STVARAM
POZORIŠTE
ISPRED I IZA SCENE
VojislavVojoKilibarda
VojislavVojoKilibarda
MY CREATING
THE THEATRE
BEFORE AND AFTER
THE STAGE
2014.
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Tekstovi u katalogu
Articles in the publication
Vidosava Vitka Vujnović. . . . . . . . . . . . . . . . . . . . . . . . 8
Vojislav Vojo Kilibarda. . . . . . . . . . . . . . . . . . . . . . . . . 16
Ljiljana Zeković. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Marko Musović . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Stevan Koprivica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Ana Ivanović. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Slobodan Milatović . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Vladana Kosić. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Milina Kovačević . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Vuk Vuković. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Voislav Bulatović. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Igor Bošnjak. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Hercegnovsko pozorište
40x52 cm
Ljiljana Marinović . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Bogdan V. Musović. . . . . . . . . . . . . . . . . . . . . . . . . . . 118
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POZORIŠTE JE U NAMA
Od trenutka kada sam prvi put vidjela fotografije Vojislava Voja Kilibarde, kroz proces njihovog
preoblikovanja – izdvajanjem, kaširanjem, lijepljenjem, isjecanjem, potom kroz proces sukobljavanja ili harmonizacije sa drugim i drugačijim teksturama – gaza, folija, plastika, ogledalo,
boja, konačno „pakovanja“ u ram-scenu, pitala
sam se šta u stvari posmatram kao dominantno
– stvarnost slike-foto-kolaža ili sliku stvarnosti
onakvu kakvom je umjetnik vidi?
Vojovi foto-kolaži nisu fotografija na kojoj je, po
svim pravilima, uhvaćen i zamrznut pokret, izraz,
odnos a potom sve to jednostavno kolažirano.
Ovi foto-kolaži su više od toga – prisustvo i odsustvo, mirovanje i pokret, mirenje i pobuna, u
nama, u prostoru pozorišta, u svijetu. Oni su priča i ćutanje i povremeno krik.
Kilibarda prvi korak u ovaj neobični stvaralački
postupak čini u izmještenoj stvarnosti – u Pozorištu. Zašto?
Objašnjenje počinjem od trenutka koga nema
na ovoj izložbi niti u ovom katalogu. Kada je
Hercegnovsko pozorište u oktobru 2011. godine
pokrenulo iskren, silovit i snažan bunt kao protest protiv prijetnje iseljenjem iz zgrade u kojoj
je radilo tridesetak godina, kada je sa svih strana
svijeta stigla podrška skoro dvije hiljade dramskih stvaralaca, institucija, prijatelja, nastala je slika „Zašto“. Po Vojovoj zamisli „Zašto“ je ispisano
crvenim slovima na bijeloj površini, a učesnici
protesta su po uramljenoj bjelini ostavljali otiske
prstiju i dlanova, kao otiske duše. Bio je to trenutak kada je Vojovo stvaralačko „JA“ postalo „MI“.
Slika je kao dio triptiha, uz mnogo muke i neslaganja sa nadležnima postavljena u Galeriji „Josip
Bepo Benković“ u okviru izložbe „Hercegnovska
likovna scena“. Na drugoj slici trebalo je da bude
tekst apela „Sačuvajmo Hercegnovsko pozorište“
a na trećoj, nadali smo se – odluka nadležnih da
ćemo dobiti prostorije za rad.
Apel nije postavljen.
Odgovora na nazhtjev da se nađe prostor za
djelovanje Pozorišta, nije bilo tada a nema ga ni
danas.
Ostalo je samo stvaralačko, umjetničko, teatarsko, vječno – zašto?
Protest s početka ove priče pokazao se uprkos
svoj silini – nemoćnim. Pozorište iz zgrade u kojoj je živjelo i stvaralo 30 godina iseljava 1. juna
2014.
Zasada nema novu adresu!
Kažu, da bismo posjedovali svijet umjetnosti
moramo ga neprekidno, ponovo osvajati, ako
ničim drugim onda sjećanjem. Ali, sjećanje nikada ne znači samo prosti čin reprodukcije, nego
je uvijek nova intelektualna sinteza, konstruktivni i kreativni čin. Tako su i Kilibardini foto-kolaži postali pun krug u kome je svako JA Hercegnovskog pozorišta postalo MI – a svaka naša
predstava prešla je putanju kojoj početak jeste
teatarski čin, ali kraja nema – jer je taj trenutak
naselio sliku koja bi trebalo da bude trajna.
Pozorište je u nama!
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THEATRE IS INSIDE US
Kilibarda dakle za svoje foto-kolaže sa sobom
„odnosi“ slike iz pozorišta ali teatru vraća sjaj vlastitih sjećanja. Tako oni postaju istovremeno –
dolazak i odlazak, prisustvo i odustvo, racionalno
i iracionalno, realno i izmaštano, plošno i produbljeno. Slika jeste rođena iz događaja, ali ona za
Kilibardu u tom trenutku još nije slika, već samo
podloga na kojoj će se slika tek roditi.
Zato Kilibarda na svojim foto – kolažima povremeno „gasi“ ono što je u Pozorištu započeto.
Zato drugi put namjerno utisak-emociju stečen
u tetru „pojačava“ do bola, do mučnine.
Zato njegov realistički (foto) zapis prerasta u
ekspresionistički duh (fotokolaž-sliku) i širi se
poput neuhvatljivog, nevidljivog, a ovdje tako
snažno prisutnog duha stvaranja oko svakog
pojedinačnog Kilibardinog djela.
Vidosava Vitka Vujnović, novinar
From the moment I first saw the photographs
by Vojislav Vojo Kilibarda, the process of their reshaping with dissection, Papier Mâché method,
gluing, cutting out, then through the process
of confrontation or harmonization with other
and different textures – gauze, foil, plastic, mirror, colour, and finally wrapping up into a stage
frame, I wondered: what is it that I actually see
as dominant – the reality of a photo collage, or
the reality image as seen by the artist?
Vojo’s photo collage works are not photos in
which, in line with all rules, there is a shot and
frozen move, expression, relation, and then simply put into a collage. These collage pieces are
much more than that – the presence and the
absence, stillness and movement, acceptance
and revolt, in us, in theatre, in the world. They
both tell a story and keep silent, and sometimes
they cry out.
Kilibarda makes his first step of this unusual
creative exploit into an imaginative reality – in
Theatre. Why?
I start my explanation with the moment which
is not a part of this exhibition or this catalogue.
It was in October 2011 when Herceg Novi Theatre started a true, vehement and strong revolt
as a sign of protest under the threat of forcesul
dislodgement from the building from which
it operated for about thirty years, when letters
of support from almost two thousand theatrical workers, institutions, friends, used to arrive
from all parts of the world, when the painting
“Why” was created. Vojo’s idea was to have the
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word “Why” written in red letters over a white
surface, and the protesters used to leave fingers
and palm marks over the framed whiteness, as
though they were marks of their souls. It was the
moment when Vojo’s creative “ME” became “US”.
As a part of a triptych, with lots of efforts and
conflicts with the competent authorities, the
painting was set as an exhibit in the Art Gallery
“Josip Bepo Benković” within the show “Herceg
Novi Art Scene”. In the second painting there
should have been the text of the appeal for
help “To Save the Herceg Novi Theatre”, and in
the third, we hoped, the decision of the competent authorities that we will be given premises
to work.
The appeal was not shown.
The reply to our request to find a space for the
Theatre’s activities was not given back then, and
it has not been given till the present day. What
was left is only the creative, the artistic, the dramatic, the everlasting – why?
Despite its strong impulse, the protest from the
beginning of the story showed – powerless.
On 01st of June 2014 the Theatre is going to be
evicted from the building where it has existed
and worked for 30 years. Until now it does not
have a new address!
It is said that in order to maintain the world of
art, we must always continue to re-conquer it,
if by no other means, then with reminiscence.
However, reminiscence never means just a mere
reproduction, but it is always a new intellectual
synthesis, a constructive and creative act. Thus
Kilibarda’s photo – collage works have grown
into a full circle in which every ME of the Herceg
Novi Theatre has become US – and every one
of our plays passed the way where the starting
point is the theatre act, but the final point does
not exist – since the moment had occupied a
piece of art which is meant to be permament.
The Theatre is inside us!
Therefore, Kilibarda for his photo – collage
pieces “takes away” from the theatre the images, but he brings back to it the splendor of his
own memories. Thus the images become in the
same time a leave and a come-back, a presence
and an absence, rational and irrational, real and
imaginative, flat and concave. An image does
have its origin in an event, but for Kilibarda, it
is not a ready image yet, but only a ground on
which a work of art will be born.
This is why in his photo – collage works Kilibarda
sometimes “turns off” what has been started in
the theatre.
This is why in another place he on purpose
“turns up” the impression or the emotion from
the theatre to the level of pain, or sickness.
This is why his realistic (photo) record grows
into an expressive spirit (a photo – collage piece
of work) and extends as an elusive, invisible,
and here so potently present, spirit of creation
around every single Kilibarda’s work.
Vidosava Vitka Vujnović, a journalist
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STVARAM POZORIŠTE –
ISPRED I IZA SCENE
Išli ste u pozorište?
Osjetili ste magiju umjetničkog stvaranja?
Onda ste se sigurno i zapitali šta se događa iza
kulisa, a šta prije nego što glumci izađu na scenu. “Stvaram pozorište” je moj odgovor na ova
pitanja. Krećem od Konstantina Stanislavskog,
pozorišnog glumca, reditelja i teatrologa, velikog tvorca “Sistema” poznatijeg kao “Teorija glume”. Stanislavski kaže da glumac uvijek mora da
pronađe dvije stvari – „cilj“ za svaku pojedinačnu
scenu pozorišne predstave, kao i „super cilj“, za
cijelu predstavu. Da bi ovo postigli glumci moraju stalno da sebi postavljaju pitanja. Jedno od
prvih je „Šta bi bilo kada bih se ja našao u istoj
situaciji kao i osoba koju glumim?“
Pokušavao sam i ja da nađem i cilj za svaki pojedinačni fotokolaž i super cilj – za cijeli projekat
– da pitam i nalazim odgovore.
Scena je bjelina, prostor, beskrajan čak i kada je
samo opervažen crnim rikvandima. Prostor na
kojem se pokazuje istinska kolektivna umjetnička atmosfera i ono što su htjeli da transponuju
iz života u umjetnost i obratno, pisac, reditelj,
glumci, autori scenografije, kostima, muzike, dizajneri svjetla, pa čak i rekviziteri, montažeri…Na
njoj je vidljivo sve što je prije nego do publike
prošlo kroz njih same. Stanislavski se zalagao za
teatar koji poražava istinitošću, koji uzbuđuje i
koji potresa dušu. Vrijednost Teatra se i ogledala
u tome da ima produženo dejstvo u gledaocu.
Složićete se, vama je potreban teatar kome vje-
rujete i bez koga se ne može, a ne onaj koji vas
češće ostavlja ravnodušnim i praznim. “Davati i
uzimati” jesu suštinski principi pozorišnog morala i umjetničke etike. Moral na sceni i u životu,
etika u stvarnosti i umjetnosti – jesu osnovna
načela humanizacije ljudskog svijeta i njegove duhovnosti. “Bez moralnih i etičkih načela,
umjetnost čovjeka za čovjeka, izražena čovjekom nema smisla” piše Stanislavski. Prema tome
smisao umjetničkog stvaranja je u istini koja se
pokazuje kao najviši princip estetike i sveopšteg
stvaranja umjetnosti. Otuda i svako preživljavanje iznova i iznova, donosi nova otkrića o kreativnim kapacitetima Pozorišta. U tome se ogleda
njegova istinska magija. Zato i publika postoji
kao nepresušna razmjena povratnih emocija sa
glumcima, kroz katarzu, kroz neponovljivo prepuštanje, što jeste neprocjenljivo.
Potpuno je prirodno i osnovano da poslije decenije rada u Pozorištu, filmu, na festivalima, sve to
izrazim i kroz svoj likovni rad, s posebnim akcentom na stvaranje Pozorišta. Ovakva odluka posljedica je mog osjećaja da i samim prisustvom
u zgradi Pozorišta, na predstavi, u stvari učestvujem u nastajanju teatarskog čina.
Zašto sam od svih tehnika odabrao baš fotokolaž? Zato što je najpribližniji onome što sam
u Pozorištu radio (plakat, pozorišna fotografija,
programska knjižica, predložak scenografije) i
zato što je fotografija pouzdana skica za razvijanje ideje, spajanje i ravnotežu svjesnog i nesvjesnog, cjelokupnog mog pozorišnog iskustva.
Snimajući fotografije ja sam bio taj koji je kon-
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trolisao situaciju, fotoaparat, birao šta ću i kada
zablježiti mimo onoga što je dogadjaj u pozorišnoj predstavi, što se odvija među glumcima, u
jednom glumcu ili na relaciji glumci – publika,
glumac – publika, a može se iskazati i odnosom
glumca koji govori, igra, pleše, ćuti, dodiruje i
ispituje određenu stvar, skriva je ili je ignoriše,
tako da ona čudesno oživljava, leti, govori, isijava svjetlost, transformiše se u drugu stvar, biće
i stvara nove odnose... To je pomoglo da moji
fotokolaži doprinesu boljem razumijevanju priče, intenzivnijem odnosu prema temi pozorišne
predstave, likovima i porukama... To je konačno
– uz svjesno – odabir tema proistekao iz iskustva, uključivalo i fantaziju i imaginaciju.
i mjesto za nas same: kao posmatrače, kao aktere, saučesnike pozorišnog čina. Scena, enterijer,
eksterijer su zamrznuti, ali taj lik, silueta, figura,
predmet koji nedostaje u stvari i dalje živi u našoj (pro)misli i ima svoju ličnu metafiziku. Kako
će sve to shvatiti posmatrač, njegova volja. Ja
sam ponudio akciju, nit, okret i značaj toj figuri i
smatram da sam time taj značaj pojačao. Svaka
predstava je događaj u određenom vremenu i
u prostoru scene koja iako je ja doživljavam kao
beskrajnu ima svoju hermetičnost. Zbog toga
sam i svojim fotokolažima dao tu dimenziju hermetičnosti – zatvorenosti u ramu. Time direktno
sugerišem poređenje fotokolaža sa pozorišnom
scenom.
Zašto pomjeranje, narušavanje, oduzimanje ili
dodavanje, lomljenje, drobljenje, umetanje boje,
drugih materijala i elemenata na fotografiji?
Zato što to otvara novu priču. Bilo koji pozorišni
komad možemo gledati više puta i nikada neće
biti isti meni i bilo kojem drugom posmatraču.
Isto je i sa fotografijama. Kada bih fotografije
ostavio potpuno sirove, onakve kakve jesu, one
bi bile samo zapis jednog vremena, situacije, trenutak uhvaćen u određenom prostoru. Oduzimanjem, dodavanjem, intervencijama, fotografije su dobile potpuno novi značaj. Najčešće sam
fotografiji oduzimao nekog aktera. Ta praznina
koja ostane dodaje vremenu. Vidimo da je neko
ili nešto bilo tu, a dalje možemo shvatiti kako
hoćemo, da li je taj neko samo otišao, da li je
umro, da li tek dolazi a njegova aura se ocrtala
prije njega, ili je ostala tu. Ta praznina može biti
Međutim, ja nisam jedini autor onoga što je kao
konačno viđenje pred posmatračem. Baš kao i u
pozorišnoj predstavi više je ljudi učestvovalo u
procesu stvaranja, pa je i tako podržan duh kreativnog kolektivizma, u koji iskreno vjerujem. Od
onih sam koji vjeruju da je svaka životna situacija istovremeno i tema moguće ili već postojeće
pozorišne predstave. Pozorišnu predstavu možemo praviti od bilo koje rasprave, razgovora,
susreta, rastanka, trenutka rođenja ili smrti. Šta
ćemo odabrati, šta je dovoljno teatralno da ona
bude zanimljiva, važna, da bude poruka ili pouka posmatraču ili gledaocu? I o tome sam razmišljao pa onda odabrao da mi vodilja bude misao
Petra Lubarde – Ja sam ja i slikam (stvaram) svijet (Pozorište) po svojoj volji.Kad kažem “Stvaram
pozorište” to se može tumačiti kao subjektivno
sagledavanje. Ali, činjenica da sam se rukovodio
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MY CREATING
THE THEATRE – BEFORE
AND AFTER THE STAGE
i pristupom “davanja i primanja” i da sam svoje
subjektivno mišljenje razmjenjivao sa ljudima
sličnog senzibiliteta i promišljanja Pozorišta i
umjetnosti, daje mojim odabranim fotografijama i nadograđenim fotokolažima neophodnu
dozu objektivnosti.
Ljudi sa kojima sam ostvario višegodišnju kreativnu saradnju nastavljaju moj koncept “stvaranja pozorišta” i svi su autori tekstova za ovaj katalog, zahvaljujući kome i naše predstave i moju
izložbu možete zauvijek ponijeti sa sobom.
Vojislav Vojo Kilibarda
Have you ever been at the theatre?
Have you felt the magic of artistic creation?
Then you must have wondered what happens
behind the curtains, and what happens just before the actors come out to the stage.“ My creating the theatre“ is my answer to these questions.
My staring point is Constantin Stanislavski, an
actor, a director, and a theatrologist, the great
creator of the “System“, known as the “Theory
of Acting“. Stanislavski says that an actor must
always discover two thigs – ‘a goal’ for each individual scene in the play, as well as ‘a super goal’,
for the entire play. In order to achieve this, actors
must always question themselves. And among
the first, “What if I found myself in the same situation as the person I am acting?”
I myself was also trying to find a goal for each
individal photo collage and a super goal for the
whole project – to ask questions and to find answers.
The scene is a whiteness, an endless space, even
when it is divided only with black curtains. The
area where a true collective artistic atmosphere
is shown and also what the writer, the director,
the actors, the set and costumes designers, the
music and light designers and even prop managers, editors etc., what all of them wanted to
transpone from life into art and vice versa. Everythingthey had been through before the audience has is seen on it. Stanislavski advocated a
theater that defeats with the truth, which excites and hits the soul. The value of the Thea-
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tre has also been seen in its prolonged effect
on the viewer. You have to agree, you need a
theatre you can trust and you cannot be without, and not the one that often leaves you indifferent and empty. ‘To give and to take’ are the
essential principles of the theatrical morality
and the ethics of art. Morale on the stage and in
life, the ethics in reality and in art – are the basic
principles of humanization of the human world
and its spirituality. ‘Without moral and ethical
principles, the art of man for man, expressed
by a man, makes no sense”, wrote Stanislavski.
Therefore the meaning of artistic creation is in
the truth that is revealed as the highest principle of esthetics and universal creation of art.
Hence, each experience over and over again,
brings new discoveries about the creative capacities of the Theatre. Its true magic reflects in
this. That is the purpose of the audience, as an
inexhaustible exchange of emotion feedbacks
with the actors, through catharsis, and unique
indulgence, and this is priceless.
It is completely natural and expected, that after a decade of working in the theatre, film, film
festivals, I express all that through my art with a
special emphasis on crating the theatre. Such a
decision is the result of my feeling that with my
presence in the theatre building, during a play, I
in fact participate in the theatre event happening.
Why, from all of the techniques, have I chosen
the photo collage? Because it is the closest to
what I have worked on in the Theatre (posters,
theatre photography, programme booklet, set
design patterns) and because photography is a
reliable sketch to develop an idea, to connect
and make balance between the conscious and
the unconscious, in my whole theatrical experience. By taking photos I was the one that controlled the situation, the camera, I could choose
what and when I would shoot regardless of
what was happening in the stage, among the
actors, in one of the actors or within the relation the actors – the audience and vice versa,
and that could be expressed through the standpoint of the actor that can speak, play, dance,
be silent, touch, and examine a particular thing,
hide it or ignore it, so it miraculously becomes
alive, it can fly, talk, shine, transform itself into
another thing or a being, and creates new relations… This helped that my collages contribute
to a better understanding of the story, to a more
intense relation with the theme of the play, the
characters, and messages… Finally, the selection of topics was derived from the experience,
which included both fantasy and imagination,
along with the concious.
What is the purpose of shifting, distorting, taking away or adding, crushing, grinding, inserting
of colors, different materials and other elements
in a photo? Because it opens up a new story. We
can watch any play in the theatre may times but
it will never be the same to me and to another
observer. The same is with photographs. If I left
photos completely raw, as they are, they would
be only records of the time, a situation, a moment captured in a certain area. With cutting,
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adding, interventions, the photos have gained
a whole new meaning. I frequently removed a
character from a photo. The gap that remains,
gives us time. We see that something or someone was there, and therefore we can imagine,
whether that someone just left, or died, or is
yet to come and the aura has shown before,
or it simply stayed there. This gap may be the
place for ourselves as well: as observers, actors,
accomplices of a theatrical act. The scene, the
interior, the exterior are frozen, but that character, the silhouette, the figure, the missing object
is in fact still alive in our thought(s) and it has its
own personal metaphysics. How an observer is
going to digest all this, it is up to them. I have offered an action, a thread, a turn and significance
to that figure and I think it only increased the
signifficance. Each play is an event in a certain
time and in the stage space as well, which, even
though I see it as endless, is in fact hermetic. This
is why I have given to my photo collages the dimension of hermeticity – being captured inside
a framework. Thus I dirrectly suggest the comparison of a photo-collage with a theater scene.
However, I am not the only author of what is
presented as a final product in front of a viewer.
Just like in the play, many people were involved
in the process of creation, therefore the collective creative spirit, in which I truly believe, has
been supported. I am one of those people that
believe that every life situation can be a topic
of possible or already existing play. Theatre performances can be made ​​from any discussion,
conversation, meeting, separation, moment of
birth or death. What we choose, what is spectacular enough to be interesting, important,
to be a message or a lesson to a spectator or
viewer. I have been thinking about that as well
and I have chosen my guideline to be what
Petar Lubarda said – ‘I am myself, and I paint
(create) the world (theatre) as I want. When I say
“creating the theatre“, it can be interpreted as a
personal perception. But the fact that one of my
basic principles has also been the ‘giving and
taking’ and that I have exchanged my personal
opinions with people of similar sensibility and
ideas about the theatre and art, gives my chosen photographs and upgraded photo-collages
a necessary level of objectivity.
The people with whom I have creatively cooperated for many years, are the ones who continue
my concept of “creating the theatre“ and all of
them are the authors of the articles for this catalogue, which allows you to keep both our plays
and my exhibition, for good.
Vojislav Vojo Kilibarda
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SVIJET MOJE STVARNOSTI
I MOJIH OPSJENA
Veseo budi. Naša zabava
Svršena je sada. Naši su igrači
Duhovi bili, i iščezli su sad
U nevidjiv vazduh.
Viljem Šekspir, Oluja.
„Stvaram pozorište – ispred i iza scene“ projekat je
kojim sam želio da objedinim nastajanje pozorišne
predstave, posebno scenografije, fotografije kao
realnog zapisa tog procesa i njegovih rezultata, ali
i pretvaranje svih tih tokova i promišljanja u novi
iskaz – fotokolaž-sliku, sa osnaženom ili sasvim
novom porukom. Ovom sažetom formulacijom
Vojo Kilibarda definiše svoj rad kao kompleksno
multidisciplinarno i multimedijalno djelo preko kojeg izražava svoja vizuelna, intelektualna,
emotivna i mentalna promišljanja. Polazeći od
vlastite „individualne mitologije“ on moduse
likovnog izraza nalazi u širokom polju kontekstualizacije i relacionih odnosa koje nudi savremena umjetnička praksa. Povezivanje virtuelnog
i stvarnog, koegzistencija različitih medija i fleksibilan odnos pozorište – umjetnik – umjetničko
djelo – posmatrač rezultiralo je stvaranjem autonomnog umjetničko-fenomenološkog diskursa.
Ovom dugogodišnjem pripadniku kreativnog
tima Hercegnovske pozorišne scene, teatar je
postao imanentni izvor nadahnuća. Oslobađanje duhovne i intelektualne samosvjest uticalo
je na njegov angažovan i kritički odnos prema
mnogim pitanjima na globalnom i lokalnom
planu koji se tiču kulturoloških, socijalnih, poli-
tičkih i antropoloških problema. Zapravo, gdje je
mogao naći inspirativniji podsticaj nego u njemu bliskoj atmosferi i mogućnostima koje mu
nudi teatarska inscenacija. Našao ih je upravo
tamo gdje se prepliću život i iluzije, i ostvaruje
uspješan komunikacijski kôd između pozorišnih
poslenika, umjetnika i publike, koji na Vojovim
radovima često mijenjaju pozicije i uloge.
Postavlja se pitanje – šta ostaje poslije pozorišne
predstave? Sjećanje, razmišljanje, fascinacija, indiferentnost..., zapravo psihomatske informacije
koje ne omogućavaju njihovu potpunu rekonstrukciju. Vremenska i prostorna ograničenost,
zvučni efekti, pokret, radnja koja teče, uslovili su
da Vojo napravi medijski iskorak kojim je pomjerio formalne granice izvođačke umjetnosti dajući joj novo značenje kroz mogućnosti drugačijeg promišljanja i interpretiranja. Sve te različite
čulne i perceptivne senzacije umjetnik prenosi u
statičnu strukturu slike.
Sasvim logično, kao primarno sredstvo umjetničkog iskaza koristi fotografiju kojom istovremeno bilježi realnost, ali i dematerijalizuje
umjetnički objekat.
Fotografija, po karakteru svog medijskog izraza,
fiksira isječak realnosti kao „zamrznutu“ sliku sadašnjosti, tako da umjetnik po svom izboru odabira sekvence iz pozorišnih predstava i notira zaustavljenu akciju koja se odvijala u određenom
prostornom i vremenskom trenutku. Nekada
radi više pojedinačnih fotografija iste predstave
koje su ga kao umjetnika privukle svojom likovnošću i estetikom, ali bez namjere da slijede
stvarni tok radnje.
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Na fotografijama nalazimo elemente kojima
Vojo kao umjetnik – fotograf pokazuje svoj
istančan osjećaj za ljepotu slikovnog materijala.
Svjetlosni efekti, sjenke i polusjenke koje dočaravaju varljivu atmosferu La Turovih i Rembrantovih mističnih prizora, euklidovski prostor, kolorističke orkestracije, optički efekti, slikovni ritmovi,
ovim fotografijama daju likovne vrijednosti koje
možemo formulisati stilskim odrednicama: realno, asocijativno, apstraktno, simbolično, nadrealno i metafizičko.
Vojov rad apriorno je zasnovan na čvrstoj mentalnoj i koncepcijskoj osnovi. Njegov likovni
kredo zasniva se na slojevitoj nadgradnji medija
koji imaju specifičan znakovni, komunikacijski i
jezički izraz. Kao stvaralac, svjestan je da izvan
prostora u kome vladaju određeni kauzalni odnosi postoji prostor slobodnog i samosvojnog
likovno-estetskog izraza. Tako on smišljeno
interveniše i „narušava“ scensko-iluzionističku
harmoniju kako bi istakao nadmoćnost „individualnog glasa“.
U tom procesu, on ramom simulira trodimenzionalnu pozornicu (kutiju) u kojoj su smješteni
radovi, i koristi pomoćno sredstvo umjetničkog
izraza – fotokolaž u kojem aplicira i povezuje različite međusobno strane elemente i materijale:
klasičnu i digitalnu fotografiju, kaširani papir,
gazu, ogledalo, plastiku, staklo, kamen, trn, jaje,
boju, folije, stvarne i fotografisane predmete, formirajući strukture različitog nivoa značenja. Za
razliku od fotomontaže koja spaja disparentne
materijale u novu cjelinu, on koristi fotografiju
koja zadržava svoju cjelovitost, ali na njoj interveniše kombinovanjem različitih struktura. U
tom procesu on uvodi perforacije poput Fontaninih concetto spaziale koje predstavljaju samo
prividno nasilje nad integritetom rada. Naime,
on isjeca pojedine ličnosti iz pozorišne predstave ili sa fotografija na kojima su „uslikani“ učesnici u njihovoj realizaciji i predstavnici medija.
Ostala je praznina koju umjetnik popunjava bijelom gazom. Ovdje nalazimo vizuelnu analogiju
sa pozorištem sjenki, ali ne u kontekstu njegove fantazmagoričnosti, već u uvođenju u realni
prostor jedne bestjelesne, duhovne, apersonalne i bezlične forme koju definišu samo obrisi
tjelesnosti i koja ima svoj život. Bijela sjenka
predstavlja negativ sjenki, a bijela, po mišljenju
Kandinskog, djeluje na našu dušu poput apsolutne tišine, ta tišina nije smrt, ona je prepuna živih
mogućnosti. Upravo u toj bjelini posmatraču je
pružena mogućnost kreativne intervencije. On
na njoj kao u ogledalskom odrazu projektuje
svoje imaginarne predstave – tajne srca i savjesti,
kao i na realnim ogledalima koje koristi u svojim foto-kolažima. Mada ogledalo ima mnoga
simbolička značenja, među kojima preovladava
njegovo značenje simbola duše, na Vojovim radovima pojavljuje se i kao optička varka u prostoru i emanator energije koji privlači i reflektuje
svjetlost demistifikujući tamu prostora koja krije
mnoge nepoznanice i iznenađenja.
Koristeći ova dva elementa, umjetnik je pokušao
da, kroz svoju viziju pozorišta, konceptualnom
metaforikom animira pitanje duše koja je po
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THE WORLD OF
MY REALITY AND
MY ILLUSIONS
Jungu jedna od najvećih zagonetki u kosmosu,
nešto najtananije, najsuptilnije, neuhvatljivo, ali što
vrlo bitno određuje i vidljivo ponašanje i mišljenje.
Ove premise nesumnjivo otvaraju nove pristupe u definisanju likovnog opusa umjetnika,
jer je svijet odraz onoga što je u nama. Svijet je
jedno ogromno ogledalo... svijet je jedna velika
pozorni­ca.
Bogatstvo značenja i kompleksnost njegovog
djela otvaraju bezbrojna pitanja koja se tiču
semanatičkog pristupa njegovom tumačenju
kroz psihološke, filozofske, književne muzičke i
antropološke parametre, simboliku i metafore,
što u ovom prigodnom diskursu nije moguće
obuhvatiti.
Ako pođemo od paradigme da je pozorišna
predstava umjetničko djelo, javni i kolektivni čin,
ali i komunikacijska veza... „pozorište“ Voja Kilibarde moglo bi se nazvati JA i svijet moje stvarnosti i
mojih opsjena. Kao učesnik u drami i kreator virtuelnog mizanscena, on introspekcijom oslobađa svoje stvaralačke emocije i ističe svoj likovni,
konceptualni i misaoni identitet unutar jedne
mobilne umjetnosti koja uvijek traga za novim
apstraktnim i metafizičkim dramskim shemama.
Ljiljana Zeković, istoričarka umjetnosti
Be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air.
William Shaespeare, The Tempest
“My creating the theatre – before and after the
stage” is a project with which I wanted to unify the
creation of a theatre play, especially stage design,
and photography as a material record of this process and its results, but also to consider turning all
these streams of actions and ideas into a new expression form – a photo collage with an enhanced,
or a completely new message.” With this concise
formulation Vojislav Vojo Kilibarda defines his art
as a complex multidisciplinary and multimedial
work to express his visual, intellectual, emotional and mental ideas. Starting from his own “individual mythology”, he finds models of visual expression in a vast field of contextualisation and
relationships offered by the modern art practise.
Connecting the virtual and the real, coexistence
of different media and the flexible relationship
between the theatre – the artist – the piece of
art – the observer, resulted in a creation of an
artistically phenomenal discourse.
Being a member of Herceg Novi Theatre scene
for several years, the theatre has become his imminent inspiration source. Breakfree in spiritual
and intellectual selfawareness affected his socially engaged and critical standpoint in regard
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to many issues on global and local level, related
to cultural, social, political and anthropological
problems. In fact, where could he have found a
more inspiring motive than in a familiar atmosphere and possibilities offered by the thetare
stage? He found them exactly where life and
illusions come together, where a successful
communication code is developed among the
theatre workers, the artists, and the audience,
who often change their positions and roles in
Vojo’s works.
There is a question – what remains after a theatre show? Memories, contemplation, fascination, indifference… Actually, pieces of psychosomatic information, their full reconstruction
not possible. Time and space limitation, sound
effects, motion, the story, created the conditions
for Vojo to take a step forward in terms of the
medium with which he pushed forward the formal borders of a performance art, giving a new
meaning to it, through a posibility to read and
interpret it differently. All these different sensual
and perceptive impressions are transponed by
the artist into a stationary image structure.
Purely logically, as a primary tool of his art expression, he uses a photo with which he in the
same time records reality, but also dematerialises the art object.
A photograph, by its medium character fixes
up a piece of reality as a frozen image of the
present, so that according to his own choice
the artist can take out sequences from the thetare plays and note down the shot action that
took place at a certain point in space and time.
Sometimes he makes several individual photos
form the same play that he as an artist felt attached to by their visual quality and aesthetics, but without any intention to follow the real
story sequence.
In the photos we find elements in which Vojo
as an artists – photographer shows his delicate
sense of beauty in visual material. Light effects
and different levels of shades, creating the illusive atmosphere of La Tour’s and Rembrandt’s
mystical scenes, Euclidus areas, colouristic orchestrations, visual effects, image rhytms, give
art value to these photos, which can be formulated with style definitions such as: realistic, associative, symbolic, abstract, surrealistic, metaphysical.
Vojo’s work is a priori founded on a solid mental
and concept ground. His art credo is based on
a multi-layer media upgrade that has a specific
semiotic, communication and linguistic expression. As an artist, he is aware that outside of the
world with certain cause-effect relations there is
a world of a free and individual visual aesthetic
expression. This is how he deliberately interfears
and “tampers with” the stage-illusional harmony
in order to emphasize the upper hand of an “individual voice”.
In this process, with the photo frame he simulates a three-dimensional stage (box) accommodating his works, and he uses an auxiliary
tool of art expression – photo collage in which
he applies and relates mutually unrelated elements and materials: classic and digital photog-
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raphy, Papier Mâché, gauze, mirror, plastic, glass,
stone, thorn, egg, colour, foils, real and shot
objects, thus forming structures with different
meaning levels. Unlike photo editing which
connects disparent materials into a new form,
he uses a photo which keeps its unity, but he
tampers with it by combining different structures. In this process he introduces perforations
such as Fontana’s concetto spaziale, which only
seem to interrupt the work’s integrity. Namely,
he cuts out certain characters from the play or
from the photos of the team members or the
media representatives. What remains is a void
that the artist fills up with white gauze. Here
we find a visual analogy with shadow puppet
thetare, but not in regard to its fantasmagoric
notion, but through introduction of a bodiless,
spiritual, non-personal and formless shape into
a real space, defined only by shades of a body,
which has a life on its own. White shadow is a
negative of shadows, and the white colour according to Kandinsky, touches our souls like a
harmony of silence, it is not a dead silence, but one
pregnant with possibilities. It is this very whiteness that gives the possibility to the observer
to make creative interventions. On this surface
as on a mirror he reflects his own imaginary
plays – secrets of the heart and the conscience, the
same as on the real mirrors, used in his photo
collages. Although a mirror has several symbolic
meanings, with the meaning of a symbol of soul
prevailing, in Vojo’s works it shows as an optical illusion in space and an energy emanator
attracting and reflecting the light, demystifying
the darkness of the space, hiding many querries
and surprises.
By using these two elements, through his own
vision of the theatre, on the level of conceptual
metaphores, the artist tried to animate the question of soul, which is according to Jung, one of
the biggest universe mysteries, something most
delicate, most subtle, elusive, but it strongly defines
both external behavior and thought process.
These assumptions undoubtedly start new directions in defining the artists work, as the world
is a reflection of what is inside us. The world is a
great mirror… the world is a big stage.
Abundance of meaning and complexity of his
works open up numerous questions regarding
the semantic approach to interpretation based
on psychological, philosophic, literary, music
and anthropological parameters, symbols and
metaphores, all of which is not possible to include in the current discourse at hand.
And yet, if we start from the paradigm that a
theatre play is a work of art, a collective and a
public act, but also a communication link… the
theatre of Vojo Kilibarda could be called ME and
my world of reality and illusions. As a drama participator and creator of a virtual misanscene, by
introspection he sets free his creative emotions
and points out his visual, conceptual and contemplative identity inside a mobile art world,
always in the search for new abstract and metaphysical drama patterns.
Ljiljana Zeković, Art Historian
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Predstava “Naš čovjek”
40x52 cm
Prema motivima iz predstave “Hilperik” – kneginjica
40x52 cm
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NOVE FORME VIZUELNOG
I EMOCIONALNOG
OBLIKOVANJA POZORIŠTA
Danas gotovo da ne postoje materijali, mediji ili
tehnologije koje ne koriste savremeni umjetnici,
a složene i zapretene interrelacije između umjetnosti, društva, nauke i tehnologije donose nove
forme umjetničkog izražavanja koje ruše tradicionalne postavljene granice među oblastima i
značajno mijenjaju kontekstualizaciju i recepciju
umjetnosti krajem XX i početkom XXI stoljeća.
Umjetnost je danas sve više posmatrana u proširenom konceptu, kao „distribucioni kanal“ koji
nudi mogućnost dugoročne komunikacije u odnosu na tradicionalne vidove izražavanja.
„Stvaram pozorište – ispred i iza scene“ izložba
– projekat – ideja – koncept je kojim Vojislav Kilibarda objedinjuje nastanak teatarske predstave
(posebno scenografije), fotografije kao realnog
zapisa (procesa) i njegovih rezultata, ali i pretvaranje svih tih tokova i promišljanja u novi iskaz
– fotokolaž – sliku sa osnaženom ili potpuno
novom porukom.
Koristeći se višegodišnjim radom i iskustvom
i prisustvom u pozorištu: od odabira različitih
tekstualnih zapisa do formiranja kreativnog
umjetničkog pa i tehničkog čina koji tvori predstavu; od medijske najave, podrške, praćenja i
promocije projekta do organizacije premijernih
i gostujućih nastupa, stekao je sigurnost za vizuelno oblikovanje svog iskustva i emocija u novu
umjetničku formu.
Fotografija, kaširani papir, ogledala, plastika,
gaza, stakla, kamen, jaje, trn, boja, folija „prepakovano“ i uramljeno u format slike – kolaža – fo-
tokolaža tako da podsjeća na scenu (pozorišnu),
omogućilo mu je da „pomjeri“ pojača, proširi
vizuelnu, a i druge dimenzije predstave (plošne).
Na ovaj način ostvaren je nov način komuniciranja između scene i „scene“ na fotokolažu (iseljavanje ili useljavanje detalja koji postoje ili ne
postoje na pozorišnoj sceni u realnosti. Traženje
i nalaženje opštosti i novog sistema vrijednosti i
u tehničko – tehnološkom procesu uz ostvareno
jedinstvo u razlikama.
Za sve ovo vrijeme Vojislav Kilibarda prati jedan
logičan i čini se, jedini mogući razvojni put, koji
podrazumjeva oslonac na klasične likovne i pozorišne vrijednosti koje se prepoznaju u upotrebi i tretmanu materijala i tehnika, kao i načina
obrade i konstituisanja slike, kao i na postupno
uvođenje drugih i novih materijala, tehnika i
tehnoloških dostignuća u okviru širokog polja
vizuelnih umjetnosti. Ovakva rješenja proizilaze
iz novog koncepta, odnosno razumjevanju potrebe za novim izražajnim mogućnostima, koje
mogu da prate i usklađuju se u savremenu, sofisticiranu vizuelnu kulturu.
Prof. Mr Marko Musović
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NEW FORMS OF VISUAL
AND EMOTIONAL
THEATRE SHAPING
Nowadays there are almost no materials, media
or technologies which are not used by modern
artists, while complex and intricate interrelations between the art, the society, science and
technology bring up new forms of art expression breaking through traditional boundaries
between different areas, thus significantly
changing the context and reception of the art
at the end of XX and beginning of XXI century.
Today art is more and more often seen as a part
of a wider concept, as a “distribution channel”
offering possibilities for long-term communications, compared to traditional expression forms.
”My creating the theatre – before and after the
stage” is an exhibition – a project – an idea – a
concept in which Vojislav Kilibarda unifies the
creation of a theatre show (especially the stage
design), photography as a material record (process) and its outcomes, but also the change of
all these prosesses and contemplations into a
new form of expression – a photo collage – a
piece of work with an enhanced, or a completely new message.
Exploiting his several-year long experience,
work and presence in the theatre field, from
selecting between various text pieces, to forming a creative artistic, and also a technical act to
make a thetare show, from a media announcement, back-up, follow-up and project promotion up to premieres and tours organization, he
gained enough self-confidence for visual shapeup of his emotions and impressions into a new
art form.
Photos, Papier Mâché, mirrors, plastic, gauze,
glass, stone, egg, thorn, colour, foil, re-packed
and framed up into a painting – collage – photo
collage format to look like a (theatre) stage, allowed him to “extend”, upgrade, widen up the
visual, but also other (spatial) dimensions of a
theatre show.
This is how a new way of communication between the stage and the “stage” in the photo
collage (indroduction or removal of details
which do or do not exist on the real stage) was
achieved – pursuit and discovery of an overall
super-principle and a new value system also in
regard to the technique and technological process with uniqueness in differences.
And all this time Vojislav Kilibarda undergoes
a logical, and it seems, the only possible development process, holding the foundation in
classic art artistic and theatre values recognized
in the application and processing of materials
and techniques, as well as in the method of
processing and constitution of a piece of work,
and also in a gradual introduction of other and
new materials, techniques and technological
achievements within a broad field of visual arts.
Such solutions are derived from a new concept,
or understanding of the need for new expression possibilities that can follow one another
and harmonize themselves into a modern and
sophisticated visual culture.
Prof. Marko Musović, MA
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Predstava “Ima li ovdje normalnih”
40x52 cm
Predstava “Naš čovjek”
40c52 cm
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ŠTA TO RADI
VOJO KILIBARDA?
Vojo Kilibarda je akademski slikar kome to nije
dosta nego je stekao i naučno magistarsko
zvanje, iako i on i mi znamo da umjetnost nije
nauka.
Vojo Kilibarda je talentovan slikar kome to nije
dosta, nego je posegnuo za teatrom, prokletom
umjetnošću koja u sebi sažima sve umjetnosti,
iako i on i mi znamo da se umjetnost ne može
sažeti.
Vojo Kilibarda je scenograf, ili vizuleni diznajer,
kako se to kaže u teatarskim modenim modama/ niza predstava u produkciji Hercegnovskog
pozorišta, ali ni to mu nije bilo dosta nego je
njegovo teatarsko iskustvo pretočio u slikarski
eksperment ili vizuelni ogled koji nam sada predočava.
Šta to zapravo radi ovaj mladi čovjek koji se ne
miri sa konvencijom ni lagodnošću statusa koji
je već osvojio u gradu koji lako i pogubno zna
da uljuljka i potre kreativne ambicije?
Pozorište je, ma koliko se trendovi mijenjali,
ostalo u onoj aristortelovskoj sinatgmi „ podražavanja života“. Neka je i eskperimentalno, neka
je i postdramsko, neka je i neverbalno, bilo kakvo, njegovo polazište je život, a ishodište viša
poetska istina. Podražavanje života /nipošto
imitacija/ odvaja nas u teatru od pukog i sirovog verizma i nudi nam novi privid stvarnosti u
kome je sve intezivnije nego u realitetu. Sve je
isto kao pravo, ali nije pravo, nego je strastvenije,
tužnije, smješnije, gubitničkije, žešće i zaumnije
nego pravo. Vojo Kilibarda ima svijest o tome, ali
se, vrlo drsko i subverzivno, poigrava sa stvarnim
i teatarskim. Montažom atrakcije kako bi to rekao Ezejnštan, sukobljava vlastite tetaralizacije,
prekraja ih, oduzima im i dodaje, isjeca i pravi
praznine koje ćemo mi popunjavati učitavanjima i ličnim asocijacijama. Kilibarda pravi hiruške
rezove na fotografijama svojih pozorišnih slika i
aktera i dovodi ih u novi kontekst. A onda, kada
slomimo glavu da bi dosegnuli značenjski plan
novog konteksta, autor nas provokativno tjera
da pogledamo sebi u lice i da nadjemo sebe u
odrazima njegovih slika, da realni život uđe u
umjetnost. Elipsa. Kilibardina ogledala utisnuta u namjerno isječene praznine vode nas ka
nama samima u životu i teataru, a kad se tamo
sretnemo sa samima sobom neka nam je Bog
u pomoći.
Pozorište je kratkovijeka umjetnost, traje koliko
traju predstave na repertoaru. U maloj sredini i
malim pametima predstave brzo ugasnu ili se
bore za trajanje reciklažom i samoobnavljanjem
ulazeći u samodestruktivni dolap koji ubija energiju i radost igranja. Vojo Kilibarda pravi podvig
jer svojim djelima koja su trajnija od predstava
na osnovu kojih su nastala, obezbedjuje dugovječnost, čini da traju zavazda, a posmatrač, čak
iako nije gledao predstavu, nosi je negdje u malom mozgu, zahvaljujići Kilibardinoj sugestivnosti i posvećenosti predstavama u koje je uložio
dio svog umijeća.
Vojo Kilibarda traga, igra se, eksperminetiše, kreće od životnog ka umjetničkom, od umjetničkog ka filozofskom, pravi posvetu teatru. Znajući
ga, ni to mu neće biti dosta.
Prof. Stevan Koprivica, dramski pisac
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WHAT IS IT THAT VOJO
KILIBARDA HAS DONE?
Vojo Kilibarda is an art graduate, but to him this
was not enough, so he also earned an academic
Master’s degree, even though we all know and
he himself knows that art is not a science. Vojo
Kilibarda is a talented painter, but to him, this
is not enough, and he reached further into the
theatre, the damned art that is the sum of all
arts, even though we all know and he himself
knows that art cannot be summarized. Vojo Kilibarda has worked as a stage designer, or a visual designer (as they call today it in the theatre
modern slang) in a number of shows produced
by Herceg Novi Theatre, but for him, even that
was not enough, so he has turned his theatre
experience into an art experiment or a visual attempt that he is here presenting us with. What is
it that this young man, who does not settle with
conventions or comforts of the status he has already earned in his town, a place that can easily
and lethally lull and annul any creative ambition,
what is he doing here?
In whatever direction modern trends may
change, the theatre still remains within the
Aristotelian ‘imitation of life’. It may be experimental, it may be post dramatic, it may even
be non-verbal, whatever it may be, its place of
origin is life and the final destination is a higher
poetical truth. Simulation of life (by no means
its imitation) in the theatre separates us from
the sheer and raw verism and offers us a new
and more intense illusion of reality. Everything
seems to be real, but it is not, it is more passionate, more sorrowful, more comic, more tragic,
more vehement and more ingenious than in
real. Vojo Kilibarda is aware of that, but he plays
with the real and the theatrical very boldly and
subversively. Through setting up of attraction,
as Eisenstein would say, he confronts his own
theatrical concepts, he remakes them, takes in
and loosens up, cuts out and makes gaps that
we are supposed to fill in with our own inputs
and personal associations.
Kilibarda makes surgical incisions on photographs of his theatre images and actors, and puts
them into a new context. And just then, when
we are out of any ideas how to come to the level
of understanding the meaning of a new context,
the author teasingly makes us look right in our
faces and find ourselves in the reflections of his
own works, letting the real life enter the art. The
ellipsis. Kilibarda’s mirrors, embedded in the gaps
deliberately cut out, lead us to meet ourselves in
life and in the theater, and when the encounter
happens, may God help us all.
The theatre is a time-based art, limited by the
duration of performances from the repertoire.
From small communities and from narrow
minds, plays vanish fast, or they fight to survive in re-makes and come-backs, entering in
a viscious circle of self-destruction that kills the
motivation and joy to play. Vojo Kilibarda has
made an achievement, because he has made
his works last longer than the plays they are
based on, he has made them last forever, and
the observer, even not having seen it, has the
play burried somewhere in the mind, owing to
Kilibarada’s power of suggestion and dedication
to the plays in which he has invested a piece of
his tallent.
Vojo Kilibarda is in the search, playing, experimenting, venturing from life to art, from art to
philosophy, paying tribute to the theatre. Knowing him, not even this is going to be enough.
Stevan Koprivica, professor and play writer
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Predstava “Plan B”
40x52
Predstava “Lista za ljubav”
40x52 cm
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SUŽIVOT UMETNIKA I TEATRA,
ČOVEKA I KULTURE
Umetnost treba voleti u sebi,
a ne sebe u umetnosti.
K. Stanislavski
Teško je raditi u pozorištu a ne raditi za njega.
Teško je sići sa dasaka kada jednom osetite
njihovu snagu. Najteže je ne stvarati pozorište
kada znate da umete i nosite ga u sebi.
Projekat Stvaram pozorište ispred i iza scene, pored toga što predstavlja zanimljivo svedočanstvo o dugogodišnjem suživotu umetnika Voja
Kilibarde i teatra, dozvoljava nam i da za trenutak budemo deo važnog komada koji za cilj ima
očuvanje ideje o pozorištu kao živom organizmu, a ne kao o mašineriji.
Koristeći dokumentarne fotografije koje je sam
napravio i intervenišući na njima u fotošopu, bojom i raznim neslikarskim materijalima, umetnik
stvara foto-kolaže koji u određenoj meri pomeraju vizuelnu logiku stvarajući novu ravan
posmatranja koja zahteva promišljanje i kritički
stav prema ponuđenom. Na fotografijama su
detalji scena iz različitih pozorišnih predstava
kao ovekovečeni trenutak odigranog dela, zatim
kreativni tim pozorišta na okupu, detalji protesta
u cilju spašavanja pozorišta, ali ima i onih koje
za umetnika imaju intimno značenje i na kojima su detalji njegove lične mitologije. Gotovo
sa svake fotografije umetnik apstrahuje figure
isecajući ih. Prazan prostor ili silueta koja ostaje
zapravo ne znači samo poništavanje, odstranji-
vanje već i poziv posmatraču da se poistoveti,
da saoseća, ali i da se zamisli nad, u današnje
vreme, neizbežnim pitanjem – šta je stvarno, a
šta simulacija? Izuzete figure sa predstava nisu
posledica eskapističkog pogleda, naprotiv, čini
se kao da pojačavaju značaj prisustva čoveka i
njegove aktivnosti u procesu građenja i održavanja pozorišta.
Jedan od motiva na radovima predstavlja ogledalo koje navodi posmatrača da preispita svoju ulogu u društveno-kulturnim dešavanjima,
ostavljajući mu slobodu odabira aktivnog ili
pasivnog odnosa. To se možda najbolje čita na
radu na kom je predstavljena zgrada hercegnovskog pozorišta, na kojoj stoji ogledalo umesto
stakala na prozoru. Nije reč samo o zgradi, već o
kompleksu teatarskog života i instituciji kulture
koja je odraz svih nas, čiji život zavisi od ljudi.
Svaki rad je pozornica za sebe. Svaki učesnik
je pažljivo biran, svaka scena, u određenom
kontekstu, vremenu i prostoru ima svoj značaj.
Međutim, intervencijom na predlošku kakav je
dokumentarna fotografija umetnik vrši rekontekstualizaciju uzdižući motive i figure na nivo
simbola koji sublimiraju pitanja bivstvovanja,
nestajanja i odsutnosti. „Prazna mesta” koja su
pripadala nekome drugom – glumcu, članovima kreativnih timova, samom umetniku, ispituju posmatračevu sposobnost empatije. Kada
glumac uđe u proces personalizacije lika, ulazi u
empatijski odnos s likom. Umetnikovi foto-kolaži izazivaju empatiju kod posmatrača nagoneći
ga da preuzme ulogu i zapita se – kako bih se ja
osećao/la u toj situaciji?
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Na umetnikovoj pozornici odvija se sukob,
ali i harmonizacija organskog i neorganskog,
stvarnog i simulakruma, kao njegovih glavnih
preokupacija. Na minijaturama koje tematski
oslikavaju umetnikovu ličnost i njegovu poziciju
u društvu, ali i njegov odnos prema društvu, njegovu ulogu u procesu stvaranja pozorišta umetnik sebe postavlja iza scene, skromno, poništavajući ali i razotkrivajući sopstvenu ličnost kroz
pregršt simbola. On štiti sopstveni mikrokosmos
okvirom rama i staklom unoseći izvesnu dozu
hermetičnosti, ali ne i izveštačene mistifikacije.
Odstranjivanjem sopstvenog lika iz uslikane scene poručuje da je njegov rad u pozorištu bezuslovan, da ne traži priznanje već od onog koje
nudi konačan proizvod timskog rada kreativnih
ljudi koji rade na predstavi. Može značiti i potrebu za osamljivanjem u trenucima kada želi da s
distance razmotri kolebanje koje nastane kada
unutrašnja potreba za humanim činom kakav je
rad u pozorištu onemoća pred raznim trivijalnostima kakve nudi drugačiji stav sredine.
Kamen kao obeležje materijalnog sveta, ali i kao
temelj, grančica sa trnjem kao simbol trnovitog
puta do uspeha ali i žrtve, prepeličje jaje kao
simbol života, dakle, elementi prirode kombinovani sa fotografijom tretiranom kompjuterski
i dorađenom, predstavljaju siže savremenog
svakodnevnog života gde granica između prirodnog i artificijelnog bledi, gde instant rešenja
i poduhvati potiskuju iskonske mehnizme nastajanja i trajanja.
Sagledan u celini, ciklus Stvaram pozorište ispred
i iza scene otvara mnoga pitanja suštinski važna, ne samo za život i razvoj pozorišta već i za
problematizaciju odnosa čoveka prema kulturi.
Kako je pozorišna predstava plod multidisci-
plinarnog kolektivnog rada kreativnih timova
– autorskog, izvođačkog, producentskog i tehničkog, Vojislav Kilibarda u svojim radovima im
daje podjednak značaj. Ništa manje prostora nije
ostavljeno ni publici kao jednom od elemenata
bez kojeg pozorište ne može postojati, ali onom
njenom delu koji svesno odlučuje da taj organizam ostavi u životu.
Ana Ivanović, istoričar umetnosti
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COEXISTANCE OF
AN ARTIST AND THE THETARE,
MAN AND CULTURE
‘Love art in yourself,
and not yourself in art.’
C. Stansilavski
It is hard to work at the theatre and not to work
for it. It is hard to get off the stage once you
have felt its strength. The hardest thing is not
to create theatre when you know you have it
inside.
The project My Creating the Theatre – Before
and After the Stage, aside from being an interesting testimony of a long-term coexistence
of the artist, Vojo Kilibarada, and the theatre, it
also allows us for a moment to be a part of an
important play with the aim to preserve the notion of theatre as a living organism, and not as
a machinery set.
Using documentary photographs that the artist
made himself and processing them in Photoshop, applying colours and other non-painting
materials, the artist creates photo collages,
which to a certain extent shift the visual logic by
creating a new level of reception that requires
reflection and critical attitude towards the offered. The photographs present details from
various theatrical performances as immortalized
moments of the performed piece, then the creative theatre team together, details of the protest in order to save the theatre, and there are
those that have the intimate meaning to the artist that represent details from his personal mythology. From almost every photography, the
artist abstracts the figures by cropping them. An
empty space or a silhouette that remains does
not just mean cancelling and removing, but also
an invite to a viewer to identify, to sympathize,
but also to ponder over the inevitable question
of today – what is real and what is simulation?
The figures taken out from the performances
are not the consequence of an escapist view,
on the contrary, it seems that they enhance the
importance of the presence of man and human
activities in the process of construction and
maintenance of the theatre. One of the motifs
in the works is a mirror that leads the observers
to reconsider their role in socio-cultural events,
leaving them free to choose whether to be active or passive. This is perhaps best seen in the
work which speaks for the Herceg Novi Theatre
building, that has mirrors instead of window
glasses. The matter is not only the building, but
the complex of the theatre life and cultural institution that reflects all of us, and the existence of
which depends on people.
Every work is a stage itself. Each participant has
been chosen carefully, every scene has its own
significance in a certain context, time and space.
However, by intervention on such a template as
a documentary photography, the artist does
re –contextualization by elevating motives and
figures on the level of symbols that sublime the
questions of existence, disappearance and absence. ‘Empty spaces’ that used to be occupied
by someone – an actor, members of production
teams, the artist himself, examine the viewers’
empathy capacities. When an actor enters the
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process of personalization of a character, he enters an empathic relationship with the character.
The artist’s photo collages trigger empathy in
viewers making them take over a role and wonder – how would I feel in that situation?
The conflict takes place on the artist’s stage,
but also does the harmonization of organic
and inorganic, the real and the simulacrum, as
his main concerns. In the miniatures that thematically illustrate the artist’s personality and
his position in the society, but also his relation
to the society, the artist sets his role in the process of creating the theatre behind the scene,
modestly, by annulling and exposing his own
personality through plenty of symbols. He protects his own microcosmos with a frame and
glass bringing in a certain amount of hermeticity, but not artificial mystification. Removing his
own character from the photographed scene
he sends the message that his work in the theatre is unconditional, he is not asking for grater
recognition than offered by the final product of
the teamwork of the creative people engaged
at the project. It can also mean the need for isolation in the moments when from the distance,
he wants to reconsider hesitation that occurs
when an internal need for a human act, such as
working in the theatre, weakens down before
various trivialities that are offered by an environment with a different attitude.
A stone as a symbol of the material world, but
also as a foundation, a twig with thorns as a
symbol of a thorny road to success but also
sacrifice, a quail egg as a symbol of life, there-
fore, the elements of nature combined with a
photograph that is electronically processed and
enhanced, represent the summary of everyday
life, where the boundaries between the natural
and artificial are fading down, where instant solutions and ventures suppress the basic mechanism of creation and survival.
Considered as a whole, the series My creating the
theatre – before and after the stage raises many
issues of key importance, not only for the life
and development of theatre, but also in regard
to the issue of human relation to culture. As a
theatre show is a result of a multi-disciplinary
collective work of creative teams – the author,
performers, producers and technical support,
Vojislav Kilibarda gives them equal importance
in his works. Not any less space is given to the
audience as one of the elements without which
theatre cannot exist, and yet, to the part of it
that consciously decides to keep the organism
alive.
Ana Ivanović, art historian
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Predstava “Noć četiri mjeseca”
40x52 cm
Sa protesta “Sačuvajmo pozorište”
40x52 cm
62
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POZORIŠNI REDITELJ
GOTOVE FOTOGRAFIJE
Vjekovima su određeni ljudi ostavljali napisane
i ocrtane hartije i predmete koje svjedoče o toj
čarobnoj materijalizaciji ljudske mašte i igre zvanoj pozorište.
Valjda je tako i nastala riječ ovjekovječiti.
Savremeno doba donijelo je i efikasne instrumente ovjekovječavanja pa je skoro svaki čovjek
postao opremljeni kamerman i fotograf. Dokumenata neće nedostajati.
Međutim baš ovaj trenutak zahtjeva nešto drugo. Neki novi pristup. Drugačiju vizuru. Zahtjeva slikarsko pozorišno oko koje vidi i osjeća, ne
samo sve ljepote scene i samog čina predstave
već i okolnu magiju neposrednog stvaranja.
Fotoaparat u takvim rukama ne pravi samo
prelijepa svjedočanstva, nego kao što je slučaj
sa našim Vojom Kilibardom, donosi još jednu
dimenziju umjetnosti i stvaralaštva koje pripada
pozorištu.
On je kroz svoj desetogodišnji rad u Pozorištu,
od odabira teksta, doformiranja kreativnog, umjetničkog pa i tehničkog tima koji gradi predstavu; od medijske najave, podrške, praćenja i
promocije projekta; do organizacije premijernih
i gostujucih nastupa postao čovjek teatra i upio
svu srž njegovog bitisinja.
Time je pozorište za sva vremena, kako to samo
ono zarazno umije, naselilo njegovu likovnu kreativnost i postalo neizbježna inspiracija.
Zbog te strasti i likovna i pozorišna scena su u
velikoj dobiti.
Vojo kao pozorišni znalac vješto likovno interveniše na fotografijama i ima za cilj da produži
dejstvo trenutka kojeg je uhvatio. To više nije
zamrznuta scena. nego njegova kreativnost prvi
neku vrstu slikarskog šlagorta koji kao da oživlajava fotogafiju i najvljuje sledeći scenski pokret.
Gledajući ove radove a naročito radove iz moje
predstave „ Plan B” moram Voja proglasiti pozorišnim rediteljem gotove fotografije.
Slobodan Milatović, reditelj
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THEATRE DIRECTOR OF
READY-MADE PHOTOGRAPHY
Over the centuries of time some people used to
leave behind numerous written and drawn documents and various artefacts to testify about
the marvel of human imagination and the play
called the theatre coming true.
Probably this is why there is the idiom to stand
the test of time.
The modern age has also derived efficient tools
for production of such testimonies, and almost
every person has become a well equipped camera operator or a photographer. For sure there
will be no lack of documents.
And yet, it is the moment of now that requires
something else. A new approach. A different point of view. It asks for an eye of an artist to look
at the theatre, being able to see and recognize
not only the beauty of the stage and the performance itself, but also the magic surrounding
the immediate act of creation.
A camera in such hands produces not only beautiful testimonies, but also, as with our dear
friend Vojo Kilibarda, it brings forward another
dimension of art and theatre creativeness.
Throughout his 10-year-long work in the Theatre, which included text selection, creative,
art and even technical production team coordination, media management, back-stopping,
project follow-up and promotion, premiere and
tour organisation, he has become a man of the
theatre, taking in the full essence of its being.
Thus his visual art got incurrably infected with
theatre, and it has become his great inspiration.
This passion of his brings many advantages
both to the art and to the theatre scene.
As a theatre connoisseur, Vojo makes skillful
interventions on his photos with the aim to
prolong the effect of a captured moment. It is
no longer just a frozen scene; it is his creative
streak and a sort of an artistic cue which seems
to bring life into the photo and announce the
next move.
Looking at these works, and especially the works
from my play ”Plan B”, I have to pronounce Vojo
a theatre director of ready-made photography.
Slobodan Milatović
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Predstava “Naš čovjek”
40x52 cm
Prema motivu iz filma “Intro”
40x52 cm
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SIMULAKRUM TEATRA
Simulakrum teatra, paralelopipedna kutija epistemoloških, prostorno-vremensko-bihevioral­
nih mogućnosti, generisala je scenska rješenja,
tipologije pojavnosti u fotokolažima, slikamaobjektima Vojislava Voja Kilibarde. Izložba, tendenciozno nazvana Stvaram pozorište, konsekventno je nastala u toku profesionalne
djelatnosti, dokumentovanja i arhiviranja fotografija prikazanih teatarskih komada u okvirima
pozorišne scene Dvorane park u Herceg Novom.
Prije svega, treba rastumačiti morfološke karakteristike ovog projekta, naslovnu sentencu
koja uistinu može imati sazvučije pretencioznog. Prikazivanje, odnosno proizvođenje teatarske predstave, koja se referencijalno odnosi
na doslovnu ili fiktivnu situaciju, prostor, biće,
stvar, događaj u svijetu, istoriji, implicira složeni
produktivni manevar konstituisan od semioloških, semiotičkih, lingvističkih i tehnomedijskih
postupaka. Simbolika vizuelno-prostornog prikazivanja, efekt scene, interslikovnih, konačno
intertekstualnih relacija, determinisana je u interpretaciji i reinterpretaciji percepcije namjerenog posmatrača/gledaoca/konzumenta.
Specifikum disparatnih čitanja, jeste osobenost svakog da vidi i doživljava scenske znake
na određeni način. Ako govorimo o emotivnoafektivnoj bilješci kao produktu promišljanja i
razmišljanja, različitih čitanja teatarskih sistema,
onda je impresija koja diktira nervaturu utiska,
efemernog, ugušenog ili pak inicijalnog, ikoničnog, aluzivnog. Konvencionalna pretpostavka
je da je puko arhivatorstvo koje je ukazivalo na
sličnosti i razlike teatarske predstave, odnosno
njenih konstruktivnih tekstualno-bihevioralnih
veza, u nekom idealnom smislu, koje korespondiraju sa realnim egzistencijalnim ljudskim svijetom, potaklo ovog autora na modulaciju ideje
koja je dovela do prikazanih umjetničkih iskaza.
Struktura rada je implementirana na metaforičkim izgledima teatarskog rituala. Dijalektika
fotoobjektiva i optičkog odraza efekta scene,
uticala je na refleksiju konačno, reinterpretaciju. Umjettik ne stvara pozorište, iako se tako iz
naslova može doslovno razumjeti, iako on u to
sam može povjerovati, to izgovoriti, misliti da to
čini, pak on vrši repoziciju aktera, varira njihov
odnos, ekstrahuje prostim isjecanjem i alijenacijom figura, te ukazuje na veliko odsustvo,
suštinu praznog polja. Amputirati dio opserviranog panela, perforirati, preraspodjeliti figure u
prostoru, dati im nova kognitivna svojstva, kroz
prozirnost umetnutih apliciranih ogledala, referirati na sekvence namjenjene za samospoznaju,
znači upravo redefiniciju teatatrskog prostora,
vremena, te konfiguraciju nove arhitektonike
događaja.
Umjetnik produkuje subjektivnu vizuru pozorišta, koja na tragovima metainterpretativnog
diskursa, na pragu empirijske percepcije, odlazi
izvan ideoloških, retoričkih determinanti scene,
te dobija nove materijalne kodove.
Posredovanje u razumjevanju zaustavljenih situacija kao segmenata prikazanih odigranih predstava, u izvedbi kolažiranih fotografija, te minijatura-slika-objekata – slika-simbola, znači će i
razmjenu koncepata umjetničke formalizacije
djela. U kompleksu citatnih, kolažno-montažnih
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simulacijskih oblika prikazivanja hipotetičke teatarske postimpresije, ostvariće se fuzija razumjevanja, značenja, smisla, djelatnosti, vrijednosti,
komunikacije. Da li ćemo vjerovati da je onda
svačije pravo stvoriti i doživjeti pozorište u svom
kreativnom mentalnom procesu? Svakako, moguće ga je uvijek iznova stvarati na pragu nezaobilazne mimetičke igre.
Nataloženi smisao, ili pak njegova anticipacija
jeste sublimni momenat u radu Voja Kilibarde,
koji svoj slikarski medij, zamjenjuje kratkotrajnim foto-dokumentima, uslijed brzine protoka
vremena, te prolaznosti i efikasnosti hvatanja
trenutka. Da efemernost momenta, inicijalnog
efekta, koincidira u slikama-objektima sa prikazanim predmetima/simbolima, vidimo u retromozaičkoj kompromisnoj strukturi koja sintetiše
ideje koncentrovane u jednom znaku. Minijaturna slika/znak,slika/-objekt je aluzija na označeni
prostor, scensku sliku, mentalnu predstavu, u
ovoj izvedbi, svodiv na direktnu čulnu provjeru.
Serija diskurzivnih slojeva, retoričkih pristupa,
neophodna je i neodvojiva spona u dekonstrukciji/eksplikaciji složene umjetničke namjere koja
biva tako razgolićena/eksplikovana do granica
umjentikove saznatljivosti i njegovih spekulativnih potencijala. Kontekstualizacija i tematizacija ovih radova, biće prozirna i proizvoljna, za
sopstvene misli/zaključke, konačno, relativna. O
tome, je moguće pisati i misliti, zaključiti i shvatiti da se od smisla skenulo, da se udaljilo od njega, i da ga možda ne treba nužno ni odati, no se
okrenuti novim pojmovnim okvirima.
Stvaram pozorište je uvertira za ono što bi trebali da čujemo, za ono o čemu bi trebali da pročitamo kako bi uočili nove kvalitativne razlike.
To je metafora koja aludira na autorefleksiju, na
granicu koja determiniše diskurs od onoga što
ga premašuje.
Vladana Kosic, MA Istorije umjetnosti
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SIMULACRUM OF A THEATER
Simulacrum of a Theater, a paralelepiped box
of epistemological, spatio-temporal and behavioral opportunities, which have generated
theatrical solutions and typologies of appearance in Vojislav Vojo Kilibarda’s photo-collages
and paintings-objects. Exhibition, tendentiously
called I create the Theater, consequently occurred during his professional activity of documenting and archiving photos representnig
theatrical performances which took place in
Dvorana park in Herceg Novi.
First of all, we should explain the morphological characteristics of this project, sentence title
that truly can have a pretentious consonance.
Display, and producing theater plays, which
are referentially related to the literal or fictitious
situation, space, being, thing, event in the world,
history, implies a very complex and productive
maneuver, constituted by semiotic, linguistic
and techno-media procedures. The symbolism
of visual-spatial representations, the effect of
the scene, interpicture, finally intertextual relations, is determined by the interpretation and
reinterpretation of perception of a viewer/listener/consumer.
Specificum of disparate readings, is the characteristic of anyone to see and experience the performing signs in a certain way. If we talk about
the emotional-affective note as a product of
reflection and thinking, various readings of theatrical system, then is the notion that dictates
the innervation of impression: ephemeral, suppressed or initial, iconic, allusive. The conventional assumption is that mere collecting is that
pointed out the similarities and differences of
theatrical performances, and its structural textbehavioral relationships, in an ideal sense, that
correspond to the real existential human world,
that encouraged on this author by the modulation of ideas which have led to this displayed art
statements.
The structure of work is implemented on the
metaphorical outlook of theatrical ritual. Camera dialectics and optical reflection of the
effect scene, influenced the reflection, at last,
reinterpretation. Author does not create a theater, although that may be literally understood,
although he can believe at that, even say that,
might think that he actually does that, however
he performs a reposition of actors, varies their
relationships, extracted by simple excisions and
alienations of figures, and suggesting the wholesale absence, the essence of an empty field. To
amputate a part of the observed panel, perforate, and reassign figures in the area, give them
new cognitive properties, through the transparency of inserted and applied mirrors, refers to
the sequence intended for self-knowledgemeans, just a redefinition of theatrical space, time,
and the configuration of new architecture of the
events.
The artist produces a subjective vision of a
Theater, which traces on the metainterpretative discourse, on the threshold of an empirical
perception goes beyond the ideological, rhetorical scene determinants and gets new material
codes.
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Mediation in understanding stopped situations as presented segments of played shows,
performed by collaged images, and miniature-painting-objects – the image-symbols, also
will mean the exchange of concepts of art work
and also their formalization. In the complex citation, collage-assembly simulation showing,
a hypothetical form of theater postimpression,
will be realized a fusion of understanding, meanings, purposes, activities, values, communication. Do we will believe that it is everyone’s right
to create and experience theater in its creative
mental process? Certainly, it can be always recreate on the threshold of inevitable mimetic
game.
Deposited sense, or his anticipation is the sublime moment in Vojo Kilibarda’s work, who
replaces his artistic media with short-term photo-documents, due to the speed of the flow of
time and the transience and efficiency of capturing a moment. That the ephemerality of a
moment, the initial effect coincides in picturesobjects with the displayed objects/symbols, we
can see in retro-mosaic compromise structure
that synthesizes ideas concentrated in a single
sign. Miniature image: sign image/object image
is a allusion to labeled area, stage image, mental
representation, in this embodiment, reducible
to direct sensory test.
Series of discursive layers of rhetorical access
is necessary and inseparable link in the deconstruction/explication of complex artistic intention which is being so naked/eksplained through
the artist’ s cognitive limits and its speculative
potential. Contextualization and thematization
of these works will be transparent and arbitrary,
for own thoughts/conclusions, finally, relative.
About this, is possible write and think, conclude
and understand that sidetrack of the meaning,
so that it does not need to be necessarly reveled, but is to be moved away from it, and turn to
a new conceptual frameworks.
Creating Theater is a prelude to what we should hear, for what you should read in order to
obtain a new qualitative difference. It is a metaphor that alludes to self-reflection, on the boundary that determines the discourse of what
it exceeds.
Vladana Kosic, MA of art history
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Predstava “Naš čovjek”
40x52 cm
Predstava “Naš čovjek”
40x52 cm
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ASOCIJATIVNA
NADGRADNJA TEATRA ILI
ČITANJE POZORIŠTA SLIKOM
Stvaranje pozorišta je čin koji podrazumijeva
sublimaciju ideja i interpretacija. To je posebna
inicijativa koju pobuđuje u autorima određena
priča, tekstualni predložak ili koncept. Potreba
za predstavljanjem (priče) kroz dramski mimički
izraz, dramaturšku obradu, likovno uobličavanje,
kroz muzičku podlogu i rediteljsku zaokružujuću vizuru je manifestacija te organske inicijative
da se iskreira, istumači ta jedna ili više priča – za
gledaoca ili, u množini, publiku. Ishodi su sve
ono što čini pozorište: glumac u ulozi, kostimi,
scenografija, muzika, scena sa svojim tehničkim
aparatom koji povremeno postaje više od podrške.
Umjetnost – ponekad…
Učestvujući u mnogim projektima Hercegnovskog pozorišta od 2007. godine, Vojislav Kilibarda kao likovni umjetnik koji djeluje paralelno u
više medija bio je autor u predstavama (dizajn,
fotografija, scenografija) i na filmu (produkcija –
Intro), scenografija, najmaterijalnija među ovim
disciplinama, u predstavi Noć četiri mjeseca
(Stevan Koprivica/ Staša Koprivica, HP 2010.)
bila je svedena i simbolična. U dizajnu plakata i
propratnog materijala za predstave Naš čovjek,
Izdaja, Plan B, Noć četiri mjeseca, Soliter, i festival: HAPS (Ukači se za teatar, Pozorište u akciji,
Pozorište SAD – pozorište svuda) nije bježao
od asocijacija i interpretacija umjetnika i prepoznatljivih ideja praveći posebnu asocijativnu
nadgradnju nad samim materijalom koji smo
proizveli u predstavama ili tokom festivala. Fotografiijom i izložbama pozorišnih fotografija
(Plan B, Noć četiri mjeseca) dimenziju filmskog
dao je njegov doživljaj ili bolje rečeno emocija,
umjetnički dammar, a prisustvom na filmu i samim fotosima iz filma (Intro) vratio se u pozorišnu atmosferu.
Ovdje je krenuo novi krug inspiracije i interpretacija. Vojo i dalje osjeća snažnu inspirisanost
trenucima, glumcima i konceptima koje je proživio kao autor i/ili učesnik.
I stvara: nova tumačenja, nove poetike, nova
pitanja za publiku ili (jednog) posmatrača njegovih kreacija. Umetnuti u (prozorski) okvir koji,
kao i stvarni prozor, odvaja unutrašnji i vanjski
svijet, ovi kadrovi upućuju da se preispita prisustvo i svrha likova, namjena (stvari) i namjera
koja motiviše određenu scenu. Povodi i ishodi.
Danas je, u društvenom i estetskom smislu, toliko sve otvoreno za preispitivanje da konteksti
nikad ne prestaju da se projavljuju, nema do
kraja dovedene misli, fale isječci, nove ideje naviru zavisno od perspektive. Izazovno, u stvari
zastrašujuće.
Involviranost.
Čini mi se da je zato involviranost – uključenost
– učešće ono što definiše ovaj pristup. Umjetnik
je učestvovao u nekom projektu. Učestvovao
je potom kao gledalac u njegovom tumačenju. Pobuđen, nastavio je da misli i stvorio novi
likovni oblik (fotografija, kolaž, ono treće, ). I tu
se priča ne završava jer je on u svoje prozore
umeće I razna ogledala, teksture i presijavanja
koja gledaoca ili publiku čine uključenom, dakle
involviranom.
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Teksture
Isječak gaze kao zamjena za lik žene, muškarca,
njegove majke I djeteta sugeriše upijač za emociju koju projektuje lik koji je aktivan na fotografiji. To nas stavlja u poziciju da istu scenu sagledavamo četiri puta.
Folije kao ogledala još direktnije sugerišu učitavanje značenja.
Akt
Čin ili golo tijelo. U seriji kolaža sa motivom
erotskog pražnjenja dominira akt – radnja nad
aktom tijela.
Ovdje akt čini trojstvo: radnja – izvođač – posmatrač.
Atmosfera
Dramatičnost je ista u trenucima uhvaćenim u
toku predstave, filmu, dokumentarnom događaju i scenama montiranim od strane autora.
Ovako zaokružena, ili može se reći ‘zaokvirena’
postavka izaziva snažan doživljaj i iziskuje tumačenja i kada je u pitanju minijatura: autokolaž,
trn namjerno izabran iz cijele prirode, svaki poseban kadar.
Čitanje pozorišta – slikom
Nemoguće je secirati predstavu i odrediti njenu
najmanju sekvencu i znak jer jedan znak može
biti kratkotrajan (jedan pokret, pogled, reč),
a drugi pak može da traje tokom cele predstave (neki element dekora ili kostim) – (Anne
Ubersfeld: Čitanje pozorišta, Beograd 1982.)
Za razumjevanje, a posebno doživljaj predstave
kao umjetničkog djela nije neophodno razume-
vanje svih njenih elemenata, verbalnih i neverbalnih (vizuelnih i muzičkih) o kojima govori En
Ibersfild. U dramskom tekstu se daje prednost
znaku na koji pisac usmjerava, dok u predstavi
gledalac sam bira na koje znakove će fokusirati
svoju pažnju. To je i ovdje slučaj. Ne u tumačenju
predstave ili njenih kodova. Fokus. Od viđenog
– vizuelno doživljenog vizuelni umjetnik pravi
novo polazište. Zato je ovo prije svega dovitljiv
koncept savremenošću opravdan.
Milina Kovačević, producent
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THEATRE ASSOCIATION
UPGRADE OR THEATRE
IMAGE READING
Creating the thetre is an activity which involves
a sublimation of ideas and interpretations. It is a
special kind of an author’s initiative aroused by
a story, a piece of writing or a concept. The need
to present (a story) through a mimical dramatic
display, theatrical processing, visual formation,
with music back-up and the director’s wrapup touch, is actually the outflow of the innate
urge to create, to interpret the one or several
stories – for the viewer, or, for the audience. The
outcomes are everything that makes the theatre world: actors playing their roles, costumes,
scene design, music, the stage with the set of
equipment sometimes turning into more than
just a technical back-up.
The art – sometimes…
Partaking in many projects of Herceg Novi
Theatre since 2007, as a visual artist working
in parallel throughout several media, Vojislav
Kilibarda was an author engaged in theatre
plays (design, photography, scenic design)
and in films (production, Intro). Among these
disciplines, scenic design, as the most materialdependant one, was very simple and symbolic
in the play The Night of Four Moons (Stevan
Koprivica / Staša Koprivica, HN Theatre, 2010).
In the poster and booklet designs for the plays
Our Fellow Countryman, Betrayal, Plan B, The
Night of Four Moons, The Skyscraper, and HAPS
Festival: Get connected to the theatre, Theatre
in action, Theatre NOW – theatre everywhere),
the author was not avoiding the associations
and interpretations of an artist and familiar
ideas, thus achieving a special sort of associa-
tive upgrade of the printed material produced
for the plays or during the festivals. A dimension
of film is brought in by his impression, or better to say emotions, by the art streak present in
the photography and the show of photos from
the theatre (Plan B, The Night of Four Moons),
whereas his involvement in the film production
and the photos from the film (Intro) bring back
the theatre atmosphere.
This is where a new level of inspiration and
interpretation starts. Vojo still feels strongly inspired by moments, actors and concepts he
experienced as an author and/or a participant.
And then he brings forward: new interpretations, new poetics, new questions for the audience or (an) observer of his creations. Fitted
into a (window) frame, which, the same as a real
window, separates the inside from the outside,
these shots appoint to reassessment of the
characters’ presence and meaning, the purpose
(of objects) and the intention driving a specific
scene. The causes and the outcomes.
Nowadays, in social and aesthetical sense,
everything is so open for reassessment, that
contexts never cease to emerge, there is not a
single idea fully developed to the end, there are
pieces missing; new ideas appear with new perspectives. Challenging, but actually frightening.
Involvement.
It seems to me that this is why the involvement
– engagement – partaking is what defines this
approach. The artist was engaged in a project.
Then he was engaged also as a viewer with his
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interpretation. Stirred up, he went on to contemplate and created a new visual form (photography, a collage, the third thing). And the
story does not end here, as he is fitting in his
window frames also various mirrors, textures
and reflective surfaces that make the viewer or
the audience engaged, therefore, involved.
Textures
A piece of gauze in the place of the image of a
woman, a man, his mother and child, suggests a
sponge for the emotion expressed by the character in action in the praticular photo. This puts
us in the position to interpret the same scene
four different times.
The foils as mirrors even more directly suggest
the meaning input.
Nude
An action or a nude body. In the series of collage pieces with an erotic discharge motif, nude
is dominant – the intervention over the nude
body image.
Here the nude is made from the following three:
the action, the actor, the observer.
Atmosphere
Dramatic quality is the same in the moments
captured during a play, a film, a documentary
event, and the scenes edited by the author.
Such a rounded up, or better to say framed up
set-up triggers stong impressions and requires
interpretation when it comes to miniature
works: autocollage, a thorn, purposely chosen
from the entire nature, each particular shot.
Reading the theatre – through the image
It is impossible to dissect a play and define its
smallest sequence or a sign, as one sign can be
short (a move, a glance, a word), whereas the
other can last through the entire play (a stage
design element, or a costume) – (Anne Ubersfeld: Reading Theatre, Belgrade, 1982.)
For understanding, and especially for experiencing a play as a piece of art, it is not necessary
to understand all its elements, verbal and nonverbal (visual and musical) elaborated by Anne
Ubersfield. In a drama text, priority is given to
the sign appointed to by the author, whereas
during a play, viewers themselves choose which
signs to focus on. This is also the case here. It is
not the matter of interpretation of a play or its
codes. Focus. Out of the seen and visually experienced the artist creates a new theatre. Therefore this is in the first place a witty concept, supported by the contemporary reality.
Milina Kovačević, Producer
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Nakon probe predstave “Ima li ovdje normalnih”
40x52 cm
Predstava “Naš čovjek”
40x52 cm
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ANTROPOLOGIJA
(LIKOVNIH) MEDIJA
Kao što je stvaranje umjetničkog djela jedan vid
interpretacije realnosti oko koje postoji konsenzus, tako je i pisanje o umjetnosti subjektivni
doživljaj čulno kodiranog artefakta. Bijeg od pukog ličnog pogleda na tzv. objektivnu stvarnost,
kako god je definisali, više nije pitanje isključivo
procesa percepcije, već i interpretacije pogleda,
konteksta i medijuma. Tako, problem likovnosti
u savremenoj umjetnosti postaje dio politike
pogleda kao strategije estetskog i estetičkog. Na
tom tragu je i ovo čitanje umjetničkog projekta
„Stvaram pozorište – ispred i iza scene“ autora
Vojislava Voja Kilibarde.
Kilibarda je stvorio kompleksan i umjetnički relevantan projekat čime je ostavio otvoreno pitanje koje se, možda, može definisati na brojne
načine, ali je u njegovoj suštini svakako – čovjek
i problem antropocentrizma kao posljedice (ili
uzroka?) otuđenosti, rezignacije i beznađa. Dijagnoza vremena se oslikava, ne samo kroz autorovo često poništavanje čovjeka kao subjekta
svih društvenih procesa, već i kroz tematsku
prisutnost svih umjetničkih, elektronskih i štampanih medija kojima je današnji čovjek određen.
Mikrofon, telefon, snimači zvuka, televizijski i
radio prijemnici, svojim prisustvom na gotovo
svim fotografijama, govore nam o karakteru
medijske kulture te postaju značajni akteri u
predstavljanju „čovjeka i njegovih produžetaka“,
odnosno savremenog društva u kojem mediji
sami utiču na auditorijum više nego sadržaji koje prenose, kako je to Makluan smatrao.
Ogledalo u televizijskom ramu, kao autorska intervencija na jednoj od fotografija, kao da citira
Burdijeov stav da je televizijski ekran neka vrsta
Narcisovog ogledala, a televizija mjesto narcisoidne egizibicije. Pomenuta dilema pogleda, ili
njegovog odsustva, direktno se samopotvrđuje
u kontekstu, kao vezi misaonog i umjetničkog
procesa. Iako bi se projekat, konceptualno, mogao vrednovati nezavisno od eksplikacije ili želje
autora da se bavi pozorištem, Vojislav Kilibarda,
opredjeljenjem da teatar bude studija slučaja
čovjekove stvaralačke potencije, kontekstualno dovodi u dijaloški odnos kolektivno i lično,
javno i privatno, eksplicitno i skriveno. Borba tih
umjetničkih svjetova, za rezultat ima iskustvo
koje prevazilazi vizuelno i, prelazeći u domen
likovnosti, sažima se kroz odnos posmatranih/
posmatranog i posmatrača – publike kao ključnog aktera u sociokulturnom ciklusu savremene
umjetničke produkcije. Takav odnos isključuje
autora kao izvora informacije, čime se likovni (i
pozorišni) jezik direktno pozicionira kao jedini
komunikacioni kanal između djela i publike. Konačno, pogled ka odabranom medijumu likovnosti govori nam da Kilibarda poznaje fotografiju u svim njenim manifestacionim oblicima, te
je koristi kao osnov za umjetničku intervenciju,
što neodoljivo podsjeća na potrebu čovjeka da
mijenja realnost i traga za boljim/ljepšim okruženjem. Fotografija je, u svojoj pojavnosti, većim
dijelom bila okrenuta prezentovanju sekvenci života, te su i fotografije koje autor koristi kao tzv.
sirovi materijal bile u funkciji dokumentovanja
pozorišne produkcije. Ipak, nakon istraživanja i
umjetničkog eksperimenta sa dokumentom,
dobili smo finalni proizvod izvan reprezentacionalizma – konačna slika, iako jeste predstavljačka, ne reprezentuje samo određeni trenutak
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ANTHROPOLOGY OF
THE (VISUAL) MEDIA
u vremenu, već predstavlja autorski konstrukt
utemeljen u umjetničkoj praksi.
Potpuno ličan, ali isto toliko opravdan utisak pogleda na fotografije Vojislava Kilibarde ogleda
se u fenomenu prisutnosti/odsutnosti čovjeka
na fotografijama što otvara, ponovo lična, pitanja – jesmo li samo sjenka brojnih događaja koji
oblikuju našu svakodnevicu, oformljavaju sistem
vrijednosti u kojem živimo, obrazuju naše stavove i mišljenje? Jesmo li ravnodušni posmatrači
nasilja, ravnopravni akteri diskriminacije i ponosni saučesnici ideološke instrumentalizacije? Da
li smo jezik virtuelne offline/online kulture transponovali u naš prostor i vrijeme, naše ovdje i
sada, bez želje da djelujemo – jesmo li postali
narcisoidna kultura posmatranja?
Pitanja ostaju otvorena jer odgovori, srećom po
čovjeka, nisu još uvijek toliko jasni. Otvoren je
i koncept čitanja projekta „Stvaram pozorište –
ispred i iza scene“ jer u umjetničkom iskustvu
uvijek prepoznajemo i vidimo dio onoga što je
u nama. Ako estetske i estetičke strategije politike pogleda bude vjeru, vjerujem da Vojislav
Vojo Kilibarda ne odustaje od ideje čovjeka, te u
svom umjetničkom mapiranju i kodiranju svijeta
i prostora oko nas i dalje vjeruje u traganje za
smislom osnovog pitanja filozofske antropologije – „šta je čovjek?“.
Imati vjeru znači – usuditi se – djelovati, misliti
i mijenjati.
Vuk Vuković, producent
Fakultet dramskih umjetnosti
The same as creation of a work of art is a sort of
commonly accepted reality interpretation, writing about art is a personal impression about a
sense-coded artefact. Escape from a mere personal perpective of a so-called impersonal reality, whatever we might call it, is not any more
a matter of a perception process only, but also
a matter of a view, context and medium interpretation. In this sense the concept of visuality
in modern art becomes a part of a view politics
as an aesthetical strategy. Understanding of the
art project “My creating the theatre – before and
after the stage“ by Vojislav Vojo Kilibarda is on
the same track.
Kilibarda created a complex and artistically relevant project, leaving unanswered a question
which may be defined in a number of ways, but
in its core there is by all means – man, and the issue of man-centeredness as a consequence (or
a cause?) of alienation, resignation and hopelessness. The time diagnosis is reflected not only
in the author’s frequent anihilation of man as an
acting subject in the social processes, but also
in a thematic relation to all artistic, electronic
and print media which determine the people
of our time. Telephones, microphones, sound
recorders, TV and radio receivers with their presence in almost all of the photos speak about
the profile of the media culture, thus taking an
important part in denomination of “man and his
extensions“, or, in other words, of the contemporary society in which the media themselves
have a greater impact on the audience than
the information they carry, as Mcluhan saw it.
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A mirror in a TV frame, the author’s intervention
on one of the photos, seems to precisely depict
the thesis of Bourdieu that a TV screen is a kind
of Narcissus’ mirror, while the TV programme is
a scene for a narcisisstic exhibition. The afore
mentioned dilema between the view and its
absence directly confirmes itself in the given
context, as a link between the process of intellectual reflection and art creation. Even though
the project could be conceptually evaluated
independently from the argumentation or the
desire of the author to deal with theatre, with
his choice to have the theatre as a case-study
of human creative potential, Vojislav Kilibarda
creates a context for a dialogue between the
individual and the common, the private and the
public, the explicit and the hidden. The struggle
between these art worlds results in an experience beyond visual, entering the area of artistically valuable, summarized in the relationship
between the observed one(s) and the observer
– the audience as the key participant in the social and cultural cycle of the contemporary art
production. Such a relationship discludes the
author as a source of information, which directly
sets the visual (theatre) language to be the only
communication channel between the work and
the audience. Finally, the view of the selected
visual medium shows that Kilibarda is well familiarized with photography in all its forms and applications, so that he uses it as a basis for artistic
intervention, which irrevocably reminds of the
human need to change the reality and pursue
a better/ more beautiful environment. Photography used to appear mostly as a presentation
of life sequences, so the photos chosen by the
athor as the so-called raw material were used to
document the production in the theatre sphere.
Yet, upon exploring and experimenting with the
document, we got a final beyond-representative product – the final image, although representative, does not represent just a moment in
time, but also stands as the author’s work, constructed through the practise of art.
Fully personal, but equally justified impression
of Kilibarda’s view of photos is reflected in the
phenomenon of presence / absence of man in
the photos, which again rises individual questions, whether we are just a shadow of numerous events shaping up our lives daily, forming
our core values system, defining our attitudes
and opinions. Whether we are indifferent observers of violence, equal participants in discrimination and proud collaborators in ideological instrumentalisation? Have we transponed
the language of virtual offline/online culture in
to our space and time, our here and now, without desire to act – have we grown into narcisisstic creatures of an observing culture?
The questions remain open, as the answers are,
fortunately, not so clear yet. And also open is the
interpretation concept of the project “My creating the theatre – before and after the stage“, because in experiencing a piece of art one always
sees a part of what is in oneself. If aesthetical
startegies of the view policy raise faith, I believe
that Vojislav Vojo Kilibarda does not give up the
idea of man, and that in his artistic mapping and
coding of the world and the space around, he
still believes in the querry for the sense within
the basic anthropo-phylosophical question –
what is man? To have faith means to dare, to act,
to think and to change.
Vuk Vuković, Theatrical Producer
Faculty of Dramatic Arts, Belgrade
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Predstava “Naš čovjek”
40x52 cm
Predstava “Naš čovjek”
40x52 cm
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IGRA NA KUB
Nalazimo se u univerzumu u kojem ima sve više
informacija, a sve manje smisla.
(Jean Baudrillard)
Prisustvo odsustva. Kada jednoj sceni oduzmete njen značajni činilac, da li ona umire ili
započinje novi život? Da li njegovo odsustvo
poništava prisustvo svih ili je upravo prisustvo
odsustva paradigma virtuelne stvarnosti? Da
li umnožavanje stvarnosti zaista vodi gubitku
smisla ili odsustvo smisla stvarnost čini zamenjivom? Iako su ova pitanja moguća, to ne znači da
su mogući i odgovori.
U svakom slučaju, radovi iz ciklusa „Stvaram
pozorište – ispred i iza scene” dotiču misao
postmoderne tamo gdje autor kreira svojevrsni
simulakrum, gdje poništava „distancu” između
stvarnog i imaginarnog ali ne završava svoj izraz
u patosu Bodrijarovog nihilizma, već naprotiv,
pravi izričitu distinkciju prema svijetu kojem je
stvarnost samo alibi.
Igra na kub. Intervencijom na fotografiji, kao
mediju koji je „zamrznuo” dinamični prostor pozorišne igre, Kilibarda stvara, treći – paralikovni
medij. U toj „igri na kub”, naglasak je na genezi
svjetlosti i njenoj znakovnoj materijalizaciji. Taj
se spiritus movens ovde mijenja od „svjetlosti
pozornica”, preko binarnog koda fotosenzora, do likovne funkcionalnosti u umjetničkom
izrazu. Iako se svjetlost na kraju umjetničkog i
na početku perceptivnog procesa kreće u svim
smjerovima, upravo je momenat njene emanacije iz fotografske plohe, tačnije iz svijeta iza
reprodukovane stvarnosti, krucijalni momenat
kreativnog izraza. „Brisanjem” dijela reprodukcije
umjetnik ne samo da nudi novo čitanje već „(iz)
igrane” stvarnosti, ne samo da stvara bijele mrlje
sjećanja, već i samu fotografija definitivno ukida
kao „sredstvo prenošenja doslovnih znakova, dakle, kao medij analoške prirode lišen bilo kakvih
transformacijskih sposobnosti” (Roland Barthes).
Voajer. Edward Weston je tvrdio da fotografi izvršavaju blejkovski zadatak pročišćavanja čula
da drugima otkrivaju živi svijet oko njih i da im
pokazuju šta su propustili da vide sopstvenim
očima. Kilibarda, upravo suprotno, na fotografiji
oduzima deo onoga za šta ste sigurni da je viđeno. Pretvara ga u obris, formu, ideju. I od „voajerskog tumarala” Suzan Sontang koji „uhodi, prikrada se… i otkriva pejsaž pohotljivih krajnosti”,
postaje izričiti protivnik pasivnog percipiranja
stvarnosti, postavlja izazove, otvara dileme, postavlja pitanja. Insistira na tome da je učesnik u
događaju, ako ne i događaj sam.
Paradoks. Otkriti nešto znači staviti tačku. Sakriti znači započeti traganje.
Voislav Bulatović
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THIRD DEGREE PLAY
“We live in a world where there is more and more
information, and less and less meaning.”
(Jean Baudrillard)
Presence of Absence. When a stage is deprived of its important constituent, does it die,
or does it start a new life? Does its absence annul the presence of other constituents, or is it
the very absence that is a paradigm of virtual
reality? Does reality multiplication really lead
to the absence of meaning or the absence of
meaning makes a reality dispensable? Although
these questions are possible to be asked, it does
not mean the answers are possible to be given.
In any case, the works from the series “My Cretaing the Theatre – Before and After the Stage”
approach the postmodernistic thought at the
point where the author creates a sort of simulacrum, where he annuls the “distance” between
the real and the imagined, but he does not end
his expression at the pathos of Baudrillard’s nihilism; on contrary, he makes a strict distinction
in regard to the world where reality is just an
alibi. Third Degree Play. With his interventions on
photos, as a medium “freezing up” a dynamic
area of a theatre display, Kilibarda creates the
third, para-visual medium. In this “play of the
third degree”, the accent is put on the genesis of
light and its materialization insigns. The spiritus
movens is here changed from the “stage lights”,
over the photosensory binary codes, up to the
visual functionality of art expression. Although
the light at the end of the artistic and at the
beginning of the perception process moves in
all directions, it is the moment of its emanation
from the photograph surface, or to be more
precise, from the world beyond the reproduced
reality, that is the crucial moment of creative
expression. By “deleting” a part of the reproduction the artist not only offers a new reading of
the already “played (down)” reality, not only does
he create blank spaces in memory, but he also
cancels the very photograph as a “tool for transmission of literal signs, therefore, a medium of
analogical nature, left without any transformative abilities”. (Roland Barthes).
A Voyeur. Edward Weston claimed that photographers carry out the blakean task of clearing
the senses in order to reveal to others the vivid
world around them and to show them what
they missed to see with their own eyes. Kilibarda, to the contrary, in his photos takes away a
part of what you are convinced has been seen.
He turns it into a shade, a form, an idea. And
from the Susan Sontag’s “voyeuristic stroller”
that is “reconnoitering, stalking… who discovers
a landscape of voluptuous extremes”, he grows
strongly against the passive reality perception;
he sets up challenges, opens up dilemmas, raises questions. He insists to be a partaker in the
event, if not even the event itself.
A Paradox. To discover something means to
put an end. To hide means to start the search.
Voislav Bulatović
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101
Predstava “Naš čovjek”
40x52 cm
Predstava “Naš čovjek”
40x52 cm
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103
FOTOGRAFIJA KAO MITSKO
POBIJANJE NELAGODNOSTI
OD SMRTI
Fotografija ne opominje na prošlost
(ničeg prustovskog u jednoj fotografiji).
To što ona izaziva u meni nije obnavljanje onog
što je poništeno (vremenom rastojanjem), nego
potvrdjivanje da je to što vidim zaista bilo.
Roland Barthes
Da li je fotografija u ovom slučaju dokaz egzistencije nekog dogadjaja, života ili je ona uvijek
režirano uprizorenje? Vojislav Kilibarda svojom
novom serijom radova upravo postavlja to pitanje iznova i promišlja fotografiju u jednom
oneobičavajućem kontekstu teatarske situacije
koja nadilazi pozorišno upriličenje u fotogafiji.
Fotograf (autor, umjetnik) može pasti u iskušenje
da se zaputi u dva moguća pravca: prvi je pravac
reklame, koja ovjekovječuje trenutak pozorišne
predstave naprevljene radi odredjenog proizvoda i njegove potrošnje (plakat); drugi je pravac
umjetničkog djela. Da li je fotografija u ovakvom
slučaju dokaz egzistencije nekog dogadjaja, situacije ili je ona uvijek izrežirano uprizorenje
(izrežirani mizanscen od strane reditelja)?
Pozorišno upriličenje je u ovom slučaju dakle
nužno, ali je neupadljivo. Može li nam ovakva
fotografija dati predmet koji želimo da fotografišemo? Fotografija kao važan element teatra,
kojom se autor služi anti dokumentarističkim
pristupom, u ovom slučaju postaje ikonički element koji je na neki način istrgnut iz pozorišta.
Naknadna postprodukcija fotografije i odredjene intervencije na njima (kolažiranje, isjecanje,
aplikacija ogledala, zamućivanje stakla) dovodi
nasilno do akumulacije novih označitelja koji
prazne smisao koji je nametnut pozorišnim upriličenjem, te se stvaraju novi kodovi čitanja. Neki
od njih su specifični za fotografiju npr. različiti
kodovi nastali oko „fokusa“ i „zamućenja“. U ranoj
fazi „strukturalističke“ semiologije velika se pažnja pridavala analogiji između „prirodnog“ jezika (fenomena govora i pisma) i vizuelnog jezika.
U tom se razdoblju radilo na kodovima analogije
kojima fotografije označavaju predmete u svijetu, kodovima konotacije preko kojih denotacija
transponuje u sekundarni sistem značenja, te
„retoričkim“ kodovima jukstapozicije elemenata
unutar fotografije i između različitih, ali bliskih
fotografija. Rad na području semiotike pokazao je
kako ne postoji „jezik“ fotografije, odnosno jedinstveni značenjski sistem o kojem zavise sve fotografije, umjesto toga, postoji heterogeni sklop kodova
iz kojih fotografija može crpiti. Svaka fotografija
označava na temelju mnogostrukosti tih kodova,
čiji broj i vrsta variraju od jedne slike do druge. Neki
od njih su specifični za fotografiju npr. „kinetički“
kodovi tjelesnih pokreta. Nadalje je važno to što se
pokazalo da navodno nezavisan „jezik fotografije“
nikada nije oslobođen određenosti samim jezikom.
Ovakva određenost jezikom ili kodovima analogije kojima fotografije označavaju predmete u
svijetu, autor parergonskim dodacima pokušava
da izadje iz okvira nametnute teatarske situacije. Subjekt koji posmatra će neizbježno postati
svjestan pravila okvira, ali to se može odgoditi
različitim strategijama, koje uključuju „kompozicijska“ sredstva za pomicanje oka sa ivice okvira.
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PHOTOGRAPHY AS A
MYTHICAL DENIAL OF AN
APPREHENSION OF DEATH
Dobra kompozicija stoga možda nije ništa više
ili manje od niza sredstava za produženje naše
zamišljene vlasti nad tačkom gledišta, naše samopotvrde tj. sredstva odgađanja priznanja
autonomije okvira i autoriteta drugoga koje on
označava.
Važan odnos, relacija, koja se može doživjeti iz
Kilibardinih novih radova jeste veza pozorišta i
fotografije koja je analogna vezi između fotografije i konačnog horizonta događaja. Heidegger tvrdi kako je smrt konačan horizont svega.
Ograničavajući naš život tzv. horizontom smrti,
pokušava nas smjestiti unutar određenog okvira
gdje se može definisati naše postojanje. Smrt za
nas, dakle, nije samo događaj – ona je fenomen
koji zahtjeva egzistencijalno razumijevanje. Ako
mi se fotografija čini najbliža pozorištu onda je to
preko jednog neobičnog releja (možda ga samo ja
vidim): Smrt. Zna se za prvobitni odnos pozorišta i
kulta mrtvih: prvi su se glumci odvajali od zajednice igrajući ulogu mrtvih – maskirati se bilo je
označiti se kao tijelo koje je istovremeno živo i mrtvo: čovjek naslikanog lica iz kineskog pozorišta,
maska u japanskom No pozorištu… Znači isti taj
odnos nalazimo u fotografiji, živa onoliko koliko se
trudimo da je shvatimo (a ta žestina da se “oživi”
može biti samo mitsko pobijanje nelagodnosti od
smrti), fotografija kao prvobitno pozorište, kao živa
slika, slikanje nepokretnog i namazanog lica pod
kojim vidimo mrtve.
Igor Bošnjak
The Photograph does not call up the past
(nothing Proustian in a photograph). The effect it
produces upon me is not to restore what has been
abolished (by time, by distance) but to attest that
what I see has indeed existed.
Roland Barthes
Is a photograph in this case a testimony of an
event’s existance, of life, or is it always an elaborated presentation? With his new series of works
Vojislav Kilibarda asks this very question again
and reflects about photography in an unusual
context of a theatrical layout beyond a mere
theatre photo presentation. A photographer
(an artist, an author) may be tempted to start
in two possible directions: the first one is the
direction of a commercial, capturing a moment
of a theatre play for the purpose of a product
advertising and its consumption (poster); the
other direction is art creation. Is a photograph in
such a case a testimony of an event’s existance,
or is it always a staged performance (a director’s
Mis-an-Scene)?
A theatre set-up is therefore necessary in this
case, however, it is discrete in display. Is such a
photograph able to show the object we want
to capture? Photography as an important theatrical element used by the author for nondocumentary purposes, in this case becomes
an iconic element, in a particular manner extracted from the theatre. The post-production
process and the interventions upon the photos
(collage, cut-outs, mirror inserts, glass blurring)
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result in an imposed accumulation of new denominators which erase the meaning resulting
from the theatre set-up, whereby new reading
codes arise. Some of them are particularly related to photography, e.g. different codes related to the “focus“ and “blur“. In the early phase
of ‘structuralist’ semiology, close attention was
paid to the analogy between ‘natural’ language
(the phenomenon of speech and writing) and
visual ‘languages’. In this period, the efforts were
focussed on the codes of analogy by which
photographs denote objects in the world, the
codes of connotation through which denotation serves a secondary system of meanings,
and the ‘rhetorical’ codes of juxtaposition of elements within a photograph and between different but adjacent photographs. Work in semiotics
showed that there is no ‘language’ of photography,
no single signifying system upon which all photographs depend; there is, rather, a heterogeneous
complex of codes upon which photography may
draw. Each photograph signifies on the basis of a
plurality of these codes, the number and type of
which varies from one image to another. Some of
these are peculiar to photography, e.g. the ‘kinesic’
codes of bodily gesture. Further, importantly, it was
shown that the putatively autonomous ‘language
of photography’ is never free from the determinations of langauge itself. In such a determination
by language or analogy codes based on which a
photograph denominates objects in the world,
the author is trying to step out of the framework
imposed by the theatre set-up via the application of parergonic accessories. The observer
will inevitably become aware of the framework
rules, but this can be delayed with various strategies which include “composition“ tools for diverting the focus of the eye from the framework
edge. A good composition is therefore not more
and not less than a number of tools for an upgrade of our imaginary command over the perspective, of our self-confirmation, or a method
to postpone the recognition of the framework
autonomy and the authority of the other self,
denominated by this framework.
An important relation to be experienced from
Kilibarda’s new works is the connection between the theatre and photography which is in
analogy with the relationship between photography and a final event horison. Heidegger finds
death is a final horizon of all events. Framing up
our lives with the so-called death horison, the
author is trying to set us within a frame where
our existance can be defined. Therefore, for us,
death is not only an event – it is a phenomenon requiring an understanding on existential
level. But if Photography seems to me closer to the
Theater, it is by way of a singular intermediary (and
perheaps I am the only one who sees it): by way of
Death. We know the original relation between
the Theater and the cult of the Dead: the first actors separated themselves from the community
by playing the role of the Dead; to make oneself
up, to designate oneself as a body simultaneously
living and dead: the whitened bust of the totemic
theater, the man with the painted face in the Chinese theater, the rice-paste make-up of the Indian
theater Katha-Kali, the Japanese No mask... Now it
is the same relation which I find in the Photograph;
however “lifelike“ we strive to make it (and this frenzy to be lifelike can only be our mythical denial of
an apprehension of death), Photography is a kind
of a primitive theater, a kind of Tableau Vivant, a
figuration of a motionless and made-up face beneath which we see the dead.
Igor Bošnjak
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Film “Intro”
40x70 cm
Film “Intro”
40x70 cm
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OGRANIČITI NEOGRANIČENO
Koračam kroz plavo prostranstvo postojanja da
čujem kišu kako pada, oslušnem cvijet dok se
otvara suncu, umirim srce da dopre do zvijezda.
Igra iz igre!
Nadigravanje!
Zaustavljen je trenutak igre, istrgnut iz predstave
i preveden u medij fotografije. Zaustavljen, a živ,
pun duha događaja, čina koji prikazuje, ispunjen
energijom čiju transformaciju sluti, energijom
koja će već idućeg trenutka prerasti u nov pokret, nov iskaz, novu emociju. Tu negdje, nijemo,
na fotografiji prisutna je i riječ koja vodi pokret,
pita, razdražuje, smiruje, otvara dilemu, daje odgovor, razrješava sukob, tvori novu igru, u ovom
slučaju novu fotografiju ali i novu likovnost.
,,Između gledati i vidjeti je umjetnost”
Zaustavljen trenutak, ograničen, zarobljen u kutiji, kao zarobljena lasta širi krila, čini napor da
uzleti, da nadigra život, uzleti prostranstvu i svojim letom kao igrom ispiše život, ispiše slobodu
beskraja.
Zarobljen i ograničen za ono što prvobitno
jeste, ali izdvojen i opredmećen na ovaj način, taj trenutak prerasta u objekat likovnosti.
Postaje novo biće sa drugačijim značenjem,
određeno atributima likovnosti i intervencijama na samoj fotografiji, isjecanjem likova i
predmeta i montiranjem ogledala. Slojevitim
kutijama,,,pakovanjem” gdje igra sjenki i ugao
svjetlosti produbljuju prostor i živo učestvuju u
komunikaciji neprestano se mijenjajući, postiže
se utisak da fotografije lebde u ograničenom
prostoru,,,plutaju” poput misli, koje neznano otkud nadilaze i prolaze našim umom, rađaju se
kao uvijek novi, neuhvatljivi leptirovi ili zvijezde
padalice.
Ovom izložbom Vojo nam je priredio znakovito
čitanje likovnih zapisa,,,pozorišnih citata” izvučenih iz predstava u čijem nastajanju i sam učestvuje.
I više uopšte nije bitno da li fotografija predstavlja scenu iz,,Našeg čovjeka”,,,Noći četiri mjeseca”,
ili neke druge predstave. Scene izašle iz određenja pozorišne predstave postaju predmet
novog, drugačijeg određenja, iskustva i promišljanja, nov entitet koji tumači trenutak u ovom
vremenu.
Isječeni likovi ili predmeti čine nerazrješivu
zagonetku prisustva odsutnog ili odsutnost
prisutnog sugerišući položaj čovjeka današnjice udaljenog od samog sebe, pod budnim
okom,,Velikog Brata”, koji sve vidi i sve zna!
,,Kutija u kutiji”, ili,,zarobljeno u kutiji” baš kao
čovjek zarobljen u ovom vremenu, izolovan,
odvojen od svoje matice, primoran da živi u
neminovnosti datih okolnosti, stvorenih modernim dobom, globalizacijom i surovom trkom za
besmislom.
Ko nam to virtuelno promiče našim domovima?
Gdje pobjeći izvan,,ciljnih grupa”? Udaljiti se od
lijepo upakovane praznine, razotkriti prevaru.
Živjeti bez saopštenja koja zauzimajući duhovni
prostor svakog pojedinca zvuče kao osuda na
koju ne možemo uticati. Skloniti se od tjeskobe,
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TO LIMIT THE ENDLESS
van zaslijepljujućeg bljestavila, izvan ogledala
kontrolisane prisutnosti.
Kome govori nepostojeći čitač?
Svakome i Nikome?
Gdje je nestala Riječ?
Kako se sačuvati od „pirana” koje plutaju svuda
oko nas?
Na šta smo sve postali imuni?
Uspavljuje li nas udaranje kiše po krovu, ili „spakovani u kutije” otvaramo umirujuće kutije nečijeg profita?
Možemo li, s jeseni, čuti kako tiho lišće pada ili
udar zrelog kestena o zemlju?
Koračam kroz plavo prostranstvo postojanja da
čujem kišu kako pada, oslušnem cvijet kako se
otvara suncu, umirim srce da dopre do zvijezda,
daleko od buke vavilonskih medija, izvan kutija
stvarnosti.
I walk through the blue vastness of existence to
hear the rain drops falling, to listen to the flower
opening to the sun, I calm down my heart so it
can reach the stars.
A play out of the play!
Outplay!
The moment of the play is frozen, taken out
from the show and transponed into a photograph medium. Frozen, and yet vivid, full of the
spirit, of the act displayed, full of energy and
hinting its transformation, the energy that is going to turn into a new move even the next moment, into a new statement, into a new emotion. Somewhere there, silently, there is a word
in the photo, the word leading the move and
asking, provoking, settling, questioning, answering, resolving, setting up a new play, in this case
a new photo, but also a new visual quality.
Nadigravanje! Igra iz igre!
Ljiljana Marinović, galerista
“Art lies between watching and seeing”
A moment frozen, limited, caught in a box,
spreads out the wings like a captured swallow,
striving to fly up, to outplay the life, reaches into
the infinite space and marks with its flight the
life, the freedom of the endless.
Captured and limited for what it originally is,
but taken aside and dressed up in such a subject matter, the moment grows into an object
of art. It becomes a new being with a different
meaning, defined by visual attributes and interventions on the photos themselves, by cutting
the objects and the characters out and fitting
the mirrors in. With multi-level boxes, by “pack-
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ing up” where the shadow and the light angle
profound the space and actively communicate
through the constant changing, there is an impression that the photos float in a limited space,
“floating” like thoughts, which, of unknown origin, get over and pass through our minds, constantly rising as newborn butterflies or shooting
stars.
With this exhibition Vojo presented us with a
sign-based reading of visual records, “theatre
quotes” taken out from the plays in creation of
which he took his own part.
And it does not matter any more if a photo
shows a scene from “Our Fellow Countryman”,
“The Night of Four Moons”, or another play.
Scenes derived from a theatre play denomination become a subject of a new, different definition, experience and concept, a new entity
interpreting a moment in this time.
The cut-out characters or objects make a clueless puzzle of the presence of the absent or the
absence of the present, suggesting the position
of people of today, distant from themselves, under the watchful eye of the “Big Brother”, who
sees and knows everything!
”A box in a box”, or “the captured in the box”, the
same as man is, captured in this time, isolated,
separated from its life stream, forced to live in
the inevitable given circumstances, set out by
the modern age, globalization and the cruel and
meaningless rat race.
Who is it that virtually passes through our
homes? Where to escape from “target groups”?
To make oneself distant from emptiness nicely
wrapped up, to reveal the fraud. To live without
statements that occupy everyone’s spirit and
sound like a judgement beyond our influence.
To move away from anxiousness, far from the
blinding shine, outside the mirror of the controlled presence.
To whom does the imaginary reader speak? To
everyone and to no one?
Where did the Word go?
How to be safe from the “piranhas” swimming
all around us?
What have we become immune to?
Are we lulled back by the rain tapping against
the roof, or do we, “packed up in boxes”, open up
dying boxes of somebody’s profit?
Can we hear, in the autumn time, leaves softly falling down, or ripe chestnuts hitting the
ground?
I walk through the blue vastness of existence to
hear the rain drops falling, to listen to the flower
opening to the sun, I calm down my heart so it
can reach the stars, far away from the Babylon
media noise, outside of reality boxes.
Outplay!
A play out of the play!
Ljiljana Marinović, a gallery owner
116
117
Film “Intro”
40x70 cm
Predstava “Naš čovjek”
40x52 cm
118
119
NA POČETKU…
OČI U OČI – KLJUN U KLJUN
U slikarstvu Vojislava Voja Kilibarde, kao primarnom opredjeljenju, dominantno mjesto zauzimaju slike autoportretskog govora, sa simbolizovanim orlovima, (oči u oči – kljun u kljun)…
Govor slike je „početno“ uporište ali ne i jedino –
jer, Kilibarda usvaja filozofiju „novog ponašanja“,
otvara prostor za one likovne iskaze koji u punoj mjeri korespondiraju sa vremenom (vrijeme
novih tehnoloških mogućnosti – pogleda, primjene).
Ovdje se, u dobroj mjeri individualnost, pa i prepoznatljivost gube, jer „On“ je samo jedan akter
organizacije „slike“. Njegovo „Ja“ ogleda se u pomenutom orlu, u dijalogu sa nadom, u vizuri i u
onom govoru tijela gdje „on“ kao pretpostavka
postaje antipod uobičajenog (autoportretskog)
shvatanja.
U foto-zapisu Kilibarda, dosljedno, sebe izdvaja
ali i poništava tom „bijelom siluetom“ u svijetu i
svjetlu boje (kolora) sadržaja i urbaniteta. Ovdje
simbolizovana „praznina“ postaje ekvivalent pređašnjoj „punoći“ prostora.
No, ono što Kilibardu na prvoj samostalnoj izložbi izdvaja, je konceptualni odnos u kome prvorođenu ideju, od krokija do foto-zapisa, ipak
ostvaruje kao umjetnički „proizvod“ i izložbeni
eksponat.Međutim, kroz sve evidentirane stilsko
motivske pristupe, od strukturirane, ekspresivne
figuracije („portretskog“ opredjeljenja) pa preko
kadriranog prenešenog crteža u foto obradi,
do sceničnih radova foto-prikaza kompjuterske
obrade, „On“ u svemu ostvaruje puno ulikovljenje ideje, odnosno djela.
Bogdan V. Musović, istoričar umjetnosti
Iz predgovora za katalog prve samostalne izložbe
Vojislava Voja Kilibarde koja je organizovana u Galeriji
“Josip Bepo Benković” u Herceg Novom 2007. godine
120
121
AT THE START…
EYE TO EYE – BEAK TO BEAK
Therefore, in his creative work, which is his primary orientation, the paintings of self-portrayal
with symbolized eagles (eye to eye, beak to
beak) have a dominant place.
The voice of the painting is the starting point,
but not the only one, because Kilibarda embraces the philosophy of a new behaviour, making
the space for the artistic expressions which fully
correspond with the time of new technological
opportunities.
Here, the individuality and even distinctivness
very much fade away, since “He” is just one of
the participants in the set-up of the painting.
His self is reflected in the eagle, in his dialogue
with Hope, in his point of view and body language, where “He” as an assumption confronts
the common self-portrayal.
In his photo-records, Kilibarda consistently
stands out, but also canceles himself using
the “white silhouette” put in the shade and the
sphere of colours and contents. Here the symbolized emptiness becomes the equivallent to
the former fullness of space.
And yet, looking at his first exhibition, it is clear
that what distinguishes Kilibarda from others is the conceptual relationship in which his
original idea-from a sketch to a photo-record,
is yet realized both as an artistic “product” and
an exibit. Nevertheless, adopting all the sylistic
approaches-from the structured expressive portraying figuration, over the photo-processing of
a drawing, to the scenic photo-works of computer-processed images, he always achieves the
full imagery of his ideas, and his works.
Bogdan V. Musović, Art Historian
From the catalogue preface for the first Vojislav Vojo
Kilibarda’s solo exhibition at “Josip Bepo Benković” Art
Gallery, Herceg Novi, 2007
122
123
Predstava “Noć četiri mjeseca”
40x52 cm
Predstava “Noć četiri mjeseca”
40x52 cm
124
125
Predstava “Noć četiri mjeseca”
40x52 cm
Predstava “Noć četiri mjeseca”
40x52 cm
126
127
Predstava “Plan B”
46x58 cm
Sa protesta “Sačuvajmo pozorište”
40x52 cm
128
129
Minijature: ciklus “Pročišćenje”
17x17 cm
Predstava “Plan B”
85x59 cm
134
Vojislav Vojo Kilibarda
Rođen u ljeto 1978. godine. U Boki!
Nakon osnovne škole u Herceg Novom, završio
Srednju umjetničku „Petar Lubarda“ na Cetinju.
Diplomirao pa magistrirao na ALU u Trebinju, u klasi
Profesora Marka Musovića.
Ponosan na svoj fakultet i profesore.
Radi kao urednik likovnih programa i dizajner u JUK
Herceg fest.
Zaljubljen u Pozorište. Posebno Hercegnovsko (HP).
Već deceniju odgoneta njegove iskorake, atmosferu, prostore i ljude. I stvara!
~
Born in the summer in 1978. In the Boka Bay!
After primary school in Herceg Novi, he finished
secondary art school “Peter Lubarda” in Cetinje.
He graduated from the Academy of Fine Arts and
Master’s degree in Trebinje, in the Professor Marko
Musovic’s class.
Proud of their school and teachers.
He works as an editor of art programs and designer
in Herceg fest.
In love with the Theater. Especially with HP.
For a decade discover his strides, atmosphere,
space and people. And create!
Tel. 00382 67 527 181
E-mail. [email protected]
Izdavač / Publisher
HERCEGNOVSKO POZORIŠTE
Za izdavača / For publisher
Vidosava Vitka Vujnović
Glavni i odgovorni urednik / Editor
Vidosava Vitka Vujnović
Fotografije / Photos
Nada Arnaut i Voislav Bulatović
Prevod / Translation
Marija Rosić
Dizajn kataloga i prelom / Design and Prepress
Nebojša Glumac
Tiraž / Circulation
1000 primjeraka
Štampa / Printing
Biro Konto, Igalo
MY CREATING
THE THEATRE
BEFORE AND AFTER
THE STAGE
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