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LI TE RA TU RA
1. Abramovic, Marina, Cle a ning the Ho u se, Lon don, Aca demy Edi ti ons, 1995.
2. Ben son, O. Ti mothy, Central European avant-gardes: exchange and transformation, 1910-1930, Los Ange
les, The MIT Press, 2002.
3. Bokshan, Kosara, C a ta lo g ue , Bel gra de 2002.
4. Bury, Step hen, Breaking the Rules, Lon don, The Bri tish Li brary, 2007.
5. Ga ge, John, Colour and Meaning, Lon don, Tha mes & Hud son, 1999.
6. Kelly, Ca tri o na, A Very Short Introduction to Russian Literature, Ox ford, Ox ford Uni ver sity Press, 2001.
7. Mo ri ne au, Ca mil le, Elles, Pa ris, Cen tre Pom pi dou, 2009.
8. Ric hards, Mary, Marina Abramovic, Abing don, Ro u tled ge, 2010.
9. Said, W. Ed ward, Reflections on Exile, Cam brid ge, MA, Har vard Uni ver sity Press, 2000.
10. Vejl, Si mon, Te ži na i Bla go rod nost, No vi Sad, Sve to vi, 2007.
Women Artists, Slavs and Nomads, here and there
ninilazee@yahoo.fr
SUM MARY: If we cla im the fact that the hi sto ri cal and bi o lo gi cal sta tus of a wo man
ar tist has al ready been tra di ti o nally de nied in any so ci ety, one co uld al so no ti ce
that the sta tus of a wo man ar tist li ving in exi le or in di a spo ra be co mes even more
fra gi le and com pli ca ted. We wit ness cer tain re va lo ri za ti ons of the said sta tus, as
with Ar te mi sia Gen ti leschi (1593–1652) or La vi nia Fon ta na (1552–1614) but the
ex cep ti ons of ten pro ve the ru le. The se wo men ar tists cre a te im me mo ra ble works of
art, of ten un der the most dif fi cult li ving con di ti ons, in an exi sten ti al dread, of ten
sur vi ving wit ho ut so cial se cu rity or the le gal pa pers in a new en vi ron ment. Mo re o-
ver, and in many ar ti stic ca ses, the ir art ap pe ars to be much mo re per ti nent than
the works of the ar tists who re ma i ned in the ir ho me land. What do es an ar tist gain
in a new li ving con text and what do es he/she lo se? The se are so me of the qu e sti ons
which we ask in this text, which is re se arch ba sed on the the o re ti cal ex plo ra ti ons
of Ed ward W. Said, a cri tic who had re se ar ched the pro blem of exi le and the displa
ced pe o ple all his li fe. In the gi ven con text we fol low the li fe of wo men ar tists
who se work we ha ve en co un te red whi le li ving in our per so nal exi le in New York
and Pa ris: we con si der the de ve lop ment of ar tists-mem bers of „Za dar gro up” who,
due to the ir po li ti cal con vic ti ons, left the ir ho me land in 1950s and li ved in Pars, as
exem pli fi ed by Ko sa ra Boks han and Lju bin ka Jo va no vic; we men tion the ge ne ra tion
who, ac cor ding to the ir va ri o us and re spec ti ve re a sons, left Ser bia du ring the 1970s
and 1980s, as exem pli fi ed by the mem bers of the first con cep tual art gro up, Ma ri na
Abra mo vic (li ving in New York) and Ev ge ni ja Dem ni ev ska (Pa ris); we men tion the
„post mo derns” who fol lo wed the ir Sur re a list dri ve and went to ex plo re the unk nown
ter ri tory as exem pli fi ed by Ki ri la Ra do va no vic-Fa eh (li ving in Zürich) and Vic to ria
Ve sna (Los An ge les); as well as the re pre sen ta ti ves of the ge ne ra tion con cer ned
with the or ga nic ap pro ach to pa in ting, such as Lju bi ca Mr kalj and Ve sna Ba jal ska
(both li ving in Pa ris); as well as the re pre sen ta ti ves of the youn gest ge ne ra tion who
left the ir ho me co u try in 1990s, in clu ding Se le na Vic ko vic and Oli ve ra (de) Mej cen
(li ving in Pa ris) as well as Je le na Mi sko vic (Am ster dam).
KEY WORDS: Exi le, plu ra lism, to tal art, ico no graphy, ot her ness, ab strac tion, tec hnocom
mu ni ca tion.
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