people that could barely read. That is why I wasn’t over concerned
with the factual analysis. It was almost not at all important to me.
What was important were the ideas represented by the artists or
art periods. I was interested with the origins of the ideas that influenced contemporary art. There was always a reference to contemporary art. And to a certain point, as far as I am aware of, I
succeeded in my goal. I was really glad when my so-called “students”
would give me, for example, a collective New Year’s Eve gifts. These
people didn’t know each other, which meant that I left an impression upon them. I would often receive these collective presents. During these lectures I covered over 150 different themes. So did Kosta.
That was the deal. By the end of my presence there, I stared inviting
also other lecturers, and I was a sort of a mediator. I would create a
thematic cycle and would invite two or three competent persons to
define together the form of the lectures. It was the worst period,
when there was no money.
In the ‘90’s?
Without title, 1975
120
The ‘90’s at the Museum were a matter of making it thought
the day. I did these lectures also in the ‘90’s. What was nice about
those years was that we formed the group Henosphere (Henosfera).
There were eight of us. Aleksandar Petrovic has the greatest credit
for it. He was a great “Milankovicologist”. All the promotions about
Milankovic that were organised were made thanks to him. There
were also Nikola Pantic, geologist, which has passed away, Bora Jovanovic, archaeologist and academic, Goran Putnik, engineer and
Kosta Bogdanovic and I, as theorists and artists. We used to meet
each Wednesday at the Museum. These meetings were open. We
were like a working body, the inner circle, but these meetings were
attended by a lot of people. Those were the best lectures. It was
similar to what I was already doing at the Museum, but it was a collective effort. We used to bring to the Museum some people I had
never heard of. Aleksandar Petrovic had a key role in that. There
were a lot of enthusiastic people that had great passion for their different specialisations. The idea was to share ideas and listen to people that had different specialisations, but also different points of
view, education, outside of the art ambient. That is why we called all
this Henosphere. We had three congresses at the Museum, with exhibitions. Some serious papers were presented for the occasion.
Everybody participated, independently from the meetings we had.
I must say that this period was one of the best moments of my life.
It was extremely creative! What I heard and learned there I couldn’t