The Misfits.pdf - Muzej suvremene umjetnosti Zagreb

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As an artist, I learned from both East (social- by Pierre Cabanne what had brought him most ism) and West (capitalism). Of course, now pleasure in life, Duchamp said: "First, having been when the borders and political systems have lucky. Because basically I've never worked for a liv- changed, such an experience will be no longer ing. I consider working for a living slightly imbecilic possible. But what I have learned from that from an economic point of view. I hope that some dialogue, stays with me. My observation and day we'll be able to live without being obliged to knowledge of Western art has lately led me to work. Thanks to my luck, I was able to manage a conclusion that art cannot exists any more in without getting wet". the West. This is not to say that there isn't any. Malevich wrote a text entitled "Laziness - the real Why cannot art exist any more in the West? truth of mankind" (1921). In it he criticized capitalism The answer is simple. Artists in the West are because it enabled only a small number of capital- not lazy. Artists from the East are lazy; ists to be lazy, but also socialism because the entire whether they will stay lazy now when they are movement was based on work instead of laziness. no longer Eastern artists, remains to be seen. To quote: "People are scared of laziness and perse- Laziness is the absence of movement and cute those who accept it, and it always happens thought, dumb time - total amnesia. It is also indif- because no one realizes laziness is the truth; it ference, staring at nothing, non-activity, impotence. has been branded as the mother of all vices, It is mere stupidity, a time of pain, futile concentra- but it is in fact the mother of life. Socialism tion. Those virtues of laziness are important factors brings liberation in the unconscious, it scorns in art. Knowing about laziness is not enough. it must laziness without realizing it was laziness that be practiced and perfected. gave birth to it; in his folly, the son scorns his Artists in the West are not lazy and therefore not mother as a mother of all vices and will not artists but rather producers of something Their remove the stigma; in this brief note I want to involvment with matters of no importance. remove the stigma of shame from laziness and to such as production, promotion, gallery sys- pronounce it not the mother of all vices, but the tems, museum systems, competition systems mother of perfection". (who is first), their preoccupation with Finally, to be lazy and conclude: there is no art objects, all that drives them away form lazi- without laziness. ness, from art. Just as money is paper, so too is a gallery a room. Artists from the East were lazy and poor because the entire system of insignificant fac- WORK IS A DISEASE - KARL MARX tors did not exist. Therefore they had time Mladen Stilinovit enough to concetrate on art and laziness. Even when thay did produce art, they knew it was in WORK IS A SHAME vain, it was nothing. Vlado Martek Artists from the West could have learnt about Laziness, but they didn't. Two major 20th cen- tery artists treated the question of laziness, in both practical and theoretical terms: Duchamp and Malevich. Duchamp never really discussed laziness, but rather indifference and non-work. When asked Mladen Stilinovit, 1993
EISIsari Kao umjetnik uio sam i od Istoka (socijaliz- orio: "Kao prvo imao sam srete. Jer nikada nisam ma) i ad Zapada (kapitalizma). Naravno, sada morao raditi za ivot. Smatram da je raditi za ivot kada su se granice i politiki sistemi promije- pomalo imbecilno s ekonomske toke gledita. nili, takvo iskustvo vise nete biti mogue. All Nadam se da temo jednog dana mod ivjeti bez ono to sam ja nauio iz tog dijaloga ostaje obaveze da radimo. Zahvaljujuti svojoj sreti, mi. Gledanje i poznavanje umjetnosti Zapada mogao sam se provuei kroz iivot bez posla". navelo me je ovih dana na misao da na Malevi je napisao tekst pod naslovom "Lijenost - Zapadu ne moie biti vise umjetnosti. Ne prava istina ovjeanstva" (1921.). U torn tekstu on tvrdim da je nema. Zato ne moe biti umjet- je kritizirao kapitalizam zato to omogutuje samo nosti na zapadu? Odgovor je vrlo jednosta- malom broju kapitalista lijenost, all i socijalizam, van. Umjetnici Zapada nisu lijeni. Umjetnici s jer je cijeli svoj pokret bazirao na radu. Citiram: lstoka su lijeni, a hoe Ii oni sada kada vise "Narodi se plae lijenosti i progone one koji nisu umjetnici Istoka ostati lijeni, to temo vidjeti. je prihvaaju, sve se dogada na taj nain, jer Lijenost je odsustvo pokreta i misli, samo tupo vri- nitko je nije shvatio kao istinu, buduti da su jeme - potpuna amnezija. Ona je takoder ravn- je igosali kao "majku svih poroka", a ona je odunost, buljenje niuta, neaktivnost, nemo. majka ivota. Socijalizam nosi oslobodenje u Ona je ista glupost, vrijeme bola, uzaludne kon- nesvjesnom, on igoe lijenost ne znajui da centracije. Sve te vrline lijenosti vaini su inioci ga je ona rodila i njen sin je u svojoj ludosti umjetnosti. Nije dovoljno znati o lijenosti, ona se igoe kao majku poroka, all on jo nije sin mora prakticirati i usavravati. koji e skinuti ig, i stoga u ovoj kratkoj Umjetnici Zapada nisu lijeni i zato vise nisu umjet- biljeci, ja elim skinuti ig srama s njenog nici, ve proizvodai neega.... Potpuna zaoku- ela i da je uinim ne majkom svih poroka, pljenost umjetnika Zapada nevainim stvari- vet majkom savrenstva". ma, kao to su proizvodnja, promocija, sistem I da budem lijen i da zakljuim. Nema umjetnosti galerija, sistem muzeja, sistem natjeaja (tko bez lijenosti. je prvi), zaigranost predmetima, sve to udalji- lo ih je od lijenosti, od umjetnosti. Kao to je novac papir, tako je i galerija soba. Umjetnici s lstoka bili su lijeni i siromani, jer RAD JE BOLEST - KARL MARX cijeli sistem nevainih inilaca nije postojao. Mladen Stilinovi Zato su imall vremena koncetrirati se i baviti umjetnotu i lijenotu. Ali kada su i FtAD JE SFtAMOTA proizvodili umjetnost, znali su da je to uza- Vlado Martek ludno, da je to niSta. Pouku o lijenosti umjetnici Zapada imali su od koga nauiti, all nisu. Dva najvainija umjetnika 20. stoljeta bavila su se pitanjem lijenosti, praktiki i teoretski: Duchamp i Malevi. Duchamp nikad nije govorio o lijenosti. vet o ravnodunosti i neradu. Na pitanje Pierre Cabannea - to mu je donijelo najvie zado- voljstva u iivotu, Marcel Duchamp je odgov- Mladen Stilinovi, 1993.
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Editor / Urednik Tihomir M ilovac C
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ESSAYS / ESEJI Tihomir Milovac THE
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Tihoinir M ilovac E FITS' The term
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work is still relevant. Its staying
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Tomislav Gotovac Foxy Mister, 2002
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and well-founded hypothesis of the
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Kuluni points out that justice and
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Ivana Keser and Tomislav thank you)
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traces' of art within the process a
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But the axis of the neoavantgarde w
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concept of the artist which include
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y the text). At his Retrospective (
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the optical illusion or a mental ef
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Branka Stipanie omatio- (eljko Jerm
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putting it together in a perfunctor
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Branka Stipanie A_ In id Manifesto,
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supposed Pantha belong to the same
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Nada Bero It has always been the am
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put up in 1961. while the Weekend A
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Page 45 and 46: 1 Official art history in Croatia,
Page 47 and 48: Nataa Hit reg,RLEAz . 1- With the d
Page 49 and 50: on the local and world art scene at
Page 51 and 52: port which wasn't spent on the prod
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Page 57 and 58: U" Gorgona Group / Grupa Gorgona Ch
Page 59: Josip Vanita Homage to Manet / U sp
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Page 64 and 65: Julije Knifer Meander No. 2 / Meand
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Page 70 and 71: Dimitrge BaSievit - Mangelos Moscow
Page 72 and 73: Tomislav Gotovac Showing Elle / Pok
Page 74 and 75: Tomislav Gororc Streaking, Belgrade
Page 76: Red Peristyle / Crveni Peristil Pai
Page 79 and 80: Braco Dimitrijevit Painting by Krei
Page 81 and 82: Braco Dimitrijevit Casual Passer-by
Page 83 and 84: Goran Trbuljak Bangs on this pipe p
Page 85 and 86: Goran Trbuljak I do not wish to sho
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Page 89 and 90: Group of Six Artists / Grupa estori
Page 91 and 92: Sven Stilinovit The Razor Blade Fla
Page 96 and 97: Mladen Stilinovit 71M111111. Exploa
Page 98 and 99: Mladen Stilinovit Exploatation of t
Page 100 and 101: Mladen Stilinovi The Artist Who Can
Page 102 and 103: 12 Jutarnii UST Novac poduzetniitvo
Page 104 and 105: THE MISFITS I 102 Vlado Martel( Bal
Page 108 and 109: Vlado Martel( Hairy Flag / Dlakava
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Page 112: Tomislav Gotovac Lying Naked on the
Page 116 and 117: Tomislav Gotovac Steckle, Hammer an
Page 118 and 119: Uhiena zbog antifaistike djelatnost
Page 120 and 121: Uhitena zbog antiraSistitke djelatn
Page 122 and 123: Sanja Ivekovit Lady Rosa of Luxembo
Page 124 and 125: 2eljko Kipke Curses / Kletve, 2000
Page 128 and 129: Dalibor Martinis Line of Fire / Vat
Page 131 and 132: Dalibor Martinis Parken Verboten, R
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Page 137 and 138: Aleksandar Battista Weekend Art: Ha
Page 140 and 141: Co "Iv Art is an NGO founded by Ale
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THE MISFITS I 142
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Marijan Jevovar Grey Surface / Siva
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eakcija, od ogorenih pojedinaca do
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Politiari, ubjajte se (1996.). dana
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Sloboda, Umjetnost, ....Nesumnjiva
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1 Naslov je izlobi definiran za vri
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27 ieljko Kipke: Kletve i brojevi,
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intertekstualizam i kontekstualizam
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No, okosnica je neoavangardnog vala
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ogledanje Zapadne Europe u postkolo
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devedesetih ne odreduje, dakle, vis
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i koncept rada sa svijetom (znanje,
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fotografskim materijalima. Uspostav
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ture nego koncept djela - za Borisa
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Manifesti kod Mangelosa dolaze na k
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Nada Bero Oduvijek je ambicija povj
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Oba vremena - i ezdesete i devedese
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jnim medunarodnim izlobama. Za razl
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S Umjetnici su svoju malu CoCoArt (
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da sa soc-realizmom. podijeljena no
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udruivanje da bi se uope mogla ostv
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THE MISFITS 1 184 118011APVIEs i
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2000 Museo Nacional de Colombia. Bo
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2000 Blow up. Gallery of Contempora
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1986 Photopaintings. Galerija DDT-
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1989 Mundus Subterraneus, Mali salo
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1976 Biennale di Venezia, Venezia 1
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1983 Les artistes aux armes. Poetic
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Experiment, Stedelijk Museum, Amste
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1986 Gorgona Galenja Studentskog ku
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THE MISFITS I 202 EliTRUMWAs /
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Ivana Keser Local News / Lokalne no
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M laden Stilinovi The Beg People /
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Publisher / lzdava Museum of Contem
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