpha and omega, 1998 china ink on tracing paper, steel, sound installation 26 x 140 x 40 cm

Između alfa i omega, 1998. tuš na paus papiru, čelik, zvučna instalacija, izložba u Red galeriji, Atina, 2009. Between alpha and omega, 1998 china ink on tracing paper, steel, sound installation, exhibition at Gallery Red, Athens, 2009.

Misterija Pisma, 2001, uljana boja na japanskom papiru, svetiljke Mystery of Letter, 2001, oil paint on Japaneese paper, lamps dim. promenljive / variable dim.

Izlo탑ba u Galeriji Artforum, Solun, 2001. Exhibition at Gallery Artforum, Thessaloniki, 2001

9 x 2 > 18, instalacija u galeriji Titanium, Atina, 2004, bitumen, staklo 9 x 2 > 18, installation at Gallery Titanium, Athens, 2004, bitumen, glass 310 x 90 x 80 cm

9 x 2 > 18, 2004, detalj / detail

Izlo탑ba u Galeriji Artforum, Solun, 2006. / Exhibition at Gallery Artforum, Thessaloniki, 2006

Nivo pojmova, 2006, staklo, drvo Level of Concepts, 2006, glass, wood 32 x 32 x 20 cm

More pojmova, Time is Now na izlo탑bi u galeriji Red, Atina, 2009. More Concepts, Time is Now exhibition at Gallery Red, Athens, 2009

Time is Now, detalj / detail

More pojmova, 2006, instalacija u Red galeriji, Atina, 2009. More Concepts, 2006, installation at Gallery Red, Athens, 2009

More pojmova, detalj More Concepts, detail 35 x 20 x 20 cm

More pojmova, 2006. More Concepts, 2006

Hronika, 2006, digitalni print na platnu, zvuÄ?na instalacija Chronicle, 2006, digital print on canvas sound installation dim. promenljive / variable dim.

Forcing the Subjectile, 1997. triptih i objekat, akril, grafit na platnu, Ä?elik, Muzej grada Beograda Forcing the Subjectile, 1997 tryptych and object, acrylic, graphite on canvas, steel, Museum of City of Belgrade 3 x (114 x 104 x 6) cm, 98 x 45 x 32 cm ď ś

detalj / detail

Forcing the Subjectile, 1997, triptih, akril, grafit na platnu, Ä?elik, Muzej grada Beograda Forcing the Subjectile, 1997, tryptych, acrylic, graphite on canvas, steel, Museum of City of Belgrade 3 x (114 x 104 x 6) cm

No point of folly, 1997, akril, grafit na platnu, Ä?elik No point of folly, 1997, acrylic, graphite on canvas, steel 114 x 104 cm

No point of folly, 1997. akril, grafit na platnu, Ä?elik, Pinakoteka grada Pireja No point of folly, 1997 acrylic, graphite on canvas, steel, Municipal Pinakothek of Piraeus 114 x 104 cm

Miler & Seferis â&#x20AC;&#x2122;39, 1998. akril, grafit na platnu Miler & Seferis â&#x20AC;&#x2122;39, 1998 acrylic, graphite on canvas 160 x 140 cm

 Šta je Subjektil, izložba u galeriji Red, Atina, 2009. What is Subjectile, exhibition at Gallery Red, Athens, 2009

Sedam dana, 2009, detalji, tuš na paus papiru, nađeni objekti, inoks, pliš, pleksiglas, zbirka Slobodana i Dijane Stupar, Banja Luka Seven Days, 2009, details, china ink on tracing paper, found objects, inox, velvet, Plexiglas collection Slobodan & Diana Stupar, Banja Luka 7 x ( 30 x 30 x 10 cm)

Ĺ ta je Subjektil, 2009. What is Subjectile, 2009 detalj / detail

Jedinstveno telo dela u svom prvom pojavljivanju pri njegovom rođenju (Žak Derida), 2011. grafika, kombinovane tehnike The unique body of the work in its first emergenc at its birth (Jacques Derrida), 2011 print, mixed technique 50 x 70 cm (40 x 70 cm)

Šta je Subjektil, 2011. video, instalacija na izložbi u Prodajnoj galeriji „Beograd“ What is Subjectile, 2011 video installation at the exhibition in Sales Gallery “Beograd”

Šta je Subjektil, izložba u Prodajnoj galeriji „Beograd”, 2011. What is Subjectile, exhibition at Sales Gallery “Beograd”, 2011

Horizontala/Verticala, 2007. Horizontal/Vertical, 2007 video 0:07:42

Ĺ ta je Subjektil, 2007. What is Subjectile, 2007 video 0:05:55

WOW, 2009 video 0:13:58

Sugar Life, 2011 video 0:02:52

Floating Identity, 2004. video, 0:06:52 Instalacija na izlozbi “Brisanje” Muzej 25. maj, Beograd Installation at the exhibition “Erasing” Museum 25th. May, Belgrade

OT, 2012 video 0:09:04

Izlo탑ba u Galeriji ULUS, Beograd, 2012. Exhibition at Gallery ULUS, Belgrade, 2012 detalj/detail

Izlo탑ba u Galeriji ULUS, Beograd, 2012. Exhibition view, Gallery ULUS, Belgrade, 2012

APPENDIX

Josip Depolo 1982.

Slobodanka Stupar nije se slučajno priklonila grafici, ona je autentični grafičar sa svojim načinom razmišljanja, gledanjem na slikarstvo sa svojim nervom, sa svojim nemirima i radoznalošću. Nije mi poznato njeno štafeljno slikarstvo (po tome zaključujem koliko smo se udaljili i izgubili kontakte!), ali pouzdano znam da su njeni listovi izvedeni s velikom brižljivošću i izuzetnom zanatskom vještinom, rijetki gosti na našim izložbama grafike. Šta bi trebalo biti ono tako izuzetno u Slobodankinoj grafici? Njeni listovi nisu ni dopadljivi ni upadljivi, prije su, rekao bih, prestrogi, nekomunikativni, s obilježjima pedanterije i discipline. Sve su ove radne osobine, jasno, neatraktivne za (široku) publiku, i od njih je zaista teško tražiti uspjeh. Za mladog slikara bio bi to hendikep ukoliko nije, kao Slobodanka, bezrezervno privržen svojoj slikarskoj opsesiji. Slobodanka je opsjednuta motivom mora, i otoka (krša): to su, u stvari, jedini njeni motivi i ona ih ne promatra okom turiste. Ovi će njeni motivi vrlo često biti prepoznatljivi (Vječita obala, 1979), ali u krugu njenog stvaralačkog interesa ova je

Slobodanka Stupar has not accidentally opted for graphics; she is an authentic graphic artist with her way of thinking, her views of painting with her mindset, her restlessness and curiosity. I am not familiar with her easel painting (which indicates to me how much we have grown apart and lost contact!), but I know for sure that her graphic sheets, executed with great care and exceptional artistic skill are rarely seen in our graphic exhibitions. What would be so exceptional about Slobodanka’s graphics? Her graphic sheets are neither appealing nor striking; they are rather stern and noncommunicative, displaying the marks of meticulousness and discipline. These traits of her artifice are clearly unattractive to the (broader) public and it would be difficult to expect them to succeed. This would be a stumbling block for any young painter, had they not been as relentlessly devoted to their pictorial obsession as Slobodanka. Slobodanka is obsessed with the motive of the sea and islands (karst); in fact, these are her only motives and she is not observing them with the eye of a tourist. These motives will often be regarded as her feature marks (Eternal Coast, 1979), but within the scope of her artistic interest, her being recognized for such motives becomes marginal. The painter herself

prepoznatljivost marginalna, slikarica je potpuno preokupirana samo jednim problemom: kako pokoriti (grafičku) materiju, kako i kojim sredstvima na istom listu, na istoj podlozi postići tvrdoću kamena (Sanjam li kamen... 1982) i mekoću vodene mase, prozračnost atmosfere, sipljivost svjetla (Okamenjena svjetlost, 1979). U ovim svojim traženjima Slobodanka je nepopustljiva, s iglom u ruci, ona djeluje erozivno na bakrenu ploču, s upornošću vjetra i kiše, tvrdoglavošću vremena. Na njenim listovima nijedan djelić površine ne ostaje „neobrađen“ ili prepušten slučajnosti, čitavu površinu ona „obrađuje“ brižno i uporno, dugo i strpljivo, kao pasionirani grafičar. Na taj način njeni grafički listovi postaju svečanost za ruku i za oko.

is solely preoccupied with one problem: how to subdue (graphic) matter, how and with what means to achieve the hardness of stone (Do I Dream about the Stone... 1982), the softness of the body of water, the transparency of atmosphere and the flickering light (Petrified Light, 1979) – on a single sheet, in the same graphic. In these quests, Slobodanka is unyielding; thus holding the needle in her hand, she erodes the copper plate with the persistence of the elements and the stubbornness of time. In her graphic sheets, not even a tiny bit of the surface may be left “unprocessed” or left to chance; she “processes” the entire surface carefully and persistently, and for a long time, with patience, as a truly passionate graphic artist. Thus her graphics become the celebration for the hand and for the eye.

Oko, 22. VII – 5. VIII 1982

Oko, 22 July – 5 August 1982 Translated by Nevena Radošević

Grafike / Etchings 1977â&#x20AC;&#x201C;1982

Kosta Bogdanović 1985.

Sopstveno telo kao objekat operativno-meditativnog okružja nije nepoznanica u savremenoj umetnosti. Pitanje je (kao i za svako kreativno opredmećenje) koliko ono prepoznaje i doseže sopstvenu autentičnost onda kada između subjekta i objekta posreduje kroz umetničku zbilju i kreativnu sugestivnost koju i drugi mogu prepoznati. Saopštavanje umetničkih namera putem vlastitog ili tuđeg tela, nakon poetika umetnosti nastalih šezdesetih godina, čini danas svaki sličan poduhvat odgovornijim jer je ta oblast delovanja dovoljno ušla u konvenciju novije umetničke prakse. Upravo kritičko stanovište prema umetnosti „upotrebe tela“ bilo koje vrste danas sve više ima za okosnicu personalni stav umetnika u opštem pojmu „rad sa telom“. Zbog toga je važno uočiti stepen individualnosti u samoviđenju Slobodanke Stupar, koja je ovu seriju otisaka vlastitog tela objedinila grafikom i skulpturom. Treba takođe odmah reći da to nisu „Antropometrije“ klajnovskog (Yves Klein) tipa. Značenjska osnova otisaka njenog tela na dvodimenzionalnu ravan i oko mase trodimenzionalno oformljene meke gline (Klajn nikada

One’s own body as an object of an operative-meditative environment is not an unknown in contemporary art. The question is (as in the case of every creative objectification) to what extent does it recognize and reach its own authenticity at the moment when between subject and object it mediates through artistic reality and creative suggestivity that others are capable of recognizing. The communication of artistic intentions via one’s own or another body makes such an undertaking, now, after the poetics of arts in the sixties, more responsible since this field of activity has sufficiently stepped into the conventions of new artistic practice. The critical stance toward art of “the use of the body” of any kind today has as its fulcrum more and more in the personal attitude of the artist in the framework of the general conception “work with the body”. It is therefore important to realize the degree of indi viduality in the self-vision of Slobodanka Stupar, who has united this series of prints of her own body with graphics and sculpture. One should also say that these are not “Anthropometrics” of a Kleinian type (Yves Klein). The signifying basis of the prints of her body on a two-dimensional plane and

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nije otiskivao svoje telo) leži u konkretumu sebe-ženskog tela u odnosu na arhetipske atribute muškolike forme (kocka gline) na kojoj telo umetnice ostavlja svoj trag. To je neka vrsta „Stvaranja Adama“ vlastitom formom i energijom čijim preuobličenjem iz anonimne forme zemlje nastaje forma statusnog znaka ženskog principa – živog tela. Ovekovečujući delove svog živog obličja, ona „budi“ usnulu muškoliku amorfiju mrtvog materijala. Taj vid „čudotvornog dejstva“ živog na neživo čija zbilja događanja ima za posledicu ideju o trajnoj pratnji predmeta njegovom senkom, s tim što je sada predmet (neživi oblik) s trajnim ožiljcima od spoljnjeg dejstva živog tela, a samo telo umetnice – senka koja „posuđuje“ sebe svim sadašnjim i budućim oblicima. Paralelni rad na otiskivanju vlastitog tela, u grafici i skulpturi, u ovom slučaju jeste suštinsko jedinstvo jednog htenja čiji princip vizuelnog ospoljavanja „postvaruje“ telo na isti način kojim otisnuta stvar „pamti“ živu telesnu formu kao svoj prauzor. U ovim radovima takođe je važno imati u vidu stepen znakovno likovne nadgradnje nad onim što se zna o naturalističkoj formi živog tela koje nije sebe doslovno prenelo na grafički list ili oblik meke gline. Granice u kojima telo otiskom nije izgubilo svoj osnovni lik, a u kojima je taj otisak više primeren smislu postojanja tela nego što ga izravno predstavlja, čine personalno ishodište jednoj zanimljivoj praksi u savremenom likovnom iskustvu. To je

around a three-dimensional mass of formed soft clay (Klein never printed his own body) lies in the concreteness of the self-woman’s body in relation to archetypical attributes of male-looking forms (clay-cube) on which the body of the woman-artist leaves its imprint. It is a sort of “creation of Adam” with one’s own form and energy by the transformation of which there arises from the anonymous form of earth a form of status sign of the woman principle — the living body. By eternizing parts of her living self she “wakens” the sleeping male-looking amorphousness of the dead material. It is a sort of “miraculous action” of the living unto the non-living whose reality has as a con sequence the idea of the constant following of the object by its shadow; only now the object (the nonliving object) has everlasting scars of the external action of a living body, and the very body of the artist is the shadow that “lends” itself to all contemporary and future forms. Parallel work on the printing of one’s own body in graphics and sculpture is in this case the resulting essential unity of a will whose principle of visual externalization “reifies” the body in the same way as the printed thing “memorizes” the living bodily form as the arch-model. In these works it is( also important to bear in mind the degree of artistic sign superstructure over what is known about the naturalistic form of the living body that has not literally transposed itself onto a graphic or a form of soft clay. The limits in which the body by its printing has not lost its basic appearance, and within which

osnovno spoljnje obeležje radova izloženih na ovoj izložbi Slobodanke Stupar. Suptilnije ulaženje u ovakav koncept otkriva dinamiku u svim posledicama utiskivanja i otiskivanja delova tela na masu i površinu. Razgovetnost otisaka prvih grafičkih sekvenci (skoro uvek nekoliko otisaka čine jednu celinu) jasno začinje i put gubljenja, brisanja, zaborava elementarnih kontura i jasnoću površine otisnutog tela do rastapanja ploče (pa, prema tome, i detalja telesnosti) na kojoj završni otisak skoro više ništa ne duguje prvobitnom spoju tela i ploče. Zbog toga telo postaje oblikom impuls jednoj posebnoj „agresiji“ nagrizanja ploče, pri čemu se tek tada, kada telo svojim elementarnim ličenjem dospe u „samozaborav“, rađaju sekvence grafičke amorfije. Od tog momenta ploča postaje vid najdirektnijeg stanja materijalne stvarnosti koja se toliko istrošila da jedva može izdržati pritisak valjka prilikom otiskivanja poslednjih sekvenci grafičkih listova. Kao što je intimno ritualni zov tela i materije u početnoj fazi otisaka obelodanjen u svojevrsnoj tišini i samoći, tako je i završnica poslednjih sekvenci grafičkih listova dospela do faze znakovnosti totalne destrukcije kojom su obelodanjeni zaborav i ponovna čežnja za prvobitnim stanjem svoga pojavljivanja. Ima nečega u tome bliskog s ovovremenim kulturnim statusom starih fresaka; što su starije i manje očuvane, raste svest o dragocenosti njihovog zatečenog fizičkog ostatka za sadašnjost i budućnost. Kategorija vreme

that prim is more adapted to the sense of the existence of the body than to the fact that this print represents the body directly — make up the personal starting point of an interesting practice in contemporary artistic experience. This is the basic external characteristic of the works of Slobodanka Stupar shown in this exhibition. A more subtle view of this conception reveals a dynamic in all the consequences of imprinting and printing parts of the body onto a mass or a surface. The distinctiveness of prints in the first graphic sequences (nearly always several prints make up a whole) clearly opens the way to the disappearance, erasing, forgetting of the elementary contours and clarities of the surface of the printed body all the way to a dissolution of the plate (and hence of the details of bodylines) on which the remaining prints do not owe practically anything to the first contact of body and plate. That is why the body through form becomes an impulse for a specific aggression to the dissolution of the plate. It is then, when the body with its elementary likeliness arrives at the point of “self-forgetting”, that sequences of graphic amorphousness appear. From that point on the plate becomes an aspect of the most direct state of material reality that is so consumed that it can barely stand the pressure of printing roller during the work with the last sequences of graphics. As the intimate ritual call of the body and material are revealed in the initial phase of printing in a specific silence and solitude, so the end of the last sequences

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u novijem delu Slobodanke Stupar je važan parametar za prepoznavanje procesa transformacije lika vlastite telesnosti, što postaje činilac i vlastite poetike kojom posredno predstavlja svoje telo. Indikativi, koji ukazuju na to da je telo vizibilno uprisutnjeno tamo i tada kada ga stvarno nema, upotpunjuju nekoliko njenih skulptura na kojima su otisnuti tragovi spoljnjeg dejstva tela, mesta i vremena, istovremeno predstavljaju činioce živog prema neživom, u čemu je skoro doslovno uspostavljena veza s problemom otisaka tela na grafičku ploču. To je krug iste putanje s bogatstvom vlastitih iskustava koja se na tom putu sama permanentno umnožavaju.

of printed graphics arrives at a phase of signification of the totality of destruction by which forgetting and a renewed propensity for the primordial state of its appearance are revealed. There is something akin in this to the contemporary status of old frescos; the older and the less conserved they are, the greater the consciousness of the value of their actual present physical appearance as remainder for present and future. The category of time in the later works of Slobodanka Stupar is an important parameter for the recognition of processes of transformation of the appearance of her own bodylines, it also becomes a factor of her own poetics by which she indirectly presents her body. Indications that point to the fact that the body is visibly made present there and then when it really is not there, are given by her sculptures on which the traces of external actions of her body, place and time are printed, but represent at the same time factors of a relation of the living to the nonliving by which a relation is, nearly literally, engendered with the problem of the print of the body onto the graphic plate. This is a circle of the same trajectory with a richness of experience that are permanently multiplied by themselves on that path. Тranslated by Ivo Vejvoda

Žana Gvozdenović 1986.

GRAFIKE SLOBODANKE STUPAR Smisao svojih grafika Slobodanka Stupar nalazi u delanju, u shvatanju umetnosti kao akcije, u živom odnosu sa sopstvenim okruženjem, s prostorom i prirodom, koji se tokom godina menjao da bi se, u sadašnjem trenutku, koncentrisao na vizuelno zahvatanje isključivo onog prostora koji zauzima sopstveno fizičko biće, na posmatranje sopstvenog kretanja i beleženje tragova tog kretanja kao iskonskog obeležja života. Ovde se ovaploćuje ideja po kojoj se opažaj i pojam međusobno oživljavaju i osvetljavaju, otkrivaju kao dva vida jednog istog doživljaja.1 U ranijim radovima vlada istovremeno intelektualan i emotivan odnos prema motivu, prema kamenu. Kamen nije više samo elementarni materijal prirode od koga je priroda sačinjena i od koga se gradi – svoja kuća, svoj svet – već postaje živi kamen. Stvaralačko razaranje kamena. Postupno, sve do stvaranja novog kamena u sopstvenom aktivnom gledanju, kamena u kome su sadržani emotivna snaga, istrajnost, upotrebljeno vreme i iskustvo. Rascep u kamenu predstavlja strah od ataka na jedinstvo svesti i ličnosti. U sazrevanju dela, uporednom sazrevanju ličnosti konstituiše se poetika procesualnosti: beleži se sam proces kao likovni čin uz paralelno traganje za najboljim likovnim stanjem ploče. Slobodanka Stupar insistira R Arnheim, Visual thinking, Faber, London, 1970.

PRINTS OF SLOBODANKA STUPAR The meaning of her prints Slobodanka Stupar finds in activity in understanding art as action, in a live relationship with her environment, with space and nature. This relationship has undergone changes through years, becoming presently focused on the visual coverage of the space exclusively occupied by her own physical being, on the contemplation of her own movement and on recording the traces of this movement as a primordial property of life. Therein she embodies the idea according to which perception and concept mutually enliven and illuminate them selves, revealing themselves as two aspects of one and the same experience.1 In her earlier works she displays simultaneously an emotional and intellectual relationship toward the theme, toward stone. Stone is no longer only an elemental material of nature, out of which nature is made and out of which it is being built: one’s own house, one’s own world; it already becomes a live stone. Creative destruction of stone. Gradually, until a new stone is created in her own active looking, a stone containing emotional power, perseverance, experience and time used. The split in stone represents the fear from attack on the unity of awareness and personality.

R. Arnheim: “Visual thinking”, Faber, 1970. London.

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na korišćenju slučajnosti i na usmeravanju samog slučaja. Upornim, ponovnim ecovanjem iste ploče ona „snima stanja trošenja ploče“. Otisci stopala: korak napred, iskorak, odlučujući korak, kretanje iz mesta… znaci su na putu, obeležavaju ga kao pravi put, označavajući da je neko već prošao, usmeravaju. Traganje za sopstvenim putem, beleženje tog hoda. Bosa noga, telesna, prisna povezanost s tlom, zemljom, kamenom, strukturom. Ostavljanje traga postojanja suštinski ljudskog u ne-ljudskoj prirodi. Otisci ruke: trag delanja, ruka koja stvara i razara, ruka na koju se oslanja i kojom se oslanja, ruka koja „misli“ i „oseća“… mandala od ruku, zatvaranje kruga rukom, vraćanje sebi, samopronalaženje u sebi. Sopstveni krug rukom. Otisci tela, sopstveno biće kao telo, osećaj celokupnosti, sjedinjenosti sa sobom i s prirodom. Telo kao da je sada postalo bremenito svim onim stenama koje pucaju, prostorom koji one obuhvataju kada postaju planine, te samo postaje planina, kamen i prostor, ili u igri metamorfoza opet postaje samo krhko telo, ali sa sopstvenim otiskom zabeleženim na efemernom papiru koji će ipak trajati čuvajući autorski trag jedne volje da jeste i dokaz te volje. Otisci i tragovi na izvestan način predstavljaju suprotnost prethodnom „radu u kamenu“, kada je Slobodanka imala potrebu da prenese tragove svojih unutrašnjih vibracija dugotrajnom obradom ploče. Ona sada odbacuje svako posredništvo. Sazreva ideja direktnog ostavljanja traga sopstvenog postojanja. Pomišljamo na smisao ostavljenih tragova ruke pećinskog čoveka. Insistiranje

In maturation of her work, concurrently with maturation of her personality, the poetics of processuality is constituted: the very process is recorded as a creative act with parallel search for the best artistic status of the plate. Slobodanka Stupar insists on using accidental events and on directing them. With persistent, repeated etching of the same plate she “records the states of the plate’s wearing out”. Footprints: a step forward, a step ahead, a decisive step, movement from place... these are the signposts on the road, marking it as a right road-way, signaling that somebody has already passed by, giving directions. Search for her own way, recording her own gait. Bare foot, carnal, in close attachment with the soil, stone, structure. Leaving a trace of existence, essentially human in non-human nature. Hand prints: trace of activity, the hand which creates and destroys, the hand on which she relies and on which she leans, the hand that “thinks” and “feels”... A mandala made of hands, closing the circle with hand, return to herself, finding herself in her own self. Her own circle by hand. Body prints: her own being as a body, the feeling of totality, union with herself and with nature. It is as if the body has become pregnant with all those bursting rocks, with the space enclosed by them when they grow into mountains and the body itself becomes a mountain, stone and space, or, in a game of metamorphosis, it turns again into a fragile body, but with its own prints recorded on ephemeral paper, which will nevertheless last on, keeping the artist’s trace of will to be and a proof of that will.

na ličnom pristupu obradi ploče i traženje onog jedinstvenog, samosvojnog i neponovljivog odnosa prema ploči dovodi čak i do njenog potpunog razaranja, do stvaranja rupe u ploči, što sugeriše prolaženje kroz ploču, na „drugu stranu ogledala“, osvajanje nove dimenzije. Mukotrpna, dugotrajna obrada ploče prve faze u tesnoj je vezi s ovim sadašnjim „mučenjem“ ploče koju autor razara kiselinom prateći i beležeći njena stanja koja se više ne mogu ponoviti (pošto se sukcesivno ecuje jedna ista ploča) sve dok se ne dospe do onog krajnjeg stanja ploče koje zadovoljava autora kako po svojim likovnim vrednostima, tako i po fizičkom stanju već krajnje istanjene ploče. Sve one likovne vrednosti nekad brižljivo gajene i čuvane na listovima „s kamenjem i stenama“ tražene gradacije marljivo slagane u bogate fakture sada izviru iz samog slučaja koji se kultiviše do one

In a certain way, prints and traces are in contrast to her previous „work in stone” when Slobodanka Stupar had a need to transmit the traces of her inner vibrations through a long-lasting plate processing. Now; she rejects any mediation. The idea of leaving a direct trace of her own existence has matured – en association of idea of the hand prints left by the caveman. Insisting on a personal approach to the plate processing and searching for the unique, independent and inimitable relationship with the plate, has led to the plate’s even being completely destroyed, to creating a hole in it suggesting a passage through the plate, “through the looking-glass”, conquest of a new dimension. Painstaking, time-consuming pro cessing of the plate in her previous phase is closely connected with this present plate “torture” which is being destroyed by the artist with acid, monitoring and recording its states which cannot be repeated (since one and the same plate is etched successively), until she reaches the final state of the plate satisfactory to the artist both in its artistic values and in the physical state of extremely thinned-out plate. All those artistic values carefully cherished before and kept on sheets “with stones and rocks”, the gradations sought-for and meticulously arranged into rich structures, now spring from the very accidental event cultivated to the point when it almost ceases to be an accidental event. Observing and “catching” an accidental event, it is not a mere game, but gradually grows into a system. The accidental arrangement of spots recorded

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tačke kada skoro prestaje da bude slučaj. Posmatranje i „hvatanje“ slučaja nisu puka igra već postepeno prerastaju u sistem. Slučajni raspored mrlja zabeležen baš u trenu kada najviše odgovara senzibilitetu umetnika deluje kao preuveličani segment onog ranije minuciozno rađenog „kamena“. Ne samo preuveličan već i agresivan i nametljiv. Po svome emotivnom naboju, sadašnja dela su suprotna introvertiranim prekapanjima po lavirintima sopstvenog bića prepoznatim na ranijim grafikama. Međutim, već tada možda se moglo naslutiti, bar po formatima gromada koje su obrađivane, da sledi otvaranje ka svetu, skoro egzibiciono pokazivanje sebe i svog jedinstvenog, najindividualnijeg postojanja, direktnog otiska sopstvenog, fizičkog tela korišćenog istovremeno i kao umetnički predmet i kao sredstvo kojim se radi. Ova dela nastala su iz neposrednog impulsa života njihovog stvaraoca. Umetnost je ovde shvaćena kao neprekidan podstrek za preispitivanje umetnikovog mentalnog i fizičkog postojanja. Autor postaje isključivi protagonista sopstvene umetnosti, integrisan u aktuelnosti, u vremenu i prostoru, okrenut sopstvenom, izvornom, osetljivom ljudskom biću.

at the very moment it suits best the artist’s sensibility, impresses on as an exaggerated segment of the previously minutely processed “stone”. Not only exaggerated, but also aggressive and intrusive. In their emotional charge her current works are the opposite of introverted probing into the labyrinths of her own being recognizable in her earlier prints. However, even than it was possible to surmise, at least by the sheer sizes of large rocks she had processed, that her opening towards the world was following, and almost exhibitionistically showing herself and her unique, most individual existence, direct print of her own physical body, used simultaneously as an object of art and as an artistic medium. These works have come into being from spontaneous impulses of the artist’s life. Art is here understood as a permanent impetus for re-examination of the artist’s mental and physical existence. The artist becomes an exclusive advocate of her own art, integrated into the actual time and space, turned to her own, authentic, sensitive human being. Тranslated by Petar Vujičin

Ljiljanа Ćinkul 1990.

Na svojoj prvoj samostalnoj izložbi, održanoj pre deset godina u Beogradu, Slobodanka Stupar se predstavila ciklusom grafika posvećenih moru, u kojem je dominiralo interesovanje za sadržaj doživljenog, označeno, u prvom redu, kao studija realnih oblika. U svom umetničkom sazrevanju Slobodanka Stupar je težila suštinski idejno bogatijem i raznovrsnijem izrazu; ne mireći se s postignutim, ona se opredelila za slobodniji, ali i neizvesniji stvaralački prostor u kojem je, prvo, u samom grafičkom mediju promenila prepoznatljivu ikonografiju svojih radova. Nalazeći da joj direktno i spontano izražavanje stvara doživljaj beskonačnog, novog prostora u kojem je čovekova prisutnost izražena neposredno, kroz čitljive tragove otisnutog tela, ona se okreće konkretnom ispoljavanju u kojem su ekspresija oblika, linije i materijala njen osnovni postulat. Tako, Slobodanka Stupar u svoj rad uključuje sopstveno telo kroz akciju fiksiranja njegovih tragova, upotpunjavajući ovaj akt procesom dalje dogradnje grafičkog lista, tj. grafičkih poliptiha. Ovako konkretizovan likovni postupak neposrednog beleženja na cinkanoj ploči – grafičkoj matrici, zahtevao je dijaloško otvaranje ka drugom materijalu koji po svojoj medijskoj suštini manje sputava. Moć još direktnijeg angažovanja umetničkim činom Slobodanka Stupar je

At her first solo exhibition, held in Belgrade ten years ago, Slobodanka Stupar had presented her artwork comprising series of graphics dedicated to the sea, displaying a dominant interest in the content of the experience, designated primarily as a study of realistic forms. In her artistic development, Slobodanka Stupar had strived to achieve an essentially more abundant and more differentiated expression; not being satisfied with what was achieved, she chose a more liberal, albeit less certain creative sphere, changing at the very beginning in the graphic medium itself the distinctive iconography of her works. Finding that a direct, spontaneous expression creates for her an impression of experiencing an infinite new space, where human presence is expressed through immediate means, namely discernible traces of body prints, she turns to concrete manifestation, where the expression of form, line, and material constitutes her basic postulate. Hence, Slobodanka Stupar includes her own body in her work by pinning down its traces, completing this act by the process of further upgrading of the graphic sheet, i.e. graphic polyptychs. Having thus assumed a concrete form, the artistic process of direct recording on a zinc plate – graphic matrix required the opening of a dialogue directed towards

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ostvarila u slobodnoj skulptorskoj formi ostavljajući, ovoga puta, u glini direktne otiske tela. Ovaj problem u kojem je suština u markiranju trenutka, a fiksirani vizuelni tragovi svedoče o samoj akciji odslikavanog, dobrim delom je sagledan u ciklusu grafika i skulptura na izložbi održanoj pre četiri godine u galeriji Kolarčevog narodnog univerziteta. Ova mala hronologija dinamičnih promena i dešavanja u stvaralačkoj poetici Slobodanke Stupar predstavlja putokaz ka logičnim tokovima, u kojima su naglašeni ključni momenti i pitanja koja ovaj autor postavlja. Očigledno da je reč o umetniku koji stvara u ciklusima zaokupljen pojedinim problemima. Upravo otvorena izložba u Galeriji Kulturnog centra predstavlja nastavak pomenute izložbe iz 1985. godine. Posle

another material, which brings less restriction due to its essence as a medium.. Slobodanka Stupar further demonstrated the power of a more direct engagement in her artifice by applying herself to free sculptural form, leaving body prints in clay this time. This problem, whose essence lies in pinpointing the moment, while thus fixed visual traces testify about the very act of depicting, has been represented for the most part in a series of graphics and sculptures at an exhibition held four years ago at the Kolarac National Hall Gallery This brief chronology of dynamic changes and developments in the creative poetics of Slobodanka Stupar is a roadmap of sorts pointing out to logical avenues, which are highlighting key moments and questions that this author is bringing up. This is obviously an artist who creates serial outputs, being preoccupied with certain problematics at a given time. The exhibition opened at the Cultural Center Gallery is a continuation of the previously mentioned exhibit from 1985. Having applied herself to graphics, sculpture, and drawing, she further satisfies her curiosity by creating works of art in yet another medium – painting, which constitute two parallel avenues together with the drawings. Therefore, this phase of her work that may as well be called synthetic creative phase had been expanded to include new processes, which are testifying about the author’s creative restless-

rada u grafici, skulpturi i crtežu, ovoga puta svoju znatiželju ispunjava radom i u mediju slike, koje na ovoj izložbi predstavljaju s crtežima dva paralelna toka. Na taj način je, možemo reći, ova njena sintetička stvaralačka faza proširena novim procesima, koji svedoče o autorovom nemiru kao i vitalnosti duha. Naslovljavajući tekst predgovora za izložbu Ruke i krstovi, Irina Subotić nas upućuje na suštinska ikonološka značenja izabranih sižea. Rečenica iz predgovora: „Na tim crtežima lkonološka struktura pretakanja bića/tela u ispružene šake ili cele ruke vode ka shematizaciji pokreta, a on do pojednostavljivanja forme: do krsta, sa svim njegovim evokativnim značenjima i simboličkim konotacijama“ – dragoceno pojašnjava dubinu problema. Crteži, kao aktivni i intuitivni refleks postaju tragovi ruku, olovke, a naboj njegove energije ekspresijom i gestom sugerišu određena mentalna stanja. Njihovo

ness and vitality of spirit. With her title in the foreword of the exhibition “Hands and Crosses”, Irina Subotić inspires us to look at the essential iconological semantics of the selected contents. One sentence from the foreword reading: “In these drawings the iconological structure of transforming a being / body into stretched out hands or arms is leading towards the schematism of the movement, and this in turn leads to the simplifying of the form: to the cross itself, with all its evocative semantics and symbolic connotations” – is an invaluable interpretation of the depth of the problem Drawings, as active and intuitive reflex become traces of hands, pencil, and their energy charged with pent-up expression and gesture is suggesting certain mental states. Their engaged meaning speaks about dedication to a plasticist way of thinking wherein poetic impulse is reflected via plasticist touch. Investigating our sensitivity Slobodanka Stupar es-

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angažovano značenje govori o privrženosti jednom plastičkom načinu razmišljanja, u kojem se poetski impuls odražava putem plastičkog dodira. Proveravajući našu osetljivost, Slobodanka Stupar otkriva suštinsku teskobu u kojoj smo uklešteni i nemoćni u datom prostoru. Slike na ovoj izložbi, kao jedan drugačiji plastički organizam u kojem je asimiliran sloj određenih idejnih i tehničkih postavki sadržanih u crtežima, imaju snažnu sadržajnu podlogu očitu u sprezi slikarske tradicije i savremene problematike. Slojeviti nanosi boje u kojima su, direktno ili indirektno, izražene asocijacije na tragove i krstove koje opružene ruke ispisuju potenciraju utisak simultanosti događanja. Slike Krstovi i metaforične vizije predela deluju kao sinteze karakterističnih iskustava kojima se stvaralaštvo Slobodanke Stupar uključuje u aktuelnu likovnu situaciju u kojoj su iznenađenja stalna. Radio Beograd, III program, Hronika, 5. februar 1990.

sentially discovers the anxiety of a given space wherein we are stuck and powerless. Paintings displayed in this exhibit, as a different plasticist entity, wherein a buildup of certain ideational and technical postulates comprised in the drawings is assimilated, all have a strong content basis, evident in the interaction of the pictorial tradition and the contemporary problematics. Layers of color applied one upon another, which are expressing directly or indirectly the hints of traces and crosses depicted by stretched out hands, achieve the impression that the developments are occurring simultaneously. Paintings “Crosses” and metaphorical visions of the landscapes indeed come across as syntheses of the characteristic experiences, which are bringing the creative output of Slobodanka Stupar to the main stage of the actual pictorial status where the surprises have been the norm. Radio Belgrade, Third Program, Chronicle, 5 February 1990 Translated by Nevena Radošević

Betina Mete „Devet vrata u Ništa“ i „Vertikala/Prolaz“ „Generalno, ja ne radim tako što imam precizni koncept na početku. Osećam jak poriv da izrazim sebe, svoja osećanja i misli i počinjem da radim sa velikom energijom, najčešće vrlo brzo. Obično mi to ne ostavlja vremena da ispitujem sebe, da promišljam kuda me vodi taj rad. Uglavnom postoji neka vrsta dijaloga između materijala sa kojima radim i mene sâme i ti materijali mi obično pokažu put. Verujem da u ovoj fazi procesa rada moja emocionalna i intuitivna strana preuzima odlučujuću ulogu. Kada je materijal pripremljen i kad na njega utisnem svoj ‘pečat’, tada racionalna strana mog karaktera preuzima aktivnu ulogu, počinjem da ga organizujem, da ga postavljam, prerađujem, pravim serije; jedno vodi ka drugom. Tada obično pitam sebe kuda me to vodi i zbog čega to radim na takav način. Odgovori koji stižu do mene kao da uvek potiču iz istog ’rečnika’, tako da mi se čini da se stalno krećem u istom krugu. Ili je to možda spirala?! U prošlosti sam nekoliko puta napravila radikalne ’rezove’ u svom načinu rada. Kad god zatvorim neki od tih krugova, sa izlaskom iz njega uvek se osećam kao da izlazim iz svoje sopstvene kože. Kasnije se čini da je Novo imalo svoj početak u određenom trenutku prethod-

Bettina Mette “Nine Doors to Nowhere” and “Vertical/The Passage”. “Generally I do not work on a precise concept in the beginning. I feel the strong urge to express myself, my feelings and thoughts, and I begin to work with great energy and usually quite quickly. Normally this does not leave me the time to question myself, to reflect, where the work is leading me. There is usually a kind of dialogue between my working materials and me, and the materials usually show me the way. I believe that in this stage of the work process my emotional and intuitive side is decisive. When the material is prepared and has my “stamp” on it, then the rational side of my character takes on the active role, I begin to organize it, to mount it, re-work it, make series; one thing leads to the next. At this point I usually ask myself where this is taking me, and why I am doing it this way. The answers always seem to come to me from the same “vocabulary”, so that I feel like I am always walking in the same circle. Or maybe it’s a spiral?! In the past I have made a radical “cut” in my way of working a couple of times. Whenever I close one of these circles, coming out of it always feels as if I am coming out of my own skin. Later on, it appears that the New had its starting point at a certain moment of

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nog ciklusa rada. Tako se put izlaska iz Kruga izgleda ne može naći nigde drugde nego baš u sâmom tom Krugu?” Radom Slobodanke Stupar dominira dinamika gesta. Ona fiksira trenutak tenzije i solucije koja sledi. Suštinska neposrednost rada dolazi, u velikoj meri, od brzine i spontanosti procesa slikanja. Ipak, njen rad nipošto nije igra sa slučajnim koincidencijama: on markira momenat apsolutne koncentracije, najviše tenzije tela i uma. U ovim snažnim i istovremeno izuzetno osećajnim tragovima gestova boja obično igra sekundarnu ulogu. Prednost imaju kontrasti crno beli ili kontrasti svetlog i tamnog. 238

the former work-cycle. So the way out of the Circle can be found nowhere but in the very Circle itself?” The work of Slobodanka Stupar is dominated by the dynamics of gesture. It fixes the moment of the tension and the solution that follows. The essential directness of the work comes, to a high degree, from the speed and the spontaneity of the painting process. But the work of Stupar, though, is not at all a game with casual coincidence: it marks the moments of absolute concentration, of the highest tension of body and mind. In its vigorous and at the same time, extremely sensitive gesture-traces the color usually plays the secondary role. She prefers black and white, or light-dark contrasts. The artist chooses the materials that “show me the way by their own quality of substance” (Stupar). Rice paper, light and transparent, delicate and strong at the same time. It draws in the oil and pigment and lets them pass to the other side of the paper. The oil dominates, it binds and spreads, finding its own structure on the paper, coloring it yellowish, and making it transparent at the same time. The black pigment, made of bones, stands at the end of a process of destruction of organic matter. Two more materials the artist sometimes uses in her work: the mirror and steal wool. Both inorganic materials, the one cold and indifferent, the other much more alive in the chaos of its structure, in

Umetnica bira materijale koji joj, po njenim rečima, „pokazuju put odlikama svoje sopstvene supstance” (Stupar). Pirinčani papir je istovremeno vazdušast i transparentan, delikatan i snažan… on propušta ulje i pigment da se probiju na drugu stranu papira. Ulje dominira, ono vezuje i prekriva, nalazeći svoju sopstvenu strukturu na papiru, dajući mu žućkastu boju i ujedno ga čineći transparentnim. Crni pigment, načinjen od kosti, stoji na kraju procesa destrukcije organske materije. Postoje još dva materijala koje umetnica ponekad koristi u svom radu: ogledalo i čelična vuna. Iako su oba neorganskog porekla, jedan je hladan i ravnodušan, a drugi mnogo življi u svojoj haotičnoj strukturi i svojoj bezvrednosti i ružnoći. U galeriji Simultanhalle u Kelnu, Slobodanka Stupar izlaže dve velike i složene instalacije, tačnije „Devet vrata u Ništa“ i „Vertikala /Prolaz“. Instalacija „Devet vrata u Ništa“ izgleda kao da lebdi u vazduhu. „Vrata“ funkcionišu istovremeno kao barijera i kao način prolaska i izlaska. Ona predstavljaju energetska polja koja mire unutra i spolja, ovde i tamo, zadržavajući pritom sposobnost ograničavanja. „Vrata“ se unutar instalacije otvaraju ka drugim „Vratima“ i konačno vode u Ništa, te istovremeno u beskonačno. Postavljanjem ogledala ispod rada koji lebdi, stvara se utisak da se pod otvara i time obuhvata „Vrata“, prozore na krovu hale i sâmo nebo.

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its worthlessness and ugliness. In the Simultanhalle of Köln Slobodanka Stupar exhibits two large size and complex installations, namely “Nine Doors to Nowhere” and “Vertical/The Passage”. The installation “Nine Doors to Nowhere” seems to be floating in the air. The “Doors” function both as a barrier and also as a way out and passage. They are the field of energy that mediates between inside and outside, between here an there, but which are also able to limit. The “Doors” open within installation to more “Doors”, and finally to Nothing, or at the same time to infinite. By having the mirrors placed under the floating work, the

Velika zidna instalacija „Vertikala / Prolaz“, kompozicija u obliku slova T sačinjena od dvanaest elemenata, popunjava najvišu vertikalu u jednom uglu galerije Simultanhalle. S jedne strane, rad intenzivira percepciju sâmog ugla, fiksirajući ga tako na izvestan način, ali u isto vreme i razbijajući prostor u ovoj nedostupnoj tački. Uska traka od ogledala, koja se po vertikali diže u vis, hvata svetlost i sliku prostorije i tako otvara „Prolaz“. Prevela Nevena Radošević

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floor seems to open, clasping the “Doors”, the roof windows of the hall and the sky itself. The big wall installation “Vertical/The Passage”, a T composition made of twelve elements, fills up the highest vertical line of one corner of the Simultanhalle. The work on one hand intensifies the perception of the corner situation, so in a way fixing it, but at the same time breaking the space at this inaccessible point. The narrow mirror, rising vertically, captures the light and the image of the room, and so leaves the “Passage” free.

Bija Papadopulu 2003. SVEDOK

Bezlični rat u Jugoslaviji, pad Kula bliznakinja ili bombardovanje Avganistana imaju za zajednički imenitelj hiljade izgubljenih nevinih života, žrtava slepe demonstracije sile i potpuni apsurd savremene logike. S daljinskim upravljačem u ruci, gledalac tragičnih događaja s distance, Slobodanka Stupar šeta s kanala na kanal i snima scene s TV ekrana. Na videu koji izlaže na aktuelnoj samostalnoj izložbi scene ljudske bede, poniženja i očaja smenjuju se sa slikama savršeno našminkanih i doteranih televizijskih reportera CNN-a, dok naslovi koji ih prate – na primer War in Afganistan – funkcionišu ne samo kao jednostavna informacija već i kao nedvosmislena politička propaganda. Raznorodne scene bivaju konstantno prekidane belim šumom, kao kod pokvarenog televizora, tvoreći tako jedan delirijum sećanja koji izvire iz te nemilosrdne stvarnosti gde smrt, život i vrednosti gube svoja uobičajena značenja. Na tlu, samosvetleće kutije (lajtboksovi) postavljeni na jastučiće izdvajaju i zamrzavaju neke od scena u kojima su žene isključivi protagonisti, oblikujući tako komentar usredsređen na pitanje o polovima i indirektno postavljajući pitanja o čovekovom identitetu uopšte. „Ko se boji vuka još“ pevušila je tiho umetnica u audio instalaciji njenog rada

Bia Papadopoulou 2003

WITNESS The impersonal war of Yugoslavia, the destruction of the twin towers, and the bombardment of Afghanistan share a common denominator: thousands of innocent lives taken, victims of the blind pursuit of power and the extreme irrationality of contemporary ways of thinking. With her telecontrol in hand, a viewer of these events from afar, Slobodanka Stupar switches back and forth across the screen recording on a cassette scenes she discovers on the television screen. In the video that is being presented in her current solo exhibition, scenes of human degradation, humiliation, and despair, alternate with the images of television correspondents from CNN, their makeup perfect, while the titles that accompany these scenes –for example, War in Afghanistan– function way beyond the realm of simple information and serve as unambiguous political propaganda. The heterogeneous images are interrupted by persistent static reminiscent of a broken television set and thus compose a delirium of memory which originates from that merciless reality where death, life, and values lose their everyday meaning. On the floor, self-illuminated boxes set on cushions serve to isolate and immobilize certain of the scenes in which women, exclusively, play the leading role, molding

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„Svedok I“ izlaganog 1999. na izložbi „Komentar na 20. vek“, što je bio prvi rad iz ovog ciklusa: tri foto-autoportreta odštampana na tekstilu, s metama koje pokrivaju oči, uši i usta. Ovaj pregnantni simbol, koji i široka publika odmah razume, funkcionisao je i na specifičnom i opštem nivou upravo kao što se uostalom i lice umetnice metaforički identifikovalo s likom svake i svih žena. Rad se dekodirao na dvostrukom nivou, kao osuda bombardovanja u ratovima isto kao i svih besramnih emitovanja izmanipulisanih informacija od strane masovnih medija. Katarza, po Aristotelu, zahteva apsolutnu identifikaciju s herojem tragedije, a za Slobodanku Stupar su tragični heroji svi pasivni receptori ovih unapred precizno iskonstruisanih situacija. Istorija se stalno ponavlja isto kao i preživljeni bol zbog gubitka, katastrofe i propasti. Uvećani lik Stupareve ostaje kao podloga u njenim narednim radovima, dok meta biva zamenjena simbolima koji se odnose na političke i religijske ideologije sveta, koje su nekad bile pokretači društvenih procvata, ali i uzroci propadanja. Figurativna podloga se nanovo postepeno transformiše kako umetnica stalno i ponovo interveniše na svojoj slici: lik gubi njene karakteristične crte i postaje nekontrolisano polje probuđenog zaborava, ekran koji emituje gestualne zapise i grafizme. Simboli judaizma, hrišćanstva i islama, levice i kapitalizma pokrivaju usta umetnice na pet portreta odštampanih na jastucima i postavljenih na postoljima

thereby a commentary centered around the distinctions between the sexes and indirectly setting forth questions about human identity in general. “Who’s Afraid of the Big Bad Wolf?” was softly sung by the artist in her acoustic installation done for the work Witness I, which was presented in 1999 at the exhibition “Commentary on the 20th Century”, and came to constitute the beginning of what would be this unity of work: three self-portraits printed on cloth with aims sealing up the eyes, the ears, and the mouth. This highly-charged symbol, immediately perceived by the broad public, functioned on both a specific and a universal level, just as, moreover, Stupar’s face was metaphorically identified with the figure of each and every woman. The work deciphered matters on a dual level, castigating the bombardment carried out in the wars as well as all the shameless stream of misleading bulletins being issued by the mass media. Catharsis, according to Aristotle, demands an absolute identification with the tragic heroes and the tragic heroes are, for Stupar, all those who passively receive these carefully constructed political situations. History constantly repeats itself in the same way as the pain of annihilation, devastation, and doom endlessly recur. The enlarged face of Stupar is used as a background in her later works while the former aims have been replaced by other symbols, which refer to political and religious ideologies worldwide, the vehicles for both the flourishing of societies and

u visini gledaoca. U akustičnoj instalaciji glas Stupareve koji neprestano teče naizmenično je prekrivan glasovima njenih prijatelja koji, smenjujući se, na različitim jezicima pričaju svoja lična iskustva koja se tiču religije, mržnje, nepravde, revanšizma, nasilja, razaranja, rasizma, seksizma i predrasuda svih vrsta. Naziv ovog rada, kao i celog ovog ciklusa, „Svedok“, koji u grčkom jeziku nosi dvostruko značenje, budući da istovremeno znači i žrtva martyr i svedok događaja, potvrđuje još jednom poistovećivanje umetnice s temom koju obrađuje. Simboli se prepliću, zgušnjavajući njen komentar u sliku mapiranja sebe same i uranjanja u bivstvo. Teksture s grafika koje je umetnica radila tokom osamdesetih izranjaju u njenim aktuelnim radovima. Tada su otisci njene figure postepeno iščezavali sa slike kako je umetnica nanovo obrađivala početne ploče potapajući ih u jaku kiselinu, razarajući malo-pomalo prepoznatljivi lik i prekrivajući ga na kraju apstraktnim gestualnim formama. Sada tehnološka sredstva zamenjuju manuelni rad na grafici, ali daju odgovarajuće likovne rezultate jer se prati suštinski ista

their decline. The figurative substratum is gradually transformed for yet another time as Stupar makes constant interventions in her image: her face is shown with blurred features and becomes an uncontrolled field of awakened forgetfulness, a screen which projects gestural scripts and graphic signs. The symbols of Judaism, Christianity, and Islam, the left and capitalism, seal the artist’s mouth in the five portraits which are printed on cushions and then placed on bases, at the same height as the spectator. In the acoustic installation, the voice of Stupar heard in an uninterrupted flow is covered over by the alternating voices of her friends who, in various languages, narrate personal experiences concerning religions, hate, injustice, vengeance, violence, catastrophe, racism, sexism, and finally, prejudices in general. The title of the work, just like this whole unity of her work, namely Witness, bares a dual meaning in Greek, as it means both the one who suffers, and the simple eyewitness, confirming for yet another time the identity Stupar feels with the topic that she deals with. The symbols mix and merge, compressing her commentary into an image of

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logika sukcesivnih spontanih intervencija u toku kojih su slučajnosti dobrodošle. Na kompjuterskim slikama energične linije kojima su zapečaćena usta izgledaju kao neke gaze tišine ili zavoji za rane, dok tamni prodorni pogled emituje jedan osećaj neizlečive tuge. Bele fleke, koje prekrivaju kožu kao kapljice znoja, podsećaju na mape sveta i uspostavljaju balans između ličnog iskustva i opšte svesnosti. Tragovi slova, automatski nerazumljivi zapisi, senče njeno lice koje kao začarano gleda pravo i prodorno u gledaoca, budeći u njemu osećaj griže savesti i krivice zbog stava pasivnog saučesnika u hororu naše epohe. Stupareva umnožava i rotira modul sliku i stvara vrtlog koji uvlači gledaoca u segmente realnosti odštampanog prikaza. Ženski lik koji gleda ali ne govori gradi vrtoglavi lavirint koji skicira jedan svet u kome pohlepa i opšta zeđ za novcem i moći zasenjuju sve. Stupareva, međutim, ne gubi svoj crni humor. Njen lik je čvrsto i hermetički zatvoren u male staklene tegle koje obezbeđuju izolaciju od ostatka sveta

the charting of the self and a deepening into the being. The textures of the engravings that the artist did during the Eighties inundate her recent works. Then, the figurative imprinting of her body gradually disappeared from composition to composition as the artist worked the original plates over and over and then dipped them into strong acid, destroying bit by bit the recognizable image and covering it over in the end with abstract gestural shapes. Now, technological means have come to replace the manual labor of the original engraving, but they also have brought about corresponding morphological results since the same essential logic, applied to the successive spontaneous interventions, is still adhered to, along with the acceptance of chance, the fluidity of occurrence. In the computer images, the truculent lines which seal the mouth appear like gauzes of silence or bandages used for wounds while the dark black piercing gaze transmits a feeling of incurable grief. White spots dot the skin like drops of sweat, recalling maps of the world and establishing an equilibrium between individual experiences and ecumenical consciousness. Traces of letters, automatic and incomprehensible writing, cast a shadow over her haunted face which looks straight ahead at the spectator with great intensity, awakening remorse and guilt for the stance taken by the uninvolved accomplice in the horror show of our times. The image pattern of Stupar is multiplied and revolves creating a whirling

i potpunu tišinu, a na njih su postavljeni jastuci od luksuznog buržoaskog materijala. U ovom ciklusu radova koji baš kao u teatru apsurda prepliću smešno s tragičnim, umetnica se podsmeva i samoj sebi zbog distanciranog položaja s koga saoseća; ponekad se čak čini kao da je rascepljena između uloga žrtve i indirektnog krivca, nemog svedoka jednog sveta sravnjenog usred moralnog propadanja.

vortex which lures the spectator into the various realities of the printed image. The female figure which looks outward but does not speak builds for us a labyrinth of vertigo sketching in a world where greed and a mass thirst for lucre and power cast a shadow over everything. But Stupar has not lost her macabre sense of humor. Her face is oppressively and hermetically enclosed in small glass vases insures her isolation from the social whole and her complete silence, while above them are placed cushions made of preposterous bourgeois fabrics. In this unity of works –which interrelates the joke with the tragic, just like the theater of the Absurd– the artist mocks her own self and the distant position from which she commiserates; at certain times she appears to be split between the role of the victim and the indirect victimizer, of the silent witness of a world razed to the ground amid moral decline.

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CV U PRVOM LICU 1947. rođena u Sarajevu, uskoro godine informbiroa, otac odlazi na Goli otok, nedostaju secanja na rano detinjstvo sa oba roditelja zajedno. Slike detinjstva su raspusti provedeni kod babe i dede u Banjaluci, velika porodična kuća na periferiji sa babom i dedom, stričevima (i strinama! – one su bile važne u mom detinjstvu), tetkom, rođacima. Sloboda i beskonačna igranja u dvorištima i poljima. Miris lipe u Banjaluci. Italijanske cipele koje otac donosi sa prvog službenog putovanja u inostranstvo. I rolšue, prve u ulici! 1960. selimo se za Beograd, život sa ocem, Vukicom i Zoranom na Vračaru. 1962–1966. Prva beogradska gimnazija, tiho i pomalo usamljeničko odrastanje. Otkrivanje i gutanje filma u ogromnim količinama. Kasavetes „Senke”, Džon Majls. 1966. Akademija za primenjenu umetnost, scenografija pa prelazak na unutrašnju arhitekturu. Putovanja, leta u Engleskoj, Pariz, London, Minhen, Amsterdam, muzeji, muzeji... 1971. diploma unutrašnje arhitekture, uskoro počinjem da radim kao arhitekta, potom kao dizajner nameštaja. 1973. odluka da nastavim studije na Akademiji, ovaj put grafika. Radim i paralelno studiram ponovo, veliki entuzijazam i gotovo neiscrpna energija, ništa me ne može zaustaviti. 1974. Ante Marinović, 6. novembra rodio se sin Petar. Leta na Korčuli, Poplat, Plitvine, Petar Omčikus, Kosa Bokšan.

FIRST PERSON CV 1947 born in Sarajevo, just before the time of the Informbureau2, Father exiled to the Goli Otok island3, missing early childhood memories of having both parents together. Childhood pictures are summer and winter holidays at Grandma’s and Grandpa’s in Banja Luka, large family house at the outskirts of town with grandparents, uncles (and uncles’ wives! – they played an important part in my childhood), aunt, cousins… Freedom, playing without constraint in yards and fields. The scent of linden trees in Banja Luka. Italian shoes that Father brings from his first official trip abroad. And the first pair of roller skates on my street! 1960 we have moved to Belgrade, living with Father, Vukica and Zoran in Vračar. 1962–1966 The First Belgrade Lyceum, growing up quietly and somewhat solitary. Discovering and devouring films in large doses. Cassavetes “Shadows”, John Milles. 1966 Applied Arts Academy, scenography, then transferring to interior architectural design. Traveling, summer vacations in England, Paris, London, Munich, Amsterdam, museums, museums...

Short for Information Bureau, a Stalinist intelligence bureau in Russia at the time, which triggered fierce political conflict in former Yugoslavia, note by Translator.

Island in North Adriatic, turned into political prisoners camp, note by Translator.

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1979. prva samostalna izložba, prva grafika velikih dimenzija, triptih „Večita Obala“ 1981. ponovo studiranje, poslediplomske studije na Akademiji likovnih umetnosti, profesor Marko Krsmanović. Godine traženja, otvaranja. 1982–1985. Zajednica za istraživanje prostora, druženje i rad sa grupom umetnika, istraživanje jezika umetnosti, Simfonija, zvučno poetski performans izveden u SKC na festivalu Druga nova muzika i na festivalu Tajni život grada. Istovremeno u grafici telesni otisci i eksperimentisanje u mediju grafike. „Brisanje Lika” grafika kao proces. Redovni sastanci i razgovori, predavanja, učešće u radovima drugih, velika akumulacija, više rad na unutra, na sebi nego

1971 graduating in interior architectural design, soon starting to work as Architect, then as furniture Designer. 1973 decision to continue studying at the Academy, it’s graphics this time. Working and studying again at the same time, huge enthusiasm and an almost endless energy, nothing can stop me. 1974 Ante Marinović, on 6 November our son Petar was born. Summer vacations on Korčula, Poplat, Plitvine, Petar Omčikus, Kosa Bokšan 1979 first solo exhibition, my first graphics having large dimensions, triptych “Eternal Coast” 1981 back to studies again, studying for Master’s degree at the Fafulty of Fine Arts, Professor Marko Krsmanović. Years of seeking, opening up. 1982–1985 Space Research Community4, being friends and working together with a group of artists, researching the language of art, Symphony, acoustic-poetic performance, staged at the Student Cultural Center (SKC), at the festival Second New Music and at the manifestation City Secret Life. At the same time, in graphics, there were body prints and experimenting in the graphic medium. “Erasing Image”, graphics is a process. Other than that, there were regular meetings and talks, lectures, participation in the works of others, immense accumulation, mostly working inwardly, working on oneself rather than exhibiting and displaying outwardly. The circle was widening, we were gathering together and organizing lectures and exhibitions at Branko

Other artists from this group refer to it as “Community for Research of Mental Territories” in English, note by Translator.

izlaganje i pokazivanje ka spolja. Krug se širi, sastajanja i organizovanje predavanja i izlaganja u Nosorogu kod Branka Kovačevića 1983/1984. u Novom Sadu. Prva „Spirala“. 1985. Grčka, stipendija za specijalizaciju na Školi lepih umetnosti, zimsko sunce na Sunionu i divlje pomorandže na ulicama u Atini. Grčka je prvo zvuk a posle, u proleće, ipak svetlost. Hidra, Tasos, jedrenje na Egeju. Postepeno, biti u Grckoj postaje takođe biti kod kuce. 1986/87. Durđevačka Otvorena Škola kod Dare Zličić, poetska predavanja umetnika i drugih učesnika, teme i uvidi iz sasvim ličnih iskustava. 1988–91. sastajanja kod Vesne Milović i Miroslava Mandića u potkrovlju u Zemunu i beskonačni razgovori o umetnosti pre svega, ali i veliko poverenje i prijateljstvo, krugovi se i dalje šire, Miroslav se sprema za projekat „Ruža lutanja“, svi učestvujemo. 1990. Pariz, boravak u Cité des Arts, velika nagrada na Trijenalu grafike u Frechenu, put u New York sa grupom umetnika i istoričara umetnosti, još smo svi bezbrižni dok nam se ružne stvari spremaju. 1991. počinje velika drama Jugoslavije i osećaj da nam neko izvlači tle ispod nogu. U novembru vodim Petra u Nemačku na studije muzike, tog dana kad prelazimo granicu on puni 17 godina i narednih pet godina neće uopste videti Beograd i Jugoslaviju a ni Hrvatsku. 1992. boravak u Nemačkoj i narednih deset godina život na relaciji Keln–Atina–Beograd. Osećanje iskorenjenosti i nemanja tla ispod nogu, stanje lebdećeg identiteta, mučno u početku, postepeno prerasta u osećaj

Kovačević’s Nosorog in 1983/1984 in Novi Sad. The first “Spiral”. 1985 Greece, got a grant for the specialist studies at the School of Fine Arts, winter sun in Sunion and wild oranges on Athens’ streets. Greece is sound at first, and then in spring eventually light. Hydra, Tasos, sailing in the Aegean. Eventually, being in Greece is also being at home. 1986–87 Djurdjevo Open School with Dara Zličić, poetic lectures of artists and other participants, themes and perceptions from deeply personal experiences. 1988–91 gathering at Vesna Milović’s and Miroslav Mandić’s attic in Zemun, and endless talks about art above all, but also trusting one another immensely and enjoying friendship, the circles keep widening, Miroslav prepares for the project “The Rose of Wandering“, we all participate. 1990 Paris, residency at Cité des Arts, Grand Prix at the Graphic Triennial in Frechen, trip to New York with a group of artists and art historians, we are still carefree, while ugly things are creeping upon us. 1991 serious drama begins in Yugoslavia and the feeling that someone is pulling the rug from under our feet. In November, I take Petar to Germany to study music, the day when we crossed the border he turned 17 and for the next five years he will not see either Belgrade, or Yugoslavia, or Croatia at all. 1992 staying in Germany and living for the next ten years between Cologne, Athens, and Belgrade. Feeling of being uprooted, feeling that we’ve lost ground; experiencing the state of floating identity, distressing at first, then transforming into a feeling of freedom. Artistic and cultural

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slobode. Kunst i kultur nomadizam je tada opšta pojava i duh vremena. Podsticaj i nova razrešenja u radu. Rad na projektu Ogledala, pokušaj ponovnog okupljanja na zajedničkoj izložbi beogradske grupe iz osamdesetih i vremena Zajednice za istraživanje prostora, umetnika i prijatelja koji su se raspršili po celoj planeti. Projekat nikad nije realizovan iako su se za njega zainteresovale dve značajne kelnske non profit galerije, ostala je samo obimna prepiska. 1995. samostalna izložba u Simultanhalle, Keln postaje mesto velikih aktivnosti i čestih izlaganja, šest izložbi do kraja 1999. saradnja sa brojnim umetnicima. Istovremeno početak saradnje sa grupom grčkih umetnika, 1997. zajednička izložba u Eleusini u okviru festivala Eshilia. 1996. susret sa Deridinim tekstovima. 1998. izložba u galeriji Zepter, prvi put ponovo izlaganje u Beogradu posle osam godina odsustva sa scene. 1999. poznanstvo sa galeristom Pantelisom Tsatsisom, poziv za učešće na izložbi „Komentar na XX vek“ u galeriji Artforum u Solunu, poznanstvo sa Bijom Papadopulu, nastavak plodne saradnje u narednim godinama. 2001. samostalna izložba u galeriji Artforum u Solunu, neverovatnih 700 m2 belog prostora. 2002. rodila se Masay Marinović koja u sebi ima sve boje ovog sveta. …ostalo je u toku…

nomadism was quite common then, it was the spirit of the time. Stimulus, finding new solutions in work. Working on the project Mirrors, an attempt to gather together, once again, at a collective exhibition, the Belgrade group from the 1980s and the time of Space Research Community, artists and friends who have scattered around the globe. The project has never been realized, even though two important non-profit galleries from Cologne had shown interest in it, what remained was only considerable correspondence. 1995 solo exhibition at Simultanhalle, Cologne becomes the place of significant activity and frequent exhibitions, 6 exhibitions through the end of 1999, cooperation with great many artists. At the same time, starting cooperation with a group of Greek artists, collective exhibition in Eleusis in 1997 as part of the Eshylaeia Festival. 1996 came across Derrida’s texts 1998 exhibition at Zepter Gallery, exhibiting for the first time in Belgrade after being away from the scene for eight years 1999 met gallery owner Pantelis Tsatsis, invitation to participate in the exhibition “Commentary on the 20th Century“ at Artforum Gallery Thessaloniki, met Bia Papadopoulou, a beginning of fruitful cooperation in the following years. 2001 solo exhibition at Artforum Gallery in Thessaloniki, incredible 700 m2 of white space 2002 Masay Marinović was born possessing in her all colors of this world …the rest is underway… Translated by Nevena Radošević

251

Biografija

Biography

Slobodanka Stupar je rođena u Sarajevu 1947. go-

Slobodanka Stupar was born in Sarajevo in 1947.

dine.

Graduated in interior architectural design (BFA) at the

Diplomirala je unutrašnju arhitekturu 1971. na

Faculty of Applied Arts in Belgrade in 1971.

Fakultet primenjenih umetnosti u Beogradu.

Graduated in graphic arts (BFA) at the Faculty of

Diplomirala je grafiku 1976. na Fakultet prime-

Applied Arts in Belgrade in 1976.

njenih umetnosti u Beogradu.

Got her Master’s degree in graphic arts (MFA)

Magistrirala je grafiku 1983. na Fakultet Likov

from the Fafulty of Fine Arts, University of Bel-

nih umetnosti u Beogradu.

grade in 1983.

Specijalizirala je grafiku kao stipendista grčke

Got a Greek Government grant for the specialist

vlade na Visokoj školi lepih umetnosti u Atini.

studies in graphic arts at the School of Fine Arts in Athens 1985.

252

Stipendije

Grants

1980/1981. stipendija fonda Mladi umetnici, Beograd

1980/1981 Young Artists Grant, Belgrade

1983. stipendija „Moša Pijade“ za studijski

1983 Moša Pijade Grant for residence in London

boravak u Londonu 1985. stipendija Ministarstva prosvete Grčke 1991. stipendija Fondation pour une Entraide Intellectuelle Européenne, Pariz 1996. Stiftung Kulturfonds Haus Lukas Aahrenshop, Nemačka

1985 Scholarship from Ministry of Education of Greece 1991 The Grant of the Fondation pour une Entraide Intellectuelle Européene Paris 1996 Stiftung Kulturfonds Haus Lukas Aahrenshop, Germany

Nagrade i priznanja

Awards and recognitions

1981. otkup Galerije Grafički kolektiv na izložbi

1981 Purchase prize by the Graphic Collective Gal-

Grafika beogradskog kruga, Beograd 1981. otkup fonda Mladi umetnici, Beograd 1982. otkup Republičke zajednice za kulturu sa Prolećne izložbe ULUS-a, Beograd 1987. nagrada za skulpturu Likovne kolonije Željezare Sisak 1987. nagrada za grafiku Oktobarskog salona, Beograd

lery, Belgrade at the exhibition “Belgrade Circle Graphics” 1981 Purchase prize from Young Artists Foundation Belgrade 1982 Purchase prize by Republic Agency of Culture at the ULUS Spring Exhibition in Belgrade 1987 Prize from Art Colony Željezara Sisak 1987 October Salon Prize for Graphic Arts, Belgrade

1988. počasno priznanje za izuzetan i origina-

1988 Honorable Mentions for distinctive and origi-

lan rad i doprinos razvoju umetnosti Medi-

nal work and contribution for development of art

teranskog bijenala grafičke umetnosti, Agios Nikolaos, Grčka

from Mediterranean Graphic Biennial Agios Nikolaos, Greece

1989. otkup Nacionalne sveučilišne biblioteke

1989 Purchase Prize by the National University Li-

na XII zagrebačkoj izložbi jugoslavenskog

brary at the XII Zagreb Exhibition of Contempo-

crteža

rary Yugoslav Drawing

1990. Grand prix IX međunarodnog grafičkog trijenala, Frehen, Nemačka

1990 Grand Prix at the IX International Graphic Triennial Frechen, Germany

1993. druga nagrada na bijenalu Suva igla, Užice

1993 Second Prize at Biennial of Dry Point, Užice

1997. Otkupna nagrada Narodnog muzeja na Be-

1997 Purchase Prize by National Museum in Belgrade

ogradskom međunarodnom grafičkom bijenalu

at the International Biennial of Graphic Arts

1999. nagrada na Fotowettbewerb Award 1999.

1999 Award from Fotowettbewerb Award 1999. IG

IG Medien – Druck und Papier, Publizistik und

Medien – Druck und Papier Publizistik und Kunst,

Kunst, Baden-Virtemberg

Baden-Wurttemberg

2007. otkup Sekretarijata za kulturu grada

2007 Purchase Prize by Belgrade City Secretariat of

Beograda za zbirku Muzeja grada Beograda

Culture for the collection of Belgrade City Museum

2009. otkup Sekretarijata za kulturu grada

2009 Purchase Prize from Belgrade City Secretariat of

Beograda za zbirku Muzeja grada Beograda

Culture for the collection of Belgrade City Museum 253

Dela u muzejima i javnim kolekcijama

Works at museums and public collections

Muzej savremene umetnosti Beograd

Museum of Contemporary Art Belgrade

Muzej Ludvig, Keln

Ludwig Museum Cologne

Narodni muzej u Beogradu

National Museum in Belgrade

Muzej grada Beograda

Belgrade City Museum

Muzej Zepter, Beograd

Zepter Museum, Belgrade

Narodni muzej Kraljevo

National Museum Kraljevo

Narodni muzej Vranje

National Museum Vranje

Pinakoteka grada Pireja

Municipal Pinakothek of Piraeus

Američki koledž u Grčkoj, Atina

American College of Greece, Athens

Savremena galerija, Zrenjanin

Contemporary Art Gallery, Zrenjanin

Zbirka Nacionalne sveučilišne biblioteke, Zagreb

Art Collection of National University Library, Zagreb

Galerija „Lazar Vozarević“, Sremska Mitrovica

Gallery “Lazar Vozarević”, Sremska Mitrovica

Grafička zbirka, Frehen

Graphic Art Collection Frechen

Muzej internacionalne grafičke umetnosti,

Museum of International Graphic Art Fredrikstaad,

Fredrikstad, Norveška Zbirka Grafički kolektiv, Beograd

Norway Collection Graphic Collective, Belgrade

Zbirka Hajnc Hečold, Viten Zbirka Jorgos Kostopulos, Atina

Art Collection Giorgos Kostopoulos, Athens

Zbirka Makis Donopulos, Solun

Art Collection Makis Donopoulos, Thessaloniki

Zbirka Kašanin, Kraljevo

Art Collection Kašanin, Kraljevo

Zbirke likovnih kolonija u Sisku, Poreču, Tuzli, So-

Collections of art colonies Sisak, Poreč, Tuzla,

poćanima, Novom Pazaru, Ečki, Topoli, Samotraki.

Sopoćani, Ečka, Topola, Samothrace

Samostalne izložbe

Solo exhibitions

1979. Galerija Grafički kolektiv, Beograd

1979 Graphic Collective Gallery, Belgrade

1979. Galerija Muzeja grada Smedereva

1979 Gallery of the City Museum of Smederevo

1980. galerije domova kulture u Novoj Varoši,

1980 Galleries of Culture Halls in Nova Varoš,

Priboju i Prijepolju

Priboj, Prijepolje

1980. Galerija „Sebastian“, Dubrovnik

1980 Gallery Sebastian, Dubrovnik

1981. Mali likovni salon, Narodni muzej Kragujevac

1981 Chamber Art Salon, National Museum

1982. Galerija-atelje Forum, Zagreb 254

Art Collection Heinz Hetschold, Witten

Kragujevac

1982. Narodni muzej, Novi Pazar

1982 Studio Gallery Forum, Zagreb

1983. Gospodar Vasin konak, Narodni muzej,

1982 National Museum, Novi Pazar

Kraljevo 1984. Likovni salon Doma kulture Čačak

1983 Master Vasa’s Mansion, National Museum, Kraljevo

1984. Galeria „Sebastian“, Varaždin

1984 Art Salon, Gallery of Culture Hall Čačak

1984. Galerija „Ričard Demarko“

1984 Gallery Sebastian, Varaždin

1985. Galerija KNU, Beograd

1984 Gallery Richard Demarco, Edinburg

1986. Galerija Doma kulture Smederevo

1985 Beograd KNU Gallery, Belgrade

1986. Kulturni i informacioni centar Jugoslavije,

1986 Gallery of Smederevo Culture Hall

Beč 1987. Galerija Kreonidis, Atina

1986 Cultural and Information Centre of Yugoslavia, Vienna

1988. Galerija Kulturnog centra Vranje

1987 Gallery Kreonidis, Athens

1988. Umetnička galerija „Hristos Kirijazis“, P.

1988 Gallery of Vranje Culture Hall

Faliro, Atina

1988 Art Gallery Hristos Kyriazis, P. Faliro

1990. Galerija Kulturnog centra Beograda

1990 Gallery of Cultural Center, Belgrade

1992. Galerija „Rozmarin Olhing“, Minhen

1992 Gallery Rozmarin Olching, Munich

1992. Galerija Francusko-grčke lige, Atina

1992 Gallery Ligue Franco-Hellenique, Athens

1995. Simultanhalle, Keln

1995 Simultanhalle, Cologne

1995. Rathaus Köln, Keln

1995 Rathaus Köln, Cologne

1996. Galerija BBK, Keln

1996 Gallery BBK, Cologne

1996. BAP, Viten, Nemačka

1996 BAP Witten, Germany

1997. Galerija Zlatno oko, Novi Sad

1997 Gallery Zlatno oko, Novi Sad

1997. Galerija Kaos

1997 Gallery Kaos, Cologne,

1998. Galerija Zepter, Beograd

1998 Zepter Gallery, Belgrade

1999. Crkva Kristuskirhe, Keln

1999 Christuskirche, Cologne

2001. Galerija Artforum, Solun

2001 Gallery Artforum, Thessaloniki

2002. Galerija Kulturnog centra Beograda

2002 Gallery of Cultural Center, Belgrade

2003. Galerija „Dijana“, Atina

2003 Gallery Diana, Athens

2006. Galerija Artforum, Solun

2006 Gallery Artforum, Thessaloniki

2008. Moderna galerija, Lazarevac

2008 Modern Gallery, Lazarevac

2008. Galerija Zlatno oko, Novi Sad

2008 Gallery Zlatno oko, Novi Sad

2009. Galerija Red, Atina

2009 Gallery Red, Athens

2011. Galerija Beograd

2011 Gallery Beograd

2012. Galerija ULUS, Beograd

2012 ULUS Gallery, Belgrade

Grupne izložbe i festivali

Group exhibitions and festivals 255

1975. Oktobarski salon Beograda

1975 October Salon, Belgrade

1975. Trijenale savremene jugoslovenske grafike

1975 Triennial of Contemporary Yugoslav Graphic Arts

1976. Zlatno pero Beograda

1976 Golden Pen of Belgrade

1976. Grafika Beogradskog kruga

1976 Belgrade Circle Graphics, Belgrade

1977. Majska izložba umetnika Novog Beograda

1977 May Exhibition of the Artists of Novi Beograd

1978. Crtež i mala plastika, Beograd

1978 Drawing and small sculpture, Belgrade

1978. Prolećna izložba ULUS-a, Beograd

1978 ULUS Spring Exhibition, Belgrade

1978. Oktobarski salon Beograda

1978 October Salon, Belgrade

1978. Otvoreni oktobarski salon, Zemun

1978 Open October Salon, Zemun

1979. Prolećna izložba ULUS-a, Beograd

1979 ULUS Spring Exhibition, Belgrade

1980. Izložba suvremene jugoslovenske grafike,

1980 Yugoslav Contemporary Graphic Art Exhibition,

Zagreb

1980. Prolećna izložba ULUS-a, Beograd

1980 ULUS Spring Exhibition, Belgrade

1980. Majska izložba Beogradskog grafičkog kruga

1980 May Exhibition of the Belgrade Graphics Circle,

1980. Crtež i mala plastika, Beograd

Belgrade

1980. X kolonija Željezare Sisak

1980 Drawing and small sculpture, Belgrade

1981. Prolećna izložba ULUS-a

1980 X Art Colony Željezara Sisak

1981. Majska izložba Beogradskog grafičkog kruga

1981 ULUS Spring Exhibition, Belgrade

1981. Crtež i mala plastika, Beograd

1981. izložba Likovne kolonije Sisak 1981. Majska izložba umetnika Novog Beograda

Belgrade

1981. Viđenja 81, Novi Pazar

1981 Drawing and small sculpture, Belgrade

1981. Oktobarski salon Beograda

1981 Exhibition of Art Colony Sisak

1982. izložba ULUS-a, Beograd

1981 May Exhibition of the Artists of Novi Beograd

1982. Savremeni jugoslovenski crtež i grafika,

1981 Views 81, Novi Pazar

Lisabon i Nikozija (kustos Meliha Husedžinović)

1981 October Salon, Belgrade

1982. Žene likovni umetnici, Pančevo

1982 ULUS Exhibition, Belgrade

1982. Majska izložba Beogradskog kruga

1982 Contemporary Yugoslav Drawing and

1982. Crtež i mala plastika, Beograd

Graphic Art, Lisbon and Nicosia (curator Meliha

1982. Zagrebačka izložba jugoslavenske grafike

Husedžinović)

1982. Mladi 1980–1981, Beograd

1982 Women Fine Artists, Pančevo

1982. Oktobarski salon Beograda

1982 May Exhibition of the Belgrade Circle, Belgrade

1983. Savremena jugoslovenska grafika i crtež,

1982 Drawing and small sculpture, Belgrade

Banja Luka (kustos Meliha Husedžinović)

256

1981 May Exhibition of the Belgrade Graphics Circle,

1982 Yugoslav Contemporary Graphic Art, Zagreb

1983. Prolećna izložba ULUS-a, Beograd

1982 Youth 1980–1981, Belgrade

1983. Izložba jugoslovenskog portreta, Tuzla

1982 October Salon, Belgrade

1983. Majska izložba Beogradskog kruga

1983 Yugoslav Contemporary Drawing and Graphic

1983. International Graphics, Galerija Feniči, Valeta, Malta

Art Banja Luka (curator Meliha Husedžinović) 1983 ULUS Spring Exhibition, Belgrade

1983. Septembarski likovni salon mladih, Nikšić

1983 Exhibition of Yugoslav Portrait, Tuzla

1984. Prostori II, izložba-seminar Zajednice za

1983 May Exhibition of the Belgrade Circle, Belgrade

istraživanje prostora, Galerija Studentski grad

1983 International Graphics Gallery La Valeta, Malta

Beograd

1983 September Youth Art Salon, Nikšić

1984. Prolećna izložba ULUS-a, Beograd

1984 Space II exhibition-seminar of the Space

1984. Majska izložba grafike Beogradskog kruga

Research Community, Gallery of the Belgrade

1984. Izložba kolonije Ečka

Student City

1984. Festival Druga nova muzika, SKC Beograd

1984 ULUS Spring Exhibition, Belgrade

1985. Crtež i mala plastika, Beograd

1984 May Exhibition of the Belgrade Circle Graphics

1986. Izložba jugoslovenskog crteža, Zagreb

1984 Exhibition of the Colony Ečka

1986. Oktobarski salon Beograda

1984 Second New Music Festival, SKC Belgrade

1986. Crtež i mala plastika, Beograd

1985 Drawing and small sculpture, Belgrade

1986. Prolećna izložba ULUS-a, Beograd

1986 Yugoslav Contemporary Drawing Zagreb

1986. Grafika ’86, Smederevo

1986 October Salon, Belgrade

1986. Beoerotika, Galerija Stara kapetanja, Zemun

1986 Drawing and small sculpture, Belgrade

1986. Izložba članica ULUS-a, Kragujevac

1986 ULUS Spring Exhibition, Belgrade

1986. Grafika Beogradskog kruga

1986 Graphic Arts ’86, Smederevo

1986. Umetnost interrelacija, Beograd (kustos

1986 Beoerotics, Gallery Stara kapetanja, Zemun

Aleksandar Đurić) 1986. Komunikacije ’86. Tajni život grada, Beograd 1986. Mostovi ’86. Armagedon, Beograd (kustos Aleksandar Đurić) 1987. Šest jugoslovenskih umetnika, Kulturni centar u Atini

1986 Exhibition of the ULUS Members, Kragujevac 1986 Belgrade Circle Graphics, Belgrade 1986 Art of Interrelations (curator Aleksandar Đurić) 1986 Communications ’86, City Secret Life Belgrade 1986 Bridges ’86. Armagedon Belgrade (curator Aleksandar Đurić) 1987 Six Yugoslav Artists Cultural Center, Athens

1987. Prolećna izložba ULUS-a, Beograd

1987 ULUS Spring Exhibition, Belgrade

1987. Grafika Beogradskog kruga

1987 Belgrade Circle Graphics, Belgrade

1987. Beogradski grafički segment, Beograd

1987 Belgrade Graphics Segment, Belgrade (curator

(kustos Žana Gvozdenović)

Žana Gvozdenović)

1987. Srebrenik, otvoreni grad umjetnosti, Tuzla

1987 Srebrenik, Artistic Open City, Tuzla

1987. Porečki annale, Poreč

1987 Poreč Annals in Poreč

1987. Jesenja izložba ULUS-a, Beograd

1987 Autumn ULUS Exhibition, Belgrade

1987. Oktobarski salon Beograda

1987 October Salon, Belgrade

1987. Trijenale savremene grafike, Bitolj

1987 Triennial of Contemporary Graphic Art Bitola

1987. Likovna jesen, Sombor

1987 Fine Arts Autumn, Sombor

1988. Majska izložba Beogradskog grafičkog kruga

1988 May Exhibition of the Belgrade Graphics Circle

1988. Zagrebačka izložba jugoslovenske grafike

1988 Yugoslav Contemporary Graphic Art, Zagreb

1988. I mediteranski grafički bijenale Agios

1988 I Mediterranean Graphic Biennial Aghios

Nikolaos, Krit 1988. Internacionalna grafička izložba, Fredrikstad, Norveška

Nikolaos, Crete 1988 International Exhibition of Graphic Art Fredrikstaad, Norway

1988. Slikarska kolonija Poreč

1988 Art Colony Poreč

1988. 25 godina Prodajne galerije Beograd

1988 25th Anniversary of Gallery Beograd

1989. Grafičke kolonije i radionice 1980–1988,

1989 Graphic colonies and workshops 1980–1988,

Subotica 1989. Majska izložba Beogradskog grafičkog kruga 1989. Crtež i mala plastika, Beograd

Subotica 1989 May Exhibition of the Belgrade Graphics Circle, Belgrade

1989. Prolećna izložba ULUS-a, Beograd

1989 Drawing and small sculpture, Belgrade

1989. Internacionalna izložba originalnog crteža,

1989 ULUS Spring Exhibition, Belgrade

Rijeka 1989. Izložba jugoslovenskog crteža, Zagreb

1989 International Exhibition of Original Drawing, Rijeka 1989 Contemporary Yugoslav Drawing, Zagreb

257

1989. Izložba savremenog jugoslovenskog crteža, Rijeka

1989 Contemporary Yugoslav Drawing, Tampere

1989. Savremeni jugoslovenski crtež, Tampere

1990 Belgrade – Inspiration for Painters, Belgrade

1990. Beograd – inspiracija slikara, Beograd

1990 Fine Arts Colony Rovinj, Rovinj District Museum

1990. Likovna kolonija Rovinj, Zavičajni muzej

1990 ULUS Spring Exhibition, Belgrade

Rovinj 1990. Prolećna izložba ULUS-a, Beograd 1990. Grupna izložba u Cité Internationale des Arts, Pariz 1990. Izložba jugoslovenske grafike, Zagreb 1990. II mediteranski grafički bijenale, Atina 1990. IX internacionalni grafički trijenale, Frehen, Nemačka 1991. Trijenale savremene jugoslovenske grafike, Bitolj 1991. Slikarska kolonija Lipovac, Francuski kulturni centar u Beogradu 258

1989 Contemporary Yugoslav Drawing, Rijeka

1990 Group Exhibition at Cité Internationale des Arts, Paris 1990 Contemporary Yugoslav Graphic Art, Zagreb 1990 II Mediterranean Graphic Biennial, Athens 1990 IX International Graphic Triennial Frechen, Germany 1991 Triennial of Contemporary Yugoslav graphic Art, Bitola 1991 Fine Arts Colony Lipovac, French Cultural Center, Belgrade 1991 International Graphic Biennial, Ljubljana 1991 Contemporary Yugoslav Drawing, Zagreb

1991. Internacionalni bijenale grafike, Ljubljana

1991 Winter Salon, Herceg Novi

1991. Izložba jugoslovenskog crteža, Zagreb

1991 May Graphic Art Exhibition, Belgrade

1991. Zimski salon, Herceg Novi

1992 International Graphics Biennial, Belgrade

1991. Majska izložba grafike, Beograd

1992 May Graphic Art Exhibition, Belgrade

1992. Internacionalni bijenale grafike, Beograd

1992 “Schenken Sie Kunst” Gallery Hild, Hanau-

1992. Majska izložba grafike, Beograd 1992. „Schenken Sie Kunst“, Galerija Hild, HanauVilhelmsbad 1993. Sedam umetnika iz Beograda, Kulturni centar u Atini 1993. Prizori iz Grčke KCB, Beograd 1994. Oktobarski salon, Beograd 1994. Klasa 1982–1994, Škola vizuelnih umetnosti, Atina 1994. Internacionalni grafički bijenale, Beograd 1994. nagradni konkurs Sickingen Kunstpreis, Kajzerslautern

Wilhelmsbad 1993 Seven Artists from Belgrade, Cultural Center, Athens 1993 Sights from Greece, KCB Belgrade 1994 October Salon, Belgrade 1994 Class 1982–1994 High School of Visual Arts, Athens 1994 International Graphic Biennial, Belgrade 1994 Sickingen Kunstpreis, Kaiserslautern 1995 ULUS Autumn Exhibition 1994/1995, Belgrade 1995 Köln Kunst 4, Cologne

1995. Jesenja izložba ULUS-a 1994/1995, Beograd

1996 October Salon, Belgrade

1995. Köln Kunst 4, Keln

1996 Ars Futura, Cologne

1996. Oktobarski salon Beograda

1996 International Graphic Biennial, Belgrade

1996. Ars Futura, Keln

1997 Traces/Notes Gallery Paratiritis, Thessaloniki

1996. Internacionalni grafički bijenale, Beograd

1997 Coincidence Köln, Cologne (curator Günter

1997. Tragovi-beleške, Galerija Paratiritis, Solun 1997. Coincidence Köln, Keln (kustos Ginter Demnih) 1997. Vidljivo/nevidljivo, Savremena jugoslovenska umetnost, Solun – evropska prestonica kul-

Demnig) 1997 Visible/Invisible, Contemporary Yugoslav Art, Cultural Capital of Europe Thessaloniki (curators Irina Subotić Ph.D., Gordana Stanišić, Ljiljana Ćinkul

ture (kustosi dr Irina Subotić, Gordana Stanišić

1997 Eshylaeia 97. Eleusis

i Ljiljana Ćinkul)

1998 Köln Kunst 5, Cologne

1997. Eshilija 97, Eleuzina 1998. Köln Kunst 5, Keln 1998. Slikari Novog Beograda, Muzej savremene umetnosti Beograd 1999. Deset godina Umetničke kolonije Galičnik, Skoplje 1999. The Must Recommendation, Galerija Artforum, Solun 2000. Grafike Kolekcije „Kašanin“, Kraljevo 2000. Komentar na XX vek, Galerija Artforum, Solun (kustos Bia Papadopulu) 2001. kolekcija Fonda „Madlena Janković Zepter“, Beograd 2002. Intimnosti, Umjetnička galerija BiH, Sarajevo (kustos Gordana Dobrić) 2002. Galerija „Dijana“, Atina (kustos Lena Kokini) 2002. Putevi istorije, Zakintos (kustos Bia Papadopulu) 2002. Zumiranje – uvećanje i smanjenje, Oktobarski salon, Beograd (kustos Lidija Merenik) 2003. Pozitiv/Negativ, Oktobarski salon, Beograd (kustos Milanka Todić) 2003. Jedan vek grafike, dela iz zbirke MSU-a, Gale-

1998 Painters of Novi Beograd, Museum of Contemporary Art Belgrade 1999 Deset godina Umetničke kolonije Galičnik, Skopje, 10th Anniversary of Art Colony Galičnik, Skopje 1999 “The Must Recommendation”, Artforum Gallery Thessaloniki 2000 Graphics of the Art Collection Kašanin, Kraljevo 2000 Commentary on the Twentieth Century, Artforum Gallery, Thessaloniki, (curator Bia Papadopoulou) 2001 Collection of the Madlena Janković Zepter Fund, Belgrade 2002 Art Gallery B&H, Sarajevo (curator Gordana Dobrić) 2002 Terra Incognita, Diana Gallery Athens (curator Lena Kokkini) 2002 Paths of History, Zakynthos (curator Bia Papadopoulou) 2002 Zoom in zoom out, October Salon, Belgrade (curator Lidija Merenik) 2003 Positive/Negative, October Salon, Belgrade (curator Milanka Todić)

rija Srpske akademije nauka i umetnosti (kustosi

2003 Centennial of Graphic Art, works from the col-

Jasna Tijardović Popović, Jerko Denegri, Ljiljana

lection of Museum of Contemporary Art, Gallery

Slijepčević, Žana Ratković i Misela Blanuša)

of National Academy of Arts and Sciences Beograd

259

2004. U početku beše vatra, Galerija Titanijum, Atina (kustos Bia Papadopulu) 2004. Brisanje – međunarodni interdisciplinarni projekat, Muzej 25. maj, Beograd (kustos Marica Radojčić) 2005. Internacionalni festival umetničkih zastava, Galerija Zlatno oko, Novi Sad (kustos Sava Stepanov)

Ljiljana Slijepčević, Žana Ratković, Misela Blanuša) 2004 In The Beginning Was Fire, Gallery Titanium Athens (curator Bia Papadopoulou) 2004 “Erasing”, International Interdisciplinary Project, Museum 25th May, Belgrade (curator Marica Radojčić) 2005 International Festival of Artistic Flags Gallery Zlatno oko, Novi Sad (curator Sava Stepanov)

2006. Intro/Out, video-festival, Solun

2006 Intro/Out video festival, Thessaloniki

2006. Festival novih formi, Vankuver, Kanada

2006 New Forms Festival, Vancouver, Canada

2007. Hronika apsurda, međunarodna izložba

2007 Chronicle of the Absurd, International Photo Ex-

fotografije, Solun (kustos Bia Papadopulu) 2008. Knjiga–Zemlja–Mape, Čačak (kustos Gordana Stanišić) 2010. Korak ka…, Umetnost devedesetih, Muzej grada Beograda (kustos Nada Seferović) 2011. O kuvanju, Galerija Tehnohoros, Atina 260

(curators Jasna Tijardović Popović, Jerko Denegri,

(kustos Bia Papadopulu)

hibition, Thessaloniki (curator Bia Papadopoulou) 2008 Book-Land-Maps, Čačak (curator Gordana Stanišić) 2010 Step towards… Art of 1990s Belgrade City Muserum (curator Nada Seferović) 2011 About cooking, Gallery Technochoros Athens (curator Bia Papadopoulou)

2012. Tout va bien, Atina (kustos Andrea Vusuras)

2012 Tout va bien, Athens (curator Andreas Vousouras)

2012. izabrana dela iz zbirke Muzeja Zepter, Mari-

2012 Selection of works from Zepter Museum, Maribor

bor – evropska prestonica kulture, Koroška gale-

European capital of culture 2012, Koroska Gallery of

rija likovnih umetnosti, Slovenj Gradec

Fine Arts, Slovenj Gradec

Interdisciplinarni radovi

Interdisciplinary works

1984. Simfonija, tekstualno-zvučna struktura,

1984 Symphony, textual/acoustic structure, Festival

festival Druga nova muzika, SKC Beograd 1986. Simfonija, tekstualno-zvučna struktura, Komunikacije ’86. – Tajni život grada, Beograd 1987. predavanje „Prostor dodira“, Otvorena đurđevačka škola, Đurđevo 1992. Ceci n’est pas une pipe, video-performans s

“Second New Music”, Student Cultural Center Belgrade 1986 Symphony, textual/acoustic structure, Secret City Life Festival, Belgrade 1987 Area of Touch/Space of Contact, lecturing at “Open School” Djurdjevo, Yugoslavia

Ljiljanom Jovanović u Galeriji Moltkerei Ver-

1992 Ceci n’est pas une pipe (communication project –

kštat u Kelnu, direktni prenos na TV Kassel,

live talk with the viewers, improvisational narration

3sat TV kanalu i Piazza Virtuale projekta za

and excerpts from Miroslav Mandić’s book Blue

Kassel Dokumenta 9

Rose), collaboration with composer Lj. Jovanović,

1995. Ogledalo, performans s Ljiljanom Jovanović, Galerija Simultanhalle, Keln 1996. Über den Teillerrand hinaus, performans s Inge Broska i Hans-Jörg Tauhert, Tangenten festival, Kultur-Bunker Milhajm, Keln

Quantenpool Köln part of Documenta IX ‘s Piazza Virtuale TV project; live transmission on TV Kassel and 3sat from Moltkerei Werkstatt, Cologne. 1995 Mirror, performance with Lj. Jovanović, Gallery Simultanhalle Cologne, Keln

1996. Odgovori na moje pismo, otvoreni rad s te-

1996 Über den Teillerrand hinaus, performance with

mom umetnička komunikacija – performans,

Inge Broska & Hans-Jörg Tauchert, Tangenten

Galičnik, BJR Makedonija

Festival, Kultur-Bunker Mülheim Cologne 1996 What if…, group performance at Galičnik Art Colony, FYROM

261

BIBLIOGRAFIJA / BIBLIOGRAPHY • Žana Gvozdenović, „Prevlast pokreta“, solo exhib. Gallery • Petar Gudelj, „Ako mi je malo svjetlosti (napisano pred grafikama Slobodanke Marinović Stupar)“, predgovor kataloga samostalne izložbe, Grafički kolektiv, Beograd, 1979. • Dušan Đokić, „Slobodanka Marinović Stupar“, Umetnost 65, 1979, 97. • Sonja Seferović, „Emotivne akvatinte Slobodanke Stupar“, Dubrovački vjesnik, broj 1547, 6. 6. 1980. • Dušan Đokić, predgovor kataloga samostalne izložbe, Studio Galerija Forum, Zagreb, 1982. • Josip Depolo, „Slobodanka Stupar (Studio Gallery Forum)“, Oko, 22, 1982. • Dušan Đokić, „Slobodanka Stupar i Vesna Zlamalik: Grafički izraz i osećanje prirode“, predgovor kataloga, Narodni muzej, Novi Pazar, 1982. • „11 grafičkih listova“, predgovor kataloga, Galerija „Seba262

stian“, Varaždin, 1984. • Kosta Bogdanović, predgovor kataloga samostalne izložbe, Galerija KNU, Beograd, 1985. • Dušan Đokić, „Telo kao motiv, grafike i skulpture Slobodanke Stupar u galeriji KNU u Beogradu“, Borba, 10. 10. 1985. • Dušan Đokić, predgovor kataloga samostalne izložbe, Galerija Doma kulture, Smederevo, 1986.

Christos Kiriazis, P. Faliro/Athens, 1988. • Dr Irina Subotic, „Ruke i krstovi“, predgovor kataloga samostalne izložbe, Galerija Beograd, 1990. • Ljiljana Ćinkul, „U galeriji KCB otvorena je izložba slika i crteža Slobodanke Stupar“, Treći program Radio Beograda,1990. • D. Dević, „Beleženje dodira“, Narodne novine, 14. 3. 1990. • Jasmina Tuturov, „Unutrašnji kosmos, uz izložbu Slobodanke Stupar u savremenoj Galeriji u Zrenjaninu“ • „Oelgemaelde von Stupar“, Fuerstenfeldbrucker Tagblatt, 12. 3. 1992. • „Spurensuche in der Natur, Die Galerie Rozmarin zeigt Werke der Kuenstlerin Slobodanka Stupar“, Muenchener Merkur, 4. 1992; • „Der Reiz liegt im unmittelbaren Ausdruck Kuenstlerischen Wollens“, Fuerstenfeldbrucker Tagblatt, 11. 1992. • Jürgen Raap, „Quantenpool in der Moltkerei-Werkstatt“, Kölner Ilustrierte, 9. 1992. • Bernd v. den Brinken, Nachtsendung (3.15–3.45). „Ceci n’est pas une pipe – Slobodanka Stupar, Ljiljana Jovanović“, Quantenpool Köln, Vilter Verlag, 1993, 10. • Dr Bettina Mette, „Nine Doors to Nowhere“ und „Vertical/ The Passage“, pref. cat. solo exhib. Simultanhalle, Köln, 1995.

• Žana Gvozdenović, „Grafike Slobodanke Stupar“, predgovor

• Bruno Schneider, „Türen, die ins Nichts führen, Slobodan-

kataloga samostalne izložbe, Galerija Jugoslovenskog kul-

ka Stupar zeigt in der Simultanhalle eine Installation aus

turnog centra, Beč, 1986. i Galerija Kreonidis, Athens, 1987.

Reispapier, Spiegelstreifen und Stahlwolle“, Kölnische Run-

• „Stupar im Jugoslawischen Kulturzentrum“, Diplomatic Correspondence, 1/1987. • Nikos Aleksiou, „Slobodanka Stupar“, Rizospastis, 11. 4. 1987. • „Najbolja djela – Salamun, Stupar“, Vjesnik Željezare Sisak, 12. 6. 1987. • Aleksandar Đurić, „Buđenje Antropometrije iz nesvesti“ predgovor kataloga samostalne izložbe, Galerija Kulturnog centra Vranje, 1988. • Adam Puslojić, „Slobodanki, petog maja“, predgovor kataloga samostalne izložbe u Kulturnom centru Vranje, 1988.

dschau, 9. 6. 1995. • Jürgen Schön, „Lichtspiele“, Kölner Stadt-Ainzeiger Nr. 140, 20. 6. 1995. • „ Werke auslaendischer Künstler im Foyer des historischen Rathauses“, Kölnische Rundschau, 14. 9. 1995. • M. Živojinov, „Ogledalo slike i muzike“, Evropske novosti, 21. 9. 1995. • Ursula Franck, „Slobodanka Stupar“ (Simultanhalle Köln, 1995), Arti, 10. 1995.

• Jünger Küsters „Von Kunst und Alltag“, Kölner Stadt-ainzeiger 16/17. 3. 1996. • „Bilder voller Energie“, Ruhr Nachtrichten, 17. 10. 1996. • Jürgen Schön „Geheimnis der Schrift“, Ausstellung Stupar, Kölner Stadt-Ainzeiger Nr. 13, 16. 1. 1998. • Gordana Stanišić, predgovor kataloga samostalne izložbe, Galerija Zepter, Beograd, 1998. • „Stepenice do neba”, Novosti, 24. 1. 1998. • M irjana Radojčić „Nedodirljivi prostori – izložba Slobodanke Stupar u galeriji Zepter“, Politika, 6. 2. 1998. • Jovan Despotović, „Vrata i drugi zapisi Slobodanke Stupar“, Treći program Radio Beograda, februar 1998. • Jovan Despotović, „Doors and other Notes of Slobodanka Stupar“, Arti, October 1998.

• Bia Papadopoulou “In The Beginning Was Fire“, pref. cat. group exhib., Titanium Gallery, Athens, 2004. 9, 52, 53. • Dr Irina Subotić, „Galerija Zepter deset godina postojanja“, Zepter Gallery 1994/2004, 2004, 18, 21. • Bia Papadopoulou, “Chronicle of the Absurd“, pref. cat. group exhib., Museum of Photography, Thessaloniki, 2007. • Sava Ristović, predgovor kataloga samostalne izložbe, Galerija Zlatno oko Novi Sad i Moderna galerija, Lazarevac, 2008. • Bia Papadopoulou, “Voyage of meditation and self-knowledge“, pref. cat. for solo exhibition at Gallery Red, Athens, 2009. • Dr Ivana Simeonović Ćelić, Muzej Zepter – kolekcija, 2010, 251–253.

• Bia Papadopoulou, “Commentary on the Twentieth Century“ pref. cat. group exhib., Artforum Gallery, Thessaloniki, 2000, 2, 4. • Lena Kokkini, „Terra Incognita“, pref. cat. group exhib., Diana Gallery, Athens, 2002, 7. • Bia Papadopoulou, Slobodanka Stupar, “To Mistirio ton Grammaton“, pref. cat. solo exib., Artforum Gallery, Thessaloniki, 2002. • Sava Ristović, predgovor kataloga samostalne izložbe, Galerija KC Beograda, 2002. • Lena Kokkini, pref. cat. solo exhib., Diana Gallery, Athens 2003. • Bia Papadopoulou, „Witness“, pref. cat. solo exhib., Diana Gallery, Athens, 2003. • Dr Milanka Todić, „Pozitiv/Negativ, proticanje slika se ne može zaustaviti“, 44. Oktobarski salon Beograda, 2003, 13. • Ljiljana Slijepčević, „Nove pojave u grafici Beogradskog kruga osamdesetih i devedesetih godina“, izložba „Jedan vek grafike“, galerija SANU 2003, 123 • Milena Marjanović, „Šaputanja iz jastuka“, Blic, 8. 10. 2003.

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IZDAVAČ PRODAJNA GALERIJA «BEOGRAD» Kosančićev venac 19, Beograd, Srbija Tel/faks 011 30 33 923 Tel 011 32 87 325 pgb.gal@sbb.rs www.galerijabeograd.org Za izdavača Mihailo M. Petković, direktor Lektor Milena Jevremović Korektor Nada Dukić Dizajn Službeni glasnik / Redizajn Isidora M. Nikolić 264

Fotografije Vladimir Popović, Wolfgang Zurborn, Đorđe Odanović, Vangelis Iliopoulos, Dinka Pignon, Hristos Istavridis, Olaf Bergmann, Slobodanka Stupar Skeniranje slajdova i obrada fotografija Vladimir Popović Štampa Publikum tiraz 500

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 76.071.1:929 Ступар С. 7.038.55(497.11) СТУПАР, Слободанка, 1947Slobodanka Stupar : od predmeta do koncepta i dalje--- = from object to concept and beyond--- / [tekst monografije, text of the monography Jovan Despotović ; prevod Nevena Radošević ; fotografije Vladimir Popović ... [i dr.]. - Beograd : Prodajna galerija = Sales Gallery, 2013 (Beograd : Publikum). - 263 str. : ilustr. ; 23 cm. (Posebna izdanja / Prodajna galerija) Uporedo srp. tekst i engl. prevod. - Tiraž 500. - Napomene i bibliografske reference uz tekst. - Biografija: str. 252-261. Bibliografija: str. 262-263. ISBN 978-86-6141-047-5 1. Деспотовић, Јован, 1952- [аутор] a) Ступар, Слободанка (1947-) COBISS.SR-ID 198299916

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