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Od 1998. do 2008. radi na projektu Kosmografija - Tetralogija: I vazduh / Krila-Predlog za letenje (projekt predstavljen 2001. u Beogradu, Čačku); II zemlja / Zemlja (projekt predstavljen 2005. u Beogradu, Nišu, Herceg Novom, Kazablanki); III voda / Voda - Udah-Uranjanje (projekt predstavljen 2007. u Beogradu); IV vatra / Vatra - Na usijanom žaru (projekt u procesu rada, biće završen 2008.).
Sva četiri pojedinačna projekta - elementa sažimaju se u jedinstven projekt Kosmografija koji će biti predstavljen na domaćoj i međunarodnoj likovnoj sceni.
Until 1998. to 2008. she has been working on the project Cosmography-Tetralogy: I air / Wings-Proposal for flight (project presented in 2001. in Belgrade, Čačak); II earth / Earth (project shown in 2005. in Belgrade, Niš, Herceg Novi, Casablanca); III water/ Water - Inhaling-Diving (project project shown in 2007. in Belgrade ); IV fire/ Fire- On the firing ember (project is in the phaze of production, it should be completed in 2008.)
All of those four separate projects-elements make a unique project Cosmography which will be shown both on the home and international artistic scene.
...Polazeći, u drugoj polovini 70-ih od intimne mitologije figurativnog tipa i nove realnosti, Rada Selaković svoj umetnički izraz krajem 80-ih i početkom 90-ih prevodi u tek asocijativno predmetno i sviše ontološko značenje, da bi od '94 godine i vizuelni i jezički plan svela na sistem apstraktnog građenja prostora slike i na rešavanje čisto plastičkih problema. Pri svemu tome, podrazumevajući zajednički imenitelj nije izostao – mogao bi se nazvati i tipično ženski raskošnim i čulnim pra-znakom, koji se skoro alhemičarski transformiše od ličnog na univerzalno, od fizičkog na duhovno, mireći u sebi kako realno tako i nadrealno iz prošlih, sadašnjih i budućih vremena i prostora…
…Rada Selaković se od početka, kao nekim ličnim imperativom, bavila onim konkretnim, opipljivim i tvoračkim, koje se vremenom transformisalo u apstraktnu formu, a samim tim i u apstraktno postojanje. Pretpostavljanje dve paralelne stvarnosti još od momenta kada smo bili suočeni sa vrlo konkretnim predmetom / figurom, u novim radovima još je izraženije… ...Beginning, in the second half of the seventies, from the intimate mythology of the figurative type and from new reality, at the end of the 80s and beginning of the 90s, Rada Selaković transfers her artistic expression into only slightly associative representation and, more and more often, into ontological meaning. From 1994, she goes on to recue the visual and language levels to a system of abstract building of the painting's space and to resolving purely plastic problems. In all this, the implicit common denominator has not been omitted - it could be called both typically femininely luxurious and a primeval sign of the senses, which almost alchemically transforms from the personal to the universal, from physical to spiritual, reconciling within itself both the realistic and the surrealist from the past, present and future times and spaces… |
…From the very beginning, Rada Selaković dealt with the concrete, tangible and creative as some personal imperative. As time went by, it was transformed into an abstract form, and thus into abstract existence. The positting of the parallel realites from the very moment we were faced with a very concrete object/figure is even more distinctly pronounced in the new works...
Gordana Stanišić, 1998. / Transated by Srdjan Vujica
Stvaralaštvo Rade Selaković čine slike, crteži, grafike, mozaici, objekti, video radovi; različiti materijali i različite tehnike... Tek upoznavanjem svih tih segmenata rada imamo uvid u sva njena interesovanja – za plastičke probleme koje rešava i poetske sadržaje koje time gradi.
Može se, generalno, zaključiti da umetnica prati vreme ali sluša sebe, te razvoj njene umetnosti, od predmetnog ka apstraktnom, od čulnog ka vančulnom, ima trag i »boju« njene ličnosti. Ona je (samo)svesna svoje čulnosti i svoje racionalnosti te uspeva da svoje umetničko, intelektualno i emotivno iskustvo integriše u neka opšta iskustva i forme savremene epohe.
U svim razvojnim etapama likovni koncept je bio strog i jasno definisan, bez obzira da li je izražavao emociju, ironiju, fantastičnu viziju, kosmičke i kosmogonijske sadržaje. Uopšteno, stvaralaštvo Rade Selaković predstavlja vizuelizaciju energija različitog porekla.
Nesumnjivo da je od početka vodila želja za emancipacijom od lokalnih, konkretnih predmeta, situacija, ličnih osećanja, da bi dočarala opšta stanja.
Stoga, likovna sintaksa je lično prevodila na opšte i obratno, pa i percepcija dela u tom smislu može biti dvosmerna. Odabrana sintaksa vodila je sve sintetičnijem iskazu, višem redu, transcendentalnim sadržajima. Težnja da se minimalnim plastičkim sredstvima dopre do esencijalnih vrednosti, do suštine fenomena, ideja, pojmova... U tom smislu, pojam erotskog, koji je kao odrednica često korišćen pri elaboraciji njene umetnosti treba shvatiti kao vitalitet, kao zračenje energija koje doživljavamo preko odabranih plastičkih elemenata, njihovih vizuelnih kvaliteta, uzajamnih odnosa, artikulacije u prostoru ...
Creative work of Rada Selaković consists of paintings, drawings, mosaics, objects, video works; different materials and different techniques… But before knowing all segments of her work, we can not have insight into all fields of her interest – plastic problems that she is solving and all poetic contents build on that ground.
Generally, we might conclude that the artist is following pulses of her time, but she is also faithful to herself; therefore, development of her art, from the object to the abstract, from the sensuous to all that which is out of senses, has in itself traces and “color” of her personality. She is (self) conscious of her own sensibility and rationality and that is why she manages to integrate her artistic, intellectual and emotional experience into a general experience and forms of contemporary epoch.
Development phases of her visual concept were strict and clearly defined, no matter whether it expresses emotions, irony, fantastic vision, cosmic and cosmogonic contents. Generally, creative work of Rada Selaković is a visualization of energies of a different origin.
No doubt that in the beginning of her work, she was guided by a desire for emancipation from the local, concrete objects, situations and personal feelings in order to conjure up “general conditions”. Therefore, her visual syntax translates the personal into the general, and the other way round; accordingly, perception of her work might go in two directions. The syntax that she was choosing leaded her to more and more synthetic expression, higher order and transcendental contents. She endeavored to reach essential values using minimal plastic means, to get into essence of the phenomenon, ideas, notions … In that sense, the notion of the erotic, whish was used often as a modifier in elaboration of her art, is to be understood like a vitality, like radiation of energies, which we feel through selected plastic elements, their visual qualities, mutual relations, articulation in the space …
Ljiljana Slijepčević, 1999. / Translated by: Svetlana Ivanković Šubic
Najnovija faza višegodišnjih istraživanja Rade Selaković na projektu, stvaranju njene lične kosmografije, objavljuje se pod nazivom VODA.
…Upotrebom digitalne tehnologije u okviru svojih vizuelnih istraživanja, autorka doživljava transformaciju od umetnika koji je stvaralac originala ili primarnog materijala do „editora, koji postojeće predmete kulture (artefakta) implantira u nove kontekste“, kako je to definisao teoretičar Nikola Burio u svojoj knjizi „Postprodukcija“…
Potopljen u ovom sugestivnom vizuelnom okruženju gledalac bi morao krećući se kroz fragmente vizije vode, iz stvarnog galerijskog prostora da uroni u psihološki prostor....
The latest stage in the several year long researches by Rada Selaković on the project to create her own personal cosmography is here appearing under the title WATER.
…By using digital technology as part of her visual researches, the author experiences a transformation from an artist who is the creator of the original or primary material to an “editor who implants the existing culture objects (artifacts) into new contexts”, as defined by theoretician Nicholas Bourriaud in his book “Postproduction”...
Immersed in this suggestive visual environment and moving through the fragments of the visions of water, the observer would have to attempt to leave the actual gallery space and dive into a psychological space.
Bojana Burić, 2007. / Transeded by: Marija Stajić
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 Biografija I 1952-2008, Beograd I
Diplomirala 1976. i magistrirala 1978. slikarstvo na Fakultetu likovnih umetnosti u Beogradu.
Studijski boravci: Stipendija grčke vlade, Grčka 1980 –1981; Fulbrajtova stipendija, SAD 1985 –1986; Cite Internacional des Arts Paris, Francuska 1994.
Samostalno izlaže (35) od 1980. u Srbiji, Crnoj Gori, Grčkoj, SAD, Francuskoj i Nemačkoj.
Grupno izlaže na preko tristotine izložbi od 1975. u zemlji i inostranstvu.
Izabrane nagrade: ''Petar Lubarda'' za slikarstvo 1978. Beograd; Nagrada za slikarstvo oktobarskog salona 1983. Beograd; Zlatna premija jugoslovenskog porteta 1983.Tuzla, BIH; Prva nagrada žirija međunarodnog likovnog konkursa Denizli 1987. Ankara, Turska; Počasna nagrada žirija L' Aigle de Nice, International Grand Prix of Fine Arts, Nice 1991., Francuska; Zlatna paleta ULUS-a 1995. Beograd; Veliki pečat Grafičkog kolektiva 2004., Beograd; Nagrada na Jesenjoj izložbi, ULUS, Beograd 2005.; Nagrada Ministarstva kulture i medija, 10. bijenale ''U svetlosti Milene'', Požarevac 2005., Nagrada 39.hercegnovskog salona, Herceg Novi 2006.
Značajnije izvedeno delo za javni prostor Kosmorama, zidni mozaik-fontana, centralni hol Hotela Hyatt Regency Beograd 1991.
Dela se nalaze u zbirkama muzeja i galerija u zemlji i u privatnim kolekcijama u zemlji i inostranstvu.
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Biography I 1952-2008, Belgrade I
She was graduated (1976) and obtained MFA degree in painting from the Faculty of Fine Arts in Belgrade.
Residence studies: scholarship of Greek government, Greece 1980 –1981; Fulbright Grant, USA 1985 –1986; Cite International des Arts Paris, France 1994.
She has desplayed her works at 35 solo exhibitions in Serbia, Montenegro,Greece, the USA, France and Germany since 1980. as well as at over 300 group exhibitions in the country and abroad since 1975.
More important awards:''Petar Lubarda'' for painting, Belgrade (1978); the October Salon Award for painting, Belgrade (1983); Yugoslav Portraits Golden Awawrd, Tuzla, Bosnia and Hercegovina (1983); the first prize of the jury at the International Fine Art Competition Denizli, Ankara, Turkey (1987); the honorary prize of the jury L' Aigle de Nice, International Grand Prix of Fine Arts, Nice, France (1991); Golden Palette given by ULUS, Belgrade (1995); ''Great Seal'' given by Grafički kolektiv, Belgrade (2004); The Fall Salon Award, ULUS, Belgrade (2005); The Award of the Ministary of Culture and Media of Serbia and Montenegro at the 10 th Biennial '' In the light of Milena'', Požarevac (2005), The Herceg Novi Salon Jury Award, Herceg Novi, Montenegro (2006).
The artist's important art work created for a public space ''Kosmorama'' is a wall mosaic - fountain located in the central lobby of the Hyatt Regency Hotel in Belgrade (1991).
Her works are included in various museum and gallery collections in the country and abroad.
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