Zoran Gavri

Melanholina sprezzatura Igora Stepania Igor Stepani - Melancholy Sprezzatura

Zoran Gavri

Melanholina sprezzatura Igora Stepania Igor Stepani - Melancholy Sprezzatura

Tekst koji se nalazi pred itaocem ne polae ni pravo na prikaz stvaralatva Igora Stepania u njegovoj celini, ni pravo na konanu uverljivost ponuenih analiza, odn. tumaenja. Uprkos tome, ovaj tekst, sa jedne strane, uzima u obzir glavninu stvaralatva ovog umetnika, a sa druge strane, nudi analizu, odn. tumaenje, koje polazi od dominantnih svojstava radova ovog umetnika. Ta dominantna svojstva, zajedno sa poloajem umetnik u vremenu u kojem deluje Igor Stepani, upuuju na jedno odreenje njegovog stvaralatva, i to onog koje je nastajalo posle mladalakih radova, a pre dugotrajne cezure u njegovom radu, koje (odreenje) bi moglo da bude imenovano kao postmoderni manierizam. Iz onoga to sledi, s obzirom na ovo predloeno imenovanje, moglo bi izgledati da sve ide na jednostavno stavljanje znaka jednakosti izmeu moderne i renesanse, postmoderne i manierizma, odn. postmodernog stanja i protivreformacije. To, razume se, nije mogue, ali ono to

The text before the reader does not claim to present the work of Igor Stepani in its entirety, nor does it claim the right to ultimate credibility of its suggested conclusions. However, the text takes into account in the first place the greater part of the artists opus, and secondly, offers an analysis, i.e. interpretation, based on the dominant traits of the artists work. These dominant traits, along with the situation of the artist in the period in which Igor Stepani is working, point to an orientation in his work, specifically the work done just after the days of his early youth, and before the long caesura in his artistic work, which could be called Postmodern Mannerism. Having this categorisation in mind, it may seem from what follows that all can be reduced to a simple equation between Modernism and Renaissance, or Postmodernism and Mannerism, i.e. the Postmodern Condition and Counter Reformation. Of course, this is not possible, but that which needs to stand the test here is

ovde treba da izdri probu jeste mogue propitivanje slinosti smog odnosa izmeu jednog i drugog. Svoje delatno polje ovaj postmoderni manierizam je naao u onome to je Rosalind Krauss imenovala kao skulptura u proirenom polju. Ovom bekstvu u proireno polje, kao to je to poznato, prethodilo je proirenja pojma umetnost, i to ve krajem ezdesetih godina prologa veka. Do ovoga proirenja dolo je na osnovu problematizovanja odnosa umetnosti i drutva, koje se prometnulo u poreenje Umetnost je ivot i u poreenje Svaki ovek je umetnik. Iza ovih slogana stajala je ideja radikalne promene umetnike prakse, koja je krajem osamdesetih prologa veka poela da gubi svoju mo fascinacije [LuW]. Gubitak one fascinacije ubrzo je doveo do uvida da je, uprkos mnogim pokuajima, jaz izmeu umetnosti i politike ostao nepremostiv. Po okonanju one cezure, stvaralatvo Igora Stepania svoje delatno polje nalazi, pre svega, u onome to moemo imenovati kao umetnost u web-polju. O umetnikim prilozima Igora Stepania, uprkos njegovom primetnom prisustvu na umetnikoj sceni, pisano je malo, a jo manje u poslednjoj deceniji prologa veka. Na takvu, nedovoljnu recepciju kod umetnike kritike u Srbiji, uostalom, nailazili su i drugi umetnici te generacije. Ono to se, i iz ega se o radovima ovih umetnika, pa i radovima Igora Stepania, moe proitati i saznati jesu tekstovi za katalog njihovih izlobi, i gde koji televizijski zapis. Razlozi za ovaj mk umetnike kritike su mnogobrojni. Oni se ni na koji nain ne mogu traiti tek u promeni stava dobrog dela umetnike kritike u Srbiji, koja je, u narcisoidnoj potrebi da podraava inae malobrojne uzore u evropskom sistemu umetnosti, sredinom devedesetih, uzela da sklapa tzv. izlobe sa tezama. Takve grupne izlobe donosile su dva zla po sistem umetnosti u Srbiji. Koliko god da su, s jedne strane, prokazivale jalove napore nji-

a possible examination of the similarity in the actual relations between the one and the other. This Postmodern Mannerism found its field of activity in what Rosalind Krauss called Sculpture in the Expanded Field. Flight into the expanded field was preceded, as we know, by the expansion of the concept of art, at the end of the sixties of the last century. This came about due to the problematization of the relation between art and society, which turned into the association Art is Life and the association Everyone is an Artist. Behind these slogans stood the idea of a radical change in artistic practice, which at the end of the eighties of the last century began to lose its power to fascinate [LuW]. The loss of fascination with this idea soon brought home the realisation that, despite many attempts, the gap between art and politics remained unbridgeable. When the caesura in his artistic work ended, Igor Stepani found his area of practice, above all, in what we could call Art in the Web-field. Little has been written on the art of Igor Stepani, particularly during the last decade of the previous century, in spite of his noticeable presence on the art scene. In fact, this inadequate reception by the critics, was also experienced by other artists of the same generation. All that can be read and learnt about the work of these artists, Igor Stepani among them, are texts for the catalogues of their exhibitions, and the occasional TV recording. There are many reasons for this lack of response from the critics. One should certainly not look for them merely in the change of viewpoint in a significant number of art critics in Serbia, who, in a narcissistic need to imitate the otherwise small number of examples in the European art system, started constructing so called exhibitions with theses, in the mid nineties. These exhibitions brought with them two setbacks to the art system in Serbia. No matter how much they deprecated the fruitless efforts of their authors to find arguments for their supposed

hovih autora da argumentaciju za svoje tobonje teze pronau u umetnikoj praksi, one su potpuno izbrisale individualnost umetnika i stvarni smisao i znaenje njihovih dela. Uz to, a to je vee zlo, toboe prepoznavajui u vlastitom socijetetu fenomene koji ne mogu ostati bez njihovog kritikog osvrta, autori takvih izlobi su umetnike, ije su radove na silu uterivali u svoje tzv. teze, od stvarnih acteurs pretvarali u spectateurs, sebe sme recepciji javnog mnenja nudili kao estradne zvezde, ne primeujui pri tom da je javno mnenje ve odavno izgubilo svaku ulogu ne samo u Srbiji, nego u svetu zasnovanom na novom poretku. U punoj snazi, dakle, bila je jedna od opasnosti na koju je ukazao autor teksta, koji skrivenu istinu postmodernistike glorifikacije kraja oveka prepoznaje u hrabrom novom svetu kibernetike teorije [RW]. U takvom kibernetikom drutvu dolazi do ukidanja individualne samostalnosti kao osnovnog naela demokratskog drutva, koje sada postaje anahrono, na njegovo mesto dolaze tehniki imperativi preuzeti iz ekonomsko-administrativne sfere. Ako bi se gde i pojavili glasovi predskazivaa kie, individualnih samostalnosti sa anahronim habitusom modernog intelektualca, isti oni imperativi novog poretka nadsnimavali bi ih i emitovali kao labudovu pesmu. Takav poloaj modernog intelektualca i umetnika u stanju postmoderne i kibernetiko drutvo novog poretka, jo krajem osme decenije prologa veka, italijanski istoriar umetnosti i umetniki kritiar Achile Bonito Oliva uporedio je sa poloajem umetnika u 16. veku, koji (umetnik) je zauzimao itav niz stavova koji su anticipirali beznae i otueni poloaj modernog intelektualca, odnosno sa istorijskom situacijom protivreformacije u kojoj je kao jedan od odluujuih elemenata rasula u moralnoj i praktinoj svesti [ABO, 6] vladao makijavelistiki politiki realizam. Polazei od stava da svaku kulturu podupiru strukturne i istorijske matrice, ovaj istoriar umetnosti

theses in artistic practice, they completely erased the individuality of the artists and the real purpose and meaning of their work. On the other hand, and this is the greater setback, by allegedly recognising in their own society phenomena which cannot be passed by without their critical comment, authors of these exhibitions forcedly fitted the artists into their so called theses, turned them from real acteurs into spectateurs, and offered themselves to the public as celebrities, not noticing that the public had long since lost any kind of role not only in Serbia, but in the entire world based on the new order. Consequently, one of the dangers to which the author of this text had pointed was in full power. The author sees the hidden truth behind the Postmodern glorification of the end of man in the brave new world of cybernetic theory [RW]. In this cybernetic society individual independence, as the main principle of democratic societies which have now become anachronous, is abolished, and technical imperatives taken over form the economic and administrative spheres are put in its place. Even if the voices of the rain dancers, with their individual independence and anachronistic habitus of the modern intellectual, appeared here and there, the same imperatives of the new order would re-record them and broadcast them as a swan songs. As early as the eighties of the last century, the Italian art historian and art critic Achile Bonito Oliva compared this position of the modem intellectual and artist in the Postmodern Condition and the cybernetic society of the new order with the position of the artist in 16th century. The artist then took on a series of views which anticipated the desperation and alienated situation of the modern intellectual. That is to say, he compared it with the historic situation of the Counter Reformation in which machiavellian political realism ruled as one of the key elements in the breakdown of moral and practical consciousness [ABO, 6]. Starting from the view that every culture is supported by structural and historical matrices, this

Video I , Dogaaj dana....., 1984. VHS, kolor 1300; Video I , Evenet of a Day........ , 1984, VHS, color 1300

istorijski i politiki stabilne epohe povezuje sa proimajuim, a istorijski i politiki krizne epohe sa otvorenim kulturnim formama [ABO, 7]. Manierizam on vidi kao kriznu epohu, a njegov umetniki jezik kao otvoren, i zadovoljavajui se konsatacijom o oivljavanju manierizma u 20. veku, o umetnosti druge plovine 16. veka pie kao epohi u kojoj je neuptrebljivost sveta u osnovi celokupnog intelektualnog, knjievnog i umetniog rada, a intelektualcamanieristu vidi kao izdajnika, u smislu onoga, koji, odbaen od ekonomsko-drutvene baze, odbacuje kanoniku ulogu renesansnog umetnika [ABO, 8] Onaj opis stanja stvari u srpskoj umetnikoj kritici bio bi suvian ekskurs ako bi njegov konaan uvid govorio da su svi umetnici u Srbiji listom podlegli onom uterivanju u kritiarske tzv. teze. Stvaraoci koji su drali do svoga rada i svog akterstva, meutim, nisu ulazili u one vesele igre kritiarske. Meu te stvaraoce u Srbiji spada i Igor Stepani. On je svoj rad pokazivao uglavnom na samostalnim izlobama, polazei od vlastitih teza, pristajui od sluaja do sluaja na one grupne izlobe u kojima je prepoznavao svoju ulogu acteur-a. Stvarne razloge za nedovoljnu recepciju njegovog stvaralatva, otuda, treba traiti drugde, i to pre svega u krizi u koju je ve pre toga bio upao modernistiki sistem umetnosti. Sa svojim prvim, mladalakim radovima Igor Stepani i umetnici njegove generacije, na ondanjoj jugoslovenskoj sceni, pojavljuju se sredinom osamdesetih prologa veka. Tih godina je ono to se naziva modernost u uem smislu rei ve izlazila iz samozavaravanja da je umetnost ta

art historian associates historically and politically stable periods with permeating forms and periods in crises with open cultural forms. [ABO, 7]. He sees Mannerism as a period of crisis and its artistic language as open. Content with the observation of the revival of Mannerism in 20th century, he writes about the art of the second half of 16th century as a period in which the unusability of the world was at the core of all intellectual, literary and artistic activity. He sees the Mannerist intellectual as the traitor, in the sense of the one who, being rejected by the socio-economic base, rejects the canonical role of the Renaissance artist [ABO, 8]. The afore mentioned state of affairs on the Serbian art scene would have been an unnecessary digression had all the artists in Serbia succumbed to this coercion into the critics so called theses. However, artists who cared about their work and their role, did not enter these merry games of the critics. Igor Stepani belongs to this group of artists. He exhibited his work mainly in solo shows, starting with his own theses, agreeing from time to time to group exhibitions in which he could recognise his role as acteur. The real reasons for the inadequate reception of his art, should be sought elsewhere, above all, in the crisis which had already begun in the Modernist art system. Igor Stepani appears with his first work, alongside artists of his generation, on the Yugoslav scene of the day, in the mid eighties of the last century. In those years, what is called Modernism in the strict sense was already emerging from its self deception that art can be the thing which postpones

koja moe odloiti nasukivanje broda, ija je misija trebalo da bude uzglobljavanje u jedinstveni etos veberovskih racionalizacija, vrednosnih sfera nauke, morala i umetnosti [RW]. Uz to, kriza u koju e biti gurnuta nekadanja oaza mira u Istonoj Evropi, onu skrivenu istinu postmodernistike glorifikacije kraja oveka, dovela je do komarne verodostojnosti u kontekstu objektivne socijalne situacije koja joj pogoduje [RW]. U nekadanjoj oazi mira, prema scenariju te pripremane krize, temeljno je uutkana svaka individualna samostalnost, a sa njom i svako pevanje predskazivaa kie.

the stranding of the ship, whose mission was to fit into a unified ethos of Weberian rationalisations, the value spheres of science, moral and art. Alongside that, the crisis, into which the former oasis of peace in Eastern Europe was to be pushed, showed the hidden truth behind the Postmodern glorification of the end of man in nightmarish authenticity, in the context of an actual social situation which suited it [RW]. In the former oasis of peace, according to the scenario of this prepared crisis, any kind of individual independence was thoroughly silenced, and with it all singing of the rain dancers.

1. Onoga trenutka kada je uzela da za vlastite potrebe koristi zalihe klasine moderne, umetnost je zauzela stanovite postmodernizma, koje je sugerisalo da moderno doba sve bre postaje stvar prolosti [RW]. Paradigma tog uzimanja iz zaliha moderne za vlastite potrebe mogla bi biti slika Dieter-a Hacker-a Beckmann, Matisse i Picasso slikaju enu, u ijem stvaranju ovaj nemaki umetnik posee za individualnim izrazima ove trojice modernista. Ova je i sma manieristika i to utoliko to njen autor transponuje razliite formalne sadraje, birajui za njega uotrebljive sisteme i registre. Ono to se tu dogaa jeste upravo onaj odnos izmeu formalnog i stvrskog sadraja u umetnosti manierizma u vreme prtivreformacije, koji (manierizam) je Werner Hofmann tumaio kao jednu od podzida umetnosti moderne. U poglavlju o od-slici i tvorevini, on o tom odnosu u ovom interregnumu utvruje:

1. Art took the stand point of Postmodernism the moment it started using resources from classical Modernism. This suggested that the Modern period was becoming more and more a thing of the past [RW]. The paradigm of this use of resources from Modernism for ones own use could be found in the painting by Dieter Hacker Beckmann, Matisse, and Picasso Painting a Woman. For this painting, the painter reached out for the individual expressions of each of these three Modernists. It is also a Mannerist painting in that its author transposes different formal content by choosing systems and registers which he finds useful. What is in place here is precisely the relation between the formal and subject content in the art of Mannerism during the Counter Reformation period, and Werner Hofmann interpreted Mannerism as one of the underpinning structures of Modern art. In the chapter on from-painting and creation, he talks about

godine. Kako taj video rad, tako i objekti u okviru instalacije prikazane na prvoj samostalnoj izlobi oigledno referiu na vokabular pop-art-a, dakle, ne na umetnost klasine moderne, ve na umetnost tzv. posleratne moderne. Kao moto, odreujui za svoj rad, u katalogu za prvu samostalnu izlobu, Igor Stepai uzima stav David-a Smith-a [Rei koje govorim o umetnosti nisu u vrstoj vezi sa njenim stvaranjem, niti su uvek smernice ili korisna objanjenja ... ako piem, to nije na raun moga rada.], a svome radu pie: Nikada nisam pokuao da naem korene svoga vizuelnog iskustva. Mislim da je na mene najvie uticalo iskustvo sopstvenog doma. Svi oni kaktusi i biljke, bilo je tu i dosta slika, ali me one nisu zanimale. Ne volim da kopam po prolosti, niti da traim vezu sa neijim miljenjima. Ba me briga ko je uticao na mene. Ne bojim se da citiram, ne bojim se rukopisa. Postoje iskustva, tua ili naa svejedno, koristim ih kako mi je zgodno. Procesi i razlozi mi nisu jasni. Tako, samo oseam. Deset objekata ove instalacije jesu stolice koje je poeo da pravi 1984. godine, prilaui ovoj izvornoj grupi nove komade sve do 1996. godine. Pravljene su od gipsa, kartona i platna, oslikane uljanim bojama, sa aplikacijama raznorodnih predmeta, araniranim po seditima i naslonima. Iznad svake stolice stajalo je pet autoportreta i pet portreta jedne iste ene. Tlo na kojem su izloene bilo je posuto zelenim i plavim pigmentom. Bez ovih aplikacija (cvet, kaktus, drvo i sl.), koje je takoe sm napravio, stolice bi podseale na gipsane suvenire iz pedesetih godina prolog veka, kakvi se i danas mogu nai po kuama srednje klase. One aplikacije, meutim, dovode ih u blizinu ranih radova jednog od amerikih vodeih pop-art umetnika Claes-a Oldenburg-a (kao to su, na primer, Ice Cream Being Tasted, iz 1964. ili WC, iz 1966. godine). S druge strane, u okviru ove instalacije, stolice u isto vreme prizivaju stvarne stolice iz muzejskih prostora, primerke dizajna poznatih arhitekata, na kojima stoji upozo-

Zagreb in 1987 and Trieste in 1998. Both the video and the objects which were part of the installation exhibited at his first solo show visibly refer to the vocabulary of Pop Art, i.e. not the art of the classical Modern, but the art of the so called Post-war Modern. As his motto in the catalogue for his first solo show, Igor Stepani takes the view of David Smith [The words I speak about art are not strongly connected to its creation, nor are they always pointers or useful explanations ... if I write, it is not on account of my work.]. About his work, he writes: I never tried to find the roots of my visual experience. I think that I was mainly influenced by my own home. All the cacti and plants, there were many paintings, but they didnt interest me. I dont like to delve into the past, nor to search for a link with somebodys views. I dont care who influenced me. I am not afraid to quote, I am not afraid of handwriting. There are experiences, other peoples or our own, I use them as I find useful. The processes and reasons are not clear to me. This is only the way I feel. The ten objects from this installation are chairs which he began to make in 1984, adding new pieces to this original group up until 1996. They were made of plaster, cardboard, and canvas, painted with oil paints, with various objects as accessories arranged on the seats and backs of the chairs. Above each chair, there were five self-portraits and five portraits of one woman. The floor on which they were exhibited was covered in green and blue pigment. Without these accessories (flower, cactus, tree etc.), which he made himself, the chairs would be reminiscent of plaster souvenirs from the fifties of the previous century, which can still be found in middle class houses. However, these accessories bring them closer to the work of one of the leading artists of Pop Art in America, Claes Oldenburg (Ice Cream Being Tasted from 1964 or WC from 1966). On the other hand, as part of the installation, the chairs also evoke real chairs from museum settings, examples of designs by

SKC Galerija, Beograd, 10 STOLICA, SKC Gallery, Beograd, 10 CHAIRS

Forma je od sada ono to je umetnik u stanju da prerauje iz sueljavanja sa vokabularima koji mu se nude. Svaki stvrski sadraj ... d se transponovati u razliite formalne sadraje, i umetnik iz celokupne irine varijacija izabira sebi primerene sisteme i registre [WH, 161]. Ovaj odnos formalnog i stvrskog sadraja u stvaralatvu Igora Stepania po prvi put se pojavljuje u njegovom video radu Dogaaj dana, iz 1984. godine. Sledee godine, on e imati prvu samostalnu izlobu, pod naslovom 10 stolica (Beograd, Studentski kulturni centar), instalaciju koju e, sa neznatnim izmenama i dopunama (crteima) 1987. godine pokazati u Zagrebu, 1987. i u Trstu, 1998.

this relation in the interregnum period: From now on, form is what the artist is capable of recycling after his encounter with vocabularies which are available. Each subject content ... can be transposed into different formal content, and the artist chooses systems and registers that suit him from an entire spectrum of variations. [WH, 161]. This relation between the formal and subject content in the work of Igor Stepani appears for the first time in his video work Event of a Day from 1984. The following year, he will have had his first solo show under the title 10 Chairs (Students Cultural Centre, Belgrade). He will show the same installation, with slight modifications and amendments (drawings), in

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6. 4. Stolica maka 02, 1984, glina, uljana boja; Chair CatChair 02, 1984, clay, oil paint, 15 x 15 x 7 cm 5. Sofa maka, 1984, kombinovana tehnika; CatSofa, 1984, clay, oil paint, 15 x 10 x 7 cm 6. SofaMesec, 1984, kombinovana tehnika; SofaMoon, 1984, clay, oil paint, 25 x 10 x 6 cm

1. Slon, 1984, kombinovana tehnika; Elephant cahair, 1984, clay, oil paint, 15 x 8 x 8 cm

2. Stolica Maka, 1984, glina, uljana boja; CatChair 01, 1984, clay, oil paint, 15 x 7 x 7 cm

3. MDStolica, 1984, kombinovana tehnika; CatChimneyChair, 1984, clay, oil paint, 15 x 12 x 7 cm

Stolica razglednica, 1996. razglednice, instalacija PostCard chair, 1996, postcards, installation

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renje posetiocima da ne sedaju na njih. Da li ovu instalaciju tako glasi prvo pitanje treba razumeti kao oijukanje sa po-art-om, ili kao pop-artistiku kritiku kulture klasine moderne? U video radu Dogaaj dana vidimo smog umetnika koji lista knjigu, na ijim se stranicama mogu prepoznati reprodukcije radova umetnika klasine moderne, dok se na zidu iza njega smenjuju kvadrati sa oblaiima iz stripova koje je Roy Lichtenstein koristio u svome radu (za slike kao to su, na primer: Mr. Bellamy, iz 1961., We Rose up Slowly, iz 1964., ili Kiss V, iz 1964. godine). Kako sada tako glasi drugo pitanje treba razumeti odnos ovog video rada prema pop-art-u, iji senzibilitet nema strpljenja za ideje ... on ima samo prezir za racionalnost, nema strpljenja za umetnost ... prolost mu je dosadna: jer prolost je izdajnik [RW, 191]?

famous architects, with signs warning visitors not to sit on them. The first question is: Should we interpret this installation as flirting with Pop Art, or as a Pop Artistic critique of the culture of classical Modernism? In the video Event of a Day we see the artist leafing through a book on the pages of which we can recognise reproductions of works by artists of classical Modernism. At the same time, on the wall behind him we see a succession of squares with bubbles from comic books used by Roy Lichtenstein in his work (in paintings such as: Mr. Bellamy from 1961, We Rose Up Slowly form 1963, or Kiss V form 1964). The second question would, then, be: How should we interpret the relation of this work to Pop Art whose sensibility has no patience for ideas ... which has nothing but contempt for ratio-

varijanti linije. A onda se niu prizori sa linijom u njenom, konceptualnom, metaforikom i alegorijskom smislu. Najpre sam autor u joga pozi (imaginativna linija), zatim: linija Igora Stepania, koji pokazuje svoj vitak stas (u smislu onoga imati dobru liniju), linija ruke vodokotlia u toaletu, linija vode koja tee iz esme, linija kao dah, sm autor u otvorenim enskim usnama (nanosei ruom liniju na providnu traku preko svojih usana), linija pogleda smog autora (hvatajui crtee koji naizmenino projektuju levo i desno od njega na zidu ispred kojeg sedi), a onda, pre nego to e se pojaviti poslednji prizor (linija ribe koja pliva), jedini iskaz samog autora: Crte je ivot. U traenju odgovora na ono prvo pitanje namee se jedno poreenje, i to u dvojakom smislu. Godine u kojima se Igor Stepani ve nametnuo beogradskoj umetnikoj sceni obeleio je jedan fenomen, koji se moe uporediti sa fenomenom tzv. nove britanske skulpture. Krajem osamdesetih godina prologa veka, beogradski Muzej savremene umetnosti je, u okviru programa svoga Salona, nameravao da taj fenomen istrai i pokae tokom jednogodinjeg programa. Taj program je trebalo da, u okviru samostalnih izlobi, predstavi
Video II Linija, 1985. VHS, kolor 10 51; Video II Line, 1985, VHS, color 10 51

Video IV Video painting II-Sculpture, 1985. U - matic, low band, kolor, 6; Video IV Video painting II-Sculpture, 1985 U - matic, low band, color, 6

ning of the video titled Line, we see drawings and watercolours on a long strip slowly streaming downwards, in this way creating the first of many variations of the line. This is followed by scenes with the line in its conceptual, metaphoric and allegoric meaning. First, the artist himself in a yoga position (imaginary line), followed by the line of Igor Stepani, showing his slim build (in the sense slim-line), the line of the flush handhold in the toilet, the line of water from a tap, the line as breath, the artist himself between open female lips (applying a line with lipstick onto transparent tape across his lips), the line of the gaze of the artist (catching drawings which are projected to the left and right onto the wall in front of which he is sitting), and then, before the last scene (the line of a fish swimming), the only statement from the artist: Drawing is life. In search of an answer to the first question, a twofold analogy comes to mind. The years in which Igor Stepani was already established on the Belgrade art scene were marked by a particular phenomenon which can be compared with the phenomenon of so called New British Sculpture. At the end of the eighties of the previous century, the Belgrade Museum of Modern Art had intended to explore this phenomenon and exhibit it during a year long programme in its Salon.

Video radovi iz 1985. godine, i dalje uvaju odnos prema pop-art-u, i zauzimajui stav prema drugim fenomenima moderne, odnosno post-moderne, ve naznauju manieristika interesovanja Igora Stepania. Video Painting II, iz 1985. godine, poinje prizorom mukih i enskih aka, koje se neno dodiruju, da bi se potom pojavila gipsana i obojena figurica Bogorodice. Prizore u kojima muke ake iste umetniki pribor, pravei krst za raspee, dok enske ruke opipavaju krzno, pomadu za ruke i lak za nokte, prati zvuk zvon. Na poetku video rada pod naslovom Linija, d se videti crtei i akvareli na dugakoj traci koji teku odozgo na dole, uspostavljajui na taj nain prvu od mnogih

nality and no patience for art ... it finds the past boring: because the past is a traitor [RW, 191]? The video works from 1985 maintain the relation to Pop Art and taking up a stance toward other phenomena of Modernism, i.e. Postmodernism, already point to Igor Stepanis Mannerist interests. Video Painting II from 1985 begins with a scene of male and female hands touching tenderly, followed by a painted plaster figurine of Our Lady. Scenes with male hands cleaning art tools and making a cross for a crucifixion, while female hands are touching fur, hand cream and nail varnish, are accompanied by the sound of bells. At the begin-

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novije radove sedmoro umetnika (meu kojima je bio i Igor Stepani) razliitih pristupa i interesovanja, koji su kao zajedniki imenitelj delili ono to je umetnika kritika onoga vremena imenovala kao novi senzibilitet. Ni ovde se, kod fenomena nove srpske skulpture, nije moglo govoriti o nekom pokretu ili grupi, kao to je to bio sluaj i sa fenomenom nove britanske skulpture. I dok su radovi nove britanske skulpture irom sveta sistematski predstavljeni od strane britanske umetnike kritike i britanskih institucija, sistematsko istraivanje i predstavljanje radova nove srpske skulpture bilo je prekinuto krizom u koju je gurnuta nekadanja oaza mira. Pa ipak, i za umetnike nove srpske skulpture uopte, i za smog Igora Stepania, moglo bi se rei ono to je o fenomenu nove britanske skulpture rekao autor teksta, utvrujui da i pored svih distinkcija u pristupima i interesovanjima predstavnika novije britanske skulpture radovima, postoji jedna ravan u kojoj oni dele probleme. Tu ravan o je imenovao kao ravan tenzije izmeu diskursa i prisustva [MN, 49]. Obe ove odrednice autor teksta uzima kao genuino modernistike, a novi angaman objekta u novoj britanskoj skulpturi vidi kao neto to gotovo samo po sebi razumljivo sledi iz proirenog polja skulptorske aktivnosti tokom kasnih ezdesetih i ranih sedamdesetih, to e rei: iz postignua do kojih su doli umetnici sa Saint Martins School of Art, okupljenih u klasi A. Caro-a. Onaj novi angaman od strane britanskih skulptora generacije Barry-a Flanagan-a autor ovog teksta tumai kao otklon od amerike minimalistike skulpture i oitovanje vie svesti o socijalnim i politikim implikacijama umetnosti, koji e, zahvaljujui novom razumevanju koncepta, procesa i konteksta dovesti do pravljenja objekata [MN, 52]. Svoje razreenje, dakle, diskurs i prisustvo nalaze u ravni tenzije, koju su do pucanja doveli britanski umetnici generacije Tony-a Cragg-a. I pripadnici nove srpske skulpture su, polazei od takvog novog razumevanja, iako udarajui razliitim putevima, od problematizovanja skulp-

This programme was to show new works by seven artists (Igor Stepani among them) in solo exhibitions. Although they had different approaches and interests, they had in common what the art critics of the time named a new sensibility. As in the case of New British Sculpture we cannot talk about a movement or group within the phenomenon of New Serbian Sculpture. While the works of New British Sculpture were systematically presented by the British art critics and British institutions all over the world, the systematic research and presentation of New Serbian Sculpture was halted by the crisis which the former oasis of peace was pushed into. However, what the author of the text Discourse and Desire. Recent British Sculpture said about New British Sculpture, can also be said about the artists of New Serbian Sculpture, Igor Stepani included, and this is that aside from all the differences in approach and interests of the representatives of recent British sculpture in their work, there is a domain in which their endeavours are mutual. This domain he called the domain of tension between discourse and presence [MN, 49]. The author takes both of these terms as genuinely Modernist, and the new use of the object in new British sculpture he sees as something that by itself naturally proceeds from the expanded field of sculptural practice during the late sixties and early seventies, that is to say: from the results achieved by the artists from St Martins School of Arts who studied under A. Caro. This new use of the object by British artists of Barry Flanagans generation, the author interprets as a distancing from American Minimalist sculpture and the expression of a higher awareness of the social and political implications of art. Thanks to the new understanding of concept, process and context it informed the return to object-making [MN, 52]. Thus, discourse and presence found their resolution in the domain of tension, which was brought to its breaking point by artists of Tony Craggs generation. Representatives of New Serbian Sculpture also set out from this
IZGUBLJENE ILUZIJE, 1988. instalacija,TK Galerija, Trst, ; LOST ILLUSIONS, 1988, installation TK Gallery, Trieste,

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1988. TK Galerija, Trst, CRTE-INSTALACIJA; TK Gallery, Trieste, DRAWING-INSATLLATION

1986. SC Galerija, Zagreb, TERAKOTTAMBIJENT; SC Gallery, Zagreb, TERAKOTTAMBIJENT

ture kasnohelenistike epohe, preko prevoenja modernistike slike u objekt i problematizovanja odnosa skulpture i nametaja, do prevoenja kulturnog pejsaa u objekt, kojem se krajem osamdesetih okrenuo Igor Stepani, uspostavljajui tenziju izmeu fragmenta i celine. O ovom kulturnom pejsau e biti govora u narednom poglavlju. Ovde ostaje da, vraajui se na njegovu prvu samostalnu izlobu, utvrdimo da instalacija sa stolicama nije bilo nikakvo oijukanje sa pop-art-om, ve interpretacija odnosa materijala (i to, u onom smislu koji ovom terminu daje modernistika kritika, na primer, Peter Brger, u svojoj Teoriji avangarde) i procesa. Njegove stolice referiu, pre svega na novu punk-kulturu, ba kao to je to bio sluaj i sa ranim radovima Tony-a Cragg-a koji su prolazili razvoj u okviru novog romantizma. I upravo zato, polazei od novog razumevanja koncepta, procesa i konteksta, Igor Stepani za moto svoje izlobe bira statement David-a Smith-a, onog umetnika ija

new understanding, although heading in different directions, from the problematization of the late Hellenistic period, through the translation of Modernist painting into objects, and the problematization of the relation between sculpture and furniture, to the translation of cultural landscape into object. Towards the end of the eighties, Stepani took the last direction establishing a tension between the fragment and the whole. The cultural landscape will be mentioned at a later stage. Coming back to his first solo show, it only remains for us to conclude that his installation with the chairs was not flirting with Pop Art, but an interpretation of the relationship between material (in the sense given to this term by Peter Brger, in his Theory of the Avantgarde) and process. Above all, his chairs refer to the new punk culture, as was the case with the early work of Tony Cragg, which emerged within New Romanticism. This is the reason why, when choosing the motto of his exhibition, Igor Stepani,

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20 Godina posle...., 2005. instalacija, fotografija, platno, plastika, cca 80 x80x 180 cm; 20 Years After.... 2005, installation, photographs, canvas, plastic

umetnost predstavlja graninik izmeu moderne u klasinom smislu i amerikog minimalizma, iji e kult pravougla biti poruen sa pojavom umetnika prve generacije okupljene u klasi A. Caro-a. Svaki odgovor na ono drugo pitanje mora poi od oigledne upotrebe pop-artistikog vokabulara u video radu Dogaaj dana. Intencija ovoga video rada je, zapravo, ta da sueli medij knjige i vlastiti medij, s jedne, i modernu u njenom optem smislu sa pop-art-om. Time je ovaj ve definisan kao fenomen s one strane moderne. U svome ogledu, usmerenom na sferu estetske racionalizacije, autor onog uvida o zauzimanju stanovita postmodernizma, koje je govorilo da su vrednosti ove epohe bile u sutini metafizike i homocentrike iluzije, da se moramo osloboditi istorije i istorijskog miljenja uopte, prve manifestacije postmodernistikog mentaliteta prepoznaje u pop-art-u, i imenuje ih kao: beskonanu ponovljivost dela, fetiizaciju robe iroke potronje i oseaj politiko- kulturne rezignacije. Takvo stanje stari, koje on imenuje kao novi brak izmeu umetnosti i injenikog stanja, ukazuje na povratak reprezentaciji, razotkriva novo regresivno svojstvo umetnosti da se dobro osea u stvarnosti i uspostavlja novo vjeruju po kojem frivolnost ivota u potroakom drutvu treba da odgovara frivolnosti umetnosti [RW, 190].

building on the new understanding of concept, process and context, uses a statement by David Smith, an artist whose art is on the borderline between Modernism in the classical sense and American Minimalism, whose cult of the rectangle will be overthrown with the emergence of artists of the first generation studying under A. Caro. Any answer to the second question has to begin from the obvious use of Pop Art vocabulary in the video piece Event of a Day. The intention of this video is to bring face to face the medium of the book and its own medium on the one hand, and Modernism in a general sense with Pop Art on the other. In this way, Pop Art is already defined as a phenomenon outside of Modernism. In his experiment, directed toward the sphere of aesthetic rationalisation, the author of the observation about the formation of a Postmodern view point, said that the values of this period were essentially metaphysical and homocentric illusions, that we have to free ourselves from history and historic thinking in general. He recognises the first manifestations of Postmodern mentality in Pop Art, and calls them: an indefinite repeatability of a work, creating a fetish of mass-produced goods, and a feeling of political and cultural resignation. This state of affairs, which he called a new marriage between art and the state of fact, indicates the return to representation.

Zajedno sa onom instalacijom (10 stolica) i onim video radom (Dogaaj dana), evironment 20 godina posle, koji je Igor Stepani pokazao 2005. godine (Beograd, Studentski kulturni centar), a zatim u prijepoljskom Narodnom muzeju 2006. godine, zaokruuje jednu celinu u njegovom stvaralatvu. Ovaj environment je sadrao osam portreta istoriar umetnosti, koji su na ovaj ili onaj nain uestvovali u umetnikom ivotu Beograda, i umetnikov autoportret. Kako portrete, tako i svoj autoportret Igor Stepani je radio prema fotografijama. Ispod portret i autoportreta stajale su inskripcije sa podacima o profesionalnim poloajima portretisanih osoba prve, 1985. i poslednje, 2005. godine. Ispod autoportreta je stajalo: Igor Stepani-1985/ mladi umetnik 2005/samo umetnik. Ispod ovih su stajali nazivi jela i njihove recepture, koje je sm sastavio na osnovu kulinarske literature i vlastitog kulinarskog iskustva. U tanjirima, postavljenim na stoiima, ispod portret i autoportreta, stajali su simulakrumi imenovanih jela. Environment zaokruuju delovi odee, koji idu uz portrete i autoportret. Pored tanjira sa jelima stajale su fotografije od kojih je polazio, kao i none lampe, sa belim enskim i crvenim mukim abaurima. Na poleini plakata, koji je sluio kao katalog za ovu izlobu, nalazila se krojaka karta sa fotografijama odreujuih delova odee. Uz to, dve vealice za

It reveals a new regressive quality in art, that it feels good in reality and establishes a new credo by which the frivolity of life in consumer society should correspond to the frivolity in art [RW, 190]. Along with the installation (10 Chairs) and the video piece (Event of a Day), the environment 20 Years Later, which Igor Stepani exhibited in 2005 (Student Cultural Centre, Belgrade) and later in the National Museum in Prijepolje in 2006, completes a chapter in his work. This environment comprised eight portraits of art historians, who in one way or another participated in Belgrade art life, and the artists selfportrait. Both the portraits and the self-portrait were painted from photographs. Below them were captions with details of the professional positions of the people in the portraits in 1985, the first year, and 2005, the last. Under the self-portrait the legend said: Igor Stepani - 1985 / Young Artist. Below these were the names of dishes and their recipes, which he himself invented guided by culinary literature and his own culinary experience. On plates, set at little tables in front of the portraits and self-portrait, there were simulacra of the designated dishes. The environment was completed by pieces of clothing, which accompanied the portraits and self-portrait. Beside the plates with the dishes were photographs which he used for the paint-

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20 Godina posle...., 2005. instalacija, detalj; 20 Years After..., 2005, installation, detail

20 Godina posle...., 2005. instalacija, detalj; 20 Years After..., 2005, installation, detail

odeu, sa utisnutim godinama, iji metalni drai (muki i enski) tvore broj 20. Autor teksta za katalog izlobe u beogradskom Studentskom kulturnom centru, izmeu ostalog, pie: Na izlobi koja se odigrava dvadeset godina nakon njegovog inicijalnog, te i u sistem umetnosti inicirajueg samostalnog projekta, Stepani demonstrira sistem kodiranja seanja u prostornoj konstelaciji galerije, kao i u likovima koji su se na tom inicijalnom dogaaju zadesili, ali tako da delimina rekonstrukcija nadometa direktnu refleksiju. Tu seanje ima pristup postavci tek kroz obraene i ambijentalizovane artefakte, koji u sebi nose narativ o ponavljanju prvog javnog ina, o ukorenjivanju smog sebe u vremenskom toku, u slici prolosti (Stevan Vukovi, Nakon dvadeset godina, kat. izl. 20 godina posle, Beograd, Studentski kulturni centar, 26. oktobar-5. novembar 2005.) Autor teksta za katalog ovog environment-a, postavljenog u prijepoljskom

ings and night lamps with white female and red male lampshades. On the back of the poster, which was also the catalogue for the exhibition, there was a sewing pattern with photographs of the signifying pieces of clothing. Alongside that, two clothes hangers with the years 1985 and 2005 printed, whose metal hooks (male and female) formed the number 20. The author of the text for the catalogue of the exhibition in the Student Cultural Centre, writes: At the exhibition, which takes place twenty years after his initial, and also, in terms of the art system, initiating independent project, Stepani demonstrates a system for the coding of memory through the spatial arrangement in the gallery, as well as through the personages, who happened to be present at the initial event, but in such a way that partial reconstruction is a substitute for direct reflection. Memory has access to the show only through elaborated and contextualised artefacts. These artefacts convey a narrative concerning the recurrence of the first public

Narodnom muzeju, zavrava ovako: Identitet tako postaje skup kontekstualnih atribucija kao dela viesmerne komunikacije izmeu subjektivnih pozicija reprezentanta i receptora, zasnovane na objektivnim pozicijama. Samim tim, i portret je nadiao znaenje vizuelne reprezentacije i preao u taj sloeni komunikacijski sistem predstavljanja i prepoznavanja. Stoga za posmatraa izlobe Dvadeset godina posle nije bitno da li prepoznaje portretisane linosti, da li je vizuelna atribucija u skladu sa subjektivnom karakterizacijom, ve to da ona moe da mu poslui kao model za razvijanje sposobnosti sagledavanja ljudi u sopstvenoj okolini, ali pre svega smog sebe (Sava Ristovi, Mislim, dakle vidim, kat. izl. 20 godina posle, Prijepolje, Narodni muzej, april 2006. godine). Dok autor teksta za katalog izlobe iz 2005. godine u ovom video radu kao odreujui istie sistem kodiranja seanja, autor teksta za katalog izlobe iz 2006. godine u ovom istom video radu kao odreujui istie prela-

act, about rooting oneself in time, in the image of the past (Stevan Vukovi, Twenty Years Later, Catalogue for the Exhibition 20 Years Later, Student Cultural Centre, Belgrade, 26th October - 5th November 2005) The author of the text for the catalogue of the same environment exhibited in the National Museum in Prijepolje, finishes the text with these words: Thus, identity becomes a group of contextual attributions as part of the multidirectional communication between the subjective positions of the representant and the receptor, based on objective positions. Accordingly, the portrait too surpasses meaning with visual representation and moves to the complex system of communication between presentation and recognition. Hence, for the spectators at the exhibition Twenty Years Later it is not important that they recognise the individuals in the portraits, that the visual attribution is in accordance with the subjective characterisation, but that it can serve as a model for developing the ability to see

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zak vizuelne reprezentacije u sloeni komunikacijski sistem predstavljanja i prepoznavanja. I jedan i drugi autor na ovaj ili onaj nain ovaj environment dovode u blizinu prustovske potrage za izgubljenim vremenom, pri emu se prvi opredeljuje za odnos rekonstrukcije i refleksije, a drugi za odnos miljenja i vienja. Uzimajui sad u obzir ono to je ovde reeno o video radu Dogaaj dana i instalaciji 10 stolica, ono to Igor Stepani meusobno sueljava u environment-u 20 godina posle jesu vokabular pop-art-a, ve uzetog kao deo zaliha post-moderne, i vokabular bojsovskih linih objekata. Na to, pre svega, upuuju dva elementa ovog environmenta. U pravcu pop-art-a, to ine oni portreti i autoportreti, koji su posle slikanja preneti u medij fotografije, a potom po sistemu puzzle-a iskrojeni u sastavne delove, gotovo po prinudi prizivajui Lichtensteinove i Warholov-e brojne radove slinoga tipa, kakav je, na primer, Warholov-a prerada Czanne-ovog portrteta svoje ene. U pravcu bojsovskih linih objekata, insistiranja na presudnoj ulozi umetnika u poboljanju Zemlje kao konanog umetnikog dela, to ini upravo ona krojna karta, prizivajui Bueys-ove delove odee, koje je ovaj izlagao u svojim environmentima, a onda i komadi odee koji kao odreujui stoje pored izloenih portreta i autoportreta. Ovo sueljavanje, uostalom, Igor Stepani e krajem devedesetih prologa veka uzeti kao polazite za svoje radove u okviru onoga to sam nazvao umetnost u web polju.

people in their own environment, and above all - themselves. (Sava Ristovi, I Think, Therefore I See, Catalogue for the Exhibition 20 Years Later, Prijepolje, National Museum, April 2006). While the author of the 2005 exhibition catalogue points to a system for the coding of memory in this video piece, the author of the 2006 catalogue points out the transition of visual representation to a complex system of communication between presentation and recognition as the defining aspect of the same video piece. In one way or another, both authors associate this environment with a Proustian search for lost time. In doing this, the first author opts for the relationship between reconstruction and reflection, while the other chooses the relationship between thinking and seeing. Taking into account what has been said here about the video piece Event of a Day and the installation 10 Chairs, what Igor Stepani juxtaposes in the environment 20 Years Later are the vocabulary of Pop Art, already taken as part of the resources of Postodernism, and the vocabulary of Beuysian personal objects. Two elements of the environment predominantly point to this. Pointing in the direction of Pop Art are the portraits and selfportraits, which were transferred to the photographic medium after being painted and then cut into pieces of a puzzle. In this way, almost compulsively, they evoke Lichtensteins and Warhols numerous works of a similar type, one of which is, for example, Warhols remake of Czannes portrait of his wife. Pointing in the direction of Beuysian personal objects and of the insistence on the crucial role of the artist in the betterment of the world as the ultimate art work, is the sewing pattern, evoking Beuyss clothing items, which he exhibited in his environments, and also the clothing items which were placed by the exhibited portraits and self-portrait as determinators. At the end of the nineties of the previous century, Igor Stepani will take this juxtaposition as a starting point for his work within what I called Art in the Web Space.

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20 Godina posle...., 2005. instalacija, katalog naslovna; 20 Years After..., 2005, installation, catalogue cover

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SKC SKC Galerija, Galerija, Beograd, Beograd, CRTECRTEPROSTORPROSTOROBJEKAT, OBJEKAT, 1986. 1986. instalacija, instalacija, kombinovana tehnika; kombinovana tehnika;

2. Uvoenje u podruje kulturnog pejsaa predstavljala je instalacija Igora Stepania pod naslovom Crte prostor - objekat, koja je 1986. godine pokazana u beogradskom Studentskom kulturnom centru. Ovde elementi jednog jedinog, izloenog crtea iz svoje plonosti izlaze posredovanjem boje i trodimenzionalnih objekata, pigmenta i kanapa, prostrtih i razvuenih po galeriji, tako da se kretanje po prostoru galerije izjednaava sa vienjem crtea. Pod galerije opet je posut pigmentom, ovoga puta: plavim, zelenim i belim. Na jednom zidu galerije projektovani su video-zapisi praznih italijanskih trgova. Bio je to prvi autorov iskaz o onome to e nekoliko njegovih kasnijih instalacija dovesti do stvaralakog stava o gradnji kao colere i gradnji kao aedificare, do stava koji sadri i Aristotelovu re da grad valja podizati i uvati tako da u njemu ljudi ive ne samo bezbrino nego i sreno.

2. Stepanis installation Drawing - Space - Object, shown in the Students Cultural Centre, Belgrade in 1986, was an introduction to the field of cultural landscape. Here, elements of a single drawing depart from its two dimensionality through the use of colour and three dimensional objects, pigment and rope, which were spread across the gallery in such a way that moving through the space became equivalent to seeing a drawing. The floor of the gallery was once more covered with pigment, blue, green and white, this time. Video recordings of empty Italian squares were projected onto one of the gallery walls. This was the artists first statement on the subject which several of his later installations will develop into an artistic viewpoint on building as colere and building as aedificare. This statement also contains Aristotles concept that a city should be developed and cared for, so that people can live not only freely but also happily in it.

Za razumevanje ove grupe radova Igora Stepania ovde su neophodna sledea objanjenja. Kao prvo, u proirenom polju skulpture koje oznaava oblast postmodernizma, prema uvidu Rosalind Krauss, u snazi su pre svega dve odlika, od koji jedna brine o praksi individualnih umetnika, dok druga ima posla sa pitanjem medija. Unutar stanja postmoderne, prema istom ovom uvidu, nisu mediji ono to definie njenu praksu, ve relacija sa logikim operacijama na skupini kulturnih termina. Ruptura koju je u ovim dvema takama doiveo modernizam dovela je do toga da moe biti upotrebljen svaki medij fotografija, knjiga, linija ili zidovi, ogledala, pa i sma skulptura. Utoliko, ono to se sa jedne take gledita pojavljuje kao eklektika forma, sa druge take gledita moe biti vieno kao strogo logino. Ono to se u prostoru skulpture razreilo u not-architecture/not- -landscape, kako zakljuuje Rosalind Krauss, u postmodernom prostoru slikarstva moglo bi se razreiti u skupini koja

In order to understand this group of Igor Stepanis works we need certain clarifications. Firstly, in the expanded field of sculpture which marks the field of activity of Postmodernism, according to the observation by Rosalind Krauss, there are two valid characteristics in place, one of which refers to the practice of individual artists, while the other one is involved with the question of media. According to this observation, it is not the media that define the practice of the Postmodern Condition, but its relation to logical operations in a series of cultural terms. The rupture experienced by Modernism on these two points lead to the possibility of using any medium - photographs, books, the line or walls, mirrors and even sculpture itself. Consequently, that which appears as an eclectic form from one point of view, can be seen as strictly logical, from another. What was resolved as not-architecture/ not-landscape in sculpture, as Rosalind Krauss concludes, in Postmodern painting can be resolved

SKC Gallery, Beograd, DRAWINGSPACE-OBJECT, 1986, installation, mixed media

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SKC Galerija, Beograd, CRTEPROSTOROBJEKAT, 1986. instalacija, kombinovana tehnika;

bi se verovatno okrenula opoziciji uniqueness/repriducibility [RK]. Do slinog razreenja, a to je ono drugo, dolo je u stvaralatvu Tony-a Cragg-a, na primer. Dovoljno je pogledati one njegove radove koji su obuhvatali interpretaciju relacije materijala i procesa, kao to je njegov rad Britain Seen from the North, iz 1981. godine, ili one skulpture koje je po prvi put pokazao na izlobi u milanskoj galeriji Toselli, koji za temu imaju landscape, ali na nain koji je landscape pokazao ne kao prirodni, ve kao kategoriju proizvedenu unutar kulture [MN]. Kao tree, pogledajmo koje to karakteristike manieristike umetnosti izdvajaju oni autori, ija merodavnost u ovom podruju istorije umetnosti, uprkos njihovim esto protivrenim stavovima, i danas ostaje u snazi. Korienje svake mogunosti

within the group which would probably adhere to the opposition uniqueness/reproducibility[RK]. Secondly, there was a similar solution in the work of Tony Cragg, for instance. It would suffice to look at his works which dealt with the interpretation of the relation between material and process. This is the case in his work Britain seen from the North, from 1981, or the sculptures which he had shown for the first time at the exhibition in the Toselli Gallery in Milan, which have (... the subject of ) landscape, but in a way which showed landscape not as natural, but as a category produced within culture [MN]. Thirdly, lets have a look at the characteristics of Mannerist art singled out by certain authors, whose authority on this period of Art History is still valid today, despite their frequently contradictory opinions. One of them sees the use of all ways of understanding

poimanja jedan od njih vidi ne samo kao pravo nego i kao dunost manieristikog umetnika. U tome korienju, on polazi samo od vlastitih uslovljenosti, odbacujui svaku normativnu ideju, a priklanjajui se belorijevskoj fantastinoj ideji koja se ne oslanja na oponaanje. Podvlaei da manieristika umetnost ne iskljuuje strogu konstrukciju u ornamentalnom smislu, i da sa gotikim umetnikom manieristiki umetnik deli subjektivistiku sklonost vertikalizmu, ovaj autor zakljuuje da tu nije stalo do ponovnog stvaranja objekta onako kako ga se vidi ... niti onako kako ga pojedinac na individualan nain sagledava u njegovoj pojavnosti - kako ga ja vidim ve do toga ... kako ga se ne vidi, ali se eli da tako bude vien temeljem izrazito umjetniki autonomnih motiva [WF, 52 i dalje]. Onaj karakteristini momenat manieristike umetnost drugi autor vidi u unutranjem dualizmu i napregnutosti, koje ipak tee strogom saimanju celine slike. Ova umetnost

not only as a right, but as the duty of the Mannerist artist. He starts solely from his own stipulations, rejecting all normative ideas, and inclines toward Beloris fantastic idea which does not rely on imitation. Underlining that Mannerist art does not exclude rigid structure in an ornamental sense, and that the Mannerist artist shares a subjective tendency toward verticalism with the Gothic artist, this author concludes that here it is not important to re-create the object as it is seen ... or as an individual sees it in its appearance in an individualistic way - as I see it - but ... how it is not seen, but is wanted to be seen that way on the basis of distinctly artistic autonomous motives [WF, 52 and further]. Another author sees the characteristic moment of Mannerist art in the inner dualism and tension which tend toward a strict reduction of the image as a whole . Allowing for artistic freedom, this art was opposed by the dogma of researchability and learnability, i.e. of the possibility of systematising

SKC Gallery, Beograd, DRAWINGSPACE-OBJECT, 1986, installation, mixed media

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Richard Demarco Gallery, Edinburgh, CAThedrals, 1987.; Richard Demarco Gallery, Edinburgh, CAThedrals, 1987

se i priznavanjima umetnike slobode, dakle, ipak suprotstavlja dogma o pouljivosti i nauljivosti, to jest o mogunosti sistematizovanja umetnikog stvaranja, tako da je upravo strah od inae pretee subjektivistike samovolje moda ak doprineo tome da se ovoj dogmi prida sasvim poseban znaaj. Kao ideal svih karakteristika, meutim, on podvlai lomacovsku figurae serpentinata [EP, 75 i dalje]. Trei kao osnovnu karakteristiku vidi u svesnom odbacivanju didaktiko-informativnih zadataka umetnikog dela i usmeravanju panje posmatraa samo na umetnost [WH, 162].

artistic creation, so that it was the fear of threatening subjectivist despotism, that may have even contributed to attributing particular significance to this dogma. However, as the ideal of all the characteristics, he emphasises the Lomazzian figura serpentinata. [EP, 75 and further]. A third author sees the main feature in the conscious rejection of the didactic and informative tasks of an artwork and direction of the spectators attention only toward art. [WH, 162]. In the Postmodern Mannerism of Igor Stepani, some of these features appear for the fist time in his

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Monument to a Known Artist, 1986., kombinovana tehnika, cca120x90x100 cm; Monument to a Known Artist, 1986, mixed media, cca120x90x100 cm

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1. CAThedral II, 1986, akril na platnu, 330 x 100 cm; CAThedral II, 1986, acryl on canvas 2. CAThedral III, 1986. platno, drvo, akrill, 360x320 cm CAThedral III, 1986, canwas, wood, acryl, 3. CiTies III, 1988. akril na drvetu, 330x350 cm; CiTies III, 1988, acryl on wood

U postmodernistikom manierizmu Igora Stepania neke od onih karakteristika pojavljuju se po prvi put u okviru njegove instalacije, koju je pokazao 1987. godine, u edinburkoj Richard Demarco Gallery, pod naslovom CAThedrals. Instalaciju su inili reljefi (objekti) na zidovima galerije, koji su u formi silueta tri puta tematizovali Edinbourgh i edinburke katedrale: a) silueta grada i iznad nje obrnuto postavljena katedrala, koja reflektuje nebo, b) silueta dvaju katedralskih krstova, na kojima, sajlama vezani, vise delovi dekorativne plastike, i c) silueta uplje kupole edinburke katedrale.
2,

installation CATheadrals in 1987. The installation comprised reliefs (objects) on the walls of the gallery, which, as silhouettes, three times repeated the theme of Edinburgh and its cathedrals: a) a silhouette of the city and above it an upside down cathedral reflecting the sky, b) a silhouette of two cathedral crosses form which pieces of decorative sculpture were hung with wire cables, and c) a silhouette of the hollow dome of the Edinburgh Cathedral. The same spirit of specific objects features in the works from his 1988 solo show in the Salon of the
3.

1.

Isti ovaj duh specifinih objekata karakterie i radove koje je 1988. godine pokazao na samostalnoj izlobi u Salonu beogradskog Muzeja savremene umetnosti. Oni su predstavljali siluetne freske spomenika, katedrale i grada. Autor jednog od tekstova za katalog ove izlobe, primeujui da prizori govore kroz meraviglie, stvarajui sopstvene ambleme, pa e maka postati amblem Katedrale (CAT-hedral), podvlai: Ovakvi radovi, konstrukcije, neminovno upotrebljavaju zateeni prostor, ali ne tenjom ka inscenaciji, ka skulpturi ili nekoj vrsti instalacije, ve iskljuivo slikom, slikanim prizorom, stvaranjem fantastinog narativnog friza, iluzije freske, gde zid postaje njihov sastavni i ujedinjujui inilac (Lidija Merenik, Igor Stepani, kat. izl. Igor Stepani, Beograd, Salon Muzeja savremene umetnosti, 11.-

Belgrade Museum of Contemporary Art. They represented silhouette frescoes of monuments, the cathedral and the city. The author of one of the texts for the catalogue of this exhibition notes that the scenes speak through meraviglie and create their own emblems. Thus, the cat becomes the emblem of the Cathedral (CAT-hedral). She underlines: These works, these constructions, inevitably use the space in which they find themselves, but not through a tendency toward mise en scne or sculpture, or some sort of installation, but exclusively by way of the image, the painted scene, by creating a fantastic narrative frieze, an illusion of a fresco in which the wall becomes their component and unifying part (Lidija Merenik, Igor Stepani, catalogue for the exhibition Igor Stepani, Belgrade, Salon of the Museum of ConMonument with blue spoon..., 1987. kombinovana tehnika, 150x20x150 cm.; Monument with blue spoon..., 1987, mixed media, 150x20x150 cm.

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Salon Muzeja savremene umetnosti, Beograd, SPOMENIK, KATEDRALA, GRAD, 1988; Salon Museum of contemporary Arts Gallery, Beograd, Cities, 1988

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Video V Ah, love, 1986. U - matic, low band, kolor, 14 ; Video V Ah, love, 1986, U - matic, low band, color, 14

29. februar 1988.). Autor drugog od tekstova za katalog ove izlobe u ovim radovima prepoznaje, pre svega, naglaeno lini svet i podvlai: Doslednom tanou svakog poteza, sigurnim a suptilnim odnosima materijala, boje i forme, Stepaniev rad se pojavljuje kao proiena, autentina likovna povest, jednovremeno realna i apstraktna, spremna da mirno i uravnoteeno uva i brani svoj integritet (Dragica Vukovi, Igor Stepani, kat. izl. Igor Stepani,Beograd, Salon Muzeja savremene umetnosti, 11.-29. feburar 1988.). U neposrednu vezu sa ovom skupinom radova, meutim, mogu se dovesti i dva video rada i jedna instalacija Igora Stepania. Prvi od ova dva video rada, pod naslovom, Ah Love, Igor Stepani je realizovao jo 1986. godine. Ovaj video rad poinje prikazima slika: Papa Inoentije X Velasquez-a, Studija za papu Inoentija X, iz 1962. godine, Francis-a Bacon-a, i jedan Onement Barnett-a Newman-a. Izmeu ovih prikaza pojavljuju se titlovi sa tekstovima: Baroque is the last great collective rise of mind., Love always unexpected new individual rise of mind. i Evolution nije jednako Pro-

temporary Art, 11 - 29 February, 1988). The author of the second text for the catalogue of this exhibition recognises in these works an emphatically personal world and underlines: With a consistent exactness of each move, with confident and subtle relations between material, colour and form, Stepanis work emerges as a refined and authentic art narrative, at the same time realistic and abstract, prepared to guard and defend its integrity calmly and with balance (Dragica Vukovi, Igor Stepani, catalogue for the exhibition Igor Stepani, Belgrade, Salon of The Museum of Contemporary Art, 11 - 29 February, 1988). Two video works and an installation by Igor Stepani can be closely related to this group of works. First of the two videos titled Ah, Love, was made in 1986. This video begins with images of paintings: Pope Innocent X by Velasquez, Study for Pope Innocent X by Francis Bacon, from 1962, and an Onement by Barnett Newman. Between these images the following captions appear: Baroque is the last great collective rise of mind, Love always unexpected new individual rise of mind and Evolution does not equal Progress. Following the reproductions of the paintings are an

gress. Iza reprodukcija onih slika sada sledi prizor sa dve stolice i stolom, na kome se nalaze pribori za jelo o razno voe i povre. Na dasci za seckanje voa i povra projektuje se lik autora. Mlada ena obuena u crno prilazi stolu, seda u stolicu i preko autorovog lika secka voe i povre, da bi najposle na komade isekla i fotografiju sa likom autora. Poto je temeljno obavila svoj posao, seda za klavir i preputa se muzici. Sada za onaj sto koji sa iseckanim voem i povrem kao da nagovetava jedan od Arcimboldoovih portreta-godinjih doba, seda autor. Na dasci za seckanje voa i povra pojavljuje se ponovo njegov lik, ali sada u raznim varijantama ogledalnog. Preko te povrine, na kojoj se suksecivno ponovo pojavljuju ve vieni prizori, autor u nekoj vrsti Reiner-ovog bermalung-a nanosi belu boju. Drugi video rad Igora Stepania The merchants of Venice, iz 1995. godine, opet, stoji u neposrednoj vezi sa instalacijom, koju je te iste godine, pod naslovom Nepoznata zbirka poznatog umetnika, prikazao u beogradskom Narodnom muzeju. Polazite za ovu instalaciju predstavlja Tintorettoova slika Bogorodica s detetom i ktitorom, iz zbirke

image of two chairs and a table, with cutlery and various fruit and vegetables on it. The image of the artist is projected onto the chopping board. A young woman dressed in black approaches the table, sits on the chair, and starts chopping the fruit and vegetables over the artists face. After thoroughly executing her job, she sits at the piano and abandons herself to music. Now, as if suggesting one of Archimboldos portraits of the Seasons the artist sits at the table with the chopped fruit and vegetables. His face appears on the chopping board again, this time in different variations of the mirroring. In a sort of Reinerian Ubermahlung, the artist applies white paint over the surface which now shows previously seen images in succession. The second video by Igor Stepani, The Merchants of Venice, from 1995, is also directly related to the installation Unknown Collection by a Known Artist, which he showed in the Belgrade National Museum, the same year. The starting point for this installation is Tintorettos Virgin Mary with Child and Benefactor, from the collection of the Belgrade National Museum. On the other hand, Stepani translates

Video VI Mletaki trgovci, 1995. Beta-SP, kolor, 13 27; Video VI The Merchants of Venice, 1995, Beta-SP, color, 13 27

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Narodni muzej, Beograd, NEPOZNATA ZBIRKA POZNATOG UMETNIKA, 1995. tondo 230 cm, instalacija, akril na fotografiji;

National museum, Beograd, THE MERCHANTS OF VENICE, 1995, tondo 230 cm, installation, acryl on photograph.

beogradskog Narodnog muzeja. S druge strane, iz teksta Peter-a Fuller-a za katalog putujue izlobe Mletaki genije, organizovane od strane engleske Kraljevske akademije, Igor Stepani prevodi jedan izvadak i stavlja na poleinu letka koji je sluio kao afi za njegovu instalaciju. Taj izvadak glasi ovako: Kako je onaj vatreni oboavalac Venecije, John Ruskin, jednom rekao: Venecija, koja je nekada bila najreligioznija evropska drava, postala je najkoru-

an excerpt from a Peter Fuller text for the touring exhibition The Genius of Venice, organised by the English Royal Academy of Arts, and puts it on the back of the leaflet which served as an affiche for his installation. The excerpt states: As John Ruskin, passionate admirer of Venice, once said: Venice, which was once the most religious country in Europe, became the most corrupt in its decline; and although in its strength it was the centre of the pure currents in

mpiranija u svom padu; a ako je po snazi bila centar istih tokova hrianske arhitekture, ona je u svom padu bila izvor renesanse. Tintoretto-ova slika, u okviru kolekcije venecijanskog slikarstva, u beogradskom Narodnom muzeju, zauzima dominantno mesto, stavljena, od posmatraa gledajui, sa desne strane prolaza u susednu salu, koji posmatrau otvara pogled na salu sa kolekcijom severnjakog baroka. Sa leve strane tog prolaza Igor Stepani sada stav-

Christian architecture, it was the source of the Rennaissance in its decline. Tintorettos painting in the Venetian art colleciton of the National Museum in Blegrade, has a dominant position, placed on the right side of the entrance to the adjoining room, opening for the observer a view of the collection of Northern Baroque. On the left hand side of that entrance Igor Stepani places the main element of his installation: a reproduction of Tintorettos Virgin Mary with

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Narodni muzej, Beograd, NEPOZNATA ZBIRKA POZNATOG UMETNIKA, 1995. instalacija;

National museum, Beograd, THE MERCHANTS OF VENICE, 1995, installation.

lja nosei elemenat svoje instalacije: na reprodukciji Tintoretto-ove Bogorodica s detetom i ktitorom, uraene u mediju fotografije premazane terpentinom i voskom, i to tako da se Tinto re t tov original i reprodukcija odnose ogledalno, u ruke malog Hrista domee mobilni telefon, a oko ktitoro vog vrata kravatu. Na trpezi, postavljenoj ispred ulaza u salu, neposredno ispred slike Sondiranje Novog Beograda, jedne od ikona socijalistikog realzma, stajalo je obilje hrane, od mesa divljai, preko praseeg mesa, sireva, do raznog povra i voa, sve to po receptima i u aranmanu novosadskog kuvara Duana tulia. Prizor su upotpunjavali kamerni sastav gudaa, koji je izvodio baroknu muziku, i nekoliko manekenki u odei iz vremena baroka. Prizor u celini nudio je naslade i za duh i za telo, ali je, polazei od slike em-

Child and Benefactor executed in the photographic medium and varnished with turpentine and wax, placed in a such a way that Tintorettos original and the reproduction are mirroring one another. He adds a mobile phone in the hands of the child Chirst and a necktie around the neck of the benefactor. On the table placed at the entrance to the room just in front of the painting The Sounding of New Belgrade, which is one of the icons of Social Realism, there was an abundance of food, from game, pork, and cheeses, to all sorts of vegetables and fruit, all made according to recipies and arrangements of Duan tuli, chef from Novi Sad. The scene was completed by a chamber orchestra playng baroque music and several models in clothes from the Baroque period. The whole scene offered a feast for the body and soul, but, having been

inentno manieristikog umetnika, simboliki nudio jo neto. Kravata oko ktitorovog vrata predstavljala je ulazak u modernu (od tada sve vie zamenjujui leptir-manu), dok je mobilni telefon predstavljao ulazak u postmoderno stanje. Ogledalni odnos originala i reprodukcije sa ovim dodacima svoj arnir imao je u onoj socrealistikoj slici Boe Ilia. Prenosei naslov Shakespeare-ove komedije u plural, prizore sa otvaranja svoje izlobe Igor Stepani prevodi u video-rad pod naslovom The merchants of Venice. Ovim prenoenjem u plural naslova jednog od Shakespeare-ovog komada on se, meutim, ne uputa u traganje za, na primer, nekom od onih kategorija koje je kao manieristike Achile Bonito Oliva izveo iz stvaralatva ovog dramskog

based on the painting of an eminently Mannerist artist, it symbolically offered something else as well. The necktie around the benefactors neck represented entry to Modernity (from then on, it increasingly replaced the bow-tie), while the mobile phone represented entry to the Postmodern Condition. The mirroring relation between the original and the reproduction with these additions had its hinge in the Social Realist painting by Boa Ili (The Sounding of New Belgrade). Transposing the title of Shakespeares comedy into plural, Stepani translates the scenes from the opening of his exhibition into a video piece titled The Merchants of Venice. However, by doing this he does not engage in a pursuit of any of the categories that Achile Bonito Oliva saw as Mannerist in the work of this writer. He is concerned

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1989, elik, bakar, 230 x 125 x 30 cm; 1989, steel copper, 230 x 125 x 30 cm

pisca. Njemu je ovde stalo do sueljavanja telesnog i duhovnog, koje (sueljavanje) svoju poentu nalazi u opetovanju dveju scena: jedne, koja prikazuje Zlatno tele (detalj jedne od slika iz iste kolekcije Narodnog muzeja) i druge, koja u krupnom planu prikazuje aneosku glavu deteta prisutnog na otvaranju izlobe, i koja je praena delovima iz Simphony no. 3 H. Goretzky-og.

with juxtaposing the corporeal and the spiritual, and this juxtaposition finds its meaning in the reiteration of two scenes: one which shows the Golden Calf (a detail from one of the paintings from the same collection in the National Museum) and another which, in a close up, shows an angelic head of a child who was present at the opening of the exhibition, accompanied by passages from H. Goretzkys Symphony No. 3.

3. Poetkom 1991. go3. dine Igor Stepani je At the beginning of otpoeo seriju radova 1991, Igor Stepani koji u sebi, i to kao started a series of works odreujue elemente, with three important sadre tri bitne karakcharacteristics of Mannerteristike manieristike ist art as defining elements. umetnosti. Od ovih su dve Two of these have already been ve pomenute: figura serpetinamentioned: figura serpentinata ta i ornament. Trea je ogledalo. Ovaj and the ornament. The third is the mirinstrument manieristike sprezattura je Vatching Venus, 1991. ror. He introduced this instrument of the elina testera, tu, u svoju umetnost uveo sa jednim od dva oglrdalo, 30 cm Vatching Mannerist sprezzatura into his art in one of rada koja je pokazao u krakovskoj Palac Venus, 1991, steel plates, the works which he had exhibited in Palac ink, mirror, 30 cm Sztuki, u okviru grupne izlobe Europe Sztuki in Krakow, as part of the group exUnknown. Taj rad je sastavljen od devet komada hibition Europe Unknown. This work comprises ogledala, preko kojih lei devet cirkularnih testera nine mirror pieces, on top of which lie nine circu(figura serpentinata) od elika. Iz okruglih otvora na lar saws (figura serpentinata) made of steel. An eye testerama pojavljuje se oko skinuto sa Botticelli-jetaken from Botticellis Birth of Venus appears at the vog Roenja Venere iz morske pene. round holes in the saws. Ovo Venerino oko valja takoe uzeti kao karakteristiku manierizma, i to pre svega zbog toga to je ovaj, polazei od njegovog fiziolokog oblika, odgovorio na renesansu centralnu perspektivu, i doveo do, na primer, Parmigianino-ovog Autoportreta, iz 1524. godine. I upravo da bi prevrnue politikog i moralnog sveta protumaio kao taku analogije izmeu renesanse na izdisaju i modernog doba [GRH], jedan od najboljih poznavalaca umetnosti The Eye of Venus should also be taken as a feature of Mannerism, above all because Mannerism responded to the central perspective of Renaissance by starting from the eye, from its physiological shape, and lead, for instance, to Parmigianinos Self-portrait from 1524. In order to interpret the over turn of the political and moral world as the point of analogy between the Renaissance as it draws its last breath and Modern times [GRH], one of the greatest au-

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manierizma uzima za primer ovu Parmigianinoovu sliku. S druge strane, oku je, izuzimajui vreme manierizma, pridavana manja panja sve do druge polovine dvadesetog veka, iako ono igra veliku ulogu u ivotu i profesiji umetnika. Pa i od druge polovine dvadesetog veka na ovamo, oku je kao ikonografskom elementu, pridavana srazmerno manja panja. Prema jednom istraivanju, oko Boije i apotropeja kao oko, dodue, jesu pokazivani u starini i hrianskoj umetnosti, ali su uvek ostajali pomoni motivi [CG]. Isto istraivanje donosi uvid da su, tokom prethodnih vekova, kako se ini, samo dvojica umetnika oko tretirali na izriit nain: Bosch sa slikom Sedam smrtnih grehova i etiri poslednje stvari (Prado) i sa crteom The Owe in the Hollow Tree, Listening Wood and Seeing Field (Kupferstichkabinett, Berlin) i Grandville, na listovima Oeillade i First deram Crime and Expiation. Taj velianstveni objekt studije za umetnika, kao simbol i kao forma, iako nae sredstvo komunikacije sa lepotom sveta [CG], tek je moderna umetnost dovela do interesovanja za oko kao temu. Uprkos tome, i u okviru moderne autor ove studije mogao je da ukae na izriiti tretman oka kao ikonografskog sadraja tek na nekoliko primera, polazei od Redon-ove litografije The Eye like a strange Balloon mounts toward Infinity, iz 1882. godine, preko reprezentacije oka na odreenim Klee-ovim platnima (kao to je, na primer, Glance of Landscape, iz 1926. godine), do Magritte-ove slike The False Mirror. Ovaj Magritte-ovo rad svojim naslovom otkriva tok umetnikovih misli, koje uspostavljaju naroitu vezi izmeu oka i ogledala, ije stavljanje u pogon konano jeste manieristika umetnost [ABO]. U Magritte-ovom sluaju, meutim, ono nije mesto nepristrasnosti. Iako oko, kao i ogledalo, moe da reprodukuje spoljanji svet, ono to moe da uini, ali ne mora. Zbog toga je ono kod Magritte-a lano ogledalo, naslov iji gorki humor deklarie lano kao vredno pohavle, a istinito kao vredno pokude; ogledalo donosi korektnu reprodukciju, ali, budui

thorities on the art of Mannerism takes this painting by Parmigianino as an example. On the other hand, except for the period of Mannerism, the eye had been given little attention up to the second half of 20th century, even though it had an important role in the art profession. Even from the second half of 20th century onwards, the eye, as an iconographic element, was given little attention respectively. According to one research, however, the eye of God and the apotropaic eye were indeed represented in antiquity and in Christian art, but it was always a secondary motif [CG]. The same research observes that during the previous centuries, it seems, only two artists dealt with the eye in an explicit way: Bosch, in the painting Seven Deadly Sins and the Four Last Things (Prado) and in the drawing The Owl in the Hollow Tree Listening Wood and Seeing Field (Kupferstichkabinett, Berlin) and Grandville in the Oeillade and First Dream: Crime and Expiation sheets. Even though it is our means of communication with the beauty of the world, a magnificent object of study for the artists, as symbol and as form [CG], the eye as a theme gained interest only in Modern art. The author of this study could point to explicit treatment of the eye as iconographic content only in a few examples. Starting form Redons The Eye Like a Strange Balloon Mounts Toward Infinity from 1882, through the representation of the eye on Klees canvases (such as Glance of Landscape from 1926), to Magrittes painting The False Mirror. This work by Magritte reveals in its title the artists course of thought. The thoughts establish a particular connection between the eye and the mirror, whose employment, ultimately, is Mannerist art [ABO]. However, in Magrittes case, it is not a position of impartiality. Although, like a mirror, the eye can reproduce the outer world, it can do that, but it doesnt have to. This is why, in Magrittes painting, it is a false mirror. It is a title, whose bitter humour declares false as laudable and true as reproachable; the mirror gives a correct reproduction, but, being mechanical, it remains an imperfect instrument for the perception of the world; it can enchant the senses, but it fails

Vatching Venus, 1991. elina testera, tu, oglrdalo, 110 x 110 cm Vatching Venus, 1991, steel plates, ink, mirror, 110 x 110 cm

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da je mehaniko, ono ostaje neavreni instrument za percepciju sveta; ono moe da oara ula, ali podbacuje u ishrani due; oko, budui da je selektivno, moe... da otkrije znaenje i izostavi ono vulgarno [CG]. U transkoj Galeria Juliets, u okviru svoje instalacije pod nazivom Known Artist. Works 1991, Igor Stepani je 1992. godine pokazao nova etiri rada, na kojima je dominantni elemenat bilo ogledalo. Na prvom je, ovoga puta od Bottticelli-jeve Venere preuzimaujui njene konture, postavio tri ogledala na tri bitna mesta enske figure, dajui mu naslov Venera. Na autoportretu pod naslovom Well Balanced Self-Portrait, uraenom na ogledalu pojavljuju se zapravo dva heruvima sa Bottticelli-jeve Venere, od kojih je jedan ogledalan, pri emu mi, razume se, ne znamo koji je to od njih dva. Izmeu dva heruvima je metronom, na ijem je tegu glava Venere, u koju heruvimi duvaju. Rad pod naslovom Portrait (God) sastoji se od etiri ogledala. Preko jednog od ova etiri ogledala postavljena je ve pomenuta testera, sada u crvenoj boji krvi, sa okom u upljini ovog crikulara. Drugi autoportret, pod

to feed the soul; the eye, being selective, can... reveal meaning and leave out the vulgar [CG]. In 1992, as part of his installation Known Artist. Works 1991 in the Galeria Juliets in Trieste, Igor Stepani showed four new pieces in which the mirror was the dominant element. In the first piece, using the contours from Botticellis Venus, he placed three mirrors on three important parts of a female figure, and gave it the title Venus. The two cherubim from Botticellis Venus appear in the self-portrait titled Well Balanced Self-portrait. They are represented as mirroring images, and understandably, we do not know which is mirroring which. Between them is a metronome with the head of Venus on the weight, into which the cherubim are blowing. The work titled Portrait (God) comprises four mirrors. The previously mentioned circular saw was placed over of one of them, this time in

naslovom Self-Portrait, jeste paralelopipedno ogledalo sa glavom Botticelli-jeve Venere, postavljenom, u ogledalnom odnosu, na njegovom vrhu i na njegovom dnu.

a pool of blood and with an eye in the hollow of the circular. The second self-portrait titled Selfportrait, is a mirror in the shape of a parallelepiped, with two heads of Botticellis Venus placed in a mirroring relationship at the top and at the bottom.

Dobro izbalansirani portret, 1991, kombinovana tehnika, 80x50x30 cm.; Well balanced portrait, 1991, mixed media, 80x50x30 cm.

Self-object, 1991. kombinovana tehnika, 120x5 cm.; Self-object, 1991, mixed media, 120x5 cm.

Bog, 1991. mixed media, 200x30 cm.; God, 1991, mixed media, 200x30 cm.

Venera, 1991, akril na platnu, ogledalo,230x145 cm;Venus, 1991, acryl on canvas, mirror, 230x145 cm.

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Kolekcija 1992, Galerija ULUS, Beograd, 1992. TV adaptacija izlobe; ULUS Gallery, Beograd, COLLECTION 1990, Video stills.

Kolekcija 1992, Galerija ULUS, Beograd, 1992. tri serije od po etiri rada, drvo, olovo, ogledalo, tu 40 x 40 cm svaki;

Iste, 1992. godine Igor Stepani je u beogradskoj Galeriji Udruenja likovnih umetnika Srbije, pokazao instalaciju pod naslovom Kolekcija 1990. Ova je obuhvatala dvanaest ogledala u drvenim okvirima. Oblik ramova je preuzeo od oblika Hitlerovih bekih bunkera, koje je gledao iz kupole katedrale St. Stephan-a. Ispod ogledala, i to tako da po pravilu ulaze u margine izmeu ogledala i okvira, nalaze se tri vrste crtea: ruke, pribor za jelo i crtei vrtova

Also in 1992, Stepani exhibited the installation Collection 1990 in the Gallery of ULUS (Association of Fine Artists of Serbia) in Belgrade. The exhibition encompassed twelve mirrors in wooden frames. He borrowed the shape for the frames from Hitlers Viennese bunkers which he observed from the dome of St Stephens Cathedral. Under the mirrors, visisble as margins between the mirrors and the frames, there were three types of drawings: drawings
ULUS Gallery, Beograd, COLLECTION 1990, three times four pieces, wood, lead, mirror, ink, 40 x40 cm each.

Be, bunkeri, drugi svetski rat; Wien, bunkers, WWII.

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REPLAY , 2002. kadrovi iz TV priloga; REPLAY , 2002, TV stills

ULUS Galerija, Beograd, Repriza , 2002.;ULUS Gallery, Beograd, REPLAY , 2002.

OKO, 2002. 4 komada po 50 x 50 cm, print; EYE, 4 pieces, 50 x50 cm each, 2002.

iz Keltske knjige. U vreme trajanja ove izlobe Igor Stepani je izveo performans, tokom kojeg je obedovao za stolom. Na stolu su pored serviranog jela stajale dve knjige, Keltska knjiga, iz koje je preuzimao ornamente, i knjiga na kojoj je bila prevrnuta stranica sa reprodukicjom Drer-ovih ruku, sa njegove studije ruku sa Biblijom, koja se danas nalazi u minhenskoj Zbirci grafika. U statement-u za ovu izlobu Igor Stepani pie, kako su ga iskustvo druenja sa umetnicima i obilazaka njihovih ateljea nagovorili da za svoj privatni prostor kupi jednu sliku. Poto je razaznao da u tom prostoru kupljena slika ne zrai umetnost koliko u ateljeu njenog autora, vrati je umetniku. Iza toga, ue u atelje poznatog umetnika i objasni mu svoju neutoljivu potrebu za umetnou. Zapisavi svoja zapaanja, ovaj mu napravi kolekciju, sa izriitom zabranom da

of hands, cutlery and gardens form the Celtic Book. During the course of the exhibition, Stepani staged a performance, in which he dined at the table. On the table, apart form the meal, there were two books, The Celtic Book, from which he had taken the ornaments, and a book which was open at a page showing a reproduction of Drers hands, from his study of hands with the bible, which is now in the Munich print collection. In his statement for the exhibition, Stepani describes how his experience while socialising with artists and visiting their studios persuaded him to buy a painting for his private space. As he realised that in this space the painting did not emanate art as much as it did in the artists studio, he returned it to the artist. After that he enters the studio of a Known artist and explains to him, his insatiable need for art. Having written down his observations, the artist makes a

je fotografie i reprodukuje. Naruiocu je izgledalo da je ta kolekcija ono pravo, shvatio je da umetnici i postoje zato to umeju da izraze ono to je naruiocu potrebno. Dvanaest radova iz ove kolekcije, kako stoji dalje u ovom iskazu, Igor Stepani je pretvorio u dvanaest svojih crtea. Tek kada su bili gotovi i uramljeni, tako zavrava iskaz, shvatih ta sam uradio. Od smog sebe sam naruio Kolekciju crtea. Krug je bio zatvoren kao u naspramnim ogledalima. Crtei su postali deo Kolekcije. Nisam uspeo da prevarim Poznatog Umetnika. Narudbina je izazvala narudbinu kao sopstveni lik u ogledalu. Na ovom mestu se, opet gotovo samo po sebi razumljivo, namee poreenje sa jednim tekstom Adolf-a Loos-a, istog onog koji je pokrenuo asopis, iji je podnaslov deklarisao njegovu nameru da uvede

collection for him, explicitly prohibiting any photographing or reproduction. The buyer found that the collection was the real thing, he realised that artists exist because they can express what the buyer needs. Further in his statement, it is said that Igor Stepani made the twelve pieces from this collection into twelve drawings of his own. The statement ends with these words: Only when they were finished and framed, I realised what I had done. I ordered a collection of drawings from myself. The circle was closed like mirrors facing each other. The drawings became part of the Collection. I didnt manage to trick the Known Artist. The order incited another order like its own image in the mirror. Here, again, almost naturally, what comes to mind is an analogy with a text by Adolf Loos, the person who started a periodical, the

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moderni ivot u Austriju. U tom tekstu, Adolf Loos pripoveda o oveku koji poziva arhitektu i od njega trai umetnost. Ovaj izbaci sav njegov nametaj iz kue, dovede vojsku parketara, lakera, zidara, liilaca, stolara, instalatera, lonara, tapetara, slikara i kipara ... i lepo spremie umetnost u etiri zida bogataeva. Poto je najposle sve bilo ugurano, tako da vie nije bilo mesta za neki novi komad nametaja, ni za neku novu sliku, tako da mu je arhitekta zabranio svaku novu kupovinu, u bogatau se dogodi preobraaj. Niko mu vie nije smeo prirediti veselje. Bez elje morao je prolaziti pored prodavnica u gradu. Za njega se nije vie nita proizvodilo. Niko izmeu njegovih milih nije mu vie smeo pokloniti svoju sliku, za njega ne postoje vie slikari, ne postoje umetnici, ni obrtnici. Bio je iskljuen od svega budueg ivota i stremljenja, zbivanja i elja. Oseao je: sada treba nauiti nositi svoj vlastiti le. Dabogme! On je gotov! On je kompletan! [AL]. Tano deset godina posle ove izlobe, u istoj Galeriji Udruenja likovnih umetnika Srbije, Igor Stepani je, pod

subtitle of which declared his intention to bring modern life to Austria. In this text, Adolf Loos talks about a man who invites an architect to produce art for him. The architect throws all the furniture out of his house, brings in an army of floor layers, varnishers, bricklayers, house-painters, carpenters, fitters, potters, upholsters, painters and sculptors... and they fitted art nicely within the rich mans four walls. After squeezing everything back in again, so that there was no space left for a new piece of furniture, or a new painting, and so that the architect forbade him to make any new purchases, the rich man experienced a transformation. No one was allowed to arrange a celebration for him any more. He had to pass by the shops in the city without desire. Nothing was made for him any more. None of his dearest were allowed to give him a present of their photograph, and painters didnt exist for him any more, nor did artists nor artisans. He was excluded from all future life and endeavours, events and desires. He felt: now I need to learn how to carry my own corpse. Indeed! He is finished! He is complete!

naslovom Repriza , pokazao dopunjenu varijantu ove izlobe. Po povrinama dvanaest ogledala sada su padale projekcije oiju. Ramovi su uraeni u tri boje: etiri ute, etiri braon, etiri sive. Tokom projekcije pojavljuje se autorovo oko, u kome se posle svakog njegovog treptaja simultano smenjuju figure Botticelli-jeve Venere i Rubens-ove Helena-e Fourment.

[AL] Exactly ten years after this exhibition, in the same Gallery of ULUS (Association of Fine Artists of Serbia), Igor Stepani exhibited an extended version of this show, under the title Replay . This time, eyes were projected onto the surfaces of the twelve mirrors. The frames were made in three colours: four yellow, four brown and four grey. During the projection, the artists eye appears, in which after each blink, figures of Botticellis Venus and Rubenss Helene Fourment alternate simultaneously.

4. Ova manieristika sprezattura ogledala u radovima Igora Stepania nala je svoj izraz i na jedan drugi nain. U tom smislu, karakteristina su dva rada, koji tematizuju ogledalni odnos. Prvi od ta dva rada, pod naslovom For Sale, Sold Out, iz. 1993. godine, sastoji se od dva dela: na fotografskim podlogama sa ornamentisanim prikazima cvea, lee dva pisma. Umetnik je, naime, prethodne godine kod Fondacije Fulbright konkurisao za dobijanje stipendije. Iako je dobio stipendiju, Fondacija Fulbright ga (to je prvo pismo) obavetava da ovu ne moe koristiti u okviru zvanine meunarodne saradnje. Amerika ambasada u Beogradu da (to je drugo pismo) obavetava da, uprkos tome to je dobio stipendiju, ne moe putovati u Sjedinjene drave. Umetnik je imao tu nesreu da stipendiju dobije u vreme kada su nad jednim delom nekadanje oaze mira zavedene sveopte sankcije. Da li je umetnik znao za jedan razgovor koji su krajem pedesetih godina, u bati njujorkog hotela Plazza, vodili jedan evropski umetnik i onaj ameriki umetnik, iji je jedan Onement ugradio u svoj video rad Ah Love? Okupani svetlou zalazeeg Sunca, koju je Kip Slobode ravnom merom delio i na jednog i na drugog uesnika tog razgovora, onaj ameriki, sa razumljivim oduevljenjem za poredak na zemaljskom aru, upitao je evropskog, da li primeuje kako u Americi, tu u Njujorku, nastaje nova Atinu. Zagledan u Kip Slobode, tako kazuje

4. This Mannerist sprezzatura of mirrors found its expression in yet another way in the works of Igor Stepani. Two works which deal with the theme of mirroring are representative in this respect. First of the two titled For Sale, Sold Out from 1993, consists of two parts: two letters lie on photographic backgrounds with ornamental images of flowers. Namely, the artist applied to the Fulbright Foundation for a grant. Although he received the grant, the Fulbright Foundation informed him that he could not use it within the frame work of official international collaboration (this is the first letter). The American Embassy in Belgrade informed him that, despite receiving the grant, he cannot travel to the USA (that is the second letter). The artist had the misfortune to receive the grant during the period when overall sanctions were enforced on one part of the former oasis of peace. Did the artist know of a conversation that took place at the end of the fifties in the garden of the New York Plazza Hotel between a European artist and the American artist whose Onement he had incorporated into his video Ah, Love? Bathing in the light of the setting Sun, which the Statue of Liberty equally divided on both participants in the conversation, the American, understandably delighted with the order in the world, asked the European if he had noticed how a new Athens was forming in America,

ULUS Galerija, Beograd, Repriza , 12 crtea, 42 x 30 cm svaki, 2002.;ULUS Gallery, Beograd, REPLAY , 12 drawings, 42 x 30 cm each, 2002.

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For Sale, Sold Out, diptih, 1993. kombinovana tehnika, 140 x280cm;

For Sale, Sold Out, diptich, 1993, mixed media, 140 x280cm

pripovest, ovaj mu je odgovorio kako sa svoje strane strahuje da e u Americi, pa i tu u Njujorku, nastati nova Sparta. Duhovni razvoj moderne, naalost, izneverio je nadanja amerikog, a opravdao strahovanja evropskog umetnika. Onaj kult umetnosti, koji je Jean Clair nazvao religijom koja okuplja lanove nove Eclesia-e modernog oveanstva [K, 8] krajem prologa veka, sa stvaranjem novog poretka na zemaljskom aru, uzdrman je toliko temeljno da je poeo da se ljulja itav sistem umetnosti. Kriza tog sistema oitovala se na mnogo naina. Vodei strunjaci u tom sistemu, komesari (Exhibitionsmakers) ne samo velikih izlobi u okviru ve odavno

right there in New York. Gazing at the Statue of Liberty, as the story goes, the other replied that he feared a new Sparta will be established in America, and right there in New York too. Unfortunately, the spiritual development of Modernity failed the hopes of the American and justified the fears of the European artist. The cult of art, which Jean Clair called a religion that gathers members of a new Ecclesia of modern mankind [ JC, 8] was shaken so fundamentally by the creation of a new order in the world, at the end of the last century, that the whole system of art began to rock. The crisis was evident in many ways. Leading experts in the system, the commissioners (exhibitions-

institucionalizovanih bienala, trienala i kvadrienala, nego i velikih i znaajnih izlobi, kojima su njihovi njihovi autori uzeli da propituju odnos umetnika moderne prema svetu ivota moderne, kao glavni izvor te krize prepoznali su proliferaciju podraavaoca, koji su skinuli umetnika sa pozornice gradei se u estradne zvezde. Sistem umetnosti uruavao se i dalje, uprkos tome to su ovoj temi ti isti vodei strunjaci krajem veka posvetili itav jedan kongres. Koliko god da je dijagnoza o bolesti zvanoj estradna zvezda bila tana, podraavaoci samopromovisani u estradne zvezde su i dalje nastavili ne samo sa pabirenjem, nego i sa naruivanjem radova, koji

makers) not only of large exhibitions within long institutionalised biennials, triennials and quadrennials, but also of large and important exhibitions, in which the authors started questioning the relationship between the Modern artist and the world of Modernity, saw the main source of the crisis in the proliferation of imitators who removed the artist from the stage and made themselves celebrities. The art system was further falling apart, in spite of the leading experts organising an entire congress on this subject, at the end of the century. In so far as the diagnosis of the illness called celebrity was correct, the imitators self promoted into celebrities continued not only gleaning

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Imati ili biti, diptih, 1994. kombinovana tehnika, 110 x 80 cm;

To Have or To Be, 1994, mixed media, 110 x 80 cm

je trebalo da donesu argumentaciju njihovim tobonjim tezama o politikom, duhovnom i svakom drugom stanju, poglavito u tzv. zemljama u tranziciji, u iju su umetniku praksu i produkciju imali taman onoliko i onakvog uvida koliko i kakvog su imale velike medijske kue u stvarnost dogaaja u tim zemljama. Taman onoliko i onakvog uvida u stvarnost dogaaja, s jedne strane, pretvaralo je onog acteur-a u spectateur-a, kao to je, s druge strane, tu stvarnost dogaaja (imago) pretvaralo u spektakl. Sada se imago, pretvoren u spektakl, nudio nezabrinutom posmatrau sa bezbedne udaljenosti. Poput onog manieristikog umetnika odbaen(og) od ekonomsko-drutvene baze [ABO], umetnik postmodernog stanja poinje da shvata da se politiki i moralni poredak sveta ... prevrnuo: univerzum vie nije harmonini kosmos, on je terribilit [GRH]. Drugi rad sa tim ogledalnim odnosom, pod naslovom To Have or To Be, nastao je 1994. godine. U njemu je Igor Stepani u ogledalni odnos stavio upravo poziciju postmodernistikog manieriste. Ovaj rad, izveden u mediju fotografije, sastoji se od dva dela. Prvi (To Have...) prikazuje na konoj mapi aranirane umetnikove tzv. firmirane (Bruno Magli, Mont Blantc, Dupont, Sony) line stvari, zajedno sa cenovnicima: cipele, pernica, tabakera, upalja, srebrne brojanice, diktafon, pudrijera, srebrna kutijica za vizit karte...), ili (... or) drugi (To Be), na slikarskom platnu aranirane tzv. srednjostaleke (konfekcijske) line stvari, po vrsti srodne onima sa prve, ali i ista ona pudrijera sa kone mape. Dve pozicije u ogledalnom odnosi, o kojem nikako ne moemo saznati koja je pozicija decumanus-a, a koja pozicija cardo-a. Ono to moemo prepoznati, meutim, jeste mesto umetnika izmeu ovoga dvoga, i to u onom trenutku u kojem i mo umetnikog predstavljanja od sada mora da bude izraz jednog vieg principa, koji je istovremeno u stanju da oveka obdarenog za umetnost oplemeni i izbavi iz nepostojanosti i rastrzanosti koje mu prete [EP].

for themselves, but also commissioning works, which were supposed to create arguments for their so called theses about the political, spiritual, and every other situation, predominantly in the so called countries in transition. Their insight into artistic practice and production was just about the same as the insight of the large media houses into the reality of events in these countries. Precisely that kind of insight into the reality of events turned the acteur into spectateur, just as it turned the reality of events (imago) into a spectacle. Now, the imago turned into spectacle was offered to the unconcerned spectator from a safe distance. Just like the Mannerist artist, rejected from the economic and social base [ABO], the artist of the Postmodern Condition begins to realise that the political and moral order in the world ... has turned upside down: the universe is no longer a harmonious cosmos, it is terribilit [GRH]. The second work with a mirroring relation, titled To Have or To Be, was created in 1994. In it, Igor Stepani puts the position of the Postmodern Mannerist into a mirroring relation. This piece uses photography as a medium and comprises two parts. The first (To Have...) shows the artists branded (Bruno Magli, Mont Blanc, Dupont, Sony) personal belongings, alongside price-lists: shoes, pencil-case, cigarette case, lighter, silver beads, dictaphone, powder case, silver business card box, on an open leather case. The second (To Be) had middle class (ready-made) personal belongings arranged on a painting canvas. It was similar to the first group, with the same powder case as in the first part. Two arrangements in a mirroring relation, where we cannot determine which has the position of the decumanus and which of the cardo. However, what we can discern is the place of the artist between these two, in the moment when from now on, the power of artistic representation has to be an expression of a higher principle, which is at the same time capable of ennobling and saving the person tal-

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Ono terribilit prevrnutog univerzuma dobilo je svoje realne dimenzije. aprila 1999. godine, kada se pokazalo da logika politikog pragmatizma poiva na konceptu reciklae. Koliko god, dakle, da je bila tana dijagnoza o izbacivanju umetnikove individue sa scene, ona je prepoznala tek jedan od epifenomena temeljne krize. Sutina te temeljne krize nalazila se u neemu mnogo dubljem: u prevazi politikih ideja nad umetnou, iji je kult izgubio smisao one modernistike vere, ba kao to je, prema Rankeovoj fomulaciji (na kraju sedme knjige njegove Povesti papa,), na koju nas, u svojoj polemici protiv teza Wener-a Wisbach-a, podsea Nikolaus Pevsner, manierizam predstavljao definitivnu pobedu politikih ideja nad verskima [NP, 112]. I ba kao to je manieristiki umetnik govorio jezikom koji je artikuliran, razraen i profinjen, zlatoustim jezikom ljepote i kaprica, a ne jezikom silovitosti, nepovezanosti i beznaa [ JSh, 182], umetnik postmodernog manierizma je, iz svoje pozicije u onoj preteoj terribilit postmoderne, koja (pozicija) se u sluaju Igora Stepania moe odrediti kao secite decumanus-a i cardo-a, izabrao onaj trei elemenat, ija jezika sprezattura hoe da se izbori sa lavirintom, koji postaje antipod onome to je propustljivo za duh [RGH]. Iz te terribilit, ili bolje rei u njoj smoj, Igor Stepani je potraio dva stvaralaka izlaza, i to kao bekstvo spolja i bekstvo unutra. Posle viegodinje pauze otvorio je svoja dva vlastita poetka: rad na jednom multimedijalnom projektu i rad na jednoj instalaciji.

ented for art from the impermanence and chaos that threaten him [EP]. The terribilit of the over turned universum acquired its real dimensions in April 1999, when it became clear that the logic of political pragmatism lies in the concept of recycling. No matter how correct, the eviction of the artistic individual form the scene as a diagnosis had recognised only one of the epiphenomena of a profound crisis. The root of this crisis was in something far deeper: in the dominance of political ideas over art, whose cult had lost the meaning of Modernist faith. In the

www.blueprintit.com/pow, POW, PrisonersOfWar ili PrisonersOfWeb, meunarodni umetniki projekat prikazan na 48 Venecijanskom Bijenalu; POW, PrisonersOfWar or PrisonersOfWeb, international art project presented at 48th Biennial in Vennice, Itally

same way, Mannerism represented the definitive victory of political over religious ideas, according to Rankes formulation (at the end of the seventh book of his History of the Popes). We are reminded of this in Nicolaus Pevsners polemic against Werner Wisbachs theses [NP, 112]. The Mannerist artist spoke a language that was articulated, elaborated and refined, a golden tongue of beauty and caprice, and not the language of force, incoherence and desperation [ JSh, 182]. In the same way, from his position in the threatening terribilit of Postmodernity, in the case of Igor Stepani, the crossing of the cardo and the decumanus, the Postmodern artist, chose the third element, whose language sprezzatura requires fighting the labyrinth, that becomes the antipode of what is indulgent for the soul [GRH]. From this terribilit, or better still, in

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Aprila meseca 1999. godine, u saradnji sa lanovima italijanske umetnike grupe Oreste i beogradskim umetnikom edomirom Vasiem, pokrenuo je multimedijalni projekt POW CAMP (Logor ratnih zarobljenika), koji je kao web prilog svoje mesto naao u okviru venecijanskog Bienala umetnosti. Podnaslov ovog multimedijalnog rada (Art Against Rat-a) sadri igru rei, koja nastaje u prostoru izmeu fonetskog i semantikog sadraja termina RAT (engl. pacov, srp. rat). Polaznu polarizaciju na home page ovog projekta predstavljaju reprodukcije priloga dveju ikona umetnosti 20. veka: Joseph Beuys (Filcani klavir) i Andy Warhol (Campbel Soup). Zamiljen kao otvoreni, ovaj projekt je u meuvremenu na svojim pages dobio priloge mnogih umetnika iz Evrope, Amerike i Japana, i moe se nai na adresi: www.blueprintit. com/pow. Rezultat onog bekstva unutra bie instalaciju, koju e, pod naslovom Dnevnik: Nikad nisam mislio da u crtati cvee, pokazati 2006. godine, u panevakoj Galeriji savremene umetnosti. Osnovni element ove instalacije predstavljaju crtei koji su nastali od 2002. do 2005. godine, i to kao dnevniki zapisi u domu i u ateljeu. Svaki od tih crtea nastajao je kao potreba da se neto zabelei. Izabrane crtee Igor Stepani je odtampao na displejovima (260x110 cm). Na etiri zida galerije teku projekcije dvaju kalendara. Na osnovama koje predstavljaju uobiajene zidne kalendare smenjuju se sliice kunog psa (Kalendar I) i cvetova (Kalendar II), i to kao temporalne frames. Muziku podlogu ove instalacije predstavlja japanska obredna muzika, iji ritam bubnjeva temporalno prati smenjivanje sliica na kalendarima. Pronalaenje odgovor na pitanje, koje se samo po sebi namee, zbog ega se to umetnik odluuje na crtanje pojedinanih cvetova, a ne na cvee, moglo bi da pone od sledeeg mesta. Autor istraivanja tajni Mondrian-ovih crtea i slika cvetova svoje analize poinje od Mondrian-ovog crtea raenog u mas-

itself, Igor Stepani sought two creative outlets, the flight outward and the flight inward. After a break of several years, he commenced work in two personal directions: work on a multimedia project and work on an installation. In April 1999, in collaboration with members of the Italian group Oreste and the Belgrade artist edomir Vasi, he started the multimedia project POW Camp (Prisoner of War Camp), which found its place at the Venice Biennale as a web contribution. The subtitle of this multimedia work (Art Against Rat-a) is a word play, which is created between the phonetic and semantic content of the term RAT (Eng. rat, Serb. war). The initial polarisation on the home page of this project are reproductions works of two icons of 20th century art: Joseph Beuys (Felt Piano) and Andy Warhol (Campbell Soup). Envisaged as an open project, it received contributions from many artists in Europe, America and Japan, and it can be found at www.blueprint.com/pow.

The result of this flight inward was an installation titled Diary: I Never Thought I Would Be Drawing Flowers, which he exhibited in the Gallery of Contemporary Art in Panevo, in 2006. The key element in this installation are drawings made between 2002 and 2005, as diary notes made at home and in the studio. Each of these drawings was created from the need to take note of something. Stepani printed selected drawings onto displays (260x110cm). Two calendars are projected onto the four walls of the gallery. On the backgrounds which are ordinary wall calendars, little images of the house dog (Calendar I) and flowers (Calendar II) alternate as temporal frames. Japanese ceremonial music, the drumming rhythm of which accompanies the alternation of the images on the calendars, creates the aural background for the installation. A question emerges automatically: why did the artist decide to draw single flowers instead of many. To an-

Galerija savremene umetnosti, Panevo, Dnevnik, Nikada nisam zamiljao...., instalacija, kombinovana tehnika, 2006.; Gallery for contemporery art, Pancevo, Diary, I never imagined..., installation, mixed media, 2006

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tilu i akvarelu Plava hrizantema. U otkrivanje tajne crtea ovog cveta, ija tri pranika i raljike, inae, simbolizuju tri eksera i trnov venac sa Raspea, on nas uvodi navoenjem rei koje je Yasunari Kawabata, u svome dirljivom obraanju povodom dodele Nobelove nagrade, izrekao o istonjakom ukus za jedan cvet [DSh]. Stav japanskog nobelovca: Pojedinani cvet sadri vie svetlosti nego stotinu cvetova, on uzima kao mogue objanjenje nekih od vrednosti sadranih u Mondrian-ovim cvetovima. Iz uvida u umetnikove iskaze o cvetovima navodi i mesto iz Mondrian-ovog pismu, iz 1909. godine, u kojem Mondrian kritiarima govori o svome ukusu za pojedinano i o stvarnom znaenju svoje slike Pobonost (Molitva), na koje je takoe prikazan jedan jedini cvet: Pre e biti da sam teio, kao to sam rekao, da saoptim najdublje izvore ina molitve.

swer this question one could start from the following. The author of research into the secrets of Mondrians drawings and paintings of flowers begins his analyses with Mondrians watercolour and ink drawing Blue Chrysanthemum. He leads us to revelation of the secrets of this flower, whose three stamens and forked stems symbolise the three nails and crown of thorns from the crucifixion, by quoting Yasunari Kawabata, in his touching speech on receiving the Nobel prize. [DSh] The researcher takes the view of the Japanese Nobel Prize winner that an individual flower has more light than a hundred flowers, as a possible explanation of some of the qualities in Mondrians flowers. From his knowledge of the artists statements about flowers, he quotes a passage from Mondrians letter from 1909, in which he tells the critics about his taste for the singular and about the real meaning of his painting Piety (Prayer), which also represents a single flower: as I said, it seems that I was trying to communicate the deepest source of the act of prayer.

Dnevnik, Nikada nisam zamiljao...., crte, tu i pero na papiru, 35 x 15 cm svaki; Diary, I never imagined..., drawing, ink on paper, 35 x 25 cm each

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Literatura:
FRIDLAENDER, Walter, Postanak antiklasinog stila u talijanskom slikarstvu oko 1520., u: Milan Pelc (prir.), Manirizam, Zagreb: Institut za povijest umjetnosti 2000, str. 47-107: preveo Milan Pelc [=WF] GOTTLIEB, Carla: The Pregnant Woman, The Flag, The Eye: Three New Themes in Twentieth Century Art, The Journal of Aesthetics and Art Criticism, Winter 1962, pp. 177-187. [=CG] HOFMANN, Werner, Grundlagen der modernen Kunst, Stuttgart: Alfred Krner Verlag 1978 [=WH] KLER, an: Dian, Leonardo, maniristika tradicija, u: Yoran gavri i Branislava Beli (prir. I prev.), Marcel Duchamp. Spisi. Tumaenja, Samostalno izdanje: Bogovaa 1995 [=K] HOKE, Gustav Rene: Magija ogledala: manirizam, preveo Jovica Ain, u: DELO (Beograd), novembar-decembar 1982, god. XXVIII, br. 1112, str. 98-105.[=GRH] KLER, an, Odgovornost umetnika, prevela Aleksandra Grubor, aak: Gradac K 2006 [=K] KRAUSS, Rosalind: Sculpture in the Expanded Field, u: Hal Foster (ed.), The Anti-Aesthetic Essays onPostmodern Culture, Port Towusend, Washington: Bay Press 1983, pp. 31-42 (izvorno objavljeno u: October, Spring 1979.) [=RK] LINGNAER, Michael und WALTHER, Rainer: Paradoxien knstlerischer Praxis u: ZEITSCHRIFT FR STHETIK UND ALLGEMEINE KUNSTWISSENSCHAFT, Band XXXI, 1987, S. 121-142. [=LuW]

Bibliography:
FRIDLAENDER, Walter, The Beginning of the Anticlassic Style in Italian Painting Around 1520, from Milan Pelc (ed.), Mannerism, Zagreb, Institute for Art History, 2000, 47-107; translated by Milan Pelc [=WF] GOTTLIEB, Carla: The Pregnant Woman, The Flag, The Eye: Three New Themes in Twentieth Century Art, The Journal of Aesthetics and Art Criticism, Winter 1962, 177-187 [=CG] HOFMANN, Werner, Grundlagen der modernen Kunst, Stuttgart: Alfred Krner Verlag, 1978 [=WH] CLAIR, Jean: Duchamp, Leonardo, the Mannerist Tradition, in Zoran Gavri and Branislava Beli (edited and translated), Marcel Duchamp. Writings. Interpretations, Independent publication: Bogovadja, 1995 [=JC] HOKE, Gustav Rene: The Magic of the Mirror: Mannerism, Serbian translation by Jovica Ain, in: Delo (Belgrade), November-December 1982, XXVIII, no. 11-12, 98-105 [=GRH] CLAIR, Jean, The Responsibility of the Artist, Serbian translation by Aleksandra Grubor, Cacak: Gradac, 2006 [=JC] KRAUSS, Rosalind: Sculpture in the Expanded Field, in: Hal Foster (ed.), The Anti-Aesthetic Essays on Postmodern Culture, Port Townsend, Washington: Bay Press, 1983, 31-42 (originally published in: October, Spring 1979) [=RK] LINGNAER, Michael und WALTHER, Rainer: Paradoxien knstlerischer Praxis in: Zeitschrift Fr

LOOS, Adolf: O siromanom bogatau, u: A. L.: Izabrani eseji, prir. Ljiljana Blagojevi i Dejan Vlakali, Beograd: Grupa Lavirint 200 (str. 21-25: prev. Ernest Weissmann) [=AL] NEWMAN, Michael: Discourse and Desire. Recent British Sculpture, FLASH ART, No. 115, January, pp. 48-55. [=MN] OLIVA, Akile Bonito, Ideologija izdajnika. Umetnost, manir, manirizam, prevela Mirjana Jovanovi, Novi Sad: Bratstvo i jedinstvo 1989.[=ABO] PEVSNER, Nikolaus: Protureformacija i manirizam, u: Milan Pelc (prir.), Manirizam, Zagreb: Institut za povijest umjetnosti, str. 109-144: preveo Milan Pelc [=NP] PANOFSKY, Erwin, Manierizam, u: Zoran Gavri (prir. i prev.): Erwin Panofsky, IDEA. Prilog istoriji pojma starije teorije umetnosti, Samostalno izdanje: Bogovaa 1999. [=EP] SHAPIRO, David: Mondrians Seecret, u: Beckley, Bill & Shapiro, David: Uncontrollable Beauty, New York: Allvorth Press, pp. 307-323. [=DSh] WOLLIN, Richard: Modernizam protiv postmodernizma, u: MARKSIZAM U SVETU, 4-5, 1986, str. 178-204. prevela Vesna Tomovi; iz: Richard Wollin, Modernism vs. Postmodernism, TELOS, Nr. 62, Winter 1984-5, pp. 9-29. [=RW]

sthetik Und Allgemeine Kunstwissenschaft, Band XXXI, 1987, 121-142 [=LuW] LOOS, Adolf: On the Poor Rich Man, in: A. L.: Selected Essays, edited by Ljiljana Blagojevi and Dejan Vlakali, Belgrade: Grupa Lavirint 200 (2125: translated by Ernest Weissmann) [=AL] NEWMAN, Michael: Discourse and Desire. Recent British Sculpture, FLASH ART, No. 115, January, 48-55 [=MN] OLIVA, Akile Bonito, The Ideology of the Traitor: Art, Manner and Mannerism, Serbian translation by Mirjana Jovanovi, Novi Sad: Bratstvo i jedinstvo, 1989 [=ABO] PEVSNER, Nikolaus: Counter Reformation and Mannerism, from: Milan Pelc (editor) Mannerism, Zagreb: The Institute for Art History, pg. 109-144: translated by Milan Pelc [=NP] PANOFSKY, Erwin, Mannerism, from: Zoran Gavri (editor and translator): Erwin Panofsky, IDEA. Contribution to the History of the Concept of the Old Theory of Art, Independent publication: Bogovaa 1999 [=EP] SHAPIRO, David: Mondrians Secret, from: Beckley, Bill & Shapiro, David: Uncontrollable Beauty, New York: Allvorth Press, 307-323 [=DSh] WOLIN, Richard: Modernism vs Postmodernism, from: Marxism in the World, 4-5, 1986, 178-204, translated by Vesna Tomovi from: Richard Wolin, Modernism vs. Postmodernism, TELOS, Nr. 62, Winter 1984-5, 9-29 [=RW]

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Biografija IZLOBE BIBLIOGRAFIJA

Bez naziva, 1988. akril na drvetu i platnu, 150 x 200 cm; Untitled, 1988, acryl on wood and canvas, 150 x 200 cm

Roen 1962. Beograd, Yugoslavia

Born 1962. Beograd, Yugoslavia Education

Obrazovanje
1988. Magistarska diploma iz slikarstva, Fakultet likovnih umetnosti, Beograd, Jugoslavija 1986.-1987. Edinburgh College of Art, Velika Britanija 1980.-1985. Fakultet likovnih umetnosti, Beograd, Jugoslavija, slikarski odsek

Education
1988 MA degree in fine Arts at Beograd College of Art, Beograd, Yugoslavia 1986-1987 Edinburgh College of Art, U.K. 1980-1985 College of Art, Beograd, Yugoslavia, painting

Stipendije
1992. Stipendija Fulbrajtovog programa za likovne umetnosti, S.A.D. 1986. Fond mladih, Beograd 1986. Stipendija Britanskog saveta za postdiplomske studije na Edinburgh College of Art 1986. Andrew Grant stipendija

Scholarships
1992 Fulbright scholarship, U.S.A. 1986 Youth found, Beograd 1986 Brigtish Council fellowship for postgraduate studies at Edinburgh College of Art, U.K. 1986 Andrew Grant scholarship

Studijska putovanja, kolonije

2001. Plovdiv, Communication Front 01, meunarodna radionica multimedijalne umetnosti 1996. Umetnika kolonija Mileeva, Prijepolje 1995. Umetnika kolonija Sentandreja, Maarska 1988. Umetnika kolonija Azbukovica, Ljubovija 1988. XXIII Meunarodna kolonija u tajerskoj, Grac, Austrija 1986. Edinburgh, U.K.

Artist in residence / Workshops

2001 Plovdiv, Bulgaria, Communication Front 01, 1996 Mileeva, Prijepolje, Yugoslavia 1995 Szentandre, Hungary 1988 Azbukovica, Ljubovija, Yugoslavia 1988 XXIII International Malerwotshen in der Steirmark, Graz, Austria 1986 Edinburgh, U.K.

Ranjeno Nebo, 1991. ulje na platnu, elik, drvo, 215 x 150 x 80 cm; Wounded Sky, 1991, oil on canvas, steel, wood, 215 x 150 x 80 cm;

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Nagrade
1993. Nagrada fonda za kulturu grada Beograda za najbolju izlobu u beogradskim galerijama u toku 1992. godine 1987. Oktobarska nagrada grada Beograda za studentski rad 1982. Nagrada za crte Fakulteta likovnih umetnosti, Beograd, Jugoslavija

Awards
1993 City of Beograd award for the best exhibition in the year of 1992. 1987 City of Beograd October award for student works 1982 Award for drawing Beograd College of Art, Yugoslavia

Videografija
2006. SALD, DVD, 1h 2500 1995. Video VI Mletaki trgovci, Beta-SP, kolor, 13 27 1986. Video V Ah, love, TV BG, TV Galerija, U - matic, low band, kolor, 14 1985.Video II Linija, VHS, kolor 10 51 1985.Video III Video painting I - Still life, U - matic , low band, kolor, 6 1985.Video IV Video painting II-Sculpture, U - matic, low band, kolor, 6 1984. Video I Dogaaj dana..... VHS, kolor

Videography
2006 SALD, DVD, 1h 2500 1995 Video VI The Merchants of Venice, BetaSP, color, 13 27 1986 Video V Ah, love, U - matic, low band, color, 14 1985 Video II Line, VHS, color 10 51 1985 Video III Video painting I - Still life, U matic, low band, color, 6 1985 Video IV Video painting II-Sculpture, U matic, low band, color, 6 1984 Video I Evenet of a Day........ VHS, color

Radovi u javnim prostorima

2007. Narodni muzej Uice, projekat stalne muzejske postavke 2007. Narodni Muzej Prijepolje, projekekat enterijera 2004. ele Kula, Ni, Srbija i Crna Gora, Stalna postavka - prezentacija spomenika 2003. Muzej 21. oktobar, Kragujevac, Srbija i Crna Gora, Nova stalna postavka muzeja 2001.-2002. Galerija SANU, Beograd, postavka izlobe Slubeno odelo u Srbiji u XIX i XX veku (sa edomirom Vasiem) 1990. Mural podzemni prolaz, Poeka ulica, Beograd, Jugoslavija (Projekat I. Stepani i . Vasi) 1988. Mural Dom kulture, Ljubovija, Jugoslavija (Projekat I. Stepani) / 1987. Mural Terazijska kapija, Prizrenska 1, Beograd, Jugoslavija (Projekat I. Stepani, . Vasi, V. i R. Kneevi) 1984. Mural u Rajievoj ulici, Beograd, Jugoslavija (P. Donkov, . Vasi, D. Kai, V. i R. Kneevi)

Works in public space

2007 National museum, project foe the new permanent exhibition 2007 National museum,Prijepolje, Serbia, interior of a museum 2004 Skull Tower, Nis, Serbia nad Montenegro, Permanent dispaly - presentation of the monument 2003 Museum October 21st, Kragujevac, Serbia and Montenegro, New exhibition 2001-2002 Gallery of Serbian Academy of Sciences and Arts, Belgrade, exhibition Offical Dress in Serbia in 19th and 20th Century (with edomir Vasi) 1990 Mural pedestrian subway, Pozeska street, Beograd, Yugoslavia (Project by I. Stepancic and C. Vasic) 1988 Mural Cultural centre, Ljubovija, Yugoslavia (Project I. Stepancic) 1987 Mural Terazijska kapija, Beograd, Yugoslavia (Project I. Stepancic, . Vasi, V. i R. Knezevic) 1984 Mural in Rajieva street, Beograd, Yugoslavia (P. Donkov, C. Vasic, D. Kacic, V. and R. Knezevic)

Web radovi
2006. SALD, http://www.sald.org/ 2003. META-I, http://www.blueprint.co.yu/ metaI/ 2001. Mediaterra Kitchen, http://www.blueprint. co.yu/mediate/ 2001. NetTime, net project, http://www. blueprint.co.yu/nt/ 1999.-2002. 3 Brain, collaborative net project, http://www.blueprint.co.yu/3brain/ 1999. POW, collaborative net project, http:// www.blueprint.co.yu/pow/

Netart
2006 SALD http://www.sald.org/ 2003 META-I, http://www.blueprint.co.yu/ metaI/ 2001 Mediaterra Kitchen, http://www.blueprint. co.yu/mediate/ 2001 NetTime, net project, http://www.blueprint. co.yu/nt/ 1999-2002 3 Brain, collaborative net project, http://www.blueprint.co.yu/3brain/ 1999 POW, collaborative net project 1999 POW, collaborative net project, http://www. blueprint.co.yu/pow/

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Samostalne izlobe
2006. Galerija savremene umetnosti, Panevo, Dnevnik, Nikada nisam zamiljao.... 2006. Galerija O3one, Beograd, Srpsko Amatersko Lekarsko Drutvo 2006. Muzej u Prijepolju, Prijepolje, 20 Godina posle.... 2005. SKC Galerija, Beograd, 20 Godina posle.... 2002. ULUS Galerija, Beograd, Repriza 2002. Galerija, Beograd, Urbi et Orbi (Igor Stepani, Dragan Jelenkovi) 1995. Narodni muzej, Beograd, Nepoznata zbirka poznatog umetnika 1994. FORUM Gallery, Vancouver, Dear Known Artist 1992. ULUS Galerija, Beograd, Kolekcija 1990 1992. JULIETS ROOM, Trst, Known artist 1988. Salon Muzeja savremene umetnosti, Beograd, Spomenik, Katedrala, Grad 1988. TK Galerija, Trst, Crte -Instalacija 1988. EQURNA Galerija, Ljubljana, Ci-Ties 1987. Richard Demarco Gallery, Edinburgh, CAT-hedrals 1986, SKC Galerija, Beograd, Crte -ProstorObjekat 1986. SC Galerija, Zagreb, Terakottambijent 1985. SKC Galerija, Beograd, 10 Stolica

One man exhibitions

2006 Gallery for contemporery art, Pancevo, Diary, I never imagined... 2006 O3one Gallery, Belgrade, Serbian Amateur Medical Society 2006 Museum of Town of Prijepolje, Prijepolje, 20 Years After.... 2005 SKC Gallery, Belgrade, 20 Years After.... 2002 ULUS Gallery, Beograd, Replay 2002 Kosancicev venac Gallery, Belgrade, Urbi et Orbi (Igor Stepani, Dragan Jelenkovi) 1995 National museum, Beograd, The Merchants Of Venice 1994 FORUM Gallery, Vancouver, Dear Known Artist 1992 ULUS Gallery, Beograd, Collection 1990 1992 JULIETS ROOM, Trieste, Known artist 1988 Salon Museum of contemporary Arts Gallery, Beograd, Ci-Ties 1988 TK Gallery, Trieste, Drawing-Insatllation 1988 EQURNA Gallery, Ljubljana, Ci-Ties 1987 Richard Demarco Gallery, Edinburgh, CAT-hedrals 1986 SKC Gallery, Beograd, Drawing-SpaceObject 1986 SC Gallery, Zagreb, Terakottambijent 1985 SKC Gallery, Beograd, 10 Chairs

Dear Known Artist, Forum Gallery, Vancouver, 1994

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Grupne izlobe (izbor)

2003. Beograd, Galerija Beograd, Kosnaiev venac, Crte, Akvarel i Beograd Linz, Ars Electronica, meunarodni festival multimedijalne umetnosti 2002. Sao Paolo, File 2002, international festival of electronic art 2001. Plovdiv, Communication Front 01, meunarodna radionica multimedijalne umetnosti Atina, Mediaterra01, Festival Re-globalizingDe-globalizing, meunarodni festival multimedijalne umetnosti Linz, Ars Electronica, meunarodni festival multimedijalne umetnosti Barcelona, ARCO, net section 2000. Lorient, Francuska, X-00, meunarodni festival multimedijalne umetnosti Linz, Ars Electronica, meunarodni festival multimedijalne umetnosti Lorient, Francuska, DF3, Distance Focale, meunarodni skup o interaktivim medijima 1999. Beograd, UP Cvijeta Zuzori, 40ti Oktobarski Salon Venecija, 48. Bijenale, dAPERtutto, sala ORESTE, Italijanski paviljon Atina, Mediaterra, Festival umetnost i tehnologija mediteranskih i balkanskih zemalja 1997. Prijepolje, Dom Kulture, izloba uesnika Mileevske kolonije 1996. Beograd, Muzej Primenjenih Umetnosti, Intimni program..... Beograd, Kulturni centar, 37. Oktobarski Salon 1995. Beograd, Galerija SKC-a, Produkt Press, Art kolekcija Beograd, Umetniki paviljon Cvijeta Zuzori, II Bienale crtea i male plastike Sentandreja, upanijski dom, izloba likovne kolonije Beograd, Narodni muzej, Na iskustvima memorije 1994. Beograd, Galerija Kulturnog centra Kritiari su izabrali Beograd, Galerija Andriev venac, Oktobarski salon, Stolica sa sto lica 1993. Beograd, Skuptina grada Beograda, izloba nagraenih iz gradskog fonda za kulturu Beograd, Dania Art, Continuum, izloba Fulbrajt asocijacije Beograd, Galerija 73, Meunarodni simpozijum - Simetrija - Fulbrajt asocijacija Beograd, Muzej 25. maj, oktobarski salon Beograd, Umetniki paviljon Cvijeta Zuzori, Prvo beogradsko bienale crtea i male plastike Poarevac, Bienale Milene Pavlovi Barili 1992. Podgorica, Privatna galerija, Privatno-javno 1991. Krakov, Palac Sztuki, Europe Unknown Beograd, Umetniki paviljon Cvijeta Zuzori, oktobarski salon Ljubljana, Moderna galerija, Slovenske Atene - Sejalec 1990. Pariz, Grand Palais, 41e Salon de la JEUNE PEINTURE Sydney, Australija, W.I.N.D.O.W. Galerija, The pleasures within distance Graz, Neue Galerie, Kunst der 80er Jahre Beograd, Galerija FLU, oktobarski salon, Kula-utoite tutgart, Sindelfingen Messe, kunst des 20. jahr hunderts 1989. Pariz, Grand Palais, 40e Salon de la JEUNE PEINTURE

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Plava figura, 1988. akril na platnu, 230 x 250 cm; Blue Figure, 1988, acryl on canvas;

Pariz, Jugoslovenski kulturni centar, Osam jugoslovenskih umetnika Beograd, Galerija kulturnog centra, Agresori iz slikanog prostora Sarajevo, Centar Skenderija, Jugoslovenska dokumenta 89. Beograd, Umetniki paviljon Cvijeta Zuzori, Izbor 89. Tampare, Finska, Muzej moderne umetnosti, Savremeni jugoslovenski crte Strasbourg, Association Comme..., Jeunes Peintres Europeens 1988. Beograd, Pinki galerija, Mozaici, Freske i Murali - projekti i ostvarenja I Rijeka, Moderna galerija, XI meunarodna izloba originalnog crtea Zagreb, Gradec galerija, prezentacija XI meunarodne izlobe crtea Graz, Neue Galerie am landesmuseum joanneum, XXIII Internationale Malerwochen in der Steiermark Subotica, Galerija Likovna jesen, STOLICA Beograd, Galerija legat R. olakovi i M. Zori, MSU, STOLICA 1987. London, Smiths Gallery, RDGallery 21st anniversary show Sarajevo, Umetnika galerija BiH, Ruiasti nihilizam Beograd, FLU galerija, nagraeni studenti (povodom Oktobarske nagrade) Ljubljana, Cankarjev dom, VIDEO CD 87., meunarodni video bienale Beograd, Umetniki paviljon Cvijeta Zuzori, 28. oktobarski salon 1986. Beograd, Galerija Doma kulture Studentski grad, lanovi 86., izloba novoprimljenih lanova ULUS-a Pariz, Jugoslovenski kulturni centar, Video me Yugoslavia-France

Kopar, galerija Loa, Video me YugoslaviaFrance Beograd, SKC galerija, Aprilski video susreti Beograd, Umetniki paviljon Cvijeta Zuzori, Crte i mala plastika 86. Beograd, Umetniki paviljon Cvijeta Zuzori, Mostovi 86., Armagedon Beograd, Umetniki paviljon Cvijeta Zuzori, 27. oktobarski salon Edinborugh, Richard Demarco Gallery, Christmas Show 1985. Beograd, Galerija Doma omladine, izloba crtea studenata FLU, izbor D. Jovanovia Sarajevo, Skenderija, Video susreti 85, meunarodni video festival Beograd, SKC galerija, Aprilski video susreti Ljubljana, Cankarjev dom, VIDEO CD 85. meunarodni video bienale Beograd, Umetniki paviljon Cvijeta Zuzori, 26. oktobarski salon 1984. Beograd, Galerija Doma omladine, Izloba crtea studenata FLU, izbor D. Lubarde Beograd, Galerija FLU, Slikanje beogradskih zidova, projekti i skice 1983. Beograd, Galerija Doma omladine, izloba crtea studenata FLU, izbor D. Lubarde Minhen, Prostor umetnike akademije, izloba povodom 175-te godinjice Umetnike akademije u Minhenu Ljubljana, Cankarjev dom, I video bienale, VIDEO CD 83 (rad sa . Vasi, M. Baji, D. Kai, R. Kneevi) 1982. Beograd, Galerija Doma omladine, izloba crtea studenata FLU, izbor D. Lubarde

IV XL, 1988, papir, krenjak, akril, 160 x 170 cm.; IV XL, 1988, paper, sandstone, acryl paint, 160 x 170 cm.

Radovi u kolekcijama
Fond mladih, Beograd British Council (Britanski Savet), Edinburgh, Velika Britanija Edinburgh College of Art, Edinburgh, Velika Britanija Muzej savremene umetnosti, Beograd Neue Galerie am Landesmuseum Joanneum, Graz, Austrija Produkt Press Art kolekcija, Beograd Interexport, Beograd Dahlia, Beograd Poslovna ukarica, Beograd Grad Beograd, sekretarijat za kulturu skuptine grada Beograda

Bibliografija

Prodanovi M., Slike koje su napustile ram, Knjievne novine br. 749/750, 1. i 15. mart 1988. Maroevi Tonko, Prianje mimo Paetvorina, Danas, 22. mart 1988. uica Nikola, Igor Stepani, Likovni ivot br. 1. april 1988. ubrilo Jasmina, Spomenik, Katedrala, Grad, Student, 24. mart 1988. Blaevi Dunja, Nova umetnost, TV galerija, TV Beograd, 29. februar 1988. Vukovi Dragica, Oblici i Prostor, predgovor u katalogu za izlobu u TKGaleriji, Trieste, mart 1988. Ursini Roberto, Prikaz izlobe u TKGaleriji, Juliet, no.37, jun 1988. Trieste Montenero R., I signali di Stepancic - Il Picolo, 22. mart 1988. Conti Marili, Alla TKG: Igor Stepancic - Il Meridiano, 18. mart 1988. Gruden Barbara, Risbe in glinaste skulpture beograjana Igora Stepania v TKGaleriji, Primorski dnevnik,22. mart 1988. Dr. Wied A. , Tekst u katalogu za izlobu XXIII Internationale Malerwochen in der Steiernmark, Neue Galerie, Graz, septembar 1988. Grohotolsky Ernst, Mot Hang zu Humor und Ironie, Neve Zeit, 24. August 1988, str. 29. Titz Walter, Malerwochen: Locker und Sehr Selbst Bewubt, Neve Zeit, 27. avgust 1988, str. 29.

Kusovac Nikola, Kratko a dobro, Ekspres politika, 9. novembar 1985. Peji Bojana, Prikaz izlobe 10 stolica - Petkom u 22, TV Beograd, 1. novembar 1985. Vukovi Dragica, Crte-Prostor-Objekat, predgovor katalogu izlobe u Galeriji SKC, mart 1986. Blaevi Dunja, TV Galerija - Video produkcija TV Beograd, 22. jun 1986. Henry Clare, Lifes flotsam brings a new dimension to an artists work - Glasgow her-ald, 6. mart 1987. Henry Clare, Scotland-Arts Review, 13. mart 1987. Merenik Lidija, Predgovor u katalogu za izlobu u Salonu Muzeja savremene umetnosti u Beogradu, februar 1988. Vukovi Dragica, Predgovor u katalogu za izlobu u Salonu Muzeja savremene umetnosti u Beogradu, februar 1988. oki Duan, Prepun lonac, Ekspres politika, 17. mart 1988. Vlaji M. , Vano je biti drugaiji, Veernje novosti, februar 1988. Davidov A. , Urbanizam mate, Knjievna re, 10. mart 1988.

Sky Line, 1988, drvo, bakar, akril, 28 x 174 cm; Sky Line, 1988, wood, copper, acryl.

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Platzer Eva, Fleib und Kreativitat, 23. avgust 1988, str. 41. Schwarzbauer Heribert, Frouchtbare Spannungen, Kleine zeitung, 27. avgust 1988, str. 41. Dimitrijevi Branislav , Preoblikovanje okruenja slike, Vidici 261 262, 1989, str. 240, 241 Laki D. , Agresori iz slikanog prostora, Politika, 25. jul 1989, str. 12 Ljubii B. , Agresori iz slikanog prostora, Likovni `ivot, god. II, br. 9., februar 1989. Radenovi Jezdimir, U slikarskom krugu Pariza, Politika, 8. april 1989, str. 12 Lj. M. T. , Iz Pariza u Beograd, Politika Ekspres, 7. jul 1989, str. 11 J. G. S. Zapaeno uee naih, Politika, 16. februar 1989, str. 14 Vukovi V., irenje prostora, Borba, 7. februar 1989, str. 8 V. V. Mladi slikari u Parizu, Borba, 15. februar, 1989, str. 8 M. Vl. Nai u Parizu, Novosti, 15. februar 1989, str. 18 Vukovi Zoran, Tekst prilikom otvaranja izlobe u Galeriji ULUS-a, 17. januar 1992. D. L, Opora poetika, izloba u Galeriji ULUS-a, januar 1992, Politika, 16. januar 1992, str. 18. M. Vlaji , Mladi talas nadire, Veernje Novosti, 20. januar 1992, str. 22.

A. Tima , Neubedljiv koncept, Dnevnik, Novi Sad, 1. februar 1992. Marku Z. , Kolekcija Igora Stepania, Politika, 5. februar 1992, str. 16. uica Nikola, Igor Stepani, Likovni ivot br. 36/37, str. 8 Stanii Gordana, Igor Stepani, Likovni ivot br. 36/37, str. 8 Barievi Snjeana, Tri izlobe u Beogradu, Beogradski vidici 4/92, str. 15 Merdovi Lj. , Konceptualisti u Titogradu, Borba, 3. mart 1992. Beus Zorica, Javno i privatno, Osloboenje, 11. mart 1992. B. A., Ljudi - Raa Todosijevi povodom izlobe Privatno-javno NIN, 1992. Nikevi Nataa, Tronogi ideali, Tribina, mart 1992. Lompar Mladen, Privatno/javno prvi put, 13. mart 1992. Luca Elisabeta, Le variazioni di Stepancic, Trieste Oggi, jul 1992. Mo. F., Sulle orme di Botticelli, il Picolo, jul 1992. Gruden Barbara, Juliet Art Magazine, N. 59, October 92.

Merenik Lidija, Beograd osamdesete, 3. neekspresionizam druge polovine decenije, umetnost i memorija - razliiti pristupi, str. 56 i 58. Prometej, Novi Sad, 1995. Merenik Lidija, Arti - The Serbian Scene, Art in the Eighties and Early Nineties, str. 102, may 1994. Pureevi Danijela, Na iskustvima memorije XIV, Beorama, jul-avgust 1995, str. 50 ubrilo J., Beba isus i mobilni telefon, Naa Borba, 26. jun 1995, dodatak Otkrijte Beograd, str. III Popovi G. , Gozba sa baroknih slika, Politika, 25. juli 1995, str. 18 Radosavljevi D., Nepoznata zbirka poznatog autora, Kvadart, br. 3, 1995. orevi M., Diverzija u muzeju, Politika 30, 31. dec. 1995; 1. i 2. jan. 1996. str. 21. Suboti I., Arti - New Museological Thinking, povodom izlobe Na iskustvima memorije, 2005. st. 160. 174-175.

KADIJEVI ., Predgovor u katalogu 40. Oktobarskog Salona, 1999. Jelisavac Lj., Tekst o izlobi Replay, Repriza, Blic, 24. januar 2002. st 15. Radi N., Tekst u katalogu izlobe PREMOTAVANJE III URBI ET ORBI, Galerija Beograd, Kosaniev venac 19, 2002. st. 3. Vukovi S., Predgovor u katalogu 20 Godina posle...., SKC Galerija, Beograd Ristovi S., Predgovor u katalogu 20 Godina posle...., Muzej u Prijepolju, Prijepolje J. Despotovi, Tekst povodom izlobe 20 Godina posle...., emitovano na III programu Radio Beograda, 28.10.2005 Gavri Zoran, Melanholina sprezzatura Igora Stepania, 2007. Centar za kulturu, Panevo, Galerija savremene umetnosti, Publikum, Beograd.

Fontana, 1988, kamen, akril, 35x30x30 cm; Fountain, 1988, stone, acryl.

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Gavri Zoran, Melanholina sprezzatura Igora Stepania; Igor Stepani - Melancholy Sprezzatura, 2007. Izdava: Centar za kulturu, Panevo, Galerija savremene umetnosti, Publikum, Beograd. 2007. Za izdavaa: Jasmina Veanski Tekst: Zoran Gavri Recenzije: prof. Vasi edomir prof. eli Simeonovi Ivana Prevod na engleski; Translation into english: Vasi Barbara Fotografija; Photoes by: Popovi Vlada Deli Vladan Igor Stepani Duko ivanovi Trtica Zoran Branko Pelinovi Grafiko oblikovanje; Design: BluePrint tampa; Printed by: Publikum Tira;Print run: 500

Igor Stepani Adresa M. Jevrosime 35 11000 Beograd Srbija E-mail: igor@blueprint.co.yu URL: www.blueprintit.com/igor