IIt is already a step forward to sit down

at the typewriter. To start writing is so pleas-ing that it requires a testimony. Lovetowards the text is unquestionable, but tomove one’s essayistic will forwards, insteadof backwards or aside, represents an impor-tant communicational step. The holiness ofmotivation has always fascinated me.Therefore, this motivation of mine - theintriguing art - will get from me an intriguingtext. This equation is a worldview.

Let it be an essay. Since texts can beeither art historical or/and texts written byartists about other artists, with an ambitionto spread the anthropological fan of ourartistic times, I make my contribution withshy and occasional attempts to write aboutartists that I feel close to myself and aboutthe demands of their poetics. I am referringhere, for example, to my texts about theGroup of six artists, about Mangelos, andabout the inevitable, drastic and loud artistVlasta Delimar, author of numerous per-formances and cycles of staged photo-graphs, ambiences, and installations. Thefollowing is a qualitative remark - I amalready writing the ninth text about aVlasta: Vlasta Martek, Vlasta Cvetajeva, etc.Let the readers make their own distinctions.One thing is an unquestionable anágke:when the context opens and constructs itselfin front of one and thus obtains an (artistic)fate through its contemporaries, then thedramatization of its creative measure fulfillsitself precisely in the relation revealed by thesyntagm: disciple and master alike. I amalluding to the universality of participationand to the ethic character of experience.

IIThe aim of this anarchic-trade-unionist

text is to point out some of the touching poi-nts between those carriers of artistic strandswho use street as their scene, further thebody and the signs of the public, and alsothe accentuated sensibility of romanticism.Such procedure counts upon the literal andslow reception by the audience, but the lo-nging of their sublimation is identical onlywith life itself, not with the fragmental char-acter of art.

I must refer here to Jacques Lacan,though I could say: I may refer to him.According to Lacan, everything is literature:psychoanalysis is literature because the

INapredak je veÊ otvoriti pisaÊi stroj.

PoËeti pisati toliko je ugodno da traæi svje-doËanstvo. Ljubav prema tekstu neupitna je,ali pokrenuti svoju esejistiËku volju unapri-jed umjesto unazad ili u stranu, odluËan jekomunikacijski korak. Svetost motivacijeoduvijek me fascinirala. Dakle, motivacijami je ova - intrigantna umjetnost dobit Êeintrigantan tekst. Ova jednadæba je pogledna svijet.

Neka bude esej. Otkako tekstovi mogubiti kunsthistoriËarski i/ili tekstovi umjetnikao drugim umjetnicima, a s ambicijom da ra-stvore antropoloπku lepezu naπeg dobaumjetnosti, otada je moj stidljiv i povremeniobiËaj da piπem o sebi bliskim umjetnicimai zahtjevima njihovih poetika. Na primjer, tosu tekstovi o Grupi πestorice autora, o Man-gelosu, te o nezaobilaznoj, drastiËnoj i bu-Ënoj umjetnici Vlasti Delimar, autorici bro-jnih performansa i ciklusa insceniranih foto-grafija, ambijenata i instalacija. Ovo je kval-itativna primjedba - ispisujem veÊ deveti te-kst o Vlasti: o Vlasti Martek, o Vlasti Cveta-jevoj itd. Nek’ Ëitatelji ponovno i po svojem- razdvoje. Jedno je neupitni ananke: kadase Ëovjeku otvori i sloæi kontekst te prekosvojih suvremenika zadobije (umjetniËku)sudbinu, onda je dramatizacija njegovekreativne mjere ispunjena upravo u relacijikoja se otkriva sintagmom: uËenica i uËitelji-ca istodobno. Aludiram na univerzalnostparticipacije i na etiËnost iskustva.

IIIntencija ovog anarho-sindikalnog teks-

ta jest istaknuti neke dodirne toËke onihnositelja umjetniËkih usmjerenja koji koristeulicu kao scenu, potom tijelo i predznakejavnog i naglaπenu osjeÊajnost romantiËar-stva. Takvi postupci raËunaju na doslovnosti polaganost u primanju publike, no æudnjanjihove sublimacije identiËna je tek s æivo-tom, a ne s parcijalnoπÊu umjetnosti.

Moram se pozvati na Jacquesa Lacana,iako bih mogao reÊi: mogu se pozvati. Ponjemu je sve literatura: psihoanaliza jest li-teratura jer ono nesvjesno jest sam jezik. Nesamo to - i znanje jest jezik. To svakako jestna ovom podruËju pisanja o umjetnosti. Ra-Ëunica u zakljuËku je jasna: pisanje kaoantioprez i odsustvo laganja, odnosno opÊikonsensus protiv laæi kao getoizirane istine inabijenost svih emocijama sudjelovatelja, tj.

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t lvlado martek

performans kaohrabrost i etiËka fikcijaperformance ascourage and ethical fiction

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unconscious is language itself. Not only that- also the knowledge is language. It certain-ly fits in this field of writing about art. Theconclusion is self-evident: writing becomesanti-caution and the absence of lie, that is,a general consensus against the lie as theghettoized truth, as well as the state ofeverybody being loaded with the emotionsof the participant: that is, the author of thetext, the artist, and the benevolent readersof Æivot umjetnosti. Let me underline thisconsensus. For - not without a reason - Ihave been indirectly accentuating the paro-dy of lie as the only possible choice of artproduction today. The street is certainlyboth the indicator and the laxative. Artisticactivity in the street can guarantee the real-ity of investment.

Vlasta Delimar, namely, the heroine ofthis text, an artist formed upon the art of the70s, breaks up with the production of falseidentifications, of all possible substitutesand simulations. Her performances are asdirect as is the street, as is the notion of thepublic and the naked.

teksto-pisca, umjetnice te benevolentnihËitatelja æivota umjetnosti. Nek’ padne u oËitakav dogovor. Jer, ne bez razloga, indirekt-no apostrofiram parodiju laæi kao jednogmoguÊeg izbora proizvodnje umjetnostidanas. Ulica je svakako lakmus i purgativ.UmjetniËko djelovanje na ulici moæe bitizalog stvarnosti ulaganja.

Naime, Vlasta Delimar, junakinja teks-ta, umjetnica formirana na umjetnosti sedam-desetih, obustavlja proizvodnju laænih iden-tifikacija svih moguÊih supstituta i simulaci-ja. Njeni performansi su direktni kao πto jedirektna ulica i kao πto je izravan pojamjavnog ili nagog.

IIIPrva stvar koja mi pada na pamet u

vezi s performansom ©etnja Lady Godive jehrabrost. To je Ëudna kategorija za opisiva-nje djela. Ali kako su u ovom sluËaju i priËai njena junakinja umjetnica identiËno hrabri,taj provokativni kvalitativ Ëini se opÊim usmislu jednog nedavnog grafita: “Ma πtoradili, budite hrabri kao umjetnici.” Poruka

sl.1/2: V. Delimar, ©etnja Lady Godive / Lady GodivaTaking a Walk, 2001., foto / photo: B. Demur

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je prezasiÊena, ali u tome je stvar - bilo dase radi o citatima i/ili etiËkom. Golo tijeloæene, koliko eksploatirano, toliko i priËuvanokao materijal podsvijesti, element je naj-raznovrsnijeg denunciranja ili miniranja onihkoji se nisu snaπli s otvorenim porukama iobavezujuÊom istinom umjetnosti: da jeneπto ponueno i dato, te da postoji shi-zofreno odbacivanje barem polovice onogπto je dato. Valjda je to nepoπtena glupostnajËeπÊe getoiziranih patrijarhalnih perjani-ca. To je dubioza neotËitavanja tijela koje iu danaπnje vrijeme opstaje kao najveÊakonkretnost i najveÊa metafora. Recepcijaradikalnih nastupa pripada autoru na gotovoËudan naËin negativne utopije jer snaænaidentifikacija ubrzo prelazi u zavist neost-varene slobode. Jahanje bijelog konja golimtijelom æene ima u sebi bataillevsko preko-mjerje groteske. SjeÊate se: konj, muπkarac(odjeven i gotovo uvijek s oruæjem), ratnik.Slika gole nenaoruæane æene predaleka je zausporedbu, ali ipak... Svakako, to je poetskaslika i uspostavlja se veza koja generiramnoge plodne nesporazume, kakve izra-æavaju Vlastini performansi s ulice, iz izlogai parka. Konj je ujedinitelj svih moguÊnostiznaËenja. Dakako, to je i publika u svomepostfestumu. Trebalo bi oko osam reËenicada opiπem poruku samog performansa, cr-peÊi πto iz Vlastinih izjava, πto iz povijestiumjetnosti XX. stoljeÊa (npr. konji J.Kounelisa, hrabrost nastupa M. AbramoviÊ),ali to neÊu napisati. Stoga, Ëitatelji,razmiπljajte o konju koji figurira izmeu mu-πkog i æenskog svijeta predstavljanja, te ouliËnom dogaanju kad je izbjegnuta polici-ja, a njeno neprisustvo je znaËajnije od pri-sustva. Zakon kao ono oËekivano sporednaje intriga u odnosu na spolne predznake.Imanentni adut golog tijela kojim æena javnoraspolaæe u komunikaciji joπ je uvijek ne-potroπen unatoË eksploataciji koja graniËi stupoπÊu. Pogotovo ovdje u Zagrebu, na per-iferiji svijeta, gdje je patrijarhat u srediπnjojfazi licemjerja. Dakle, moguÊe je javnimtijelom uËiniti pomak, potencijalno duhovnopomicanje koje u izjednaËavanju s razinamasvijesti konzumenata vodi promjenama.

Pedeset godina ionako niπta ne znaËe uplemensko-graanskoj dinamici osvjeπtenja.Da personificiram: Umjetnost (pod)nosi iz-bor umjetnika kao nesagledivo umjetnikovoetiËko opredjeljenje. Kako smo u naπe dobanauËeni sve πto se radi sagledati kao svjesniili nesvjesni rigorozni posljediËni izbor iopredjeljenje, tako nam se nameÊe i zaklju-Ëak: Djelo nije napravljeno/izvedeno radiautora (to je neko nedefinirano predstanje);

IIIThe first thing that occurs to me con-

cerning the performance Lady GodivaTaking a Walk is courage. It might seem aweird category for describing a work of art.However, since in this case both the storyand her heroine show themselves equallycourageous, this provocative qualificationappears general in the sense of a recentgraffito: “Whatever you do, be as coura-geous as artists are.” The message is over-loaded, but this is precisely the point - con-cerning both quotations or/and the ethical.The naked body of a woman, howeverexploited, is preserved as the raw materialof the subconscious and presents an ele-ment of most diverse denunciations orundermining of those who could not copewith open messages nor with the bindingtruth of art: that something is offered andgiven and that there is a schizophrene rejec-tion of at least half of what is given. I guessit is the unfair stupidity of the mostly ghet-toized patriarchal plumes. It is the ambigui-ty of non-reading of the body, whichremains today as the most concrete and thegreatest metaphor. The reception of radicalperformances belongs to the author in thealmost weird form of a negative utopia,since powerful identification soon turns intothe envy of the unrealized freedom. Theimage of a naked woman riding a whitehorse contains something of the almostgrotesque exaggeration of Bataille. You cer-tainly remember: a horse, a man (dressedand almost always armed), warrior. Theimage of a naked unarmed woman is a bittoo far from that for comparison, but still...It is definitely a poetical image and it estab-lishes a connection that generates a greatnumber of fruitful misunderstandings, suchas created by Vlasta’s performances in thestreet, in shop-windows and parks. Thehorse is the unifying factor of all possibilitiesof meaning. Certainly, it is joined in thatfunction by the audience in its postfestum. Iwould need about eight sentences todescribe the message of the performance,drawing some from Vlasta’s own state-ments, others from the history of the 20th

century art (e.g. the horses of J. Kounelis,the courage of performance of M.AbramoviÊ), but I will not write them down.Therefore, dear reader, think of the horsefeaturing between the male and femaleworlds of presentation, and of a street eventwhich managed to escape the police - theabsence of which is more important than itspresence would have been. The law as the

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expected is a side intrigue related to sexualconnotations. In communication, womanstill holds the immanent weapon of hernaked body, and it is still unspent, despitethe amount of exploitation that is almostdull. Especially here, in Zagreb, at theworld’s margins, where patriarchal relation-ships are in the central phase of hypocrisy.Thus, it is possible to make a move bymeans of a publicly exposed body, a poten-tially spiritual move which, being identifiedwith the levels of consciousness of the con-sumers, leads to changes.

Fifty years mean nothing anyway in thetribal-bourgeois dynamics of enlightenment.Let me personify: Art brings/bears thechoice of the artist as his broad ethical posi-tion. Since in our times we are used to vieweverything that is being done as the con-scious or unconscious rigorously resultativechoice and position, we are bound to con-clude the following: Work of art is notdone/performed for the sake of the artist (itis an undefined pre-state); it is in its socio-logical and personal essence the choice ofheart, soul, spirit, the choice of the Other. Intheir form, performances turn into the dou-ble content, a certain annihilation and dissi-pation of the subject.

IVAs early as the first performance at the

beginning of the 80’s (Changing clothes)contained a moment of appearance of anaked body, in the sense of a body clothedin nakedness (or, better said: marked bynakedness). At that time, contact with audi-ence had the meaning of a vow to futurenakedness, which was in the years to followfulfilled by means of staged photographs,installations, performances, or ambiences.As if nakedness guaranteed the provocativedirectness of intimacy and transparency.But since works of art are by nature a circleof confessions of truths in possession (evengeometry), which they seductively offer toour gaze, one could receptively accept adouble phase of the naked body and thenaked purposiveness of the content. If theconsumer wished so, he could collapse infront of the total amount of directness on theline autobiography - body. The issue ofchoice determines the stay on the reading ofthe scandalous and the exhibitionist.Otherwise, the glamorous evidence of thebody, of things and their symbols and sub-symbols, might be taken for the nihilist sat-isfaction of a more or less precise truth con-cerning our incarnation - here, now, in this

ono je po svojoj socioloπkoj i autorskoj bitiizbor srca, duπe, duha, izbor Drugog.Performansi po svojoj formi postaju dvo-struki sadræaj, odreeno poniπtenje i rasapsubjekta.

IVVeÊ prvi nastup na poËetku osamde-

setih godina (PresvlaËenje) imao je kaojednu od niza toËaka pojavljivanje gologtijela u znaËenju tijela odjevenog golotinjom(bolje reÊi: oznaËenog golotinjom). Taj on-daπnji kontakt s publikom imao je znaËenjezavjeta buduÊe ogoljelosti, bilo to kasnijihgodina realizirano insceniranim fotografija-ma, instalacijama, performansom ili ambi-jentima. Kao da je nagost garancija pro-vokativne direktnosti intime i prozirnosti.No, kako su umjetniËka djela svojom pri-rodom krug ispovijedanja posjedovanih isti-na (Ëak i geometrije) koje draæesno nude na-πem pogledu, tako se moæe prijemËivo prih-vatiti dvostruki stupanj golog tijela i golenamjernosti sadræaja. Kada bi konzumenthtio, mogao bi svisnuti pred ukupnim bro-jem direktnosti na liniji autobiografija - tije-lo. Pitanje izbora odreuje ostanak na oËita-vanju skandaloznog i egzibicionistiËkog. Udrugom sluËaju mogla bi se glamurozna evi-dencija tijela, stvari i njihovih simbola i pod-simbola uzeti kao nihilistiËka zadovoljπtinamanje-viπe precizne istine koja se dotiËenaπe inkarniranosti - ovdje, sada, ovako.Dirljiva umjetnost uskraÊuje svoju doslov-nost publici jednom maestralnom varkom, a

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sl.3: V. Delimar, Razgovor s ratnikom ili æena jenestala / Conversation with the Warrior or Womenhas disappeared, 1999.

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eventualnu katarziËnost Ëini tajnovitom.Privid je da umjetnik Ëini neπto umjesto nasi da nas doæivljaj bezbriæno oslobaa.

VZanimljiva je prisutnost æivotinja u

suvremenoj umjetnosti. One mogu biti objekt,subjekt i simbol. U performansu ©etnja LadyGodive u konju Petku sjedinjene su sve triuloge. Historijska priËa uz suvremeni obiËajinstrumentaliziranja datosti poËiva natrostrukoj diskurzivnosti tijela konja. Golotijelo performerke moæe izdræati istu tro-struku znaËajnost svoje pojave. Zavisi izkojeg kuta i iz kojeg se duhovnog interesasagledava performans. (Umjetnost danas usvojem rasapu, bez sumnje, na jednom kra-ju dotiËe æar duhovnog interesa.) Dakle, ujednoj idealnoj ravnoteæi svojih aspekata ti-jela konja i umjetnice ravnopravni su uusloænjenosti njihove pojavnosti na ulici. Ilibi se moglo reÊi: ekspresija je podvuËena.

Skandaloznost ipak ne dolazi od poma-lo groteskne prisutnosti konja na danaπnjojulici, veÊ stiæe kroz spoj javnog protesta ispokojnosti radne simbioze koju Ëine konjna ulici i golo tijelo æene. Arhetipski je prizorkoji u mnogima poËiva (a brojni spomeni-ci/skulpture ga podræavju) - muπkarac nakonju, odjeven, Ëesto ratniËki odjeven, tenaoruæan, ponekad simboliËno, i smotulj-kom spisa. Taj dugovjekovni odjeveni pito-reskni egzibicionizam je iπËeznuo, ali sadagradovi poznaju gola tijela æena u moÊnimreklamama i u umjetniËkim pobunama raz-novrsno izraæenim od πezdesetih godina upojavama hepeninga, fluxusa, body arta.Doza pobune i danas imanentno æivi krozuliËne nastupe, samo πto ona ne cilja bi-tniËki na negaciju, nego upravo priziva, æelibiti, sugerira pozitivni stav. Ako tijelo nijezaboravljeno u automatizmu, ne moæe bitizanemaren duh emotivno otkupljujuÊe mani-festnosti umjetnosti (realizam nastupa,hiperrealizam prikaza itd.). Ukratko - umjet-nik ne surfa sam i za sebe, on sve Ëiniistodobno za sebe i za Druge (bez razlike ivaænosti koliko netko bio udaljen od æelje zasvjesnoπÊu).

Prema jednoj meritornoj podjeli umjet-nosti body arta na analitiËki, ekspresio-nistiËki i bihevioralni, gotovo svi performan-si Vlaste Delimar pripadaju u ekspresionisti-Ëke, ritualne, terapijske, egzistencijalne iz-vedbe. Uvjetno reËeno njezin je cilj kao isvih body artista da dou do predestetskih ipredumjetniËkih aspekata Ëinjenja i ponaπa-nja umjetnika, odnosno da sloæeni estetski i

way. The touching art deprives the audienceof its literal meaning by a masterful trick,while making the possible cathartic charac-ter mysterious. The deception lies in theidea that the artist does something insteadof us and that the experience of it is care-lessly liberating.

VOf particular interest is the presence of

animals in modern art. They can serve asobjects, subjects, or symbols. In the per-formance Lady Godiva Taking a Walk, thehorse Petko unifies all the three roles.Historical plot, combined with the modernhabit of instrumentalization of the given, isbased upon the triple discoursiveness of thebody of the horse. The naked body of theperforming woman is able to sustain anequal meaningfulness of its appearance. Itall depends from which angle and fromwhich cultural interest the performance isbeing viewed. (The art today, in its dissipa-tion, undoubtedly at its end touches the fer-vour of spiritual interest.) Thus, in an idealbalance of their aspects, the bodies of thehorse and the performer are equal in thecomplexity of their appearance in the street.I could also say: the expression has beenunderlined.

Nevertheless, the scandalous does notcome from the somewhat grotesque pres-ence of a horse on the street of today, butfrom the fusion of public protest and thecalmness of the working symbiosis of ahorse in the street and the naked body of awoman. The archetypical scene preserved inmany minds (and supported by numerousmonuments/statues) is a man on the horse,dressed, often as a warrior, and armed,sometimes symbolically, with a role of writ-ings. This centuries-long picturesquedressed exhibitionism has disappeared, butnow cities witness naked bodies of womenin powerful advertisements and in artisticrevolts, expressed in various ways since the60s in the appearance of the happening,fluxus, or body art. A dose of revolt still livestoday, immanently, through street perform-ances, only it does not aim any more atnegation in the style of beatniks, but on thecontrary - it evokes, it wants to be, it suggesta positive approach. If the body is not for-gotten in automatism, the spirit of emotion-ally redeeming manifestivity of art (the real-ism of performance, the hyperrealism ofpresentation, etc.) can not be neglected.Briefly - the artist does not surf alone and forhis own sake, he does everything for himself

sl.4/5: V. Delimar, Zrela æena / Mature Woman,1997.

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and for the Other at the same time (regard-less of how far one might be from the desirefor awareness).

According to a meritory classification ofbody art as analytic, expressionist andbehaviouristic, almost all performances ofVlasta Delimar belong to the expressionist,ritual, therapist, existentialist ones. Wemight conditionally say that her aim is, justlike that of other body artists, to reach thepre-aesthetic and pre-artistic aspects of theartist’s doing and behaviour, that is, toreduce the complex aesthetic and artisticsense of the work to the existentialist sense,meaning, and value. Besides, Vlasta is dec-oratively different in the complexity of thisreduction, resting in the pre-analytic worldof emotions, of the Baroque and Manirism,as a sort of formal measure of her art (over-strained, tacky, frivolous, erotic).

During the performance Lady GodivaTaking a Walk, leaflets are distributed withthe text of the artist written especially for theoccasion. It is a typical post-conceptualistproduct, but the text is compact, it estab-lishes links to the audience, to the storyquoted and the utopian paradigm, that is, tothe afore-mentioned pre-aesthetic aspect.

At the other end of the spectrum of theperforming arts of today, there is the analyt-ic body art, that is, the sophisticated artisticproducts resulting from the interaction ofvarious technological attachments.

The shop-window performance entitledFrom the Cycle ‘Mature Woman’, which hasbeen shown in a number of cities, alsobelongs to the street theatre and street bodyart. It is easy to evoke the quotation of theshop-window if one remembers the womenoffered in the (red-light) shop-windows ofAmsterdam. Another quotation, that of abound woman (Vlasta’s performance:Bound to a Tree), will lead us to themedieval scenes and witchcraft affairs.

Therefore, the artistic discourse of theauthor is scandalous and somewhat accus-ing, regarding all that has happened towomen in the course of history and is stillhappening today (through hyperrealism and“equality”). Exceptions and personalitieshave always loved exhibiting their courage.Artists of today work with energies. And theydirect them and use them in very specificways, in concordance with their own emo-tional and spiritual experience. Vlasta is thetype of an emotionally engaged artist andher energy - when it is recognized —redeems. It is a vision of romantics in thegeneral relations between sexes, by means

umjetniËki smisao djela reduciraju na egzis-tencijalni smisao, znaËenje i vrijednost.Vlasta, uz to, dekorativno drugaËije usloænju-je redukciju, ostajuÊi u predanalitiËkom svi-jetu emocija, baroka i manirizma kao nekevrste formalne mjere svoje umjetnosti(prenapregnuto, kiË, skaredno, erotiËno).

Za vrijeme izvedbe performansa ©etnjaLady Godive dijele se letci s tekstom umjet-nice napisanim za tu priliku. To je tipiËnipostkonceptualistiËki izvod, ali tekst je Ëvrst,veæe se s publikom, citiranom priËom iutopijskom paradigmom, odnosno onim pred-estetskim aspektom koji smo spomenuli ra-nije.

Na drugom kraju lepeze danaπnjihizvedbenih umjetnosti nalazi se analitiËkibody art, odnosno sofisticirani umjetniËkiproizvodi koji nastaju interakcijom razno-vrsnih tehnoloπkih produæetaka.

Performans u izlogu pod naslovom Izciklusa Zrela æena, izveden u viπe gradova,takoer pripada teatru ulice i uliËnom bodyartu. Citat izloga lako je evocirati sjeÊajuÊise æena ponuenih u amsterdamskim izlozi-ma (seksa). Drugi jedan citat: vezane æene(Vlastin performans: Vezana za drvo)povezat Êe nas sa srednjovjekovnim prizori-ma i poslovima oko vjeπtica.

Dakle, umjetniËki diskurs autorice jestskandalozan i pomalo optuæujuÊi, s obziromna ono πto se æenama dogaalo kroz povijesti πto se dogaa (kroz hiperrealizam i “ravno-pravnost”) i danas. Izuzeci i persone voljelesu uvijek egzibicionizirati svoju hrabrost.Danas umjetnici rade s energijama. I us-mjeruju ih i koriste na sasvim specifiËne na-

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Ëine u skladu sa svojim emocionalnim iduhovnim iskustvima. Vlasta je tip emo-cionalno angaæirane umjetnice i njenaenergija, kad je prepoznata - iskupljuje.Radi se o viziji romantiËnosti u ukupnimodnosima meu spolovima kojima ona istiËerelacije individue prema Drugom u sebi(raspon: kurva-svetica, domaÊica-umjetnicaitd.). AutoriËini nastupi nude etiËki energet-ski odnos izmeu umjetnika i publike ustilu: daj i imat/dobit Êeπ viπe, a to prozriËim prije, brzinom koju nudi erotizirano tije-lo. Zgodno se prisjetiti Warholova izrijeka:“Budi netko - imaj tijelo” ili “Trebajte tijelo”(Martek). Bit Êe da je moÊ velika kôb umeuljudskim odnosima. Performans Dru-æenje, u kojem umjetnica miluje i ljubi publi-ku, primjer je rastvaranja da bi se otvorilaistina interaktivnog prolaznog biÊa, Ëinjenicemesa i Ëinjenice duha.

VIGolo tijelo, dodirivanje milovanjem i

poljupcima, vjenËanje, jahanje, erotiËno odi-jevanje, uniforma, feredæa i skrivanje - svi tiaspekti/Ëinjenice umjetniËkog djela i djelo-vanja raaju/uznose iz svakog performansanovu simboliËku cjelinu. CikliËki se izmje-njuju sadræaji/impulsi skupljanja i erozije,zajedniπtva i nestanka, izvjesnosti i rasapasvih evidencija. Ukratko, πareno putovanjekoje je omoguÊeno Ëistim pouzdanjem udoslovnost ljubavi. (Umjetnost moæe i to.)Erotski naboj naprosto je æivotni argumentkoji svjedoËi o dubini i subverziji materi-jalnog okruæenja te se kao skandal/pro-vokacija postavlja kao okosnica hrabrog æi-vota. (Zaπto bi umjetnikove prednosti i manj-kovi bili automatski egzistirajuÊi ili estetskinesvijesni.) SpecifiËna energija umjetnostidanas je rasprπena na sve strane (kultura!) ina helenistiËki broj naËina Ëesto direktnousmjerena na uspjeh. Pojmovi etike i este-tike, angaæiranosti i poruke latentni su po-tencijalni entiteti u aleksandrizmu “dozvo-ljenih” moguÊnosti. Izgleda kao da je slobo-da stvaranja adut manipulacije i kontrole,dio geta umjetniËke proizvodnje znaËenjakoja je stara veÊ u samom trenutku micanjate oznaËuje tek svoje znaËenje. Dio umjetni-ka, sreÊom, zalazi iza pozornice (iËije, sva-Ëije), s druge strane ogledala i ponueneslobode, e da bi realizirali osobnost, umjet-nost i nemoguÊnost istodobno. t

of which she accentuates the relations of anindividual towards the Other in him or her(the range: whore-saint, housewife-artist,etc.). The author’s performances offer anethical-energetical relationship between theartist and his audience according to themaxim: give and you will have/get more,and you must realize it as soon as possible,with a speed given by an eroticised body. Itfits well to remember a sentence by Warhol:“Be somebody - have a body” or “Need abody” (Martek). Power must be very fatal ininterpersonal relations. The performanceentitled In company, in which the artistcaresses and kisses her audience, is anexample of opening-up in order to reveal thetruth of the interactive transient being, thefact of flesh and the fact of spirit.

VINaked body, touching by caresses and

kisses, wedding, riding, erotic clothing, uni-form, veil and concealment - all theseaspects/facts of the work and working of artbear/raise a new symbolic entity out of eachperformance. Contents/impulses of gather-ing and erosion, community and disappear-ance, certainty and disruption of all evi-dence are cyclically alternated. Briefly, it isa colourful journey made possible by pureconfidence in the literal meaning of love.(For art can also do that.) The erotic chargeis simply argument of life testifying aboutthe depth and subversion of the materialculture, which as a scandal/provocationbecomes the axis of courageous life. (Whyshould the advantages and the disadvan-tages of the artist be automatically existingor aesthetically unconscious.) The specificenergy of art is today dissipated in all direc-tions (culture!) and, in a Hellenistic numberof ways often directly aiming at success.Notions of ethics and aesthetics, engage-ment and messages, are latent, potentialentities in the alexandrism of “allowed” pos-sibilities. It seems that freedom of creationhas turned into the weapon of manipulationand control, a part of the ghetto of artisticproduction that is already old in the verymoment of movement and renders only itsown meaning. Some artists, though, gobehind the stage (anybody’s, everybody’sstage), behind the mirror and freedom offe-red, in order to realize their personality, art,and the impossibility at the same time. l

prijevod / translation: Marina Miladinov

≥ Vlado Martek - diplomirao filozofiju iknjiæevnost, multimedijalni umjetnik i pjes-nik.Vlado Martek - graduated philosophy andliterature, active as multimedia artist andpoet.

sl.6: V. Delimar, iz ciklusa Zrela Æena - Frizerskisalon Nena / from the cycle Mature Woman -Hairdresser’s studio Nena, 1997., foto / photo: FredyFijaËko

sl.7: V. Delimar, Vezana za drvo / Tied to the Tree ,1985.

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