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Rastislav Škulec

Rastislav Škulec

S k u l p t u r e , i n S t a l a c i j e i d r u g o

Suzana Vuksanović

NoVi Sad 2014.

s c u l p t u r e s , i n s ta l l at i o n s a n d o t h e r a r t W o r K1 9 8 8 - 2 0 1 3 .

Rastislav Škulec: Remix. Refresh. Restart.

skulpture, instalacije i drugo 1988–2013.

Retrospektivna izložba

Rastislav Škulec: Remix. Refresh. Restart.

sculptures, installations and other artwork 1988–2013

Retrospective

Kustoskinja / Curator

mr Suzana Vuksanović

dizajn / design

Mirjana Dušić Lazić

Producent / Producer

Jovan Jakšić

Tehnička služba / Technical Services

Đorđe Popić, Pajica Dejanović

Muzej savremene umetnosti Vojvodine u Novom Sadu

Museum of Contemporary art Vojvodina in Novi Sad

dunavska 37, Novi Sad

29. novembar – 29. decembar 2013.

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Suzana Vuksanović My Starting Point Is My Last Stopping Point

Početak, glavni tokapsolutno skulpturalno: Umetnost je jedini način životne borbeŠta je Apsolutno Frakcija?i drugo: crteži, slikeZa kraj

Tačka, kraj jednog perioda Suzana Vuksanović: intervju sa Rastislavom Škulecom

Radovi / artworks (1988-2013)

Suzana Vuksanović Moja završnica je moje polazište

Beginnings, Mainstreamabsolutely sculptural: Art is the only method of life struggle What is apsolutno Frakcija / absolutely Fraction?and the rest: drawings, paintingsin conclusion

Full stop, the end of one period Suzana Vuksanović: interview with Rastislav Škulec

Biografija i bibliografija / Biography and bibliography

S a d r ž a j

Ciklus Lice vatre-tragovi, 1990. crtež na zidu, garež od vatre, ugljen, dimenzije promenljive

From the series The Face of Fire-Traces, 1990drawing on the wall, soot from the fire, charcoal, variable dimensions

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Suzana Vuksanović

My Starting Point is My Last Stopping Point * „ironija kao jedino sredstvo kojim intelektualac raspolaže ispunjava obe funkcije, subverzivnu i kreativnu. ironija ima uznemiravajući efekat i dovodi ustaljene vrednosti u pitanje; pozivajući se na njihovu svrhu primorava nas da razvijemo strategije bazirane na sopstvenom iskustvu. Gorka ironija, crni humor, morbidnost, samotortura, skoro mazohističko samoruganje, nisu samo tipični fenomeni centralnoevropske kulture, već u isto vreme deluju kao paradigmatične strategije osmišljene da stvore frustraciju i dugotrajan nedostatak podnošljive perspektive.“1

Početak, glavni tokApsolutno Rastislav Škulec: Permanentna kriza – naziv je koji je Škulec odabrao za svoju izložbu u Galeriji savremene likovne umetnosti u Novom Sadu, održanoj maja 1994.2 Kasnije akcije i reakcije ovog umetnika na aktuelnu situaciju u sistemu umetnosti, i društvenom sistemu uopšte, bacaju pravo svetlo na odabran naziv i njegov kontekst.

izložba sažima produkciju iz prethodnih nekoliko godina i predstavlja prvi samostalni javni nastup sa većom vidljivošću u široj javnosti i kod stručne publike, uz pripadajući institucionalni/profesionalni tretman i podršku.

Škulec je tada pokazao čitavu grupu/seriju radova koja koristi zidne površine za varijacije formi od gvožđa u kombinaciji sa crtežima izvedenim direktno na zidovima. Nazivi su naprosto simptomatični: Bez druge mogućnosti I, II i III iz 1990/1991, sa promenljivim dimenzijama koje se kreću do 180x300 cm. Nešto kasnije te metalne forme postaju plošnije, a u igru/priču uvodi se novi materijal – guma, dok crtež prerasta u široku bojenu površinu (takav rad je, na primer, Mogućnost gume i gvožđa, 1991). U istom periodu nastaju i radovi tipa Tragovi gde su?, 1991, koji se svojim dramatičnim efektom bušenja i paljenja zida na kojem je prethodno fiksiran crtež geometrijskog sadržaja (poput geometrijskih proračuna) kao skladnog, organizovanog i uređenog sveta, mogu smatrati direktnom reakcijom na ratno okruženje i traumatičnu promenu životnih prilika. Na tu seriju radova nadovezuju se i višeznačni slojevi rada Negovanje rđe iz 1994. godine.3

dakle, iako se ne radi o eksplicitnom izjašnjavanju, nesumnjivo je da je, uz lično i intimno umetničko propitivanje (pozitivističko tumačenje fenomena „permanentne krize“4), u pitanju i reagovanje, beleženje i gotovo doslovni društveni angažman i reakcija na datosti tužne realnosti – u formi izložbe.

1 Lóránd Hegyi, Centralna Evropa kao hipoteza i način života, časopis za kritiku, istoriju i teoriju umetnosti Anomalija, 1, MSLU, Novi Sad, april 2005, str. 69. Tekst je preuzet iz kataloga: Aspect/Positions. 50 years of Art in Central Europe 1949–1999 (Lóránd Hegyi, Central Europe as a Hypothesis and a Way of Life), Museum moderner Kunst Stiftung Ludwig Wien, 2000.

2 Ujedno, to je i treća u nizu izložbi sa predznakom Apsolutno ispred imena i prezimena umetnika: Apsolutno Zoran Pantelić, Galerija savremene likovne umetnosti, Novi Sad, decembar 1993; i Apsolutno Dragan Rakić, Galerija savremene likovne umetnosti, Novi Sad, april 1994.

3 Svi navedeni radovi, uz nekoliko drugih, pokazani su na izložbi Permanentna kriza_Apsolutno Rastislav Škulec u Galeriji savremene likovne umetnosti, Novi Sad, maj 1994.

4 „Pozitivna konsekvenca jeste afirmacija strategije ‘stalnih početaka’, sa samo nekoliko ‘fiksnih’ kota: intuitivno u izboru, razložno u nameri, iracionalno u egzekutivnom procesu, odnosno ironično (često dominantno i ne bez samoironije) u sadržinskim slojevima skulpture“ (Miloš arsić, predgovor u katalogu izložbe Apsolutno Rastislav Škulec: Permanentna kriza, Galerija savremene likovne umetnosti, Novi Sad 1994).

* izvor nepoznat.

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Tri samostalne izložbe u Novom Sadu, koje su prethodile onoj u Galeriji savremene likovne umetnosti, realizovao je u Žutoj kući5, čiji je osnivač i jedan od spiritus movensa. U skromnom katalogu treće, i poslednje, izložbe održane 1990. u tom zdanju, a pre njegovog rušenja, unapred je zapisao rezime svog budućeg rada: „Moj svakodnevni rad je povezan sa prevazilaženjem sopstvenih granica, na večitom dijalogu između slike i skulpture“.6

Početkom devedesetih godina Škulec je bio među prvima koji uvodi konstantno merenje, premeravanje i upoznavanje sa prostornim činjenicama i insistiranje na komunikacijskom odnosu između umetničkog predmeta i posmatrača.

Prvobitni, možda tada još uvek neartikulisani stav protiv tradicionalnog vajarskog/skulptorskog sistema materijal–masa–prostor realizovao se kroz kontroverzni, iracionalni i ironični pristup i radni postupak realizacije skulpture (objekta, predmeta i stvari), što i danas, uz subverzivnost i duhovitost/humor, karakteriše njegov način realizacije umetničkih radova bez obzira na medij, tehniku, upotrebljeni materijal i/ili (ne)raspoloživi prostor za izlaganje i intervenciju.

Pripovedački/pripovedni nazivi koje Škulec daje svojim radovima posebna su tema.

Njegova potreba da dodatno objasni, ali i zamuti značenje, da sadržaj i dublji smisao učini (ne)transparentnim, da na uzdržane forme stavi ukras/broš, da doda i/ili oduzme značenje – za cilj ima poigravanje vlastitim a ujedno posmatračevim perceptivnim navikama itd.

Celina skulptorskog korpusa Rastislava Škuleca jasno govori o razumevanju skulpture kao prostorne predstave, događaja u prostoru, sa aluzivnim i narativnim motivima i uz korišćenje postupaka direktnog ili korigovanog ready-madea. Prostor je shvaćen kao sada i ovde. Umetnički ili realni (galerijski ili životni) prostor – svejedno je, isto je. ograničen, ograničavajući, neograničen, besmislen i smislen, prazan prostor koji je ispunjen vazduhom, puni prostor u kojem se teško diše, prostor koji je promenljiv: „Skulptorskom intervencijom u prostoru nastaje preobražaj objektivnog stvarnog prostora u jedan mogućni subjektivni metaforički prostor. … Svaki skulptorski prostor je nesvesno telesni prostor. Umetnikovo telo i telo skulpture, a potom telo skulpture i telo njenog gledaoca postaju jedno u metaforičkim identifikacijama“.7

Telo skulpture postaje nosilac brojnih značenja i mogućih projekcija. Komunikacija se odvija dvosmerno: od spolja ka unutra i obratno. od spoljašnjih karakteristika i opipljivih/vidljivih datosti upotrebljenih materijala za izradu skulpture ka unutrašnjoj retorici prizora/predstave, odnosno retoričnosti figure.

Upotrebljeni materijal i sam prostor Škulec stavlja u službu oslobađanja skulpture od značenjskih stereotipa. istovremeno, to za njega znači neophodnost stalnog izigravanja/izneveravanja zahteva

5 Žutu kuću – kultno mesto urbanog Novog Sada – osnovala je grupa mladih umetnika-entuzijasta krajem osamdesetih godina kao mesto za realizaciju različitih kulturnih (umetničkih, muzičkih…) događaja. Godine 1995. Žutu kuću je srušila gradska vlast.

6 „izložbe, kako samostalne tako i kolektivne, često prati sumiranje rezultata određenog vremenskog perioda ispunjenog radom na problemu koji se prežvakan i upakovan onda prezentuje kao rezultat postavljen unutar određenih granica… Po ovome nikad ne bih izložio ništa. Moj svakodnevni rad je povezan sa prevazilaženjem sopstvenih granica, na večitom dijalogu između slike i skulpture. Nezadovoljstvo zbog ograničenosti slike, kao scene ispunjene vizuelnim sadržajem, je još na samom početku bavljenja slikarstvom rezultiralo potenciranjem njene telesnosti kroz objekte a zatim i skulpture. Skulptura je, sa druge strane, još više potencirala problem prostora. ova izložba je namera bez unapred datog odgovora“ (Rastislav Škulec u katalogu izložbe, Galerija „Žuta kuća“, Novi Sad, jun 1990).

7 Miško Šuvaković, „Skulpturalna metafora“, Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950, Prometej, Novi Sad 1999, 315.

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za trajnošću i funkcionalnošću skulpture i skulpturalnog. Slobodnim izborom metoda u okviru izmenjenog konteksta sveta umetnosti i sveta realnosti Škulec uvodi nove i drugačije fizičke i značenjske relacije u organizam skulpture i organizaciju skulpturalnog.

Škulecova skulptorska akcija vođena je sumnjom i intuicijom, a njegove antiskulpture, nužno suprotstavljene referencijalnom i reprezentacijskom od čega je tradicionalna skulptura sačinjena, nisu i autoreferentne. one predstavljaju rezultat egzistencijalnog otpora, agresije i tolerancije – istovremeno.

Miloš arsić je svojevremeno zapisao: „U Škulecovom pristupu skulpturi, irelevantne su klasične konvencije traženja vlastite, konstantne poetske kote i doslednost jednom svetu ideja. To proizilazi iz shvatanja umetnosti kao specifičnog intelektualnog preispitivanja smisla i razloga umetničkog delovanja (i ponašanja). … Sve je početak, kraja nema, čime se proces nastajanja skulpture određuje kao logični (i obavezujući) spreg ‘mentalnog kompleksa’ i manuelne neposrednosti, koji omogućava odlazak u pretpostavljeno egzistencijalno središte skulpture.“8

istovremeno, nastaju radovi poput AS 89.03 iz 1989, AK-991 iz 1991,9 Bez (određenog) naziva (poznat i pod nazivom Imobilizacija) iz 1992,10 LV 8993, 1989–1993.11

Među rane primere radikalnih i međuzavisnih promena, koje su se istovremeno odvijale unutar jezika i crteža i slike i skulpture na početku i tokom devedesetih godina, spadaju upravo pomenuti radovi.

U jednom trenutku, energija, otvorenost i višestruka autonomnost skulpture Rastislava Škuleca dovedena je u vezu i sa izvijenim oblicima Ričarda dikona (Richard deacon) kada je uočena i karakteristika koja će snažno obeležiti celokupan njegov rad, a to je kreiranje asocijativno duhovitih situacija.12 Bez obzira na medij, povod ili motiv za skulptorsku reakciju, Škulec će najčešće birati neposredne i nekonvencionalne tehnike i materijale, kontroverzne istovremenosti preoblikovanja i građenja, dodavanja i oduzimanja.13 Skepsa će ga goniti na stalno traganje za novim i drugačijim, i samo na trenutak za njega dovoljno ubedljivim načinima i postupcima dolaženja do rešenja za oblike nekonvencionalne građe i nestabilnog prostornog statusa.

oktobra 1995. usledila je i prva samostalna izložba u Beogradu, u Galeriji doma omladine, koju će lično doživeti kao zakasnelu.14

8 Miloš arsić, cat. pref., Apsolutno Rastislav Škulec: Permanentna kriza, Galerija savremene likovne umetnosti, Novi Sad, maj 1994.

9 Rad je izlagan na izložbi Tendencije devedesetih: diskretni modernizam u Centru za vizuelnu kulturu „Zlatno oko“, 16. april – 26. maj 1996.

10 Rad je izlagan na izložbi Rane devedesete: jugoslovenska umetnička scena, Galerija savremene likovne umetnosti, Novi Sad, avgust–septembar 1993; dvorac Petrovića, Podgorica, oktobar–novembar 1993; i Nova skulptura u Vojvodini 1980–2000, Master centar Novosadskog sajma, Muzej savremene umetnosti Vojvodine, Novi Sad, decembar 2006.

11 Rad je izlagan na izložbi Horizontala – vertikala, sukob i saglasje, Galerija savremene likovne umetnosti, Novi Sad, mart 1993.

12 Gordana Stanišić Ristović, „čelične konstrukcije od terakote“, Terra: 12. internacionalni simpozijum skulpture (tema/zadatak „Zemlja–Nebo“), Kikinda 1993.

13 M. arsić, n. d.

14 „Radovi ovde predstavljeni su izbor iz opusa karakterističnog za godine 1991–1995. Skulpture su izvedene od različitih materijala, namenjene zatvorenom galerijskom prostoru daleko od životne vreve ulice ili pak drame porodičnog života potencijalnog ljubitelja umetnosti. Ujedno predstavljaju pokušaj da se premosti jaz između mnogobrojnih izložbi u prethodnoj i današnjoj Jugoslaviji i gotovo potpune anonimnosti u širim umetničkim krugovima Beograda. Ukratko, radi se o jednoj zakasneloj beogradskoj izložbi Rastislava Škuleca (aRŠ Rastislav Škulec, u: Apsolutno Rastislav Škulec, katalog izložbe, Galerija doma omladine, Beograd, 3–4. oktobar 1995.

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Tranzit skalamerija remix, 2000.kudeljni konopci, dimenzije promenljive

Transit Contraption Remix, 2000hemp ropes, dimensions variable

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optički, prostorni i sadržinski smisao njegovih skulptura, slika-skulptura, crteža-skulptura, srazmerno je proporcionalan njegovom specifičnom odnosu prema svetu ideja (jer, sve podleže reviziji – sopstveno mišljenje i izneti stav, izvedena skulptura ili rad „u postupku“). a tom svojevrsnom retrospektivom ili rekapitulacijom petogodišnjeg rada Škulec je očito želeo da pokaže upravo svoju potrebu za konstantnom proverom svog umetničkog i egzistencijalnog identiteta, traganje za vlastitim egzistencijalnim mestom kroz direktne ili skrivene metaforičke i aluzivne iskaze.

o nestabilnim pozicijama i temporalnom karakteru (karakteristikama) Škulecovog rada Nebojša Milenković piše: „Rastislav Škulec izvodi skulpture (od) suvišnih predmeta, ističući njihov privremeni karakter, beskorisnost i programsku neestetičnost. U ranoj fazi u svoje objekte ubacivao je i kolorističke aplikacije kojima je dodatno akcentovao zamišljeno skulpturalno stanje.“15

Učešće na brojnim grupnim i problemskim izložbama tokom devedesetih godina, na kojima je imao zapažene radove, kulminiralo je 1996. na izložbi Skulptura: konstrukcija – minimalizam,16 gde je zajedno sa Živkom Grozdanićem i Ratomirom Kulićem bio predstavljen pod tom „jasnom“ i vrlo obavezujućom odrednicom. Zoran Erić ipak pojašnjava da nije reč o direktnom preuzimanju umetničkog govora istorijskih pojava17 već o poznavanju, uvažavanju, inkorporiranju i preradi konstruktivizma i minimalizma kao istorijskih repera propuštenih kroz lični stav i umetnički tretman.

U svom iskazu za katalog Škulec između ostalog zapisuje: „Smrt za života, odnosno hodajuća smrt je motiv i sadržaj ovih radova. Ne želim da posežem za psihoanalitičkim simbolima, radije se obraćam simulaciji psihotičnog stanja, katatoničnosti, ispoljavanju krajnjeg stepena depresije koja se javlja usred traume bez jasno definisanog uzroka.“18

iste te 1996. Rastislav Škulec gubi interes i motivaciju za izlaganje i do 2000. potpuno se povlači iz javnog umetničkog delovanja. Kasnije će često, u brojnim svojim izjavama, govoriti da mu je ta unutrašnja emigracija nanela dosta štete i da je zato odlučio da se „vrati“ na scenu. Tako je 2000. realizovao izložbu u novosadskom Centru za vizuelnu kulturu „Zlatno oko“. Na izložbi je bila predstavljena najnovija njegova produkcija (npr. Bez naziva (Veliki iskorak), 1998–2000, Bez naziva, 1999, oba sada u vlasništvu MSUV-a u Novom Sadu i drugi radovi.)

15 Nebojša Milenković, „Ludi, zbunjeni i još neki…“, Fatalne devedesete: strategije otpora i konfrontacija, Umetnost u Vojvodini na kraju XX i početkom XXI veka, Muzej savremene likovne umetnosti, Novi Sad, 2001, 12.

16 U okviru izložbenog projekta Save Stepanova Tendencije devedesetih: diskretni modernizam, Centar za vizuelnu kulturu „Zlatno oko“, Novi Sad, 16. april – 26. maj 1996.

17 Zoran Erić, „Skulptura: konstrukcija – minimalizam (Živko Grozdanić, Rastislav Škulec, Ratomir Kulić)“, Tendencije devedesetih: diskretni modernizam, ex. cat., Centar za vizuelnu kulturu „Zlatno oko“, Novi Sad, 16. april – 26. maj 1996.

18 „Moji radovi su, pre svega, konceptualne izjave i ja volim da ih posmatram na tradicionalan način. Recimo, ja sam skulptor antropomorfnih oblika čije je izobličenje dovedeno do krajnjih granica, tako da se antropomorfna struktura ne nalazi čak ni u tragovima… Bavim se instalacijama jer me interesuje statička nepostojanost, opasnost da se prilično težak komad od metala iznenada sruči na pod i zauzme definitivni, vodoravni položaj, i ostvari smisao u kojem se vodoravno shvata kao pasivno-mrtvo, nasuprot uspravno-živom. ova instalacija pruža mogućnost da se iskaže nemogućnost fizički stabilnog odraza. Smrt za života, odnosno hodajuća smrt je motiv i sadržaj ovih radova. Ne želim da posežem za psihoanalitičkim simbolima, radije se obraćam simulaciji psihotičnog stanja, katatoničnosti, ispoljavanju krajnjeg stepena depresije koja se javlja usred traume bez jasno definisanog uzroka“ (Rastislav Škulec u: Tendencije devedesetih: diskretni modernizam, ex. cat., Centar za vizuelnu kulturu „Zlatno oko“, Novi Sad, 16. april – 26. maj 1996).

Tranzit skalamerija remix, 2000.kudeljni konopci, dimenzije promenljive

Transit Contraption Remix, 2000hemp ropes, dimensions variable

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Tokom dvehiljaditih godina njegova aktivnost na umetničkoj sceni biće registrovana na mnogim izložbama,19 dok u isto vreme (2002–8) intenzivno radi na skicama za monumentalne skulpture, za koje bez uspeha traži finansijere.

instalacijom na zidu pod nazivom Piše na radu, 2004. u okviru izložbe Izbor, 1995–2004,20 ulazi u direktniji dijalog sa (ne)postojećim umetničkim sistemom, da bi instalacijom Moj novogodišnji bonus,21 2013, sastavljenom od drvenog sanduka za sahranjivanje, drvenog krsta i novogodišnje jelke, te konstrukcijom Prava je zgoda da se izmeni priroda poda, 2013,22 retrospektiva simboličnog naziva Remix. Refrash. Restart.23 dobila svoju veliku završnicu.

dakle, održavanje izložbe 1994. pod nazivom Permanentna kriza pre dvadeset godina čini se kao ključna tačka ukleštenja u kojoj se, s jedne strane, sažima Škulecov rad tokom prethodnih, prilično intenzivnih i napetih godina, ali i potpuno sudbinski određuje/anticipira njegov rad i ponašanje tokom godina/decenija koje slede…

Zapravo, čini se da je u korenu i unutrašnjem razlogu ove umetnosti osećaj krize koja traje, koja je lična i društvena (moralna i politička), koja je proizvela stav samomučenja, svojevrsni mazohistički stav sumnjičav prema suverenoj i individualnoj nezavisnosti i u večitoj, nezavršenoj potrazi za identitetom.24

Kriza, konflikt, katarza, zapravo su Škulecov materijal za rad. društvene anomalije, psihosomatske smetnje, simptomi kriznih/graničnih stanja, depresivnost i osećaj bespomoćnosti i egzistencijalnog straha.

Bez te permanentne krize ne bi bilo ni umetničkog rada Rastislava Škuleca kakvog poznajemo.

Pa ipak, njegovi radovi nisu moralne i političke izjave. oni su pre emotivno kritički i, usled osećanja neposredne opasnosti od uništenja na fizičkom i mentalnom/psihološkom planu, neki od realizovanih radova mogu delovati prilično preteće. Funkcionišu na dva nivoa: kao društvena izjava o statusu umetnika/umetnosti u domaćoj sredini i provociraju socijalnu/kulturološku/psihološku poziciju posmatrača…

Skulpturalne instalacije kao (traumatske) izjave o toleranciji i/ili odbijanju, kojima forma, ma koliko ponekad bila „stroga“, „čvrsta“ i „čista“, služi samo kao opna za govor subjekta (umetnika) koji je u tom kulturnom prostoru negiran i/ili marginalizovan. Unutrašnja struktura tih radova kao da je sačinjena od dugotrajne nemosti, od umnog ćutanja u sebi.

19 Npr: 2001. Novi Sad, Muzej savremene likovne umetnosti, Fatalne devedesete – strategije otpora i konfrontacija: Umetnost u Vojvodini na kraju XX i početkom XXI veka; 2004. Beograd, Galerija doma omladine, Izbor, 1995–2004; 2005. Novi Sad, „Manual“, Neki aspekti savremene skulpture u Vojvodini; 2006. Novi Sad, Muzej savremene umetnosti Vojvodine, Nova skulptura u Vojvodini 1980–2000; 2010. Novi Sad, Muzej savremene umetnosti Vojvodine, Trijumf savremene umetnosti – „Kolekcija Vujičić“ i druge.

20 izložba je održana oktobra–novembra 2004. u Galeriji doma omladine Beograda sa ciljem da se predstavi desetogodišnja aktivnost te galerije.

21 „Rad je zamišljen kao samoironični komentar izložbe koja je zamišljena kao retrospektiva radova nastalih tokom poslednjih 25 godina. Kako ‘retrospektivne izložbe’ obično podrazumevaju zaokružen umetnički opus, svojevrsnu kreativnu tačku, ovom instalacijom sam hteo, koristeći se ironijom, da aludiram na to da moj stvaralački opus ni približno nije doveden do kraja: Objekti korišćeni u instalaciji su oblik ličnog umetničkog izraza autora i nisu zamišljeni sa ciljem da uznemire niti uvrede bilo koga“ (Rastislav Škulec, novembar 2013).

22 Za rad je upotrebljeno lamelirano drvo namenjeno za oblaganje poda u izložbenim prostorijama MSUV-a.

23 održana novembra–decembra 2013. u novosadskom Muzeju savremene umetnosti Vojvodine.

24 Lóránd Hegyi, n. d.

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istorijski, politički i društveni prekidi tokom devedesetih, pa i kasnije, od 2000. naovamo – prekidi i diskontinuiteti maskirani u tranziciju, manifestovali su se na različite načine, što je dodatno slabilo poziciju nesigurnog i anksioznog pojedinca (umetnika). Stoga se Škulecova skulptura kao fragment prostornog i vremenskog zbivanja dešifruje ne samo metaforom (ili metonimijom), već i neurozom, određenim stvarnim odnosima, dodirivanjem / izostankom dodira i nemom/nemuštom povezanošću u prostoru i vremenu.

apsolutno skulpturalno: Umetnost je jedini način životne borbe25

Zoran Pantelić i Rastislav Škulec su od 1990. do 1993. godine delovali kao Apsolutno skulpturalno.26 Njihov zajednički rad dva puta je bio i javno pokazan – 1990. godine u apatinu27 i 1991. u Pančevu28. No, važnije ili efektnije/efikasnije od realizacije i ekspozicije pomenuta dva umetnička rada jeste konceptualizacija pojma apsolutno i pojma skulpturalno…

autorski tim Pantelić–Škulec svoje zajedničko delovanje je zasnivao na sličnom&bliskom odnosu prema društvenoj, kulturnoj, umetničkoj sredini, prvenstveno prema metodima školovanja na novosadskoj akademiji umetnosti, otporu prema propisanom, akademskom formatu razmišljanja i rada, kao i nepostojanju društvene reakcije, prepoznavanja i uvažavanja rada umetnika, izraženih i kroz nepostojanje istrajne i pravovremene umetničke kritike, kao i kroz izostajanje materijalne i moralne podrške sistema/države/društva.

Koju to ideju zastupa Apsolutno skulpturalno? Polazište za potrebu da se „potpiše“, „etiketira“, „izda potvrda“ je upravo prevazilaženje ideje o delu kao apsolutnom. To su bili neki (nekad intuitivni, nekad mladalačkim idealizmom obojeni) putevi ka apsolutnoj skulpturi – kroz izbor metoda, tehnika, materijala, kroz igru sa prostorom – shvaćenoj i ostvarenoj kao organizam koji zauzima i označava, čak uzurpira tradicionalni prostorni red. Probijanje, rastezanja i proširenja, pa i obnavljanje identiteta i samog pojma skulpture, uz istovremeno potpunu relativizaciju do tada ustanovljenih granica skulpturalnog.

dovesti u pitanje transcendentnost skulpture, njenu istinu i realnost i preovlađujuće ubeđenje da ona reprezentuje vrednosti izvan vremena bili su njihovi osnovni motivi. ideja da skulptura mora biti objekat jasno odvojen od drugih, neumetničkih objekata morala je biti izazvana i preispitana. Zahvaljujući promenama u umetnosti šezdesetih godina 20. veka u istoriju umetnosti i skulptorski vokabular uvedeni su novi pojmovi poput envajrmenta, hepeninga, performansa i instalacija, koji su podrazumevali ili sugerisali grupu objekata u realnom prostoru, kao i aktivno učešće publike. Performans i hepening su doneli „slabe“ ili krhke materijale u umetnost i skulpturu, atmosferu ulice, društvene i političke odgovore i reagovanja.29

25 iz audio-zapisa razgovora sa članovima Apsolutno skulpturalno (Zoran Pantelić, Rastislav Škulec) u okviru programa Razgovori sa akterima umetničke scene u toku trajanja izložbe Nova skulptura u Vojvodini 1980–2000, Muzej savremene likovne umetnosti, Novi Sad, Master centar Novosadskog sajma, Novi Sad, 16. decembar 2006.

26 Više o Apsolutno skulpturalno u: Suzana Vuksanović, Nova skulptura u Vojvodini 1980–2000, Muzej savremene umetnosti Vojvodine, Novi Sad 2013, str. 46–47.

27 U okviru izložbe Početak devedesetih: Skulptura, Galerija „Meander“, apatin, novembar–decembar 1990. (u apatinskom parku i danas se nalazi taj njihov rad).

28 U okviru 6. pančevačke izložbe jugoslovenske skulpture, Savremena galerija Centra za kulturu „olga Petrov“, Pančevo, 17. maj – 1. jul 1991.

29 andrew Causey, Sculpture Since 1945, oxford History of art, oxford University Press 1998, 9.

Homage. apsolutno skulpturalno 1990–1993. akcija Apsolutno Frakcije featuring Apsolutno izvedena 16. decembra 2006. u okviru izložbe Nova skulptura u Vojvodini 1980–2000 (MSUV, Novi Sad) ispred Master centra Novosadskog sajma

Homage. Absolutely Sculptural 1990–1993action of the Apsolutno Frakcija featuring Apsolutno was performed on 16 december 2006 at the exhibition New Sculpture in Vojvodina1980–2000 (MoCaV, Novi Sad) for the Master Center of the Novi Sad Fair

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To su sve bili dragoceni resursi koji su dvojici mladih umetnika stajali na raspolaganju i čijih su potencijala brzo postajali svesni. Predznak Apsolutno tako postaje prepoznatljiv identifikacioni kôd za skulptorski rad koji sam sebe intenzivno preispituje. istraživanja se sprovode kroz upotrebu najrazličitijih materijala i uvođenjem novih načina izrade i miksovanjem radnih postupaka. istraživanjima se ujedno uvode i nove i drugačije metodologije pristupa i tretmana volumena (mase) i prostora, kao osnovnih gradivnih činilaca za novu skulpturu. istovremeno, to je rad koji skulpturu prvi put (pret)postavlja i kao društvenu i kulturnu činjenicu.

Stavovi Tomaža Brejca o kipu kao telu, dodiru kao silno jednostavnom i primarnom iskustvu, energiji predmeta/skulpture i energiji prostora, vlastitom telu kao meri za odmeravanje prostora bili su takođe poznati i jako bliski Panteliću i Škulecu: „Stupanj imaginativne i egzistencijalne investicije, ogroman je. … Kipar uvijek mora stvarati određen referentni okvir koji će upotrijebljene tvari smjestiti u taktilnu imaginaciju, a to je veliki napor. invencija vidljivih formi koje će kiparstvu vratiti haptičnost – takav nalog čini se kao poruka iz neke paradoksalne utopije, a takvi nacrti su u ovoj civilizaciji najosmišljeniji. Nitko više ne razmišlja o tome što je moguće, sada treba posegnuti dalje“.30

ono što je tokom tog perioda, a i kasnije u njihovoj produkciji i pojedinačnim umetničkim praksama od svega pomenutog bilo primenjeno imalo je svoj vlastiti sistem i logiku, dok Apsolutno skulpturalno 1993. evoluira u Asocijaciju Apsolutno31, iz koje Škulec nešto kasnije i formalno istupa.

Šta je Apsolutno Frakcija?Pseudogrupa, izrasla 1996. na ideji Apsolutno skulpturalnog, asocijacije Apsolutno, suprotstavljena njima i svemu ostalom, Apsolutno Frakcija podrazumeva društveni i kulturni aktivizam na nivou duhovitog komentara, grube primedbe, crnog humora, iščašene metaforike, kreativnog cinizma, provokacije i (auto)subverzije.

Frakcija predstavlja odnos koji umetnik Škulec i čovek Rastislav (in)direktno ostvaruju sa svima ostalima / sa svetom i prema svemu ostalom / prema svetu izvan njega ali i unutar njega, svemu što preti da ugrozi (njegove) nazore, umetničku i ljudsku egzistenciju…

U pitanju je koncept koji se realizuje u formi svojevrsnog proglasa koji se najčešće putem elektronske pošte (u početku „papirnom poštom“) dostavlja na adresu/adrese pojedinaca, poznanika, prijatelja, saradnika, (ne)istomišljenika, kojima se na (ne)posredan način (nešto) poručuje, gde se komentariše trenutna ili trajna situacija u društvu (npr. Život u Srbiji: Narodna apoteka – Narodni lek za trajno očuvanje samopoštovanja), aktuelni kulturni ili politički događaji i njihovi akteri (npr. kalendar Život u Srbiji, Sezona 2008. u dve varijante: muški i ženski; Arterroristička Atrakcija: Fatal Error, i dr.). Ponekad se to čini direktnim akcijama i izvođenjima u javnom prostoru, poput Homage. Apsolutno skulpturalno 1990–1993, iz 2006.32

30 Tomaž Brejc, „o kiparstvu“, Quorum, god. V, br. 5–6, Zagreb 1989, 293.

31 Asocijacija Apsolutno osnovana je 1993. u Novom Sadu, a od 1995. godine produkcija asocijacije je zajednička produkcija sva četiri člana: Zorana Pantelića, dragana Rakića, Bojane Petrić, dragana Miletića (više o aA videti: Apsolutni izveštaj / Absolute Report, Muzej savremene umetnosti, Beograd 2002; The Absolute Report, Edited by association apsolutno, Revolver, Frankfurt am Main 2006).

32 Pod nazivom Homage. Apsolutno skulpturalno 1990–1993. akcija Apsolutno Frakcije featuring Apsolutno izvedena je 16. decembra 2006. u okviru izložbe Nova skulptura u Vojvodini 1980–2000 (MSUV, Novi Sad) ispred Master centra Novosadskog sajma gde je izložba održana.

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Pobuna, bunt, ljutnja, bes, nemoć, provokacija, skepsa, nezadovoljstvo… Konflikt, unutrašnji i spoljašnji. Snažno osećanje da je sve ukinuto ili ograničeno – istovremeno, to je i zgodan prostor za ispoljavanje i/ili rešavanje vlastitih frustracija uslovljenih društvenim pojavama, događajima i ljudima. autobiografski i anegdotski pristup tih anonimnih intervencija u polju društvenog i umetničkog sistema proizvode efekte koji nam često ostaju nepoznati, tajni, prikriveni, koje naslućujemo ili o njima imamo pretpostavke, do sledećeg povoda, kada će Škulecu poslužiti za iskazivanje namere da se ponovo pokrene rasprava, izazove (bar neka) reakcija, povratna informacija i slično.

i drugo: crteži, slikeCrteži (napr. Sunce, mesec, tajni dani – crtež 173, 1989; Crtež – 1990, 1990, Bez naziva, 1990–1992) kao i slike najvećim delom predstavljaju dolaženje do istog cilja&rezultata drugačijim sredstvima – ukoliko je to pražnjenje/smirivanje napetosti ili uznemirenja. Škulec se jeste školovao za slikara, no iz tog ranog perioda jedva da je sačuvano nekoliko slika. Većina je iz perioda od 2008–2009. do 2013.

Njegove slike se donekle mogu posmatrati kao pomoćno sredstvo, ali više su „produkti“ paralelnog konceptualnog i radnog procesa.

od diptiha Naši su životi kao Švajcarska, 1991, i Jerihon, 1992, do poslednjih realizovanih u mnogim varijantama i zig-zag/remix varijacijama (npr. Zig-zag vol. 4, 2009; Remix 100, 2010; Kutija 1, 2012) – geometrizovani oblici na Škulecovim slikama mogu se identifikovati kao obrasci koji služe za smirivanje duha, za uspostavljanje koncentracije i kontrole (nad sobom?, nad svetom oko sebe?). Škulecove slike su, dakle, simulakrumi smisla, potrebnog mira, uspostavljene ravnoteže i reda. Njihov svet je uređen. čak stabilan i smiren, iako prilično „šaren“, odnosno koloristički živ i razigran. on je sve ono što inače/zapravo u realnosti nije. Takođe, slike su potpuna suprotnost njegovom radu sa trodimezionalnim i četvorodimenzionalnim oblicima, privremenim prostornim situacijama, ali su, s druge strane, bliske gradnji objekata i gradnji situacija. ipak, produkcija slika teško je objašnjiva u kontekstu rada sa materijalima, političkim i društvenim komentarima i duhovitim, a oporim asocijacijama, jer retorika slikarstva podrazumeva, pre svega, dvodimenzionalnu (ograničenu, omeđenu) plošnu površinu… Njegova izjava da su skulpture nastale devedesetih – nastale iz očaja kao da se svojim značenjem može preneti na slike iz 2000-ih – kao da su i one nastale iz očaja.

U neku ruku, rad na slici kao da predstavlja mehanizam suprotstavljanja ugrožavajućim situacijama u okruženju, koje se brzo i naglo menja, i gde je svakodnevni zahtev za prilagođavanjem uslov opstanka.

Za krajŠkulecov umetnički rad i delovanje ipak nema dramatičnih obrta upravo stoga što je kroz radnu motivaciju pronalazio kanale za eliminisanje osećaja neprilagođenosti, izmeštenosti, ispadanja, iščašenja/uganuća, neuklopljenosti i nezadovoljstva.

Škulecova umetnička praksa može se sagledati iz više uglova istovremeno. ironična, traumatična i donekle kodirana omogućava različite tipologije interpretacija temeljenih na više različitih perspektiva i projekcija. ili mi se samo učinilo?

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U svakom slučaju, adekvatan završetak ovog osvrta na umetničko delovanje Rastislava Škuleca prepoznajem u sledećem citatu:

„Raste osećanje neke nove ozbiljnosti, koja se oprobava u smehu – a ne smeje se. Koja se oprobava u hrabrosti – a ne smeje se. To je osećanje vrlo tihe ozbiljnosti, nalik na malodušnost, na bojazan da će nešto rasterati i nepopravljivo uništiti u meni samom i u svetu bez mene.“33

33 Михаил Епштејн, Постмодернизам, 2. Нова сентименталност, Zepter Book World, Београд 1998, стр. 133.

Literatura / LiteratureRosalind E. Krauss, „Kiparstvo u proširenom polju“, Quorum, br. 5, Zagreb 1989, 304–310.

Ješa denegri, „Skulptura devedesetih: dvostruki osećaj telesnog“, 6. pančevačka izložba jugoslovenske skulpture, ex. cat., Savremena galerija Centra za kulturu „olga Petrov“, Pančevo, 17. maj – 1. jul 1991.

Rosalind E. Krauss, Passages in Modern Sculpture, The MiT Press 1994.

andrew Causey, Sculpture Since 1945, oxford History of art, oxford University Press 1998

Михаил Епштејн, Постмодернизам, 2. Нова сентименталност, Zepter Book World, Београд 1998.

Thomas McEvilley, Sculpture in the Age of Doubt, allworth Press, New York 1999.

Lóránd Hegyi, Centralna Evropa kao hipoteza i način života, časopis za kritiku, istoriju i teoriju umetnosti Anomalija, 1, MSLU, Novi Sad, april 2005, str. 47-86. Tekst je preuzet iz kataloga: Aspect/Positions. 50 years of Art in Central Europe 1949–1999 (Lóránd Hegyi, Central Europe as a Hypothesis and a Way of Life), Museum moderner Kunst Stiftung Ludwig Wien, 2000.

david Hopkins, After Modern Art 1945–2000, oxford History of art, oxford University Press 2000.

Hal Foster, Rosalind Krauss, Yve-alain Bois, Benjamin H. d Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, Thames and Hudson, London 2004.

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Rastislav Škulec, 13. decembar 2013, MSUV, Novi SadRazgovor sa umetnikom, uz projekciju emisije TV Galerija: Rastislav Škulec, TV Novi Sad januar 1992.

Rastislav Škulec, december 13th, 2013, MoCaV, Novi Sadinterview with the artist, with a broadcast ofThe TV Gallery: Rastislav Škulec, TV Novi Sad, January 1992

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Kako si? Šta radiš i čime se baviš ovih dana?

Sve zavisi od trenutka do trenutka. Uglavnom sam zaokupljen svakodnevnim obavezama vezanim za posao i porodicu. Pored toga, uglavnom čitam ili gledam filmove. Zimski period prvenstveno koristim kao neku vrstu generatora ideja i planova za blisku ili dalju budućnost. Trenutno, poslednje dve sedmice uporedo čitam knjige Ruski umetnički eksperiment 1886–1922. autorke Kamile Grej i Istoriju moderne skulpture Herberta Rida, i to po ko zna koji put posle 1982. godine kada sam ih uvrstio u svoju biblioteku. Šoljica za kafu mi često stoji pored otvorene knjige Filozofija umetnosti ipolita Tena. Nekome bi se to možda činilo kao malo nepovezano štivo, ali meni trenutno godi ta aktivnost. Prethodno sam prešao preko olivine trilogije Moderna umetnost 1770–1970–2000. a što se tiče filmova, planski sam odgledao Makavejeva i Žilnika po ko zna koji put: Misteriju organizma i Rane radove, kao i film Miroslava antića Sveti pesak, koji do sada nisam imao priliku da gledam, i moram da priznam da nije ostavio neki utisak na mene, mislim na Pesak.

Da li je i kako na tebe delovala mid-career retrospektivna izložba održana u decembru prošle godine u MSUV-u?

Slagao bih kada bih rekao da nije „delovala“. Prvo, poprilično sam se izmorio izlagačkim obavezama. Tokom pripreme za izložbu došao sam na ideju da ovu mini-retrospektivu iskoristim kao neku vrstu kadence. Tačka, kraj jednog perioda. opet, sa druge strane, prijale su mi „aktivnosti“ vezane za samu izložbu jer su me malo, da tako kažem, vratile u život – poželeo sam da stvorim još nekoliko skulptura, da postavim još neka pitanja i da malo uskomešam taloge baruštine koju nazivamo savremena umetnost u Srbiji. U narednom periodu ću tome da se posvetim. Takođe sam obećao sebi da ću od sada svake godine priređivati bar dve samostalne izložbe. ima da dojadim „i Bogu i svetu“. Za 2014. već imam gotove projekte, treba još samo malo fizičkog rada da se finalizuju. Jedan je posvećen ideji koja se pripisuje Leonardu da Vinčiju i vezana je za jedan muzički instrument koji je napravljen po njegovim crtežima, a drugi za mit o Troji i odiseju. Treći deo je o „Kremanskom proročanstvu“. Uglavnom, baviću se mitovima.

Suzana Vuksanović: intervju sa Rastislavom Škulecom

Tačka, kraj jednog perioda

Novi Sad – Begeč, januar–februar 2014.

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„Žuta kuća“ kao društveni centar? Rani/retki primer udruživanja mladih radi zadovoljenja kulturnih potreba sa kraja osamdesetih godina prošlog veka? Kultno mesto Novog Sada? Tvoj angažman? Jedan si od osnivača, zar ne?

Kada smo počeli da razmišljamo o nekom takvom mestu 1986. godine, koje se današnjim jezikom naziva „društveni centar“, moram priznati da nismo imali potpuno jasnu sliku kako bi sve to zajedno moglo i trebalo da izgleda. Nas nekoliko studenata akademije umetnosti – dragan Gucunski, Snežana Berić i ja – naravno praćeni prijateljima sa kojima smo se intenzivno družili, prvenstveno smo imali na umu stvaranje svojevrsne vizuelne radionice koja bi pružila nama, a i ostalim zainteresovanim stvaraocima, „bazu“ za nastavak istraživanja na polju vizuelnih i, kako se to kod nas tada zvalo, eksperimentalnih medija kao što su performans, video, hepening… Hteli smo i da se povežemo sa ljudima sličnih interesovanja iz tadašnje domovine. Nezadovoljni lokalnom scenom, prvenstveno politikom galerija i samog udruženja likovnih umetnika, i ignorantskim odnosom čak i prema standardnim slikarskim i vajarskim izrazima koji su izlazili iz okvira „autentičnog vojvođanskog pejzažnog slikarstva“, ili nazovi poetičnog sirealizma koji je bio najzastupljeniji u ateljeima-vikendicama na tvrđavi, hteli smo u isto vreme da otvorimo galeriju koja bi se bavila tada već ne tako novim slikarstvom i skulpturom. Model nam je bio beogradski SKC iz druge polovine sedamdesetih i ranih osamdesetih, kao i legendarna dešavanja u prostoru novosadske „Tribine mladih“. Sporadične i retke informacije o tome šta se dešava u drugim centrima, poput Ljubljane, Maribora ili Zagreba, bile su osnovni pokretač jer smo u njima prepoznali sopstvene ideje, želje i stavove o savremenoj umetnosti kao umetnosti sinteze raznovrsnih medija, modela i izraza. Kada smo dočuli da rukovodstvo studentskog parlamenta, verovatno podstaknuto „brigom“ tadašnjeg političkog establišmenta za mlade, traga za studentskim projektima napisali smo projekat koji je sadržavao pomenute ciljeve i načine njihovog postizanja. Naš projekat je bio pozdravljen, kao i još neki projekti studenata psihologije i studenata marksizma. Lično mislim da drugih projekata nije ni bilo. dragan Gucunski, kao najhladnokrvniji od nas, gotovo godinu dana je odlazio na sastanke, što Univerzitetske konferencije omladine, što raznih gradskih struktura,

uključujući i sam Gradski i Pokrajinski komitet SK, sve dok konačno nismo uspeli da dobijemo prostor u gradu za sedište, kako smo ga tada nazvali, „Centra za kreativno angažovanje mladih ‘Žuta kuća’“. To je bila jednospratna ruina od ukupno 120 kvadratnih metara koja je u proleće 1988. godine obnovljena i koju smo tokom istog leta oslikali i počeli pripreme za otvaranje, koje je bilo planirano za oktobar 1988. Sa grupom studenata psihologije veoma brzo smo se uklopili, jer nam se njihov rad veoma dopao. Njihova 24-časovna dežurstva kraj telefona, razgovori i radionice sa mladima, a kasnije i sa ostalim građanima „u krizi“ bili su istinska novina na ovim našim srbijanskim prostorima. Pošto se „marksistima“ nije dopalo društvo, a i pošto je tokom te 1987. (Viii sednica GKSK Beograda) i 1988. („dešavanje naroda“ na ulicama Novog Sada) došlo do njihovog prerastanja iz marksista u nacionaliste, njihove prostorije smo ustupili bendovima lokalne scene za probe i vežbe i improvizovani kafe-klub za svirke kako bismo obezbedili novac za režijske troškove održavanja kuće. Naši kućni bendovi: Obojeni program, Atheist rap, Boje, Vrisak generacije i andrlin Imperium off jazz, doveli su nam stalnu publiku, uglavnom tinejdžere, mada je bilo i starijih omladinaca. Edija Kelera, koji je vodio brigu o kafeu i svirkama, dopunjavao je Boba Škrbić, tako da smo organizovali niz koncerata na otvorenom sa bendovima, kako lokalne scene tako i sa strane. ono što je kasnije postao Novosadski koncert godine rodilo se tu, na bini naslonjenoj na južnu fasadu kuće. Nikad neću zaboraviti tuču limanskih pankera sa pripadnicima Srpske narodne obnove na svirci Kud Idijota i njihove predgrupe, tada još nepoznatih članova benda Let 3, koja se desila u leto 1990. godine posle jednog predizbornog mitinga, kao ni diverzije Ramba amadeusa koji je za jednu takvu svirku „pozajmio“ policijski radio-uređaj od jednog pozornika i iz onog šumarka pored ulaza na Štrand održao, na njihovoj internoj radio-frekvenciji, mali privatni koncert za policajce koji su čučali svuda okolo duž keja i okolnih stambenih zgrada. Te svirke su za širu javnost mladih Novosađana bile ono čega se najviše sećaju i zbog čega je „Žuta kuća“ dobila status kultnog mesta, a u isto vreme bile su i način da se mladima prezentuje savremeno vizuelno stvaralaštvo mlade generacije. Kako se krug saradnika i aktivista širio, menjao se i karakter kuće. Pošto nisam bio zadovoljan nekim stavovima ostalih osnivača, koji su sebe stavljali ispred

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ostalih koji su u kući hteli da stvaraju, napustio sam rad u školi crtanja i na pripremama izložbi, delom jer mi se nije dopadala težnja da se stilski „cenzurišu“ neki projekti novih saradnika, a delom i zbog zauzetosti sopstvenim radom i izlagačkim aktivnostima. Moj stav je bio da bi, pošto smo stvorili određenu publiku i privukli nove ljude koji žele da se kreativno iskažu – njima trebalo prepustiti deo projekata, čak i po cenu da sama kuća krene sasvim novim putem. S tim se nisu baš svi slagali i meni je bilo jasno da počinjemo da ličimo na one protiv kojih smo se i pobunili i tu je za mene bio kraj saradnje, mada sam ostao u prijateljskim odnosima sa svima koji su kuću stvorili. Tokom zime 1990. okrenuo sam se novim projektima sa prijateljima sa kojima sam imao ista interesovanja.

Apsolutno skulpturalno. Apsolutno Rastislav Škulec. Asocijacija Apsolutno. Apsolutno Frakcija…?

da, radi se prvenstveno o saradnji sa Zoranom Pantelićem i draganom Rakićem, koji nam se pridružio, ako se ne varam, posle 1992. godine. Tokom 1987. i kasnije, 1988, u vreme kada je „Žuta kuća“ praktično stala na noge, okrenuo sam se više radu u skulpturi i instalacijama, mada sam izvodio i performanse. Slikarstvo sam napustio već 1988. i uspeo da diplomiram na odseku za slikarstvo sa skulpturama i prostornim instalacijama. To mnogo govori o mome profesoru Jovanu Rakidžiću, koji, iako slikar, nije pravio probleme ni meni a ni ostalim svojim studentima ukoliko bi se okušali u nekom drugom mediju. ako pomenem da su dragan Rakić, Slobodan Peladić i Vlado Rančić isto bili njegovi studenti, kao i Milica Mrđa nešto ranije od nas, vidi se koliko je tolerancije i razumevanja imao kao profesor.

da se vratim na pitanje. Zorana sam bolje upoznao još 1987. kada je kao student druge godine prikazao svoj rad na jednoj studentskoj izložbi, koji je prvenstveno bio zamišljen kao udarački muzički instrument, čije su skulpturalne vrednosti bile izuzetne i meni zapale za oko, ali su ih ostali izlagači dosta kritikovali. Jednostavna geometrizovana forma sa otvorenom unutrašnjošću bila je sveža ideja koja se meni neobično svidela. Moram da napomenem da smo na akademiji imali slobodu da sami predstavimo svoj rad kada su izložbe bile organizovane povodom početka

nove školske godine. Uglavnom smo tada izlagali u univerzitetskom kampusu po holovima fakultetâ. Sami smo pravili postavke i bili selektori i organizatori. Verovatno zbog temperamenta, ali i zbog liberalnih stavova, a delom i zbog lenjosti ostalih, moji sudovi su se prihvatali i bio sam, da tako kažem, „mirođija u svakoj čorbi“ na akademiji. Sa profesorima stručnih predmeta nisam imao nikakvih problema tako da sam mogao da se krećem slobodno kroz odseke i radim ono što me trenutno interesuje. Tokom 1988. godine Zoran i ja smo više puta razgovarali i sretali se, i to uglavnom u „Žutoj kući“, gde smo čak odsvirali i snimili muziku za jedan moj performans koji je izveden na manifestaciji Index 88 oktobra te godine na Filozofskom fakultetu u sklopu prezentacije rada Vizuelnog studija aUNS-a, koji je vodila profesorka Bogdanka Poznanović. Ta naša druženja su verovatno dovela do toga da smo, iako nezavisni jedan od drugog, spolja izgledali kao dosta monolitan umetnički par koji se zalaže za skulpture jednostavnih oblika naglašene geometrizacije. Pošto sam diplomirao u junu 1989. godine, napustio sam prostorije akademije i svoju radionicu preselio u roditeljsku kuću u Begeču. Tada sam u „Žutoj kući“ u nekoliko navrata prikazao neke svoje nove radove, a jednu skulpturu sam tamo čak i izveo. Sava Stepanov je te godine radio na autorskoj izložbi Početak devedesetih – skulptura u galeriji „Meander“ u apatinu i uvrstio naše radove pored radova mladih beogradskih autora apostolovića i Joksimovića, Slovenaca Jože Baršija i Rene Rusjan, te umetnika iz Sarajeva ademira arapovića i još nekoliko mladih umetnika. Nekako se samo od sebe desilo da smo, dok smo pripremali izložbu, došli na ideju da na licu mesta uradimo jednu skulpturu za javni prostor. Radmila Savčić nam je obezbedila otpadni materijal iz brodogradilišta, gde je pokrenula vajarski simpozijum. Sam materijal je bio dosta loš – iako smo uspeli da ga za tri dana donekle preoblikujemo nismo baš bili u potpunosti zadovoljni, pa smo zahtevali da nam se obezbedi nov lim. Za divno čudo, uspeli smo da dobijemo sredstva pa smo nakon izložbe napravili skulpturu Apsolutno skulpturalno, koja se i danas nalazi u gradskom parku u apatinu. Tokom priprema za izložbu formulisali smo tok zajedničkog rada i strategiju daljeg delovanja. Svako od nas je imao mnoštvo skica, razumeli smo se dobro, osećali smo tokove koji su bili aktuelni u svetu kao svoje tako da nije bilo problema u saradnji. Usledio je niz problemskih izložbi

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na kojima smo se predstavili široj javnosti, a zajedno smo napravili još jedan rad za 6. pančevačku izložbu jugoslovenske skulpture. Tokom 1993. i 1994. imali smo ponudu tadašnje Galerije savremene likovne umetnosti (danas Muzej savremene umetnosti Vojvodine) da se predstavimo samostalnim izložbama. dragan Rakić je opet dolazio u Novi Sad iz Sombora jer je upisao magistarske studije tako da smo nastavili sa druženjem i razmenjivanjem ideja i stavova šta i kako dalje. U to vreme su se naši pojedinačni opusi razvijali samostalno – iako smo kretali sa istih osnovnih pozicija krajnji ishodi su se udaljavali i formalno, a i tematski, tako da smo stvorili tri različita umetnička izraza. Svesni toga, svoje izložbe smo nazvali Apsolutno Zoran Pantelić; Apsolutno Rastislav Škulec i Apsolutno Dragan Rakić baš da bismo istakli razlike koje su bile prisutne u samom pristupu skulpturi, jer nam se nije svidelo površno čitanje od strane aktuelne kritike i stavljanje pod „isti šešir“. Ekonomski kolaps, previranja na političkoj sceni i sve veće političko ludilo koje je vladalo u društvu dovelo je u pitanje smislenost nastavka dotadašnjeg rada. Sve manje smo razmišljali o radu sa materijalom a sve više o radu na društvenom sistemu. Zoran je posle 1993. prestao da se bavi skulpturom, ja sam gubio interes za nju, tako da je došlo do jednostavnog restrukturiranja ideje Apsolutne skulpturalnosti, koja je prerasla u Asocijaciju Apsolutno. Radu, sad već monolitne grupe, se posle dragana Rakića, koji je učestvovao u profilisanju Asocijacije, priključio i Miletić, te Bojana Petrić, Zoranova supruga. Ja sam se takođe venčao po povratku iz rata, i te 1993. sam dobio kćerku. Pošto sam bio jedini zaposleni u porodici, više sam se bavio preživljavanjem sopstvene porodice nego Asocijacijom, tako da sam spočetka samo pratio rad ostalih i povremeno učestvovao u raspravama, a kasnije sam potpuno prestao da učestvujem u radu grupe. Slobodno vreme sam koristio da izvedem nekoliko skulptura i priredio sam izložbu slika u Bačkom Petrovcu. Nastavio sam da izlažem na kolektivnim izložbama pod nazivom Apsolutno Rastislav Škulec. Za to vreme Asocijacija Apsolutno (bez mog učešća) je svojim konceptualnim delovanjem postala jedna od najzanimljivijih pojava na umetničkoj sceni u Srbiji i izašla je iz okvira lokalne umetničke prakse sa zavidnom internacionalnom produkcijom i nastupima u svetu.

Pošto se mnogo šuškalo u krugu lokalnih umetnika, naših poznanika, i nagađalo o našem razlazu, šale

radi sam pokrenuo Apsolutno Frakciju. „AF predstavlja tranzicijski sindrom koji se ogleda u artističkom ekstremizmu u svakom pogledu. Nastala je kao i svaka frakcija, jednostavnim odvajanjem od glavnog toka (Asocijacija Apsolutno) tokom 1996. godine. osnovni postulat rada je anonimnost, te delovanje u potpuno neumetničkom okruženju (slučajni prolaznici, ljudi koji ne prate umetnost i koji ne registruju vidljive ishode kao umetnički čin).“ To je tekst pamfleta koji sam slao na razne adrese, a ujedno je bio i vid manifesta projekta.

Prva akcija koju sam pokrenuo bilo je slanje niza anonimnih pretećih poruka Zoranu klasičnim pismima putem pošte, da bih na kraju autorizovao rad tako što sam mu poslao SMS, sa njemu poznatog broja, sa citatom replike iz filma Podzemlje Emira Kusturice, koja glasi: „Kume evo ti pištolj – ubij se sam!!!“ To je bila aluzija na pojave koje su vladale na srpskoj političkoj sceni gde su se bliski saradnici, mnogi i venčani kumovi, što smo Zoran i ja uistinu, pretvarali u najljuće političke neprijatelje. dalje sam nastavio sa sličnom praksom sukcesivnog slanja pamfleta i niza pretećih poruka poznanicima i prijateljima sa kojima sam se gotovo svakodnevno sretao. Pratio sam reakcije, a na kraju jednomesečnog perioda, posle najmanje četiri razne poruke, redovno sam im slao potpisanu ponudu za otkup metka na kome je ugravirano njihovo ime po ceni koju sami odrede. Svako je trebalo da odredi cenu sopstvenog života. Posle popunjenog formulara i uplate na tekući račun uručen im je metak sa imenom i sertifikat o preuzimanju sudbine u sopstvene ruke. („Vaš život je u vašim rukama!“) Taj višegodišnji projekat zvao se Životno osiguranje.

Posle 11. septembra 2011. takvo koketiranje sa terorizmom kao vidom šoka i stvaranja nesigurnosti pojedinca postao je besmislen, tako da sam prestao sa tim vidom aktivnosti.

Godine 1996. prekidaš sa izlaganjem na izložbama nakon deset godina intenzivne izlagačke aktivnosti. Vid otpora, protesta, nezadovoljstva, razočarenja?… Sve to zajedno ili ponešto od toga i u odnosu na šta ili u odnosu na koga?

Srpska umetnička scena je, uprkos ratovima, izolaciji, pljački stanovništva od strane političkog establišmenta,

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Ne umire se zauvek, 1988-89.metalna konstrukcija, lišće, staklena kada, humus, dimenzije promenljive

You Don’t Die Forever, 1988-89metal construction, leaves, glass bathtub, humus, dimensions variable

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podele društva na patriote i izdajnike, te političkom progonu neistomišljenika od strane vlasti, tokom prve polovine devedesetih bila začuđujuće vitalna, raznovrsna, usuđujem se da kažem čak poletna. Beograd se pretvorio u baruštinu, ali su se zato pojavili novi centri savremene umetnosti, uglavnom na teritoriji Vojvodine. Vršac, Pančevo i Novi Sad su priređivali tematske izložbe, dolazili su umetnici i kritičari iz drugih gradova i iz inostranstva. To je nesumnjivo bila manifestacija svojevrsnog otpora stanju u društvu koje je promovisalo kriminal, nemoral i prostakluk. Jedan deo umetnika je pokušavao da sačuva sopstveni integritet i visoke umetničke standarde uprkos nemaštini i velikoj neblagonaklonosti državnih struktura i sve više korumpirane šire društvene zajednice. U svemu tome sam i sâm učestvovao boreći se za svoje osnovno ljudsko pravo – život dostojan čoveka. i šta smo na kraju postigli svojim radom? Umesto da podrijemo sistem i postavimo stvari na zdrave temelje, mi smo tom sistemu dali kredibilitet demokratičnosti i pluralizma, da ne upotrebim onu frazu iz kineske kulturne revolucije o „cvetanju hiljade cvetova“. Posle prve izborne krađe, 1996. godine, sve mi se smučilo i rešio sam da više ne učestvujem na izložbama. čak sam prestao i da ih posećujem. Prekinuo sam sve kontakte sa ljudima iz umetničkog sistema. Pošto imam dosta poznanika i prijatelja koji nemaju nikakve veze sa umetnošću, njima sam priređivao prezentacije sopstvenih radova, razgovarao s njima i podučavao ih modernoj i savremenoj umetnosti, koja je dosta hermetična i nerazumljiva za likovno neobrazovane ljude kakav je prosečan stanovnik Srbije. Kada je konačno došlo do pada Miloševićevog režima vratio sam se na umetničku scenu izložbom u galeriji „Zlatno oko“ 2000. godine. Učestvovao sam na nekoliko izložbi, i to samo onda kada bi organizator obezbeđivao minimalne profesionalne uslove, koji podrazumevaju transport skulptura do izlagačkog prostora, redovno vraćanje radova posle izložbe u razumnom roku, ne dužem od dve sedmice, pristojan katalog. Ni danas mi nije stalo da izlažem po svaku cenu. Kada su u pitanju samostalne izložbe, pored navedenog, zahtevam da organizator učestvuje u produkciji bar jednog rada, jer smatram da umetnost nije samo stvar umetnika već i društva, a galerije i muzeji, kao predstavnici države i društva uopšte, moraju da uzmu aktivnije učešće u kreiranju umetničke scene tako što će pomoći ili

omogućiti produkciju samih dela. Svako ko slika, bavi se vajarstvom, videom, filmom ili bilo kojom drugom vrstom umetnosti zna kakva materijalna iskušenja stoje na putu do konačnog dela. Umetnici sopstvenim materijalnim sredstvima grade kulturu sopstvene države. U toj misiji moraju da učestvuju i ostali akteri umetničkog sistema, pogotovu što u uslovima odsustva umetničkog tržišta umetnik od svoje umetnosti ima samo štetu, naročito ako se ima u vidu materijalna strana stvaralaštva i efekti tog istog procesa.

Nekada smo se zbog umetnosti i svađali, dok se danas i ne govori o umetnosti, rekao si nedavno tokom razgovora sa publikom. Ako ne o umetnosti, o čemu, po tebi, razmišlja umetnik (umetnički sistem?) sada i ovde?

Ta opaska je bila više retoričke prirode i odnosila se na atmosferu koja je vladala tokom osamdesetih i početkom devedesetih godina. Razgovori, čak i žučne rasprave između prijatelja služile su za izoštravanje, kako stavova tako i pronalaženja ličnog puta ili generacijskog stava u odnosu na celokupni korpus vizuelnih umetnosti. Umetničkom iskazu se pristupalo kao nečem važnom i značajnom, čak sudbinskom. Generacije rođene u drugoj polovini osamdesetih, a koje su danas završile svoje školovanje i izašle na scenu, odrasle su i vaspitane u duhu sasvim drugačijem od našeg. oni ne vode rasprave, oni „lajkuju“ ili „hejtuju“. Još su u većem problemu oni koji trenutno studiraju umetnost ili se spremaju na takvo što. Primer ove moje tvrdnje je i taj „razgovor sa publikom“ koji je upriličen tokom trajanja izložbe. Nekoliko pojedinaca srednje i starije generacije koji su došli samoinicijativno i dve grupe silom dovedenih studenata sa arhitekture i vajarstva i nijedno pitanje osim konstatacije „mi sad moramo da idemo na predavanje, izvinjavamo se…“ Rekao bi neko, gledajući sa strane, da su svesni, razumni, likovno kultivisani, te im je sve jasno jer su nadasve kulturni i tolerantni, pravi anđeli. oni jednostavno nisu zainteresovani čak ni za sopstveni stav, a i što bi bili kada to nikoga neće interesovati – prijatelji će „lajkovati“ sve zbog samog karaktera „prijateljstva“.

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Koliko zapravo obraćaš pažnju na publiku? Koliko ti je važna stručna i tzv. šira javnost?

„dobru“ publiku je danas teško naći bez obzira na to koliko ona bila „stručna“ ili ne. Mi smo danas u istoj situaciji u kojoj je bio diogen kada je hodao agorom sa svećom u ruci tražeći čoveka u mnoštvu okupljenih atinjana. Ko pronađe čoveka, pronaći će i publiku. „dobra publika“ je u dijalogu sa umetnikom i njegovim delom, čime se podstiče kvalitet. do nje i njenog stava mi je stalo, makar taj stav bio i u opoziciji prema samom delu. ostali i nisu publika.

Da li uopšte razmišljaš o tome šta je i kako pisano o tvom radu i kakav je tvoj odnos prema tome?

Retki su tekstovi koji se bave, da tako kažem, baš mojim radom. Tekstovi u kojima se pominjem su oni koji su se bavili „opštim stanjem trenutka“ i odnosili su se na niz individualnih iskaza više umetnika koji su povezivani „duhom vremena“. Pošto se radi ipak o veoma raznovrsnim pojavama, tekstovi su uopštavani tako da baš i ne oslikavaju pravo stanje nego više jednu širu sliku bez mnogo detalja. od šume se ne vidi drvo.

Tome je možda kumovalo i to što ja nemam običaj da „vučem za rukav“ kustose, teoretičare umetnosti ili likovne kritičare kako bih „isterao“ neki svoj naum, ušao u neku selekciju ili problemsku izložbu. obično se radi o nečijem pozivu za učešće u projektu koji je unapred zamišljen, gde su već postavljeni određeni teorijski parametri, pa ako se uklopi – uklopilo se, a ako ne – ništa zato. Bar je izložba raznovrsna. drugi razlog je možda taj, što je dobro primetio Miloš arsić u jednom tekstu iz 1994 , da je moj rad poprilično komplikovan za tumačenje jer je namerno vođen tako da na prvi pogled ne bude stilski ujednačen gledajući isključivo formalne odlike samih skulptura. Fizička forma nije cilj samog dela niti moje osnovno interesovanje. Više volim da se okrećem i bavim svetom ideja a ne „svetom“ skulptorske forme. Jedino čemu sam bio dosledan svih 27 godina koliko sam na umetničkoj sceni je ta činjenica. Trudim se da, čim primetim da je neko uspeo da nekako „skocka“ određenu teoriju ili tumačenje, tražim načine da na neki način izbegnem „kalupljenje“. Ljudi vole kada su im stvari jasne jer onda mogu da ih kontrolišu ili predvide ono čemu takav rad vodi, što je

takođe oblik kontrole. Ja ne. S druge strane, jasno je vidljiva povezanost radova iz raznih perioda. Nekad u šali kažem da je moj rad sličan onome što radi Koja kroz muziku Discipline kičme. Uvek isto, ali isto tako i na novi način.

Uža grupa umetnika, prvenstveno vajara, u koje sam i sâm bio uvršten na kraju osamdesetih i početkom devedesetih tražeći sopstvenu poetiku, svesno je pristupila „hlađenju“ skulptorske forme koristeći strategiju centarfora. Naime, dok gotovo svi igrači na terenu vijaju loptu i kreću se prostorom terena koji ona određuje, vrsni centarfori se kreću u suprotnom smeru. To pomalo deluje apsurdno, ali na kraju lopta uvek završi u njihovim nogama, a oni se nalaze sami oči u oči sa golmanom i na taj način u velikom postotku slučajeva postižu gol. U situaciji u kojoj se nalazila umetnost od sredine osamdesetih to je bilo relativno lako postići. ona grupa koja je učestvovala na izložbi koju je u zimu 1990. priredio Sava Stepanov i koja je već nešto ranije izašla na scenu bila je mala, i u odnosu na ostale aktere na umetničkoj sceni bila je na nivou statističke greške. Slično je bilo i na široj evropskoj sceni. Nekoliko godina kasnije, zahvaljujući nizu izložbi, krug umetnika sličnog prosedea se znatno povećao. Tako se rodio teorijski stav o „moderni posle postmoderne“. Sa stanovišta teorije, umetnost je produktivna samo ukoliko ne izlazi iz okvira teorijskog. To ne mora biti prvenstveno važno iz ugla samog umetnika. Zbog toga već na granici dva milenijuma i u prvoj deceniji novog imamo neke teorijske stavove koji govore o tzv. „promodernoj“ umetnosti, a to je gotovo isto kao i ono što je devedesetih već definisano. Smatram da teorija i kritika mogu da prevaziđu tu tačku teorijske kome samo ukoliko se pozabave pojedinačnim slučajevima, tj. individualnim pojavama, i njihovom analizom bez težnje da generalizuju i u isti koš stave gotovo nespojive pojave.

Umetnost bi trebalo da nas ostavi sa pitanjima a ne sa odgovorima, zar ne? U tom smislu, kako vidiš svoj pedagoški, pa i andragoški rad?

Svako delo je izjava. čak i kada je jasno definisana u vidu izričite tvrdnje umetnika ona ostavlja prostor za dalji dijalog, tako da se može smatrati pitanjem.

24

Potencijalni posmatrač prvo mora da je racionalizuje. Posmatranjem on sam sebi postavlja i pitanja i daje odgovore u skladu sa sopstvenim mogućnostima, nivoom vizuelne kulture i karakteristikama ličnosti. Taj proces se manje-više odigrava u svakom trenutku kada se sretnemo sa nekim umetničkim delom.

Pošto radim sa decom u uzrastu od 11 do 15 godina, sve proizilazi iz osnovnih ciljeva vaspitno-obrazovnog rada samog predmeta Likovna kultura. Cilj vaspitno-obrazovnog rada tog predmeta jeste da dodatno podstiče razvoj, kako praktičnih tako i teorijskih znanja učenika koja su važna za njihovo slobodno, spontano i kreativno kombinovanje likovnih elemenata u oblasti crtanja, slikanja, vajanja, grafike, primenjenih umetnosti, a sve to u cilju razvoja njihovog stvaralačkog mišljenja. dalje, takav rad omogućava učenicima savladavanje tehnoloških postupaka likovnog rada u okviru određenih sredstava i medija i podstiče ih na to; motiviše učenike na upoznavanje osnovnih elemenata i zakonitosti likovnog jezika; razvija sposobnost i osetljivost učenika za opažanje kvaliteta svih likovnih elemenata: linija, oblika, boja; stvara uslove da učenici na časovima u procesu realizacije sadržaja koriste različite tehnike i sredstva i da kreativnim izražavanjem bolje upoznaju njihova vizuelna i likovna svojstva; razvija sposobnosti učenika za vizuelno pamćenje, za povezivanje opaženih informacija kao osnove uvođenja u kreativno vizuelno mišljenje; razvija veću osetljivost za likovne i vizuelne vrednosti koje se stiču u nastavi a primenjuju u radu i životu; razvija motoričke sposobnosti; stvara uslove da se upoznavanjem likovnih umetnosti bolje razumeju prirodne zakonitosti i društvene pojave; omogućava razumevanje pozitivnog emocionalnog stava prema vrednostima izraženim u delima različitih područja umetnosti; razvija sposobnosti za prepoznavanje osnovnih svojstava tradicionalne, moderne i savremene umetnosti. ovako napisano izgleda poprilično kompleksno, ali u praksi je sve to lako postići zahvaljujući samoj prirodi likovnog stvaralaštva, a i uzrastu samih učenika. Naravno, nivoi postignuća nisu isti kod svih učenika i, nažalost, u daljem životu često ne utiču na sam život i navike pojedinca.

Razlog za to prvenstveno vidim u tome što je vreme koje ti učenici provode u ovim aktivnostima zanemarljivo malo u odnosu na ostale aktivnosti i uticaje, pri čemu prvenstveno mislim na porodicu,

grupu vršnjaka i ostale izazove savremenog načina života. Zato od jednog veoma jednostavnog postupka, kasnije – kada su u pitanju odrasli, dolazimo u situaciju kao u legendarnom performansu Jozefa Bojsa Kako mrtvom zecu objasniti umetnost, s tim što bi to danas moglo da se nazove i „Kako nacrtanom mrtvom zecu objasniti umetnost“.

Sve je politika? Politika i umetnost? Politička korektnost? Politička (ne)korektnost u umetnosti?

Naravno da je sve politika. Politika je praktična primena dogovorenih društvenih vrednosti i ona bi trebalo da služi boljitku sveukupnog društva. Politička elita bi trebalo po definiciji da stvori uslove i mogućnost da se promovisane društvene vrednosti ostvare. Sama politička elita ne bi smela da ih definiše jer osim nje u svakom društvu postoje i druge elite: ekonomska, kulturna, sportska… od jasnih društvenih vrednosti zavisi i tzv. politička korektnost ili nekorektnost u umetnosti. U situaciji kada ne postoje jasno definisane društvene vrednosti, kakav je slučaj u našem društvu, politička elita se vodi jedino interesima sopstvenih partija, odnosno ličnim interesima. Pripadnici društva nisu svi građani nego samo oni koji su članovi stranaka i pažnja se posvećuje jedino njihovim interesima, naravno u količini koja zavisi od hijerarhije u okviru same stranke. otuda proizilazi i veliki stepen korupcije, nemorala i raznoraznih gnusoba kojima je prožeto celokupno društvo. Svi stranački akteri u našem društvu su praktično isti, tako da mi u stvari imamo jednopartijski sistem sa nekoliko frakcija i centara moći koji se međusobno bore za poziciju sticanja određene materijalne koristi na štetu ostalih delova društva. Politička korektnost bi se u našem slučaju mogla svesti na sve ono što ukazuje na nekorektnost samog političkog sistema. Jedini spas vidim u širokom frontu građana radi ostvarivanja „direktne demokratije“ kako je to definisano još šezdesetih godina dvadesetog veka. Umetnost treba da vodi ka ostvarivanju tog cilja. Kada kažem umetnost mislim na sve oblike umetničke prakse. delovanje umetnika bi trebalo da bude usmereno ka stvaranju svesti o vladavini prava pojedinca, i to stvaranjem narativa koji jasno ukazuju na apsurde društva. Umetnik bi trebalo da bude onaj dečji glas razuma iz bajke „Carevo novo odelo“.

Samo se napravilo, 2013drvo, gvozdeni lim, 200x60x50 cm

It Made Itself, 2013wood, iron sheet, 200x60x50 cm

Naslonjeno - verzija 3, 1991.gvožđe, drvo, 250x160x8 cm

Leaning - Version 3, 1991iron, wood, 260x160x8 cm

Grad koji se uzdiže 2, 1994.gvožđe, linoleum, drvo, 200x70x70 cm

The City Rises 2, 1994iron, linoleum, wood, 200x70x70 cm

Zauvek imobilisano, 1993-94.terakota, plavi vuneni štof, kudeljni konopac, 160x70x50 cm

Immobilized Forever, 1993-94terracotta, blue woolen cloth, hemp rope, 160x70x50 cm

Od G do G, 1993.industrijska keramika, gvožđe, 100x25x25 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

From G to G, 1993industrial ceramics, iron, 100x25x25 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Bez druge mogućnosti, 1990.gvožđe, filc, 120x140x2 cm

No Other Option, 1990iron, felt, 120x140x2 cm

Bez naziva, 1989.gvožđe, opeka, 70x50x16 cm

Untitled, 1989iron, brick, 70x50x16 cm

Bez druge mogućnosti I, 1991.gvožđe, crtež na zidu, dimenzije promenljive

No Other Option I, 1991iron, drawing on the wall, dimensions variable

Bez druge mogućnosti III, 1991.gvožđe, crtež na zidu, dimenzije promenljive

No Other Option III, 1991iron, drawing on the wall, dimensions variable

Nesavršenstvo je deo stvarnosti, 1993-1994.terakota, industrijska keramika, gvožđe, karton, 170x45x45 cm

Imperfection Is Part of Reality, 1993-1994terracotta, industrial ceramics, iron, cardboard, 170x45x45 cm

Češljano – nečešljano, 1988.metalne šipke, kudeljno vlakno 190x50x50 cm

Combed - Uncombed, 1988metal bars, hemp fiber190x50x50 cm

Telo bez naziva 2, 1994.iverica, staklo, 90x50x120 cm

Body Untitled 2, 1994plywood, glass, 90x50x120 cm

Bez naziva, 1993. drvo, konopac, karton, 100x60x25 cm

Untitled, 1993.wood, rope, cardboard, 100x60x25 cm

Konstrukcija prostora, 1994 / Remix, 2013. iverica, staklo, drvo, radijatori, ugao

Space Construction, 1994 / Remix, 2013particle board, glass, wood, radioator, corner

Bez naziva, 1999.gvožđe, 150x10x100 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

Untitled, 1999iron, 150x10x100 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Bez naziva (Veliki iskorak), 1998-2001.gvožđe, 2 (166,5x12,5x5 cm; 166,5x80x5 cm)vl. Muzej savremene umetnosti Vojvodine, Novi Sad

Untitled (The Great Step Forward), 1998-2001iron, 2 (166,5x12,5x5 cm; 166,5x80x5 cm)owner: Museum of Contemporary art Vojvodina, Novi Sad

Bez naziva, 1990. gvožđe, 60x45x5 cm

Untitled, 1990 iron, 60x45x5 cm

Bez naziva, 1990.gvozdeni lim, 50x60x80 cm

Untitled, 1990iron sheet, 50x60x80 cm

Telo bez naziva, 1993.drvo, staklo, 160x50x40 cm

Body Untitled, 1993wood, glass, 160x50x40 cm

Kalem, kegla, 2kg – jedan tebi, jedan meni, 1993.linoleum, alumunijum, brusni kamen, teg 2 kg, 150x32x32 cm i 97x32x32 cmvl. Stevan Leštar, Novi Sad (rad levo)

Coil, Pin, 2kg - One for You, One for Me, 1993linoleum, aluminum, grindstones, weight: 2 kg, 150x32x32 cm and 97x32x32 cmowner: Stevan Leštar, Novi Sad (artwork on the left)

Bez određenog naziva, 1992.drvo, gvožđe, 180x120x70 cm

Without A Particular Title, 1992.wood, iron, 180x120x70 cm

Usisivač-brisač, 1995. gvožđe, 90x50x45 cm

Vacuum Cleaner-Cleaner, 1995 iron, 90x50x45 cm

Dva ritma, 1992.drvo, gvožđe, 110x70x150 cm

Two Rhythms, 1992wood, iron, 110x70x150 cm

Grad koji se uzdiže – bravo Boćoni, 1992-94.gvozdeni lim, drvo, 267x181x148 cm

The City Rises – Bravo Boccioni, 1992-94iron plate, wood, 267x181x148 cm

AS 89.03,1989. / Rekonstrukcija 2006 /gvožđe, 180x160x280 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

AS 89.03,1989 / Reconstruction 2006 /iron, 180x160x280 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Bez (određenog) naziva (Imobilizacija), 1992. / Rekonstrukcija 2006 /gvozdeni lim, laneno platno, 100x100x250 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

Without (A Particular) Title (Immobilization), 1992 / Reconstruction 2006 /iron plate, linen, 100x100x250 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Naslonjeno – verzija 2, 1991.gvožđe, 250x160x8 cm

Leaning – version 2, 1991iron, 250x160x8 cm

Kaskada, 1990.gvožđe, 250x70x8 cm

Cascade, 1990iron, 250x70x8 cm

Trojanac remix, 2010-2013.gvožđe, drvo, iverica, staklo, dimenzije promenljive

The Trojan, Remix, 2010-2013iron, wood, plywood, glass, dimensions variable

Zauvek kompozicija, 2012.iverica, dezenirana tkanina, pocinkovane cevi, drvo, 300x70x250 cm

Composition Forever, 2012plywood, patterned fabrics, galvanized pipes, wood, 300x70x250 cm

Tri tačke dodira, 1989.zidna instalacija: gvožđe, crtež na zidu, fotografija, 180x200x30 cm

Three Points of Contact, 1989wall installation: iron, drawing on the wall, photo, 180x200x30 cm

Piše na radu, 2004. terakota, plavi pastel, grafitna olovka, cca 160x160x10 cminstalacija na zidu, realizacija: Galerija doma omladine, Beograd

It’s Written On the Work, 2004terracotta, blue pastel, graphite pencil, approx. 160x160x10 cm Wall installation, implementation: Gallery Dom Omladine, Belgrade

Bez naziva, 2008.Gradski park, apatin

Untitled, 2008City park, apatin

Strugač, 2000-2004.gvožđe, 250x100x180 cm

Scraper, 2000-2004.iron, 250x100x180 cm

Etika balkanika, 2003.fioke, pesak, cipele, fotografije, dimenzije promenljive

Balkan Ethics, 2003drawers, sand, shoes, photographs, dimensions variable

Drži čiste ruke, 1996-2003.drvena fioka, ljudska lobanja, ljudske kosti, zastavice, fotografije

Keep Your Hands Clean, 1996-2003wooden drawer, human skull, human bones, flags, photos

Prava je zgoda da se izmeni priroda poda, 2013.lamelirano drvo, stubovi galerijskog prostora, dimenzije promenljive

A Quaint Opportunity To Change The Nature of the Floor, 2013laminated wood, gallery space pillars, dimensions variable

Moj novogodišnji bonus, 2013.drveni sanduk, drveni krst, novogodišnja jelka, kudeljni konopac, dimenzije promenljive

My New Year’s Bonus, 2013wooden coffin, wooden cross, Christmas tree, hemp rope, dimensions variable

Skice, 2002-2008.digitalni printovi, 70x50 cm

Sketches, 2002-2008 digital prints, 70x50 cm

Skice, 2002-2008.digitalni printovi, 70x50 cm

Sketches, 2002-2008 digital prints, 70x50 cm

Apsolutno Frakcija, Kalendar Život u Srbiji, sezona 2008. (u dve varijante: muški i ženski)

Absolutely Fraction, Calendar Life in Serbia, Season 2008 (in two versions: male and female)

Apsolutno FrakcijaProdukcija od 2008. do 2013. /izbor/

Absolutely FractionProduction 2008 - 2013 /selection/

Crtež – 1990, 1990.kombinovana tehnika, 100x70 cm

Drawing – 1990, 1990mixed media, 100x70 cm

Minusov plus, 1990.crtež, 100x70 cm

Minus’s Plus, 1990drawing, 100x70 cm

Sunce, mesec, tajni dani – crtež 173, 1989.kombinovana tehnika, 70x50 cm

The Sun, the Moon, Secret Days - drawing 173, 1989mixed media, 70x50 cm

Crtež – 1989, 1989.kombinovana tehnika, 100x70 cm

Drawing – 1989, 1989mixed media, 100x70 cm

Bez naziva, 1991.kombinovana tehnika na papiru, 100x70 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

Untitled, 1991mixed media on paper, 100x70 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Bez naziva, 1990.kombinovana tehnika na papiru, 100x70 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

Untitled, 1990mixed media on paper, 100x70 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Bez naziva, 1992.kombinovana tehnika na papiru, 100x70 cmvl. Muzej savremene umetnosti Vojvodine, Novi Sad

Untitled, 1992mixed media on paper, 100x70 cmowner: Museum of Contemporary art Vojvodina, Novi Sad

Naši su životi kao Švajcarska, 1991.ulje na platnu, 96x130 cmvl. Stevan Leštar, Novi Sad

Our Lives Are Like Switzerland, 1991oil on canvas, 96x130 cmowner Stevan Leštar, Novi Sad

Jerihon, 1992.ulje na platnu, 100x125 cmvl. Stevan Leštar, Novi Sad

Jericho, 1992oil on canvas, 100x125 cmowner Stevan Leštar, Novi Sad

Zig-zag-zig, 2011.akril na platnu, 100x130 cm

Zig-zag-zig, 2011acrylic on canvas, 100x130 cm

Zig-zag remix, 2011.akril na platnu, 100x130 cm

Zig-zag Remix, 2011acrylic on canvas, 100x130 cm

Zig-zag remix, 2011.akril na platnu, 130x100 cm

Zig-zag Remix, 2011acrylic on canvas, 130x100 cm

Zig-zag vol. 5, 2009.akril na platnu, 100x70 cm

Zig-zag vol. 5, 2009acrylic on canvas, 100x70 cm

Danubius vol. 2, 2008.akril, ulje na platnu, 96x130 cm

Danubius vol 2, 2008acrylic, oil on canvas, 96x130 cm

Remix 97, 2010. akril na platnu, 80x60 cm

Remix 97, 2010 acrylic on canvas, 80x60 cm

Remix 100, 2010.akril na platnu, 80x60 cm

Remix 100, 2010acrylic on canvas, 80x60 cm

Kutija 1, 2012.akril na platnu, 80x60 cm

Box 1, 2012acrylic on canvas, 80x60 cm

Bez naziva, 1992. kombinovana tehnika na platnu 60x40 cm

Untitled, 1992mixed media on canvas, 60x40 cm

Danubius vol.1, 2008.akril, ulje na platnu, 130x96 cm

Danubius vol.1, 2008acrylic, oil on canvas, 130x96 cm

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Apsolutno skulpturalnoBez naziva, 1990.čelik, 400x350x250 cmGradski park, apatin

Absolutely SculpturalUntitled, 1990 steel, 400x350x250 cmCity Park, apatin

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Suzana Vuksanović

Moja završnica je moje polazište*

“irony, as the only weapon at the intellectual`s disposal, fulfils both a subversive and a creative function: it has an unsettling effect, calling seemingly stable values into question and inquiring as to their purpose, thereby forcing us to develop our own strategies based on our own experience. Bitter irony, black humor, morbidness, and self-tormenting, almost masochist self-mockery are not only typical phenomena of Central European culture, but at the same time act as paradigmatic strategies designed to make the frustration and long-term lack of perspectives more bearable.”1

Beginnings, MainstreamApsolutno Rastislav Škulec: Permanentna kriza (Absolutely RastislavŠkulec: Permanent Crisis) - this is the title that Škulec chose for his exhibition at the Gallery of Contemporary Fine art in Novi Sad, held in May 1994.2 Later actions and reactions of this artist on the current situation in the art system, and the social system, in general, shed true light on the selected title and its context.

The exhibition summarizes his production of the past few years and represents his first solo public appearance with greater visibility to the general public,the professional audience, and withthe corresponding institutional/professional treatment and support.

Škulec exhibited a whole group/series of works at the time, which used wall surfaces for variations of forms made of iron in combination with drawings executed directly on the walls. The names are simply symptomatic: Bez druge mogućnosti I, II i III (No Other Option I, II and III) 1990/1991, with variable dimensions that range up to 180 x 300 cm. Somewhat later, these metal forms become flatter, and a new material had been introduced to the play/story - rubber, while the drawing transformed into a wide-painted surface (e.g. Mogućnost gume i gvožđa / The Possibilities of Rubber and Iron, 1991). at the same time, works like Tragovi gde su? / Traces, where are they? (1991) appeared, with its dramatic effect of drilling and burning of the wall on which a drawing of geometric content had been previously fixed (similar to geometric calculations) as a harmonious, organized and orderly world, which could be regarded as a direct reaction to the war environment and the traumatic change of life circumstances. Building on this series of works are the multi-faceted layers of Negovanje rđe (Fostering Rust) from 1994.3

Therefore, although this is not an explicit declaration, there is no doubt that, with personal and intimate artistic examination (a positivist interpretation of the phenomenon of “permanent crisis”4), there is also the

1 Lóránd Hegyi, Central Europe as a Hypothesis and a Way of Life, in Aspect/Positions. 50 years of Art in Central Europe 1949-1999, ex. cat, Museum moderner Kunst Stiftung Ludwig Wien, 2000, p.28.

2 at the same time, this is the third in a series of exhibitions with the prefix Absolutely in front of the name and surname of the artist: Absolutely Zoran Pantelić, Gallery of Contemporary art, Novi Sad, december, 1993; Absolutely Dragan Rakić, Gallery of Contemporary art, Novi Sad, april 1994.

3 all above-mentioned works, along with several others, were shown at the exhibition Permanent crisis_Apsolutely Rastislav Škulec at the Gallery of Contemporary Fine art, Novi Sad, May 1994.

4 “The positive consequence is the affirmation of the ‘permanent beginnings’ strategy, with only a few ‘fixed’stances: intuitive in selection, reasonable in intention, irrational in the process of execution, i.e. ironic (often dominant and not without self-irony) in the content layers of sculpture” (Miloš arsić,preface to the catalog of the exhibition Absolutely Rastislav Škulec: Permanent Crisis, Gallery of Contemporary Fine art, Novi Sad 1994).

* Source unknown.

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response, recording and an almost literal social engagement and reaction to the circumstances of the dire reality - in the form of the exhibition.

He had three solo exhibitions in Novi Sad, at the “Yellow House”5 which he founded and was one of its spiritus movenses, and which preceded the one at the Gallery of Contemporary Fine art. in the modest catalog of the third and final exhibition held in 1990 in this establishment, before its demolition, he wrote an advance summary of his future work: “My daily work is connected with overcoming my own boundaries, on the eternal dialogue between painting and sculpture.”6

at the beginning of the 1990s, Škulec was among the first to introduce constant measurement, surveying and exploring of spatial facts, as well as insisting on communication between the art object and the observer.

The initial, perhaps still inarticulate stance at the time, against the traditional sculptural system of material-mass-space had been implemented through a controversial, irrational and ironic approach and work procedure in the creation of the sculpture (object, item and thing), which, along with subversiveness and wit/humor, characterizes his way of realization of artistic works even today, regardless of the medium, technique, material used and/or (un)available space for exhibition and intervention.

The storytelling/narrative titles that Škulec gives to his works are a story onto themselves.

His need to further explain, as well as blur meaning, to render the content and deeper connotation (non)transparent, to bestow decoration/ornaments onto restrained forms, add and/or subtract meaning – all aims at playing with one’s own as well as the observer’s perceptual habits etc.

The entirety of Rastislav Škulec’s sculptural opus clearly speaks of the understanding of sculpture as spatial image, an event in space, with allusive and narrative motifs and with using methods of the direct or adapted readymade. Space is understood as the here and now. an artistic or real (gallery or living) space - it does not matter, it comes to the same. Restricted, limiting, unlimited, meaningless and meaningful, empty space that is filled with air, a full space in which one can hardly breathe, space which is variable: “The transformation of objective real space into one possible subjective metaphorical space occurs with the sculptural intervention in space… Each sculptural space is subconsciously a physical space. The artist’s body and the body of the sculpture, as well as the body of the sculpture and the body of its observer become one in metaphorical identifications.”7

The body of the sculpture becomes the bearer of numerous meanings and possible projections. Communication takes place in two directions: from the outside inwards, and vice versa. From

5 The “Yellow House” - a cult place of urban Novi Sad - was founded by a group of young artists-enthusiasts in the late 1980s as a place for the implementation of various cultural (art, music etc.) events. in 1995, the “Yellow House” was demolished by the city government.

6 “Both solo and group exhibitions are often accompanied by the summarizing of results of a particular time period filled with work on a problem that, all chewed up and wrapped, is then presented as a result set within certain limits... according to this, i would never exhibit anything. My daily work is connected with overcoming my own limitations, the eternal dialogue between painting and sculpture. Even at the very beginning of my involvement with painting, my dissatisfaction with the limitations of a painting, as a scene filled with visual content, had resulted in emphasizing its physicality through objects, and then sculptures. Sculpture, on the other hand, had emphasized the problem of space even further. This exhibition is an intention, without an a priori answer.” (Rastislav Škulec in the exhibition catalog, “Žuta kuća” Gallery, Novi Sad, June, 1990)

7 Miško Šuvaković, “Skulpturalna metafora”, Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950, Prometej, Novi Sad 1999, p. 315.

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exterior characteristics and tangible/visible realities of the materials used for the creation of the sculpture to the internal rhetoric of the scene/image, i.e. the rhetoric of the figure.

Škulec places the material used and space itself at the service of the liberation of sculpture from semantic stereotypes. at the same time, to him, this means the necessity of constant circumvention/betrayal of demands for durability and functionality of sculpture and the sculptural. Through free choice of methods within the changing context of the art world and the world of reality, Škulec introduces new and different physical and semantic relations in the organism of sculpture and the organization of the sculptural.

Škulec’s sculptural action is guided by suspicion and intuition, and his anti-sculptures, necessarily opposing the referential and representational, which constitute traditional sculpture, are not self-referential, as well. They are, simultaneously, the result of existential resistance, aggression and tolerance.

Miloš arsić at one time wrote: “in Škulec’s approach to sculpture, the classical conventions of search for one’s own, constant poetic stance and consistency in a world of ideas are irrelevant. This stems from the notion of art as a specific intellectual questioning of the meaning and reasons of artistic activity (and behavior). ... Everything is a beginning, there is no end, which determines the process of the creation of sculpture as a logical (and binding) coupling of the ‘mental complex’ and manual immediacy, which allows the venture into the assumed existential center of sculpture.”8

Works such as AS 89.03 (1989), AK-991 (1991),9 Bez (određenog) naziva, aka Imobilizacija / Without A (Particular) Title, aka Immobilization (1992),10 LV 8993 (1989-1993)11 were created at the same time.

The aforementioned works are among the early examples of radical and interdependent changes that were simultaneously taking place within language, drawing, painting and sculpture at the beginning and during the 1990s.

at a certain point, the energy, openness and multiple autonomy of Rastislav Škulec’s sculpture was also associated with the curved forms of Richard deacon, when the feature that would strongly mark his entire work had also been observed - the creation of associative humorous situations.12 Regardless of the medium, the reason or motive for sculptural reaction, Škulec would usually choose immediate and unconventional techniques and materials, controversial simultaneity of transformation and construction, addition and subtraction.13 Skepticism would push him to continuously pursue the new and the different, and only momentarily (for him) sufficiently persuasive methods and procedures of arriving at solutions for forms of unconventional structure and unstable physical status.

8 Miloš arsić, cat. pref., Apsolutno Rastislav Škulec: Permanentna kriza (Absolutely Rastislav Škulec: Permanent Crisis), Gallery of Contemporary Fine art, Novi Sad, May 1994.

9 The work is displayed at the exhibition Tendencije devedesetih: diskretni modernizam (Tendencies of the 1990s: Discrete Modernism) at the Center for Visual Culture “Zlatno oko”, 16 april – 26 May 1996.

10 The work was displayed at the exhibition Rane devedesete: jugoslovenska umetnička scena (Early 1990s: The Yugoslav Art Scene), Gallery of Contemporary Fine art, Novi Sad, august-September 1993; dvorac Petrovića (Petrović Palace) Podgorica, october-November 1993; and Nova skulptura u Vojvodini 1980–2000 (New Sculpture in Vojvodina 1980-2000), Master Center of the Novi Sad Fair, Museum of Contemporary art Vojvodina, Novi Sad, december 2006.

11 The work was displayed at the exhibition Horizontal - Vertical, Confrontation and Accord (Horizontal - Vertical, Conflict and Harmony), Gallery of Contemporary Fine art, Novi Sad, March in 1993.

12 Gordana Stanišić Ristović, “čelične konstrukcije od terakote” (“Steel constructions from terra-cotta”), Terra:12th International Symposium of Sculpture (theme/task “Zemlja–Nebo” / “Earth-Sky”), Kikinda 1993.

13 M.arsić, ibid.

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His first solo exhibition in Belgrade followed in october 1995, in the Gallery “dom omladine”, which he would personally experience as belated.14

The optical, spatial and content meaning of his sculptures, painting-sculptures, drawing-sculptures is proportional to his specific relationship to the world of ideas (because everything is subject to revision - one’s own opinion and statement, the created sculpture or work “in progress”). Škulec, with this retrospective of sorts, or recapitulation of his five-year achievements, clearly wanted to show his need for constant examination of his artistic and existential identity, the search for his own existential place through direct or hidden metaphorical and allusive statements.

Regarding the unstable positions and temporal nature (characteristics) of Škulec’s work, Nebojša Milenković wrote the following: “Rastislav Škulec creates sculptures (from) superfluous items, emphasizing their temporary nature, uselessness and programmatic non-aestheticity. in his early works, he introduced coloristic applications into his objects, which further accented the imagined sculptural condition.”15

Participation in numerous group and problem-solving exhibitions during the 1990s, in which he had notable works, culminated in 1996, at the exhibition Skulptura: konstrukcija – minimalizam (Sculpture: Construction – Minimalism),16 where, together with Živko Grozdanić and RatomirKulić, he was presented under a “clear” and a particularly binding specification. Zoran Erić, however, clarifies that it is not a matter of a direct appropriation of artistic speech of historical phenomena,17 rather of understanding, respecting, incorporation and processing of Constructivism and Minimalism as historical references processed through a personal viewpoint and artistic treatment.

Škulec, in his statement for the catalog, among other things, writes: “death in life, or walking death, represents the motive and content of these works. i do not want to reach for psychoanalytic symbols, i prefer turning to a simulation of the psychotic state, catatonia, an expression of the ultimate degree of depression that occurs in the midst of trauma with no clearly defined cause.”18

14 “The works presented here are a selection of works characteristic of the period between 1991 and 1995. Sculptures are made of different materials, designed for indoor gallery space, away from the hustle and bustle of the streets or the drama of family life of the potential art lover. at the same time they represent an attempt to bridge the gap between the many exhibitions in ex and present-day Yugoslavia and an almost complete anonymity within the wider art circles of Belgrade. in a nutshell, this is Rastislav Škulec’s belated Belgrade exhibition.” (aRŠ, Rastislav Škulec, in Apsolutno Rastislav Škulec (Absolutely Rastislav Škulec), ex. cat., “dom omladine” Gallery, Belgrade 3-4 october 1995)

15 Nebojša Milenković, „Ludi, zbunjeni i još neki…“ (TheCrazy, the Confused and Some Others...), Fatalne devedesete: strategije otpora i konfrontacija, Umetnost u Vojvodini na kraju XX i početkom XXI veka / The Fatal Nineties: Strategies of Resistance and Confrontation – Art in Vojvodina at the End of the 20th and Beginning of the 21st Century, Museum of Contemporary Fine art, Novi Sad, 2001, 12.

16 Within the exhibition project of Sava Stepanov, Tendencije devedesetih: diskretni modernizam (Tendencies of the 1990s: Discrete Modernism), Center for Visual Culture “Zlatno oko”, 16april – 26 May 1996.

17 Zoran Erić, „Skulptura: konstrukcija – minimalizam (Živko Grozdanić, Rastislav Škulec, Ratomir Kulić)“ / Sculpture: Construction - Minimalism (Živko Grozdanić, Rastislav Škulec, Ratomir Kulić), Tendencije devedesetih: diskretni modernizam (Tendencies of the 1990s: Discrete Modernism), Center for Visual Culture “Zlatno oko”, 16 april – 26 May 1996.

18 “My works are, primarily, conceptual statements and i prefer to view them in the traditional way. For example, i am a sculptor of anthropomorphic forms, the distortions of which are taken to the limit, so the anthropomorphic structure cannot be found even in traces... i work on installations, because i am interested in static instability - the threat of a pretty heavy piece of metal suddenly collapsing onto the floor and taking on a definitive, horizontal position, thus achieving the effect in which the horizontal is understood as passive-dead, in opposition to the vertical-alive. This installation provides an opportunity to demonstrate the impossibility of a physically stable reflection. death during life or a walking death is the motive and content of these works. i do not want to resort to psychoanalytic symbols, preferring to turn to the simulation of a psychotic condition, catatonia, an expression of an extreme degree of depression that occurs in the midst of a trauma without a clearly defined cause.” (Rastislav Škulec in Tendencije devedestih: diskretni modernizam (Tendencies of the 1990s: Discrete Modernism), ex. cat., Center for Visual Culture “Zlatno oko,” Novi Sad, 16 april – 26 May 1996)

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in the same year, 1996, Rastislav Škulec lost his interest and motivation for exhibiting, and until 2000, he completely withdrew from public artistic activity. Later, in numerous statements, he would often say that this inner emigration caused a lot of damage to him and he therefore decided to “return” to the scene. Thus, in 2000, he staged an exhibition in the Novi Sad Center for Visual Culture “Zlatno oko”. The exhibition presented his latest production (e.g. Bez naziva (Veliki iskorak) / Untitled (The Great Step Forward), 1998-2000; Bez naziva / Untitled, 1999, now owned by MoCaV in Novi Sad and other works.)

during the first decade of the 21st century, his activity on the art scene would be registered throughout numerous exhibitions,19 while at the same time (2005-8) he would be intensively working on sketches for monumental sculptures, for which he unsuccessfully sought sponsors.

With the installation on the wall called Piše na radu (It’s Written On The Work), 2004 at the exhibition Izbor (Selection), 1995-2004,20 he entered into a more direct dialogue with the (lacking) existing art system, while with the installation Moj novogodišnji bonus (My New Year’s Bonus), 2013,21 consisting of a wooden coffin for burial, a wooden cross and a Christmas tree, as well as with the construction Prava je zgoda da se izmeni priroda poda (A Quaint Opportunity to Change the Nature of the Floor), in 2013,22 the retrospective of a symbolic name Remix. Refresh. Restart.23got its big finale.

Therefore, the holding of the exhibition in 1994, entitled Permanentna kriza (Permanent Crisis), twenty years ago, seems like a key point of intersection in which, on the one hand, Škulec’s work over the past, quite intense and suspenseful years, had been summarized, but it also completely fatefully determined/anticipated his work and behavior over the years/decades that followed...

in fact, it seems that at the root/inner reason of this art lies a sense of crisis that lasts, that is personal and social (moral and political), which produced astandpoint of self-mortification, a kind of masochistic attitude suspicious of autonomous and individual independence, and in an eternal, unfinished search for identity.24

Crisis, conflict, catharsis are actually Škulec’s work materials. Social anomalies, psychosomatic disorders, symptoms of crisis/border states, depression and feelings of helplessness and existential angst.

19 E.g.: 2001 Museum of Contemporary Fine art, Fatalne devedesete: strategije otpora i konfrontacija, Umetnost u Vojvodini na kraju XX i početkom XXI veka (The Fatal Nineties: Strategies of Resistance and Confrontation, Art in Vojvodina at the End of the 20th and Beginning of the 21st Century); 2004 Belgrade Gallery “dom omladine”, Izbor 1995-2004 (Selection 1995-2004); 2005 Novi Sad “Manual” Neki aspekti savremene skulpture u Vojvodini (Certain Aspects of Contemporary Sculpture in Vojvodina); 2006 Novi Sad Museum of Contemporary art Vojvodina, Nova skulptura u Vojvodini 1980-2000 (New Sculpture in Vojvodina 1980-2000); 2010 Museum of Contemporary art Vojvodina, Trijumf savremene umetnosti - „Kolekcija Vujičić“(Triumph of Contemporary Art - The Vujičić Collection) and others.

20 The exhibition was held in october-November 2004 in the Gallery “dom omladine”, Belgrade, representing the gallery’s decade long activity.

21 “This work is designed as a self-ironic commentary on the exhibition which was conceived as a retrospective of works created over the past 25 years. as “retrospective exhibitions” usually imply a rounded artistic opus, a creative full stop of sorts, by using irony, my intention with this installation was to allude to the fact that my creative opus is not even nearly brought to an end: Objects used in the installation are a form of personal artistic expression of the author and are not designed with the intention to upset or insult anyone. Rastislav Škulec, November 2013

22 The work used laminated wood intended for lining the floor of the exhibition premises of the Museum of Contemporary art Vojvodina (MoCaV).

23 Held in November - december 2013 in the Museum of Contemporary art Vojvodina, in Novi Sad.

24 Lóránd Hegyi, ibid.

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Without this permanent crisis there would be no art work of Rastislav Škulec, as we know it.

Yet, his works are not moral and political statements. They are rather emotionally critical and, due to feelings of imminent danger of destruction on the physical and mental/psychological level, some of the completed works may seem quite threatening. They operate on two levels: as a social statement on the status of the artist/art in our local environment and provoke the social/cultural/psychological position of the observer...

The sculptural installations as (traumatic) statements on tolerance and/or rejection, to which form, however sometimes “strict”, “rigid”, and “pure”, only serves as a membrane for the speech of the subject (artist), who is, in this cultural space, negated and/or marginalized. The internal structure of these works is as if composed by a prolonged muteness of meditative silence within oneself.

Historical, political and social disruptions in the 1990s, and later, sincethe year 2000 onwards - disruptions and discontinuities masked by transition, had been manifesting in various ways, which further weakened the position of the insecure and anxious individual (artist). Therefore, Škulec’ssculpture as a fragment of spatial and temporal eventsis decrypted not just by metaphor (or metonymy), but also through neurosis, certain real relations, touching/absence of touch and silent/unarticulated connections in space and time.

absolutely Sculptural: Art is the Only Method of Life Struggle25

Zoran Pantelić and Rastislav Škulec had, from 1990 to 1993, acted as Apsolutno skulpturalno (Absolutely Sculptural).26 Their joint work had been publicly exhibited twice - in 1990 in apatin27 and in 1991 in Pančevo.28 However, much more important or more effective/efficient than the creation and exposure of the two aforementioned art works was the conceptualization of the term absolutely and the term sculptural...

author duo Pantelić – Škulec based their joint action on a similar & close relationship to the social, cultural, artistic environment, primarily to the methods of education at the academy of arts in Novi Sad, resistance to a prescribed, academic format of thinking and working, as well as the lack of social reaction, recognizing and respecting the work of artists, also expressed through the lack of a consistent and timely art criticism, as well as the absence of material and moral support from the system/state/society.

25 From the audio record of conversations with members of Apsolutno skulpturalno / Absolutely Sculptural (Zoran Pantelić, Rastislav Škulec) within the program Interviews with the Protagonists of the Arts Scene during the exhibition Nova skulptura u Vojvodini 1980–2000 (New Sculpture in Vojvodina 1980-2000), Museum of Contemporary art Vojvodina, Novi Sad, Master Center of the Novi Sad Fair, 16 december 2006.

26 See Apsolutno skulpturalno /Absolutely Sculptural in: Suzana Vuksanović, New Sculpture in Vojvodina 1980-2000 (Nova skulptura u Vojvodini 1980–2000), Museum of Contemporary art Vojvodina, Novi Sad, pp. 46-47.

27 The exhibition Beginning of the 1990s: Sculpture Gallery “Meander”, apatin, November - december 1990 (the work is still exhibited in the city park in apatin today).

28 Within the 6th Exhibition of Yugoslav Sculpture in Pančevo, Contemporary Gallery of the Cultural Centre “olga Petrov”, Pančevo, 17 May – 1 July in 1991.

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What idea does Apsolutno skulpturalno / Absolutely Sculptural represent?

The starting point for the need to “sign”, “label”, “issue a certificate” is actually the overcoming of the idea of the work as an absolute. These were some (sometimes intuitive, sometimes colored by youthful idealism) paths towards absolute sculpture - through the choice of methods, techniques, materials, through the play with space - understood and created as an organism which occupies and marks, even usurps the traditional spatial order. Punching, stretching and expansion, as well as the restoration of identity and the concept of sculpture itself, along with a complete relativization of previously established boundaries of the sculptural.

To question the transcendence of sculpture, its truth and reality and the prevailing belief that it represents the values out of time were their basic motives. The idea that sculpture must be an object clearly separated from other, non-artistic objects had to be challenged and reviewed. due to changes in art in the 1960s, new concepts were introduced to the history of art and sculptural vocabulary, such as environment, happening, performance and installation, which implied or suggested a group of objects in real space, as well as the active participation of the audience. Performance and happenings brought “weak” and fragile materials into art and sculpture, the atmosphere of the street, social and political responses and reactions.29

These were all valuable resources that were available to the two young artists, the potentials of which they had quickly become aware of. The prefix Absolutely thus becomes a recognizable identification code for sculptural work intensively examining itself. investigations are carried out through the use of various materials and introducing new ways of making and mixing of working procedures. investigations have also introduced new and different methodologies of approach to and treatment of volume (mass) and space, as the basic building blocks for a new sculpture. Simultaneously, this is a work that, for the first time, assumes sculpture to be a social and cultural fact.

The viewpoints of Tomaž Brejc on the statue as a body, the touch as an exceedingly simple and primary experience, energy of the object/sculpture and the energy of space, our own body as a measure of gauging space, were also well known and very close to Pantelić and Škulec: “The degree of imaginative and existential investment is huge. ... The sculptor must always create a certain frame of reference that would locate used materials within tactile imagination, and that is a great effort. ... The invention of visible forms that would restore haptics to sculpture - such an order seems like a message from some paradoxical utopia, and such concepts are best planned in this civilization. No one thinks anymore about what is possible, now one needs to reach out further.”30

What was applied during this period, and later in their production and individual art practices, out of all the aforementioned, had its own system and logic, while Apsolutno skulpturalno, in 1993, evolves into Asocijacija Apsolutno (Association Absolutely),31 from which Škulec, a short while later, formally withdraws...

29 andrew Causey, Sculpture Since 1945, oxford History of art, oxford University Press 1998, 9.

30 Tomaž Brejc, „o kiparstvu“, Quorum, year V, no. 5–6, Zagreb 1989, p. 293.

31 Asocijacija Apsolutno / Association Absolutely was founded in 1993 in Novi Sad, and since 1995 the production of the association is a joint production of all four members: Zoran Pantelić, dragan Rakić, Bojana Petrić, dragan Miletić (more on aA see: Apsolutni izveštaj / Absolute Report, Museum of Contemporary art, Belgrade 2002; The Absolute Report, Edited by association apsolutno, Revolver, Frankfurt am Main 2006).

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What is Apsolutno Frakcija / Absolutely Fraction?a pseudo-group, established in 1996, based on the idea of Apsolutno skulpturalno, asocijacija Apsolutno, opposing them and everything else, Apsolutno Frakcija (Absolutely Fraction) implied social and cultural activism, on the level of witty commentary, rough remark, dark humor, wry metaphors, creative cynicism, provocation and (auto) subversion.

Frakcija represents the relationship which the artist Škulec and the man Rastislav (in)directly established with all others/with the world and everything else/the world outside, but within him, everything that threatens to endanger (his) views, artistic and human existence...

it is a concept implemented in the form a specific pronouncement that is most often distributed via e-mail (initially “paper mail”) delivered to the address/addresses of individuals, relatives, friends, associates, (un)like-minded people, who are being told (something) in an (in)direct way, commenting on a temporary or permanent situation in society (e.g. Život u Srbiji: Narodna apoteka - Narodni lek za trajno očuvanje samopoštovanja/ Life in Serbia: National pharmacy - National Cure For A Permanent Preservation of Self-esteem), current cultural or political events and their protagonists (e.g. calendar Život u Srbiji, Sezona 2008./Life in Serbia,Season 2008 in two versions: male and female; Arterroristička Atrakcija: Fatal Error / ArterroristAttraction: Fatal Error, etc.). Sometimes this is done by direct actions and performances in public spaces, such as Homage. Apsolutno skulpturalno 1990–1993 / Homage. Absolutely sculptural 1990-1993, in 2006.32

Revolt, rebellion, anger, rage, impotence, provocation, skepticism, dissatisfaction... Conflict, internal and external. a strong feeling that everything is either abolished or limited - simultaneously, this is also a convenient space for expression and/or solving one’s own frustrations caused by social phenomena, events and people. an autobiographical and anecdotal approach of these anonymous interventions in the field of the social and artistic system produces effects that often remain unknown to us - secret, covert, ones which we can only intuit or assume until the next occasion, when they will serve to express the intention to restart discussions, cause (at least some) reactions, feedback etc…

and the Rest: drawings, Paintingsdrawings (e.g. Sunce, mesec, tajni dani – crtež 173 / The Sun, the Moon, Secret Days - drawing 173, 1989; Crtež – 1990 / Drawing - 1990, 1990; Bez naziva, 1990–1992 / Untitled, 1990-1992) and paintings mostly represent arriving at the same end point & result by different means - if this presents a releasing/calming of tensions or disturbances. Škulec had been trained asa painter, but few paintings have survived this early period. Most are from the period from 2008-2009 until 2013.

His paintings can be seen, to some extent, as an aid, but they are more “a product” of a parallel conceptual and operational process.

From the diptych Naši su životi kao Švajcarska / Our Lives Are Like Switzerland, 1991, and Jerihon / Jericho, 1992, until the most recent ones created in many variants and zig-zag/remix variations (e.g. Zig-zag vol. 4, 2009; Remix 100, 2010; Kutija 1 / Box 1, 2012) – the geometrical shapes on Škulec’s

32 Under the title Homage. Apsolutno skulpturalno 1990-1993 / Homage. Absolutely Sculptural 1990-1993, action of the Apsolutno Frakcija featuring Apsolutno was performed on 16 december 2006 at the exhibition Nova skulptura u Vojvodini 1980–2000 / New Sculpture in Vojvodina1980-2000 (MoCaV, Novi Sad) for the Master Center of the Novi Sad Fair, where the exhibition was held.

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paintings can be identified as patterns that serve to calm the spirit, establish concentration and control (over one’s self?, over the world around us?). Škulec’s paintings are, therefore, simulacrums of meaning, of necessary calm, established balance and order. Their world is orderly. Even stable and calm, although quite “colorful” or colorfully vivid and playful. it is everything that actually/really it is not in reality. also, the paintings are the complete opposite of his work with three-dimensional and four-dimensional forms, temporary spatial situations, but, on the other hand, they are close to the construction of objects and the construction of situations. However, the production of images is difficult to explain in the context of working with materials, political and social commentary and witty, yet wry associations, because the rhetoric of painting involves, primarily, a two-dimensional (limited, framed) surface area... His statement that sculptures created in the 1990s – came out of desperation can be somehow, in meaning, transferred to the paintings of the 2000s - as if they were created in despair.

in some ways, the work on a painting seemingly acts as a mechanism of opposition to threatening situations in the environment, which can be quickly and rapidly changing, and where the daily demand for adaptation is a condition for survival.

in ConclusionStill, Škulec’s artistic work and activity has no dramatic twists precisely because he found channels, through his motivation for work, for eliminating feelings of inadequacy, dislocation, fallout, sprains/strains, maladaptation and discontent.

Škulec’s artistic practice can be viewed from multiple angles simultaneously. ironically, traumatic and somewhat coded, it allows different types of interpretations based on different perspectives and projections. or is this just an illusion of mine?

in any case, the proper completion of this brief review of the artistic activity of Rastislav Škulec seems to be sublimated in the following quote:

“There is a growing feeling of a new seriousness, which tries itself out in laughter - but is not smiling. it tries itself out in courage - but it is not smiling. it is a feeling of a very quiet seriousness, similar to despondency, the fear that something will be banished and irreparably destroyed in myself and in the world without me.”33

33 Mihail Epštejn, Postmodernizam, 2. Nova sentimentalnost, Zepter Book World, Belgrade 1998, p. 133.

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Rastislav Škulec, 13. decembar 2013, MSUV, Novi SadRazgovor sa umetnikom, uz projekciju emisije TV Galerija: Rastislav Škulec, TV Novi Sad januar 1992.

Rastislav Škulec, december 13th, 2013, MoCaV, Novi Sadinterview with the artist, with a broadcast ofThe TV Gallery: Rastislav Škulec, TV Novi Sad, January 1992

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How are you? What are you up to these days?

it all depends on the moment. i am mostly concerned with daily obligations related to work and family. other than that, i usually read or watch movies. i primarily use the winter period as a kind of a generator of ideas and plans for the near or distant future. Currently, the last two weeks, i am simultaneously reading two books, The Russian Experiment in Art 1863-1922, by Camilla Gray, andModern Sculpture: A Concise History, by Herbert Read, after many reads since i added them to my library in 1982. There is a cup of coffee often placed beside an openThe Philosophy of Art, by Hippolyte Taine. Someone would perhaps think of all thisas a slightly patchwork read, but i am enjoying that activity at the moment. Previously, i went through oliva’s trilogy Modern Art 1770-1970-2000. as for film, i programmatically watched Makavejev and Žilnik again, after who knows how many times: Mysteries of the Organism and Early Works, as well as Miroslav antić’s Holy Sand, which i have not had a chance to see so far, and i have to admit that it did not leave an impression on me, Sand, i mean.

Did the mid-career retrospective exhibition, held in December last year, in MSUV, affect you? And if it did, in what way?

i wouldbe lying if i saidthat it “did not affect me”. Firstly, i was rather worn out by my exhibitor obligations. during the preparations for the exhibition, i came up with the idea to use this mini-retrospective as a sort of cadence. Full stop, the end of one period. again, on the other hand, i enjoyed “the activities” related to the exhibition itself, as they had, so to speak, brought me back to life - i started wanting to create several more sculptures, to ask some more questions, and stir the muddy waters of the swap we call contemporary art in Serbia a bit.i will dedicate myself to this in the coming period. i also promised myself that i will, from now on,hold at least two solo exhibitions every year. i am going to test everyone’s patience. For 2014, i have already completeda few projects, they need just a little bit of physical work to be finalized. one is dedicated to the idea attributed to Leonardo da Vinci and is linked to a musical instrument which was made according to his drawings, and the other to the myth of Troy and odysseus. The third part is about the “Prophecy from Kremna”. Basically, i will be dealing with myths.

“The Yellow House” as a community center? An early/rare example of association of youth in order to meet cultural needsat the end of the 1980s? A cult place in Novi Sad? Your engagement there? You are one of the founders, are you not?

When we started thinking about such a place in 1986, which, in the terminology of today, would be called “a community center”, i have to admit that we did not have a completely clear picture how all of that could and should look like. a few of us students of the academy of arts - dragan Gucunski, Snežana Berić and i - of course accompanied by friends with whom we socialized extensively, primarily had in mind creating a kind of visual workshop that would provide us, and other interested artists, with “a base” to continue research in the field of visual and, as it was then called, experimental media, such as performance, video, happening... We also wanted to connect with people with similar interests in the former Yugoslavia. dissatisfied with the local scene,

Full Stop, The End of one Period

Novi Sad - Begeč, January - February 2014

Suzana Vuksanović: interview with Rastislav Škulec

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especially the politics of galleries and the association of visual artists, itself, and the ignorant attitude even towards the standard fine art and sculptural expressions that would depart from the framework of “authentic Vojvodina landscape painting”, or the so-called poetic surrealism, which was most common in the ateliers-datchason the fortress, we wanted, at the same time,to open a gallery that would engage with the already not-so-new painting and sculpture. our model was Belgrade’s Student Cultural Center (SKC) from the second half of the 1970s and early 1980s, and legendary events in the space of Novi Sad’s “Tribina mladih” (Youth Tribune). Sporadic and rare information on what was happening in other cities, such as Ljubljana, Maribor or Zagreb was our main motivation, because in them we recognized our own ideas, desires and attitudes towards contemporary art as a synthesis of various media, models, and expressions. When we heard that the leadership of the Student Parliament, probably driven by the “concern” the political establishment of the time had for young people,was looking for student projects, we wrote a project containing the aforementioned goals and ways to achieve them. our project was welcomed, as well as some other projects from psychology students and students of Marxism. i personally think that other projects did not even exist. dragan Gucunski, as the most level-headed of all of us, attended meetings for almost a year, youth conferences at the University, and within various city structures, including the City and the Provincial Committee of the League of Communists (SK), until, finally, we managed to get space in the city for an office we then called - “Center for Creative Youth Engagement Yellow House”. it was a one-floor ruin of a total of 120 square meters, which, in the spring of 1988, was restored, and which we painted during that summer, and started preparations for the official opening, which had been planned for october 1988. We fit in quickly with the group of psychology students because we really liked their work. Their 24-hour rounds on the SoS phones, talks and workshops with young people, and later with other citizens “in crisis” were a true novelty in our Serbian environment. Since the “Marxists” did not like our company, and since in 1987 (8th Session GKSK Belgrade) and 1988 (“Happening of the People” on the streets of Novi Sad) they transitioned from Marxist to nationalists, we gave away their rooms to bands from the local scene, for rehearsals, and the improvised

coffee club for gigs, in order to provide money for overhead maintenance. our house bands: Obojeni program, Atheist rap, Boje, Vrisak generacije and andrla’s Imperium off jazz brought us steady audiences, mostly teenagers, although there were older youths there too. Edi Keler, who took care of the cafe and the gigs, was helped out by Boba Škrbić, so we organized a series of outdoor concerts with bands, both from the local scene and elsewhere. What later became Novosadski koncert godine (Novi Sad Concert of the Year) was born there, on the stage leaning on the south facade of the house. i will never forget the fight of Liman punks with members of the Serbian National Renewal (SNo) at the KUD Idijoti gig and their opening act, then still unknown members of the band Let 3, which took place in the summer of 1990, a year after the election rally, as well as the diversion of Rambo amadeus, who, for one such gig, “borrowed” a police radio device from one officer, and from the grove near the entrance to the Strand held a small private concert on their internal radio-frequency for the officers who were lurking everywhere along the pier and surrounding residential buildings. These gigs were what the general public of young people from Novi Sad remembersthe most and why the “Yellow House” was given the status of a cult place, and, at the same time,it was a way to present contemporary visual art of the young generation to the young generation. as the circle of experts and activists was spreading, the character of the house was changing. Since i was not happy with some of the attitudes of the other founders, who put themselves ahead of others,and who wanted to do their creative work in the house, i left my post at the school of drawing and preparing exhibitions, partly because i did not like the tendency to stylistically “censor” some projects of new associates, and partly due to my own busy work schedule and exhibition activities. My point was that, since we have created a specific audience and attracted new people who want to express themselves creatively - they should be left with a part of the project, even at the cost of the house itself going in a new direction entirely. Not everyone agreed with that, and it was clear to me that we began to look like those against whom we have rebelled, and that was the end of the collaboration for me, although i remained on friendly terms with everyone who created the house. during the winter of 1990, i turned to new projects with friends with whom i shared interests.

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Apsolutno skulpturalno. Apsolutno Rastislav Škulec. Asocijacija Apsolutno. Apsolutno Frakcija...? (Absolutely Sculptural. Absolutely Rastislav Škulec. Association Absolutely. Absolutely Fraction...?)

Yes, it was primarily working in cooperation with Zoran Pantelić and dragan Rakić, who joined us, i believe, after 1992. during 1987, and later, in 1988, at a time when the “Yellow House” had practically stood on its feet, i turned more towards work on sculpture and installations, even though i was staging performances too. i left painting already in 1988, and managed to graduate from the department of Painting with sculptures and spatial installations. That says a great deal about my professor Jovan Rakidžić, who, although a painter, did not make any problems for me, or the rest of his students, if they tried themselves out in a different medium. if i mention that dragan Rakić, Slobodan Peladić and Vlado Rančić were also his students, as well as Milica Mrđa, somewhat earlier than us, one can see how much tolerance and understanding he had as a teacher.

To get back to your question. i got to know Zoran better as far back as 1987, when, as a second year student, he presented his work at a student exhibition. it was primarily designed as a percussion musical instrument, whose sculptural values were excellent, and they caught my eye, but other exhibitors were quite critical of them. a simple geometrical shape with an open interior was a fresh idea that i liked immensely. i have to note that at the academy we had the freedom to present our work ourselves when exhibitions were organized at the start of the new academic year. We usually exhibited at the University campus, in the hallways of the faculties. We did the set up ourselves and were both curators and organizers. Probably due to temperament, as well asmy liberal views, and partly because of the laziness of others, my opinions were accepted, and i was, so to speak, “a part of every dish” at the academy. i did not have any problems with teachers of vocational subjects, so i could move freely through the departments and do what interested me most at a particular moment. during 1988, Zoran and i have repeatedly met and had conversations, mostly in the “Yellow House”, where we even played and recorded music for one of my performances which was staged at the Index 88 event in october that year,at the Faculty of Philosophy, as part of the presentation of the work of the Visual Studio aUNS, which was headed by Professor Bogdanka Poznanović.

That friendship and socializing probably contributed to the fact that, although independent of each other, to the outside we looked like a pretty monolithic artistic couple promoting sculptures of simple geometric shapes, of accented geometrization. after i graduated in June 1989, i left the space of the academy and moved my workshop to my parents’ house in Begeč. i exhibited my new work at the “Yellow House” on several occasions, and i even created a sculpture there once. That year, Sava Stepanov worked on the authorial exhibition Beginning of the Nineties - Sculpture at the Gallery “Meander” in apatin, and included our work, in addition to works by young Belgrade authors apostolović and Joksimović, Slovene authors Jože Barši and Rene Rusjan,and artists from Sarajevo, ademir arapović and several other young artists. Somehow, it just happened that while preparing the exhibition, we came up with the idea to do a sculpture for a public space on the spot. Radmila Savčić provided us with waste material from the shipyard, where she establisheda sculpting symposium. The material itself was very bad - although we managed to slightly reshape itin three days, we were not completely satisfied, so we requested to be provided by a new sheet of metal. amazingly, we managed to get the funds and after the exhibition we made the sculpture Absolutely Sculptural, which is still located in the city park in apatin. in preparation for the exhibition, we formulated the course of our collaborative work and the strategy for future action. Each of us had a multitude of sketches, we understood each other well, we felt the trends that were current in the world as our own, so there were no problems in our cooperation. a series of problem-oriented exhibition sensued, in which we presented ourselves to the wider public, and together we created another work for the 6th Pančevo Exhibition of Yugoslav Sculpture. during 1993, and 1994, we had an offer from the former Gallery of Contemporary art (today the Museum of Contemporary art) to present ourselves at solo exhibitions. dragan Rakić had been coming to Novi Sad from Sombor again, as a postgraduate student, so we continued to socialize and exchange ideas and views on how to move forward. at that time, our individual opuses developed independently - although we came from the same basic positions, theultimate outcomes diverged both formally and thematically, so we created three different art expressions. aware of this, we named our exhibitions Apsolutno Zoran Pantelić, Apsolutno

Negovanje rđe, 1994.metal, dimenzije promenljive

Cultivation of Rust, 1994metal, variable dimensions

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Rastislav Škulec and Apsolutno Dragan Rakić, so that we could highlight the differences that were present in our approach to sculpture, because we did not like the superficial reading by the current criticsof the time, lumping us all “in the same pot”. The economic collapse, turmoil in the political arena, and the increasing political madness that prevailed in society had led us to question the meaningfulness of the continuation of our work. We thought less of working with the material and more about work on the social system. after 1993, Zoran ceased to engage in sculpture, i was losing interest in it, so there was a simple restructuring of the idea of Absolute Sculpturality, which developed into the Association Apsolutno (Asocijacija Apsolutno). along with dragan Rakić, who participated in the profiling of the Association, the now monolithic group was also joined by Miletić, and Bojana Petrić, Zoran’s wife. after returning from the war, i also got married, and in 1993, i had a daughter. Since i was the only one employed in the family, i dealt more with the survival of my own family, rather that the Association, so, at first, i just followed the work of others and occasionally participated in discussions, and then i completely stopped participating in the work of the group. i used my free time to create a few sculptures and i held an exhibition of paintings inBački Petrovac. i continued to exhibit at collective exhibitionsunder the title Apsolutno Rastislav Škulec (Absolutely Rastislav Škulec). during this time, Asocijacija Apsolutno - Association Absolutely (without my involvement) with its conceptual activities, became one of the most interesting phenomena on the art scene in Serbia, and departed from the framework of local art practice with an enviable international production, and performances around the world.

Since there were many rumors within the local artist’s circles, our acquaintances, and speculations about our split, i started Apsolutno Frakcija (Absolutely Fraction) as a joke. “AF represents a transitional syndrome, which is reflected in artistic extremism in all respects. it was created like any fraction, with a simple separation from the mainstream (Asocijacija Apsolutno) during 1996. The basic postulate of the work is anonymity, and acting in a completely non-artistic environment (bystanders, people who do not follow the arts and who do not register visible outcomes as an artistic act)”. This is the text of the pamphlet that i sent to various addresses, and it was also a kind of a manifesto of the project.

The first action that i initiated was sending a series of anonymous threatening messages to Zoran throughclassical letters, by mail, and then finally authorized the work by sending him a text, from a known number, with a quote from Emir Kusturica’s film Underground: “Bro, here’s a gun - kill yourself!!!” This was an allusion to the phenomenon that was rampant on the Serbian political scene, where close allies, and many of them best men on each other’s weddings, as Zoran and i truly were, turned into bitterest political enemies. i continued with a similar practice of successively sending pamphlets and a series of threatening messages to friends and acquaintances with whom i met almost daily. i followed their reactions, and at the end of a one-month period, after at least four different messages, i regularly sent them a signed offer to purchase a bullet with their name engraved on it, at the price they set themselves. Everyone was supposed to set the price for their own lives. after the completed form and payment to the account, i handed them a bullet with their name and a certificate of taking destiny into their own hands. (“Your life is in your hands!”) This multi-year project was titled Life Insurance (Životno osiguranje).

after 11 September 2001, flirting with terrorism as a form of shock and of creating insecurity for the individual had become meaningless, so i stopped with that type of activity.

In 1996, you stop presenting on exhibitions, after ten years of intense exhibition activity. A type of resistance, protest, dissatisfaction, disappointment? All of this, together, or some of it, and in relation to what and against whom?

The Serbian art scene, despite the wars, isolation, the ransacking of the population by the political establishment, the division of society into patriots and traitors, and political persecution of opponents by the government, during the first half of the 1990s was surprisingly vibrant, diverse, dare i say, even buoyant. Belgrade had turned into a swamp, but new centers of contemporary art had emerged, mainly in Vojvodina. Vršac, Pančevo and Novi Sad held thematic exhibitions, artists and critics came from other cities and from abroad. This was undoubtedly a manifestation of some sort of resistance to the state of society which promoted crime, immorality and vulgarity. one group of artists was trying to preserve their own integrity and

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high artistic standards in spite of poverty and great malevolence from state structures and an increasingly corrupt wider society. i participated in all that, fighting for my basic human right - a decent life worthy of a human being. and what have we achieved, in the end, with our work? Rather than undermine the system and set things right, on a healthy basis, we had given credibility of democracy and pluralism to the system, not to use that phrase from the Chinese Cultural Revolution, “let a thousand flowers bloom”. after the first election theft in 1996, i was getting sick of it all and i decided to no longer take part in exhibitions. i even stopped visiting them. i cut all contacts with people from the art system. Since i have a lot of friends and acquaintances who have nothing to do with the arts, i staged presentations of my own work for them, talked to them,lectured on modern and contemporary art, which is quite hermetic and obscure for visually uneducated people, as is the average citizen of Serbia. When Milošević’s regimefinally fell, i returned to the art scene with an exhibition at the Gallery Zlatno oko, in 2000. i participated in several exhibitions, and only when the organizers would provide a minimum of professional requirements, which included transport of the sculptures to the exhibition space, regularly returning works after the exhibition within a reasonable time, not longer than two weeks, a decent catalog. Even today, i do not care to exhibit at any cost. When it comes to solo exhibitions, in addition to the abovementioned, i request that the organizer participate in the production of at least one work, because i believe that art is not just a job of the artist, but also of society, as well, and galleries and museums, as representatives of the state and society, in general, must take a more active part in creating the art scene by assisting in,or allowing the production of the artworks themselves. anyone who paints, sculpts, shoots video, film, or produces any other kind of art, knows what material temptations stand in the way of the final work of art. artists build the culture of their own country by their own material means. other protagonists of the art system must participate in this mission, especially since in the absence of the art market, an artist can only lose resources through his art, especially if one takes into account the material side of creation and the effects of that same process.

We used to fight about art, while today nobody even talks about art, you said recently during a conversation with an audience. If not about art, what,

according to you, does the artist (art system?) think about, here and now?

That remark was more rhetorical and referred to the atmosphere that prevailed during the 1980s and early 1990s. Conversations, even heated discussion between friends, served as a focus for both opinions and finding a personal path or generational attitude in relation to the entire body of visual arts.The artistic statement was approached as something important and significant, even fateful. Generations born in the second half of the 1980s that have now completed their education, and entered the scene, grew up and were educated in a spirit quite different than ours. They do not debate, they “like” or “hate”. Those who are currently studying the arts, or are preparing to, have an even greater problem. an example for this argument is precisely that “conversation with the audience”, which was organized during the exhibition. Several individuals of the middle and older generation, who came of their own volition, and two groups of students brought in by force from architecture and sculpture, and no questions, except the statement “we have to go to class now, our apologies...”. one would say, watching from the side - they are aware, wise, artistically cultivated, and everything is clear to them, because, above all, they are cultured and tolerant, real angels. They simply are not interested, even in their own opinion, and why would they be when no one will be interested in this - friends will “like” something only because of the character of the “friendship”.

How much do you actually pay attention to the audience? How important are the experts and the so-called general public?

“Good” audiences are hard to find, no matter how “professional” they are or not. We are now in the same situation as was diogenes when he walked through agora with a candle in his hand looking for a man in a crowd of athenians. Who finds the man, will find an audience. “a good audience” is in dialogue with the artist and his work, which promotes quality.i care about it and its opinion, even if its position is in opposition to the work of art itself. The others are not an audience.

Do you ever think about what is written about your work, and how, and what is your relationship to this?

There are a few texts that deal, so to speak, with my work in particular. Texts in which i am referred to are

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those which engagedin “the general atmosphere of the times” and referred to a series of individual statementsof a number of artists who were connected by the “spirit of the times”. Since they were concerned with a very wide range of phenomena, the texts were generalized, so they do not really reflect the true situation, but rather a broader picture without much detail. You cannot see the trees from the forest.

an important part of this was also the fact that i do not have a habit of “dragging the sleeves” of curators, art theorists and art critics, in order to “go through” with a project, and be part of a selection or a problem-oriented exhibition. Usually it has to do with someone’s invitation to participate in a project that is pre-designed, where certain theoretical parameters are already in place, so if it fits - it fits, and if not - never mind. at least it is a diverse exhibition. another reason may be, as was well observed by Miloš arsić in an 1994 article, that my work is quite complicated to interpret because it has been deliberately conducted so that, at first glance, it would not be stylistically uniform,strictly observing the formal qualities of the sculptures themselves.The physical form is not the goal of the work, nor is it my primary interest. i prefer to turn around and deal with the world of ideas and not “the world” of sculptural form. The only thing i was consistent in, throughout all the 27 years i have been on the art scene, is that particular fact. i try, as soon as i notice that someone’s managed to “form” a particular theory or interpretation, to look for ways of somehow avoiding that “mold”. People like it when they are clear on things, because then they can control them, or predict where this kind of work leads, which is also a form of control. i do not. on the other hand, the connection between works from different periods is clearly visible. i used to jokingly say that my work is similar to that which Koja does through the music of Discipline kičme. it is always the same, and also the same in a new way. a small group of artists, mostly sculptors, which i was a part of at the end of the 1980s and early 1990s, seeking their own poetics, consciously approached the “cooling” of the sculptural form using the strategy of a center forward. Namely, while almost all the players on the field are chasing the ball and movingwithin the space of the field that it determines,a skilful center forward moves in the opposite direction. it seems a bit absurd, but in the end the ball always ends up at their feet, and theyface the keeper alone, and, in a large percentage of cases, they

score.This was relatively easy to achieve in the situation in which art found itself since the mid-1980s. The group that participated in the exhibition which,in the winter of 1990, was curated by Sava Stepanov, and that, a bit earlier, became a part of the art scene, was small, and in comparison to the other protagonists on the art scene - on the level ofstatistical error. Similar things happened on the wider European scene. a few years later, due to a series of exhibitions, the circle of artists with a similar process increased significantly. Thus the theoretical argument of “modernism after postmodernism” was born. From the standpoint of theory, art is productive only if it does not go beyond the theoretical. This may not be of primary importance from the perspective of the artist. Therefore, on the threshold of the new millennium, and in its first decade, we have theories speaking of the so-called “pro-modernist” art, which is almost the same as what had already been defined in the 1990s. i think that theory and criticism can overcome this point of theoretical coma only if they deal with individual cases, i.e. individual phenomena, and their analysis, without the tendency to generalize and lump together almost incompatible phenomena.

Art should leave us with questions rather than answers, right? In this sense, how do you see your pedagogical, as well as andragogical work?

Each art piece is a statement. Even when it is clearly defined in an explicit argument of the artist, it leaves room for further dialogue, so that it can be regarded as a question. The potential observer must first be rationalized. Through observation he both asks himself questions, and delivers answers, according to his abilities, level of visual culture and personality traits. This process is more or less played out at any timewhen we are faced with a work of art.

as i work with children between the ages of 11 to 15, everything derives from the basic objectives of educational work in the subject of Visual Culture, itself. The aim of the educational work of the course is to further promote the development of both practical and theoretical knowledge of the pupils that are important for their free, spontaneous and creative combining of visual elements in drawing, painting, sculpture, graphics, applied arts, and all in order to develop their creative thinking. Furthermore, this work helps pupils overcome the technological processes of artistic work

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within certain tools and media and encourages them to do so; it motivates pupils to get to know the basic elements and rules of visual language; it develops the capacity and sensitivity of pupils to observe the quality of all visual elements: lines, shapes, colors; it creates conditions for pupils in classes to use different techniques and tools for the implementation of content, and better understand their visual and fine art qualities through creative expression; it develops pupils’ skills in visual memory, connecting the observed information as a basis for the introduction into creative visual thinking; it develops a greater sensitivity for fine art and visual values that are acquired in the classroom and applied in work and life; it develops motor skills; it creates conditions in which learning about fine arts helps thembetter understand the laws of nature and social phenomena; it provides an understanding of a positive emotional attitude towards values expressed in the works from various fields of art; it develops the abilities to recognize the fundamental properties of traditional, modern and contemporary art. Formulatedin this way, it all seems to be quite complex, but in practice it is all easy to accomplish due to the nature of visual creativity, and the age of the pupils themselves. of course, the levels of achievement are not the same for all pupils and, unfortunately, often do not affect the life and habits of the individual later on.

The reason for this i primarily see in the fact that the time which these pupils spend in these activities is negligible in comparison to other activities and influences, i am primarily referring to the family, the peer group and other challenges of modern life. Therefore, from a very simple procedure, later on in life - when it comes to adults, we arrive to a situation similar to the legendary performance by Joseph Beuys, How to Explain Pictures to a Dead Hare, which today could be called “How to Explain Pictures to a Picture of a dead Hare”.

Everything is politics? Politics and art? Political Correctness? Political (in)correctness in art?

of course everything is politics. Politics is the practical application of agreed social values, and it should serve for the betterment of society, overall. The political elite should, by definition, create conditions and opportunities in which the promoted social values could be exercised. The political elite, itself, should not define

them, as in every society there are elites other than the political one: economic, cultural, sports ... So-called political correctness or incorrectness in art depends on clear social values, as well. in a situation where there are no clearly defined social values, as is the case in our society, the political elite is ruled only by interests of their own parties, or personal interests. Members of society are not all the citizens but only those who are members of parties, and attention is paid only to their interests, of course, to the extent depending on the hierarchy within the party, itself. Hence there is a high degree of corruption, immorality, and all sorts of abominable things permeating the entire society. all party protagonists in our society are practically the same, so that we actually have a one-party system, with several fractions and centers of power that fight each other for the position of acquiring certain material benefits at the expense of other sectors of society. Political correctness, in our case, could be reduced to everything that points towards the incorrectness of the political system, itself. The only salvation i can see would be in a broad front of citizens in order to achieve “direct democracy”, defined as early as the 1960s. art should lead towards the achievement of this goal.When i say art, i think of all forms of artistic practice. The activity of artists should be directed towards creating awareness of the rule of individual rights, and by creating a narrative that clearly indicates the absurdities of society. The artist should be the child’s voice of reason from the fairy tale “The Emperor’s New Clothes”

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Samostalne izložbe / Solo Exhibitions

1988.Novi Sad, „Žuta kuća“, Instalacije i skulpture

1989.Novi Sad, „Žuta kuća“, Instalacije Novi Beograd, Galerija doma kulture „Studentski grad“, Crteži i skulpture

1990.Novi Sad, „Žuta kuća“, Instalacije

1992.Beograd, Galerija SKC-a, Jelenković, Pantelić, ŠkulecPančevo, Savremena galerija Centra za kulturu „olga Petrov“, Jelenković, Pantelić, Škulec

1993.Novi Sad, Galerija SULUV-a, Skulpture

1994.Novi Sad, Galerija savremene likovne umetnosti, Apsolutno Rastislav Škulec: Permanentna krizaBački Petrovac, Galerija „Zuska Medveđova“, Slike

1995.Novi Sad, Centar za vizuelnu kulturu „Zlatno oko“, SkulptureBeograd, Galerija doma omladine, Apsolutno Rastislav Škulec

2000.Novi Sad, Centar za vizuelnu kulturu „Zlatno oko“, Skulpture

2004.Novi Sad, Galerija Kulturnog centra Novog Sada, Slike i crteži na papiru

2012.Bački Petrovac, Galerija „Zuske Medveđove“, Slike i instalacije

2013.Novi Sad, Muzej savremene umetnosti Vojvodine, Remix. Refresh. Restart: Skulpture, instalacije i drugo 1988–2013.

Grupne izložbe (izbor) / Group Exhibitions (selection)

1986. Beograd, Umetnički paviljon „Cvijeta Zuzorić“, Armagedon: Mostovi

1987. Tuluz, 1. bijenale umetničkih akademija Evrope Novi Beograd, Galerija doma kulture „Studentski grad“, 4. bijenale jugoslovenskog studentskog crteža

1988. Kikinda, Narodni muzej – Savremena galerija, 5. salon mladih Novi Sad, Velika galerija Kulturnog centra, 17. novosadski salon

Biografija / BiographyRastislav Škulec je rođen 09.08.1962. u Lugu. diplomirao 1989. na slikarskom odseku akademije umetnosti u Novom Sadu (klasa prof. Jovana Rakidžića). Jedan od osnivača „Žute kuće”, 1988. Sa Zoranom Pantelićem 1990. osniva umetničku grupu Apsolutno skulpturalno, koja deluje do 1993. Formira koncept Apsolutno frakcija 1996. član ULUV od 1989.Radi kao likovni pedagog u više osnovnih škola u okolini Novog Sada (Mladenovo, Šangaj, Begeč, Futog). Živi u Begeču (adresa: Partizanska 86. Telefon: 064.2093684. E-mail: rastislavskulec@gmail.com)

Rastislav Škulec was born on august 9, 1962, in Lug. Graduated at the department of Painting, academy of arts in Novi Sad,1989 (studied under Professor Jovan Rakidžić). He was one of the founders of the “Yellow House,” in 1988. in 1990, with Zoran Pantelić, he founded the artistic group Apsolutno skulpturalno, which was active until 1993. He established the concept Apsolutno frakcija in 1996. Member of ULUV(association of Fine artists of Vojvodina) since 1989.He works as an art teacher in several elementary schools in the suburbs of Novi Sad (Mladenovo, Šangaj, Begeč, Futog). He lives in Begeč. (address: Partizanska 86; Telephone: 064.2093684; E-mail: rastislavskulec@gmail.com)

deo postavke retrospektivne izložbe Rastislav Škulec: Remix.Refresh. Restart. (Skulpture, instalacije i drugo 1988–2013), MSUV, Novi Sad novembar-decembar 2013.

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1989.Novi Sad, Galerija ULUV-a, Izložba kandidata predloženih za članove SULUV-aVrbas, Likovna galerija, YU paleta mladihKikinda, Narodni muzej – Savremena galerija, 6. salon mladihNovi Beograd, Galerija doma kulture „Studentski grad“, 5. bijenale jugoslovenskog studentskog crteža

Pančevo, Savremena galerija, 5. pančevačka izložba jugoslovenske skulptureNovi Sad, Velika galerija Kulturnog centra, 18. novosadski salon

1990.Zagreb, Galerija „Karas“, Salon mladihNovi Sad, Galerija SULUV-a, Skulptura u slobodnom prostoruapatin, Galerija „Meander“, Početak devedesetih: skulpturaPančevo, Savremena galerija Centra za kulturu „olga Petrov“, Skulptura u Vojvodini – nova situacija

1991.Pančevo, Savremena galerija, 6. pančevačka izložba jugoslovenske skulptureRijeka, Moderna galerija, 16. bijenale mladih jugoslavenskih umjetnikaNovi Sad, Velika galerija Kulturnog centra, 20. novosadski salonBački Petrovac, Galerija „Zuske Medveđove“, 1. bijenale vojvođanskih Slovaka

1992.Sremska Mitrovica, Galerija „Lazar Vozarević“, 17. sremskomitrovački salonNovi Sad, Galerija „Most“, Znak kao negacija simbolaNovi Sad, Velika galerija Kulturnog centra, 21. novosadski salonSombor, Galerija „Likovna jesen“, 32. likovna jesen – bijenale savremenog jugoslovenskog crteža

1993. Novi Sad, Galerija savremene likovne umetnosti, Horizontala – vertikala, sukob i saglasjeNovi Sad, Velika galerija Kulturnog centra, Čari dvojstva: i slika i skulptura Vršac, Narodni muzej, Čari dvojstva: i slika i skulpturaPančevo, Savremena galerija, 7. pančevačka izložba jugoslovenske skulptureBeograd, Galerija ULUS-a, Pogled ’93Novi Sad, Galerija savremene likovne umetnosti, Rane devedesete: jugoslovenska umetnička scena Beograd, Muzej „25. maj“, 34. oktobarski salonBeograd, Galerija SKC-a, Skice i komentariKikinda, Savremena galerija, 12. internacionalni simpozijum skulpture „Terra“Novi Sad, Galerija VLV – Fondacija SoRoS, Privatno – Javno

1994. Novi Sad, Velika galerija Kulturnog centra, Iz zbirke Stevana LeštaraVršac, „Konkordija“, 1. jugoslovenski likovni bijenale mladih

1995. Vršac, „Konkordija“, Energije: Savremena umetnost u Vojvodini

1996.Beograd, Muzej savremene umetnosti, RezimeNovi Sad, Centar za vizuelnu kulturu „Zlatno oko“, Tendencije devedesetih: diskretni modernizam – Konstrukcija-minimalizam

2001.Novi Sad, Muzej savremene likovne umetnosti, Fatalne devedesete – strategije otpora i konfrontacija: Umetnost u Vojvodini na kraju XX i početkom XXI veka

2003.Novi Sad, Muzej savremene likovne umetnosti, Paradoksi eklektičkog, realne vrednosti kontinuiteta obnavljanja

Katalog samostalne izložbe Jelenković, Pantelić, Škulec, Galerija SKC-a, Beograd; Savremena galerija Centra za kulturu „olga Petrov“, Pančevo 1992.

Katalog samostalne izložbe Apsolutno Rastislav Škulec: Permanentna kriza, Galerija savremene likovne umetnosti, Novi Sad 1994.

101

2004.Beograd, Galerija doma omladine, Izbor, 1995–2004. Novi Sad, Muzej savremene likovne umetnosti, Neuporedivi identiteti Ulm, Festival kulture podunavskih zemalja, Zastave identiteta

2005.Novi Sad, „Manual“, Neki aspekti savremene skulpture u Vojvodini

2006.Novi Sad, Muzej savremene umetnosti Vojvodine (Master centar Novosadskog sajma), Nova skulptura u Vojvodini 1980–2000.

2007. Novi Sad, Muzej savremene umetnosti Vojvodine, Do kraja veka: Umetnost u Vojvodini od šezdesetih do 2000. iz zbirke Save Stepanova

2010.Novi Sad, Muzej savremene umetnosti Vojvodine, Trijumf savremene umetnosti – „Kolekcija Vujičić“

2012.Novi Sad, Muzej savremene umetnosti Vojvodine, Akvizicije: otkupi i pokloni 2004–2011.Bratislava, Galerija slovačkog radija, Savremena umetnost Slovaka iz Srbije

Projekti / Projects

1988. Novi Sad, „Žuta kuća“, MuralNovi Sad, „Žuta kuća“, kolektivni hepening Il coloriNovi Sad, Filozofski fakultet, performans Insceniranje mesta susreta (Četiri bele smrti)

1989. Novi Sad, Petrovaradinska tvrđava, performans, Insceniranje mesta susreta II

Likovne kolonije / art Colonies

1990.Prohor Pčinjski, Kolonija Prohor Pčinjski

1993.Kikinda, 12. internacionalni simpozijum skulpture „Terra“

2002–2008. Begeč, Kolonija reciklažne umetnosti Svetionik

2005. Vršac, Likovna kolonija Tragom Paje Jovanovića

2008. apatin, Vajarski simpozijum Meander

Nagrade / awards

1986. Novi Sad, Nagrada za slikarstvo na Izložbi studenata i diplomaca Akademije umetnosti

1987. Beograd, Nagrada za crtež na 4. bijenalu jugoslovenskog studentskog crteža

1988. Novi Sad, Nagrada za skulpturu na Izložbi studenata Akademije umetnosti povodom Dana UniverzitetaNovi Sad, Nagrada Univerziteta u Novom Sadu na Izložbi povodom otvaranja instituta za hemiju

Radovi u javnim zbirkama i privatnim kolekcijama / artworks in Public and Private Collections

Muzej savremene umetnosti Vojvodine, Novi SadVujičić kolekcija, BeogradKolekcija Stevana Leštara, Novi SadKolekcija Save Stepanova, Novi Sad

Katalog samostalne izložbe Apsolutno Rastislav Škulec, Galerija doma omladine, Beograd 1995.

102

Skulpture u javnom prostoru / Sculptures in Public Spaces

apatin, Gradski parkVršac, dvorište Psihijatrijske bolnice

Bibliografija (izbor) / Bibliography (selection)

andrej Tišma, Priroda kao podstrek, Dnevnik, Novi Sad, 6. novembar 1988.andrej Tišma, Susret s Bojsom, Dnevnik, Novi Sad, 25. avgust 1989.

andrej Tišma, Biseri u pesku, Dnevnik, Novi Sad, 29. oktobar 1989.Sava Stepanov, Jesen je vreme za – salone, Misao, Novi Sad, 10. novembar 1989.andrej Tišma, Nedopustivo krnja slika, Dnevnik, Novi Sad, 13. jul 1990.J. B. Jugoslovenska skulptura – šesti put, Glas komune, apatin, 9. novembar 1990.P. Tankosić: YU – šesti put, Dnevnik, Novi Sad, 9. novembar 1990.M. Šašić, Skulptori su stigli, Politika, Beograd, 11. decembar 1990.Svetlana Mladenov, Sava Stepanov, Skulptura u Vojvodini – nova

situacija, katalog izložbe, Savremena galerija Centra za kulturu „olga Petrov“, Pančevo, 4–19. decembar 1990.dušan Đokić, Nove snage u prostoru, Pančevac, Pančevo, 21. decembar 1990.Sava Stepanov, Početak devedesetih: Skulptura, katalog izložbe, Galerija „Meander“, apatin, novembar–decembar 1990.Sava Stepanov, Skulptura protiv neizvesnosti, Novosadski glas, Novi Sad, 18. januar 1991.Sava Stepanov, Skulptura – obeležje promena, Misao, Novi Sad, 7. februar 1991.Sava Stepanov, Skulptura na početku decenije, u: 6. pančevačka izložba jugoslovenske skulpture, katalog izložbe, Savremena galerija Centra za kulturu, Pančevo, maj 1991.Sava Stepanov, Mladi i ozbiljni, Dnevnik, Novi Sad, 4. avgust 1991.Borislav Hložan, Skulpture u prostoru, Dnevnik, Novi Sad, 8. avgust 1991.andrej Tišma, Stasala nova generacija, Dnevnik, Novi Sad, 26. oktobar 1991.–, autorska izložba Svetlane Mladenov, Pančevac, Pančevo, 10. april 1992.Sava Stepanov, Kontrolisana ekspresivnost, Pančevac, Pančevo, 17. april 1992.Svetlana Mladenov, Novi znakovi, Dnevnik, Novi Sad, 22. april 1992.Svetlana Mladenov, Dragan Jelenković, Zoran Pantelić, Rastislav Škulec, katalog izložbe, Savremena galerija, Pančevo, april–maj 1992.andrej Tišma, afirmacija dela po sebi, Dnevnik, Novi Sad, 7. jun 1992.Sava Stepanov, az emóciótól a ració felé, Magyar szó, Novi Sad, 18. jul 1992.andrej Tišma, Skulpture za Tvrđavu, Dnevnik, Novi Sad, 21. jul 1992.–, izložba crteža i skulptura, Pančevac, Pančevo, 6. novembar 1992.Sava Stepanov, Uprkos krizi i beznađu, Dnevnik, Novi Sad, 8. novembar 1992.Ješa denegri, Skulptura koja ne podnosi postament, Dnevnik, Novi Sad, 15. novembar 1992.Miloš arsić, Horizontala – vertikala, sukob i saglasje, katalog izložbe, Galerija savremene likovne umetnosti, Novi Sad, mart 1993.Sava Stepanov, Čari dvojstva: i slika i skulptura, katalog izložbe, Kulturni centar, Novi Sad, mart 1993.Sava Stepanov, Ponavljanje s razlikama, Sveske – književnost, umetnost, kultura, br. 15, Pančevo, mart 1993, str. 155.M. K., izložba „Horizontala – vertikala, sukob i saglasje“, Dnevnik, Novi Sad, 2. mart 1993.andrej Tišma, opširna vizija nesaglasja, Dnevnik, Novi Sad, 7. mart 1993.andrej Tišma, disanje sa umetnikom, Dnevnik, Novi Sad, 17. mart 1993.–, Kolektivna izložba, Dnevnik, Novi Sad, 17. mart 1993.andrej Tišma, Sinteza medija, Dnevnik, Novi Sad, 23. mart 1993.M. K., izložba Rastislava Škuleca, Dnevnik, Novi Sad, 5. april 1993.Vasa Pavković, Pogled na devedesete, Novi Pančevac, 10. april 1993.Sava Stepanov, Ka skulpturi slojevitog značenja, Sveske – književnost, umetnost, kultura, vanredni broj (katalog 7. pančevačke izložbe jugoslovenske skulpture), Pančevo, maj 1993, str. 5–8.Svetlana Mladenov, Ka racionalnom, Sveske – književnost,

Katalog samostalne izložbe Instalacije, „Žuta kuća“, Novi Sad 1990.

103

umetnost, kultura, vanredni broj (katalog 7. pančevačke izložbe jugoslovenske skulpture), Pančevo, maj 1993, str. 9–13.Svetlana Mladenov, tekst u katalogu izložbe Pogled ’93, Savremena galerija Centra za kulturu, Pančevo, jun 1993. a. T., Vojvođanski vajari, Večernje novosti, Beograd, 2. jun 1993.–, Spojeni u svetu, Vreme, Beograd, 26. jun 1993.d. Batinić, Svest u glini, Komuna, Kikinda, 29. jul 1993.–, Završen simpozijum „Terra“, Dnevnik, Novi Sad, 2. avgust 1993.Savo Popović, Eksperiment, kamilica i alkohol, Borba, Beograd, 3. avgust 1993.d. Batinić, depersonalizovana materija, Dnevnik, Novi Sad, 5. avgust 1993.–, Jedinstvena „Terra“, Politika, Beograd, 6. avgust 1993.Gordana Stanišić-Ristović, čelične konstrukcije od terakote, katalog izložbe Terra 93, Galerija „Terra“, Kikinda, septembar 1993.andrej Tišma, Nove likovne paradigme, Dnevnik, Novi Sad, 4. septembar 1993.Miloš arsić, Put horizontale – rane devedesete u Novom Sadu (i Vojvodini), u: Rane devedesete: jugoslovenska umetnička scena, katalog izložbe, Galerija savremene likovne umetnosti, Novi Sad, avgust–septembar 1993; dvorac Petrovića, Podgorica, oktobar–novembar 1993.–, izložba „Terra 93“, Politika, Beograd, 9. novembar 1993.darka Radosavljević, ispunjeni nedostatak, Dnevnik, Novi Sad, 8. decembar 1993.

irina Subotić, Više od mogućeg – Pančevačka izložba jugoslovenske skulpture 1993, Projeka(r)t, časopis za vizuelne umetnosti, br. 2, Galerija savremene likovne umetnosti, Novi Sad, decembar 1993, str. 66–67.Svetlana Mladenov, čari dvojstva – i slika i skulptura, Projeka(r)t, časopis za vizuelne umetnosti, br. 2, Galerija savremene likovne umetnosti, Novi Sad, decembar 1993, str. 68.

Gordana Stanišić-Ristović, Pogled 93, Projeka(r)t, časopis za vizuelne umetnosti, br. 2, Galerija savremene likovne umetnosti, Novi Sad, decembar 1993, str. 69.olga Perović, Ni panorama ni jedinstveni koncept, Monitor, Podgorica, 4. mart 1994.Vjekoslav Ćetković, izložba studenata magistarskih studija (tekst u istoimenom katalogu izložbe), akademija umetnosti, Novi Sad, april 1994.Miloš arsić, Apsolutno Rastislav Škulec: Permanentna kriza, katalog izložbe, Galerija savremene likovne umetnosti, Novi Sad, maj 1994.Nebojša Milenković, Ludi, zbunjeni i još neki…, u: Fatalne devedesete: strategije otpora i konfrontacija, Umetnost u Vojvodini na kraju XX i početkom XXI veka, Muzej savremene likovne umetnosti, Novi Sad, 2001, str. 12.Miloš arsić, U traganju za apsolutnim, u: Výtvarné umenie Slovákov v Juhoslaviji, zbornik radova, Kultura, Bački Petrovac, 2002.Jovan despotović, Nova slika, Clio, Beograd, 2006.Suzana Vuksanović, Nova skulptura u Vojvodini 1980–2000, katalog izložbe, Muzej savremene umetnosti Vojvodine, Novi Sad, decembar 2006.Suzana Vuksanović, Nova skulptura, u: Evropski konteksti umetnosti XX veka u Vojvodini, Muzej savremene umetnosti Vojvodine, Novi Sad, 2008, str. 684–693.M. Šuvaković, J. denegri, N. dedić, Trijumf savremene umetnosti, Fond „Vujičić kolekcija“, Muzej savremene umetnosti Vojvodine, Novi Sad, 2010.Miško Šuvaković (ur.), Istorija umetnosti u Srbiji XX veka. Radikalne umetničke prakse, orion art, Beograd, 2010.Suzana Vuksanović, objekti-tela i retoričke figure, u: Nova skulptura u Vojvodini 1980–2000, Muzej savremene umetnosti Vojvodine, Novi Sad, 2013, str. 38–93.

Katalog samostalne izložbe Slike i instalacije, Galerija „Zuske Medveđove“, Bački Petrovac 2012.

Katalog samostalne izložbe Crteži i skulpture, Galerija doma kulture „Studentski grad“, Novi Beograd 1989.

Suzana VuksanovićRastislav Škulec: Remix. Refresh. Restart skulpture, instalacije i drugo 1988-2013 / sculptures, installations and other artwork 1988–2013 /

Muzej savremene umetnosti Vojvodine u Novom SaduThe Museum of Contemporary art Vojvodina in Novi Saddunavska 37, Novi SadTel.+381 21 66 11 463; +381 21 526 634e-mail: info@msuv.org, www.msuv.org

Za izdavača / Executive PublisherSanja Kojić Mladenov

Urednica / Editormr Suzana Vuksanović

Recenzent / Reviewerdr Zoran Erić

Prevod na engleski / Translation into englishMilana Vujkov

Lektura i korektura / Proof readingPredrag Rajić

Fotografije / PhotosPavle JovanovićMarko ErcegovićRastislav Škulec

dokumentacija / documentationRastislav ŠkulecMuzej savremene umetnosti Vojvodine, Novi SadSuzana Vuksanović

dizajn / designMirjana Dušić Lazić

Štampa / PrintDaniel Print, Novi Sad 2014.

Tiraž / Print run400

© Sva prava su zadržana / all rights reserved

Pokrovitelj muzeja / Museum PatronagePokrajinski sekreterijat za kulturu i javno informisanje    Provincial Secretariat for Culture and Public information

Podrška godišnjeg programa / Support of annual ProgramMinistarstvo kulture i informisanja Republike Srbije    Ministry of Culture and information of Republic of Serbia

CiP - Каталогизација у публикацијиБиблиотека Матице српске, Нови Сад

7.038.53:929 Škulec R.(083.824)

ШКУЛЕЦ, Растислав, 1962- Rastislav Škulec : remix fresh start : skulpture, instalacije i drugo : 1988-2013 : Muzej savremene umetnosti Vojvodine, 29. novembar-29. decembar 2013. = Rastislav Škulec : remix fresh start : sculptures, installations and others artwork : 1988-2013. : Museum of contemporary art Vojvodina in Novi Sad / [dizajn Mirjana dušić Lazić]. - NoviSad : Muzej savremene umetnosti Vojvodine, 2014 (Novi Sad : daniel print). - [104] str. : ilustr. ; 21 cm

Uporedo srp. tekst i engl. prevod. - Tiraž 400.

iSBN 978-86-84773-96-0

a) Шкулец, Растислав (1962-) - Мултимедијална уметност - Изложбени каталози

CoBiSS.SR-id 292279303

Suzana VuksanovićRastislav Škulec: Remix. Refresh. Restart skulpture, instalacije i drugo 1988-2013 / sculptures, installations and other artwork 1988–2013 /

Muzej savremene umetnosti Vojvodine u Novom SaduThe Museum of Contemporary Art Vojvodina in Novi SadDunavska 37, Novi SadTel.+381 21 66 11 463; +381 21 526 634e-mail: info@msuv.org, www.msuv.org

Za izdavača / Executive PublisherSanja Kojić Mladenov

Urednica / Editormr Suzana Vuksanović

Recenzent / Reviewerdr Zoran Erić

Prevod na engleski / Translation into englishMilana Vujkov

Lektura i korektura / Proof readingPredrag Rajić

Fotografije / PhotosPavle JovanovićMarko ErcegovićRastislav Škulec

Dokumentacija / DocumentationRastislav ŠkulecMuzej savremene umetnosti Vojvodine, Novi SadSuzana Vuksanović

Dizajn / DesignMirjana Dušić Lazić

Štampa / PrintDaniel Print, Novi Sad 2014.

Tiraž / Print run400

© Sva prava su zadržana / All rights reserved

Pokrovitelj muzeja / Museum PatronagePokrajinski sekreterijat za kulturu i javno informisanje    Provincial Secretariat for Culture and Public Information

Podrška godišnjeg programa / Support of Annual ProgramMinistarstvo kulture i informisanja Republike Srbije    Ministry of Culture and Information of Republic of Serbia

CIP - Каталогизација у публикацијиБиблиотека Матице српске, Нови Сад

7.038.53:929 Škulec R.(083.824)

ШКУЛЕЦ, Растислав, 1962- Rastislav Škulec : remix fresh start : skulpture, instalacije i drugo : 1988-2013 : Muzej savremene umetnosti Vojvodine, 29. novembar-29. decembar 2013. = Rastislav Škulec : remix fresh start : sculptures, installations and others artwork : 1988-2013. : Museum of contemporary art Vojvodina in Novi Sad / [dizajn Mirjana Dušić Lazić]. - NoviSad : Muzej savremene umetnosti Vojvodine, 2014 (Novi Sad : Daniel print). - [104] str. : ilustr. ; 21 cm

Uporedo srp. tekst i engl. prevod. - Tiraž 400.

ISBN 978-86-84773-96-0

a) Шкулец, Растислав (1962-) - Мултимедијална уметност - Изложбени каталози

COBISS.SR-ID 292279303