VERA VUKSANOVIC

Visual diary of micro gestures around.

Izgubljeni Mladeži.

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-Zašto ljudi piju sok od paradajiza samo u avionu?

-Nisam stvarno razmišljao o tome, verovatno nemaju puno izbora.. Ili imanju Gastroenertritis ili Heliko.. Uostalom sok od paradajiza je dobar za srce.. Crveno ili belo?

-Ubila bih nekog za Bladi Meri.. A soka od paradajiza nema nigde, kapiraš?

-Lutko, u vinariji smo..

-Onda crno.

Pospano je odlučila.

-Gazirana, ne gazirana?

-Ne gazirana. Ne hlađena, hvala.

-O čemu si htela da pričamo?

-Pričala bih sa svima o bilo čemu.

-Ne biraš?

-Reči biram, a ljude polako prestajem.

-Da te ne poznajem, uvredio bih se..
Ali vidim da divlje dete u tebi i dalje nije prestalo da njiše.

Oči su joj postale staklaste, a obrazi purpurni.
Topli.
Vreli.
Istina, nije prestalo da njiše.
A njegovo zapažanje je samo razbućkalo njene suvenire.

-A, sećaš se kako smo davali mladežima imena?

-Ne, to verovatno nisam bio ja.

-Ma jesi, ne lupaj!!

-Ne ne, ko zna s’kim si se bavila tim inventivnim rutinama. Nego.. Naučila si vremenom suptilnije da treseš nogu ispod tog stola i ako si sad, za malo, oborila flašu. Smiri se! Opusti se, jebote!

Uhvatio ju je za koleno i primakao flašu na svoj kraj stola.

(Naravno da se sećao)

-Jel ti je lepo?

-Odlično! Ovo mi je jedno od omiljenih vina.
Alicante Bouschet. Portugal.

 

Divlje dete bi prevrnulo očima,
ali ona se za uzvrat suptilno nasmešila i ako je znala da su joj zubi obojeni od vina, koje joj se uzgred rečeno, ni ne svidja.
Ališante?! Portugal?! O cemu prica on?!
Do juče je krao kasetofane iz automobila na parkingu i prodavao za paket trave, a sestra mu je kuvala mačke u buretu u novebeogradskim blokovima..
Pedigre, nema šta. Muskatni, portugalski, pedigre iz, tamo bloka kod Piramide. Ne znam mu ni broj.

Uhvatila ga je za ruku..

-Ma ne to!!!

Ponavlja.

-JEL TI JE LEPO??

Divlje, divlje, divlje..

-Ne znam ni sam, a tebi?

-Prva sam te pitala!

-Uvek nadjem način da mi bude lepo.

-I ja!

 
Ne sećam se kad je postala uličarka..? Divlja, u isto vreme tako mirna i elegantna.
Sofisticirana uličarka!
To je to.
I kad se folirala da voli više da se druži sa dečacima, u srednjoj skoli, sve je izgledalo nakaradno zbog njene krhe gestikulacije i ruku koje su joj uvek bile pogrbljene, kao ptici slomljenih krila, kojoj je, zapravo, uvek trebao zaštitnik.
Na žalost, svi ti isti dečaci su hteli samo jedno.
Možda ovo namerno radi.
Da, jebote!
Provocira me.
Sve jedno, vodim je kući večeras.
Ostaviću joj par modrica, pa nek njima daje imena!
Sutra joj se neću javiti!
Ni prekosutra..
Ako izdrzim, nikada.
Koji će mi..
Tako jedino može da me zapamti, elegantna divljakuša, kao što je ona.
Ne treba njoj puno, još jedna flaša vina i idemo kući.
Uzeću ovo jeftinije.

 

-Ma tebi sam brojala mladeže bre, seti se!!
Spavali smo kod tebe, u onom stanu u Desanke Maksimović, jebote! Kad sam se probudila, bio si u bordo kimonu i zalivao biljke na terasi. Čuvarkuće tvoje!

Rekla je to radosno-zajedljivo. Škripeli su joj obrazi od sreće i bili rumeni kao i večernje nebo.
S’druge strane osetila je u stomaku čvor, koji već dugo nije mogla da rasplete. Jedino što je ublažavalo bol je vino.
Dosta vina. Portugala, Španije, Malvazije..
Dobro, i tekila, rum, viski..

Akuratno se sećala tog jutra i doručka njihovih mirisa.
Brade stare tri dana i blagog nadražaja i crvenila koje je imala po vratu od nje.
I naravno svih mladeža i sazvežđa njihovih tela.

Hladan je i odsutan.
Namerno to radi!
Ali ovaj put neće otići.
Praviću se da ga puštam, ali će biti moj.
Prizvaću ga i biti u njegovim snovima. Samo treba opet da se koncentrisem i vratim na časove meditacija.

Htela je samo da ga pomiriše, da napuni pluća njegovim imenom.

Da ga uhvati i ne pušta!!

Da napravi uporedne natalne karte svih mladeža, ožiljaka, pegica i ogrebotina.
Da ga gleda pravo u oči i pliva u njima.
Želela je da žuburi u njenom postojanju.

-Moguće, ali se ne sećam imena mladeža, stvarno! Uvek praviš te neke igre, odrasti već jednom, jebote! I ono iz pupka što si mi stalno vadila i stavljala u novčanik, verovatno si vec napravila i vudu lutku od toga!

Blistale su mu oči, mislio je da je mnogo duhovit i sa tim temperamentom je i nastavio.

-Moram da proverim da nisi ostavila i crvene končiće negde po mojim gaćama, neke nogice od kokoški, ćurki, fazana.. Koren kopriva.. Šta vec vi to vestice radite.

Pravili su se da je smešno. Pili su vino.
Pravili su se da su to oni.
(I ako odavno nisu bili.)
Držali su povremeno jedno drugo za ruku. Dok nisu počeli dlanovi da im se znoje i dok neko nije napravio neki nagli pokret.
Sasvim nepotreban.
Pokret koji se zove: “Meni moje – Tebi tvoje.”
Ali ona je i dalje htela da ga pomiriše. Oko nosa. Iza uveta. Ispod pazuha.
On nije znao šta je hteo.
U ovom momentu je samo hteo da spava sa njom.

Znao je da će čim uđe kod njega ‘u stàn’ , da protrese sve njegove snežne kugle od gradova, koje su stajale prašnjave na polici njegovog bića i pitaće ih gde je bio, a one će joj same dati odgovor.

Plašio se toga.
Plašio se onog posle.
Plašio se Jutra.
Kimona.
Mladeža.
Pravljenje šatora od pokrivača i njenog zaraznog smeha i rupica koje ima na levom obrazu.
Bez kojih će mu biti jako teško.

Koje ga podsećaju na To.
Žubur nepresušnog potoka.

Toga je svestan.
Nije ovo bila ustvari dobra ideja..

-A gde ćemo posle? Mozemo do Cetinjske na piće?

-Ma jok, hajmo kod mene, imam Zakapu.

-Jao, obožavam Zakapu!! Zrnevlje kafe,
narandže?

-Nista ne brini lutko… Konobar, račun!

Moon Haiku

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Night, and the moon!
My neighbor, playing on his flute –
out of tune!


-Kawahigashi, Hekigodo. (1873-1937).

REVELATIONS: NEW WORK BY AIDAN

Aidan is an Azeri and Russian artist based in Moscow and Carrara, Italy, who works in sculpture, painting, drawing and video. Revelations curated by Jenny Christensson will bring together new work, alongside works exhibited at the Moscow Museum of Modern Art in 2012.

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The veiled figure is the protagonist in Aidan’s enigmatic, often playfully erotic, narrative cycles, which contain references to traditional and religious symbols and which set out to deconstruct and challenge the patriarchal order. In this body of work the artist recreates the sealed-off feminine intimacy of the harem and appears to celebrate female hegemony and self-sufficiency. Revelations opens with two rooms dedicated to this earlier series.

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The second half of the exhibition showcases new work, including a provocative video installation exploring the erotic potential of the veil, the archetype of the dominatrix and the fantasy of female domination and male submission. In her new sculptural work Aidan moves away from the veiled figure and returns to the human form with representations of both the female and male nude; these are rendered in granite or marble following the techniques and principles of classical sculpture, but the artist proposes new juxtapositions of male and female that subvert tradition and propose alternative terms of engagement.

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Sentences on Conceptual Art

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by Sol Lewtt:

  1. Rational judgements repeat rational judgements.
  2. Irrational judgements lead to new experience.
  3. Formal art is essentially rational.
  4. Irrational thoughts should be followed absolutely and logically.
  5. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
  6. The artist’s will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
  7. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
  8. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
  9. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
  10. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
  11. For each work of art that becomes physical there are many variations that do not.
  12. A work of art may be understood as a conductor from the artist’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the artist’s mind.
  13. The words of one artist to another may induce an idea chain, if they share the same concept.
  14. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
  15. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
  16. All ideas are art if they are concerned with art and fall within the conventions of art.
  17. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
  18. The conventions of art are altered by works of art.
  19. Successful art changes our understanding of the conventions by altering our perceptions.
  20. Perception of ideas leads to new ideas.
  21. The artist cannot imagine his art, and cannot perceive it until it is complete.
  22. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
  23. Perception is subjective.
  24. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
  25. An artist may perceive the art of others better than his own.
  26. The concept of a work of art may involve the matter of the piece or the process in which it is made.
  27. Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
  28. The process is mechanical and should not be tampered with. It should run its course.
  29. There are many elements involved in a work of art. The most important are the most obvious.
  30. If an artist uses the same form in a group of works, and changes the material, one would assume the artist’s concept involved the material.
  31. Banal ideas cannot be rescued by beautiful execution.
  32. It is difficult to bungle a good idea.
  33. When an artist learns his craft too well he makes slick art.
  34. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
  35. These sentences comment on art, but are not art.

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First published in 0-9 (New York), 1969, and Art-Language (England), May 1969

Indian Summer

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Indian summer
his name comes to me
then is gone again


-by W. F. Owen – Flower of another country (HSA Anthology 2007)

This is my song.

Every season has its song, right?

I AM In love with Little Dragon’s melodies..

I used to be the girl who never had a plan
Was only daydreaming of only one man
Smoking in my room crying over you
Walking on air into the blue..

Light My Box

Light My Box is my new project.


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Light Boxes and expressions: all around. Round and Around.


This is my mini guide for your visual story-telling. You can place it in every corner and in every room. There are a lot of new members in “Light My Box” like interior art deco, nano-neons, micro contemporary gadgets and ART for ‘Take Away”.


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Ћирило и Методије and love are my new muses.


Love, Vera.