invented by the critics, and partially by Cuja from Kraljevo, because
he used to bootleg colours. What colours would Cuja bring, those
colours were used in paintings. Those were some Pelican fluorescent
colours, so they all used those. Newspapers entitled it hypercolourism, but it was really Cuja that imposed the colour, because an
entire generation was painting with his colours. I was terribly upset
by this. For example, my work “Kick-ass Machine”, which was exhibited at the Youth Biennale of Rijeka, I did it as a reaction on the
newspaper titles. I was just so terribly upset with the whole thing,
because I was both an art historian and an artist. The kick-ass instrument was made to kick-ass to all those that deserved it.
Tryptich, 1975
116
Cuja was a great and funny guy and I liked him a lot, but at
the same time it appeared to me that the things that Sule, Vlasta
and others were doing were irresponsible and not at all serious. I
liked the trans-avant-garde idea that there was no authority, because our critics insisted too much that one should be firmly coherent in one’s work. I myself have always wanted to be incoherent or
I was actually incoherent for various reasons. And I would appreciate
those that would eventually write about my art, if they would write
about the discontinuity of my art. Because both in regards of my
life and of my artistic chances, I had an incredible discontinuity in
my work. On the other hand, at a closer glance, that discontinuity is
continuity. I had never had a problem, and I still don’t, to make
sculptures as I used to make them in the ‘70’s. Part of my discontinuity lies also in the fact that I, at some point in the ‘80’s, had thrown
all of my sculptures from my studio to the trash bin. I had thrown to
the trash all of my twenty-year production. It happened that I had to
move several times from one studio to another in a very short period
of time. When I lost my fourth studio, my fourth space, I was sick
with it all. I threw it all away. I thought there was no point any longer
to deal with it, for I felt like an amateur that is doing it all for himself
only. In the eighties, I was purposely making all those monochrome
sculptures form objects that I would enwrap in newspapers. These
objects actually gain that grey effect over time. I didn’t want to do
any collages on purpose. These are no photos or titles, exactly not
to attract any attention to it. All is monochrome. Those were the
most numerous sculptures. I would throw them away. Just to make
an example, at Cvijeta (Gallery), Jadranka Dizdar did a great exhibition, that I already mentioned, “Flight without a title”, that was supposed to represent the entire production of those days
trans-avant-garde. Since she was a journalist of the Youth Newspapers (Omladinske Novine), an issue of those newspapers was a cat-