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! ! k9...„Prema Plutarhovoj priči o osnivanju Rima, Romula su Etrurci poučili kako da podigne grad. Najpre se iskopala okrugla jama ‘mundus’ u koju su bačeni žrtveni prinosi

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Budućnost, 1992. kombinovana tehnika, 243x67x87 cmvl. Muzej savremene umetnosti Vojvodine

Future, 1992 mixed media, 243x67x87 cm owner: Museum of Contemporary Art Vojvodina

MUZEJ SAVREMENEUMETNOSTI VOJVODINE

DRAG

AN

RAKIĆ: JED

AN

, ON

E, UN

O, EIN

UM

ETNO

ST. ISTRAŽIVA

NJA

. AK

TIVIZA

M. 1989‒2009.

Novi Sad, 2016.

MUZEJ SAVREMENEUMETNOSTI VOJVODINE

2

Prateći program izložbeAccompanying Exhibition Program

2‒21.06.2016. Galerija S, Muzej savremene umetnosti Vojvodine, Novi SadS Gallery, Museum of Contemporary Art Vojvodina, Novi Sad

“__________________”Audio-vizuelna instalacijaAudio-Visual Installation

Produkcija I ProductionADR tribute group

Podrška I SupportPrva vojvođanska cyber agencija d.o.o. PetrovaradinAVL Projekt Int Doo, Novi Sad www.avlprojekt.rs

Prostor digitalne slike I Space of the Digital Image Izbor radova studenata sa predmeta Digitalna slika i nagrađenih radova studenata nagradom “Dragan Rakić”

Organizacija I OrganizationDepartman likovnih umetnosti, Akademija umetnosti, Novi Sad

Koncept, koordinacija i realizacija I Concept, coordination and realizationBosiljka Zirojević Lečić, profesor Goran Despotovski, vanredni profesor

Retrospektivna izložba I Retrospective Exhibition

Dragan Rakić: JEDAN, ONE, UNO, EINumetnost. istraživanja. aktivizam. 1989‒2009.

Dragan Rakić: JEDAN, ONE, UNO, EINart. research. activism. 1989‒2009.

Partner u organizaciji i realizaciji Partners in organisation and realizationGradski muzej Sombor I The Town Museum of Sombor

27.05‒21.06.2106Galerija N, Muzej savremene umetnosti Vojvodine, Novi SadN Gallery, Museum of Contemporary Art Vojvodina

02‒23.09.2016Gradski muzej, Sombor I The Town Museum of Sombor Autori i kustosi izložbe Authors and Curators of the Exhibition mr Suzana VuksanovićČedomir Janičić Producent I Producer Jovan Jakšić

3

SADRŽAJ I CONTENT

5 Suzana Vuksanović

Kosmičko, uzvišeno i univerzalno u delu Dragana Rakića

37 Kristian Lukić

Umetnička istraživanja Dragana Rakića

61 Čedomir Janičić

Dragan Rakić: Umetnik, mentor, aktivista

85 Biografija i bibliografija Dragana Rakića

Biography and bibliography of Dragan Rakić

91 Suzana Vuksanović

The Cosmic, the Sublime and the Universal in the Work of Dragan Rakić

99 Kristian Lukić

The Art Research of Dragan Rakić

105 Čedomir Janičić

Dragan Rakić: Artist, mentor, activist

114 Katalog radova

116 Catalog of Artworks

5

KOSMIČKO, UZVIŠENO I UNIVERZALNO U DELU DRAGANA RAKIĆA

Umetnost me je zainteresovala kasnije, u 23-24. godini života.

Pre toga nisam ispoljavao neka posebna interesovanja.

Mislim da je presudio moj period odrastanja i sazrevanja u Beogradu, kao i uticaj tada jedinstvene umetničke scene osamdesetih godina.

Crtanje sam počeo da učim u Šumatovačkoj, bez ikakvih ambicija za upis na Akademiju. Nakon toga dolazi Akademija, ali mene ustvari sve vreme privlači želja da pripadam tadašnjoj novoj likovnoj sceni, da se družim i razgovaram sa umetnicima koji su je činili.

Oko SKC-a se tada okupljala perjanica ‘nove slike’ – Mileta Prodanović, Vlasta Mikić, De Stil Marković, pa kasnije začetnici naše savremene skulpture, Srđan Apostolović, Zdravko Joksimović i drugi, sa kojima sam se susretao na tribinama i spontanim razgovorima.

Oni su tada bili praktično izopšteni sa beogradske Akademije koja je bila i ostala veoma konzervativna.

U potrazi za sličnom ekipom, na novosadskoj Akademiji 1985–1988,upoznajem Rastislava Škuleca i Zorana Pantelića, sa kojima počinjem grupno delovanje.1

(Dragan Rakić, 2007)

1 B. Ćurčić i D. Mirković, „Intervju sa Draganom Rakićem: 1+1= Apso-lutno!“, Pogonik, Časopis ZA!, br. 2, Kulturni centar „Laza Kostić“, Sombor, februar 2007.

Suzana Vuksanović

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Namera istorizacije, muzealizacije umetnosti, umetničkog rada i delovanja Dragana Rakića, za ključne tačke duž linije njegovog umetničkog rada i razvoja ima godine 1989, 1991. i 1994, kao i gradove Beograd, Novi Sad i Sombor. To su godine i gradovi u kojima je finalizovao i intenzivno javnosti pokazivao svoje najveće istraživačko-umetničke projekte i cikluse. Ciklusi su prethodili jedan drugom, proizilazili jedan iz drugog, nadovezivali se, pretičući i ,,preskačući” jedan drugog. To su takođe i godine i mesta mnogih drugih, burnih i manje burnih političkih, društvenih, kulturnih i ekonomskih događaja.

Taj kratak period od šest godina (1989–1994) na koji usredsređujemo pažnju, zahvata uzbudljive, poletne, tragikomične osamdesete (od smrti Josipa Broza, preko restrikcija struje, bonova za ulje, kafu i deterdžent, ali i novog talasa i nove slike, do rušenja Berlinskog zida), a onda i stravične devedesete (sa raspadom Jugoslavije, devetomartovskim demonstracijama, sankcijama, preko gostovanja Akila Bonita Olive u Vršcu, Novom Sadu i Beogradu, do NATO bombardovanja).

Rakićev umetnički rad biće od samog početka utvrđen na visokom stepenu konceptualizacije, zasnovane ili izvedene iz veoma širokog spektra kulture, istorije umetnosti i literature – ali i tehničkih i prirodnih nauka, elektronike, biologije, fizike, matematike, mehanike.

Rakić je, tragajući za modelima objašnjenja sveta u paranaučnim ili prednaučnim disciplinama kao što su alhemija, teozofija i slično, koristio nauku za svoju umetnost, što je odgovaralo njegovom racionalističkom mišljenju i racionalnom izražavanju, ali, nauka mu je nudila i model razumevanja i prikazivanja sveta u modernom društvu i kulturi, zasnovanoj na nauci i tehnologiji.1

1 “Nauka i umetnost” u: Miško Šuvaković, Pojmovnik teorije umetnosti, Orion Art, Beograd, 2011, 467–468.

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U ovom periodu ime Dragana Rakića vezuje se najčešće za pojavu nove skulpture2, generacijske umetničke pojave s kraja osamdesetih i prve polovine devedesetih godina prošlog veka, vezane za beogradsku i vojvođansku scenu. Tada je vidljivim i opipljivim postao fenomen probijanja, rastezanja i proširenja pojma skulpture, kao i potpune relativizacije ustanovljenih granica i konvencija skulpturalnog, čemu je Rakić dao veliki i nezaobilazan doprinos.

Metafizički karakter i teško odgonetljive sadržaje najranijih slika-objekata i skulptura-objekata Dragana Rakića u periodu 1989–1991. među prvima je uočio Ješa Denegri, prepoznajući u ciklusu Kružno–kvadratno večnu opsesiju mnogih generacija temom kvadrature kruga i insistirajući na tome da su Rakićevi radovi proizvod mentalnih projekcija, tačnije – da spoljašnja pojava umetničkog rada/oblika podrazumeva da negde iza, ispod, unutar njega postoji primarni sadržaj koji je zatvoren i sačuvan u materijalnoj formi dela, tj. da u tim oblicima postoji nešto što je na prvi pogled (ne)vidljivo i (ne)proverljivo.3

Poslednji Rakićev ciklus pod nazivom Brojevi temeljen je na magiji i simbolici brojeva (od 1 do 10), a Rakićeve slike i objekti-oblici, kojima su takođe prethodile iscrpne pripremne skice i crteži, tada su uključivali i suptilnu igru višeznačnog, dvosmislenog, simboličkog i metaforičnog. U pojavnom/formalnom smislu karakteriše ih „naglašena suzdržanost, pročišćenost, elegancija i prefinjenost“.4

No, istraživanja u polju vizuelnih umetnosti Rakić doslovno zaključuje 1994. nizom od pet samostalnih izložbi u Novom Sadu, Somboru i Beogradu,5

2 Suzana Vuksanović, Nova skulptura u Vojvodini 1980–2000, Muzej savremene umetnosti Vojvo-dine, Novi Sad, 2013; Suzana Vuksanović, Nova skulptura, u Evropski konteksti umetnosti XX veka u Vojvodini, Muzej savremene umetnosti Vojvodine, Novi Sad, 2008. (684–692); Suzana Vuksanović (ed), Nova skulptura u Vojvodini 1980–2000, kat.izl, Muzej savremene umetnosti Vojvodine, Novi Sad, 2006.

3 Ješa Denegri, Dragan Rakić: kružno kvadratno, Likovna jesen Sombor, Velika galerija Kulturnog centra Novog Sada, Studentski kulturni centar, Beograd, septembar–oktobar 1991

4 Ješa Denegri, „Dragan Rakić“, Fragmenti: šezdesete–devedesete, umetnici iz Vojvodine, Prometej, Novi Sad 1994, 100–103.

5 Od novosadskog Centra za vizuelnu kulturu „Zlatno oko“ tokom februara i Galerije savremene likovne umetnosti u aprilu, ,,Likovne jeseni” u Somboru, jula meseca, do Doma omladine i Galerije ULUS-a u Beogradu, tokom septembra 1994.

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Samostalna izložba Urbus Quadratus, Galerija Studentskog kulturnog centra, Beograd, 9‒23.05.1989.

Solo Exhibition Urbus Quadratus, Gallery of the Student Cultural Center, Belgrade, May 9‒23, 1989

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kada – poput Zorana Pantelića i Rastislava Škuleca pre njega – ispred svog imena i prezimena navodi termin Apsolutno. Od sledeće, 1995, svoj dalji autorski rad Rakić je u potpunosti vezao za delatnost asocijacije Apsolutno.6

Istovremeno, krajem devedesetih godina 20. veka Dragan Rakić je okupio grupu umetnika mlađe generacije oko projekta Otvoreni klub – Sombor i time pokrenuo ranije začetu ideju o osnivanju Radionice VacuumPack, što će se i dogoditi nekoliko godina kasnije. Radionica VacuumPack zapravo je bila ono razlikujuće drugo somborske sredine, ono što odstupa i skreće pažnju na anomalije i specifikume vlastite sredine. U kratkom vremenskom trajanju, kroz svoj angažman i istraživanja, VacuumPack je snažno i jasno nudio prepoznavanje, analizu, razumevanje i dekonstrukciju spornih društvenih, političkih i kulturnih pojava.

Na kraju, ali ne i najmanje važno, neophodno je napomenuti da u periodu 1992–2008, paralelno sa istraživanjima na polju vizuelnih umetnosti, kao i sa radom na razmatranju društvenih, kulturnih i političkih aspekata stvarnosti, odvijao se i Rakićev pedagoški angažman na Akademiji umetnosti u Novom Sadu na predmetu Digitalna slika, u okviru uže stručne umetničke oblasti Slikarstvo, gde je između ostalog uveo nove oblasti, nastavne predmete i metode u nastavnom procesu.7

Urbus Qaudratus, Potraga za Svetim gralom, 1989.

Dragan Rakić se na umetničkoj sceni pojavio 1989. godine, samostalnom izložbom u beogradskoj Galeriji Studentskog kulturnog centra, sa projektom Urbus Quadratus.8 Decembra iste godine, takođe u

6 http://www.apsolutno.net/

7 1992–1998, asistent- pripravnik; 1998–2003, asistent; 2003–2008. docent, Akademija umetnosti, Novi Sad.

8 Dragan Rakić, Slike, Galerija Studentskog kulturnog centra, Beograd, maj 1989.

10

Samostalna izložba Urbus Quadratus, Galerija Studentskog kulturnog centra, Beograd, 9‒23.05.1989.

Solo Exhibition Urbus Quadratus, Gallery of the Student Cultural Center, Belgrade, May 9‒23, 1989

11

Beogradu, predstavio je javnosti novi ciklus pod nazivom Potraga za Svetim gralom u Galeriji Kolarčevog Narodnog univerziteta.

Rakić je vodio urednu i preciznu dokumentaciju o svojim (idejnim) projektima i njihovim izložbenim realizacijama. Dokumentacija se sastojala od pripremnih skica, crteža i proračuna, kao i crno-belih fotografija i kolor slajdova postavke izložbe i svakog rada ponaosob (većina je sačuvana u njegovoj ličnoj arhivi, danas u posedu njegove supruge.)

Iz dokumentacije saznajemo da se projekat Urbus Qaudratus sastojao ,,od pet slika urađenih tehnikom ulja na platnu, formata 200x200 cm i podne instalacije kružnog bazena napunjenog vodom na kvadratnoj osnovi od zemlje dimenzija 200x200 cm”. O projektu/izložbi Potraga za Svetim gralom zapisao je da sadrži ,,tri slike urađene tehnikom ulje na platnu formata 200x200 cm, tri objekta urađena kombinacijom stakla, kamena, drveta, plavog kamena, zemlje, voska i podna instalacija od istih materijala”. Oba ciklusa nisu u celini sačuvana tokom proteklih godina, ali Urbus Qaudratus privlači veću pažnju upravo svojim efemernim, privremenim, potrošivim delom – kružnim bazenom na kvadratnoj osnovi, izvedenim na peščanom platou železničke stanice u Novom Beogradu. U pitanju je bio Rakićev diplomski rad, iz koga je proizašlo gotovo sve što je radio tokom narednih nekoliko godina.

Rakić je tada u katalogu zapisao:

„Prema Plutarhovoj priči o osnivanju Rima, Romula su Etrurci poučili kako da podigne grad. Najpre se iskopala okrugla jama ‘mundus’ u koju su bačeni žrtveni prinosi a oko nje je podizan Rim. Grad se razvijao u kružni oblik ali su ga savremenici nazivali urbus quadrata. I sam Plutarh ga zove Roma quadrata. Po njemu je Rim istovremeno bio i krug i kvadrat… Prema jednoj teoriji, reč quadrata znači četvorodelan, odnosno označava kružni opseg grada sa dvema arterijama,

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podeljen na četiri dela. Prema drugoj teoriji, ta protivurečnost iskaza izražava vizuelnu predstavu nerešivog matematičkog problema kvadrature kruga.“9

Ono na šta umetnikov zapis nedvosmisleno ukazuje jesu uticaji (društvene, kulturne, pa i umetničke) klime i atmosfere osamdesetih, odnosno preovlađujućih tendencija citatnosti i zaloga najrazličitije literature, proučavanja istorije i istorije umetnosti…

To u tekstu za isti katalog zaključuje i Biljana Tomić: ,,Dragan Rakić podigao je svoj bazen na peskovitim površinama Novog Beograda, kao prototip osnove grada, kao metaforu spajanja neba i zemlje, muškog i ženskog principa, kao magični znak kvadrature kruga, kao spoj suprotnosti.

Ako ga dovedemo u vezu sa Plutarhovom pričom, može se videti kroz postupak obnavljanja rituala, rađanja i nastanka praforme urbanog jezgra prema antičkom mitu, i kao prolazna misaona refleksija o odrazu slike lika u kružnoj površini vode, ogledalu, sferi unutrašnjeg i spoljašnjeg, prošlog i sadašnjeg, imaginarnog i realnog.”10

Nova serija radova nastala oko Plutarhove priče o kružnom gradu u kvadratu kao ilustrativnog i smislenog polazišta, gde umetnik kreće od niza poetsko-simboličnih pretpostavki i razvija detaljnu priču u čijoj se celini i dalje prepoznaje struktura citata početne teme sa okosnicom u kružnoj površini vode u kojoj se ogleda nebo i oblaci…

Suprotstavljanje kruga i kvadrata po horizontali, a onda i zemlje i neba po vertikalnoj osi ostaće kao nerazrešivi odnos i konceptualna podloga i za Rakićeve kasnije radove. Ono što je možda važno primetiti jeste da je ovaj komad ključan za Rakićev daljnji rad. Naime, kvadrat i krug, zemlja i nebo kao „znaci, simboli, principi međusobno suprotnih i antagonističkih sila, energija i suština“ predstavljaju ishodište za čitav niz slika i objekata (na podu

9 Isto.

10 Biljana Tomić, Dragan Rakić: Slike, Galerija Studentskog kulturnog centra, Beograd, maj 1989.

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i na zidu) „koji nisu pojedinačna dela, dela za sebe, nego čine celinu jedne složene istorije, predstavljaju poglavlja jednog obimnog narativnog toka“.11

Kružno–kvadratno, 1989–1991.

Tokom 1990. i 1991. razvijani ciklus Kružno–kvadratno, Rakić je pokazao na samostalnim izložbama u Somboru, Beogradu i Novom Sadu.12 Njegova dvogodišnja produkcija sadržavala je zidne slikane panoe/diptihe Rođenje, Postanak dobrog čoveka, Preobraženje, Raspeće, te podne objekte Pitanje i odgovor, Muško–žensko, Statično–pokretno, Malo raspeće, Organsko–neorgansko i dr.

Po Mileti Prodanoviću, „razgranavanjem daljih parova suprotnosti (muško–žensko, organsko–neorgansko, pokretno–nepokretno, pravilno–amorfno, čvrsto–tečno…) ovi objekti postaju prostorne ikone, mesta koncentracije energija koje svojim opsegom prevazilaze dimenzije rada u kome se prelamaju“.13

Istina je da komplementarne vrednosti tek kada se nađu zajedno tvore idealno jedinstvo i autentično fizičko i duhovno iskustvo. Prodanović takođe ističe da Rakić sasvim svesno svojim radom/radovima fokusira i fiksira nedoumice pred rasponima u čijem se međudejstvu pojavljuje svet, jer delo nikada nije tu da ponudi definitivan odgovor:

„Temeljno poznavanje međusobno različitih, u nekom smislu i suprotnih oblasti onoga što se obično smatra naukom (istorija, tradicija, hrišćanska ikonografija, hemija, tehnologija…) omogućilo je Rakiću da izvesnom destilacijom naslaga iskustva stvori sopstveni jezik proistekao iz njih,

11 Ješa Denegri, …, Dragan Rakić: kružno kvadratno, Likovna jesen Sombor, Velika galerija Kulturnog centra Novog Sada, Studentski kulturni centar, Beograd, septembar–oktobar 1991.

12 Dragan Rakić: Kružno–kvadratno, Likovna jesen Sombor; Velika galerija Kulturnog centra Novog Sada, Novi Sad; Studentski kulturni centar, Beograd, septembar–oktobar 1991.

13 Mileta Prodanović, „Sažimanje energija sveta – o slikama i objektima Dragana Rakića“, Dragan Rakić: kružno kvadratno, Likovna jesen Sombor, Velika galerija Kulturnog centra Novog Sada, Studentski kulturni centar, Beograd, septembar–oktobar 1991.

Deset, iz ciklusa Brojevi, 1993, akril na platnu, pastel, aplikacije odsečenih ä reprodukcija, elementi od poliesterske smole, 100x100 cm (izgubljeno)

Ten, from the series Numbers, 1993, acrylic on canvas, pastel, application of reproduction cut-outs, elements of the polyester resin, 100x100 cm (lost)

Pet, iz ciklusa Brojevi, 1992, drvo, staklo, 70x70 cm (izgubljeno) á

Five, from the series Numbers, 1992, wood, glass, 70x70 cm (lost)

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ali opet sasvim nezavisan – hermetičan jezički sistem koji jedini omogućava materijalizaciju subjektivnog duhovnog iskustva.“14

Teško čitljive poruke i značenja ovih skulptura-objekata i slika-objekata i njihov gotovo metafizički karakter bili su zasnovani na umetnikovoj potrebi/opsesiji da odgonetne kvadraturu kruga (tj. jedan u osnovi nerešiv matematički problem). No, karakter i značenje radova iz ciklusa Kružno–kvadratno određeni su i umetnikovom napomenom u katalogu da su upotrebljavani isključivo prirodni materijali: zemlja, pesak, kamen, voda i zemljani pigmenti. To je za Rakića, izgleda, bilo od izuzetne važnosti da istakne, jer sami materijali naprosto nose simboličke projekcije vezane za sadržaj ovih radova, dok u isto vreme u formalnom smislu korišćena geometrija poseduje metafizički karakter.

Da li je potrebno naglašavati da je izradi svakog objekta prethodila detaljno razrađena skica, često više njih (samo MSUV u svom umetničkom fondu čuva preko šezdeset Rakićevih skica za cikluse Kružno–kvadratno i Brojevi)?

Gotovo nepoznat rad iz ciklusa Kružno–kvadratno, Forma kao metafora, predstavlja zapravo land art intervenciju u pejzažu u okolini Sombora. Intervencija se sastojala od crteža na tlu i polulopte neba, o čemu danas svedoče fotografije sa lica mesta kojima je ispraćena svaka faza umetničke akcije. Na padini brežuljka upisan je crvenom bojom polukrug širine 7,2 koraka (stopa), koji (spojen) sa polukrugom vojvođanskog neba i linijom horizonta, kako je Rakić naznačio, čini celinu, odnosno pun krug. Krug upisan u kvadrat brežuljakastog terena. Rekli bismo uspešan pokušaj primenjenog istraživanja i sažimanja dvodimenzionalne površine i trodimenzionalnog prostora.

14 M. Prodanović, n.d.

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Urbus Quadratus, 1989, instalacija: zemlja, pesak, voda, 200x200 cm, blizina Železničke stanice, Novi Beograd

Urbus Quadratus, 1989, Installation: earth, sand, water, 200x200 cm, near railway station, Novi Beograd

17

18

Brojevi, 1992–1994.

Sledeći ciklus pod nazivom Brojevi, nastajao je i pokazivan više puta na izložbama u Novom Sadu, Vršcu, Somboru i Beogradu u periodu 1992–1994.15 Slike-objekti i objekti-skulpture iz tog ciklusa, izloženi u Galeriji savremene likovne umetnosti u Novom Sadu u proleće 1994, pripadaju, po Ješi Denegriju, „oblicima sa karakteristikama predmetne predstave, opredmećenim oblicima, oblicima-objektima sa metaforičkim i simboličkim svojstvima“, za razliku od plastičnog objekta, odnosno apstraktne skulpture.16

Istorijske i mitološke/mitske zalihe i ovog puta bile su osnovna svojstva Rakićeve nove serije. Međutim, uz kontemplativni mir, bilo je i nečeg psihološki iritirajućeg i uznemirujućeg u ovoj postavci. Skulpturalne instalacije/objekti Nula, Jedan, Tri, Deset, i njihovi pandani oličeni u slikama-objektima, tvorili su izložbeni ambijent posebne, gotovo svečane (po Denegriju, čak sakralne) atmosfere.

Povodom izložbe Brojeva održane nešto kasnije te godine u Somboru, Kosta Bogdanović je razmišljajući o ovom ciklusu dao jako interesantne i uputne opservacije:

,,Njegov redefinisani objekt svoju formu nalazi više iz oblasti pomenute matematičke logike u kojoj je važeća konstanta metaforičko odmeravanje, ali i strogi red gde se može utvrditi i određeni sistem prvenstva u redosledu nastanka nečega prema nečemu. Rakić broj shvata ne samo količinskim odnosima već pre svega kao izraz ideja i sila dejstva, dakle činiocima ne samo kvantiteta već i kvaliteta u brojnim odnosima.”17

15 Čari dvojstva: I slika i skulptura, Velika galerija Kulturnog centra Novog Sada, mart 1993. i Narodni muzej, Vršac, maj 1993: ApsolutnoDragan Rakić, Centar za vizuelnu kulturu „Zlatno oko“, Novi Sad, februar 1994; Apsolutno Dragan Rakić, Galerija savremene likovne umetnosti, Novi Sad, april 1994.

16 Apsolutno Dragan Rakić, Galerija savremene likovne umetnosti, Novi Sad, april 1994.

17 Kosta Bogdanović, Apsolutno Dragan Rakić, katalog izložbe, Galerija savremene umetnosti “Likovna jesen”, Sombor, jul 1994.

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Rakićevi radovi će od samog početka biti utemeljeni na specifičnom (njegovom, sopstvenom) prilično hermetičnom jezičkom sistemu – proizašlom iz sistematičnog proučavanja najrazličitijih pojava i fenomena (što je u njegova istraživanja uključivalo književnost, istoriju, arheologiju, mitologiju, antropologiju, hrišćansku ikonografiju, hemiju, tehnologiju, pa i alhemiju…). Pritom, imajući to u vidu, dolazi se do zaključka da jezik i autorski postupak (postupci) Dragana Rakića zahtevaju koncentrisanog i upućenog posmatrača (tumača). Umetnički rad na ciklusu-projektu Brojevi bio je i ovog puta proizvod mentalne projekcije i značajnog imaginativnog kapaciteta. Konačni oblik je tu nosilac značenja, „kuća simbola“, a komponente vizuelnog i mentalnog u jednom delu postale su neodvojive: pojmovno u delu nalazi se u pojavnom, oblik i misao nastoje da budu u apsolutnom jedinstvu.

,,Ako ste žive zašto ćutite, Ako ste mrtve zašto sijate“18

Kapadokija, matematika i geometrija civilizacije hrišćana vekovima sklonjenih i skrivenih pod zemljom, Plutarh i Pitagorina teorema, zlatni presek, raspored zvezda, kosmički letovi, dodir mitskog i budućeg vremena, kvadratura kruga, spoj ženskog i muškog principa, prelaz iz materijalnog sveta u duhovni, težnja da se dosegne apsolutna istina…

Od pokušaja spuštanja neba pomoću ogledala u projektu Urbus Quadratus (1989) i upisivanja kruga u kvadrat u akciji Forma metafora (1990–91), preko Budućnosti (1992), rada koji kao da stoji po strani od izvedenih ciklusa, ,,sastavljen” od medicinskih pomagala iz lekarske ordinacije i sata koji meri vreme unazad, paradigmatičnog kako za vreme u kome je nastao, tako i za sadašnji trenutak, do praćke sa municijom u vidu kamenja i hleba (Deset, 1992–94) ili luka sa napetom&neodapetom strelom i neonskim slovom A pričvršćenima za zid (One, 1994), Rakić je za svoju umetnost (do asocijacije Apsolutno) koristio više različitih

18 Izvor nepoznat (u pitanju je zapravo zagonetka koju nam je Dragan Rakić ostavio u katalozima svojih poslednjih samostalnih izložbi i za koju se nadamo da će možda ovim povodom biti rešena).

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ikonoloških metoda i pristupa: narativni, simbolički i redukcionistički, kao i metod simulacije. Rakićeva ikonografija je uključivala identifikaciju i interpetaciju onih tema i sadržaja koji vode spoznaji tajnih stvari koje se ne mogu odmah iščitati.

Mitsko, metaforično i metafizičko sadržano je u broju 1, kao početku sveta, ali i slovu A, kao prvom glasu. Veza između stvarnosti i nestvarnosti, put između racionalnog i iracionalnog postavlja umetnost.

Jedan od savremenih pitagorejaca, čija operativa se više svodi na pojam laboratorijskog nego klasičnog ateljerskog rada, Rakić je uvodio gledaoca u skoro naučno istraživanje urbane prostornosti: ,,Tako je stvoren jedan autentičan svet matematizama, filozofema, grafema i svetlopisa kojima Rakić uspostavlja ili izaziva sećanje na delatnu prirodu čoveka i njegove odnose prema znanju, ponašanju i verovanju.”19

19 K.Bogdanović, n.d.

Forma metafora à 1990‒91, lend art akcija, Strelište u Šikari, Sombor

Metaphors Form 1990‒91, land art action, shooting range in Šikara, Sombor

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Samostalna izložba Potraga za Svetim gralom, Galerija Kolarčevog narodnog univerziteta, Beograd, 5‒17.12.1989.

Solo Exhibition Quest for the Holy Grail, Gallery of the National University Kolarac, Belgrade, December 5‒17, 1989

Iz ciklusa Potraga za svetim gralom, 1989. à

From the series Quest for the Holy Grail, 1989

vl. / owner: Tanja Rakić, Sombor

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Iz ciklusa Urbus quadratus, 1989. á

From the series Urbus quadratus, 1989

vl. / owner: Tanja Rakić, Sombor

Iz ciklusa Urbus quadratus, 1989. ã

From the series Urbus quadratus, 1989

vl. / owner: Tanja Rakić, Sombor

Iz ciklusa Urbus quadratus, 1989. à

From the series Urbus quadratus, 1989

vl. / owner: Tanja Rakić, Sombor

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ß Iz ciklusa Potraga za svetim gralom, 1989.

From the series Quest for the Holy Grail, 1989

vl. / owner: Tanja Rakić, Sombor

Iz ciklusa Potraga za svetim gralom, 1989.

From the series Quest for the Holy Grail, 1989

vl. / owner: Tanja Rakić, Sombor

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Raspeće, iz ciklusa Kružno-kvadratno, 1990‒1991.

Crucifixion, from the series Circular-Square, 1990‒1991

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Raspeće, iz ciklusa Kružno-kvadratno, 1990‒1991.

Crucifixion, from the series Circular-Square, 1990‒1991

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

Preobraženje, iz ciklusa Kružno-kvadratno,1990‒1991.

Transfiguration, from the series Circular-Square, 1990‒1991

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Postanak dobrog čoveka, Kružno, iz ciklusa Kružno-kvadratno, 1990‒1991.

Genesis of a Good Man,Circular, from the series Circular-Square, 1990‒1991

vl. / owner: Tanja Rakić, Sombor

Rođenje, Kružno, iz ciklusa Kružno-kvadratno, 1990‒1991. à

Nativity, Circular, from the series Circular-Square, 1990‒1991

vl. / owner: Tanja Rakić, Sombor

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Muško i žensko, iz ciklusa Kružno-kvadratno, 1990‒1991. (izgubljeno)

Male and Female, from the series Circular-Square, 1990‒1991. (lost)

Urbus Quadratus, iz ciklusa Kružno-kvadratno, 1989‒1990, zemlja, pesak, vosak, voda, 60x60 cm (izgubljeno)

Urbus Quadratus, from the series Circular-Square, 1989‒1990, earth, sand, wax, water (lost)

Organsko‒neorgansko, iz ciklusa Kružno-kvadratno, 1990‒1991, voda u hermetički zatvorenoj kaseti sa elementima okamenjenih fosila sa grčkog poluostrva Atos, 60x60 cm (izgubljeno)

Organic‒inorganic, from the series Circular-Square, 1990‒1991, water in a sealed cartridge with elements of petrified fossils from Greek peninsula Athos (lost)

Statično‒pokretno, iz ciklusa Kružno-kvadratno, 1990‒1991, prirodni materijali, 70x70 cm (izgubljeno)

Static-mobile, from the series Circular-Square, 1990‒1991, natural materials, 70x70 cm (lost)

Pitanje i odgovor, iz ciklusa Kružno-kvadratno, à 1990‒1991.

Question and Answer, from the series Circular-Square, 1990‒1991

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Iz ciklusa Kružno-kvadratno, 1990.

From the series Circular-Square, 1990

Gradski muzej, Sombor / City Museum Sombor

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Vreme i kontekst

Period druge polovine devedesetih u tadašnjoj SR Jugoslaviji obeležava snažni politički angažman u umetnosti, što u prvoj polovini devedesetih skoro da i nije bio slučaj. Sa završetkom rata u Hrvatskoj i Bosni i Hercegovini sredinom devedesetih i relativnom liberalizacijom Miloševićeve Srbije, pojavljuje se i u umetnosti talas kritičkog angažmana, tj. umetničkog aktivizma. To vreme je u mnogim segmentima donelo jednu složenost koja je bila vrlo različita od scene kraja osamdesetih. Ako bismo u grubo podelili umetničke periode od približno petnaest godina, tj. od 1985. do 2000, mogli bismo uočiti  tri perioda. Prvi period,od sredine 1985. do početka devedesetih, karakterističan je kao umetnost razvijenog postmodernizma sa svim svojim modalitetima, transavangardnim elementima, postavangardom, novom figuracijom, često misticizmom. Iako prepuno narativa, u toj umetnosti je realno dominantna bila postideološka, tj. postutopijska pozicija. Kriza federacije krajem osamdesetih godina je iznedrila jugoslovensku NO FUTURE generaciju, u vreme kada se većina zapadnih zemalja oporavlja posle krize sedamdesetih.

Rasplamsavanjem sukoba u Jugoslaviji početkom devedesetih godina umetnici se povlače u sebe (osim onih koji su narastajuće partikularizme Jugoslavije videli kao svoju šansu za uspeh), a reakcija na društvenu stvarnost je eskapizam.  Upravo

Dragan Rakić i Apsolutno su proizveli nekoliko radova koji se mogu smatrati pionirskim istraživanjima na našim prostorima. Uopšte, grupa Apsolutno je imala razvijen aspekt tzv. umetničkog istraživanja (Art Research), u vremenu kada Art Research još uvek nije klasifikovan kao žanr u umetnosti.

UMETNIČKA ISTRAŽIVANJA DRAGANA RAKIĆA

Kristian Lukić

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surovo suočavanje sa stvarnošću rata i društvenog sloma neke umetnike navodi da sredinom devedesetih odbace poziciju autonomije umetnosti uobičajene za postutopijsko vreme osamdesetih. To vreme je i vreme Soros centara za savremenu umetnost koji su nicali u postosijalističkim zemljama Istočne Evrope. Iz današnje perspektive razvijenog tajkunskog neoliberalizma, umetnost tzv. Soros-realizma devedesetih je laka meta za kritiku, ali sa druge strane, u najvećem broju slučajeva nije postojala nikakva infrastruktura koja bi omogućila podršku savremenoj produkciji koja je uglavnom funkcionisala izvan sistema umetničkog tržišta.

Umrežavanje

Vreme sredine devedesetih je obeleženo umrežavanjem, a pojava veba je ubrzala komunikaciju. Dragan Rakić je sa Zoranom Pantelićem, Bojanom Petrić i Draganom Miletićem intenzivirao rad u okviru grupe Apsolutno paralelno sa pojavom veba u tadašnjoj Jugoslaviji. Članovi Apsolutno i Dragan Rakić (u okviru grupe Apsolutno) su se preko nekoliko rezidencijalnih programa razmene i učestvovanja na izložbama i konferencijama, povezali sa međunarodnim umetničkim kontekstom. Zanimljivo je da je Apsolutno tokom sredine devedesetih funkcionisalo u tzv. sistemu savremene umetnosti posebno u Soros mreži savremene umetnosti, ali već tada se Apsolutno povezuje i sa međunarodnom novomedijskom scenom čijim protagonistima je između ostalog cilj bio da izbegnu komodifikaciju koju je nametalo tržište savremene umetnosti – nešto što je umetnost novih medija ili medijska umetnost uspela manje više sve do danas.

Pionirsko vreme Interneta i tzv. net-art, net-kritika, Internet aktivizam je fenomen koji je posle dugo vremena uporedo i zajednički razvijan i na Zapadu i na Istoku Evrope. Značajni centri su bili V2 iz Roterdama, Ljudmila iz Ljubljane, RIXC iz Rige, Public Netbase u Beču. zatim MI2 iz Zagreba itd. Bio je to je prvi umetnički pokret (neformalni) posle istorijskih avangardi gde su aktivno sarađivali umetnici i aktivisti iz istočne i zapadne Evrope. To je takođe bilo i vreme pojačanog interesovanja za istočnoevropsku umetnost uopšte jer je područje Istočne Evrope bilo neistraženo i još uvek egzotično. U političkom smislu to je značilo

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inkorporaciju Istočne Evrope u ekonomske i političke strukture Zapada koja se paralelno dešavala sa procesima kulturnih integracija. Iako danas ove integracije deluju vrlo mehanički, pa i neokolonijalno, ne može se reći da je tadašnja želja za ujedinjenjem Evrope  bila programatskog tipa. Postojala je iskrena želja da nestanu granice i omogući sloboda kretanja u Evropi, a nedemokratski postosocjalistički autoritarni režimi zamene vladavinom prava i demokratskim principima.

Pionirski radovi Dragana Rakića i Apsolutno

Dragan Rakić i Apsolutno su proizveli nekoliko radova koji se mogu smatrati pionirskim istraživanjima na našim prostorima. Uopšte, Apsolutno je imalo razvijen tzv. Art Research aspekt (umetničko istraživanje) – istraživanje određenih fenomena i predstavljanje rezultata na više nivoa i medija (video-dokumentacija, fotografije, tekstovi, publikacije...) u vremenu kada Art Research još uvek nije klasifikovan kao žanr u umetnosti. Rad The Greatest Hits iz 1997. je takođe među prvim radovima u oblasti tzv. Art & Sciencea, posebno u sferi medicinskih i bioloških nauka. Dragan Rakić je sa svojim bekgraundom u medicini tj. stomatologiji, verovatno doprineo konceptualizaciji i realizaciji tog rada. U TGH se uporedjuju najsmrtonosniji ljudski mikroorganizmi sa najrasprostranjenijim i najopasnijim računarskim virusima. Cilj ovog rada je ukazati na ranjivost složenih evolutivnih sistema, kako u slučaju čoveka, tako i u slučaju algoritamskih subjekata koji često nose auru savršenih logičkih i matematičkih sistema.  

Rad Absolute Sale iz 1997. je najverovatnije prvi net-art rad na prostoru tadašnje SR Jugoslavije i upravo se bavi odnosom istočnoevropske umetnosti i zapadnog tržišta. Posle pada gvozdene zavese mnogi istočnoevropski umetnici su sa velikim očekivanjima dočekali otvaranje država i posebno širenje zapadnog umetničkog tržišta. To je bilo vreme potpunog sloma projekta „real-socijalizma” a tržište se predstavljalo kako će rešiti sve ekonomske probleme, meritokracija će zavladati, a u tom svemu umetnike će pronaći agenti, trgovci umetnošću, kuratori, mecene... Autokomodifikacija je manje-više bila model uspešnosti. Umetnici su učeni da govore, da moraju da komuniciraju, da budu šarmantni. Umetničko delo je

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samo jedan „lejer” umetničke celosti. Ceni se stav o političkim pitanjima, odevanje, poznavanje muzike, takođe je povoljna i ograničena lucidnost, kao i alkohol i droge, ali ne preko određene granice kada bi to počelo da ugrožava komunikaciju i radnu etiku. Poželjna je ograničena boemština koja je uračunljiva i koja je posle prospavane noći bila spremna da komunicira, šalje mailove, portfolia i CV. Absolut Sale je mimikrija čuvenog E-bay sajta koji je te 1997. bio u povoju. Apsolutno je kroz rad Absolute Sale na neki način predvideo današnji Facebook ili posebno LinkedIn kao globalni bazar veština, ekspertiza gde HR eksperti i headhunteri traže buduće saradnike i partnere.

Absolute Sale je naravno i priča o neokolonijalizmu ili kako bi bugarski teoretičar Kjosev rekao „kolonijalizam s ljubavlju”, gde je opisao postsocijalistički istočnoevropski kontekst krajem osamdesetih i početkom devedesetih. Zapad je tada bio na vrhuncu moći, a „zapadofilija” je bila dominantni kulturni model. Ovaj „kolonijalizam sa ljubavlju” u Istočnoj Evropi tokom devedesetih i kasnije, po Kjosevu je različit od prethodnih kolonijalizam kada su metropole koristile vojna sredstva u osvajanju i eksploataciji resursa i radne snage kolonije. On je različit i od neokolonijalizma gde se hibridnim metodama primoravala bivša kolonija da pristane na nove nepovoljne aranžmane.

Globalna dominacija SAD i saveznika je devedesetih Zapadu donela ekonomsku konjukturu posle godina recesije. Na Zapadu je devedesetih stasala generacija koja nije poznavala hladnoratovsku retoriku, Zapad je bio na kulminaciji svoje moći, a i dugogodišnji spoljni neprijatelj SSSR nije uspeo da prebrodi krizu fordizma kao Zapad. Na Zapadu se tokom devedesetih rađao novi antikapitalistički i antiimperijalni pokret nepoznat u tim razmerama još od šezdesetih godina koji je kulminaciju doživeo u alterglobalisitičkim pokretima  krajem devedesetih, neposredno pred 11.09. Krajem devedesetih se angažovana umetnost u Srbiji (samim tim i Apsolutno) našla u specifičnoj situaciji. Kako je moguće kritikovati neoimperijalističku politiku NATO-a, a u isto vreme biti protiv neobrežnjevizma Miloševića? Takođe u slučaju grupe Apsolutno, kako biti za zapadne liberalne vrednosti vladavine prava i demokratije, kada se u isto vreme SAD sa NATO vojno angažuju u bivšoj Jugoslaviji bez mandata Saveta bezbednosti Ujedinjenih nacija? Asocijacija Apsolutno je u svojoj praksi uspela da izbegne padanje u tabore i da jasno deluje protiv nametnutog okvira crno-belog okvira u Srbiji (Miloševićevizam vs. NATO neoimperijalizam).

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Okviri Sombora

Iako je tradicionalno imao relativno razvijenu umetnost i kulturu za grad te veličine, Sombor je dugo trpeo posledice periferizacije. Od 1921, kada je zvanično ušao u sastav Kraljevine SHS i Jugoslavije, Sombor postaje grad na granici koja nije bila prometna. Nepostojanje visokog školstva je grad ostavilo bez značajnije intelektualne autohtonosti, a nivo obrazovnog sistema je ostao na nivou od pre sto godina sa gimnazijama, srednjim školama i školom za školovanje učitelja. Na taj način Sombor nije imao infrastrukturu da vrati dovoljan broj svojih visokoobrazovanih građana, niti da privuče nove. Takođe, vremenom je Somboru oduzeta i privilegija slobodnog kraljevskog rada iz 1749. koja mu je omogućavala da autonomno organizuje prihode i uređuje ekonomske i fiskalne poslove. Upravo zbog ograničenog kapaciteta u artikulaciji svojih problema, Sombor se teško mogao suprotstaviti centru nove države Beogradu, ali i zbog civilizacijske nespremnosti na izazove funkcionisanja specifičnog modela nove državne uprave pod Srbijom. Ceo model se manje-više nastavio tokom 20. veka, osim tokom kratkih četrnaest godina za vreme relativnog funkcionisanja autonomije Vojvodine u kojoj su gradovi i opštine imale mogućnost da upravljaju prihodima i razvijaju svoje kapacitete. To je ubrzo prekinuto 1988. povratnom intervencijom iz Beograda, kada je Somboru opet oduzeto pravo na upravljanje svojim razvojem, na raspolaganje prihodima, a kasnije i imovinom.  Ovo je neophodno znati ako želimo da analiziramo razvoj umetničkog i kulturnog sistema i ako imamo u vidu podelu na „bazu” i „nadgradnju”. Rakić je bio jedan od retkih koji su devedesetih godina živeli u Somboru a u isto vreme putovali i bili aktivni ne samo van Sombora, nego i van Jugoslavije. Ta okolnost ga je verovatno i dodatno motivisala da se angažuje i u lokalnom kontekstu .

Odbacivanje autokomodifikacije

Dragan Rakić je paralelno sa aktivnošću grupe Apsolutno radio u okviru somborske grupe VacuumPack. Kao uostalom i Zoran Pantelić (koji je pokrenuo Centar za nove medije_kuda.org) svesno je napustio potencijalno lukrativnu

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komodifikaciju Asocijacije Apsolutno koja bi uključivala profesionalizaciju umetničkog delovanja, to jest profesionalizaciju članstva u Apsolutno. Željeni model profesionalnog umetnika bio bi razvijanje brenda, komunikacija, kvantitet izložbi i prezentacija, PR, proizvodnja tzv. umetničkog kontinuiteta, gde se od umetnika očekuje da se žrtvuje u smislu da se maksimalno autokomodifikuje i spektakularizuje, „izbrusi”... Ključno u toj operaciji je gradnja „imena”, brenda, zaštitnog znaka. Uobičajeno je da se brendira lično ime umetnika, tj. umetnik nastupa pod svojim imenom i „razvija” ga uz pomoć izložbi, nagrada, tesktova, intervjua, razgovora. Drugi model je grupno ime. I u jednom i u drugom slučaju ključan je „kontinuitet”,  ili „opstajanje” na sceni. Pod kontinuitetom ili opstajanjem na sceni se podrazumeva stalna prisutnost u medijima, izlaganje, proizvodnja, angažman i to poželjno pod jednim imenom, brendom. Jer tržište ili sistem umetnosti ne voli višak brendova. Što manje brendova, cena ili značaj rastu. Sistem umetnosti posebno ne favorizuje iskakanje iz sistema umetnosti, tj. aktivnosti van sistema umetnosti. One se tretiraju kao slabost umetnika ili nedostatak fokusa, koncetracije, konzistencije, kontinuiteta.

U slučaju Dragana Rakića i ostalih članova grupe Apsolutno često se očekivalo da postanu taoci svoje sopstvene ideje i da je guraju do „velikog uspeha” iako kao i u kapitalizmu ne postoji „veliki uspeh”, postoji samo rast (profita ili izložbi i predstavljanja u umetnosti) iako je cela koncepcija ekonomskog rasta zasnovana na principu balona.  Npr. odluka Zorana Pantelića da pokrene Centar za nove medije_kuda.org u Novom Sadu je za neke bila razočarenje i šteta posle uzlazne karijere grupe Apsolutno jer je kuda.org posmatran kao nešto što je više pedagoški, profano, utilitarno, angažovano, za razliku od spoljašnje percepcije grupe Apsolutno kao priznate i prepoznate umetničke grupe na međunarodnoj sceni. Slična situacija je i sa Rakićevim projektima u Somboru gde se Rakićevo delovanje nekada posmatralo kao odstupanje od „čistote” umetničkog pregnuća, posebno što je Rakić u vreme kada je funkcionisao kao samostalan umetnik imao produkciju koja je u klasičnom formalnom smislu (i ikonološkom i ikonografskom) bila visoko estetska, nekada i hermetična, koja se bavila ontološkim principima postojanja. Rakića je umetnost privukla upravo na ovaj način, umetnost koja

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ima „poziv” i umetnost koja je transcedentna.  Dešavanja u prvoj polovini devedesetih godina u Jugoslaviji otreznila su Rakića. Bavljenje ontologijom postalo je bespredmetno u situaciji kada biće i postojanje zavise od trenutnog raspoloženja snajperiste koji na nišanu ima civila koji ide po vodu, koga sačeka da se sa praznim kanistrom probije kroz brisano snajpersko polje, da bi na povratku gađao napunjen kanistar vode. Rat devedesetih je i mnoge druge umetnike u bivšoj Jugoslaviji usmerio ka društvenom aktivizmu ne iz razloga umetničkog trenda, već iz duboke potrebe da se završi društvena agonija i represija.

Lično iskustvo

Tokom dugogodišnjeg poznanstva, Raka mi je kao studentu istorije umetnosti otvarao razumevanje za savremenu umetnost, za funkcionisanje sistema umetnosti, odnose moći, sve ono što student istorije umetnosti u principu nije imao prilike da nauči. Raka je umeo da unese strast u razgovore o umetnosti a da u isto vreme ne pridaje umetnosti značajniju poziciju u odnosu na druge aspekte postojanja i delovanja. Raka je prepoznavao opasnost od inflacije „specifičnosti” umetnika i umetnosti. Posebno kada je biti poseban, lucidan, drugačiji, postao imperativ savremenog društva različitosti. Pod ovom posebnošću mislim na posebnost koja izdvaja umetnika iz društvenog konteksta. Iz današnje perspektive to ne izgleda kao nešto novo, u situaciji kada su angažovana umetnost, politička ili participativna umetnost žanr u umetnosti koji umetnici proračunato biraju da bi „uspeli” u sistemu savremene umetnosti. Sredinom devedesetih je participativna i angažovana umetnost bila daleko od mejnstrima, posebno u Srbiji, a postojalo je uverenje da će angažovanost u umetničkim projektima zaista nešto promeniti, što je delimično i tačno jer je angažovana umetnost u Srbiji (i Apsolutno) imala određenu težinu i artikulaciju kako bi Miloševićev režim bio promenjen. Na kraju se naravno ispostavilo da se uklanjanjem jednog čoveka, a zadržavanjem ostalih aktivnih učesnika tog sistema, sistem ne može promeniti, čemu smo svedoci i danas jer su većina aktera protiv kojih je Raka aktivno delovao, danas ponovo na vlasti, na istom mestu na kome su bili pre nekih petnaest godina.

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Jedan, iz ciklusa Brojevi, 1992‒1994.

One, from the series Numbers, 1992‒1994

vl. / owner: Tanja Rakić, Sombor

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Dva, iz ciklusa Brojevi, 1993.

Two, from the series Numbers, 1993

vl. / owner: Tanja Rakić, Sombor

Tri, iz ciklusa Brojevi, 1992‒1994. à

Three, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine

/ Museum of Contemporary Art Vojvodina, Novi Sad

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Pet, iz ciklusa Brojevi, 1992.

Five, from the series Numbers, 1992

vl. / owner: Tanja Rakić, Sombor

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Sedam, iz ciklusa Brojevi, 1992‒1994.

Seven, from the series Numbers, 1992‒1994

vl. / owner: Aleksandar Momčilović, Beograd

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Šest, iz ciklusa Brojevi: 1992‒1994.

Six, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Deset, iz ciklusa Brojevi, 1993. á

Ten, from the series Numbers, 1993

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

Simetrija - Harmonija, iz ciklusa Brojevi, 1992. à

Symmetry - Harmony, from the series Numbers, 1992

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Deset, iz ciklusa Brojevi, 1992‒1994.

Ten, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Devet, iz ciklusa Brojevi, 1993.

Nine, from the series Numbers, 1993

vl. / owner: Tanja Rakić, Sombor

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Dva, iz ciklusa Brojevi, 1992.

Two, from the series Numbers, 1992

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Rakićev rad u Somboru sa mladim umetnicima bio je sve samo ne back to black. Počevši 1998/9. godine, inače veoma plodnih za Apsolutno, iznova sa novim lokalnim snagama koje je upoznao na performasu Weltfunk1 u Gradskom muzeju Sombor, uz postojanje somborskog Otvorenog kluba „Ravagrad“ i preduzimljivost njegove direktorke Mande Prišing daje za rezultat Rakićev nov polet, isprva sa Kaleidoskopom, a odmah zatim i sa VacuumPackom.

Kaleidoskop2 radionica, osmišljena i predložena kao projekat početkom novembra 1997. godine, planirala je da okupi mlađe polaznike (srednjoškolce), u cilju stvaranja nove generacije savremenih istraživača u oblasti vizuelne kulture i komunikacije osposobljavanjem za samostalni kreativni rad čime bi se dobio nov kvalitet u umetničkoj produkciji ali i recepciji savremene umetnosti u lokalnoj sredini.

1 Neformalna grupa mladih umetnika/entuzijasta: Kristian Lukić (autor performasa), Andreja Petraković, Karlo Fuderer, Ivana Mišić i Đorđe Arambašić. Članovi ove grupe su u tom trenutku u svojim dvadesetim godinama.

2 O radionicama Kaleidoskop i VaccumPack, preciznije informacije dobio sam iz arhive UG „Ravangrad“ Sombor ljubaznošću gospođe Mande Prišing.

Čedomir Janičić

DRAGAN RAKIĆ: UMETNIK, MENTOR, AKTIVISTA

Nikad nije rekla MOJE ili TVOJE, nikad tu ledenu reč.

Ana Dalasina (Konstantin Kavafi)

Ne mislim da je to način mišljenja „Apsolutnog“, mislim da je to način mišljenja generacije koja proživljava ovo vreme.

(Dragan Rakić)

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Teorijski rad je zamišljen u oblastima: vizuelna kultura, vizuelna komunikacija i

mediji i njihova upotreba. Predložene teme bile su: jednako-nejednako, količina-

veličina, spolja-unutra, parcijalno-celovito, božansko-ljudsko, istok-zapad, prostor-

vreme, amorfno, složenost, središte, simetrija, neindetifikovani prostor. Praktični

deo rada zamišljen je kroz procese: izrade skice, izrade fotografija, montaže,

kolaža, komibinovanih tehnika itd. Aktivnosti bi se zasnivale na: organizaciji

umetničkog delovanja (formiranje i realizacije ideje), estetskog procenjivanja

(kritike i samokritike) i prezentacije (planiranje i realizacija prezentacije).

Polaznici Kaleidoskopa mogli su se upoznati sa produkcijom asocijacije Apsolutno

(alternativni oblici umetničkog obrazovanja-navodno je ideja bila da se stvori više

ovakvih radionica- mogu se tumačiti i kao izraz homogenizujućeg uticaja koje je

Aposlutno planiralo da ostvari organizovanjem mreže fleksibilnih omladinskih

umetničkih kolektiva s edukativnim, teorijskim i produkcionim potencijalom; s

druge strane tematska izvorišta sastavljena od kontrasnih pojmova i filozofema

uveliko upućuju na ranije Rakićeve preokupacije, posebno iz ciklusa „Kružno-

kvadratno“), savremenim eksperimentalnim video-filmom sarajevskih autora

nastalih u vreme rata u BiH („Meeting point“), radovima sa Festivala u Osnabriku

(European Media Art Festival, Osnabrück), 1996. godine, retrospektivom

svetskih video-skulptura od 1963. do 1989. godine i radovima predstavljenih

na miniretrospektivi „Učešće u dijagonali“ (Teilnahme an der Diagonale 1994,

Uraufführung der Dokumentation STWST-TV 1987-1994). Ovaj ambiciozni program

edukacije završio se foto projektom polaznika radionice pod nazivom Ko sam ja?

Nastavak delovanja radionice proširio se na polju konkretne produkcije. Kaleidoskop

prestaje da postoji, a novo ime za projekat je VacuumPack. Produkcija ove

radionice započela je kreiranjem naziva i vizuelnog identiteta (zaštitnog znaka).

U Rakićevom izveštaju od februara 1999. godine piše da je radionici dato ime

VacuumPack tako što je deo naziva „pak“ označavao adekvatno „pakovanje“ realnih

činjenica iz neposrednog okruženja koje je radionica uzimala kao teme svojih

projekata, a deo naziva „vakuum“ označavao je način na koji se ideje „pakuju“ –

bez pridodatih elemenata, već u samoj esenciji (ideji) proizvoda (projekta).

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Produkcija radionice krajem 1998. i početkom 1999. godine, način realizacije onoga što je grupa „upakovala“ kao ideju, može se pratiti i posle 2006. godine. Važno je napomenuti da je kroz rad obe radionice, naročito one druge, dosledno primenjeno načelo izuzimanja pojedinačnih imena i doprinosa u korist kolektiva. U ovom periodu Rakić deluje u okviru standardnijih protokola karakterističnih za civilno društvo i nevladine organizacije. Izbor ove organizacione sheme dovodi do većeg zaokreta prema rešenjima tipičnim za dinamične institucije, tj. one u kojima su počeli da „duvaju novi vetrovi“. Nepredvidivost, spontanost i dobrovoljna disciplina outstitutions polako se gube u korist brižljivo planiranih akcija društveno angažovane nevladine organizacije sa podrazumevajućom administrativnom disciplinom, radnim rasporedom i preciznim budžetskim izvršenjem.

Prvi rad „Reciklaža“ bio je posvećen Međunarodnom Danu borbe protiv fašizma i antisemitizma i Devetom novembru 1938. godine, zloglasnoj Kristalnoj noći, prvom javnom nasilju nad Jevrejima u nacističkoj Nemačkoj. Iskorišćen je trenutak u Somboru kada su promenjeni stari saobraćajni znaci novima, uzet je jedan znak opasnosti

VacuumPack: Dragan Rakić, Andreja Petraković i Dragiša Mirković, MSUV Novi Sad, 2008.

VacuumPack: Dragan Rakić, Andreja Petraković and Dragiša Mirković, MoCAV Novi Sad, 2008

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(trouglasti) u čije žuto polje je postavljena stilizovana svastika u formi oznake za

reciklažu. Znak je postavljen na centralni gradski trg (popularni „Ćelavi“), dok su

članovi VacuumPacka prolaznicima delili letke sa štampanim znakom i natpisom:

„Opsanost od reciklaže fašizma“, te kratkim opisom događaja iz 1938. godine.

Sledeći rad pod nazivom „Prolaznici“ prikazuje ocrtane siluete mrtvih tela na ulici

(glavna gradska ulica), kakve se izrađuju u okviru standardne procedure policijskog

uviđaja. Rad se sastoji od tri siluete i fotografije na kojoj se vide siluete i prolaznici koji

hodaju (prolaze) kao i tela koja su „prošla“ posle kojih ostaju samo ocrtane konture

postepeno (iz)brisane koracima šetača. Rad je, po Rakićevom izveštaju, bio iniciran

tada aktuelnim pogibijama mladih vojnika Vojske Jugoslavije na Kosovu. Rad sa

siluetama podseća na ono što se moglo videti u Beogradu, Novom Sadu, Nišu i drugim

gradovima podstaknuto radom „Rekonstrukcija zločina“ Led Arta iz Beograda/Novog

Sada, premda su inicijalna ideja i jedna poetizovanija poenta celog rada bitno drukčiji.

Poslednji projekat radionice VacuumPack bio je kraći film pod nazivom „Da li..?“

koji se odnosio na manipulaciju medijima. U filmu se oponaša manir uličnih

anketa koji je sprovodila državna televizija montirajući ih prema svojim potrebama

i ciljevima na najdirektniji način manipulišući javnošću ali i stvarnošću toga

vremena. Na postavljeno pitanje u filmu, montažom se dodaje podjednak broj

odgovora „da“ i „ne“ izražavajući stav da je svaki odgovor besmislen gledano iz

perspektive onoga koji se nada da će iz njega (njih) izvući bilo kakav stav javnosti.

Rakićev angažman u okviru Otvorenog kluba bio je vidljiv ne samo u okvirima

VacuumPacka, već i drugim akcijama kluba. Tokom 1999. godine planiran je

projekat „Antiapatija“ (planirano je nekoliko akcija od kraja marta do prvog maja:

„Buđenje“, zeleni plakati sa natpisom; „Uskrs“, poruka u duhu „Uskrsnuća“ koja

je trebalo da bude prosleđena lokalnim institucijama kulture, upravi i MUP-u sa

pozivom da „ožive i naprave korak prema sutra“; „Sombor slobodan grad“, povodom

250-te godišnjice dobijanja povelje Slobodnog kraljevskog grada trebalo je da

puštaju zmajeve; „Praznik rada“, sa crvenim plakatima i natpisom: „Dobro jutro!“).

„Antiapatiju“ je prekinulo bombardovanje, realizovano je samo „Buđenje“.

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Uopšte, Rakićev optimistički pristup i volja da bude od koristi ogledali su se gotovo u svemu što je imalo veze sa kreativnošću u Klubu (logo, majice, enterijer Kluba, čak i izgled novogodišnje jelke na trgu). Rakićeva tvrdnja kojom je opisao rad u Apsolutnom: „Umetnost nam je bila manje bitna. Čak smo se doživljavali više kao neki istraživači realnosti, nego kao umetnici“, vredela je i u somborskoj epizodi njegovog života i rada. Potreba da bude svagda od koristi, pa i u grubim ili dosadnim fizičkim poslovima i trčanjima naokolo za svaku sitnicu, stvarala je od njega nekog koga „ne mrzi“ da se uloži u posao, ma kako obeshrabrujuće delovala sva ograničenja na koje je nailazio, a koja nisu bila ni mala ni laka.

Iz osećaja posebne zahvalnosti, Otvoreni klub sa kojim je tako mnogo i dobro sarađivao, u znak dubokog poštovanja i zahvalnosti, predložio ga je 2009. godine za nagradu Internationaler Bremer Friedenspreis. U zaključnoj rečenici predloga stoji i ovo: „Dragan – Čovek, Stvaralac, Umetnik, Učitelj, Prijatelj, Otac, Muž, Saradnik... – sve u potpunosti, mirno i do kraja. Umro je na svoj Božić, 7. januara 2009.“

Bombardovanje SR Jugoslavije zaustavlja ovaj polet kao i mnoge slične u zemlji. „Svet“ kom su se angažovani umetnici i intelektualci obraćali kao jedinom dokazu svoje normalnosti tokom devedesetih, pokazao se ništa manje surov i nepravedan kao i onaj u kom su živeli, koji su želeli da promene. Dalja dešavanja na lokalnom i globalom planu: pad Miloševića, teroristički napad na SAD, ratovi u Avganistanu i Iraku, ubistvo Zorana Đinđića, masovna pojava ultradesničarskih organizacija, nastanak društvenih mreža itd. uveliko menjaju sadržaj i smisao angažovanog pristupa stvarnosti kako na lokalu tako i u svetu. Novo stoleće i novi milenijum veoma brzo sastavli su nove protokole i uputstva za akciju. Ništa više nije bilo isto. Posle 2000. godine i kraja „odbrojavanja“, aktivnosti Apsolutnog polako jenjavaju. Rakić provodi dve i po godine u SAD. Taj zastoj je trajao sve do 2006. godine kada u jednom novom ambijentu i, u međuvremenu, sazrelim, spremnim ljudima (Dragiša Mirković i Andreja Petraković), Rakić ulazi u nov kreativni ciklus koji će potrajati, na žalost, svega dve i po godine.

Navodimo radove umetničke grupe VacuumPack po redosledu pojavljivanja. Odmah naglašavamo da je je osvrt na ove radove obremenjen istim poteškoćama kao i osvrt na produkciju asocijacije Apsolutno: radovi su proizvod kolektivnog pregnuća, pa bi izdvajnaje Rakićevog dorinosa, bez obzira njegov značaj, navelo na pogrešnu procenu smisla ponuđene produkcije.

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Bože mili, čuda velikoga

Bombardovanje donosi, osim šoka, i zastoj u početnim akcijama VacuumPacka. Taj zastoj je trajao sve do 2006. godine3 kada je nastavljen kao da se devedesete nisu završile. Projekat Bože mili, čuda velikoga verovatno je najeksplicitniji politički rad na čijoj realizaciji je Rakić učestvovao.

Rad je dat u formi bilborda na kom je golema fotografija Velike sale u zgradi Skupštine grada Sombora sa čuvenom slikom Bitka kod Sente, “najvećom u Srbiji”(7x4m), Ferenca Ajzenhuta, naslikanom za ugarsku Milenijumsku izložbu (uznapredovalog Belle Époque nacionalizma). Ispred slike, za govornicom i oko nje, stoje muškarci i jedna žena u odelima i sa “fantomkama” preko glava agresivno isturajući u prvi plan crvenu knjižicu na kojoj je ćirilicom, fontom Miroslav, ispisano: Boj na Kosovu. Nemoguće je ne primetiti, s druge strane, brižljivu likovnost ovog prizora. Insistiranje grupe ali i svih njenih članova na formi dovodi do jednog klasičnog uklapanja

3 Zanimljivo je da 2004. godine Rakić radi na Altrenativnoj mapi Sombora, akciji UG Ravangrad i Mande Prišing. Ishod se još uvek da videti na http://soaltermap.com/mapa.swf (poslednji put posećeno avgusta 2015. godine).

Hello World, Skrinšot, 2007. / Hello World, screenshot, 2007

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sastavnih delova u celinu formalno skladne scene: grupa u odnosu na središnju tačku donje zone Ajzenhutove slike, na primer, stvara jedan pomalo mistični trougao.

Reagovanja u lokalnim novinama povodom ove akcije bila su različita, od zgražavanja do odobravanja. U intervjuu datom lokalnom ogranku Crossradija u Somboru, međutim, i Rakić i Mirković šalju neobično pomirljive tonove. Novi mediji, komunikacija, neusiljena angažovanost... možda preblago za ovakvu pesnicu u lice.

Hello World!, semiotikon, softver “Hello World”

Ovaj rad s kraja 2007. godine, unekoliko razvija ideju Instrumentala iz produkcije Apsolutnog. Umesto pojedinačnih hitaca i rafala koji zamenjuju tačku i crtu u Morzeovoj zabuci, ovde se inicijalni Bip (zvuk koji se čuje prilikom uključivanja računara) pretvara u osmobitnu muzičku lestvicu koja 01 nizove “čita” kao muzičke fraze (redosled jedinice u nizu povezuje sa redosledom note u sistemu, dok su nule bez svog muzičkog ekvivalenta). Projekat prati i specifični Rečnik semiotikona, inače najzanimljiviji deo ovog prekomplikovanog scenarija u koji se uključuju kompozicije rađene po bip skali i Hello World softver. Rad je nastajao više od godinu dana i nije imao adekvatnu realizaciju, što će postati gotovo standard u radu grupe.

Crveno na crno na crveno na crno, virtuelna instalacija

Rad s kraja 2007. godine, podstaknut Proglasom Antifašističke akcije Novog Sada Povodom devetog novembra, Svetskog dana borbe protiv fašizma i napadom pripadnika neonacističkih organizacija na mirnu kolonu antifašista 7.oktobra 2007. godine.

Rad nastavlja sa upozorenjima na temu crveno-crno, istaknutim još u vreme radionice, takođe je ponešto složeniji, ali sa nedvosmislenom porukom koja nas vodi u nacističku antropometriju, idealne proporcije koje odvajaju one prave od onih koji to nisu sa zlokobnim predosećajem šta je rezultat tih opskurnih računica (podaci o antropometrijskim merenjima nemačkih građana preuzeti su iz nacističke arhive iz 1938. godine). Slika Dunava kod Novog Sada noću i crvenim

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neonom ispisanim rasnim karakteristikama duž obe obale reke od Železničkog do Kameničkog mosta (na području gde su mađarski fašisti januara 1942. ubijali Srbe i Jevreje bacavši njihova tela pod led), otkriva i još jedan sloj: podvodnu konstrukciju koja bi trebalo da slova i brojke ove rasne “dobitne kombinacije” izdižu i spuštaju u zavisnosti od vodostaja reke, tako da se tekst nalazi odmah ispod površine vode.

Jedan „neizvodiv“ rad, još jedno odstupanje od „realnih činjenica i događaja“.

Celebrating Diversities, foto-video prezentacija

Rad nastao kao reakcija na podsećanja iz devedesetih (naime, te godine je isticao jedan od mnogih rokova za hapšenje Ratka Mladića).

Rad iz 2008. godine vraća se na traumatična čvorišta neposredne prošlosti kombinujući “Lego-čikice” postavljenih u dubinu vidnog polja i sarajevsko groblje Lav na kom su sahranjivani predstavnici sva tri zaraćena naroda tokom opsade 1992-1995. godine. Osvrt na preporuku/zapovest sa Zapada koja upućuje na slavljenje različitosti, zapravo podvlači nesrazmeru ove konfekcijske sintagme, s jedne strane i brutalnosti koja je dovela do nastanka groblja i činjenice da je nešto manje od četiri hiljade ukopanih na tom, inače do rata u Bosni zatvorenom gorblju, pokopano u posebnim parcelama za muslimane, katolike, pravoslavne i ateiste, s druge.

Šarenica, foto dokumentacija

Ovaj projekat takođe iz 2008. godine, započinje sa jednom novom Rakićevom preokupacijom. Ovaj put Rakić pomera fokus sa političke na kulturnoantropološku temu4. Boraveći u gradovima i selima istočne Srbije, Rakić susreće najrazličitije i najbizarnije primere lokalnog odnosa prema mrtvima (heklane miljeje koji se prodaju u nerazumno velikim količinama upravo za potrebe na groblju), posebne “vikendice” na groblju,

4 Ideju je dobio pošto je gledao Utisak nedelje, emisiju koju je vodila Olja Bećković na TV B92. Jedan od utisaka bile su grobljanski objekti o kojima je reč u projektu.

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Dragan Rakić vs. Majkl Džordan, fotografija, 2008 / Dragan Rakić vs. Michael Jordan, photograph, 2008

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ulične natpise, memorabilije i mnogi drugi inventar jednog začudnog, morbidnog, ali duboko autentičnog sveta koji opstojava na raskršću života i smrti. Ovaj višeslojan projekat prepun potresnih detalja stvara jednan snažan, dubok doživljaj koji nas vodi do zaključka da je političko ili čisto kulturološko sagledavanje izvora svih naših nesreća zapravo samo počesto uzaludno grebanje po površini, a da se zbiljni uzroci nalaze znatno dublje i zadiru u srž našeg individualnog i kolektivnog bića. Naziv ovog projekta ironično upućuje na domaću, veoma popularnu zabavno-dokumenarnu televizijsku emisiju .

Realizacija ovog projekta, međutim, nije našla svoj adekvatan medij. Prvobitna ideja da se štampa katalog po uzoru na čuvenu IKEA-u sa enterijerima grobljanskih objekata napuštena je što zbog nemogućnosti realizacije, što zbog koncepcijskih neslaganja u okviru grupe. Dalje, Rakićev kontakt sa čuvenim antroplogom Ivanom Čolovićem udaljio je grupu od umetničkog i previše približio antropološkim rešenjima. Granična područja i snažna privlačenja koja dolaze sa različitih strana ovde nisu rezultovala umetničkim ishodom ali su kao proces i uvid u najdublje slojeve lokalne tragike donele jedan redak ali moguće i formativan pristup tako složenoj temi.

UStopia je poslednji rad grupe VacuumPack5. Prikazan je premijerno u Galeriji Vinko Perčić u Subotici manje od mesec dana pre Rakićeve smrti. Nekih tri nedelje posle pravoslavnog Božića na koji je Rakić umro, UStopia je imala i svoju beogradsku premijeru - u Domu omladine. Projekat čine četri celine: Liberty (američki kovani novac utisnut u porcelanske tanjire i poređan jedan iznad drugog sa mnogostrukim značenjima od kojih je zanimljivije ono da je lik predsednika Linkolna jedini okrenut na desno i ima bakarni/tamni ton, aluzija na njegov specifični odnos prema Afroamerikancima, dok su svi ostali okrenuti nalevo i svi su srebrne/svetle/“bele“ boje), USTopia (crno-bela fotografija sa intervencijama: Njujork/Menhetn koji posmatra nepoznati muškarac zaklanjajući jednom rukom oči od direktnog sunca), Spare memories (neobično poetizovana scena, dve fotografije u boji, stočić sa lampom i praznim ramovima za kućne fotografije) i 7 Siuts a Week („izrezana“ kontura

5 Ovaj rad je kumulativnog karaktera i pojavljivao se u svojim delovima još od 2007. godine. Na primer, rad Liberty javlja se na koricama časopisa Pogonik februara 2007. godine, istom onom broju u kom je Rakić dao intervju.

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muškarca u košulji, kravati, čarapama i cipelama, ali u donjem vešu pored pokretnog

rama za odela na kojima su sedam vešalica sa po jednim odelom – za svaki dan).

SAD su u ovom delu date kao izraz čiste facninacije, čak i u delovima koji bi se

mogli možda iščitati kao upozorenje ili otvorena kritika (rad: „Spare memories“),

koje u tekstu „Ustopije“ Rakić naziva „paradoksima“. SAD je postojeći izraz svih

Rakićevih težnji. U ovoj zemlji on ne pronalazi utopiju, mesto kog nema, već baš

ono kog ima, koje istovremeno postoji na najkonkretniji i savršeno simbolički

način, koje objedinjuje sve njegove prokupacije, stremljenja, nade i napore.

Zaključak

Kod Rakića primećujemo trajnu neagresivnu taktiku prevazilaženjem kroz prilagođavanje

umesto zahteva za ukidanjem. To se možda više vidi u njegovoj ličnosti nego u njegovoj

umetničkoj ostavštini. Posvećen a ne fanatičan, disciplinovan a ne totalitaran, efikasan

a ne šematizovan, etičan a ne puritanizovan, Dragan Rakić je, po tome, i ne samo po

tome, neobična ličnost po sebi već vredna čuvanja od zaborava ili, još gore, besmislenih

uopštavanja. Postojanost njegove umetničke pojave umnogome prevazilazi incident ili

neki drugi ishitreni odgovor na doba u kom je radio i stvarao. Kompleksnost njegovih

interesovanja i strpljenje koje imao u atmosferi, neprekidnog zahteva za automatskim

društveno-aktuelnim reakcijama, jesu osobine koje njegov doprinos svrstavaju pre u jedan

poseban oblik osujećenog mejnstrima – očekivanog nivoa da nije bilo opšte devastacije –

nego u pokušaje politički inspirisane avangarde. Umetnost je za njega bila izraz kreativnog

čina koji stoji u suštoj opoziciji prema destrukciji kojoj su podjednako pribegavali i politička

vlast i opozicija. Umetničko delo kao visokokulturni proizvod namenjen više za izvoz nego

za unutrašnju upotrebu, standard kog se nije mogao tako lako odreći, mešalo je šumove u

njegovom delu prema menadžerskim, upravo poslovnim, transakcijama za koje je možda bio

sposoban, ali teško da je bio i zainteresovan. Njegovo interesovanje za istraživanja, proces

i ideje, zajednički rad i radost (pre)davanja, sve u jednostavnosti i skromnosti koje i danas

ostavljaju bez reči, stavljaju nas u poziciju da branimo i ono što možda ne umemo dovoljno

dobro da izrazimo i opravdamo u „rasplinutom stanju“ sveta koji je Rakić prebrzo napustio.

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Tri, iz ciklusa Brojevi, 1992‒1994.

Three, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Deset, iz ciklusa Brojevi, 1992‒1994. ß

Ten, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

Nula, iz ciklusa Brojevi, 1992‒1994.

Zero, from the series Numbers, 1992‒1994

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Budućnost, 1992.

Future, 1992

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Bez naziva (Jedro), 1995.(?)

Untitled (Sail), 1995(?)

vl. / owner: Tanja Rakić, Sombor

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Bože mili, čuda velikoga, fotografija za bilbord, Dragan Rakić, Dragiša Mirković, 2006.

Dear God! How great the wonder of it all (usual phrase in the Serbian epic ballads), billboard photograph, Dragan Rakić, Dragiša Mirković, 2006

Crveno na crno na crveno na crno, virtuelna à instalacija, VacuumPack, 2007.

Red on black on red on black, virtual installation, VacuumPack, 2007

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Celebrating Diversities, foto-video prezentacija, Vacuum Pack, 2007–2008.

Celebrating Diversities, photo-video presentation, VacuumPack, 2007–2008

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Šarenica, foto-dokumentacija, VacuumPack, 2007–2008.

Šarenica (Serbian folk pattern), photo documentation, VacuumPack, 2007–2008

7 Suites a Week, instalacija, deo rada US à Topia, VacuumPack, 2001–2008.

7 Suites a Week, installation, a part of US Topia project, VacuumPack, 2001–2008

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Spare Memories, fotografija, deo rada US Topia, VacuumPack, 2001–2008.

Spare Memories, photograph, a part of US Topia project, VacuumPack, 2001–2008

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Samostalne izložbe (izbor) - Solo Exhibitions (selection)

1989.Beograd, Galerija Studentskog kulturnog centra, Urbus QuadratusBeograd, Galerija Kolarčevog narodnog univerziteta, Potraga za Svetim gralom

1991.Sombor, Likovna jesen, Kružno-kvadratnoNovi Sad, Velika galerija Kulturnog centra Novog Sada, Kružno-kvadratnoBeograd, Galerija Studentskog kulturnog centra, Kružno-kvadratno

1994.Novi Sad, Centar za vizuelnu kulturu „Zlatno oko“, Apsolutno Dragan RakićBeograd, Galerija Doma omladine, Apsolutno Dragan RakićNovi Sad, Galerija savremene likovne umetnosti, Apsolutno Dragan RakićSombor, Likovna jesen, Galerija savremene umetnosti, Apsolutno Dragan RakićBeograd, Galerija ULUS, Apsolutno Dragan Rakić

Grupne izložbe (izbor) - Group Exhibitions (selection)

1983. Beograd, Paviljon “Cvijeta Zuzorić”, Crtež i mala grafika

1984.Beograd, Paviljon “Cvijeta Zuzorić”, Prolećna izložba

1987.Šabac, Narodni muzej, Majska izložbaSarajevo, Galerija “Đuro Đaković”, Zajedno

1988.Beograd, Paviljon “Cvijeta Zuzorić”, Majska izložbaNovi Sad, Hol sportsko-poslovnog centra Vojvodina, Sad NoviNovi Sad, Velika galerija Kulturnog centra, Diplomska izložba

1989.Rijeka, Moderna galerija, XV jugoslovenski bijenale mladihBeograd, Nezavršena garaža u Masarikovoj ulici, Majski projekat

Rođen 1957. u Sonti. Završio Stomatološki fakultet i Višu pedagošku školu u Beogradu na odseku a restauraciju i konzervaciju 1987. Diplomirao 1989. i magistrirao 1997. na Akademiji umetnosti u Novom Sadu. Bio je dugogodišnji predavač na Akademiji umetnosti u Novom Sadu (1992‒1998. asistent pripravnik; 1998‒2003. asistent; 2003‒2008. docent). Docent na predmetu Digitalna slika koji je pokrenuo 2008. godine. Pored rada u okviru asocijacije Apsolutno (od 1993), osnovao je i od 2006. aktivno učestvovao u radu kreativne radionice VacuumPack iz Sombora. Umro 2009.

Born in 1957, Sonta. Graduated at the Faculty of Dental Medicine and the Pedagogical Academy in Belgrade, Department of Restoration and Conservation, in 1987. He graduated in 1989, and received his Master’s Degree in 1997, at the Academy of Arts in Novi Sad. He was a long-time lecturer at the Academy of Arts in Novi Sad  (1992‒1998. Teaching Assistant; 1998–2003. Assistant; 2003–2008. Assistant Professor). He was an Assistant Professor at the Academy of Arts in Novi Sad in the subject of Digital Image that he launched in 2008. In addition to working within the association Apsolutno (since 1993), in 2006, he founded and actively participated in the work of the creative workshop VacuumPack from Sombor. Passed away in 2009.

BIOGRAFIJA i BIBLIOGRAFIJA DRAGANA RAKIĆABIOGRAPHY and BIBLIOGRAPHY OF DRAGAN RAKIĆ

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1990.Sombor, Galerija “Likovna jesen”, X trijenale savremenog jugoslovenskog crteža

1991.Rijeka, Moderna galerija, XVI jugoslovenski bijenale mladihBeograd, Paviljon “Cvijeta Zuzorić”, Prolećna izložba

1992.Beograd, Galerija “Andrićev venac”, Od aprila do aprila

1993.Novi Sad, Velika galerija Kulturnog centra Novog Sada, Čari dvojstva: I slika i skulpturaVršac, Narodni muzej, Čari dvojstva: I slika i skulpturaPančevo, Savremena galerija Centra za kulturu „Olga Petrov“, 7. pančevačka izložba jugoslovenske skulptureBeograd, Galerija ULUS-a, Pogled ’93Budimpešta, Galerija „Budapest“, Mladi jugoslovenski umetniciPančevo, Savremena galerija Centra za kulturu „Olga Petrov“, Pogled ’93

1994.Novi Sad, Galerija savremene likovne umetnosti, Aktuelnosti u slikarstvu Vojvodine 1973–1993

2001.Novi Sad, Muzej savremene likovne umetnosti, Likovna umetnost u Vojvodini 1950–2000: Izbor dela iz zbirki Muzeja

2003.Novi Sad, Muzej savremene likovne umetnosti, Neuporedivi identiteti: Kolekcija vojvođanske umetnosti za Muzej XXI veka

2006.Novi Sad, Muzej savremene umetnosti Vojvodine, Nova skulptura u Vojvodini 1980–2000

2010.Novi Sad, Muzej savremene umetnosti Vojvodine, Fond „Vujičić kolekcija“, Trijumf savremene umetnosti

2012.Novi Sad, Muzej savremene umetnosti Vojvodine, Akvizicije: otkupi i pokloni (2004-2011)Novi Sad, Galerija likovne umetnosti poklon zbirka Rajka Mamuzića, Umetnost ili život. Nova umetnost sedamdesetih i kontinuitet. Izbor iz Vujičić kolekcije

2014.Pančevo, Galerija savremene umetnosti, Kulturni centar Pančeva, 16. bijenale umetnosti, Linije vremena: dokumenti 1981–2012.

Projekti izvedeni na otvorenom prostoru

1984. Sombor, Akcija ispred Narodnog pozorišta sa Zoltanom Radićem i Draganom Pantelićem

1989.Beograd, Peščani plato kod železničke stanice Novi Beograd, Urbus Quadratus

1990-91.Sombor, Strelište u Šikari, Forma Metafora, rad iz ciklusa Kružno-kvadratno

Bibliografija (izbor) – Bibliography (selection)

Biljana Tomić, Dragan Rakić – Slike, katalog izložbe, Galerija SKC-a, Beograd, maj 1989.

Ivana Prodanović, Dragan Rakić agrikola, Mladost, Beograd, maj 1989.

Ješa Denegri, predgovor u: Dragan Rakić: Kružno-kvadratno, Likovna jesen, Sombor; Velika galerija Kulturnog centra Novog Sada, Novi Sad; Studentski kulturni centar, katalog izložbe, Beograd, septembar–oktobar 1991.

Mileta Prodanović, Sažimanje energije sveta – o slikama i objektima Dragana Rakića, u: Dragan Rakić: Kružno-kvadratno, Likovna jesen, Sombor; Velika galerija Kulturnog centra Novog Sada, Novi Sad; Studentski kulturni centar, katalog izložbe, Beograd, septembar–oktobar 1991.

Dušan Đokić, tekst u katalogu izložbe Od aprila do aprila, Galerija “Andrićev venac”, Beograd, april 1992.

Sava Stepanov, Čari dvojstva: I slika i skulptura, katalog izložbe, Velika galerija Kulturnogcentra Novog Sada, Novi Sad, mart 1993; Narodni muzej, Vršac, maj 1993.

Svetlana Mladenov, tekst u katalogu izložbe Pogled 93, Savremena galerija Centra za kulturu „Olga Petrov“, Pančevo, 1993.Gordana Stanišić-Ristović, Pogled 93, Projeka(r)t, časopis za vizuelne umetnosti, br. 2, Galerija savremene likovne umetnosti, Novi Sad, decembar 1993, str. 69.

Apsolutno Dragan Rakić, katalog izložbe, Centar za vizuelnu kulturu „Zlatno oko“, Novi Sad,februar 1994.

Ješa Denegri, Apsolutno Dragan Rakić, katalog izložbe, GSLU, Novi Sad, april 1994.

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Kosta Bogdanović, -- , Apsolutno Dragan Rakić, katalog izložbe, Galerija savremene umetnosti “Likovna jesen”, Sombor, jul 1994.

Apsolutno Dragan Rakić, katalog izložbe, Galerija ULUS, Beograd, 9 – 20. septembar 1994.

Natalija Katić, Intervju: Apsolutno Dragan Rakić, Časopis za vizuelnu kulturu Zlatno oko, broj 1, Centar za vizuelnu kulturu “Zlatno oko”, Novi Sad, Umetnička radionica Aurora, Vršac, septembar 1994, str. 90-93.

Sava Ristović, Apsolutno: Dragan Rakić, Časopis za vizuelnu kulturu Zlatno oko, broj 1, Centar za vizuelnu kulturu “Zlatno oko”, Novi Sad, Umetnička radionica Aurora, Vršac, septembar 1994, str. 122.

Sava Stepanov, Visoki estetizam, Časopis za vizuelnu kulturu Zlatno oko, broj 1, Centar za vizuelnu kulturu “Zlatno oko”, Novi Sad, Umetnička radionica Aurora, Vršac, septembar 1994, str. 123.

Ješa Denegri, Fragmenti: šezdesete – devedesete, umetnici iz Vojvodine, Prometej, Novi Sad 1994, str. 98–103.

Miloš Arsić, Aktuelnosti u slikarstvu Vojvodine 1973–1993, Galerija savremene likovne umetnosti, Novi Sad 1994, str. 31, 68, 99.

Likovna umetnost u Vojvodini 1950–2000: Izbor dela iz zbirki Muzeja, katalog izložbe, Muzej savremene likovne umetnosti, Novi Sad, jun–septembar 2001.

Nebojša Milenković, Odnos prema odnosu ili identifikacija uporišta Muzeja koji podupire samog sebe, u: Neuporedivi identiteti: Kolekcija vojvođanske umetnosti za Muzej XXI veka, katalog izložbe, Muzej savremene likovne umetnosti, Novi Sad, 16. oktobar – 4. novembar 2003.

Jovan Despotović, Nova slika, Clio, Beograd, 2006, str. 206.

Suzana Vuksanović, Nova skulptura u Vojvodini 1980–2000, katalog izložbe, Muzej savremene umetnosti Vojvodine, Novi Sad, decembar 2006.

B(ranko) Ćurčić i D(ragiša) Mirković, Intervju sa Draganom Rakićem: 1+1=Apsolutno!, Pogonik, Časopis ZA!, br.2, Kulturni centar „Laza Kostić“, Sombor, februar 2007, str. 22–24.

Suzana Vuksanović, Nova skulptura, u: Miško Šuvaković i Dragomir Ugren (ur), Evropski konteksti umetnosti XX veka u Vojvodinii, Muzej savremene umetnosti Vojvodine, Novi Sad, 2008, str. 684–693.

Čedomir Janičić, Parajezik beep-sound bitova, u: Suzana Vuksanović (ur), Pokretanje istrage 02,Muzej savremene umetnosti Vojvodine, Novi Sad 2008, str. 89–97.

Radionica Vacuumpack, Hello World! o/*(@), u: Suzana Vuksanović (ur), Pokretanje istrage02, Muzej savremene umetnosti Vojvodine, Novi Sad 2008, str. 98–99, 107.

Suzana Vuksanović, In memoriam: Dragan Rakić (1957–2009), Godišnjak Gradskog muzeja Sombor (dvobroj: 2 i 3), Gradski muzej Sombor, Sombor, 2008/9, str. 295–299.

M. Šuvaković, J. Denegri, N. Dedić, Trijumf savremene umetnosti, Fond „Vujičić kolekcija“, Muzej savremene umetnosti Vojvodine, Novi Sad, 2010, str. 250, 325.

Suzana Vuksanović, Salon umetnosti Pančeva 09: Blind Date, katalog izložbe, Galerija savremene umetnosti, Galerija Dvorište, Pančevo 20.11–1.12.2009.

Miško Šuvaković (ur.), Istorija umetnosti u Srbiji XX veka. Prvi tom: Radikalne umetničke prakse, Orion Art, Beograd, 2010, str. 650–651.

Akvizicije: otkupi i pokloni (2004–2011), katalog izložbe, Muzej savremene umetnosti Vojvodine, Novi Sad, 2. februar – 30. mart 2012.

Lidija Merenik, Umetnost ili život. Nova umetnost sedamdesetih i kontinuitet. Izbor iz Vujičić kolekcije, katalog izložbe, Galerija likovne umetnosti poklon zbirka Rajka Mamuzića, Novi Sad, 19. oktobar – 17. novembar 2012.

Suzana Vuksanović, Nova skulptura u Vojvodini 1980–2000, Muzej savremene umetnosti Vojvodine, Novi Sad, 2013, str. 52–54, 84–89, 161–163, 186–187.

Dragan Jelenković (ur), 16. bijenale umetnosti, Linije vremena: dokumenti 1981–2012, Kulturni centar Pančeva, Galerija savremene umetnosti, Pančevo, 2014.

Napomena: O radu Dragana Rakića u asocijaciji APSOLUTNO videti:Note: On the work of Dragan Rakić in the association APSOLUTNO see: Dejan Sretenović (ur.), Absolute report – Apsolutni izveštaj, Muzej savremene umetnosti, Beograd, 2002. association Apsolutno (ed.), The Absolute Report, Revolver, Frankfurt am Main, 2006.

Gordana Nikolić, Zoran Pantelić, Bojana Petrić (ur.), Apsolutno sada: smrt, konfuzija, rasprodaja (asocijacija Apsolutno 1993–2005), Muzej savremene umetnosti Vojvodine, Novi Sad, 15.01–15.02.2015.

Biografija i bibliografija prema dostupnoj dokumentaciji / Biography and bibliography according to the available documentation: Suzana Vuksanović (januar / January 2016)

Dragan Rakić iza somborskog Narodnog pozorišta, 1992/1993.

Dragan Rakić behind Sombor National Theatre, 1992/1993

Sedam, iz ciklusa Brojevi, 1992.

Seven, from the series Numbers, 1992

Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art Vojvodina, Novi Sad

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Suzana Vuksanović

“Art started to intrigue me later on, at 23-24 years of age.

Before that, I did not demonstrate any special interests.

I think my period of growing up and maturing in Belgrade had been crucial, as well as the influence of the then unique art scene of the 1980s.

I started to study drawing in Šumatovačka street, without any ambition to enroll at the Academy. Following that, came the Academy, but I was actually always attracted to the idea of belonging to the then new visual art scene, to socialize and talk to the artists who were part of it.

SKC was the gathering ground for the most prominent representatives of the ‘new painting’ - Mileta Prodanović, Vlasta Mikić, De Stil Marković, and later the founders of our contemporary sculpture, Srđan Apostolović, Zdravko Joksimović and others with whom I met at panels and casual discussions.

At the time, they were practically excommunicated from the Belgrade Academy which was then, and still remains, very conservative.

In search of a similar group of people, I met Rastislav Škulec and Zoran Pantelić at the Novi Sad Academy 1985-1988, with whom I then started our group activity.”1

(Dragan Rakić, 2007)

1 B. Ćurčić and D. Mirković, “Interview with Dragano Rakić: 1+1= Apsolutno!”, Pogonik, ZA! Magazine, no. 2, Cultural Center Laza Kostić, Sombor, February 2007.

THE COSMIC, THE SUBLIME AND THE UNIVERSAL IN THE WORK OF DRAGAN RAKIĆ

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The intent of historicization, musealization of art, artistic work and activity of Dragan Rakić follows the key points along the timeline of his artistic endeavor and development - 1989, 1991 and 1994, as well as the cities of Belgrade, Novi Sad and Sombor. These are the years, and the cities, where he finalized and intensively publicly displayed his greatest research-artistic projects and series. The series preceded each other, stemmed from one another, connected with each other, outpacing and ‘overlapping’ one another. These are also the years and the cities of many other, turbulent, and less turbulent political, social, cultural and economic events.

This short period of six years (1989-1994) on which we focus our attention, encompasses the exciting, enthusiastic, tragicomic 1980s (form the death of Josip Broz, through the power cuts, vouchers for oil, coffee and washing powder, but also the New Wave and the New Painting, to the fall of the Berlin Wall), and then the terrible 1990s (with the breakup of Yugoslavia, 9th of March demonstrations, sanctions, through the visit of Achille Bonito Oliva in Vršac, Novi Sad and Belgrade, to the NATO bombing). From the very beginning, Rakić’s artistic work would be determined by a high level of conceptualization, based on, or derived, from a very broad spectrum of culture, history of art, and literature - as well as engineering and natural sciences, electronics, biology, physics, mathematics, mechanics.

Searching for models of interpretation of the world in the para-scientific or pre-scientific disciplines, such as alchemy, theosophy and the like, Rakić used science for his art, which suited his rationalist thinking and rational expression, but, science also offered him a model of understanding and

representing the world in contemporary society and culture, based on science and technology.1

In this period, Dragan Rakić’s name had been usually linked to the emergence of New Sculpture,2a generational art phenomenon in the late 1980s and early 1990s, connected with the Belgrade and Vojvodina scenes. The advent of puncturing, expansion and extension of the concept of sculpture became visible and tangible, as well as the complete relativization of the established boundaries and conventions of the sculptural, for which Rakić gave an immense and indispensable contribution.

The metaphysical character and the difficult-to-decipher contents of the earliest paintings-objects and sculptures-objects of Dragan Rakić from the period of 1989-91 were, among the first, noticed by Ješa Denegri, recognizing in the series Circular-Square the eternal obsession of many generations with the theme of squaring the circle, and insisting that Rakić’s works were the product of mental projections, namely - that the external phenomenon of artwork/shape means that somewhere behind, below, within it, there is a primary content that is closed and preserved in the material form of the work, i.e. that in these shapes there is something that is (in)visible and (non)verifiable, at first glance.3

1 “Science and Art”, in: Miško Šuvaković, Glossary of Art Theory, Orion Art, Belgrade, 2011, 467-468.

2 Suzana Vuksanović, New Sculpture in Vojvodina 1980–2000, Museum of Contemporary Art Vojvodina, Novi Sad, 2013; Suzana Vuksanović, New Sculpture, in European Contexts of Art in Vojvodina in the 20th Century, Museum of Contemporary Art Vojvodina, Novi Sad, 2008. (684-692); Suzana Vuksanović (ed), New Sculpture in Vojvodina 1980–2000, exhibition catalog, Museum of Contemporary Art Vojvodina, Novi Sad, 2006.

3 Ješa Denegri, Dragan Rakić: Circular-Square, Fine Art Autumn Sombor, Great Gallery of the Cultural Centre of Novi Sad, Student Cultural Center, Belgrade, September–October 1991

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Rakić’s final series, entitled Numbers, was based on the magic and symbolism of numbers (1 to 10), and Rakić’s paintings and objects-forms, which were also preceded by extensive preparatory sketches and drawings, included the subtle dance of the multifaceted, ambiguous, symbolic and metaphorical. In phenomenal/ formal sense they are characterized by “an emphasized restraint, purity, elegance and sophistication.”4

Nevertheless, Rakić literally concluded his research in the field of visual arts in 1994, with a series of five solo exhibitions in Novi Sad, Sombor and Belgrade,5 when - like Zoran Pantelić and Rastislav Škulec before him – he inserted the term Apsolutno in front of his name and surname. From the following year, 1995, Rakić completely tied his further authorial work with the activities of the association Apsolutno.6

At the same time, in the late 1990s, Dragan Rakić gathered a group of artists of the younger generation around the project Open Club - Sombor and thus launched the idea he earlier conceived of establishing a VakuumPack workshop, which will happen a few years later. The VakuumPack workshop was actually that distinguishing other of Sombor’s milieu, that which deviates and draws attention to the anomalies and specifics of one’s own environment. In a short duration of time, through his engagement and research, VacuumPack strongly and clearly offered identification, analysis,

4 Ješa Denegri, “Dragan Rakić”, Fragments: Sixties–Nineties, Artists from Vojvodina, Prometej, Novi Sad 1994, 100–103.

5 From the Novi Sad Center for Visual Culture Zlatno oko, during February, and the Gallery of Contemporary Fine Art in April, Fine Art Autumn in Sombor, in July, to the Youth Center and the ULUS Gallery in Belgrade, during September 1994.

6 http://www.apsolutno.net/

understanding and deconstruction of controversial social, political and cultural phenomena.

Last, but not least, it should be noted that in the period between 1992 and 2008, in parallel with research in the field of visual arts, as well as work on the consideration of social, cultural and political aspects of reality, Rakić’s pedagogical engagement progressed at the Academy of Arts in Novi Sad, in the subject of Digital Image, within the narrow professional art field of Painting, where, among other things, he introduced new areas, subjects and methods in the teaching process.7

Urbus Quadratus, Quest for the Holy Grail, 1989

Dragan Rakić appeared on the art scene in 1989, with his solo exhibition at Belgrade’s Gallery of the Student Cultural Center, and the project Urbus Quadratus.8 In December of the same year, also in Belgrade, he presented to the public a new series entitled Quest for the Holy Grail in the Gallery of the National University Kolarac.

Rakić kept a tidy and precise documentation of his own (conceptual) projects and their realizations in exhibitions. The documentation consisted of preparatory sketches, drawings and calculations, as well as black-and-white photographs and color slides of the exhibition and each individual work separately (most are preserved in his personal archives, now in the possession of his wife.)

7 1992-1998. Teaching Assistant; 1998-2003. Assistant; 2003-2008. Assistant Professor, Academy of Arts, Novi Sad.

8 Dragan Rakić, Paintigs, Gallery of the Student Cultural Center, Belgrade, May 1989.

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The documents reveal that the project Urbus Quadratus consisted “of five paintings done in oil on canvas, 200x200 cm format, and a floor installation of a circular basin filled with water on a square base, made of soil, with dimensions 200x200 cm.” About the project/exhibition Quest for the Holy Grail he wrote that it contains “three paintings done in oil on canvas, 200x200 cm in size, three objects made with a combination of glass, stone, wood, bluestone, soil, wax and a floor installation made from the same materials.” Both series were not preserved in their entirety in recent years, but Urbus Quadratus has attracted more attention due to its ephemeral, temporary, expendable part – the circular basin on a square base, carried out on a sandy plateau of the railway station in New Belgrade. It was Rakić’s graduate work, from which virtually everything he did over the next few years emerged.

Rakić wrote in the catalog at the time:

“According to Plutarch’s story on the founding of Rome, Etruscans taught Romulus how to build the city. First they dug a round pit ‘mundus’, into which sacrificial offerings were thrown, and around it, Rome was built. The city developed circularly, but the contemporaries called it urbus quadrata. Plutarch, himself, called it Roma quadrata. According to him, Rome was both a circle and a square... According to one theory, the word quadrata means ‘made of four parts’, i.e. marks the circular circumference of the city with two arteries, divided into four parts. According to another theory, this contradiction in statements expresses a visual representation of an unsolvable mathematical problem of squaring the circle.”9

9 Ibid.

What the artist’s record clearly indicates are the impacts (social, cultural, and even artistic) of the climate and atmosphere of the 1980s, i.e. the prevailing tendency of citation and resources found in a wide variety of literature, a study of history and art history...

Biljana Tomić concluded this, as well, in the text for the same catalog: “Dragan Rakić built his pool on the sandy surfaces of New Belgrade, as a prototype of a town base, a metaphor for connecting heaven and earth, male and female principles, as a magical sign of squaring the circle, the union of opposites. If we connect this with Plutarch’s story, through the process of restoring rituals, birth and the emergence of an ur-form of the urban core according to the ancient myth, it can also be seen as a passing contemplation on the reflection of the image in the circular surface of the water, a mirror, the sphere of the interior and exterior, the past and the present, the imaginary and the real.”10

The new series of works was created around Plutarch’s story of the circular city in a square, as an illustrative & meaningful starting point, where the artist moves from a series of poetic and symbolic assumptions and develops a detailed story, where, in its entirety, one continues to recognize the structure of the citation of the initial theme, with an axis in the circular surface of the water reflecting the sky and clouds…

Juxtaposing the circle and the square horizontally, and then the earth and sky, on the vertical axis, would remain an unsolvable relationship and a conceptual base for Rakić’s later works. What is perhaps important to note is that this piece

10 Biljana Tomić, Dragan Rakić: Paintings, Gallery of the Student Cultural Center, Belgrade, May 1989.

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has been essential for of Rakić’s further work. Namely, the square and the circle, the earth and sky as “signs, symbols, principles of mutually opposing and antagonistic forces, energies and essences” are the starting point for a series of paintings and objects (on the floor and on the wall) “which are not individual works, works per se, but make the whole of a complex history, represent the chapters of an extensive narrative flow.”11

Circular-Square, 1989-1991

Developed in 1990 and 1991, Rakić exhibited the series Circular-Square in solo exhibitions in Sombor, Belgrade and Novi Sad.12 His two-year production contained painted wall panels/diptychs Nativity, Genesis Of A Good Man, Transfiguration, Crucifixion, and floor structures Question and Answer, Male - Female, Immovable-Movable, Small Crucifixion, Organic - Inorganic and others.

According to Mileta Prodanović, “the branching of further pairs of opposites (male-female, organic-inorganic, mobile-immobile, formal-amorphous, solid-liquid...) these objects become spatial icons, sites of concentration of energies that, with their scope, go beyond the dimensions of the work in which they converge.”13

11 Ješa Denegri, --, Dragan Rakić: Circular-Square, Fine Arts Autumn Sombor, Great Gallery of the Cultural Centre of Novi Sad, Student Cultural Center, Belgrade, September–October 1991.

12 Dragan Rakić: Circular-Square, Fine Arts Autumn Sombor, Great Gallery of the Cultural Centre of Novi Sad; Student Cultural Center, Belgrade, September–October 1991.

13 Mileta Prodanović, “Convergence of the Energies of the World – on the Paintings and Objects of Dragan Rakić”, Dragan Rakić: Circular-Square, Fine Arts Autumn Sombor, Great Gallery of the Cultural Centre of Novi Sad; Student Cultural Center, Belgrade, September–October 1991.

It is true that only when complementary values meet, they form a perfect unity and an authentic physical and spiritual experience. Prodanović also points out that Rakić, with his work/works, quite consciously focuses on and fixates uncertainties in front of fields in the interaction of which the world occurs, because the work is never there to offer a definitive answer:

“A thorough understanding of mutually different and, in some sense, contrary fields to what is commonly considered science (history, tradition, Christian iconography, chemistry, technology...) enabled Rakić to create his own language through a certain distillation of deposits of experience, which derived from them - but was again quite independent of them - a hermetic linguistic system that uniquely allows the materialization of subjective spiritual experience.” 14

Hardly legible messages and the meanings of these sculptures-objects and paintings-objects, and their almost metaphysical character, were based on the artist’s need / obsession to decipher the squaring of the circle (i.e. an essentially unsolvable mathematical problem). However, the character and meaning of the works from the Circular-Square series were also determined by the artist’s remark in the catalog that only natural materials had been used: earth, sand, stone, water and earth pigments. This, for Rakić, seemed to be of the utmost importance to point out, because the materials themselves simply carry symbolic projections related to the content of these works, while, at the same time, formally, the utilized geometry possesses a metaphysical character.

14 M. Prodanović, n.d.

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Would it be necessary to emphasize that the production of each object was preceded by a detailed sketch, often a number of them (only in the artistic fund of MSUV there are over sixty sketches by Rakić for the series Circular-Square and Numbers)?

An almost unknown work from the Circular-Square series, Form As Metaphor, represents a land art intervention in the landscape around Sombor. The intervention consisted of drawings on the ground, and the sky hemisphere, as evidenced today by photos from the scene for each phase of artistic activity. On the slope of the hill, a semicircle 7.2 steps (feet) wide had been inscribed in red, which (coupled) with the semicircle of Vojvodina’s sky, and the line of the horizon, as indicated by Rakić, made a whole i.e. a full circle. A circle inscribed in the square of the hilly terrain. We would say a successful attempt of applied research and summarizing of a two-dimensional surface and a three-dimensional space.

Numbers, 1992–1994

The next series is called Numbers, and it had been created and exhibited repeatedly at shows in Novi Sad, Vršac, Sombor and Belgrade in the period between 1992 and 1994.15 Paintings-objects and objects-sculptures from the series, exhibited in the Gallery of Contemporary Fine Art in Novi Sad, Spring 1994, belong, according to Ješa Denegri,

15 The Magic Of Duality: Both Painting and Sculpture, Great Gallery of the Cultural Centre of Novi Sad, March 1993 and the National Museum, Vršac, May 1993; Apsolutno Dragan Rakić, Center for Visual Culture Zlatno oko, Novi Sad, February 1994; Apsolutno Dragan Rakić, Gallery of Contemporary Fine Art, Novi Sad, April 1994.

“to shapes with characteristics of an objectified image, materialized forms, forms-objects with metaphorical and symbolic properties,” unlike plastic objects or abstract sculptures.16

This time, as well, historical and mythological/ mythical supplies were the basic properties of Rakić’s new series. However, along with the contemplative peacefulness, there was something psychologically irritating and unsettling in this setup. Sculptural installations/ objects Zero, One, Three, Ten, and their counterparts embodied in paintings-objects, formed an exhibition environment with a special, almost festive (according to Denegri, even sacral) atmosphere.

On the occasion of the exhibition of Numbers, held some time later that year in Sombor, Kosta Bogdanović, in contemplating the series, offered very interesting and informative observations:

“His redefined object finds its form more in the field of the aforementioned mathematical logic, where the valid constant is metaphorical measurement, as well as strict rigor, where one can establish a certain system of priority in the order of occurrence of something in relationship to something else. Rakić does not understand numbers only in terms of quantitative relationships, but primarily as an expression of ideas and the power of effect, i.e. factors of not only quantity but also quality in numerical relationships.”17

16 Apsolutno Dragan Rakić, Gallery of Contemporary Fine Art, Novi Sad, April 1994.

17 Kosta Bogdanović, Apsolutno Dragan Rakić, exhibition catalog, Gallery of Contemporary Art Fine Art Autumn, Sombor, July 1994.

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From the outset, Rakić’s works would be based on specific (his own) rather hermetic linguistic system - emerged from the systematic study of various occurrences and phenomena (included in his research were literature, history, archeology, mythology, anthropology, Christian iconography, chemistry, technology, and even alchemy...). Additionally, with that in mind, it can be concluded that the language and the authorial procedure (procedures) of Dragan Rakić require a concentrated and informed observer (interpreter). Artistic work on the series-project Numbers was, yet again, a product of mental projection and a significant imaginative capacity. The final form is the bearer of meaning here, ‘the house of symbols’, and the components of the visual and cerebral in one work have become inseparable: the conceptual in the work is in its appearance, form and thought tend to be in absolute unity.

“If you’re alive, why are you silent, If you’re dead, why do you glow”18

Cappadocia, mathematics and geometry of a Christian civilization for centuries set apart and hidden underground, Plutarch and Pythagoras’ theorem, the golden mean, the arrangement of the stars, space flights, a touch of mythical and future times, squaring the circle, union of the feminine and masculine principles, the transition from the material world into the spiritual, striving to reach the absolute truth...

From the attempts of lowering the sky using mirrors in the project Urbus Quadratus (1989) and inscribing the circle in a square in the action

18 Unknown source (it is actually a puzzle Dragan Rakić left us in the catalogs of his last solo exhibitions, and which we hope might be solved on this occasion).

Metaphors Form (1990-91), through to the Future (1992), a work that seemingly stands aside from the produced series, ‘composed’ of medical supplies from a GP’s office and a clock that measures time backwards, paradigmatic for both the time in which it was created, as well as for the present moment, to the slingshot with ammunition in the form of rocks and bread (Ten 1992-94), or the bow with an arrow, mounted but unreleased, and the neon letter A affixed to the wall (One, 1994), Rakić used several different iconological methods and approaches for his art (until asocijacija Apsolutno): narrative, symbolic and reductionist, as well as the simulation method. Rakić’s iconography included the identification and interpretation of those themes and content that lead to the knowledge of secret things that cannot be immediately read.

The mythical, metaphorical and metaphysical is contained in the number 1 as the beginning of the world, but also the letter A, as the first voice. The relationship between reality and unreality, a path between the rational and irrational, is set by art.

One of the modern Pythagoreans, whose operations are closer to the notion of laboratory work than classical art studio work, Rakić introduced the viewer into an almost scientific research of urban spatiality: “Thus an authentic world of mathematism, philosopheme, grapheme and light-painting had been created, with which Rakić establishes or causes memory of the action nature of man and his relationship to knowledge, behavior and belief.”19

19 K.Bogdanović, n.d.

One, 1994.

One, 1994

Udruženje građana “Ravangrad”, Sombor / Citizen Association Ravangrad, Sombor

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Time and context

The period of the second half of the 1990s in former Yugoslavia was marked by a strong political engagement in art, which, in the first half of the 1990s, was rarely the case. With the end of the war in Croatia and Bosnia and Herzegovina in the mid-1990s, and a relative liberalization of Milošević’s Serbia, a wave of critical engagement, i.e. artistic activism, started appearing in art, as well. That time, in many aspects, brought a complexity with it that was very different from the scene in the late 1980s. If we would roughly divide artistic periods into approximately fifteen year segments, i.e. from 1985 to the year 2000, we would observe three periods. The first period, from mid-1985 to the beginning of the 1990s, was characteristic of the art of developed postmodernism, with all its modalities, transavantgarde elements, post avant-garde, new figuration, and often mysticism. Although full of narratives, this art had a clearly dominant post-ideological, i.e. post-utopian position. The crisis of the federation at the end of the 1980s gave birth to the Yugoslav NO FUTURE generation in a time when most Western countries were recovering from the crisis of the 1970s.

With the outbreak of conflict in Yugoslavia in the early 1990s, artists retreated within (except for those who saw the growing particularisms of Yugoslavia as their chance for success), and the reaction to social reality was escapism. It was the cruel confrontation with the reality of war and social breakdown that made some artists in the mid-1990s reject the position of the autonomy of art common for the post-utopian period of the 1980s. This time was also the time of the Soros Centers for Contemporary Art that had been emerging in the post-socialist countries of Eastern Europe. From today’s perspective of developed tycoon neoliberalism, art of the so-called Soros Realism period of the 1990s is an easy target for criticism, but on the other hand, in most cases there was no infrastructure that would provide support for contemporary production, which mainly operated outside the system of the art market.

THE ART RESEARCH OF DRAGAN RAKIĆ

Kristian Lukić

Dragan Rakić and Apsolutno have produced a number of works that could be considered pioneering research in our region. In general, the group Apsolutno had a developed aspect of so-called Art Research at a time when Art Research had not yet been classified as a genre in art.

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Networking

The times of the mid-1990s was marked by networking, and the emergence of the web accelerated communication. Dragan Rakić, with Zoran Pantelić, Bojan Petrić and Dragan Miletić, intensified the work within the group Apsolutno parallel with the advent of the web in the former Yugoslavia. Through a few residential exchange programs, and participation in exhibitions and conferences, members of Apsolutno and Dragan Rakić (within the group Apsolutno), linked themselves in with the international art context. It is interesting that Apsolutno, in the mid-1990s, worked within the so-called system of contemporary art, especially in the Soros network of contemporary art, but even then Apsolutno allied itself with the international new media scene, as well, whose protagonists, among other things, aimed to avoid commodification imposed by the market of contemporary art - something that new media art and media art has managed to more or less achieve until today.

The pioneering time of the Internet and so-called net-art, net-critique, Internet activism has been a phenomenon that developed side by side for a long time, and jointly, in the West and in the East of Europe. Important centers were V2 from Rotterdam, Ljudmila from Ljubljana, RIXC from Riga, Public Netbase in Vienna, then MI2 from Zagreb, and so on. It was the first (informal) art movement after the historical avant-gardes that had artists and activists from Eastern and Western Europe actively collaborating. It was also a time of increased interest in Eastern European art, in general, because the region of Eastern Europe was unexplored and still exotic. In political terms, this meant the incorporation of Eastern Europe

into the economic and political structures of the West, which took place in parallel with the process of cultural integration. Although today these integrations seem quite mechanical, and even neo-colonial, it cannot be said that desire at the time for the unification of Europe was of a programmatic type. There was a sincere wish for the disappearance of borders and allowing freedom of movement in Europe, and for the undemocratic post-socialist authoritarian regimes to be replaced by the rule of law and democratic principles.

Pioneering works of Dragan Rakić and Apsolutno

Dragan Rakić and Apsolutno have produced a few works that can be considered pioneering research in our region. In general, Apsolutno had a developed Art Research aspect - studies of particular phenomena and the presentation of results via multiple levels and media (video documentation, photographs, texts, publications, etc.) at a time when Art Research has not yet been classified as a genre in art. The Greatest Hits from 1997 was also one of the first works in the field of so-called Art & Science, especially in the field of medical and biological sciences. Dragan Rakić, with his background in medicine, i.e. dentistry, probably contributed to the conceptualization and realization of this work. In TGH, the deadliest human organisms are compared with the most widespread and dangerous computer viruses. The aim of this paper is to highlight the vulnerability of complex evolutionary systems, in the case of man, as well as in the case of algorithmic subjects who often bear the aura of perfect logical and mathematical systems.

The work Absolute Sale from 1997 is probably the first net-art work on the territory of the

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former Federal Republic of Yugoslavia, and it deals with the relationship of Eastern European art and Western markets. After the fall of the Iron Curtain, many Eastern European artists welcomed the opening of the state borders with high expectations, especially the expansion of the Western art market. It was a time of the total collapse of the ‘real socialism’ project and the market presented itself as salvation to all economic problems, meritocracy would prevail, and amidst all that, artists would be headhunted by agents, art dealers, curators, patrons... Auto-commodification became, more or less, the model for success. Artists have been thought to talk, they had to communicate, be charming. The work of art became only one ‘layer’ of the artistic whole. A particular stance regarding political issues was now valued, taste in fashion, musical knowledge, and a limited lucidity had also come to be favored, as well as drugs and alcohol, but not beyond a certain limit when it would begin to threaten communication and work ethics. A limited bohemianism became preferable, one that was also accountable, which, after a good night’s sleep, was ready to communicate, sends emails, portfolios and CVs. Absolute Sale is a mimicry of the famous eBay site, which, in 1997, was in its infancy. Apsolutno, through the work Absolute Sale, somehow anticipated today’s Facebook and, especially, LinkedIn, as a global bazaar of skills, expertise, where HR experts and headhunters look for future associates and partners.

Absolute Sale is also a story about neo-colonialism, of course, or as the Bulgarian theorist Kyosev coined it ‘colonialism with love,’ when he described the post-socialist Eastern European context in the late 1980s and early 1990s. The West was then at the height of its powers, and ‘Westernophilia’ was

the dominant cultural model. This ‘colonialism with love’ in Eastern Europe during the 1990s and later, according to Kyosev, is different from previous colonialisms when the metropolises used military means in the conquest and exploitation of resources and labor of the colonies. It also differs from neo-colonialism where hybrid methods were used to force the former colony to agree to new unfavorable arrangements.

The global dominance of the US and its allies in the 1990s brought the West an economic conjecture after years of recession. The 1990s in the West saw a generation grow up that did not know of the Cold War rhetoric, the West was at the peak of its powers, and the longtime foreign foe, the Soviet Union, failed to overcome the crisis of Fordism as the West did. During the 1990s, a new anti-capitalist and anti-imperial movement emerged in the West, not seen in such numbers since the 1960s, culminating in the anti-globalist movements of the late 1990s, shortly before 9/11. At the end of the 1990s, socially engaged art in Serbia (and, hence, Apsolutno) found itself in a specific situation. How could it be possible to criticize the neo-imperialist policy of NATO, while at the same time be against neo-Brezhnevism of Milošević? Also, in the case of Apsolutno, how to be for Western liberal values - the rule of law and democracy, considering at the same time the US and NATO military engagement in the former Yugoslavia without a mandate from the UN Security Council? Asocijacija Apsolutno had managed to avoid dividing into camps in their practice, and clearly work against the imposition of the black and white framework in Serbia (Miloševićism vs. NATO neo-imperialism).

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Limits of Sombor

Although it had a traditionally relatively well-developed art and culture for a city of its size, Sombor had long suffered the consequences of peripheralization. Since 1921, when it officially became a part of the Kingdom of Serbs, Croats and Slovenes, and Yugoslavia, Sombor became a city on a not particularly busy border. The lack of higher education left the city without any significant intellectual autonomy, and the education system remained at the same level of a hundred years ago - with gymnasiums, high schools, and schools for training teachers. In this way, Sombor did not have an infrastructure to draw back a sufficient number of its highly educated citizens, or attract new ones. Also, in time, the privileges of the free royal charter from 1749 had been stripped from Sombor, one which allowed it to autonomously organize revenues and regulate economic and fiscal affairs. Because of a limited capacity in articulating its problems, Sombor had difficulty in opposing the center of the new state, Belgrade, also due to a civilizational unwillingness to face challenges of the functioning of a specific model of the new state administration in Serbia. The whole model had more or less continued throughout the 20th century, except for a short fourteen years, during the times of relative autonomy of Vojvodina, in which cities and municipalities had the possibility to manage revenues and develop their capacities. This was soon stopped in 1988 by a reciprocal intervention from Belgrade, when Sombor was denied the right to manage its own development again, its available revenues, and later, its property. This is necessary to know if we want to analyze the development of the arts and culture system, and if we consider the division into ‘base’ and ‘superstructure.’ Rakić was one of the few who lived in Sombor in the 1990s, and at the same time, travelled and was active not

only out of the limits of Sombor, but outside of Yugoslavia, as well. This circumstance probably also motivated him to engage in the local context too.

Rejecting auto-commodification

Parallel with the activities of the group Apsolutno, Dragan Rakić worked within Sombor’s Vacuumpack group. As did Zoran Pantelić (who started the Center for New Media_kuda.org), he knowingly left the potentially lucrative commodification of Asocijacija Apsolutno, involving professionalization of artistic activity, namely professionalization of the membership in Apsolutno. The desired model of a professional artist would have been the development of the brand, communication, the quantity of exhibitions and presentations, PR, production of so-called artistic continuity, where the artist is expected to make sacrifices in terms of maximum auto-commodification and spectacularization, ‘polishing’… The key to this operation is the construction of ‘the name,’ brand, trademark. It is customary to brand the personal name of the artist, i.e. the artist performs under his own name and ‘develops’ it with the help of exhibitions, awards, texts, interviews, conversations. The second model is the group name. And in both cases, the key is ‘continuity’, or ‘longevity’ on the scene. Continuity and ‘longevity’ on the scene implies a constant presence in the media, exhibition, production, engagement, preferably under one name, brand. This is due to the fact that the market, or art system, dislikes an excess of brands. Fewer brands imply an increase in price or importance. The art system particularly does not favor slipping outside the art system i.e. activities outside the art system. They are treated as a weakness of the artist or a lack of focus, concentration, consistency and continuity.

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In the case of Dragan Rakić, and other members of the group Apsolutno, it was often expected of them to become hostages of their own idea, and to push it to ‘great success,’ although, as in capitalism, there exists no such thing as ‘great success.’ There is only growth (of profit, or exhibitions and presentation in the arts), albeit the whole concept of economic growth being based on the principle of the bubble. For example, the decision of Zoran Pantelić to initiate the Center for New Media_kuda.org in Novi Sad has been viewed with disappointment and regret by some people, after the ascending career of the group Apsolutno, because kuda.org was seen as something that was more pedagogic, profane, utilitarian, socially engaged, as opposed to the external perception of the group Apsolutno as an internationally recognized and acknowledged artistic group. The situation has been similar with Rakić’s projects in Sombor where his activities were once viewed as a departure from the ‘purity’ of artistic endeavor, especially as Rakić, at a time when he functioned as an independent artist, had a production which, in the classic, formal sense (iconological and iconographic) was highly aesthetic, sometimes hermetic, and dealt with the ontological principles of existence. Rakić was attracted to art precisely because of this - art that was a ‘calling’ and art that was transcendent. Events in the first half of the 1990s in Yugoslavia proved to be sobering for Rakić. Dealing with ontology became irrelevant in a situation where being and existence depended on the current mood of the sniper aiming at a civilian fetching water; waiting for his prey to carry an empty canister through a sniper field, only to shoot at the canister filled with water upon the civilian’s return. The war of the 1990s had propelled many other artists in former Yugoslavia towards social activism, not

because of artistic trendiness, but because of a deep need to end social agony and repression.

Personal experience

During the many years of our acquaintance, Raka facilitated the understanding of contemporary art for me - as a student of art history, as well as the functioning of the art system, power relations, everything that a student of art history usually did not have the opportunity to learn. Raka knew how to bring passion into discussions about art and at the same time not position art higher in relation to other aspects of existence and activity. He recognized the dangers of the inflation of ‘specialness’ of the artist and the arts. Especially when to be special, lucid, different, became an imperative for the modern society of diversity. This specialness implies the uniqueness that distinguishes artists from the social context. From today’s perspective this does not seem as anything new, in a situation when socially engaged art, political or participative art are genres in art which artists choose, in a calculated way, in order to succeed in the system of contemporary art. In the mid-1990s, participatory and engaged art were both far from the mainstream, particularly in Serbia, and there was a belief that engagement in art projects could really make a difference, which was partly true, because socially engaged art in Serbia (and Apsolutno) carried a certain weight and articulation facilitating the Milošević regime being toppled. In the end, of course, it turned out that with the removal of one man, and the retention of other active participants in that system, the system could not be changed, and that is what we are witnessing today, as most protagonists whom Raka actively participated against, are again in power today, in the same positions they were some fifteen years ago.

Tanja i Dragan Rakić na promociji projekta Hello World u Somboru, Kulturni centar “Laza Kostić”, 2007.

Tanja and Dragan Rakić at the opening night of Hello World project in Sombor, Culture Center “Laza Kostić”, 2007

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Rakić’s work in Sombor with young artists was anything but back to black. Beginning in 1998/9, otherwise two very fruitful years for Apsolutno, with new local forces that he met at the performance of Weltfunk1 in the City Museum of Sombor, with the existence of Sombor’s Open Club Ravangrad and its enterprising director MandaPrišing, resulted in Rakić’s renewed vigor, first with Kaleidoskop, immediately followed by VacuumPack.

The Kaleidoskop2 workshop, designed and proposed as a project at the beginning of November 1997, planned to bring together younger students (high school pupils), in order to create new generations of contemporary researchers in the field of visual culture and communicationsby training them for independent creative work, which would bring a new quality to art production, as well as the reception of contemporary art, in the local environment.

The theoretical work was conceived in the fields of: visual culture, visual communication and media and their utilization. Suggested topics were: equal-unequal, quantity-size, outside-inside, partial-comprehensive, divine-human, east-west, space-time, amorphousness, complexity, center, symmetry, unidentified space. The practical part of the work was conceived through processes: drawing sketches, taking photographs, editing, collages, mixed techniques, etc. Activities would be based on: the organization of artistic activity (the formation and realization of ideas), aesthetic assessment (criticism and self-criticism) and presentation (planning and realization of presentations).

1 An informal group of young artists /enthusiasts: Kristian Lukić (author of the performance), Andreja Petraković, Karlo Fuderer, Ivana Mišić andĐorđe Arambašić. Members of this group were, at this point, in their twenties.

2 I received more precise information on Kaleidoskop and VaccumPack workshops from the archives of Citizen AssociationRavangrad, Sombor, courtesy of Mrs. Manda Prišing.

She never uttered those cold words ‘mine’ or ‘yours.’

Anna Dalassena (Constantine Cavafy)

I do not think it’s a way of thinking of Apsolutno, I think it’s a way of thinking of the generation that is living through these times.

(Dragan Rakić)

Čedomir Janičić

DRAGAN RAKIĆ: ARTIST, MENTOR, ACTIVIST

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Participants of Kaleidoskop were able to get acquainted with the production of the associationApsolutno (alternative forms of art education - apparently the idea was to create more such workshops - can be interpreted as an expression of the homogenous impact that Apsolutnoplanned to achieve by organizing a network of flexible youth art collectives with an educational, theoretical and production potential; on the other hand, thematic sources composed of contrasting concepts and philosophemes largely resemble Rakić’s earlier preoccupations, especially from the series Circular-Square), the contemporary experimental video film from Sarajevo authors, created during the war in Bosnia and Herzegovina (Meeting Point), works from the Festival in Osnabrück (European Media Art Festival, Osnabrück), in 1996,a retrospective of global video sculpturesfrom 1963 to 1989, and the works presented at a mini-retrospective -Participation in the Diagonal (Teilnahme an der Diagonale 1994, Uraufführung der Dokumentation STWST-TV 1987–1994). This ambitious program of education was completed withthe photo-project of the workshop participants entitled - Who am I?

The continued activityof the workshop spread to the field of concrete production. Kaleidoskop ceased to exist, and the new name for the project was VacuumPack. The production of this workshop began by creating its name and visual identity (trademark). Rakić’s report from February 1999 states that the workshop was named VacuumPack so that part of the title - ‘pack’ meant the adequate ‘packaging’ of real facts from the immediate environment which the workshop took as the themes of their projects, and the other part of the title – ‘vacuum’, meant the way in which ideas

were ‘packaged’ - without added elements,rather in essence (idea) of the product (project).

The production of the workshop in late 1998, and early 1999, the manner of realization of what the group ‘packaged’ as an idea, can be traced even after 2006. It is important to note that through the work of both workshops, especially the latter, the principle of exempting individual names and contributions in favor of the collective had been consistently applied. During this period, Rakić operated within more standard protocols characteristic of civil society and NGOs. The choice of this organizational scheme led to a greater shift towards solutions typical for dynamic institutions, i.e. those in which ‘winds of change’ began to blow. Unpredictability, spontaneity and voluntary discipline of outstitutions were slowly lost for the benefit of carefully planned actions of a socially engaged NGO, with implicit administrative discipline, work schedules, and a precise execution of budget.

The first work, Recycling, was dedicated to the International Day Against Fascism and Anti-Semitism and the 9th of November 1938, the infamous Kristallnacht, the first public violence against Jews in Nazi Germany. Utilizing themoment when the old road signs were substituted by new ones in Sombor – one symbol for danger was picked (the triangle) - and in its yellow field a stylized swastika was inserted, in the form of labels for recycling. The sign was then placed in the central city square (popular Ćelavi), while VacuumPack members distributed leaflets to passersby with the printed sign and the inscription: “Danger from recycling fascism” and a brief description of the events of 1938.

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The following work entitled Passersby, showed the outlined silhouettes of dead bodies on the street (main city street), ones made in the context of standard procedures of a police crime scene. The work consisted of three silhouettes and a photograph showing the silhouettes and the passersby who were walking (passing by), as well as the bodies that ‘passed’ after which only outlined contours remained, gradually wiped (out) by the steps of the passersby. According to Rakić’s report, the work was initiated by the then currently occurring deaths of young soldiers of the Yugoslav Army in Kosovo. The work with silhouettes was reminiscent of what could be seen in Belgrade, Novi Sad, Niš and other cities, inspired by the work of Reconstruction of Crimesby Led Art from Belgrade/ Novi Sad, although the initial idea, and a morepoeticizedpoint of the whole work, had been significantly different.

The final project of the VacuumPack workshop was a short film entitled Do you…?,which referred to the manipulation of the media. The film mimics the style of street polls, conducted by the state television, editing them according to their needs and objectives,manipulating the public in the most direct way, as well as the reality of the time. Upon being asked a question in the film, an equal number of ‘yes’ and ‘no’ answers was added in editing, thus expressing the attitude that every answer is meaningless from the perspective of the one who hopes to draw out of it (them) any sort of public opinion.

Rakić’s effort within the framework of the Open Club was visible not only within VacuumPack, but in other activities of the club, as well. The project Anthipathy had been planned to be implemented during 1999, (several actions

were planned from the end of March until the first of May: Awakening, green posters with the inscription, ‘Easter’,a message in the spirit of ‘Resurrection’ which was to be dispatched to local cultural institutions, local administration and the Ministry of the Interior, with the invitation to ‘reinvigorate and take steps towards the future’; Sombor Free City, on the occasion of the 250th anniversary of obtaining the Free Royal City Charter, kites were to be let loose into the sky; Labor Day, red posters with the inscription: ‘Good morning!’). Antipathy was interrupted by the bombing, only Awakening had been realized.

Generally, Rakić’s optimistic approach and will to be of usewere reflected in almost everything that had to do with creativity at the Club (logos, t-shirts, the interior of the Club, even the appearance of a Christmas tree in the square). His claim describing the work in Apsolutno: “Art was of less importance to us. We even perceived ourselves more as researchers of reality, rather than artists,” was true in the Sombor episode of his life and work, as well. The need to be always useful, even in rough or dull menial work, and running around for every little thing, created someone who is ‘not loath’ to invest himself in his work, no matter how discouraging all the limitations he encountered were, ones that were neither small nor easy.

Out of a special feeling of gratitude, the Open Club, with which he cooperated frequently, and so successfully, as a sign of deep respect and gratitude, suggested him in 2009 for the award Internationaler Bremer Friedenspreis. The concluding sentence of the proposal states: “Dragan - Man, Creator, Artist, Teacher, Friend, Father, Husband, Collaborator ... - all

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of this completely, steadily, until the end. He died on his Christmas, 7th January, 2009.”

The bombing of the Federal Republic of Yugoslavia stopped this enthusiasm, as well as it did for many similar individuals in the country. ‘The World’ which engaged artists and intellectuals addressed as the only evidence of their own normalcy during the 1990s, proved no less cruel and unjust as the one in which they lived in, which they wanted to change. Further developments on the local and global plan: the fall of Milošević, the terrorist attack on the US, wars in Afghanistan and Iraq, the assassination of Zoran Đinđić, the mass phenomenon of ultra-right organizations, the emergence of social networks, etc. greatly changed the content and meaning of the activist approach to reality, at the local level, and in the world. The new century and the new millennium rapidly composed new protocols and guidelines for action. Nothing was the same again. After 2000, and the end of the ‘countdown,’the activities of Apsolutno slowly waned. Rakić spent two and a half years in the United States. This slowdown lasted until 2006, when, in a new environment and, in the meantime, with mature, and readypeople (Dragiša Mirković and Andreja Petraković) Rakić entered a new creative cycle that would, unfortunately, last only two and a half years.

We list the works of the art group VacuumPack in order of appearance. At the start we must emphasize that the review of these works is burdened by the same difficulties as the review of the production of the associationApsolutno: works are the product of a collective endeavor, so the singling out of Rakić’s contribution, regardless of its importance, would lead to the wrong assessment of the meaning of the presented production.

Dear God, what wonder

Other than the shock of it, the bombardmentbrought on a standstill in the early actions of VacuumPack. After 2000, and the end of the ‘countdown,’the activities of Apsolutno slowly ceased.Rakićspent two and a half years in the USA. The lull lasted until 20063 when the project continued as if the 1990s did not end.Dear God, what wonder was probably the most explicitly political work Rakić had participated in.

The work was presented in the form of a billboard with a huge photo of the Great Hall in the building of the City Council of Sombor, with the famous painting Battle of Zenta, ‘the largest in Serbia’ (7x4m), by Ferenc Eisenhut, painted for the Hungarian Millennium Exhibition (advanced belle Époque nationalism). On the podium, in front of the painting, and around it, were men and one woman in suits and with head socks on, aggressively sticking out into the foreground a red booklet on which, in the Cyrillic font Miroslav, ‘Battle of Kosovo’ had been inscribed. On the other hand, it is impossible not to observe the careful visuals of this scene. The insistence of the group andall its members on formleads to a classic fit of component parts into an entirety of a formally harmonious scene: the group, in relation to the central point of the lower part of Eisenhut’s painting, for example, creates a somewhat mystical triangle.

3 Apsolutno operated until 2005. In 2004, from assistant professor at ALUNS, Rakić becomes a professor at the newly opened Department of the Digital Image. One of his first postgraduates was Andreja Petraković. It is interesting that in 2004, Rakić was working on the Alternative map of Sombor, a project of Citizen Association Ravangrad and Manda Prišing. The outcome can still be seen on http://soaltermap.com/mapa.swf (last visited August 2015).

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The response in the local news regarding this action differed, from outrage to approval. However, in an interview with the local branch of Crossradio in Sombor, both Rakić and Mirković talk in unusually conciliatory tones. New media, communication, spontaneous engagement ... perhaps too timid for such a punch in the face.

Hello World!, semioticon, ‘Hello World’ software

This work, from the end of 2007, somewhat developed the idea of Instrumental from the production of Apsolutno. Instead of single shots and repetition, which replace the point and line in Morse Code, the initial Beep (the sound you hear when you turn on the computer) converts into the eight-bit musical scales that ‘reads’01 sequences asmusical phrases (connects the sequence of number ones in a series withthe order of notes in the system, while zeros are without their musical equivalent). The project is accompanied by a specific Glossaryof Semioticons, otherwise the most interesting part of this too complicated a scenario, which includes compositions created by a beep scale and in Hello World software. The work had been created for over a year, and did not have adequate implementation, which will become almost a standard in the work of the group.

Red on Black on Red on Black, virtual installation

A work from the end of 2007, fueled by the Proclamation of the Anti-Fascist Action of Novi Sad, on the occasion of the 9th of November, the International Day Against Fascism and the attack

of the members of neo-Nazi organizations on the peaceful anti-fascist parade on 7th October 2007.

The work continues with warnings on the red and black theme, prominent at the time of the workshop - a bit more complex,as well, but with an unambiguous message that leads us to Nazi anthropometry, ideal proportions that separate the ones that are right from those who are not, with sinister premonition of what the result of these obscure calculations is (data on anthropometric measurements of German citizens has been taken from Nazi archives in 1938). The photo of Danube near Novi Sad by night, and racial characteristics written in red neon along both banks of the river, from the Railway Bridge to Kamenica Bridge (the area where Hungarian fascists killed Serbs and Jews in January 1942 throwing their bodies under the ice), revealsyet another layer: an underwater construction which would pull and push letters and numbers of this ‘winning racial combination’up and down, depending on the water levels, so that the text is just below the surface of the water.

An ‘unfeasible’ work, another departure from the ‘real facts and events.’

Celebrating Diversities, photo-video presentation

This work emerged as a reaction to memories of the 1990s (namely, that year, one of the many deadlines for Mladić’s arrest was expiring).

The work from 2008 revisits the traumatic points of the immediate past, combining ‘Lego-men’ set in depth of field and the Sarajevo Lav Cemetery, where representatives of all three warring nations during the siege of 1992-1995 had beenburied.

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It is a review of the recommendation/command from the West, which refers to the celebration of diversity, and underscores the disparity of this ready-made phrase, on the one hand, and the brutality that led to the creation of the cemetery, on the other, as well as the fact that slightly less than four thousand people in this cemetery, which was closed until the war in Bosnia, had been buried in separate plots for Muslims, Catholics, Orthodox Christians and atheists.

Scrap book, photo-documentation

This project, also from 2008, started with Rakić’s new preoccupation. This time he shifted the focus from the political to the cultural-anthropological theme4. While visitingthe towns and villages of Eastern Serbia, Rakić came across the most diverse and most bizarre examples of local attitudes towards the dead (crocheted patterns, sold in unreasonably large numbers, particularly for the requirements of the cemetery), separate ‘cottages’ in the cemetery, street signs, memorabilia and many other inventory of a wondrous, morbid, but profoundly authentic world surviving at the crossroads of life and death. This multifaceted project, full of harrowing details, createsa powerful, deep experience, which leads us to the conclusion that a political or a purely cultural consideration of the source of all our misfortunes is often really just a futile scratching of the surface, and that true causes go much deeper and touch the core

4 He came upon the idea after he watched Utisak nedelje (Impression of the Week), the show hosted by Olja Bećković on TV B92. One of the impressions was cemetery objects this project deals with.

of our individual and collective being. The name of this project, ironically, refers to a very popular national reality entertainment television show.

The realization of this project, however, had not found its proper medium. The original idea to print a catalog modeled on the famous Ikea one, with interiors of cemetery buildings, had been abandoned, firstly because of the impossibility of realization, and secondly due to conceptual disagreements within the group. Furthermore, Rakić’s contact with the famous anthropologist Ivan Čolović steered the group away from artistic solutions, and too close to the anthropological ones. Fringe areas, and a strong pull from different sides, have not resulted here in an artistic outcome, but as a process, and an insight into the deepest layers of local tragedy,it brought forth a rare, but possibly formative approach to this complex topic.

UStopia is the last work of the VacuumPack group5.It premiered in the Gallery Vinko Perčić, in Subotica, less than a month before Rakić’s death. Some three weeks after the Orthodox Christmas, when Rakić died, UStopia had its Belgrade premiere - in the Youth Center. The project consists of four parts: Liberty (American coins stamped on porcelain plates and stacked on top of each other, with multiple meanings, and an even more interesting detail - the portrait of President Lincoln is the only one turned towards the right and has a copper/dark hue, an allusion to his specific attitude towards African Americans, while all the others are turned towards the left, and all are silver/light/‘white’color), UStopia (a black-

5 This work is cumulative in character and appeared in parts since 2007. For example, the workLiberty appeared on the cover of the magazine Pogonik in February 2007, in the same issue in which Rakić gave an interview.

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and-white photograph with interventions: New York / Manhattan watched by an unidentified man, with one hand shielding his eyes from direct sunlight), Spare memories (an unusually poeticized scene, two color photographs, a table with a lamp and empty frames for home photographs) and 7 Suits a Week (a ‘cut out’ of the contours of a man in a shirt, tie, socks and shoes, but in his underwear, beside a movable frame for suits that has seven hangers,one suit on each –for every day of the week).

In this work, the United States are presented as an expression of pure fascination, even in parts that could be possibly interpreted as a warning or open criticism (in the work: Spare memories), which Rakić referred to as ‘paradoxes’ in the text for UStopia. The US is the living expression of all Rakić’s aspirations. He cannot find utopia in this country, a place which does not exist, rather a place which is there, that, at the same time,exists in the most concrete and perfectly symbolic way, combining all his preoccupations, aspirations, hopes and efforts.

Conclusion

We can observe inRakić’s work permanent non-aggressive tactics of overcoming through adjustment, rather than demands forabolition. This may be even more apparent in his personality than in his artistic legacy. He was devoted, not fanatical, disciplined, not totalitarian, efficient, not schematic, ethical and not puritanical – which makes Dragan Rakić not only an unusual figure, but one worth saving from oblivion or, even worse, meaningless generalizations. The longevity of his artistic presence goes well beyond an incident or

some other hasty response to the era in which he worked and created. The complexity of his interests and the patience that he had in the atmosphere of continuous demands for automatic socio-current reactions, are the qualities that rank his contributions towards a unique form of, as we mentioned earlier, thwarted mainstream - an expected level if it were not for the general devastation – rather than within the attempts of a politically inspired avant-garde. Art was for him an expression of the creative act which stands in dire contrast to the destructionresorted to equally by the political authorities and the opposition. A work of art, as a product of high culture, designed more for export than for internal use, a standard which he could not give up so easily, mixed tendencies in his work towards management, business administration, transactions for which he might have been capable, but hardly interested in. His interest in research, process and ideas, collaboration, and the joy of teaching, all in simplicity and humility, which still leave one speechless, put us in a position to defend thatwhich we may not know well enough to express and justify in the ‘fuzzy state’ of the world Rakić departed from far too early.

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Muzej savremene umetnosti Vojvodine, Novi Sad

Slike

Preobraženje, iz ciklusa Kružno-kvadratno, 1990–1991. zemlja, pesak, kamen, voda i zemljani pigment, 2x(220x110 cm) (str. 31)

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.zemlja, pesak, kamen, voda i zemljani pigment, 2x(220x110 cm) (str. 30)

Tri, iz ciklusa Brojevi, 1992–1994.ulje i akril, 2x(200x100 cm) (str. 51)

Četiri, iz ciklusa Brojevi, 1993. akrilik na muslinu, 130x130 cm

Šest, iz ciklusa Brojevi: 1992–1994.aluminijum, vosak, akril, 2x(200x100 cm) (str. 54)

Deset, iz ciklusa Brojevi, 1993.akrilik na platnu, poliester, puževi, 2x(200x100) cm (str. 55)

Deset, iz ciklusa Brojevi, 1992–1994.durlin, poliester, metal, 2x(51x51x4,5 cm) (str. 58)

Skulpture

Pitanje i odgovor, iz ciklusa Kružno-kvadratno, 1990–1991. zemlja, pesak, drvo, beton, kamen, 100x100x23 cm (str. 35)

Budućnost, 1992. kombinovana tehnika, 243x67x87 cm (str. 76)

Nula, iz ciklusa Brojevi, 1992–1994. drvo, metal, poliester, 200x18/28,5x60 cm (str. 75)

Tri, iz ciklusa Brojevi, 1992–1994. drvo, metal, golubija pera, 200x180x66 cm (str. 73)

Deset, iz ciklusa Brojevi, 1992–1994. drvo, kamen, hleb, metal, guma, cirada, 190x230x145 (21) cm (str. 74)

Crteži i grafika

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na tapetu, 19,8x26,9 cm

Raspeće, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na platnu kaširanom na karton, 30x30 cm

Rođenje, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na tapetu, 19,8x24,5 cm

Rođenje, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,4x9,2 cm

Rođenje, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na kartonu, 30x30 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na tapetu, 27,2x20 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 12,2x12 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na papiru, 12,2x12 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Pitanje – odgovor, iz ciklusa Kružno-kvadratno, 1990–1991.olovka na papiru, 9,3x9 cm

Preobraženje, iz ciklusa Kružno-kvadratno, 1990–1991.kombinovana tehnika na kartonu, 21x21 cm

Tri, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 18,7x20 cm

Tri, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 35x35 cm

Dva, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 24x15,5 cm

Dva, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na kartonu, 36x36 cm (str. 60)

Dva, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 13,5x14,2 cm

Dva, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 13,4x14 cm

Pet, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na kartonu, 34x33,8 cm

Pet, iz ciklusa Brojevi, 1992.olovka na papiru, 19x23 cm

Pet, iz ciklusa Brojevi, 1992.olovka na papiru, 14x20,7 cm

Pet, iz ciklusa Brojevi, 1992.olovka na papiru, 12,1x12 cm

Pet, iz ciklusa Brojevi, 1992.olovka na papiru, 11x11 cm

Pet, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 13,5x14 cm

Pet, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 18x24,5 cm

Sedam, iz ciklusa Brojevi, 1992.Kombinovana tehnika na papiru, 34x34cm (str. 90)

Sedam, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na karton, 24x19,2 cm

Sedam, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 24, 6x20 cm

KATALOG RADOVA DRAGANA RAKIĆA

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Sedam, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 17,5x14 cm

Sedam, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 28,8x20 cm

Broj devet, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na karton, 34 x 34 cmsign. pol. sred: Драган Ракић, април 1992. год.

Devet, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na karton, 35x34,7cm

Devet, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 21x15,7cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 20x24,5 cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 13,5x14 cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 14x13,5 cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na tapetu, 16,4x20,7 cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na kartonu, 19,2x19,4 cm

Deset, iz ciklusa Brojevi, 1992.kombinovana tehnika na kartonu, 23x23 cm

Broj četiri, iz ciklusa Brojevi, 1992. kombinovana tehnika na platnu kaširanom na karton, 35x35 cmsign. pol.sred: Драган Ракић, јануар 1992. год.

Četiri, iz ciklusa Brojevi, 1992.kombinovana tehnika na kartonu, 33,7x33,4 cm

Četiri, iz ciklusa Brojevi, 1992.kombinovana tehnika na platnu kaširanom na karton, 35x35 cm

Četiri, iz ciklusa Brojevi, 1992.olovka, 30x22 cm

Četiri, iz ciklusa Brojevi, 1992.olovka na papiru, 13x17,5 cm

Četiri, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 16x16 cm

Četiri, iz ciklusa Brojevi, 1992.tuš na papiru, 20x14 cm

Četiri, iz ciklusa Brojevi, 1992.tuš na papiru, 20x14 cm

Šest, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 20x14,2 cm

Šest, iz ciklusa Brojevi, 1992.hemijska olovka, 20 x 14 cmŠest, iz ciklusa Brojevi, 1992.kombinovana tehnika na tapetu, 19,5x24,2 cm

Šest, iz ciklusa Brojevi, 1992.hemijska olovka, 19,7x14 cm

Šest, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 14x14 cm

Nula, iz ciklusa Brojevi, 1992.olovka na papiru, 20x29 cm

Nula, iz ciklusa Brojevi, 1992.kombinovana tehnika na tapetu,15,7x15,7 cm

Nula, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 21x14,5 cm

Simetrija – Harmonija, iz ciklusa Brojevi, 1992.kombinovana tehnika na papiru, 16,2 x 16,6 cm

Simetrija – Harmonija, iz ciklusa Brojevi, 1992.kombinovana tehnika na tapetu, 2x(24,2x39 cm) (str. 56-57)

Simetrija – Harmonija, iz ciklusa Brojevi, 1992.kombinovana tehnika na tapetu, 20,5x16 cm

Simetrija – Harmonija, iz ciklusa Brojevi, 1992.kombinovana tehnika na kartonu, 19x24 cm

Skica za skulpturu (bez naziva), ?kombinovana tehnika na papiru, 32,4x31,7 cm

Apsolutno, 1995.serigrafija, 56x36 cmsign. d.l: Апсолутно Драган Ракић (str. 40)

Vlasništvo Tanje Rakić, Sombor

Iz ciklusa Urbus quadratus, 1989.ulje na platnu, 200x200 cm (str. 26)

Iz ciklusa Urbus quadratus, 1989.ulje na platnu, 200x200 cm (str. 26)

Iz ciklusa Urbus quadratus, 1989.ulje na platnu, 200x200 cm (str. 27)

Iz ciklusa Potraga za svetim gralom, 1989.ulje na platnu, 200x200 cm (str. 25)

Iz ciklusa Potraga za svetim gralom, 1989.staklo, ogledalo, kamen, plavi kamen, zemlja, vosak, 105x20x19,5 cm (str. 28)

Iz ciklusa Potraga za svetim gralom, 1989.staklo, kamenje, plavi kamen, zemlja, vosak, 39,5x40x15 cm (str. 29)

Postanak dobrog čoveka, Kružno, iz ciklusa Kružno-kvadratno, 1990‒1991.kombinovana tehnika, 200x200 cm (str. 32)

Rođenje, Kružno, iz ciklusa Kružno-kvadratno, 1990‒1991. kombinovana tehnika, 200x200 cm (str. 33)

Tri, skica, iz ciklusa Brojevi, 1992. tuš, tempera, ulje na platnu, 45x45 cm

Pet, iz ciklusa Brojevi, 1992.ulje na platnu, 200x200cm (str. 52)

Dva, iz ciklusa Brojevi, 1993.ulje na platnu, 200x200cm (str. 50)

Devet, iz ciklusa Brojevi, 1993. pigment na platnu s elementima polietilenske smole, 200x200 cm (str. 59)

Jedan, iz ciklusa Brojevi, 1992‒1994. pleksiglas, strele, olovke u boji, 2x(70x120 cm) (str. 49)

Bez naziva (Penkalo), 1995. plastika, metal, 197x20 cm, O: 53 cm

Bez naziva (Jedro), 1995.(?)plastika, metal, drvo, platno, penkalo: 203x20 cm, O: 56 cm; jedro: 288x177 cm (str. 77)

Gradski muzej Sombor

Iz ciklusa Kružno-kvadratno, 1990.kombinovana tehnika na papiru i drvetu (rad iz tri dela), 2x(41,5x41,5 cm) i 43,5x43,5 cmInv. br. 413 GMSO/SU (str. 36)

Udruženje građana “Ravangrad”, Sombor

One, 1994.drvo, metal i staklene cevi, luk: 193x176 cm; strela (dijagonala): 223cm; slovo A: 44x40cm (str. 98)

Vlasništvo Aleksandra Momčilovića, Beograd

Iz ciklusa Urbus quadratus, 1989.ulje na platnu, 28x28 cm

Preobraženje, iz ciklusa Kružno-kvadratno, 1990–1991. kombinovana tehnika na kartonu, 35x35 cm

Sedam iz ciklusa Brojevi, 1992–94.furnir, metal, akril na platnu, 200x200 cm (str. 53)

116

Museum of Contemporary Art Vojvodina, Novi Sad

Paintings

Transfiguration, from the series Circular-Square, 1990-1991; earth, sand, stone, water and earth pigment, 2 x (220 x 110 cm) (p 31)

Crucifixion, from the series Circular-Square, 1990- 1991; earth, sand, stone, water and earth pigment, 2 x (220 x 110 cm) (p 30)

Three, from the series Numbers, 1992-1994; oil and acrylic, 2 x (200 x 100 cm) (p 51)

Four, from the series Numbers, 1993; acrylic on muslin, 130 x 130 cm

Six, from the series Numbers: 1992-1994; aluminum, wax, acrylic, 2 x (200 x 100 cm) (p 54)

Ten, from the series Numbers, 1993; acrylic on canvas, polyester, snails, 200 x 200 cm (p 55)

Ten, from the series Numbers, 1992 -1994; Painting-object: durlin, polyester, metal, 51 x 51 x 4.5 cm (p 58)

Sculptures

Question and Answer, from the series Circular-Square, 1990-1991; earth, sand, wood, concrete, stone, 100 x 100 x 23 cm (p 35)

Future, 1992; mixed media, 243 x 67 x 87 cm (p 76)

Zero, from the series Numbers, 1992-1994; wood, metal, polyester, 200 x 18/ 28.5 x 60 cm (p 75)

Three, from the series Numbers, 1992-1994; wood, metal, dove feathers, 200 x 180 x 66 cm (p 73)

Ten, from the series Numbers, 1992-1994; wood, stone, bread, metal, rubber, tarpaulins, 190 x 230 x 145 (21) cm (p 74)

Drawings and Print

Crucifixion, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Crucifixion, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Crucifixion, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Crucifixion, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Crucifixion, from the series Circular-Square, 1990/1; mixed media on wallpaper, 19.8 x 26.9 cm

Crucifixion, from the series Circular-Square, 1990/1; mixed media on canvas laid on cardboard, 30 x 30 cm

Nativity, from the series Circular-Square, 1990/1; mixed media on wallpaper, 19.8 x 24.5 cm

Nativity, from the series Circular-Square, 1990/1; pencil on paper, 9.4 x 9.2 cm

Nativity, from the series Circular-Square, 1990/1; mixed media on cardboard, 30 x 30 cm

Question – Answer, from the series Circular-Square, 1990/1; mixed media on wallpaper, 27.2 x 20 cm

Question – Answer, from the series Circular-Square, 1990/1; pencil on paper, 12.2 x 12 cm

Question – Answer, from the series Circular-Square, 1990/1; mixed media on paper, 12.2 x 12 cm

Question – Answer, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Question – Answer, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Question – Answer, from the series Circular-Square, 1990/1; pencil on paper, 9.3 x 9 cm

Transfiguration, from the series Circular-Square, 1990/1; mixed media on cardboard, 21 x 21 cm

Three, from the series Numbers, 1992; mixed media on paper, 18.7 x 20 cm

Three, from the series Numbers, 1992; mixed media on paper, 35 x 35 cm

Two, from the series Numbers, 1992; mixed media on paper, 24 x 15.5 cm

Two, from the series Numbers, 1992; mixed media on canvas laid on cardboard, 36 x 36 cm (p 60)

Two, from the series Numbers, 1992; mixed media on paper, 13.5 x 14.2 cm

Two, from the series Numbers, 1992; mixed media on paper, 13.4 x 14 cm

Five, from the series Numbers, 1992, mixed media on canvas laid on cardboard, 34 x 33.8 cm

Five, from the series Numbers, 1992; pencil on paper, 19 x 23 cm

Five, from the series Numbers, 1992; pencil on paper, 14 x 20.7 cm

Five, from the series Numbers, 1992; pencil on paper, 12.1 x 12 cm

Five, from the series Numbers, 1992; pencil on paper, 11 x 11 cm

Five, from the series Numbers, 1992; mixed media on paper, 13.5 x 14 cm

Five, from the series Numbers, 1992; mixed media on paper, 18 x 24.5 cm

Seven, from the series Numbers, 1992; mixed media on paper, 34 x 34cm (p 90)

Seven, from the series Numbers, 1992; mixed media on canvas laid on cardboard, 24 x 19.2 cm

Seven, from the series Numbers, 1992; mixed media on paper, 24.6 x 20 cm

Seven, from the series Numbers, 1992; mixed media on paper, 17.5 x 14 cm

Seven, from the series Numbers, 1992; mixed media on paper, 28.8 x 20 cm

Number Nine, from the series Numbers, 1992; mixed media on canvas laid on cardboard 34 x 34 cm (signed reverse side middle: Dragan Rakić, April 1992)

Nine, from the series Numbers, 1992; mixed media on canvas laid on cardboard, 35 x 34.7cm

Nine, from the series Numbers, 1992; mixed media on paper, 21 x 15.7cm

DRAGAN RAKIĆ - CATALOG OF ART WORKS

117

Ten, from the series Numbers, 1992; mixed media on paper, 20 x 24.5 cm

Ten, from the series Numbers, 1992; mixed media on paper, 13.5 x 14 cm

Ten, from the series Numbers, 1992; mixed media on paper, 14 x 13.5 cm

Ten, from the series Numbers, 1992; mixed media on wallpaper, 16.4 x 20.7 cm

Ten, from the series Numbers, 1992; mixed media on cardboard, 19.2 x 19.4 cm

Ten, from the series Numbers, 1992; mixed media on cardboard, 23 x 23 cm

Number Four, from the series Numbers, 1992; mixed media on canvas laid on cardboard, 35 x 35 cm sign. pol. sred: Dragan Rakić, January 1992.

Four, from the series Numbers, 1992; mixed media on cardboard, 33.7 x 33.4 cm

Four, from the series Numbers, 1992; mixed media on canvas laid on cardboard, 35 x 35 cm

Four, from the series Numbers, 1992; pencil, 30 x 22 cm

Four, from the series Numbers, 1992; pencil on paper, 13 x 17.5 cm

Four, from the series Numbers, 1992; mixed media on paper, 16 x 16 cm

Four, from the series Numbers, 1992; ink on paper, 20 x 14 cm

Four, from the series Numbers, 1992; ink on paper, 20 x 14 cm

Six, from the series Numbers, 1992; mixed media on paper, 20 x14.2 cm

Six, from the series Numbers, 1992; ballpoint pen, 20 x 14 cm

Six, from the series Numbers, 1992; mixed media on wallpaper, 19.5 x 24.2 cm

Six, from the series Numbers, 1992; ballpoint pen, 19.7 x 14 cm

Six, from the series Numbers, 1992; mixed media on paper, 14 x 14 cm

Zero, from the series Numbers, 1992; pencil on paper, 20 x 29 cm

Zero, from the series Numbers, 1992; mixed media on wallpaper, 15.7 x 15.7 cm

Zero, from the series Numbers, 1992; mixed media on paper, 21 x14.5 cm

Symmetry – Harmony, from the series Numbers, 1992; mixed media on paper, 16.2 x 16.6 cm

Symmetry – Harmony, from the series Numbers, 1992; mixed media on wallpaper, 2 x (24.2 x 39 cm) (p 56-57)

Symmetry – Harmony, from the series Numbers, 1992; mixed media on wallpaper, 20.5 x 16 cm

Symmetry – Harmony, from the series Numbers, 1992; mixed media on cardboard, 19 x 24 cm

Sketch for a sculpture (untitled), ?, mixed media on paper, 32.4 x 31.7 cm

Apsolutno 1995, serigraph, 56x36 cm, signed lower left: Apsolutno Dragan Rakić (p 40)

Owner: Tanja Rakić, Sombor

From the series Urbus quadratus, 1989; oil on canvas, 200x200 cm (p 26)

From the series Urbus quadratus, 1989; oil on canvas, 200x200 cm (p 26)

From the series Urbus quadratus, 1989; oil on canvas, 200x200 cm (p 27)

From the series Quest for the Holy Grail, 1989; oil on canvas, 200x200 cm (p 25)

From the series Quest for the Holy Grail, 1989; glass, mirror, stone, blue stone, earth, wax, 105x20x19.5 cm (p 28)

From the series Quest for the Holy Grail, 1989; glass, stones, blue stone, earth, wax, 39.5x40x15 cm (p 29)

Genesis of a Good Man, Circular, from the series Circular-Square, 1990-1991; mixed media, 200x200 cm (p 32)

Nativity, Circular,from the series Circular-Square, 1990-1991; mixed media, 200x200 cm (p 33)

Three, from the series Numbers,1992; ink, tempera, oil on canvas, 45x45 cm

Five, from the series Numbers, 1992, oil on canvas, 200x200 cm (p 52)

Two, from the series Numbers, 1993, oil on canvas, 200x200 cm (p 50)

Nine, from the series Numbers, 1993; pigment on canvas with elements of polyethylene resin, 200x200 cm (p 59)

One, from the series Numbers, 1992‒1994; plexiglass, arrows, colored pencils 2x (70x120 cm) (p 49)

Untitled (Pen), 1995; plastics, metal, 197x20 cm, W: 53 cm

Untitled (Sail), 1995 (?); plastic, metal, wood, canvas, pen: 203x20 cm, W: 56 cm; Sail: 288x177 cm (p 77)

City Museum Sombor

From the series Circular-Square, 1990, mixed media on paper and wood (work in three parts), 2x (41.5x41.5 cm) and 43.5x43.5 cm Inv. no. 413 GMSO / SU (p 36)

Citizen Association Ravangrad, Sombor

One, 1994; wood, metal, and glass pipes, bow: 193x176 cm; arrow (diagonal): 223cm; letter A: 44x40cm (p 98)

Owner: Aleksandar Momčilović, Belgrade

From the series Urbus quadratus, 1989; oil on canvas, 28x28 cm

Transfiguration, from the series Circular-Square, 1990-1991; mixed media on cardboard, 35x35 cm

Seven, from the series Numbers, 1992-94; veneer, metal, acrylic on canvas, 200x200 cm (p 53)

“Rako, hvala ti! Deca Sombora”, natpis na zidu zgrade u Somboru gde je živeo Dragan Rakić

“Thank you, Raka! The Children of Sombor”, wall inscription on a building in Sombor where Dragan Rakić has lived

Dragan Rakić: JEDAN, ONE, UNO, EINumetnost. istraživanja. aktivizam. 1989‒2009.

Dragan Rakić: JEDAN, ONE, UNO, EINart. research. activism. 1989‒2009. Izdavači  I  Published by Muzej savremene umetnosti Vojvodine Museum of Contemporary Art Vojvodina 21000 Novi Sad, Dunavska 37 [email protected],  www.msuv.org

Gradski muzej SomborThe Town Museum of Sombor25000 Sombor, Trg Republike [email protected], www.gms.rs Za izdavače  I  Executive Publisher Sanja Kojić MladenovBranimir Mašulović Urednici  I  Editors mr Suzana VuksanovićČedomir Janičić Tekstovi  I  Texts mr Suzana VuksanovićKristian LukićČedomir Janičić Prevod  I  Translation Milana Vujkov Lektura  I  Proofreading Aleksandra Herceg-Roknić Dizajn  I  Design Mirjana Dušić-Lazić Fotografije  I  Photographs by Marko ErcegovićMiša KeskenovićPavle Karabasil Štampa  I  Print Službeni glasnik, Beograd

Tiraž: 400 ISBN 978-86-6333-029-0 Pokrovitelj MSUV  I  The Patronage of MoCAV Pokrajinski sekretarijat za kulturu i javno informisanje Provincial Secretariat for Culture and Public Information

Pokrovitelj Gradskog muzeja Sombor  I  The Patronage of The Town Museum of SomborGrad Sombor  I  The City of Sombor

CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад

7.071.1:929 Rakić D.(083.824)

РАКИЋ, Драган, 1957-2009 Dragan Rakić : jedan, one, uno, ein : umetnost, istraživanja, aktivizam 1989-2009 / [tekstovi, texts Suzana Vuksanović, Kristian Lukić, Čedomir Janičić ; prevod, translation Milana Vujkov ; fotografije, photographs by Marko Ercegović, Miša Keskenović, Pavle Karabasil]. - Novi Sad : Muzej savremene umetnosti Vojvodine, 2016 (Beograd : Službeni glasnik). - [120] str. : ilustr. ; 21 x 26 cm

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

ISBN 978-86-6333-028-3

a) Ракић, Драган (1957-2009) - Изложбени каталози COBISS.SR-ID 305662983

Budućnost, 1992. kombinovana tehnika, 243x67x87 cmvl. Muzej savremene umetnosti Vojvodine

Future, 1992 mixed media, 243x67x87 cm owner: Museum of Contemporary Art Vojvodina

MUZEJ SAVREMENEUMETNOSTI VOJVODINE

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M. 1989‒2009.