Intervju / Intervi ew Art » Umetnost | 23 22 | Umetnost » Art pojednostavljujepristupačnost tom mediju ga verovatno vodi na razne strane, ali dobra fotografija, kao i dobra slika, nešto je što jednostavno ima svoje parametre ma koliko se tehnologija pomerala. Tehnologija se menja, ali iskonska pitanja ostaju ista. Na koja se pitanja kao umetnik trenutno trudite da odgovorite? – Apsolutno, ali ne treba upasti u klopku tehnologije imisliti da je ona sama po sebi napredak i da sve rešava kad je umetnost u pitanju jer to može biti vrlo klimavo i kratkotrajno. Ono što treba raditi jeste da se u datom trenutku i na datommestu odgovara na ključna pitanja tog vremena adekvatnim alatima jer se tako ujedno ostaje savremen i dugotrajan. Ta pitanja suuvek ista otkad čovečanstvo postoji, a to su: ko smo, zašto smo tu i kuda idemo. Da li i dalje koristite analogni foto-aparat? Šta danas fascinira ili okupira vaše oko? –Ne, nisamnostalgičan u tom pogledu: koristimono što svi drugi koriste, a to su ili digitalni foto-aparati kad treba ili kamere u telefonima. Moje oko još funkcioniše po istom principu, a to je da nađem nešto što privuče moju pažnju, od banalnih do čudnih stvari, tako da nastavljam sa tom mentalnom sklopkom, ali uz novu tehnologiju. Kojim projektima ste trenutno okupirani i da li planirate izložbu u Beogradu ili Parizu? – Planiram za proleće četiri izložbe u Beogradu, koje će biti otvorene istog dana, ali na četiri lokacije, tako da će posetioci moći daod jednogprostoradodrugogvide nove cikluse slika i crteža na kojima samradio poslednjih godina, kao i nove instalacije u prostoru. Zašto volite Pariz i koja tri manje poznata mesta (a vama draga i zanimljiva) biste preporučili u tom gradu? – U Parizu sam bio ceo život, tako da teško da mogu da izdvojim nešto što ne bi bilo poznato jer je ipak to grad koji je svetski centar turizma. Ono što me lično spaja sa njim su krajevi u kojima sam odrastao i u kojima sam najviše živeo, studirao, šetao ili proveo vremena, a to suMarej, Latinski kvart, Sen Žermen... Najčešće krenem u šetnju i ulazim u galerije i muzeje da vidim šta se dešava. To je ono što obeležava interes i moju vezu sa jednimgradom, naročito kad je Pariz u pitanju, gde toga ima, kao što znamo, mnogo. Ono što bih preporučio je da se krene kroz grad kako bi se osetila njegov energija, to je nešto što funkcioniše za bilo koje mesto na planeti, jer samo kad shvatite celinu i raznovrsnost jednog grada, možete stvarno da ga doživite kako treba. Koji grad smatrate najviše svojim, a gde ste najviše zbog posla? –Pariz i Beograd jesumoji gradovi jer samnajviše vezan za njih, ali mislim da svako ko je malo putovao imaneku ličnumentalnu i fizičku topografiju i geografiju kroz koju se u svakom gradu izdvajaju krajevi, ulice, ćoškovi, prostori gde se osećate na svom. Moj posao je vezan za prostor u kome radim i stvaram. To je trenutno više Beograd, dugo je bio Pariz, a za budućnost ćemo videti... Volite li da letite? Kako se osećate u avionima Er Srbije? – Letim otkad sam se rodio i to mi je uvek bilo drago, kao neki specifičan momenat van gravitacije. Iako se putovanje avionom dosta promenilo, osećaj je uvek isti kad letite iznad oblaka. Nekako se avioni nisu mnogo promenili otkad sam prvi put leteo njima, pa sve do danas i kad prolazim pored Muzeja avijacije, pored Aerodroma „Nikola Tesla“, vidim „Jatovu“ karavelu u kojoj znam da sam bio, sve do konkorda koji stoji pored Aerodorma „Šarl de Gol“ i kojim sam jednom leteo. Tako da imam svoju ličnu istoriju avijacije koja me prati od jedne do druge tačke kad su Pariz i Beograd u pitanju i drago mi je što Er Srbija danas nastavlja sa tom dugom tradicijom jer je kod nas vazduhoplovstvo vrlo rano bilo deo razvoja društva i način da naša zemlja bude povezana sa celim svetom. Do you like to fly? Howdo you feel aboardAir Serbia planes? “I’ve been flying since I was born and that’s always been precious to me as some specific moment beyond the confines of gravity. Although air travel has changed a lot, the feeling is always the same when flying above the clouds. Somehow the planes themselves haven’t changed much since I first started flying, and when I pass by the aviation museum that’s located alongside Nikola Tesla Airport I see JAT's Caravelle, which I know I flew aboard all the way to the Concorde that stands alongside Charles de Gaulle airport, which I once had the privilege of flying on. So, I have my own personal history of aviation that follows me from one point to the other when it comes to Paris and Belgrade, and I’m glad that Air Serbia is today continuing that long tradition, because aviation was part of the development of society in our country from a very early stage and provided a way for our country to be connected with the entire world.” Pariz i Beograd jesumoji gradovi jer samnajviše vezan za njih Paris andBelgrade aremy cities because I’mconnected to themthemost Hisworksareengaging andoftenawashwithhistoricalreferences,whilehis vision of art is often controversial. And that also describes the book recently published byMascom: Weird World presents discarded analogue photographs that were created over the course of years and were initially considered “bad”. For Vidor, as an artist, they provided a way of fixing time and creatingmemories, as well as helping him in his work on paintings, drawings or installations... The photographs included in the book Weird World show different people, self-portraits, places from around Vuk V i dor , art i st Welcome to theWeirdWorld Vidor took analogue photographs shot using a camera and unified them in an authentic visual book that he uses to reexamine the reality of the contemporary moment, digitally filtered fake pictures and scenes of the world and the people in it the world, recounting stories etc. How long was the period in which they were created and how did you select them? “All thephotographs inthebook are analogue,whichmeans that they weretakenintheperiodfromthe ‘90s until 2004, when I started shooting photos with small digital cameras. Thebookwasconceivedasacompilationofphotos thatwereclassified, accordingtothephotolabs thatprinted them, as beingof poor quality, incorrectlyframed,outof focus, andwhich were thus rejected or excluded from invoicing. I started compiling them withtheideathat,whenIhadenough of them, I wouldmake some kind of conglomerationthatwouldretrospectivelypresent theworld fromadislocated perspective; a world in which everythingthat’saccidental or imperfect actuallybecomesmore real than somethingthat’sbeenposedandembellished.Thatso-called“weirdworld” is actually the real world.” You live between Belgrade and Paris. In your opinion, what are the similarities and differences between these cities in the context of your photographs, and in the context of then and now. What has changed? “Forme, photographyservesasa waytorecordmomentsforthefuture. Photographs provide the basis for a relationshipwiththepast, because it is throughthemthatwe createa connection with that past and with the personal creation of our own history, either with or without nostalgia. Both cities have naturally changed, although theyhadcompletelydifferent paths. Photographyoftenserves to idealise, especially when it comes tocities,andthatsometimesconflicts withpersonal experiences that aren’t always ideal. If you view the world through the prism of these photographs, it isn’t always clear where they were shot, other than when something is written, but what unifies them is that certain dose of brutality. Despite everything changing rapidly, thatbrutalityalwaysremains. Everywhere.”
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