Prostor skulpture

Rajko Popivoda

PROSTOR SKULPTURE

Rajko Popivoda već više od tri decenije s uspehom deluje na regionalnoj likovnoj sceni a naročito je važno njegovo mesto među beogradskim umetnicima. Formirao se, na Fakultetu likovnih umetnosti u Beogradu, početkom sedamdesetih godina u vajarskoj klasi profesora Miodraga Miše Popovića.Obrazovan na najboljim tradicijama figuralne skulpture, veoma rano je pronašao svoj lični izraz koji ga je oslobodio tradicionalnog shvatanja skulpture i omogućio mu je jedan tragalački put kojim je veoma hrabro krenuo. Akademsko modelovanje, zamenio je materijal-izacijom svojih prokonceptualnih zamisli koje su tek nedavno dobile svoje adekvatnije čitanje i tumačenje. Imajući uvid u njegov dosadašnji opus, može se tvrditi da je Popivoda dugo vremena balansirao izmedju antropomorfnih ili zoomorfnih stilizovanih formi i geometrijskih oblika, kojima je oduzimajući od mase ili volumena, vadeći materijal ili interpolirajući neke druge, manje forme, ugrožavao skulpturu u njenoj konzistentnosti.Ova vrsta prizora koja se ukazuje na jednoj faseti skulpture, izaziva osećaj tranzicije lokusa značenja iz središta ka spoljašnjosti, jer zapanjujući okviri (izgledi pojedinih stranica kubusa) daju značenje jedne eshatološke vizije. Vadeći materijal ili interpolirajući neke druge, manje forme, ugrožavao ih je u njihovoj celovitosti. To je veoma rano zapaženo od domaće kritike, te su autori izložbe pod nazivom ”Prostor skulpture ” održane 1982. godine, u Salonu Muzeja savremene umetnosti u Beogradu uvrstili radove Rajka Popivode kao jedne od ličnosti koja osvaja nove prostore u shvatanju skulpture.Baveći se dekonstrukcijom, rasklapanjem ljudske figure, tretiranjem njenih fragmenata kao materijalizovanih simbola čula, profilnih fragmenata posmrtnih ljudskih neindividualizovanih maski, Popivoda se bavi jednim skulptovanim repertoarom formi, koji ne egzistiraju kao samostalni entiteti već ih pakuje u rešetkaste strukture kaveza. Kavezi kao staništa fragmentizovanih ljudskih figura, postaju jedna od konstatno prisutnih formi u njegovom stvaralaštvu.To nas upućuje na “rešetku” (grid) kako Rosalind Krauss prepoznaje i imenuje ovaj fenomen uvodjenja takve armature, organizacione strukture u slikarstvu na početku XX veka, kao prvi stadium avangarde ili Moderne. S jedne strane to predstavlja us-postavljanje novog koordinatnog sistema prostornog mišljenja i mapiranje površi/ravni kao centralnog mesta plastičkog događaja, koji Rajko Popivoda smelo prevodi u svoj skulptorski diskurs, gde se svaka strana otvorenog, vidljivog kubusa (kaveza) objavljuje različitim vizurama/osobina trodimenzionalnog izražavanja, ali sada kao različita polja/ravni dejstva. Autorova istraživanja u polju dvodimenzionalnog su perma-nentno prisutna u njegovim radovima na papiru, koji su dokument istraživanja energetskih stanja i dejstva linearnih sila,vektorskog kretanja, u potrazi za onim što će imati snagu opcrta šake na zidu pećine iz praistorije ili na Đakometijevoj skulpturi. Linearni upis u skulptorski osmišljen volumen ili zapis zarezivanje na površi, na epitelu skulpture, je princip tetovaže bića skulpture.Ono već početkom devedesetih nedvosmisleno prelazi u ornament koji svoju formu artikuliše u oblik lavirinta formalnog oblika ali i grafikona svesti postmodernog čoveka.Taj postmoderni čovek koga gradi Rajko Popivoda, predstavlja humanoid koji je prvo hibridno stanje a zatim se ukazuje kao sinteza svih njegovih skulptornih saznanja i iskustava. Fragmenti tela ili lica stilizovani su do nekih Arpovskih oblika ili nama istorijski najbližijih Brusa Nojmana ili Roberta Gobera, ali njihova staništa – kavezi – prizivaju sećanje na Đakometijevu nadrealističku fazu. Medjutim, kod Popivode nema formalnog ugledanja na spomenute skulptore pa čak ni na početke i fragmentiranja kod samog Rodena kao rodonačelnika principa kljašćenja figura, već bih ukazala

na jedan aproprijacijski princip kojim se preko pojedinih analiza poetika i mogućnosti dolazi do sopstvene skulptorske sintakse i diskursa. Negom epitela skulpture kao neobičnog poštovanja materijala i njihovih specifičnih svojstava koje se objavljuju, na površini, na teksturi same skulpture izuzetnom glatkošću koja neutralizuje dodir kao jedno od ključnih doživljaja skulpture, u njenom, realnom postojanju on na neki način sintetiša sva iskustva skulpture XX veka.Rajko Popivoda dolazi do nekih vizuelnih rešenja koja duboko simbolički imaju posebna značenja za njega, lično i umetnički, a moglo bi se reći da pripadaju amblematici razaranja, što se potvrđuje u njegovim objektima nastalim tokom devedesetih godina. Arhitektura kućišta, staništa, nastalih devedesetih, pripadaju tom rodu koji simbolizuje opšte razaranje, oko nas, u nama, sveta i realiteta s kraja dvadesetog veka. Njegova skulptura je uvek duboko i suštinski angažovana iako se ne bavi eksplicitnim narativima, pa čak ni retorikom samog materijala koji je u njegovoj skulpturi prepun semantičkih i vizuelnih značenja. Puna masa kućišta i razvalina, egzistiraju zajedno sa transparentnim kavezima koji nisu samo mesta za čuvanje i asambliranje fragmenata tela (umesto tegli sa formalinom), već istovremeno i geto, rešetke iza kojih se nalazi skulptura koja se čuva u tragovima. Asamblaži bivaju komponovani od fragmenta realnosti i modelovanog, artificijelnog dela koji istovremeno harmonizuju skulptoralno i pikturalno.Usred te neobične naseobine i mesta koje mapiraju tragiku vremena u kojem živimo, blagi humor i ironija dišanovskog tipa, provejava kroz poetske nazive asamblaža u kojima boravi estetizovana i pripitomljena opasnost.U fazi koja se proteže između 2006. i 2009. i dalje je ciklus reljefa koji predstavljaju arhiviranje memorije umetnika i usklađivanje sa skulptoralnim iskustvima. “Prvi put sa ocem na pecanje” predstavlja ciklis od 24 reljefa koji u formi slikovnog predstavljaju stratuse sećanja, koji impliciraju na detinjstvo i mladost. Oni istovremeno predstavljaju obeležje inicijacije koja je u tradicijskom smislu vezana i za tetovažu koja u starim kulturama obeležava inicijacije koje su manifestacije zrenja i novih etapa u ljudskom životu. Pojava u asamblažima koji kolažiraju ono što je umetnik stvorio i prepoznati ready-made, kao što su uvođenje ručke ili drške, držača ili otvarača, koji na indirektan način prizivaju simbologiju TAKTILNOG, kao ključnog fenomena u opštem preispitivanju skulptoralnog od strane autora. Njegove izuzetno odnegovane površine skulp-tura koje su doprinosile ne samo favorizaciji njegovog meteia, već to savršenstvo u obradi površina različitih materijala, su stalno prizivali na haptičko kao osnovno doživljavanje/pristupanje skulpturi.U njegovom višegodišnjem naporu da fragmentacijom antropomorfnog i njegovim prekomponavnjem sa artificijelnim, geometrijskim formama, stvori novog čoveka, humanoida, očitava se lična utopija koja ne gubi skulptorsko tlo pod nogama i rukama. Čak i u reljefima (24) pojavljuju se rukohvati koji insistiraju na otvaranju i zatvaranju arhivirane memorije.One koja je zaptivena slojevima poliestera i koja je prisutna samo naziranjem iza bojenih prevlaka, ali koja se istovremeno nudi, prisustvom ručke, na svoje taktilno, haptičko postojanje, što ove reljefe još uvek determiniše kao skulpturu.Rajko Popivoda je jedan od retkih stvaralaca koji zaista, u punom smislu reči proširuje polje ili prostor dejstva skulpture, služeći se pretežno akcesorijumom skulptorskog istraživanja, ali slobodno ga komponujući sa elementima realnosti, dovodeći i do koherentnih stanja asamblaža, a istovremeno ostvarujući jedan skulptorski teatar apsurda.Bojana Burić

THE SPACE OF SCULPTURE

During more than three decades Rajko Popivoda has been successful on the regional art scene while his position among Belgrade artists is especially significant. He was formed at the Belgrade Faculty of Fine Arts in the early seventies, in the class of Professor Miodrag Misa Popovic. Being educated in the best traditions of figural sculpture, at a very early stage he encountered his personal expression. This liberated him of the traditional comprehension of sculpture and opened up a searching path which he bravely embarked upon. He substituted academic modelling with the materialization of his pro-conceptual ideas which have only recently obtained a more adequate reading and interpretation. After having an insight into his previous opus we can state that Popivoda has been balancing for a long time between anthropomorphic or zoomorphic stylized and geometrical forms. By taking away from them mass or volume, by extracting material or interpolating other, smaller forms he endangered the consistency of the sculpture. This kind of scene, which appears on one facet of the sculpture, evokes a feeling of transition of locus signification from the centre outward because stunning frames (the appearance of certain sides of the cube) give a meaning of an eschatological vision. By extracting the material or interpolating some other, smaller forms he endangered them in their entirety. The local critics noticed this at a very early stage so that the authors of the exhibition entitled “The Space of Sculpture”, held in 1982 at the Salon of the Museum of Contemporary Art in Belgrade, included the works of Rajko Popivoda as one of the personalities who are conquering new spaces in comprehension of sculpture.

Dealing with deconstruction, dismantling of the human figure, treating its fragments as materialised symbols of senses - profiled fragments of posthumous human non-individualised masks, Popivoda is into a sculptured repertoire of forms which do not exist as independent enti-ties but are packed into latticed structures of cages. Cages as habitats of fragmentized human figures become one of the constantly present forms in his creativity. This leads us to the “grid” - as Rosalind Krauss recognizes and names this phenomenon of introducing such an armature and organizational structure into the art of painting in early 20th century as the first stage of Avant-garde or Modernism. On one side, this represents the establishment of a new, coordinating system of space reflection and mapping of the surface/plane as the central place of the plastic event which Rajko Popivoda bravely transmits into his sculptural discourse - each side of the open, visible cube (cage) is revealed through different visions/features of three-dimensional expression but now as different fields/planes of action. The author’s explorations in the field of the two-dimensional are permanently present in his works on paper. These are documents of investigations of energetic condi-tions and actions of linear forces, vector motion in search for that which will have the force of a hand print on the prehistoric cave wall or on a Giacometti sculpture. Linear inception in a sculptural volume or recording by notching on the surface, on the sculpture epithelium is the principle of tattooing the being of the sculpture. By the early nineties this undoubtedly turns into an ornament which articulates in a laby-rinth form but also as a graph of the post-modern man’s consciousness. This post-modern man constructed by Rajko Popivoda represents a humanoid that is, at first, in a hybrid state and then appears as a synthesis of his complete sculptural knowledge and experiences. Body or

face fragments are stylized reaching certain Jean Arp forms or, historically closest to us, Bruce Nauman and Robert Gober but their habitats – the cages – evoke memories of Giacometti’s surrealist phase. However, with Popivoda there is no formal emulation of the aforementioned sculptors or even the beginnings and fragmentation with Rodin as the founder of the principle of figure fragmentation. I would rather like to point to an appropriative principle by which, through certain poetic and potential analysis, we come to our own sculptural syntax and discourse. By taking care of the sculpture’s epithelium, as an unusual manner of respect for the material and its specific characteristics which are revealed at the surface, on the sculpture’s structure and through exceptional smoothness which neutralizes the touch, as one of the key experiences of sculpture, in certain way he synthesizes all the experiences of the 20th century sculpture.

Rajko Popivoda reaches certain visual solutions which, both personally and artistically, have a special meaning for him on a deeper symboli-cal level. It could be said that they belong to the insignia of destruction which is established in his objects created during the nineties. The architecture of the habitats created during the nineties belongs to the gender that symbolizes general destruction around us, in us, in the world and reality by the end of the 20th century. His sculpture is always deeply and basically involved although it is not into explicit narrative forms or the rhetoric of material which is full of semantic and visual meaning in his work. The full weight of the casing and the wrecks exist together with the transparent cages which are not places for storing and assembling body fragments (instead of jars with formalin) but are also a ghetto, grids behind which the sculpture stored in traces is placed. Assemblages are composed of a reality fragment and a modelled, artificial part which simultaneously harmonize the sculptural and the pictorial. In the middle of this unusual habitat and places which map the tragic of the time we live in, a Duchamp type gentle humour and irony permeate through the poetic titles of the assemblages where esthetical and controlled danger resides.

In the phase which extends between 2006 and 2009 as well as later on, there is a series of reliefs which represents archiving the artist’s memory and harmonizing it with the sculptural experiences. “For the First Time with Father on a Fishing Expedition” represents a series of 24 reliefs which, in a pictorial form, represent memory layers and imply childhood and youth. At the same time they represent the hallmark of initiation traditionally connected to tattooing which in ancient cultures marks initiations – manifestations of maturity and new stages of human life. The appearance of the artist’s creation in assemblages and the conventional ready-made - a handle, holder or opener - evoke in an indirect way the symbolism of the TACTILE as a key phenomenon in the general review of the sculptural concept by the author. The highly cultivated surfaces of his sculpture did not only contribute to the favouring of his work but to the perfection in treatment of surfaces made in different materials and have constantly evoked the sense of tactile as the basic perception of/approach to sculpture. Through many years, his efforts to fragmentize the anthropomorphic and his intents to recompose through artificial, geometrical forms and create the new man, humanoid suggest a personal utopia which does not loose the sculptural base beneath his legs and hands. Even in his 24 reliefs there appear handrails which persist on opening and closing of the archived memory – the memory which is blocked by layers of

______________Prostor skulpture

polyester and which is present only as a perception through coloured coating that simultaneously offers, through the presence of the handle, a tactile existence thus still determining these reliefs as a sculpture.

Rajko Popivoda is among the rare creators who literally broaden the field or space of action of the sculpture. He does this by using mostly the sculptural investigation accessory - he freely connects it with elements of reality bringing them to coherent states of assemblages while simultaneously accomplishing a sculptural theatre of the absurd.

Bojana Buric

Translation into EnglishDarja Marija Vuletic

Rajko Popivoda _____________________

______________Prostor skulpture

SAVREMENA SKULPTURA – I – POLITIKA METAFORE/ALEGORIJE (o skulpturama Rajka Popivode)

Savremena skulptura je povezana sa hibridizacijom skulptorskih modernističkih oblika kao i sa uspostavljanjem brojnih neuporedivih platformi produkcije skulpture, objekta ili instalacije u polju potencijalnih umetničkih, kulturalnih, društvenih i političkih značenja. Savremenu skulpturu karakteriše razrađena i složena fikcionalnost koja vodi preko skulpturalne metafore do kulturalne i, veoma često, političke alegorije i, zatim, od alegorije do fragmentarnog narativa koji funkcioniše kao objektni rebus. Rajko Popivoda skulptorski rad zasniva na sistematičnom testiranju binarno postavljenih skulptoralnih metafora i alegorija o ljudskoj slobodi i neslobodi, otuđenju i razotuđenju, blizini i udaljenosti od tela. Skulp-turalna metafora je, za njega, način značenjskog određenja skulptorskog dela kao dekonstrukcije prisustva tela, prizora ili „ideje“ savremenog društva u skulpturi kao objektnom tekstu-simptomu društvenosti. Skulptura može biti, zato, trag njegovog mišljenja opšte ljudske politike skulpturom (Rimejk, 1978-2009), ali i indeks angažmana i doživljaja konfliktnog i tranzicijskog bivanja u savremenom srpskom društvu (komad Perspektiva, 2004; i skulpture iz serije Pakovanje, 2005, odnosno skulpture iz raznih perioda koje se zasnivaju na modelu rešetke ili kaveza). Njegova skulptura nije objekt po sebi i za sebe, nego materijalno telo koje ima značenja o „političkom telu“ za druga tela u polju konstruisane fikcionalnosti koju prihvatamo kao sliku neposredne društvene realnosti. Skulpturalna metafora i alegorija – nisu jednostavne anegdotske predstave – zasnovane su na uobličenju „predočivosti društvenog značenja“ u telu-skulpture i pretvaranjem tela skulpture u fikcionalni objektni tekst koji sugestivno motiviše prepoznavanje „savremene ljudske situacije“ – na primer komadi: Zimsko sunce (2004) ili Kasetiranje (2004). Odnosom fikcionalnog (skulptura kao tekst) i nefikcionalnog (skulptura kao optički/vizuelni afekt) dekonstruiše se idealizovana semantička praznina tu prisutne modernističke skulpture (od Đakometija i Žana Arpa do Antoni Karoa). Skulpturom se, zato, fikcionalni potencijal hi-bridne upotrebe skulptorskih materijala postavlja kao decentriranje modernističkih tumačenja skulpture kao značenjski asocijativne ili prazne autonomne forme u polju idealne čulne percpecije trodimenzionalnih stvari. Popivoda je u reljefima, plošnimn objektima i trodimenzionalnim skulpturama ideju „oblikovnog gestalta“ zamenio sa skulpturom kao „tekstom“ tj. otvorenim objketnim produkcijama potencijalnosti značenja u ljudskoj društvenosti u kojoj on situira politički stav, erotsku želju ili kulturalni identitet. Skulpturalna metafora i alegorija određena je, na primer u delima Dodir (2002) ili Rez (2001) nestabilnim i otvorenim odnosom doslovnog karaktera skulpture kao objekta, odnosno nužnim i slučajnim sličnostima izgleda ili simboličkog potencijala skulpture i fikcionalnih tela ili objekata u književnosti, filmu, teatru ili istoriji skulpture. Savremena skulptura se ne ograničava na to da se projektuje u stvarnom prostoru kao plastička činjenica, već teži zauzimanju i teatralizaciji svakog prostora koji postaje polje objektnih fikcija kojima se određuje slika realnosti. Skulptorskom intervencijom u prostoru nastaje preobražaj objektivnog stvarnog prostora u mogući fikcionalni tj. „kao subjektivni“ metaforički ili alegorijski prostor, odnosno, postistorijski ili tranzicijski politički-prostor. Skulptura ostvaruje preobražaj u predstavu potencijalnog prostora i potencijalnog telesnog ili objektnog odnosa prema odnosima i relacijama u aktulenom životu kao političkom životu savremenog perma-nentnog vanrednog stanja.

Rajko Popivoda _____________________

Stvarni prostor postaje onoliko sličan fikcionalnom prostoru, koliko imaginarno-predočavanje postaje slično stvarnom postavljanju prostora unutar društvenih borbi i konflikta. Kada se skulpturom ostvaruje prisustvo u prostoru, ona se doživljava, nesvesno čita i tumači kao metaforička simbolizacija emocionalnih značenja i doživljaja tela u odnosu na istorijske ili aktuelne tekstove tj. klišee kulture kojima određujemo vidljivost savremenog života. Problem asocijativnog u modernizmu, alegorijskog u postmodernizmu biva zamenjena u savremenoj skulpturi suges-tivnim – na primer, skulptura Rajka Popivode Give a smile (1988) kao obećanje afekta otuđenja unutar ljudskog znaka za prisnost tj. prisutnu prisnost. Skulptura je optimalni izraz latentne prisutnosti ljudskog u manifestno objektnom – neljudskom. Svaki skulptorski prostor se naslućuje kao „nesvesno telesni“ prostor. Umetnikovo telo i telo skulpture, a potom telo skulpture i telo njenog gledaoca u metaforičkim identifikacijama postaju akteri događaja željene ili neželjene društvenosti. Kao što ljudsko telo ima unutrašnje organe, tako i telo skulpture ima unutrašnji svet potencijalnih sugestija – kod Popivode to je potencijalnost unutrašnjosti kutije, rešetke, kaveza, okvira, ili izolovanog i centriranog detalja objektnog ili telesnog sveta u kome se predstavlja fragmentirano ili zarobljeno ljudsko telo (Kavez, 1986). Unutrašnjost objekta je fatalistički sugestivno prikazana kao unutrašnjost u koju se smešta tj. zatvara ljudski život.

Miško Šuvaković

______________Prostor skulpture

CONTEMPORARY SCULPTURE – AND – THE POLITICS OF METAPHOR / ALLEGORY(on the sculptures of Rajko Popivoda)

Contemporary sculpture is connected with the hybridization of sculptural Modernist forms as well as with the establishment of numer-ous incomparable platforms of sculpture, object or installation production in the field of potential artistic and cultural, social and political significances. Contemporary sculpture is characterized by developed and complex fictionality which leads from sculptural metaphor to cultural and, frequently, political allegory and, later on, from allegory to the fragmentary narrative which operates as an object rebus. Rajko Popivoda bases his sculptural work on systematic testing of binary established sculptural metaphors and allegories, on human freedom and non-freedom, alienation and disalienation, proximity and distance from the body. For him, the sculptural metaphor is a manner of significant determination of the sculptural work as a deconstruction of the body, scene or “idea” of the contemporary society presence in sculpture as an object text-symptom of sociability. Thus, the sculpture can be a trace of his reflection on sculpture in general human politics (Remake, 1978-2009) but also an index of engagement and experience of the clashing and transitional existence in contemporary Serbian society (the piece Perspective, 2004 and sculptures from the series Packing, 2005 - that is, the sculptures from different periods which are based on the model of the grid or cage). His sculpture is not an object by itself and for itself but a material body which has significances regarding the “political body” for other bodies in the field of constructed fictionality which we accept as an image of immediate social reality. Sculptural metaphor and allegory –not simple anecdotal presentations – are based on the forming of “anticipation of social significance” in the body-sculpture and transposing the body of sculpture into a fictional object text which suggestively motivates recognizing the “contemporary human situation” – for example, the pieces Winter Sun (2004) or Cassetting (2004). The relation between the fictional (sculpture as text) and non-fictional (sculpture as optical/visual emotion) deconstructs the idealized semantic emptiness of the hereby present modernist sculpture (from Giacometti and Jean Arp to Anthony Caro). That is why the fictional potential of the hybrid use of sculptural material is positioned as de-centring of modernist interpretations of sculpture as an indicatively associative or empty autonomous form in the area of ideal sensory perception of three-dimensional objects. In his reliefs, flat objects and three-dimensional sculptures Popivoda has replaced the idea of the “formative gestalt” with sculpture as “text”, that is, open object productions of potentiality significance in human sociability where he places the political position, erotic desire or cultural identity.

In the pieces The Touch (2002) or The Cut (2001) the sculptural metaphor and allegory are determined through an unstable and open relation of a literal character in the sculpture as an object, that is – through necessary and accidental similarities in appearance or symbolic sculpture potential and fictional bodies or objects in literature, film, theatre or history of sculpture. Contemporary sculpture is not limited to being projected in real space as a plastic fact but aspires to occupy and dramatize every space which is transformed into a field of object fictions that determine the image of reality. The sculptural intervention in space creates a transformation of the objective real space into a possible

Rajko Popivoda _____________________

fictional one, that is, an “apparently subjective” metaphoric or allegoric space, more exactly, a post-historic or transitional political-space. The sculpture achieves transformation into a presentation of potential space and potential corporal or object relation with relations in actual life as political life of contemporary and permanent state of emergency.

Real space becomes similar to fictional space in the amount in which the imaginary-anticipation becomes similar to the real setting of space within the social struggles and conflicts. When presence in space is achieved through sculpture it is experienced, unconsciously read and interpreted as a metaphoric symbolization of emotional significances and experiences of body in relation with historical or actual texts, that is, clichés of the culture through which we determine the visibility of contemporary life. The problem of associative in Modernism and of al-legorical in post-Modernism is being changed in contemporary sculpture by the suggestive – for example, Popivoda’s sculpture Give a Smile (1988), as a promise of affect of alienation within the human sign for intimacy, that is, present intimacy. The sculpture is an optimal expression of latent presence of the human in the manifestly object – inhuman.

Each sculptural space is sensed as an “unconsciously corporal” space. The artist’s body and the body of the sculpture, and then the body of the sculpture and the body of the spectator become actors in events of desired or undesired sociability in metaphoric identifications. In the way as human body has its interior organs so the body of the sculpture has its interior world of potential suggestions – with Popivoda it is the potentiality of the interior of a box, grid, cage, frame or isolated and centred detail of the object or corporal world in which the fragmented or captured human body is represented (The Cage, 1986). The interior of the object is fatalistically and suggestively presented as an interior in which human life is placed, that is, closed up.

Misko Suvakovic

Translation into EnglishDarja Marija Vuletic

______________Prostor skulpture

Kavez, kombinovana tehnika1986

30x15x15

The Cage, mixed media198630x15x15

Rajko Popivoda _____________________

Remake, fotgrafija, 40 x 20 cm1978-2009

Remake, photography40 x 20 cm

1978-2009

______________Prostor skulpture

Piramida, Kuća, Kasetiranje, reljef200446 x 46 x 5 cm

The Pyramid, The House, Cassetting, relief200446 x 46 x 5 cm

Rajko Popivoda _____________________

Kolevka – Zlatno tele, bronza 1993

27 x 32 x 13,5 cm

The Cradle – The Golden Calf, bronze1993

27 x 32 x 13,5 cm

______________Prostor skulpture

Pakovanje – Hleb, kombinovana tehnika200643 x 23 x 23 cm

Packing – Bread, mixed media200643 x 23 x 23 cm

Rajko Popivoda _____________________

Tvrdjava, kombinovana tehnika 2004

32 x 26 x 26 cm2004

The Fortress, mixed media2004

32 x 26 x 26 cm2004

______________Prostor skulpture

Kavez, bronza1978

20 x 28 x 18 cm

The Cage, bronze1978

20 x 28 x 18 cm

Rajko Popivoda _____________________

Kralj, bronza1992

18 x 14 x 12 cm

The King, bronze1992

18 x 14 x 12 cm

______________Prostor skulpture

Rajko Popivoda _____________________

Glava, , bronza1984

26 x 28 x 27 cm

The Head, bronze1984

26 x 28 x 27 cm

Prvi put sa ocem na pecanje, kombinovana tehnika62 x 62 x 5cm

For the First Time with Father on a Fishing Expedition, mixed media62 x 62 x 5cm

______________Prostor skulpture

Give a smile, kombinovana tehnika198860x134x21cm

Give a smile,mixed media198860x134x21cm

Rajko Popivoda _____________________

Epilo

g20

100,

5x0,

7m

Zona opasnosti, bronza2004

26 x 93 x 93 cm

The Danger Zone, bronze2004

26 x 93 x 93 cm

______________Prostor skulpture

Usek, kombinovana tehnika2001

15,5X22,5X12cm

Cut, mixed media2001

15,5X22,5X12cm

Rajko Popivoda _____________________

Dodir, kombinovana tehnika20028x24x20cm

Touch, mixed media20028x24x20cm

______________Prostor skulpture

Perspektiva, kombinovana tehnika2004132x56x5cm

Perspective, mixed media2004132x56x5cm

Rajko Popivoda _____________________

Bez naziva, aluminijum1981

20 x 20 x 20 cm

Untitled, aluminum1981

20 x 20 x 20 cm

Rajko Popivoda je rođen 1953. u Beogradu. Na vajarskom odseku Fakulteta likovnih umetnosti u Beogradu diplomirao 1976, a magistrirao 1978. godine. Član ULUS-a od 1977. Samostalno izlaže od 1979. godine. Održao petnaest samostalnih izložbi u Beogradu, Njujorku, Parizu, Budvi, Nordenu, Oslu.Izlagao na preko stotinušezdeset grupnih izložbi u zemlji i inostranstvu.Dobitnik više značajnih nagrada i priznanja (1975 - Nagrada za skulpturu iz Fonda Ilije Kolarevića, 1976 - Nagrada za skulpturu iz Fonda Sretena Stojanovića; 1992 – Nagrada “Prostor 92”; 1995 – Nagrada Oktobarskog salona za skulpturu; 1996 – Specijalna nagrada žirija za skulpturu na Bijenalu umetnosti minijature u Gornjem Milanovcu; 2002 – Nagrada ULUS-a “Zlatno dleto” i Prva nagrada za skulpturu na međunaronom bijenalu minijature u Gornjem Milanovcu; 2006 - Nagrada za skulpturu na Jesenjoj izložbi ULUS-a, itd). Takođe, dobitnik je više nagrada na javnim konkursima za likovna rešenja plaketa i drugih odličja.Autor više skulptura za javni prostor. Učesnik na međunarodnim simpozijumima skulpture: Bor, Kikinda, Danilovgrad, Prilep, Bušteni, itd.Njegova dela nalaze se u vlasništvu muzeja, galerija i privatnih kolekcija u zemlji i inostranstvu.Živi i radi u Beogradu.

Kontakt:Rajko PopivodaBulevar Kralja Aleksandra 179, 11000 Beogradtel: +381(0)11-3807872mobilni: +381(0)64-1677935e-mail: rpopivoda@yahoo.com

Rajko Popivoda was born in 1953 in Belgrade. He graduated at the Faculty of Fine Arts in Belgrade, Department for Sculpture in 1976 and obtained his master’s degree in 1978. He is member of the Association of Fine Artists of Serbia (ULUS). Since 1979 he has had fifteen solo exhibitions in Belgrade, New York, Paris, Budva, Norden, Oslo and over 160 group exhibitions at home and abroad. He has received numerous important awards and acknowledgments (1975 – the Ilija Kolarevic Fund, Award for Sculpture; 1976 – the Sreten Stojanovic Fund, Award for Sculpture; 1992 – “Prostor 92” Award; 1995 – the October Salon Award for Sculpture; 1996 – the Biennial of Miniature Art, Gornji Milanovac, Special Award for Sculpture; 2002 – the “Zlatno dleto” ULUS Award; 2002 – the First Prize for Sculpture at the Biennial of Miniature Art, Gornji Milanovac; 2006 – Award for Sculpture at the Autumn Exhibition of the ULUS, etc). He has participated on competitions for visual solutions of plaques and other decorations and has received several awards. He is author of several sculptures in public spaces and has participated at international symposiums on sculpture in Bor, Kikinda, Danilovgrad, Prilep, Busteni etc.His artwork is owned by museums, galleries and private collections at home and abroad. He lives and works in Belgrade.

Contact:Rajko PopivodaBulevar Kralja Aleksandra 179, 11000 Beogradtel: +381(0)11-3807872cell: +381(0)64-1677935

e-mail: rpopivoda@yahoo.com

www.csucg.co.meRajko Popivoda | Prostor skulpture | Galerija “Centar” | Njegoševa 2, Podgorica |

Izdavač: Centar savremene umjetnosti Crne Gore | Za izdavača: Milenko Damjanović | Tekstovi: Bojana Burić i Miško Šuvaković | Prevod na engleski : Darja Marija Vuletić | Tehnička realizacija izložbe: Sava Radević, Rajko Raičević | Dizajn i štampa: DPC, Podgorica | tiraž: 150 | maj 2012.