Vuk Vidor, the visual artist summarizes the impressions of the “20,000 days on Earth” art setting and analyzes the position of this type of artistic expression in local and world contexts
“20,000 days on Earth” is an art setting that unites the creation of Vuk Vidor, who was destined for great works so far. Mostly in two ways – with his origin and talent. The son of the famous Vladimir Velickovic has chosen a specific visual expression and achieved much on that path.
For starters, what is your experience of our art scene in relation to your experience so far?
It is diverse and rich. Underestimated and inventive. There are great talents from different generations and expressions. Visual art is the strongest and most profitable branch of culture and creativity everywhere in the world. This idea is just coming to us now, and some are looking at it with suspicion, which is absurd, because visual artists need as strong a frame as possible to support those who get on this thorny path in an optimal way.
We are lacking the perception that art is culturally and socially important and relevant. But it seems like a lot is changing, and it’s fast. What is needed now is the affirmation of our scene on the world stage, and it must be a layered action in which everyone participates, which is by far our hardest thing…
The “20,000 Days on Earth” exhibition is approaching its finish. Do you already have an impression of how visitors experienced it?
The exhibition is likely to be extended, but what seems to me to be the strongest impression; even though the exhibition is colorful and diverse, which was the idea, it achieves to capture the full range of my work and create in the process, perhaps in a unique way, a true picture of what I do; and it is mostly the impressions and comments I have received from people who, whether familiar with what I am creating or not, were able to see all the work in one place for the first time.
The monumentality of the space, which inspired the whole concept of the exhibition and its organization around the rooms, required that each of them be presented with a defined project or type of work, so these were mostly large-format images or large installations of multimedia nature. When the whole exhibition is seen, the visitor receives a large amount of information and visual stimulus that he might not have expected at the beginning. However, it seems to me that such impressions were largely due to the fact that no one really knew what he was expecting in each of those rooms.
How does an artist feel when he creates a retrospective of his work? Does this inevitably resemble an encounter with yourself in a past time, with the preoccupations and thoughts that occupied the artist at that moment?
It seems to me that my impulses and what drives me to do what I do, always come in the same way and from the same place; only the results are diverse and maybe they take on technically different forms over time, improve, get on complexity or simplicity, but all in all, when you have an accumulation of so many works and an intersection for so many years, you somehow try to align everything and that everything has the same value, at least to me, as that everything has been done in one and the same period, which leads to the presentation of all these works in one place at a given moment.
It’s like one big fragmented mirror that I turn to people now. For me, dealing with this business is about dealing with myself on the one hand and the world around us on the other, so it is inevitable that when you have so much works, that feeling is somehow enlarged and as important or relevant as it can be on the other hand, a total failure.
Do artists have a clear agenda, or is it a matter of inspiration, or does it vary from creator to creator? More precisely, do you know what you will do in the upcoming period?
There is a list of projects and works that I want to do that are always in the gap with time. Because it is easier to visualize projects than to realize them; that is why drawing and painting is something that is the basis and simply part of the discipline through which new ideas and new projects are subsequently created. I think inspiration is the result of practice, because as you work you open up new opportunities. It is a process that must be maintained at all times and it is the challenge of dealing with this business. Essentially it’s not a job it’s a way of life.
How do you feel about the upcoming exhibition dedicated to the anniversary of your father Vladimir Velickovic Foundation?
The Vladimir Velickovic Foundation is awarding young artists involved in drawing and this exhibition marks the first 10 years; it is up to us now to continue that tradition, for that award to continue to exist, which will be the case, possibly with some modifications, but for the same purpose, which is to support our artists and promote their work in the best way.