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Šta vam je na umu
/ What’s on your mind
Aleksa Gajić:
RENESANSA AUTORA
Aleksa Gajić spada među najta-
lentovanije srpske strip autore mlađe
generacije. Autor je i prvog srpskog
dugometražnog animiranog filma
„Technotise – Edit i ja“. Na početku,
američki strip imalo je najveći uticaj
na njega. Dok je boravio u Francu-
skoj, upoznao se sa evropskim i ja-
panskim stripom, što ga je inspirisalo
da napravi popularna strip izdanja Le fléau des dieux i Technotise.
O srpskom stripu kaže:
– U Srbiji je trend suprotnan tržišnoj ekonomiji: što se strip manje
traži, njega je više. Pre desetak godina veliki broj domaćih autora sklapao
je ugovore sa stranim izdavačima komercijalnih stripova. Danas se au-
torski orijentisani crtači, oslonjeni isključivo na entuzijazam i želju da daju
najbolje od sebe, pojavljuju na sceni.
– Danas živimo u svetu megaprodukcije. Nikad nije bilo teže skrenuti
pažnju i prodati nešto. Ali svaka komercijalna produkcija, nekad je bila
najavangardniji eksperiment. To je pogonsko gorivo za ljude koji se bave
umetnošću zbog umetnosti.
e
Aleksa Gajić:
RENAISSANCE OF THE AUTHOR
Aleksa Gajić is among the most talented Serbian comic book
artists of the younger generation. Gajić is the author of the first Serbian
animated feature film ”Technotise Technotise - Edit and I”. American
comic books initially had the biggest influence on him. However, while
in France he became familiar with European and Japanese comics,
which inspired him to create the popular comics Le Fléau des Dieux and
Technotise.
Speaking about Serbian comics, he says:
- In Serbia the trend contradicts the market economy: the less
comics are sought, the more there are. Around ten years ago a large
number of local artists made agreements with foreign publishers of
commercial comics. Today the orientation of comic strip authors, who
rely solely on enthusiasm and the desire to give their best, appear on the
scene.
- Today we live in a world of mega-productions. It’s never been
more difficult to attract interest and sell something, but every commercial
production was once the most avant-garde experiment. That is fuel for
people involved in art for art’s sake.
bije. Zoran Janjetov, Aleksa Ga-
jić, Dražen Kovačević, Bojan Ko-
vačević, Rajko Milošević Gera,
Miroljub Milutinović Brada, Mi-
lan Jovanović, i mnogi drugi,
poznate su ličnosti na međuna-
rodnoj sceni. Neki od njih su,
koristeći nove tehnologije, stri-
pove podigli na viši nivo.
– Velika je stvar kada jed-
na mala zemlja ima preko tride-
set crtača koji rade za francusko,
belgijsko i italijansko tržište, a
odskora i za američko – kaže je-
dan od najznačajnijih srpskih
strip umetnika, ilustrator i peda-
gog Vladimir Vesović. – Broj ta-
lenata koje imamo proistekao
je iz duge tradicije jugosloven-
skog i srpskog stripa. Zlatne go-
dine sedamdesetih i osamdese-
tih ne mogu se ponoviti, ali kva-
litet nastao u to vreme stvorio
je generaciju koja se angažuje u
inostranstvu jer izdavaštvo u Sr-
biji nema kapacitet da ih prati.
Strip u Francuskoj ima pod-
jednak status kao književnost.
Crtači iz Beograda tamo su na-
šli prostor za stvaranje. Fran-
cusko ministarstvo kulture ima
važnu ulogu u podržavanju stri-
pa, kao umetnosti, ali i veoma
profitabilne privredne grane.
– Francusko-belgijska strip
scena je izuzetno jaka. Veliki
izdavači su osetili potrebu da
osveže scenu novim autorima –
nastavlja Vesović. – Shvatili su
da je Balkan i eks-Jugoslavija
plodno tlo i da tu mogu da nađu
mnogo talentovanih mladih lju-
e
significant mark on the Eu-
ropean comic scene. However,
their creations are mainly pub-
lished outside Serbia. Zoran
Janjetov, Aleksa Gajić, Dražen
Kovačević, Bojan Kovačević,
Rajko Milošević Gera, Mi-
roljub Milutinović Brada, Milan
Jovanović and many others are
all well-known figures on the in-
ternational scene. Some of them
have even utilised new technolo-
gies to take their comic strips to
a higher level.
- It’s a great thing when a
small country has over thirty art-
ists working for the French, Bel-
gian and Italian markets, and
more recently also for the Amer-
ican market – says one of the
most important Serbian com-
ic artists, illustrator and teacher
Vladimir Vesović. – The number
of talented artists we possess
have emerged from the long tra-
dition of Yugoslav and Serbian
comics. The golden years of the
seventies and eighties cannot
be repeated, but the quality that
emerged during that time has
created a generation that is en-
gaged abroad, as the publishing
scene in Serbia has no capacity
to cater for them.
Comic strip art enjoys equal
status with literature in France.
There comic artists from Bel-
grade found the space to cre-
ate. The French Ministry of Cul-
ture plays an important role in
supporting comics, both as an
art form and as a very profitable
branch of industry.
- The Franco-Belgian comic
strip scene is extremely strong.
Major publishers felt the need to
reinvigorate the scene with new
authors – continues Vesović. –
They realised that the Balkans
and the former Yugoslavia
