Dragan Papić
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Unutrašnji muzej, 1993-2006 | Inner Museum, 1993-2006


Born in 1952 in Belgrade.
Lives and works in Belgrade.

seecult.org/v-web/gallery/DraganPapic

Inner Museum, 1993-2006

In the beginning, there was photography. From it, as if from accumulated memory, Dragan Papić has found another trajectory. He calls his dedication of many years, turned into a passion for collecting signs of the past and remnants of dialogue between men and objects, “The Inner Museum”, “inner space”.

What binds him to Leonid Šejka is a childishly voyeuristic monitoring of the early Medijala-related painting and copying (the “officers’ building” at no. 2a, Bledska Street), as well as a spiritual brotherhood in seeing modern civilisation as the Great Rubbish Dump of ideas, everyday waste, the piling up of useless objects full of evocative meanings, the production of boundless Evil or the thin lines separating/connecting the executioner and the victim.
Dragan Papić categorises his objects, artefacts, installations or accumulations, ready-mades, assemblages or agglomerations, as “pop-conceptualism” or “conceptual Medijala” filled with meaning, without neutral rhetoric: it appears that life has never tricked art in this way. Or the other way round…

The riches of Dragan Papić is made up of recycled objects “from the Rubbish Dump”, from the garbage container – tens of thousands of objects delivered to him by, as he calls them, real historians, collectors and keepers of discarded memories, erased remembrances – Roma families that deny poverty as a category of our contemporary life, developing, together with him, his museum whose Orwellian credo is Freedom is slavery, that is to say, Slavery is freedom.

Embracing a land that is disappearing, not missing a single inch, without any selection or priorities – whatever is found, whatever exists, being a slave to the freedom of taste, knowledge, origin – and then making chess combinations (which the artist calls fusions), connecting and offering meanings, changing and actualising them, always having ready answers to challenges that only life can think up.

The art of life and the life of art are on the same pedestal of thought and emotion, irony and genuine pity, laughter and tears, the truth that hurts and stupidity that paralyses us (where they belong and where we least expect them).

The museum and the picturesque figure of Dragan Papić make a whole: a Bakhtin-like painful smile of joy; real time is embalmed; the mystic and the elusive go hand in hand with the pragmatic, which is not either. Or with the sentimental, whose survival on the artistic map of absolute negation he has won. It is as if all the follies and the roughness of this world have been joined together on a single stage, without time, nations, religion or geography…

Irina Subotić

From the text Dragan Papić – A lone artist? An artist of our consciousness? Or art from the garbage container

Rođen 1952. godine.
Živi i radi u Beogradu.

seecult.org/v-web/gallery/DraganPapic

Unutrašnji muzej, 1993-2006.

Na početku je bila fotografija. Iz nje, kao naslagane memorije, Dragan Papić je pronašao i drugu putanju. Svoju dugogodišnju, u strast preraslu, posvećenost sakupljanju belega prošlosti i ostataka dijaloga izmedju ljudi i predmeta, on naziva “Unutrašnjim muzejom”, “inner space-om”.

Za Leonida Šejku ga vezuje detinje voajersko praćenje prvih medialističkih slikanja i preslikavanja (“Oficirska zgrada” u Bledskoj 2a), ali i duhovno bratstvo u suštinskom poimanju moderne civilizacije kao Velikog Đubrišta ideja, otpadaka svakidašnjice, nagomilavanja bespotrebnih predmeta punih evokativnih značenja, proizvodnje neizmernog Zla, ili tananih linija razdvajanja/spajanja dželata i žrtve.

Svoje objekte, artefakte, instalacije, ili akumulacije, ready made-ove, asamblaže, ili aglomeraže, Dragan Papić svrstava u “pop-konceptualizam”, ili “konceptualnu Medijalu” nabijenu značenjem, bez neutralne retorike: čini se da život nikada nije tako doskočio umetnosti. Ili obrnuto…

Bogatstvo Dragana Papića čine reciklirani predmeti “sa Đubrišta”, iz kontejnera – desetine hiljada predmeta koje mu dostavljaju “istinski istoričari, sakupljači i čuvari odbačenih uspomena, izbrisanih sećanja”,kako ih on naziva – romske porodice koje negiraju siromaštvo kao kategoriju našeg savremenog života gradeći, sa njim samim, njegov muzej, čiji je orvelovski credo:Sloboda je ropstvo”, tačnije, “Ropstvo je sloboda”.

Obgrliti zemlju koja nestaje, ne propustiti nijedan pedalj, bez selekcije, bez prioriteta – sve što se nađe, sve što postoji, robovati slobodi ukusa, znanja, porekla – a onda praviti šahovske kombinacije (koje umetnik naziva fuzijama), spajati i nuditi značenja, menjati ih i aktuelizovati, imati uvek spremne odgovore na izazove koje samo život može da smisli.

Umetnost života i život umetnosti su na istom pijedestalu sa mišlju i emocijom, ironijom i iskrenim sažaljenjem, smehom i plačem, sa istinom koja boli i glupošću koja nas parališe (tamo gde im je mesto, i tamo gde ih najmanje očekujemo).

Dragan Papić čini jedinstvo sa svojim muzejom i svojom pitoresknom pojavom: bahtinovski bolan smešak uživanja; realno vreme je balzamovano; mistično i neuhvatljivo idu, ruku pod ruku, sa pragmatičnim koje to nije. Ili sa sentimentalnim za koje se izborio da opstane na umetničkoj karti apsolutne negacije. Kao da su sve ludosti i sve grubosti ovoga sveta sklopljenje na jednoj istoj pozornici, bez vremena i nacija, bez religija i geografije...

Irina Subotić

Preuzeto iz teksta Dragan Papić – Umetnik samotnjak? Umetnik naše svesti? Ili Umetnost iz kontejnera