H e began writing his artistic saga from childhood, express- ing his talents through drawing, painting, sculpting, photo- graphing, constructing installations etc. All of that creative potential, dating back 25 years, was presented by multime- dia artist Vuk Vidor through the exhibition My 20,000 Days On Earth, at the Museum of the City of Belgrade, and in conversation with El- evate he says that he conceived the exhibition as a retrospective. “This exhibition is like a compilation or best of. It has utilised the unique building of the Museum of the City of Belgrade, where on the entire rst oor, through fteen rooms, visitors enter specif- ic stages, projects and expressions that de ne my work. With paint- ings, drawings, sculptures and installations of a multimedia nature. It progresses from room to room so it’s easy to show or tell a specif- ic story in each one.” You’ve always been interested in modern art. What movements and artists inspire you? - I was born into that environment. That’s why I have a speci c relationship that goes above and beyond that profession. But what happened in art in the 20th century is most inspiring to me. Surreal- ism, Dada and Pop Art, all the way up to the ‘80s. The expression of a painter is the dearest to me, and the individuals who explore their path through that. How would you describe your artistic oeuvre? - An artist is simultaneously a lter and a connector, through his system he absorbs and emits his version of the answers to eternal questions at that moment. I see that as confronting the world, both the internal and external, and it is in that dichotomy that ideas and expressions crystallise. In the rst case I use drawing and painting as the best way to explore those inner worlds. And there are no limits to that. In the second case, confronting events and the outside world materialises through installations that represent a response to soci- opolitical issues or situations. Does the mass nature of everything around us in the 21st cen- tury bring more themes for the artist? - It is only technology that changes, while the original ques- tions remain the same. The growing paradox is problematic: we have never had more access to knowledge, yet there is ever less of it in mass or global terms. One has to be very careful and per- sistent in order to extract the best quality. I don’t know how much this creates themes for art, but a theme as a reaction to the pres- ent certainly exists. What’s your greatest creative success to date? - Success is doing what you’ve chosen without compromise and hesitation. That’s a di cult road to take, but it’s the only one possi- ble if you decide to work in art, as that’s not a job but a way of life Whichfamousartistfromthepastwouldyouhavelikedtomeet? - I met many of them while they were alive, but I wish I could have met the painters Egon Schiele, Goya, Bosch… If you weren’t an artist, what would you do for a living? - It would be di cult for me to do something that isn’t creative. I studied architecture, so that would be the rst option, while the second would be lm, the third music. I’ve been consuming lm in huge quantities ever since I’ve known myself. Very little is left that I haven’t seen and that continues every day. And music is ubiquitous in my life; a day without it doesn’t exist. These are also things that I can’t do without. Which city do you consider as your own the most, and where are you the most due to work? - All of those of us who’ve lived in several places has a kind of personal mental map of places that are“his”. Parts of Paris, Belgrade, London and all the other cities where I’ve resided create my person- al topography. When it comes to work, those are Paris and Belgrade. But right now the city of my birth is much more inspiring and dear- er to me than the one where I grew up, Paris. So, Belgrade is win- ning for now.
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ju ista. Problematičan je rastu- ći paradoks: nikad nismo imali lakši pristup znanju, a sve ma- nje ga ima u masovnom ili glo- balnom smislu. Treba biti vrlo pažljiv i uporan da bi se izvuklo najkvalitetnije. Ne znam koliko to stvara teme za umetnost, ali tema kao reakcija na sadašnjost ima sigurno. Šta je do sada vaš najve- ći uspeh kao kreativca? – Uspeh je raditi šta ste iza- brali, bez kompromisa i okleva- nja. To je težak put, ali jedini mo- gući ako rešite da se bavite ovim poslom. To nije posao, to je na- čin života. Kojeg slavnog umetnika biste voleli da upoznate iz prošlosti? – Upoznao sam mnogo njih, dok su bili živi, a voleo bih da sam mogao da sretnem slikare Egona Šilea, Goju, Boša… Da niste umetnik, čime bi-
ste se bavili? – Teško bih se bavio nečim što nije kreativno. Studirao sam arhitekturu, tako da bi to bila pr- va opcija, druga bi bila film, treća muzika. Film konzumiram u ogro- mnim količinama otkad znam za sebe. Vrlo je malo je onoga što ni- sam video, i to se nastavlja sva- ki dan. I muzika je sveprisutna u mom životu, ne postoji nijedan dan bez nje. To su stvari bez ko- jih ne mogu. Koji grad smatrate najvi- še svojim, a gde ste najvi- še zbog posla? – Svako ko je živeo u nekoliko mesta ima neku svoju mentalnu geografsku mapu mesta koja su njegova. Delovi Pariza, Beograda, Londona i svih drugih gradova u kojima sam boravio stvaraju lič- nu topografiju. Što se posla tiče, to su Pariz i Beograd. Ali trenut- no mi je moj rodni grad mnogo inspirativniji i draži nego onaj u kojem sam rastao, Pariz, tako da Beograd pobeđuje, zasad.
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