other – each sculpture. It was all very innovative for those times.
Few years ago, Vladan Radovanovic, wrote a manual for the PhD
studies of the University of Arts where he mentioned me as the only
artist, besides himself, that worked at tactile art in our country.
In those days, I was managing many objects that I found or
made myself. At first, what was important to me was that the objects were heavy, cold, hot, round, rough or smooth. Those were the
terms I managed. I had different spheres, in brass, stone; they all
gave different feels, textures…. I thought then, and I still do, that
sculpture must be heavy, that it must have a specific weight that
corresponds its format and form. In the ‘70’s, many of my sculptures
came from there. Once, Misa Savic and I spoke of my tactile sculptures and I confessed to him that I would have liked to make a sort
of a musical instrument that would unite all of these tactile categories. So Misa invited me to take part of the exhibition “From music
to…” (Od Muzike do….) at the Great Gallery of SKC. It was my first
time exhibition with Rasa, Zoran, Nesa, Laza Pashu, Misa Savic, Milimirom Draskic and some others; I do not remember all of them any
longer. It was already the year 1981/82.
As you were working at SKC, didn’t you exhibit there often?
I actually exhibited at SKC only once, for a day or two, when
Slavko was out of town.
What gave you your university experience and what came from SKC?
University gave me the basic knowledge and the possibility to
take part of many interesting projects. SKC aided me to start my reflexion on art, not only in a different direction, but in general. At SKC
they were making performances at the time and other things… and
there was a strong tendency to dematerialise art in all of its forms
at SKC in those days. That meant that performances were made with
that exact purpose. At the time, the most important fact was that no
one could sell it, not a gallerist, not the state, but the artist had to
be present for art to be present also. What Marina is doing now was
the starting point of the group of people she belonged to. That was
the principal idea. That’s when Rasa did The Edinborough Declaration (Edinburska povelja). Those were the ideas that were in circulation in those times.
Monument, 1972
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That’s when I started reflecting on art in a different way. It
was then that I heard of Disan and all the rest, at the faculty of