INTERVJU: VLADIMIR VELIČKOVIĆ, SLIKAR I AKADEMIK INTERVIEW: VLADIMIR VELIČKOVIĆ, PAINTER AND ACADEMIC SVE ŠTO RADIM JEDAN JE VELIKI AUTOPORTRET EVERYTHING I DO IS A GREAT SELF-PORTRAIT
Tekst / Words: Ana Vodinelić Fotografije / Photography: Žarko Vijatović, Vladan Filipović Uvek me je više privlačila ljudska drama. Emocije su neophodne, dijalog je neophodan. Indiferentnost pred jednim delom ravna je porazu onog koji ga je stvorio
I’ve always been more attracted to human drama. Emotions are essential, dialogue is essential. Indifference towards a work is equivalent to defeat for the one who created it I t was back in 1966 that he arrived on a “temporary residence” stay in Paris, without any firm intention of staying at all costs. Half a century has passed and today there is no reason not to see that time as “lasting” ... He is a member of Ser- bian and French academies, a painter who conquered France, but also the rest of the world with his extraordinary talent. After half a century in Paris, Vladimir Veličković now lives between Serbia and the French capital. But he doesn’t yearn for his home- land – it is within him. - I don’t miss Serbia at all. I am always with it, in it, in my Belgrade. I live and work on two absolutely equal tracks. I am literally cut in half. And I’m very satisfied with that status. I come at least four or five times a year, for short but very stimulating stays, in every respect. A new gallery will open with my exhibition in Belgrade in autumn. I will present more previously unseen works... What are you doing now? - I work every day, continuously, on a few pictures and drawings. I also recently returned to sculpture, after a long break. My latest paintings and drawings are the- matically connected. They are character- ised, primarily I mean the paintings, by their grey-ashen colouring. A human figure, a man, is present. And the spaces - landscapes with fires, ravens, desolation and destruc- tion are still current.
T e davne 1966. bio je na „pri- vremenom boravku“ u Pari- zu bez čvrste namere da, po svaku cenu, ostane. Pola ve- ka je prošlo i danas nema razloga da to vreme ne vidi kao trajanje… Član srpske i francuske akademije, slikar koji je pokorio Francusku, ali i osta- tak sveta svojim vanserijskim talen- tom. Vladimir Veličković, posle po- la veka u Parizu, živi između srpske i francuske prestonice. Ali ne pati za otadžbinom. Ona je u njemu. – Srbija mi uopšte ne nedostaje, stalno sam s njom, u njoj, u mom Be- ogradu. Živim i radim na apsolutno dva ravnopravna koloseka. Bukvalno sam prepolovljen. I prezadovoljan sam tim statusom. Dolazim barem četiri-pet puta godišnje na kratak, ali veoma sti- mulativan boravak, u svakom pogle- du. Otvoriće se nova galerija s mojom izložbom na jesen u Beogradu. Izloži- ću još nepredstavljene radove… Šta sada radite? – Svakodnevno radim, u kontinui- tetu, na nekoliko slika i crteža. Nedav- no sam se vratio i skulpturi, posle du- ge pauze. Poslednje slike i crteži su tematski povezani. Karakteriše ih, pre svega mislim na slike, sivopepeljasti kolorit. Ljudska figura, čovek, prisu- tan je. A i prostori-pejzaži s požarima,
How do you choose the topics? - My topics are everything we are or what we witness on a daily basis. I listen and follow what is happening on this troubled planet of ours. We are inundated with all sorts of information. I cannot, as a painter, fail to comment on all of these events in my own way, to react with drawings, paintings etc. That is my moral duty and obligation. You paint and draw several works si- multaneously. Has it always been li- ke that? - Always. One serves the other, feeding each other mutually. Drawing and painting are inseparable, at least for me. Drawing serves the painting; without drawings it is not possible to create something worth- while. That goes for all disciplines equally. Have you destroyed any of your works? - Errors are inevitable and should be eliminated. Bad drawings, bad paintings, are your worst enemies. It happens that things don’t go the way you wish. Then the punishment is paid: tearing, cutting... and throwing away. That’s a better and saf- er way – for the future. Your works contain brutality, pessimi- sm. It is as though all the work hurts... - I look around myself; I try to figure out why the world is like this, and not different. I’ve always been more attracted to human drama. From my artistic beginnings, during
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