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HRVATSKA AKADEMIJA ZNANOSTI I UMJETNOSTI RAZRED ZA LIKOVNE UMJETNOSTI ARHIV ZA LIKOVNE UMJETNOSTI ART BULLETIN 63 (2013

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THE CROATIAN ACADEMY OF SCIENCES AND ARTS THE DEPARTMENT OF FINE ARTS THE FINE ARTS ARCHIVES ART BULLETIN 63 (2013)

Esej Đuro Seder Redoviti član Hrvatske akademije znanosti i umjetnosti Nemogućnost i mogućnost slike

Essay Đuro Seder
Fellow of the Croatian Academy of Sciences and Arts

The Impossibility and Possibility of Painting

Autor u prvom dijelu eseja – NEMOGUĆNOST SLIKE meditira o neodoljivom iskušenju nalaženja granične mogućnosti slikarstva i sagledavanja nemogućnosti slike. Nakon saznanja i da su čovjek i stvari izgubile svoje razloge da budu naslikane, zaključuje da je čovjekov trag prisutan u svakom gubljenju: od euforične čulnosti do samozatajnog vakuma U drugom dijelu – MOGUĆNOST SLIKE – autor se vraća radosti slikanja i poručuje: glasam za slikarstvo koje bi značilo jednu afirmativnu i spontanu MOGUĆNOST SLIKE danas, skeptičnoj i defetističkoj NEMOGUĆNOSTI SLIKE usprkos. Ključne riječi: nemogućnost i mogućnost slike.

In the first part of his essay – The Impossibility of Painting – the author meditates on the irresistible experience of finding the fringe possibilities of painting and comprehending the impossibilities of painting. After the realisation that there is no longer a reason to paint either man or things, it is concluded that man’s trace is present in every loss: from euphoric sensuality to the selfdenying vaccum. In the second part of the essay – The Possibility of Painting – the author returns to the joys of painting, stating: I vote for painting that means the affirmative and spontaneous POSSIBILITY OF PAINTING today, in spite of the sceptical and defeatist IMPOSSIBILITY OF PAINTING. Key words: impossibilities and possibilities of painting.

Stvari su zaboravile razloge da budu za sliku. My notes record those most intimate things preceding the act. s jedinom „temom“ bez dna svoje gluhoće.. At the beginning was the fascination. A general sense of ‘misery’. Zapisao sam: Propadanje „motiva“ u bezvrijednost. All anonymous. Od nje. Emptiness glared at me with ever-greater insistency. Osnovno osjećanje bijede.. rubom slikarstva. Kao da je svijet zastao negdje na pola puta do slikarskog stalka. Better writers are already doing this. U početku bijaše opčinjenost. Otvore se vrata veče bez pozdrava uđe bez darova.. the happy thirst. The indescribable precariousness of all ‘reality’ used as a pretext for painting. i svaka pustolovina. svoje predstavljanje. after all. the background of an attempt to paint. But this very emptiness attracted me. zabilježio sam: Ono „preko“ ili „iza“ slikarstva ništi razloge slikarstva. Then. Nijeme šupljine. str. što bi podnijela svu spriječenost i svu slutnju svijeta. systematically matching the inexhaustible number of forms with equally inexhaustible interpretations. o pozadini jednog pokušaja slikarstva. The world seemed to be arrested halfway between painter and easel. . enduring in silence. Which. bez „sadržaja“. napokon. An unexpected discord crept between the hand and the canvas. Premda bilješke slikara. s jedinom stvarnošću sebe same. ove bilješke svjedoče tek o udjelu u zajedničkom iskustvu famozne „krize“. teške. things gradually began losing weight. A dead brother. fragmenti bez imena.. Ima pozvanijih koji to čine sustavno. nemoguća uostalom. on the borderlines of painting. Mrtvi brat. they testify to my participation in the general and notorious “crisis”. sve posvema ispražnjeno. And so on. all completely emptied out. of their representation. Događalo se sve. sretna žeđ. „Ništa“ jede sliku. Iskusivši prvu jalovost.. Zapisao sam: Sve vrste praznih prostora. ogoljela mjesta. ad nauseam. Potom. Neopisiva efemernost bilo kojeg „stvarnog“ kao preteksta za sliku. bare areas. It all happened.. Things forgot the reasons to be in a painting. was the source of the adventure. Ovdje je riječ o onom intimnom što prethodi činu.. ne određeno crna. 5-19 6 . Nevažne kao zapis o tom pokušaju. Do gađenja. Nedostatnost vidljive predmetnosti da podnese sebe u slici. These are a painter’s notes. Sve glasnije prazno ispriječilo se pred očima. Unimportant as a record of the attempt in itself. što šutnjom traju.” I wrote: “All kinds of empty spaces. ne bijela. – Jedna jedina uzbudljiva vizija SLIKE: bezbojna ploča. zapravo. ove rečenice ne žele govoriti o svijetu oblika.. To isto prazno privlačilo je.One single exciting vision of PAINTING: a colourless art BULLETIN 63 (2013). Nešto kao „totalna“ slika.. stvari su neprimjetno počele gubiti težinu.. Zamagljena stakla što ne uzvraćaju lik. nameless fragments. I wrote: “The decline of the ‘motif’ into worthlessness.MOGUĆNOST SLIKE Blagost poželjeh. Je li moguće oblikovati Ništa? THE POSSIBILITY OF PAINTING I wished for kindness. The door opened the evening entered with no greeting with no gifts. in fact. Neiscrpnosti oblika uzvraćaju neiscrpnošću objašnjenja. Sve bezimeno. Dumb cavities. Opaque glass surfaces giving no reflection. dimljivo nejasna. but they are not an attempt to deal with the world of forms. Neočekivani razdor ušuljao se između ruke i platna. The inability of visible objects to carry the burden of their presence in the painting.

Composition.Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting Kompozicija. 1961 7 . 1961.

art BULLETIN 63 (2013). 1964. str. 1964 8 . 5-19 Kompozicija. Composition.

jer suvišnim postade gotovo sve. ‘The Void’ is devouring the image. Mučno bijaše. As if Fontana’s cut through the surface was nothing but the passage from the two-dimensional plane to the real three-dimensional space outside the painting. Kazati – pretpostavlja riječ. Želio sam je. Kao da Fontanin rez kroz površinu platna nije ništa drugo do prodor iz dvodimenzionalne plohe u trodimenzionalni stvarni prostor oko slike. Jedva bi spašen poneki svjetliji trag. that gaping emptiness behind things. Prekoračiti granicu. termin „spacijalizam“ poklapa se s fizičkom činjenicom prodora u prostor. Representing what? All my efforts (absurd in any case) centred on the attempt to grasp that hollowness. To say posits the existence of words. U meni se. to model. makar i „ništa“ – svagda pretpostavlja oblik. Is it possible to give shape to the Void?“ The price of my radical position was painting itself.” After the first sterilities. Only a few flickers of light could be salvaged.I was always somehow dissatisfied with the “positivist” echoes of this term used to describe this kind of painting.. Istodobno kao plate. No. To paint. zamućene slike. with one single ‘theme’: the abyss of its own void. with no ‘content’. Crnim sam gasio suvišno. Iskusio sam poraz. I noted: “What is ‘beyond’ or ‘behind’ painting destroys. Platno je rasparano. an impossibility. Naslikati. kad se svijet nemoćan po tko zna koji put približio slici i uzmakao ne izdržavši svoju ništavnost. opaque paintings came out of this. neither white.. nor definitely black. Form is the price of the work. of course. Ni bezoblična obličja. Crno mi preostade jedinom bojom (koja to nije). Nor do formless forms. In them. Trag čega? Sav napor se trošio (apsurdan uostalom) u dohvaćanju te mukline. dorastao zadatku. međutim. neprestano nešto opiralo ovom odviše izvanjskom određenju njegova djela. A svjetlo se zdvojno i nesigurno htjelo potvrditi u njima. Hybrid. True. That was my desire. perhaps. Black was left as the only colour (which it is not). Something like a ‘total’ painting. čini se. Doživljavao samo naime Fontanino slikarstvo na bitno drugoj razini. even when presenting “nothing” always posits the existence of form. smokily blurred. Događahu se hibridne. Pišem o neodoljivom iskušenju granične mogućnosti slikarstva. cancels the reasons for painting. jer neće i ne može više biti Slika. Poimao sam ga prije svega kao „NEMOGUĆNOST SLIKE“: Kad svi razlozi za sliku bjehu iscrpljeni. Although this was probably a task beyond my capacity. Malevičev kvadrat! Slikanje osjećanja odsutnosti stvari! Još uvijek. When almost all became superfluous a feeling of nausea set in. najradikalnija slika. desperate and insecure. te prazne razjapljenosti iza stvari. the most radical painting! *** A propos Lucio Fontana’s “spatiality” . weightless bodies do not exist.. Ne radi se ovdje o tome što ne bijah.Radikalnost unutrašnjeg stava plaćao sam cijenom slikarstva. Slika se sama odlučuje na samouništenje. I felt an irresistible temptation to reach the farthest limits of painting. Ne. which could bear all the impediments and presentiments of this world. u biti negativnim. I experienced defeat. Dopuštam. the term “spatialism” Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting 9 . Filički i doslovce. possessing only the difficult reality of its own existence. *** Uz „spacijalizam“ Lucija Fontane – oduvijek mi je nekud smetao „pozitivistički“ prizvuk termina koji bi da odredi ovo slikarstvo. Zalog djela je oblik. I used blackness to erase all that was superfluous. nema bestjelesna tijela. light tried to affirm its existence.. Malevich’s square! To paint the feeling of the absence of things! Still. oblikovati. kad se prazno već posve otkrilo na platnu koje još očekuje – jedna tragična volja potvrđuje se činom. Rez ili pukotina ostaju odsada kao dvostruko svjedočenje. To cross the border. možda.

Zraka. Beam. str. 1965-1967. 5-19 10 . 1965-1967 art BULLETIN 63 (2013).

U koji prostor? U prostor čega? Tu nas Fontana napušta. Nije bilo oštrih ureza u platno. *** seems to cover the physical fact of penetrating space. posvemašnje bjeline i proparani. I saw mostly reproductions. Ili ni u šta? Za mene naglasak ostaje na riječi „očajnički“. valjda čavlom. The painter cannot say where the path is leading him. ali je osvojen dosluh s neomeđenim. Fontana ga iznova poduzima. Vertikalne ugrebotine. Zabilješke uz jedno slikarstvo. negoli nekakvim traženjem novih „prostornih“ odnosa. I cijelo to slikarstvo ukazuje mi se većma jednim radikalnim moralnim činom. Bez pretenzija i mimo stručnosti. Ni izrezana ni pomno obrađena. Into what space? Into the space of what? Here Fontana abandons us. Thus the canvas is torn physically and literally. vidjeh ih u Ljubljani.this tragic fact was confirmed by an act that was essentially negative. but there has been contact with the unlimited. premda ne dopire dalje od ponavljanja istog čina. I saw it as expressing primarily the “IMPOSSIBILITY OF PAINTING”. Bez sumnje je ovdje zlatno imalo simbolički naboj. and his cracks do not know it either. I have seen few of Fontana’s originals. exhibited in Zagreb on some occasion. Mene se „svetost“ toga zlata dojmila tragično. jagged edges. Bila je naprosto rupa.. A sam otvor.. Ipak. Ne može slikar reći kuda vodi put. There were no sharp cuts on the canvas. And also (uncertainty bringing both anxiety and the thrill of other possibilities) as an OPENING into. I experienced Fontana’s painting as something placed on an entirely different level. rather small in size. When all the reasons for painting were exhausted. but the entire painting was perforated. He can only testify. the feat has taken place. nemogućnost toga svetog. In the centre of its golden surface there was an enormous hole (covering nearly two thirds of the painting) of rounded contours. Zatim još njegovi papiri. izložene jednom u Zagrebu. something inside me always resisted this definition of his work – it was too external. S mogućim. rekoh. i kao negacija tradicionalne slike. Usred zlatne površine zjapila je golema rupa (gotovo dvije trećine slike) kružnog obrisa. but left with all the scars of a brutal stroke and rift. očajnički prodor u fizičko stvarno. podvig je učinjen. However. It was simply a hole. potvrda. when emptiness was fully revealed on the canvas which still seemed to expect something . jednako jaka djelovanja. rupa – kao svjesno poricanje slike. The cut or crack remain as a double testimonial: a sign that both affirms and denies traditional painting. with frayed.. doživljeno u nutarnjem suglasju s vlastitom pozicijom duha. iskrzanih. Da. Sjećam se stoga živo jedne slike. I još (u neizvjesnom je i zebnja i srh mogućnosti) kao OTVOR u. niti to njegove pukotine znaju. Neither cut with scissors nor carefully trimmed. And yet. the canvas sur- 11 Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting . besmislene po sebi. nepravilnih rubova. Fontana resumes the attempt. and gave up. As I said. The painting chose selfdestruction because it would not and could not be a painting any more. – Još jednom mi se potvrdilo insuficijentno značenje riječi „spacijalizam“ u svom ograničenom pozitivnom određenju „prostornosti“. Preostala površina oko otvora bijaše. Ovo je posve subjektivna interpretacija Fontanina djela. gledao sam ga iz reprodukcija. Malo sam vidio Fontaninih originala. incapable of sustaining its own nothingness. nego ostavljena sa svim ožiljcima brutalnog udara-proboja.. Njegovo je tek da svjedoči. nevelika formata. The possible. ZLATNA. All this appears to me to be a radical moral act rather than a way of finding new “spatial” relations. I remember very vividly one painting. Bijaše to jedna potpuno perforirana slika. but does not go further than a mere repetition of the same feat.znamen. after the world approached painting for the nth time. Slika je žrtvovana. The painting has been sacrificed. Drugo se zbivalo u toj slici.

I ne može ona biti drugačija nego što jest. Za mene tri tragična događaja jesu ova. art did not turn its back on man. To traženje je njezin čin danas. ako je čovjek ne bude pronašao za sebe i svoj svijet. Drugi je kada je. Nego su ruke čovjeka zatečene u praznom svoje geste. sa slike sišao čovjek. And the aperture itself.“ Stvari su dakle izgubile svoje razloge da budu za sliku.” Thus things forgot the reasons for being in a painting. in the period of classicism. Prejaki je vihor na djelu. Malo je vjerojatno da će je kompjutori ponovno sastaviti za umjetnost. od euforične čulnosti do samozatajnog vakuuma – trag je prisutnosti čovjekove. deprived of man. The first occurred when at the beginning of the nineteenth century. the hole . umjetnost iskušava svoje međe. U bezbroju slikarskih svjedočenja. Otud i slikarstvo. koje je oduvijek značilo ljudima radost prepoznavanja. Svakoj istinskoj umjetnosti imanentna je etičnost. With no pretensions. The “sacred” quality of this gold struck me as tragic. već u našem stoljeću. Christ and all objects.. man’s most faithful companion... nijedna ne kazuje cijelog. harmonična cjelovitost čovjeka i njegova svijeta iščezla je. Dakako. str. Poslije kojih osjećam da na površini slike ne mogu ostati i smiriti se. and the third when. of its sacredness. His hands are at a loss what to do art BULLETIN 63 (2013). meaningless in themselves. – Pa ipak. this was a desperate break into physical reality. dodirujući njegovo „prazno“. tjeskobe. Undoubtedly the gold had a symbolic force. umjetnost okrenula leđa čovjeku. rounding the hole was GOLDEN. Vertical scratches. I saw these papers in Ljubljana. Njegov je trag prisutan u svakom gubljenju. Ne znaju ruke što bi s komadićima svojega svijeta. Their descent from the paintings was a tragic event for the poet. unable to confirm yesterday’s faith. This is an entirely subjective interpretation of Fontana’s work. danas u krhotinama. *** Danijel Dragojevic wrote: “There are three moments in modem art which I consider to be tragic.seemed a conscious denial of the painting. Umjetnost je najvjernije njegovo još ipak. A jedini mogući uzmak je onaj u prostor djela. bez čovjeka i Krista i ikakva objekta. Prvi je kad je početkom 19. 5-19 12 . Or into nothingness? For me the accent remains on the word “desperate”. Something else was going on in that painting. The problem is that man has been caught red-handed in the emptiness of gesture. Art is still. no claim to expertise. Then his work on paper.. For me the three tragic events are the following. još uvijek. same ga ruke pokrenuše. nada se plaši nade. yet making a strong impact. Nije čovjek sišao sa slike.. U svakoj je nešto od čovjeka. After which I feel I cannot stay with the surface of a painting and feel at peace. in spite of everything. Njihov silazak sa slike pjesnik doživljava tragično. Otud valjda osjećanje spriječenosti. stoljeća u klasicizmu Krist sišao sa slike i umjetnosti inače.„Postoje tri momenta u modernoj umjetnosti“ – piše Danijel Dragojević – „koja mi se čine tragičnima i na koja se vjerojatno odnosi moja nelagoda. zastale u nemoći da djelotvorno potvrde jučerašnju vjeru. Iskustvom svojeg svijeta. a treći je kada je. Tu rečenica pjesnika Dragojevića pogađa tragičnu srž. The second happened in our century when painting was left without the human figure. Yes. Here it was not enough to use the term “spatialism” in its limited positive “spatial” sense. Christ stepped down from painting and art in general. najčišći dodir ruke i oblika. bezvrijednosti. Observations on someone else’s painting experienced in inner correspondence with one’s own Self. navlači bezbroj obrazina. do jučer tako izvjesnoga. and which are probably the cause of my unease. sada u zgranutosti ruka ne pozna ruku. probably with a nail. nije umjetnost okrenula leđa čovjeku. – And yet. Iz slikarstva također. art turned its back on man. entirely white and torn.

From paintings and other things.. Each of them has something of man. the harmonious wholeness of man and his world has disappeared. The poet Danijel Dragojevic has made a tragic point..with the fragments of their world. Sve vatre iskušane. ako nas ima poslije uroka ljubavi koji preživjesmo. In this art cannot change. worthlessness. It is because of this that painting. Where are we at this point. The one burning with a saved flame names things. The measure of hunger is known. Experiencing its world. if we have survived the crucible of love. now puts on all these innumerable masks. which had always brought men the joy of recognition. Forgives time. Ona koja gori spašenim plamenom imenuje stvari. Our hands in dry sheaves on its pyre. braćo. From it comes that feeling of helplessness. Mjera gladi je poznata. so reliable for so long and now all broken into pieces. His trace persists in every loss. The ethic quality is immanent to all true art. and now are estranged and disconsolate. Naše ruke u suhim pregrštima na njenoj lomači. ranging from euphoric sensuousness to self-denying vacuum – bear the trace of his presence. Oprašta vrijeme. The hands are caught in a storm of their own making. It is rather improbable that art will regain it with the help of computers. But man did not disappear from painting. but not one of them presents him whole. Innumerable pictorial expressions. (1971). (1971). if man has lost the capacity to recuperate it for himself and his world. the purest contact of the human hand with other forms. 13 Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting . Gdje smo na ovom mjestu. This search is its measure today. All fires have been tested. afraid to hope. art is testing its limits. touching its “void”. Certainly. And there is no other space of retreat but the space of art. brothers. anxiety.

Nedostatnost vidljive predmetnosti da podnese sebe u slici. An unexpected discord crept between the hand and the canvas. Do gađenja.. 5-19 14 . između ostalog. Kao da je svijet zastao negdje na pola puta do slikarskog stalka. The indescrib- Susret. Osnovno osjećanje bijede. The inability of visible objects to carry the burden of their presence in the painting.MOGUĆNOST SLIKE Prije dosta godina napisao sam (i objavio) u eseju „Nemogućnost slike“. of their representation. svoje predstavljanje... 1983.. Neočekivani razdor ušuljao se između ruke i platna.” “The decline of the ‘motif’ into worthlessness. str.“ „Propadanje ‘motiva’ u bezvrijednost.. A general sense of ‘misery’. Neopisiva efemernost bilo kojeg ‘stvarnog’ preteksta za sliku. 0il/canvas art BULLETIN 63 (2013). i ove rečenice: „Stvari su zaboravile razloge da budu za sliku. ulje/platno Meeting.“ THE POSSIBILITY OF PAINTING Several years ago in my essay The Impossibility of Painting I wrote the following sentences: “Things forgot the reasons to be in a painting. Sve glasnije prazno ispriječilo se pred očima. The world seemed to be arrested halfway between painter and easel. Emptiness glared at me with ever-greater insistency.. 1983.

ad nauseam. nemoguća uostalom. ne određeno crna. što bi podnijela svu spriječenost i svu slutnju svijeta..“ I još: „Ono ‘preko’ ili ‘iza’ slikarstva ništi razloge slikarstva. an impossibility. Something like a ‘total’ painting. ulje/platno able precariousness of all ‘reality’ used as a pretext for painting. with no ‘content’..“ Autor ove izložbe prilično je dugo istrajavao na opisanim pozicijama. bez ‘sadržaja’. s jedinom ‘temom’ bezdana svoje gluhoće.” Heavenly Handshake.. ‘The Void’ is devouring the image. do „gorgonskog“ ozračja apsurda i negacije. possessing only the difficult reality of its own existence. which could bear all the impediments and presentiments of this world. Nebesko rukovanje. One single exciting vision of PAINTING: a colourless plate. Nešto kao ‘totalna’ slika.. ‘Ništa’ jede sliku.. dimljivo nejasna. Kao slikar kretao se „rubnim područjima“: od „informela“ ranih šezdesetih godina. preko „crne faze“ monokromnih oblika. smokily blurred.. s jedinom stvarnošću sebe same. And so on. neither white. 1991..” And more: “What is ‘beyond’ or ‘behind’ painting destroys. 1991. teške..„Jedna jedina uzbudljiva vizija slike: bezbojna ploča.. of course. 0il/canvas 15 Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting . ne bijela. cancels the reasons for painting.. with one single ‘theme’: the abyss of its own void. nor definitely black..

5-19 Glave u profilu. str. ulje/platno Heads in Profile.art BULLETIN 63 (2013). 0il/canvas 16 .

17 Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting .

Prorok. 1997. 5-19 18 . 1997. 0il/canvas art BULLETIN 63 (2013). str. ulje/platno Prophet..

Which. zamaha.. Koje voli magmu pigmenta. Which liberates energies and likes rich chromatic events. Koje voli bogatstvo kromatskog događanja.) This artist stuck to such ideas for quite a long time.. Koje. stigao je od iskustva nulte točke slikarstva do osobnog obrata u volju slikanja. the artists’ fear that they will lose reality if they do not identify completely with the initial gesture. ili još gore: sa svojom fizičkom podlogom. Vratih se radosti slikanja.. Which is not afraid of finding inspiration in tradition. drive. Koje se ne boji poticaja iz tradicije. koja broji vlastite „elementarne“ operacije. in the teeth of all sceptical and defeatist notions of its IMPOSSIBILITY! (1981).. In a word: I vote for painting that will offer an affirmative and spontaneous POSSIBILITY OF PAINTING today.. Because: Somewhere at the very beginning there was the fascination of painting. Living through and participating in the adventure of contemporary art. Sit sam „tautologije“.. he reached point zero of painting. I vote for painting which is not afraid of itself – of intuition. Sretna žeđ. Which is not a slave of purism and meaningless rigidity... then experienced a personal revival of the will to paint. Koje ne robuje čistunstvu i besmislenoj dosljednosti. skeptičnoj i defetističkoj NEMOGUĆNOSTI SLIKE usprkos! (1981. I am for painting that is not afraid of emotion. As a painter he moved in “borderline areas”: from “informel” in the early Sixties. if it so wishes. bez grižnje savjesti uzima „figurativni motiv“ kao poetski pretekst slikanja. a ne stiže dalje od prvog koraka. Za slikarstvo koje se ne stidi emocija..Proživljavajući avanturu umjetnosti svoga vremena i sudjelujući u njoj. koja se boji da će izgubiti stvarnost ako se dokraja ne identificira sa svojom početnom gestom. Koje oslobađa energiju. which leads into entropy! I’ve had enough of the absurd! Enough of asceticism! I am fed up with “tautology”. thus never going beyond the first step.. Because I’ve had enough of this avant-garde. Dosta mi je avangarde koja vodi u entropiju! Dosta mi je apsurda! Dosta asketizma! Zamara me moderna racionalnost. I have returned to the joy of painting.. through the “black phase” marked by monochrome presentation. Naime: Negdje na samom početku bijaše opčinjenost slikarstvom. Which loves thick pigments. nepredviđenosti. ako hoće. I returned to it. 19 Đuro Seder: Nemogućnost i mogućnost slike / The Impossibility and Possibility of Painting . Glasam za slikarstvo koje se ne boji sebe: intuicije. even worse: with its physical basis. to Gorgona’s world of absurdity and negation.. A happy thirst. or. unpredictability. Njoj se vratih. will not feel guilty of taking a “figurative motif” as a poetic pretext for painting. Riječju: Glasam za slikarstvo koje bi značilo jednu afirmativnu i spontanu MOGUĆNOST SLIKE danas.