Ogledalo vizuelne umetnosti - Milan Stašević

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Postoji u seriji novijih slika Milana Staševića - uvek istih formata, uvek na fonu od novinske hartije, uvek s istim rubom belog platna - jedna od svih tih slika drugačija, jedna u kojoj kao da su sve te slike u jezgru sadržane. To, zapravo, nije ni slika nego sabirno mesto, repertoar svih mogućih predložaka (skica, zapisa, kolaža, fotografija, ilustracija iz knjiga istorije umetnosti) što su nastanku ovog ciklusa slika prethodili, svega što je u te slike ugrađeno (ali ne doslovno preneto, ne samo povećano u dimenzijama), nego je znatno prerađeno, podvrgnuto jednom drugom poretku, jednoj posebnoj proceduri produkcije slika. A ta procedura, bolje reći koncept nastanka ovog slikarstva sastoji se u sledećem: istorija umetnosti - od najstarijeg doba skoro sve do danas - ogromni je poligon, fundus, zaliha, ceo inventar nepreglednog mnoštva predstava, likova, znakova, oblika, slikarskih rukopisa koje savremeni umetnik sve sme legitimno da koristi, to je za njega onaj mentalni i imaginativni prostor u kojemu se neizbežno kreće kao što se nekada (ako je ikada tako bilo) umetnik kretao kroz svet svoje okolne predmetne stvarnosti.
Utvrđeni su postupci koji spadaju u metajezičke operacije tipičnih postmodernističkih umetničkih strategija: citat, ponavljanje s razlikama, prepisivanje i dopisivanje, ponovno ispisivanje teksta (pisanog ili slikovnog), pri čemu nisu isključene čak ni kopije i plagijati. Moderni mit o originalnosti umetnosti po svaku cenu ovde je radikalno doveden u pitanje, ali je umetniku ipak ostavio u obavezu da nađe opravdanje za sve takve postupke, da takve postupke interpretira na neki mogući svoj način. Stašević će taj svoj način naći u tome da za fon, osnovu slike redovno uzima novinsku hartiju koju preparira specifičnim tehničkim postupkom, potom na takav fon upisuje likove/znakove čije je poreklo u istoriji umetnosti, to poreklo ostaje sasvim evidentno, lako prepoznatljivo, ali ipak selektivno, uvek saobraženo razlozima ili afinitetima jednog ličnog izbora. Ko bude želeo da se upušta u proveravanje porekla likova/ znakova na ovim slikama naći će u njima raspon od predistorijskih crteža i arheoloških artefakata, preko nekih kapitalnih modela iz slikarstva renesanse sve do modernih klasika, jednog Klea (Klee) ili Miroa (Miró) kao začetnika upotrebe piktograma i ideograma u umetnosti XX veka. Iz celog tog repertoara likova/znakova ravnopravno unetih u plan ravnine slike iščitava se svest ili makar teza o pojmu vremena koje ne poštuje dijahroniju pređašnjeg i potonjeg, koja govori o decentriranom poretku podataka kao simboličkoj predstavi rascepa nekad ustanovljenih hijerarhija velikih sistema i stilova, umesto kojih se ovde zagovara istovremenost i načelna vrednosna istovetnost krajnje raznolikih i raznorodnih kodova koje istorija kulture i istorija umetnosti savremenom umetniku nude, ne samo kao njegovo lično nego i kao kolektivno pamćenje. A takvo pamćenje ovaj slikar će povezati, prožeti, pomešati s vestima svakodnevne životne hronike što ih beleži efemerna dnevna štampa, čineći od svih tih mogućih i nemogućih spojeva jedan nerazlučivi semantički konglomerat koji upravo kao takav odaje haotično i magmatično stanje svesti u dobu i u svetu mnogobrojnih korenito pomerenih parametara.

Slika koja nastaje iz takvih postupaka i takvog stanja svesti ukazuje se kao svojevrsni palimpsest, dakle kao rukopis kroz čiji se spoljašnji i skorašnji sloj providi iako sasvim jasno ne razabire prethodni zapis, tvoreći tako jedno hermetično pismo čiji sadržaj nije moguće rekonstruisati u detaljima iako se njegov smisao može dokučiti u osnovnim postavkama. A postavke na kojima se ovo slikarstvo zasniva jesu postavke koje upućuju na neke tipične postmodernističke strategije: dekonstrukcija, decentriranost, nesvodivost, neuskladivost, metatekstualnost, diseminacija, simulacija...
Slika je vizuelna činjenica i tvorevina vizuelne imaginacije, ona, naravno, nije - danas kao ni ranije - transkripcija neke filozofske, pogotovo neke literarne zamisli, ali s njima - dakle s filozofijom i s literaturom -korespondira naprosto zato jer je i slika jedan od tekstova među tekstovima koji svi zajedno i zajednički iako u različitim područjima znakovnog posredovanja obeležavaju i izražavaju krajnje heterogeni i kontradiktorni duh epohe.

In the series of new paintings by Milan Stasević - always in the same format, always on a background of newsprint, always with a border of white canvas - there is one painting which is different, one which seems to contain all the other paintings in essence. It is not even actually a painting, but a collecting point, a repertory of all possible models (sketches, jottings, collages, photos, illustrations from art history books) which preceded the creation of this cycle of paintings, of everything that has been built into them (not simply transferred, not just magnified), but significantly reworked, subjected to a different order, to a special procedure of picture production. And this procedure, or, rather, the concept of creation of this type of painting is the following: the history of art - for ancient times until nearly the present - is a huge polygon, a fund, a reserve, an inventory of a countless multitude of representations, images, signs, shapes, visual handwritings which the modern artist is free to use legitimately, which are for him the mental and imaginative space in which he unavoidably moves, just as the artist once used to move (if it ever was truly so) through the world of his surrounding objective reality.
The procedures which constitute the metalinguistic operations of typical postmodern artistic strategies have been determined: quotation, repetition with variations, copying down, adding to and rewriting of text (discursive or visual); copies and plagiarism are not excluded. The modern myth of the originality of art at any price is radically questioned here, but the artist still has an obligation to find a justification for any such procedures, to interpret them in a way which may be his own. Stasevic has found his way in regularly using as the background - the foundation - of his paintings newsprint which he prepares using a special technique. He then inscribes on this background images/signs which have their origin in the history of art; this origin remains quite evident, easily recognizable, but still selective, always adapted to the reasons or affinities of a personal choice. Whoever wishes to investigate the origin of the images/signs in these paintings will find among them a range stretching from prehistoric drawings and archeological artifacts, through capital models of Renaissance painting, up to modern classics, such as Klee and Miro, who initiated the use of pictograms and ideograms in 20th century art. From this repertory of images/signs applied with equality to the planar surface of the painting, the idea or consciousness of the notion of time which does not obey the diachronic order of the previous and the subsequent can be read; this idea speaks of the decentered order of data as of a symbolic representation of the breakdown of formerly established hierarchies of great systems and styles. What is presented here instead is a simultaneity and fundamental equality in value of extremely different and varying codes, offered to the modern artist by the history of art and the history of culture not only as personal, but also as collective memory. And this painter will connect, intersperse and mix this memory with news from the everyday chronicle of life recorded by the ephemeral daily press, producing from these possible and impossible links and indivisible semantic conglomerate, which as such reveals the chaotic and magma-like state of consciousness in an age and world of fundamentally shifted parameters.
The painting arising our of such procedures and such a state of consciousness appears as a sort of palimpsest, as handwriting whose external and recent layer is transparent, but does not allow us to see quite clearly the previous notation, creating thus a hermetic writing whose content it is impossible to reconstruct in detail, although its meaning can be understood in its basic postulates. And the postulates on which this painting is based are those which point to some typical postmodernist strategies: deconstruction, decentering, irreducibility, incompatibility, metatextuality, dissemination, simulation...
The image is a visual fact and the product of visual imagination; it is not now - and never was - the transcript of some philosophic or literary idea, but corresponds with philosophy and literature simply because the image is another text among all the texts which together and jointly, though in different areas of symbolic mediation, mark and express the extremely heterogeneous and contradictory spirit of the epoch.

Godine 1975. diplomirao slikarstvo na FLU u Beogradu u klasi prof. Zorana Petrovića, gde je i magistrirao 1977. u klasi prof. Mladena Srbinovića. Član ULUS-a od 1977. i član Grafičkog kolektiva od 1978. Radi kao redovni profesor Crtanja i Slikanja na AU u Novom Sadu.

Studijska putovanja: Italija, Holandija, Francuska, Velika Britanija, Nemačka, Mađarska, Grčka. Priredio preko 50 samostalnih izložbi slika u zemlji i inostranstvu. Učestvovao je na više od 300 grupnih izložbi u zemlji i inostranstvu.

Ciklusi slika:

Poetika kolibe 1970 –1980. godine
Ciklus crteža tušem na prepariranom platnu 1977 –
«Nojev kovčeg» ulje na novinama kaširanim na platnu 1985 –1990 –
«Istovremeni svetovi» ulje na novinama kaširanim na platnu 1990 –1996 –
«De-sedimentacije» ulje na platnu 1995 –
«Povratak početku» slikanje u preparaturi 1995 –

Ciklusi grafika:

Poetika kolibe 1977 – 1984. godine
«Zgarišta» i «Krtičnjaci» 1980 – 1985. godine
«Tekst tla» 1985 –
Cilkus grafika malog formata 1990 –

Dobitnik je značajnih nagrada:

1973. Nagrada kolonije "Pokajnica", Velika Plana; 1975. Prva nagrada Jugoslovenske autorske agencije, Beograd; 1979. "Zlatna paleta" nagrada za slikarstvo na 61. izložbi ULUS-a, Beograd; 1983. "Zlatna igla" nagrada za grafiku na 69. Prolećnoj izložbi ULUS-a, Beograd; 1984. Prva nagrada na izložbi kolonije "Sićevo", Niš; 1986. Otkupna nagrada Kabineta grafike Galerije suvremene umjetnosti, Zagreb; 1987. Otkupna nagrada za najbolju inovaciju na izložbi 6. Trijenale jugoslovenske savremene grafike, Bitolj;1991. Nagrada "Mali pečat" GGK, Beograd; 1992. Treća nagrada na II Bijenalu grafike, Beograd; 1992. Otkupna nagrada Kabineta grafike Narodnog muzeja u Beogradu; Beograd; 1993. Nagrada na VII Internacionalnom bijenalu grafike "Galerije 8", Varna; 1995. "Veliki pečat" GGK, Beograd; 1997. III Nagrada za akvarel na III Bijenalu akvarela Jugoslavije, Zrenjanin; 2001. Otkupna nagrada M. K. Srbije na izložbi male grafike, Beograd.

Slike i grafike nalaze se u zbirkama Narodnog muzeja Beogra, Muzeja savremene umetnosti Beograd, u Kabinetu grafike Galerije suvremene umjetnosti Zagreb, Instituta za kulturu Katanija (Italija), Muzeja savremene umetnosti Skoplje, Galerija savremene jugoslovenske grafike u Bitolju, Umetničke kolonije u Počitelju, Muzeja keramike Aranđelovac, Zamka kulture Vrnjačka Banja, Narodnog muzeja u Kruševcu, Muderne galerije Podgorica, Savremene galerije U.K. Ečka – Zrenjanin, Kolekcije slika RTS-a Beograd, kao i u više privatnih kolekcija u zemlji I inostranstvu.

Adresa:
Kralja Petra 76, 11000 Beograd
tel: +381 11 26 20 106, mob. +381 63 72 90 816
e-mail:

Biography I 1946, Vojvoda stepa, in the Banat region I

He graduated in 1975 from the Department of Painting of the Academy of Fine Arts in Belgrade, in the class of professor Zoran Petrović. In 1977 he completed the post-graduate course in painting at the same school, in the class of professor Mladen Srbinović. Since 1977, he has been a member of the Association of Visual Artists of Serbia (ULUS), and since 1978, of the Graphic Art Gallery. Milan Stašević is Full Professor of Drawing and Painting at the Academy of Arts in Novi Sad.

Study trips to Italy, Holland, France, Great Britain, Germany, Hungary and Greece.
Over 50 one-man and 300 group exhibitions in Yugoslavia and abroad.

Cycles of Paintings:

Poetics of the Banat Village, 1970 –1980
Cycle of India ink drawings on canvas, 1977–
Noah's Ark, 1985 –1990
Simultaneous Worlds, 1990 –1996 –
De-sedimentation, 1995 –
Return to the beginning, 1995 –

Cycles of Prints:

Poetics of the Hut, 1977–1984
Molehills, Ash-heaps, 1980 –1985
Text of the Soil, 1985 –

He won significant number of prizes:

1973. Velika Plana, Pokajnica Art colony award; 1975. Belgrade, 1st Prize of the Yugoslav Copyright Agency; 1979. Belgrade, Golden Palette Award for Painting at the 61st Exhibition of the Association of Visual Artists of Serbia; 1983. Belgrade, Golden Point Award for the Best Print at the 69th Spring Exhibition of the Association of Visual Artists of Serbia; 1984. Niš, 1st Prize at the Sićevo Colony Exhibition; 1986. Zagreb, Purchase Award by the Modern Art Gallery at the 14th Exhibition of Yugoslav Graphic Art; 1987. Bitolj, Purchase Award for the best innovation at the 6th Triennial of Yugoslav Modern Graphic Art; 1991. Belgrade, Small Seal Award of the Graphic Art Gallery; 1992. Belgrade, 3rd Prize at the 2nd Graphics Biennial; 1992. Belgrade, Purchase Award of the Prints Cabinet of the National Museum in Belgrade; 1993. Varna, Prize at the 7th International Graphics Biennial Gallery 8.; 1995. Belgrade, Great Seal Award of the Graphic Art Gallery; 1997. Zrenjanin, III Prize for Watercolour at the III Yugoslav Biennial of Watercolours.

The paintings and prints of Milan Stašević can be found in the collections of the National Museum in Belgrade, the Museum of Modern Art in Belgrade, the Prints Cabinet of the Gallery of Contemporary Art in Zagreb, the Cultural Institute in Catania, Italy, the Museum of Modern Art in Skopje, the Gallery of Contemporary Yugoslav Graphics in Bitola, the Art Colony in Počitelj, the Museum of Ceramics in Aranđelovac, the Castle of Culture in Vrnjačka Banja, the Modern Gallery in Podgorica, the Modern Gallery of the Artists' Colony in Ečka – Zrenjanin, the Collection of Painting of RTS in Belgrade, as well as in various private collections in Yugoslavia and abroad.

Address: 11000 Belgrade, Yugoslavia, Kralja Petra 76
Phone: (+381 11) 26 20 106, mob. +381 63 72 90 816
e-mail: