Milija Pavićević
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Galerija Atelje DA DO2002–2012 NARODNI MUZEJ CRNE GORE ATELJE DADO Cetinje, April 2012. Izdavač | Publisher Narodni muzej Crne Gore Za izdavača | For the publisher Pavle Pejović Urednik | Editor Mirjana Dabović Pejović Uvodni tekstovi | Introductory texts Petar Ćuković Mirjana Dabović Pejović Prevodioci | Interpreters Olivera Kusovac Jelena Stanovnik Srđan Vujica Goran i Myra Poznanović Fotografija | Photo Lazar Pejović Dizajn i priprema | Design and Preprees Branka Vujović Štampa | Print DPC-Podgorica Grafotisak Tiraž | Circulation 500 Sadržaj | Contents Petar Ćuković 4-7 Atelje DADO – sjećanje na početke | DADO Atelier – Memories of the Beginnings Mirjana Dabović Pejović 8-10 Atelje DADO – prvih deset godina | DADO Atelier – The First Ten Years 11-20 2002. 21-28 2003. 29-38 2004. 39-64 2005. 65-80 2006. 81-96 2007. 97-118 2008. 119-148 2009. 149-176 2010. 177-205 2011. 206-216 Biografije | Biographies PETAR ĆUKOVIĆ Atelje DADO – sjećanje na početke DADO Atelier – Memories of the Beginnings Skupština opštine Cetinje donijela je 1988. godine In 1988, the Local Assembly of Cetinje made a odluku da se objekat poznat kao Kuća Matanovića uredi decision for the building referred to as the Matanović kao atelje i dodijeli na korišćenje Dadu Đurići. Odluka House to be converted into an atelier and given to Dado je bez sumnje bila potpuno opravdana i svakako je bila Đurić to use it. Driven both by the wish for Dado’s native motivisana kako težnjom da se Dadov rodni grad na town to repay its debt to one of its renown persons, neki način oduži jednom od svojih slavnih sinova, tako i and the wish to motivate Dado to spend more time in željom da se, preko ateljea koji bi mu bio na raspolaganju, Cetinje, the decision was undoubtedly entirely justified. sam Dado možda dodatno motiviše da na Cetinju i češće The debt, we may say, was repaid at least to some extent, boravi. Dug je, reklo bi se, bar donekle, i bio ispunjen, ali but the natural desire to see more of the artist in his razumljiva želja da umjetnik češće boravi u svome gradu, own town was not fulfilled. Whoever really knew Dado nije. Svako ko je bolje poznavao Dada znao je da ga was aware that worldly goods, the comfort of an atelier ovozemaljska dobra, ateljeski komfor i slične stvari nijesu and the like, did not arouse great interest in the artist mnogo zanimale - niti su ga mogle promijeniti, niti pak – nor could they change him or influence the change uticati na promjenu sopstvenih unutrašnjih umjetničkih of his own inner art itinerary, mostly linked to the itinerera, uglavnom povezanih sa odabranim fizičkim self-imposed physical isolation and the tranquillity of samotnjaštvom i mirom Eruvala u Francuskoj. Atelje na Herouval, France. Lacking the suitable infrastructure, Cetinju, bez odgovarajuće infrastrukture, posebno bez especially the heating system, the atelier was rapidly riješenog sistema zagrijavanja brzo je propadao. Umjetnik falling into disrepair. In fact, in it, the artist performed je u njemu zapravo izveo samo jednu, doduše hvale only one action, a praiseworthy one though: within the vrijednu akciju: u sklopu Prvog cetinjskog bijenala, 1991, First Cetinje Biennial, in 1991 he created what he called napravio je, prema sopstvenim riječima „antimuzej“, an “anti-museum”, a kind of ambiental installation, neku vrstu ambijentalne instalacije, posvećene Danilu dedicated to Danilo Kiš. This installation, too, seemed to Kišu. I ta instalacija kao da je dijelila sudbinu samog share the fate of the atelier itself, falling gradually into utter ateljea, vremenom je skoro sasvim propala – tek neki disrepair: it is only some parts of it that later, towards the njeni djelovi su kasnije, krajem 2002, iskorišćeni za end of 2002, were used for a permanent display of Dado’s stalnu postavku Dadovih radova u sklopu Umjetni- works in the Art Museum of the National Museum of čkog muzeja u Narodnom muzeju Crne Gore. Ni Milija Montenegro. Milija Pavićević, who Dado had given the Pavićević, kojemu je Dado dao ključeve od ateljea da permission to use the atelier, did not have much “luck” ga koristi, nije sa njim imao mnogo „sreće“: u vrijeme with it either: while using the atelier, Milija created his kada ga je koristio, radio je svoje „geometrijske“ radove, “geometrical” works, some of which dilapidated due to od kojih su neki, usljed surovih uslova u ateljeu (strašna the harsh conditions in the atelier (extreme moisture and cetinjska vlaga i zima) sasvim propali. cold typical of Cetinje). Atelje je, u svakom slučaju, bio zreo za sanaciju. Kako The Atelier was undoubtedly ripe for reconstru- su oko 2000. godine u Narodnom muzeju bili u toku ction. Since somewhere around 2000 the construction veliki radovi na izgradnji i obnovi njegove infrastrukture, and renovation of the infrastructure in the National pomislio sam da bi obnovljeni Dadov atelje na neki način Museum were under way, it occurred to me that the mogao postati dio sistema Narodnog muzeja. renovated Dado Atelier could become part of the National Museum. It seemed to me that the arguments Činilo mi se da su argumenti za takvu ideju bili for such an idea were in fact “irrefutable”: as a large zapravo „neoborivi“: kao veliki sistem, matična muzejska system, central museum institution in the country, ustanova u zemlji, Narodni muzej je po prirodi stvari the National Museum is by nature a “slow” institution „spora“ institucija, koja se bavi temeljnim muzejskim dealing with fundamental museum historicizing, and istorizacijama, a ova njegova nova radna jedinica mogla this new unit with its activities might, at least to some bi da mu, svojim aktivnostima, bar djelimice donese, extent, enhance the lacking “speed” in the best sense of u najboljem smislu riječi, nedostajuću „brzinu“. Ideja the word. The idea implied shifting the function of the je podrazumijevala i izvjesnu korekciju namjene: atelje atelier: it would no longer be the artist’s atelier but an više ne bi formalno bio Dadov atelje, već atelje koji nosi atelier bearing his name. I held that this was not to be a njegovo ime. Računao sam da to ne bi trebalo da bude problem for anyone, Dado in the first place. In practical sporno ni za koga, a prije svega ne za samog Dada. I u terms, even though in cases like this he did not have to pragmatičnom smislu, iako on u ovakvim slučajevima be the major issue, the idea was more than justified: in ne mora da bude najvažniji, ideja je bila više nego fact, during his visits to Montenegro and Cetinje, Dado opravdana: naime, kad god bi boravio u Crnoj Gori, was to be allowed to use the atelier as if its status had odnosno na Cetinju, Dado bi, normalno, i sam mogao remained the same. On the other hand, designed as a da koristi atelje, kao da se u statusnom smislu ništa combination of a modern studio and a gallery, with a nice nije ni promijenilo. Sa druge strane, rekonstruisani and very comfortable apartment where artists could stay atelje, zamišljen kao kombinacija modernog studija i on the well-known artist in residence principle (including galerije, sa uređenim, veoma uslovnim apartrmanom, other guests of the National Museum as needed), the u kojem bi prevashodno umjetnici mogli da borave, reconstructed atelier would enable dynamic cultural po poznatom sistemu artist in residence, (a po potrebi activities throughout the year. These activities would i svi drugi gosti Narodnog muzeja), omogućio bi primarily be focused on thematization, presentation and dinamične kulturne aktivnosti tokom cijele godine. affirmation of critical art and other cultural practices, Ove bi aktivnosti prije svega bile usmjerene prema which was supposed to target younger art and cultural tematizacijama, sagledavanju i afirmisanju kritičkih community. This was to reinforce the symbolic name of umjetničkih i drugih socio-kulturnih praksa, što bi the institution, too: “Dado Atelier” was to follow the best posebno trebalo da bude upućeno mlađoj umjetničko- tradition of the artist who it was named after – defying kulturnoj zajednici. Na taj bi način i simbolika imena comfort and opportunism, to go for one’s own star, despite nove institucije, bila zaokružena: „Atelje Dado“ zapravo the thorny path! bi trebalo da slijedi najbolju tradiciju onoga od kojega My idea met with immediate approval by the Prime je i pozajmio ime – s onu stranu svake lagodnosti, Minister, Milo Đukanović, as the atelier was to be financed daleko od svakog oportunizma, uprkos trnju, uvijek ići by the Government; also, the approval of the Mayor of za vlastitom zvijezdom! Cetinje, Milovan Janković, ensued soon. Understandably, Za ovu ideju, odmah sam dobio podršku ondašnjeg the main “agreement” was to be made with Dado himself. premijera Mila Đukanovića, budući da je Vlada trebalo I travelled to Herouval to visit him, in order to present my da finansira rekonstrukciju ateljea, potom i saglasnost arguments. No sooner had I started to “lament” over the gradonačelnika Cetinja Milovana Jankovića. decrepit atelier than he, ignorant of my ultimate motive, interrupted me saying: “I’ll do it!” He uttered these Glavni „dogovor“, razumije se, valjalo je postići sa words swiftly, lightly and briskly, slightly resembling a Dadom. Otputovao sam kod njega u Eruval sa namjerom child “making excuses”, but, knowing Dado, much more da mu izložim svoje argumente. Tek što sam počeo da expressing a wish to put the issue of the pragmatic mind „jadikujem“ nad ruiniranim ateljeom, ne znajući za moje in the archives. Anyway, there was absolutely no doubt krajnje motive, prekinuo me je upadicom: „urediću ja that he himself did not, and why would he, believe in to!“. Izgovorio je to s karakterističnom brzinom, lakoćom his own words. I continued, as well as I could, with the i odsječnošću, što je pomalo ličilo na dijete koje se arguments in favour of the new purpose of the atelier.