Professional Documents
Culture Documents
Ich Bin Künstler: Slavko Matković
Ich Bin Künstler: Slavko Matković
Slavko Matković
Muzej savremene likovne umetnosti, Novi Sad
Ich bin Künstler
Slavko Matković
Kustos – Curator
Nebojša Milenković
Konceptualna umetnost, projekti, akcije i performans / Conceptual Art, Projects, Actions and Performances 123–158
Stripovi, unikatne knjige, mail art i autorski filmovi / Comic strips, unique books, Mail Art and auteur movies 159–186
Balint Sombati Život je san života (Mentalni kontaktor i mentalni avanturista Slavko Matković) 199–228
Ješa Denegri Slavko Matković and His Thoroughgoing Artistic Living 233–236
Olga Kovačev Ninkov, Nebojša Milenković: Izabrana bibliografija / Selected Bibliography 257–268
Nebojša Milenković
Sve ću ionako morati da zaboravim, samo se pitam hoće li to biti na kraju početka
ili na početku kraja...
Slavko Matković
To je ideja i kao takvu je treba gledati. Samo u nuždi ili zbog didaktičkih razloga
čovek poseže za tumačenjima.
Joseph Beuys
Vizuelno-poetska istraživanja
Danas uistinu postoje samo dve jezičke transcendencije – matematički aksiomi i reč
kao umetnost. Sve ostalo je poslovni jezik, naručivanje piva.
Umetnost je igra. Igra vodi u znak – u simbol. Simboli i znakovi omogućuju veću
slobodu individualnog čitanja nego obično čitanje pisanog teksta... Želim delo koje
se grana u stotine pravaca a opet govori o jednom opštem pravcu – izražava
pravac mog mentalnog toka. Otvoreno pismo članovima grupe Bosch+Bosch
An Open Letter to the Members of the Group
Bosch+Bosch, 1977.
Vizuelna poezija je korak dalje od tradicionalne poezije. To je iskorak u prostor.
Prvi radikalni gest od kada pesništvo postoji.
Pozivajući se na trodimenzionalnost pesme, Matković se zalaže za pisanje po Iz rukopisa Novi putevi vizuelne poezije
objektu, tačnije predmetu koji je odabran i izdvojen kao poetska tema (stvaralac From the manuscript The New Ways of Visual Poetry,
1972.
mora da “piše” na onome o čemu piše). Na ovaj način predmeti se izdižu na nivo
poetskog dela17 anticipirajući na teoretskoj ravni kasnije Matkovićeve vizuelne
pesme izvođene u slobodnom prostoru.
voriti na osnovna pitanja o nastanku umetničke kreacije, tačnije: kada, gde, kako i New York, October 1967.
pod kakvim okolnostima je delo nastalo. Sama šema trebala bi biti hronološki 19
U isto vreme, aprila 1971. godine osnovana je komuna u
ustrojena tako da apsolutno verno dočarava sam proces, kako tok priprema za Šempasu (članovi grupe OHO), dok će 1977. godine, sa
izvođenje tako i sam proces nastajanja dela. Iznošenjem u javnost na ovaj način načelima i etičkim stavovima identičnim Matkovićevim, u
umetnost biva lišena aure umetničkog, karakteristične za tradicionalno poimanje selu Rudnik na Brezovici komunu osnovati Božidar Mandić.
umetnosti. Posmatrač izložbe tako, umesto nekoga ko je činom dolaska na izložbu
u manjoj ili većoj meri osuđen da bude pasivan primalac ili konzument, sada
postaje aktivan učesnik u procesu stvaranja umetničkog dela. Posmatrač je onaj
koji biva u mogućnosti da u toku trajanja samog čina stvaranja dela iznosi svoje
primedbe, stavove, slaganja ili neslaganja, postajući na taj način gotovo
nezaobilazan učesnik u umetničkom procesu. U PSOEVS-u se, dakle, odvija proces
međusobne psihodramske terapije između stvaraoca i potrošača umetničkog dela.
Pitanje umetnosti za Matkovića nije više bilo moguće posmatrati kao pitanje
oblikovanja materijala, već je to bilo pitanje kreiranja nove (društvene) svesti u
kojoj će odrednice poetsko i umetničko imati presudan uticaj i značaj.
konceptualna umetnost ne teži transponovanju i ispitivanju sveta već ispitivanju Paris, 1969.
sebe same, na osnovu navedenih primera dolazimo do činjenice da u 25
Katrin Mile, Konceptualna umetnost kao semiotika umet-
Matkovićevom slučaju možemo govoriti o reverzibilnom procesu ispitivanja i nosti, Polja, br. 156, Novi Sad, 1972.
istraživanja jezičke prirode umetnosti i prirode jezika umetnosti – istovremeno.
Jezik umetnosti i jezik kao umetnost međusobno su uslovljeni i prepleteni u meri u Govor prilikom dodele nagrade Nagyapáti Kukac Péter u
26
umetničkoj praksi, Matković priča: Ja sam dugo godina radio u Gradskoj bibliote- Matković 1948–1994, intervju, Magnet, br. 2, Radio B92,
Beograd, 1995.
ci u antikvarnici. Pored antikvarnice je postojala jedna knjigoveznica, tamo gde
smo popravljali knjige. Da bismo popunili mesta na zidu, jer je otpao malter, ja 38
Slavko Matković, Selotejp tekstovi/Ragasztószalag szöve-
sam počeo da lepim kutije cigareta selotejpom. To se, bogami, namnožilo... i onda gek, Új Symposion, Novi Sad, 1989.
je jedna koleginica... njen mali sin je došao i on je otkrio da će i on početi da saku- 39
Vladan Radovanović, recenzija knjige Selotejp tekstovi, Új
plja te kutije... U jednom momentu, znam da sam mu baš Marlboro skidao, na Symposion, Novi Sad, 1989.
selotejpu su ostala slova “MAR”... ja sam se onda zamislio nad tim selotejpom, tim
komadićem sa ta tri slova i video sam da to jako dobro izgleda...37 Nastojeći da 40
Slavko Matković, Predlog za jednu izložbu, Salon prime-
svoj izum potvrdi i na teoretskoj ravni, Matković je rado citirao tezu Marka njenih umetnika i dizajnera Vojvodine, Novi Sad, 1973.
Pogačnika o poeziji kao mentalnoj aktivnosti u kojoj kada se razbije reč ostaju
slova, a kad razbijemo slova onda ostaju kukice i crtice – poeziji koja se stvara od
kukica i crtica, od nalepaka, od otpadaka svakodnevnih medija, štampanih
masmedija. U knjizi Selotejp tekstovi38 piše: Sav moj život naliči ovim “tekstovi-
ma”. Svodi se na nizove nalepaka – krnjih informacija – jednog usko specijalizo-
vanog sveta i života. Ovi nalepci su moji svakodnevno zaboravljeni telefonski bro-
jevi, ljudi, lica, podaci, knjige i sve ostale tričarije koje čine svakidašnjicu u
njenom brzom prolazu. To je na momente haotični svet rokovnika, kalendara i zguž-
vanih ceduljica tipa “uradi to”,“ne zaboravi” ili “javi se telefonom”. Posle svega
ostaju iskidana i nevezana sećanja neke “nedefinisane sličnosti” sa novim naletima
viđenog i doživljenog pa se sve čini sličnim, slivajući se u neku maglu-zaborav koja
sve prekriva. Zato je ovo autobiografski zapis, igra zavrzlama svesti, “estetizirani”
doživljaj haosa – sve je tu i ničega nema. Videvši u njima još jedan način uvođenja
marginalnih sredstava neumetničke prakse u umetničku, Vladan Radovanović39
primećuje da je kod Matkovića selotejp od prostorne trake za slepljivanje predmeta
preveden u vremensku traku, preobraćen u instrument za čupanje i slepljivanje pri-
zora koji su trenutno otrgnuti i ujedno otrgnuti trenuci.
Eksperimentima u oblasti deautorizacije umetničkog objekta, u možda
najradikalnijem vidu i obliku, pripada i Body projekat “Slavko Matković” (Pravim
umetnost, Razmišljam o umetnosti, Posmatram umetničko delo, Razgovaram o
umetnosti), započet 1979. a čija je realizacija trajala do 1989. godine. Projekat je
bio koncipiran na mentalnoj ravni, u njemu umetnik umetničkim delima proglašava
vlastita kontempliranja o umetnosti. Materijalizovane tragove o izvođenju projekta
čine četiri fotografije formata poštanske razglednice i video zapisi umetnika u
trenucima razmišljanja.
Antinarativni strip
Richard Serra
jeste odluka da, koristeći se strategijom govora umetnika u prvom licu, u Dejan Poznanović prilikom putovanja na manifestaciju
Documenta u Kasselu.
nemačkom dnevnom listu Harzburger Zeitung, 26. novembra 1974. godine, objavi
plaćeni oglas sa tekstom: Ich bin Künstler. Slavko Matković (Ja sam umetnik. 45
Slavko Bogdanović, Feedback letter-box personal comuni-
Slavko Matković).44 Po Matkovićevoj zamisli projekat Ja sam umetnik trebao je biti cation in continue ili globalno selo Bogdanke Poznanović,
njegov glavni rad u ovom periodu, o čemu 12. novembra 1974. godine piše Dalje, br. 7/8, Sarajevo, 1983/84. i u: Politika tela, K21K,
Prometej, Novi Sad, 1997.
Balintu Sombatiju: Molim te da mi u Mađar So-u daš sledeći oglas u rubrici Lične
vesti. Prilog glasi: Ja sam umetnik Slavko Matković (logično na mađarskom). Ovaj 46
Igra reči: art – ribnjak, art – ulog u igri. Istovremeno,
oglas želim da realizujem preko svih vodećih listova u svetu! Projekat je već u toku Artpool je naziv institucije i umetničkog arhiva kojeg je u
– za sada su uključene Kanada, Zapadna Nemačka, Francuska, Engleska... Da li je Budimpešti Đerđ Galantai osnovao sedamdesetih godina a
vodi ga i danas.
i koliko ovih oglasa realizovano nije poznato, tek nesumnjivo da je čin davanja
oglasa Ja sam umetnik značajna prekretnica, kako u radu samog Matkovića tako i
čitave grupe Bosch+Bosch. Po Sombatiju, Matkovićeva odluka može se, s jedne
strane, shvatiti kao krajnost umetničkog egocentrizma ali, sa druge strane, može da
vodi i u krajnost osećanja suvišnosti daljeg bavljenja umetnošću. Usuđujem se da
tvrdim da ona znači i jedno i drugo istovremeno. A kao još jedan u nizu dokaza
kako se slične ideje u umetnosti s vremena na vreme ciklično ponavljaju sasvim
nezavisno jedne od drugih, navodim podatak da je u zagrebačkom Večernjem listu,
u rubrici plaćeni oglasi, marta 1991. godine objavljena informacija sledećeg
sadržaja: Jedna obavijest: Na poziv izdavača Francesca Conca iz Verone, članovi
Gorgone, u skrovitosti Tirolo di Merana, izveli su kolektivno djelo.
Sredinom sedamdesetih, zalazeći eksplicitnije u oblast dematerijalizacije
umetničkog rada, iznalazeći neposrednije i brže sisteme komuniciranja, Matković i
Sombati počinju aktivnije da se bave mail artom, aktivnošću koja je u njihovom
radu na različite načine prisutna od početaka bavljenja umetnošću. Stavši na začelje
procesa dematerijalizacije i desakralizacije umetničkog objekta, u mail artu
umetnošću je proglašena komunikacija, i to specifičnog oblika – kao slanje
(mailing) umetničkih poruka isključivo posredstvom državnog aparata pošte.
Suočeni sa činjenicom da se nova umetnička praksa vraća svojim underground
korenima, Matković i Sombati su mogućnostima koje pruža mail art videli
otelotvorenje ideala umetnosti daleke od svega utilitarnog i ekskluzivnog. Po Ješi
Denegriju, praktikovanjem mail arta vođena je teška ideološka borba protiv
umetničkog i kulturnog elitizma, dok pak Slavko Bogdanović primećuje da praksa
mail arta prevladava često depresivnu izolaciju stvaraoca uslovljenu manipulativno-
komercijalnim odnosima na relaciji umetnik–društvene strukture, na ubedljiv način
izražavajući svest o postojanju jedinstvenog senzibiliteta koji prožima svet
avangardne umetničke prakse.45 U mail artu umetnost postaje isključivo lična potre- Ich bin Künstler Slavko Matković, 1974.
ba gde se, procesom artikulisanja individualnih mitologija, jeftinim i pristupačnim
sredstvima umetnik više ne obraća nepoznatim masama već pojedincu, čoveku sa
imenom, prezimenom i adresom.
Prvi poznat Matkovićev mail art rad je Dopisnica iz 1969, 1971, odnosno 1980.
godine, i predstavlja nađeni vizuelni sadržaj, PTT dopisnicu koja je, po poštanskim
žigovima, iz Beograda poslata 28. 01. a u Suboticu stigla 29. 01. 1969. godine. Iz
sadržaja dopisnice vidi se da nečija baka sasvim ličnom ispovešću obaveštava o
boravku svog supruga u bolnici, o tome da se ne oseća dobro raspitujući se da li su
se primaoci dopisnice dobro pripremili za zimu, to jest imaju li ogrev – uglja.
Pomenutu dopisnicu – konceptualni mail art rad, Slavko Matković najpre 1971.
godine izlaže kao ready made artefakt, a potom je, 1981, u fluksusovskom duhu
šalje mađarskom umetniku Đerđu Galantaiju (György Galántai) u Budimpeštu. Na
prednju stranu dopisnice Matković je ucrtao segment stripa sa scenom udara
automobila u drvo, nalepio ručno rađenu marku sa vlastitim likom i dopisao
odrednicu Artpool.46 Reč je, dakle, o dopisnici koja je nastala iz sasvim intimnih,
neumetničkih pobuda, zatim privremeno preuzela funkciju umetničkog rada,
prenosioca određene vrednosti koja je u datom trenutku proglašena za umetničku,
da bi na kraju (formalni) sadržaj (obraćanje nečije bake), bio transponovan u
nečitljiv kod i poslan čoveku koji zbog jezičke barijere njen sadržaj ne može da
razume. Primalac dopisnicu doživljava na neverbalnoj ravni, kao umetnički doku-
ment kojem se poništava emotivna vrednost (obraćanje bake), i transponuje u
istorijsko-umetnički artefakt od prvorazrednog značaja. Da apsurd bude veći,
sadašnje muzeološke vrednosti ovog rada, u trenutku slanja odnosno primanja
26
pošte nisu bili svesni – kako neposredni izvođač (nepoznata baka), primalac (Đ. 47
Guglielmo Achille Cavellini, Autoritratti, Mostra a domi-
Galantai) ali i pošiljalac (S. Matković) rada. Dopisnica se danas čuva u Artpool cilio, Brescia, 1981; Guglielmo Achille Cavellini, Nemo
propheta in patria, Edizioni Nuovi Strumenti, Brescia, 1978.
arhivu dok je sudbina većine drugih mail art radova nepoznata, što je sasvim u
skladu s karakterom samog mail arta koji je u startu najavio svoju programsku
privremenost. Primaran je trenutak slanja i prijema pošiljke. Vreme trajanja rada
određeno je vremenom putovanja pošiljke, ostalo je u domenu slučajnosti ili spleta
okolnosti o kojima učesnici u komunikaciji nisu vodili računa. Pored slanja
umetničkih poruka, stripova i vizuelnih pesama posredstvom PTT dopisnica –
pisama i telegrama, u okviru mail art aktivnosti Slavko Matković se bavio izradom
unikatnih poštanskih maraka, nalepnica, mail art objekata i autorskih pečata. Rad u
domenu mail arta je i umetnički projekat Saga iz 1980. godine kojeg čine nacrti za
izradu prigodnih nalepnica, plakata i poštanskih maraka povodom obeležavanja
stogodišnjice rođenja članova grupe Bosch+Bosch. Ova akcija, dodatno,
korespondira sa Matkovićevom akcijom Paralelne ideje Kosuth – Cavellini. U pro-
jektu Saga opet je na delu postupak prisvajanja ideja drugog umetnika. U pitanju je
još jednom Kavelini koji je prethodno, koristeći se strategijom autoistorizacije,
povodom virtuelnog obeležavanja stogodišnjice vlastitog rođenja, 2014. godine, a
pod navodnim patronatom internacionalne pošte, 1976. godine počeo da objavljuje
prigodne poštanske marke na kojima su bili paralelno prikazani njegovi likovi sa
ostalim velikanima svetske umetnosti (npr. Cezanne 1839–1939: Cavellini
1914–2014).47 Početkom 80-ih Matković počinje da prijateljima poštom šalje
umetničke objekte – asamblaže izrazito intimnog karaktera. Reč je o kutijama
nevelikih dimenzija koje su oni na čije su adrese bile upućene trebali da fotografišu
i da potom vlastite fotografije objekata vrate autoru.
Ja ovako slikam
Emil Cioran
Sad, 1985.
stava izvodimo paradoksalnu jednačinu koja bi mogla da glasi: Ja sam Umetnik a
moje delo najbolja je negacija upravo izrečene tvrdnje.
slika u novinama
– isečem je
kvadratić stripa
– iscepim ga
naslov u časopisu
– istrgnem ga
posle čekam
da se nešto desi
U recenziji knjige Mi smo mali šašavi potrošači iz 1976. godine, Katalin Ladik
ili Ivo Popić50 o pomenutim prožimanjima pišu: Slavko Matković svesno odbacuje
uhodane, već davno isprobane, efektne načine pisanja poezije. On ne piše “lepe”
pesme. On govori o svakodnevnim, jednostavnim stvarima i događajima.
Najpoetičniji je kada piše upravo o “nepoetičnim” stvarima, jednim jednostavnim
jezikom. Lepeza umetničkog izraza ovih pesama raznolika je: od registracije stvari
oko sebe do komentara, od ironije do topline iskaza, od bunta do sanjarenja. Na
njegov način pisanja poezije svakako utiče i bavljenje vizuelnom poezijom, stripom,
plakatom i proširenim medijima. Ustaljene pesničke oblike (poeme, pesme, kraće
pesme, ponekad minijature bliske haikuu) Matković prihvata tek na formalnoj,
pojavnoj ravni, istovremeno se iznutra baveći obesmišljavanjem i razgradnjom
naizgled prihvaćenih poetskih formi. Kao primer ovakvog postupka navodim
Pisanje pesme iz knjige Mi smo mali šašavi potrošači:
najbolje je uzeti
svesku na kocke
i potom štampanim slovima
plavom hemijskom olovkom
ispisati pesmu
samo treba paziti
da slova budu
lako čitljiva
miran je i nasmejan
zna mnogo
poštuje me i to čini
naše susrete prijatnim
pažljivo sluša moje opservacije
o projektima govori
na bazi dokumenata
kada je bio kod mene
slikali smo se
u dvorištu
radi na ušću
Pored četiri pesničke knjige, iza Slavka Matkovića ostala je zaostavština koju
čini niz nedovršenih, kako umetničkih tako i književnih ostvarenja. Sudeći po
autorovim dnevničkim zabeleškama posebnu pažnju trebalo bi posvetiti
Matkovićevim intertekstualnim istraživanjima i nameri da sačini vizuelno-poetski
roman posvećen Gradskoj kući u Subotici, gotovo amblemski prisutnoj u njegovim
radovima. Iako nesumnjivi kosmopolita, ovaj vizuelni roman, poznat pod nazivom
Marseljski jorgovan, Matkovića u najboljem svetlu pokazuje kao vanserijskog
lokalpatriotu. U njegovoj koncepciji trajanja, izrazu kojeg je rado koristio, inače
pozajmljenom od Sartra, ovaj roman sa pododrednicom individualne mitologije
zamišljen je kao mitologema ljubavi spram ovog grada. Govoreći kako je kao
čitalac tragao za integralnim tekstom, Matković je odlučio da ga napiše, ispeva,
odnosno slepi. Svestan činjenice da je u vremenu u kom živi nemoguće baviti se
samo jednim medijem ne ukrštajući ga pri tom sa nekim drugim, a s obzirom da je
upravo on jedan od pionira takvog pristupa umetnosti na ovim prostorima, Slavko
Matković je zamislio roman, tačnije romanesknu celinu koju bi, a da ne ugrožavaju
jedna drugu, trebalo da čine pisana proza, vizuelna poezija, pisana poezija kombi-
novana sa slikanim ili kolažiranim vizuelnim segmentima. Ideja za ovaj roman
Matkoviću se rodila krajem maja 1990. godine u Francuskoj prilikom boravka na
Festivalu eksperimentalne poezije na koji je bio pozvan nakon eseja Jorgovan u
srednjoevropskoj eksperimentalnoj poeziji sedamdesetih i osamdesetih godina,
objavljenog u pariskom časopisu Atelier hongrois (Magyar Műhely), koji je izazvao
šire interesovanje u krugu mlađih pesnika tog vremena. Tom prilikom Matković je
putovao u Marselj gde je u ulici Rue de Rome br. 101, u pansionu “Aleksander I”,52
imao ugovoren susret sa kritičarem Žanet le Klod (Jeanette le Clode). Uprkos
odlasku u Marselj, spletom neobjašnjivih okolnosti, izazvanih apokaliptičnim
nevremenom, po Matkovićevom svedočenju ovaj susret nije se dogodio. Ipak, u
Matkoviću otada živi virus smrti, donet iz Marselja sasvim slučajno i nenamerno
kao istorija jednog početka. O tom početku Slavko Matković 9. juna 1992. godine
Stranica iz Dnevnika / The page from the Diary, 1992.
piše: Moja želja više nije da napišem ili slepim vizuelni roman, već da stvorim
celinu u kojoj konzistentno egzistiraju međusobno se nadograđujući pisani i vizuel-
ni izraz, poezija i proza sve u isti mah. Konstatujući da će sadržaj romana biti
određen njegovom formom, Matković je bio nameran da, pošavši iz oblasti
esejističko-filozofsko-umetničke sfere, pokuša da događaj na kraju svede na ravan
svakodnevnog doživljaja. Fiktivno štivo romana tako se na formalnoj ravni pret-
vara u doživljaj sasvim uverljivo obojen umetnikovim fikcijama, mitologemama i
snovima. Slično selotejp tekstovima, pisac godinama sakuplja sitne opiljke svog
budućeg romana. Pomenute kockice nisu artikulisane kao prozni tekst već kao
vizuelna celina gde povremeno između stvaraoca romana i budućeg čitaoca dolazi
do totalnog prekida u komunikaciji, pošto svaki pojedinačni segment romana
zapravo egzistira samostalno kao autonoman umetnički rad. Na delu je
kaleidoskopsko ređanje niza mogućih sadržaja od kojih bi neko jednom mogao da
napiše vlastiti roman. Reč je o opisu destrukcije i dvostrukog remećenja tradicije.
30
O sasvim novoj vrsti apstrakcije sačinjenoj iz realnih, vidljivih vrednosti i 53
Kao sinteze vlastitih umetničko-književno-životnih
okolnosti. Romanu bez klasičnog sadržaja i romanu bez klasičnog pisanja... Sve je iskustava Slavko Matković je zamislio i delimično
realizovao sledeće vizuelno-poetske celine: Antigraf mozga,
kao na traci selotejp teksta ili na traci filma... Po Ajzejnštajnovoj definiciji kad god bez godine nastanka; Kiša, vizuelni roman (ovaj roman u
se dve različite sekvence, dve različite vrednosti postave jedna uz drugu one rađaju dnevničkim beleškama spominje se od sredine 70-ih kao
treću vrednost. Dva postaju tri, a dve tako novorođene vrednosti postavljene jedna najambicioznije zamišljeno Matkovićevo delo); Nokti u
uz drugu rađaju opet novu vrednost nepredvidivu i potpuno postavljenu na ravan i lavabou i druge priče (izgubljeno), 1982; Kiselo testo,
vizuelni roman, 1992–93; Babuška, fragment roman,
put koji vodi apstrakciji. Ili, citiraću i odlomak iz Matkovićevog konceptualnog 1992–94.
rada Paralele iz 1983. godine: Delo konceptualne umetnosti postaje umetničko delo
onoga trenutka kada se iz njega rodi novo delo konceptualne umetnosti. Glavni lik Monty Cantsin, Neoista ne umire, samo se preobražava,
54
romana je Gradska kuća u Subotici, kao prestonica Matkovićevog pesničkog sveta, Rukovet, br. 1–6, Subotica, 2004.
pored nje tu su još Marsel Prust (Marcel Prust), Franc Kafka (Franz Kafka), Sen Reč je o Matkovićevom prijatelju Robertu Tiliju, pesniku,
55
Džon Pers (Saint John Pers), Ana Ahmatova, Mihail Bulgakov... U Matkovićev umetniku i džez muzičaru iz Subotice.
roman transponovani su junaci romana Majstor i Margarita, graditelji Gradske
kuće jednako kao i likovi iz subotičke svakodnevice, među kojima su i članovi
56
Gotovo identična scena postoji u filmu Splav meduza, i
snimljena je ispred Gradske kuće u Subotici.
grupe Bosch+Bosch. Događaji – poglavlja koja se u romanu obrađuju jesu: Ručak
dva pesnika i jednog slikara, Izgradnja Gradske kuće, Pojava Ane Ahmatove i 57
Voda Miljacke je tih dana bila mutno crvena i plaha od
Mihaila Bulgakova i njihov susret u Subotici, Dadaističko-futuristička zavera silnih kiša i podsećala je na krvavu vodurinu u kojoj se
članova Grupe Bosch+Bosch koji odlučuju da, kao svoj glavni umetnički rad, kupaju naši mozgovi. Slavko Matković, Kako je izgubljena
jedna priča, Rukovet, br. 6, Subotica, 1987.
izvedu akciju rušenja Gradske kuće te kao anđeli zla bivaju predmet rasprave o
dobru i zlu. Na kraju, u okviru romana trebao je biti izveden i video portret samog
Slavka Matkovića. Kompleksnost i ambicioznost ove zamisli, nažalost zbog
Matkovićeve bolesti tek manjim delom i realizovane, još jedan je u nizu dokaza
Matkovićeve rešenosti da ostvari sintezu više vrsta umetnosti. Nastojanja da se
stvori metadelo koje će u sebi, na ubedljiv i sugestivan način, sadržati autorove
umetničke, životne i književne (posebno poetske) stavove i ideale. Delu u kome će
navedeno biti u savršenom i harmonijskom jedinstvu – ali, istovremeno, i delu koje
će, kako formom tako i sadržajem, biti različito od svega do tada stvorenog, kako u
književnosti tako i u umetnosti. Na kraju, delu koje će biti rodonačelnik novog
žanra i nove vrste umetnosti – slične svemu postojećem a opet, istovremeno, jedin-
stvene i neponovljive.53
Neoizam
U zaoštrenoj društveno-političkoj atmosferi ranih sedamdesetih, zajedno sa našim Zámky, Slovačka, 1991, Galerija Most, Novi Sad, 1991,
istomišljenicima širom Jugoslavije, postali smo neka vrsta klasnog neprijatelja. Expanzió5, Vác, Mađarska,1993.
Naša je produkcija postala gradivo pomoću kojeg su kultur-policajci sticali poene 65
Najčešće, ovi performansi okončavali su se mučninom i
pred partijskim forumima i penjali se na lestvici ljudske podlosti.63 povraćanjem autora.
Početkom 80-ih kod Matkovića je sve prisutniji nagon ka samouništenju. U tom
kontekstu treba posmatrati koncept Uradi sam iz 1983. godine, koji, zapravo, pred-
66
Plato ispred Tribine mladih, Novi Sad, 12 decembar 1992.
stavlja umetnikovu skicu-uputstvo za izvršenje samoubistva. Smrt je, očigledno,
kod Matkovića u to vreme veoma prisutna tema. Tada počinje i njegovo sporadično
bavljenje performansom, koje izvodi češće kao saučesnik u performansima drugih
umetnika nego što je realizovao vlastite. Po raspoloživoj dokumentaciji, Matković
je izveo svega tri vlastita performansa. Telesna akcija Lice izvođena je u tri navrata
(1981. u Budimpešti, 1982. u Sremskoj Kamenici i 1989. u novosadskoj galeriji
“Most”), i bazirana je na iskušavanju krajnjih granica izdržljivosti vlastitog
organizma. Svojom brutalnošću i opasnošću po život umetnika, ovaj Matkovićev
performans može se porediti sa performansima Marine Abramović iz njenog ranog,
beogradskog perioda. U ovom, za publiku na momente mučnom događaju,
Matković širokom selotejp trakom, amblemskim simbolom njegove umetnosti,
oblepljuje, umotava i deformiše lice, izazivajući nestanak vazduha i početak guše-
nja. Gušenje bi se i dogodilo da u kritičnom momentu, uviđajući da je spreman da
ide bukvalno do (vlastitog) kraja, umetniku nije pritrčala publika, rasecajući i
kidajući trake selotejpa – na taj način bukvalno spasavajući umetnika od njegove
umetnosti. Performans Poezija izvođen je dva puta tokom 1990. godine, najpre u
Marselju a potom i u Kašakovom rodnom mestu Novim Zamkama u Slovačkoj.
Kao i telesna akcija Lice, performans Poezija baziran je opet na iskušavanju grani-
ca izdržljivosti vlastitog organizma, s tim što ovaj put, umesto gušenja selotejpom,
umetnik usta puni vodom i tako, s punim ustima, pokušava da izgovori reč
“Poezija”, izazivajući napade kašlja. Voda koju drži u ustima umetniku
onemogućava izgovaranje reči ali, pošto je pri pokušajima izgovaranja prosipa iz
usta po platnu postavljenom na sto ispred sebe, reč “Poezija” se ipak pojavljuje – s
obzirom na to da ju je prethodno, u delu performansa kojem publika nije
prisustvovala, između platna presavijenog na pola umetnik ispisao hipermanganom
– materijom koja tek pri dodiru sa H2O dobija tamnocrvenu boju. Poezija se,
naposletku, pojavljuje ispisana tamnocrvenom bojom, aludirajući na frazu o poeziji
koja se piše vlastitom krvlju ili, u Matkovićevom slučaju, o umetnosti koja na
egzistencijalnoj ravni i fizički i psihički uništava vlastitog tvorca.
Tokom 90-ih u tri navrata64 Matković kao saradnik učestvuje u izvođenju
performansa U čast poslednjem pesniku čiji je autor Balint Sombati. Uz muziku
Erika Satija, koja treba da potcrta dramatičnu atmosferu događaja, Sombati i
Matković, podsećajući na 36 umrlih svetskih pesnika, pomerajući granice
izdržljivosti vlastitih organizama, ispijaju po čašu votke za svakog od njih (ukupno
oko 8 decilitara ponaosob za 18 minuta).65 Uz pomoć slajd projektora, na površini
iza umetnika smenjivali su se numerisani grobni krstovi pesnika za čije su duše
pili. Nakon Matkovićeve smrti noviju varijantu performansa Sombati će pod istim
nazivom nastaviti da izvodi uz asistenciju publike, s tim što će pesnicima na koje u
performansu podseća sada biti pridružen i sam Slavko Matković. Navodim i nastup
Slavka Matkovića u okviru Dada Symposiona Milice Mrđe Kuzmanov, kada su
izveli akciju Apologija jednog susreta Slavko Matković – Milica Mrđa Kuzmanov.66
Reagujući na pojavu reafirmacije materijalnih aspekata umetničkog dela, 1989.
godine Slavko Matković je realizovao Objekat “G” koji se može svrstati u
vrhunske domete pojave nove skulpture u vojvođanskoj umetnosti osamdesetih.
Raspad Jugoslavije, građanski ratovi, galopirajuća hiperinflacija, nasilne
deportacije stanovništva, nacionalizmi, ksenofobija, vreme totalitarizma i
najprimitivnijeg političkog terora, spoljna izolacija i unutrašnja vladavina
populističkog kiča, hronična nemaština koja ga dovodi na rub fizičkog opstanka,
konzumiranje velikih količina veštačkog pića na bazi metil-alkohola koje se tih
Uradi sam
godina u Subotici masovno proizvodilo, opaka bolest koja se progresivno širila... Do It Yourself, 1983.
33
sve to obeležilo je poslednje godine Matkovićevog života. Kao ilustraciju, navodim 67
Ištvan Sajko, subotički slikar koji početkom devedesetih
nekoliko citata iz dnevnika kojeg je tih godina Matković uredno vodio: živi na relaciji Budimpešta – Minhen – Subotica.
18. 9. 92.
Sedim u svojoj sobi za stolom i plačem kao dete dok me moji sinovi i žena posma-
traju zapanjeni...
7. 7. 93.
Psihički sam gotov. Nešto me kolje iznutra, nema sadržaja koji bi me uhvatio,
odvukao mi pažnju... Tonem u neki ponor – u neku ego klopku... Pomišljam na
samoubistvo...
5. 8. 93.
Pisaću ovih dana Sajkou67 i pitati ga trebaju li možda njegovom galeristi ili nekome
tamo u Dojču naivci na staklu. Radio bih čak i to da zaradim neku kintu. Bezizlaz
je na vidiku... To mi je poslednja šansa da zaradim neki novac jer to drugačije ne
umem da uradim i drugo moram da požurim zbog očiju jer mi vid slabi sve više a
to može da se ubrza...
12. 8. 93.
Inflacija je užasna. Cigarete su danas sa 12.500.000 dinara skočile na 35.000.000,
one najjeftinije a još ih i nema. Sutra izlazi novčanica od 500.000.000.
11. 9. 93.
Živimo kao u konc logoru odnosno GETU. Dobiješ da jedeš, malo se krećeš ali ako
se razboliš fali samo kapo sa motkom ili batinom.
22. 9. 93.
Moramo preko u Mađarsku po krompir... pirinač... šibice. Ovde više ničega nema, Slavko Matković, Bez naziva / Untitled, 1993.
prodavnice su prazne, bukvalno prazne... Nisam mislio da ću ovo doživeti. Teror
da, logor da, ali ovu nemaštinu koja ubija ne. I danas posle radnog vremena otišao
na tavan Gradske biblioteke i umlatio 8 mladih golubova.
28. 9. 93.
Bože na šta sam spao, o čemu moram da razmišljam. Jutros sam pokupio poslednju
prašinu iz kutije za duvan i smotao neku muku od cigarete, tanka, sva od prašine,
ne može ni da se puši... Moram negde naći neki novac... sve mi je u kurcu... osećam
se kao da mi neko uskraćuje hleb, pravo na život... umetnost...
6. 10. 93.
Kvare mi se zubi, opada mi kosa, zeza me stomak – sve je u kurcu. Ovo je početak
kraja – moj geto zvani Subotica postaje sve nesnošljiviji...
raspad zemlje u kojoj je živeo. U tom duhu, 1990. godine, sačinio je vizuelnu Subotica, 2004.
poemu Predosećaj građanskog rata (I–IV), objavljenu u pariskom avangardnom 69
Balint Sombati, tekst u katalogu retrospektivne izložbe
časopisu Magyar Műhely; u periodu 15. januar – 15. februar 1992. godine Slavka Matkovića Ich bin Künstler, Likovni susret,
Matković u Subotici inicira i vodi međunarodnu umetničku akciju Stvaraoci za Subotica, 1989.
mir. Početkom 90-ih Slavko Matković intenzivno je zaokupljen istraživanjima 70
Ješa Denegri, In memoriam Slavko Matković (1948–1994),
mogućnosti korišćenja videa kao umetničkog medija. U umetničkoj koloniji u Senti u: Opstanak umetnosti u vremenu krize, Cicero, Beograd,
1991. godine ostvario je video projekat Vatra jede reč (snimatelj Andraš Otoš 2004.
[András Ótos], montaža Čaba Erlauer [Csaba Erlauer]), koji zapravo predstavlja
rimejk verziju jedne njegove akcije iz ranih 70-ih. Početkom 1992. započinje inten-
71
Marina Abramović, Ne miriti se i ne slagati, intervju,
razgovarao Radovan Gajić, u: Nova umetnost u Srbiji:
zivan rad na realizaciji Video portreta Slavka Matkovića koji je tek manjim delom i pojedinci, grupe, pojave 1970–1980, Muzej savremene
ostvaren. Po raspoloživoj dokumentaciji, poslednji veliki projekat Slavka umetnosti, Beograd, 1983.
Matkovića bio je sinopsis za video dokumentarni film 24 časa Tereziopolisa, poz-
natijeg pod radnim nazivom 24 sata subotičkog buvljaka, u kojem umetnik pokuša-
va da registruje svu brutalnost i razmere siromaštva, bede i očaja u koje je zapadalo
srpsko društvo u 90-im godinama XX veka. U akciji Granice senki – granice vre-
mena, izvedenoj u Senti 17. jula 1993. godine, Slavko Matković, već sasvim
narušenog zdravlja, u poetičnom duhu još jednom demonstrira artistički moto svo-
jih konceptualnih skulptura baziranih na izvođenju direktnih, kratkotrajnih, nepre-
tencioznih intervencija u svakodnevici. U konceptu za ovu akciju čitamo: U gradu
po sunčanom vremenu odrediti zgrade koje bacaju senku. Potom senke zgrada
opcrtati običnom školskom kredom i zabeležiti vreme i datum same akcije. Samo
obeležavanje odmah fotografisati i to ponoviti posle pola sata, kako bi se regi-
strovalo pomeranje senki…
O poslednjim danima Slavka Matkovića, u tekstu In memory of Alan Ford,68 na
potresan način svedoči njegov prijatelj Mile Tasić. Tekst prenosim u celosti:
Pre podne je iznenada došao u Biblioteku. Izbledeo kačket na pustoj glavi. Od
zračenja. Glava mu je nenaviknuto mala bez duge, bujne kose koju je uvek nosio.
Deluje jači, vedriji, čak moćniji od nas. Odlazimo u Pogled – ilegalnu točionicu
pića. Pijemo gorko pivo koje se u prljavim, braon bocama puni tu negde u blizini,
iza ugla. On puši, pije, raduje se s neobičnim apetitom. Troši život žestoko, kako je
to uvek činio. Kamenicu je jutros napustio i sa nama se prvo druži. Omamljeni smo
lošim pivom, lošim solcberijem, lošom istorijom, lošom politikom, lošim društvom...
Razilazimo se u rano popodne. Mada je novembar sunčano je i toplo. Svi smo u
jaknama. Više nisam s njim. Prvog dana je bio. Drugog dana je bio manje. Trećeg
dana je umro. Toliko od jedne doze morfijuma.
2. novembar 1994. godine Granice senki – granice vremena, Senta
Borders of Shadows – Borders of Time, Senta, 1993.
Umnogome jedinstven reprezent ideja srednjoevropske duhovnosti, kosmopolita
i lokalpatriota, Balint Sombati konstatuje da je Slavko Matković paralelni interpre-
tator dveju kultura – jugoslovenske i mađarske,69 dok Ješa Denegri primećuje kako
je ceo Matkovićev opus najpre izrazito aktivističko, a pri kraju intimno svedočanstvo
o jednom životu u umetnosti i o življenju za umetnost; sve to obavljano je u
graničnim geografskim, duhovnim i političkim područjima i prilikama koje su taj
život i življenje činili tim težim i mučnijim.70 Uostalom, celokupan Matkovićev
životni i umetnički slučaj materijalizacija je Arganove teze o smrti umetnosti, i to ne
u onom najbukvalnijem vidu, smrću samog umetnika, već kao završno poglavlje
jedne dugotrajne, iscrpljujuće i (samo)razarajuće lične drame – logičan epilog u
kojem umetnost odnosi fizičku pobedu nad svojim tvorcem. Mislim da umetnici, oni
pravi, oduvek traže, nalaze i prevazilaze nađene puteve, dolaze u sukob sa sredinom,
vremenom, samim sobom – Slavko Matković prototip je umetnika koji otelovljuje
navedenu tezu Marine Abramović.71 Afirmišući shvatanje po kojem delo nije krajnji
cilj ili rezultat umetnosti, lišen iluzija o bilo kakvoj društvenoj funkciji koju umet-
nost treba da ima, kao pripadnik individualne kulture Slavko Matković je zastupnik
stava po kojem jedini rezultat ili svrhu umetnosti treba tražiti u samoj ličnosti
umetnika, njegovim etičkim, intelektualnim, emotivnim, ukupnim životnim stavovi-
ma i svetonazorima. Umetnika koji, svestan da se u umetnosti mora ići do kraja,
život završava u tragičnim nesporazumima: sa umetnošću, vremenom u kom živi,
sredinom i njenim sistemom vrednosti, vlastitom porodicom, naposletku i sa samim
Citat iz unikatne knjige Pismo-cvet
sobom. Svojim primerom Matković na ubedljiv način dokazuje da ne postoji umet- A citation from the singular book Letter-Flower, 1985.
35
nost bez posledica, baš kao i to da ne postoje posledice koje se zarad umetnosti i 72
Jozef Bojs, Društvo kao skulptura, intervju, razgovarala
vere u vlastitu misiju ne mogu prihvatiti. Trošeći život do kraja, vođen Bojsovim Vilabi Šarp, Moment, Bilten Studentskog kulturnog centra,
br. 1–2, Beograd, 1973, i u: Dosier Beuys, izbor i predgovor
stavom koji, radikalizujući postavku umetnost kao život = život kao umetnost, iznosi Ješa Denegri, DAF, Zagreb, 2003.
tvrdnju da je umetnost ona aktivnost koja je neophodna da bi život uopšte bio
moguć,72 Slavko Matković je u 90-im suočen s konstantnim narušavanjem nagonske
potrebe za umetnošću. Sve se, neminovno, završilo tragičnim fizičkim krajem
samog umetnika (smrću gušenjem). Uostalom u (istoriji) umetnosti neke se stvari
neprestano ponavljaju – zbog toga i ne prestaju da nas svaki put iznenađuju ponovo.
Sve je tu i ničega nema: Strela koja promaši cilj – pogodila je sve ostalo...
Lice, telesna akcija, Budimpešta / Face, The body action, Budapest, 1981.
36
Philosophy of Art or Art as Philosophy
By Nebojša Milenković
I’ll have to forget it all, anyway, it’s just that I wonder whether that will be at the
end of the beginning or at the beginning of the end...
Slavko Matković
That is an idea and as such should be regarded. It is only in necessity or for didac-
tic reasons that one resorts to interpretations.
Joseph Beuys
The 1960’s and 1970’s were times of unparalleled hopes, faith and near-to-mis- 1
Yugoslavia’s Conceptual artists attracted considerable
sionary expectations concerning the role and purpose of art as a pursuit consuming attention at the Paris Biennial Exhibition of Young Artists in
1971, as well as in the prestigious anthology of Conceptual
one’s lifetime in a thoroughgoing way. On an international scale, it was a period of Art by Klaus Groh: Aktuelle Kunst in Osteuropa, Dumont
economic/energy, political/cold-war and spiritual crisis which was dissolving the Aktuell, Köln, 1972.
currently predominant ideological models (capitalism and Communism) and
depriving them of sense from inside. This largely seemed to be an emerging world
of lost moral sense, one lacking faith and lacking hope. In art, however, and coun-
teracting the social regression, some exciting and eventful overthrows were taking
place: it was a time of intense, rapid changes, not just formally speaking but also in
the domain of fundamental ethical motivations and the overall status of art in socie-
ty, and all in keeping with the well-known slogan of 1968 – Be realistic, ask for the
impossible. The events related to the international student movement and the ensu-
ing atmosphere of international solidarity, as well as the struggle for human and
political rights, resulted in a conviction that art is the activity which is potent
enough to influence the changes in the world’s image. According to Susan Sontag,
it was the matter of establishing a ‘new sensibility’ to be adopted by a whole gener-
ation of artists of neo-avant-garde provenance. The non-obliging character and non-
chalance of subculture that were reflected through mixing and intermingling of var-
ious media initiated a situation which implied an unprecedented democratization of
art. As a key figure of the period, Joseph Beuys was convinced that it was actually
the art as social plasticity that “can bring about birth of a new, spiritual society of
the future”. The dilemma whether it was a new society or a new world that was
emerging was faced by Jean Paul Sartre, too, who tried to solve it by the following
sentence: We know that the world keeps changing and that man changes the world
as the world changes man.
In Serbia, the advent of the New Art of the Seventies (in the 20th c.) is associat-
ed with Subotica and Novi Sad, the cities that were the first centers and battlefields
of an unsparing struggle for an art which would go beyond the confines of the pre-
ceding esthetic categories and grow into an ethic activity aimed to re-examine and
re-evaluate the fundamental issues of the whole societal structure. The local
Conceptual artists launched their work concurrently with their fellow-
Conceptualists worldwide, took part in outstanding international exhibitions and
events, were entered into anthologies of Conceptual art, and contributed to presti-
gious art reviews.1 It can freely be said and argumented all too well that never
before or after this period did the art of this milieu manage to keep so close pace
with the acutely current ambitions and tendencies on the international art scene. Identifikacija / Identification: My name is Slavko
Matković, 1972.
37
The key dates of the new art in Serbia were August 27, 1969 and April 8, 1970: 2 Beuys carried out two works of his own within Matković’s
The former saw establishment – by Slavko Matković and Balint Szombathy – of project Obeležene površine (Imprinted Surfaces).
the Bosch+Bosch group at the Triglav pastry shop in Subotica, whereas the latter 3 The possibility of somewhat more liberal approach in
marked the beginning of the art group Kôd in Novi Sad. terms of creative output within the Yugoslav avant-garde of
the day should be seen in the fact that the groups OHO and
Gorgona were established, both in 1966.
Bosch+Bosch – A hi/story:
Subotica as a stage of international art scene
Founded as art section of the Youth Forum (Tribina Mladih) in Subotica, the
Bosch+Bosch Group was a paradigm of multiple straying and dilemmas, yet at the
same time of brave, uncompromising struggle for a different art, the struggle which
characterized the art scene of the day. Having departed from the arts (classic tech-
niques: drawing, graphics, painting), the Boschists were from the very start open
for diverse influences in which the international scene abounded. In addition to the
spiritual climate of the year 1968 and the atmosphere of Great Refusal, what deci-
sively led to the formation and work of the group was the existence of Új
Symposion, Novi Sad-based periodical published in the Hungarian language, which
in 1960’s issued a series of articles dealing with the history of avant-garde and the
post-war neo-avant-gardes. As Slavko Matković himself testified, his personal
understanding of the figure and vocation of an artist in the society was greatly
influenced by his getting familiar with the personality and output of Lajos Kassák,
poet and artist whose work accentuated the moral and social aspects of artistic
work. Following his death in 1967, the founding father of the Hungarian Activism
became one of the key figures of Central European avant-gardes. Apart from
Kassák’s example, indispensably significant were the acquaintances, friendships
and, later, joint shows with the OHO group and the Conceptualist groups of Novi
Sad, the experience of the Fluxus Movement, art events, exhibitions and guest
shows of distinguished artists and art theoreticians at Belgrade’s Student Cultural
Center, whereby we have to make a particular reference to Joseph Beuys and his
participation in the 1974 April Encounters, for Slavko Matković took part therein
as well.2 What also had impact on the group’s output were the numerous exhibi-
tions and debates held at the Youth Forum in Novi Sad; the place was a buoyant
nucleus of discussions and activities of the New Art. One of the noteworthy events
was the exhibition The Picasso Phenomenon (Fenomen Pikaso) by Dimitrije
Bašičević Mangelos, and so was the topical issue of the review Polja (‘The Fields’)
which dealt with Conceptual Art. And, of course, there was the major framework
within which we should consider the output of both Matković individually and the
whole Bosch+Bosch group – the movement of visual and concrete poetry, the
experience of the Gorgona and OHO groups,3 relations and joint shows with some
representatives of the New Hungarian Avant-Garde, the book Mixed Media by Bora
Ćosić, the magazine Rok, friendships and cooperation with Jerko (Ješa) Denegri,
Franci Zagoričnik, Denis Poniž, Želimir Koščević, Marijan Susovski, Zvonko
Maković, Biljana Tomić, Marina Abramović, Raša Todosijević, Dunja Blažević,
Bogdanka and Dejan Poznanović, just as the art practice of Mail Art, or, more
preisely, correspondence and exchange of information and periodicals within the
already delineated frame of the global art network.
Again, it has to be emphasized at this point that all of this was taking place in
Subotica, that is, a milieu situated in the border area of different cultural, linguistic,
confessional and even civilizational cross-influences of the Eastern Europe (the
Balkans) and Central Europe. It is an area which actively fosters the well-known
mentality and spirit of the parochial ‘philosophy’, where each distinctness/standout
of a thing or a person implies more or less noticeable surveillance. If we make a
comparison between the spiritual climates of Subotica and Novi Sad as the indu-
bitable centers of the New Art, the very first glance may indicate that the Boschists
developed their activities in a somewhat more liberal milieu and atmosphere of
Subotica. In Novi Sad, the grip of the (Communist) Party and its opposition to, or
interference with, the work of the Conceptual artists were so tough that the journal-
ist of Ljubljana-based Tribuna Jaša Zlobec said during a debate at the Youth Forum
38
(Jan. 22, 1971): “This is something I could only imagine happening in Russia, but 4
“...It is now clear that in this fuck-up town whoever thinks
not in Novi Sad.”4 But the situation in Subotica was only seemingly more up a clever and decent thing and just tries to do something
about it – gets screwed up, and the only real chance for the
favourable. The make-believe democratization of the system and opening of the guys of the forum is to foster social-realist kitsch, commer-
Yugoslav market for the goods from the West produced the circumstances in which cial undergroung surrealism, like boško ivkov does in the
the grip of the censors just remained hidden, while the persecution of artists was polja... This disgusting city regularly shows its dark soul,
the task of the local figures in power, usually some low-ranking Party officials. It is the Forum shall never become an elite stronghold of the
avant-garde thinking, for the damned town does not need
also noteworthy that the members of Novi Sad’s Conceptualist groups enjoyed one it...” - Slavko Bogdanović, “pesma underground tribina
advantage: they had an elaborated and well-profiled ‘stage’ to perform on, the mladih novi sad” (poem, punctuation deliberately omitted
Youth Forum being its epicenter, and the institution made Novi Sad the most sig- by the author), Student, special issue dealing with
nificant center of neo-avant-garde of the day within the whole of (ex-) Socialist Underground, 1971.
Federal Republic of Yugoslavia. 5
Belgrade-based Group 143 was the only one to articulate
Like all other groups of the New Art Practice in Serbia, the Bosch+Bosch did its programme in the form of a manifesto.
not – as one might expect – produce any explicit and obliging program of the man-
ifesto type. They were rather an informal group of people who shared in common
6
“I have an impression that everybody in this movement is
secretly manipulating wherever suitable. I even think it to be
similar, or near-to-identical views and ideas, and who maintained companionship, normal; the movement is so young, still lacking in outstand-
mounted exhibitions together, discussed art and organized debates thereon.5 The ing ‘grand figures’, the thrones still being unoccupied, peo-
founding members of the Bosch+Bosch were Slavko Matković, László Szalma, ple are resorting to various ways.” From a letter to B.
Balint Szombathy, Zoltán Magyar, Edit Basch, István Krekovics and Slobodan Szombathy, dated Feb. 29, 1972.
Tomanović; in 1971, László Kerekes joined in; Katalin Ladik and Attila Csernik 7
Re-manouevering was always felt within the group, and I
did so in 1973, and Ante Vukov in 1975. Apart from their joint exhibitions, the seemed to be a God-sent person to caress or convert them in
group indulged in publishing the reviews Kontaktor 972 (1972-73) and WOW order to preserve the group. I think it is high time we found
(1974-76) which contained contributions by the most significant practitioners and some agreement concerning the next directions and goals of
the group. I am not satisfied with the current situation –
theoreticians of the New Art. Aware of the anticipatory value of their activities things are just cast adrift and taking too wild a course. All of
within the corpus of local but also of world art, the members of the group, together it has to be taken into one avenue, we cannot afford looking
with a number of their associates (Biljana Tomić, Jerko Denegri, Franci Zagoričnik, like a group of amateurs.” - From a letter to B. Szombathy,
Slobodan Braco Dimitrijević and Miroljub Todorović), intended to organize the dated Mar. 15-17, 1972.
First International Biennial Show of Visual Poetry and Conceptual Art in Subotica,
from December 15, 1971 to January 16, 1972. The event was to include a sympo-
sium under the title The Further Development Routes of Visual Poetry and
Conceptualism (Dalji putevi razvoja vizuelne poezije i konceptualizma). In the pub-
lication entitled IBS ‘71, printed for the occasion, one could read about the inten-
tions of the organizers: “We think that Subotica will be the first city worldwide to
offer the possibility of panorama of, and insight in, the work of the world’s super-
avant-garde through a regular review-type show of avant-garde achievements, and,
additionally, that such an exhibition would contribute to the overall development of
Yugoslav art (for the reasons of illustration, it is noteworthy that in the whole
world there are at this moment not more than some 500 artists engaged in this kind
of poetry which is gaining new adherents daily).”
Stimulating in the beginning, the experience of the group-style activity was
gradually turning into a burden for Matković and his fellow-members. From one
day to another, the burden was becoming increasingly difficult to carry. It is from
the artist’s correspondence, made accessible to me through the kindness of Mr.
Zaviša Matković and the artists enlisted in the closing part of this book, that we can
feel the intensity of the relationships and contacts among the members of Yugoslav
avant-garde of the time - now and then, those were relations of mutual envies,6 we
can feel how strong, intense and at some moments even self-destructive in
Matković was his belief in art as a commitment to which one has to devote his
whole life imperatively and in a thoroughgoing way. Also, the correspondence
makes one realize how much and to what degree Matković abhorred practicing art
“for the reasons of fashion or juvenile whim”, especially if something of the sort
could be done by a member of the Bosch+Bosch. While the group still maintained
their togetherness, each of the members was simultaneously asserting and develop-
ing his own individuality and creative autonomy. Often referring to the OHO
Group as “a wonderful example of unity”, Slavko Matković advocated the thesis
that his group must act much more systematically, in a better-organized way and
with a more careful strategy,7 he thought this to be the only way to produce a more
serious pressure, as well as an instrument the New Art Practice should use in order
to be treated evenly with the current art conceptions. Contrariwise, Balint
Szombathy’s opinion was that the group was an association of individuals whose
routes in, and views of, art were inevitably going to take different directions. It Crtež / Drawing, 1965.
39
appears that Slavko Matković took their numerous arguments and insufficient 8
“I’m invariably pressed upon to join in the Writers’
devotion of some members to their joint struggle with more pain and dramatic feel- Association of Vojvodina, and I’m gonna do that. No isola-
tion in the style of B. Poznanovic – that is stupid and unrea-
ings than the others in the group. Nevertheless, he championed unity, even enforced sonable. Anyway, we are making art, not political pastry out
unity, to the ultimate moment, one of the group’s disintegration: “I have never of a cookie press. Why enclosures? It seems that some
looked upon things in the short-run perspective, and we can overcome embarass- would easily call us on the carpet using our underground
ment today in order to ensure a better tomorrow for the arts” – reads part of his position as a trump card. I’m confronting harshly such defi-
nitions of my work, as well as ours.
letter to Szombathy of Feb. 21, 1974. In his unsparing struggle for the better future We are artists though
of the arts in the long run, Slavko Matković was sometimes ready to make a com- Unwilling to see the funeral of art
promise he knew could cause great harm both to him personally and to his art.8 Not rejecting tradition but rejecting traditionalism
Especially dramatic in this context was Matković’s and Szombathy’s conflict with Aiming at new roads in art new channels of communication
Striving for today’s art resulting from today
László Kerekes, which occurred at the moment when this artist – having felt the Striving for an art that raises people not dead bodies
wear-out of the New Art’s tools of expression - definitely turned to painting. Seen We are humanists.”
in retrospect, this situation was of crucial importance for both the work and disinte- - From a letter to B. Sombathy, dated May 22, 1974.
gration of the group and it will frequently be referred to below.
The reading available dates the disintegration of the group into the year 1976, yet
the archives of Slavko Matković suggest that it effected officially on April 16, 1977
and took an extremely extraordinary form. Namely, in the last of his many attempts
to preserve the group at all costs, Slavko Matković addressed – in a Conceptualist
spirit and manner - a questionnaire leaflet, i.e. a piece of art, to the Boschists, one
entitled An Open Letter to the Members of the Group which read: “Considering the
misunderstandings, frictions, setbacks in contacts, subjective negligence toward the
Group as an organic entity and some other flaws in our group work, the issue of the
further survival of our art/istic association has become acutely grave. Therefore, I am
asking you to answer the questions formulated below and send this leaflet back in
about ten days, so that through a sum-up of the response of all the members of the
Group we can obtain a definite judgment on disintegration or better-organized and
more fruitful work in the future.” The members of the Bosch+Bosch were to answer
the following questions: * “Do you find our dissipation to be a natural or an artificial
process?” * “Is the Group lagging behind in terms of development?” * “Is the Group
hindering your own development?” * “Do you think that the Group should be torn
apart?” * “Are you leaving the Group?” and * “Will you co-work with someone from
the Group in the near future?” At the bottom of the page, he put in a portrait of his
own, with the following words on top: “Slavko Matković Member of the
Bosch+Bosch Group”. As an outcome of the questionnaire, conceptualizing the very
moment of the group’s final disintegration, Slavko Matković produced his work
There Is No Longer Bosch+Bosch 1969-1977. The final report on the group’s disinte-
gration, after the response had been collected, read as follows:
“As a result of all letters – the group exists no longer. Attila and Antika have
opted for the group, Balint and I have opted for its dismantling. Lacika has failed to
answer my letter as long as until today (April 16). I take the silence to mean
approval... Everybody is willing to cooperate (except for Katalin and Lacika) which
I find fine and favourable...” On the place where he quoted the options of individual
members, Slavko Matković wrote down and then crossed out the following text:
“Katalin considered the Group dismantled since long ago and even called me an
idiot – for which I’m thankful – I’m gonna pay her back on the first chance.”
Visual-poetic research
Indeed, there are but two transcendences of the language today – mathematical
axioms and the word as art. Everything else is the language of business, ordering
of beer.
Art is a game. The game leads into the sign – into the symbol. Symbols and signs
open ways for greater freedom of individual reading than common reading of a
written text does... I aspire at a work which branches out in hundreds of directions
and still tells about one common direction – expressing the direction in which my
mind flows.
40
Visual poetry is one step ahead of the traditional poetry. It is an outward-bound 9
“I paint, and saying so, I mean serious work, since the year
step into space. The first radical gesture since the beginning of poetry. 1964.” - Slavko Matković
10
The term launched by Achille Bonito Oliva.
Slavko Matković, Budapest Diary (1979)
11
Miško Šuvaković, Asimetrični drugi: Eseji o umetnicima i
Although in the beginning they resorted to the arts, it was clear that the mem-
9 konceptima (Assymetrical Others: Essays on Artists and
Concepts), Prometej, Novi Sad, 1996.
bers of the Bosch+Bosch group had from the very start aimed to deny the classic,
traditionally maintained models and modes of expression. As early as in 1968, we
could record the first joint art shows of Matković, Szombathy, Magyar and Szalma;
in 1969, the group became a second art section of Subotica’s Youth Forum. As the
First-Prize-winner at the Forum, Matković participated in the Čurgo Art Colony in
1968 which showed some signs of the forthcoming conflict between the Boschist
orientation and the artistic norms of the day. Apart from Szombathy’s probes in
painted poems and compositions made up of letters, the first exhibition of the Group
which took place at the Youth Forum in Novi Sad in 1970 was marked by more or
less radical steps forward yet still within painting as the medium and the framework.
Having entered the painting domain by departure from poetry, and influenced
by the already emerging international movement of the New Art, Slavko Matković
– in his early paintwork – dealt with anticipation and desemanticization of objects,
a singular lyrical constructivism. As only a small number of the works from this
early painting stage of his has survived (a large portion was destroyed by the artist
himself), I would determine the summer of 1970 as a landmark in the formation
and maturation of Matković as an artist: it was then that the founder of the
Bosch+Bosch group quitted painting and turned to visual research and experiments
which were to have a considerable and somewhat determinative impact on the
streams of Yugoslavia’s and Serbia’s contemporary art in the 1970’s and the 1980’s.
In this region, Slavko Matković was one of the coryphaei of the faith in the New
Art. As certainly the most significant representative of the strategy of artistic
nomadism and one of the most outstanding innovators in our recent art, Matković
anticipated many phenomena of the New Art Practice in Serbia – be it as a founder
or as someone who, well-informed on the current developments on the internation-
al art scene, introduced/transposed/conveyed some phenomena and modes of artis-
tic conduct through his own creative work and thus made them an integral part of
the domestic corpus of the arts. Ever since the year 1969 until his death, Slavko
Matković was interlacing the spaces and interspaces of art, venturing to explore
and examine the border areas between art and what was beyond art. Regarding “art
as an open field of possibilities,”10 Slavko Matković took interest in exploring “the
current logical situation of the idea as idea” – that is, the idea which is changed in
the very moment of its implementation. The issue is one of the open mutual
process of formation and dis-formation of the idea of a work of art, the idea about a
work of art or the idea as a work of art. It is an issue of modernism which cancels
itself. In that context, Matković advocated the thesis that the existence and funda-
mental determinants of Conceptual Art could be accounted for and defined by that
very existence solely. Art is a definition of art, and the artist is often merely a con-
veyor, medium for the manifestation of artistic situations or of the situations which
are at a certain moment proclaimed/presented as artistic. Realizing that a work in
most cases exists solely in the moment of its execution, Slavko Matković was try-
ing to carry out works of art which should not carry referential meanings, ones
which should mean absolutely nothing else and nothing more but what they are.
According to Miško Šuvaković, “he belonged to that special kind (breed) of artists
that was ranging from Schwitters and Kassák to Maciunas, Sigmar Polke and per-
haps Beuys. Those were men with whom, at some moment, the demarcation lines
between their biographies, their concrete lives and their artistic productivity was
lost/cancelled/crossed out. As if all of Matković’s works had merged into one unex-
pected, unstable and changeable entity, a new code of the artist as his output.”11
In the work of Slavko Matković, but also of the other artists within the New
Art Practice of the Nineteen-Seventies, constant changes of esthetic paradigms
Slavko Matković, Laslo Salma: Naslovna strana knjige
which characterized the development of modern art were manifested as a perma-
5112/A, Subotica
nent awareness of the expressive potential of each art language (language in art) as Slavko Matković, László Szalma: Title page of the book
inevitably limited and temporary. The said limits can only be overcome by con- 5112/A, Subotica, 1971.
41
scious acceptance of their temporariness, so that one can quite spontaneously cross 12
Alan W. Watts, Put zena (The Way of Zen), NIRO
over to a new language, new code of artistic conduct (conduct in or inside art) Književne novine, Beograd, 1985.
which is to some extent similar to the preceding, just-abandoned one. Art has thus
turned into an active practice of permanent testing and re-examination of the ulti-
mate limits of art, while the language of art has become a way (means) to sur-
mount the imposed limits – by nothing else than the assertion of awareness that the
character of the limits in question is but temporary. “It is necessary to turn into a
nomad and travel across ideas with the same easiness with which we travel across
diverse regions and settlements” – those are the words of Francis Picabia that
sounded so familiar to the champions of the New Art.
In a ‘nomadic’ manner, the areas of interest to Matković’s artistic activities
included: projects in the spirit of New Art Practice, visual-poetic research (visual,
typographic and concrete poetry, visual poetry in space, artistic actions, anti-narra-
tive comics, collage, book art...), auteur cinema, interventions in open space,
Conceptualist works, Performance Art, body actions and Mail Art. Moreover,
Slavko Matković actively indulged in the theory of art, literary work (poetry, short-
form fiction, plays), as well as inter-genre works in the domain of text visualization
by mixing visual and literary experiences and systems of expression.
Side by side with the revelation of the language art (art of language, language
as art) by the Conceptualist groups of Novi Sad, the members of Bosch+Bosch,
particularly Szombathy and Matković, opened their own probes into the inter-per-
meation and inter-relations between the image and the text (concrete, visual and
typographic poetry). More or less explicitly, that is what Matković was preoccupied
with as long as he lived.
While the membership of Novi Sad’s groups was prevailingly interested in the-
oretical artistic activity, more precisely, in the theory as art, in their ambition to
reach the level of absolute objectivity of the language of art, at some midway point
between the gains of artistic and literary avant-gardes, between Art & Language
and Wittgenstein – the members of the Bosch+Bosch were tackling (re)examination
of visual conditions, that is, explorations in the field of inter-permeation of the
image and the text, engrossed in that inter-space, the ‘idle gear’ which occurs when
one practises the inter-permeation of the word and the image. It is a poetry of inter-
textual, intra-textual and meta-textual relations, a poetry which, as Balint
Szombathy put it, “in the last stage of its development, turns into nothingness,
turns into a negation of poetry”.
Employment of letter signs and visual symbols in these exploratory pursuits
implies efforts to establish a new, autonomous communicational-signifying system,
one deprived of any explicitly manifested intention or aim to mean/signify any-
thing. Despite their allusive/connotative kinship, the sign and the signified exist
independent on each other and make an entirely new field of visuality, based on de-
verbalization and de-semanticization of the employed letter-signs, digits or sym-
bols. An isolated sign turns into a signifying occurrence which is – however para-
doxically it may sound – absolutely independent on any meaning, and which does
not pretend to signify anything. We can search for the roots of such tendencies as
far back as Mallarmé’s poems-objects, via the experiences of historic avant-gardes
(Russian in particular), to Dada or the reviews Zenit and Dada-Tank on the home
scene. Reading is substituted with visual perception – this time, as an autonomous
mental activity which serves to erase every potential tension or any other relation-
ship between the sign and the signified; more than that, there is insistence on mild
indifference and ridding of goals, that is of the need to attach an a priori intention
or a purpose to each (artistic) activity. It is noteworthy that during that period, apart
from studying Wittgenstein, Slavko Matković (and so did most of his friends)
actively pursued studies in Eastern esotheric Zen-Buddhist philosophy of life; it is
in that light that the major portion of his oeuvre should be regarded. Like in the
case of the Zen arts, Conceptualist approach finds that the idea of the arts is to be
pursued, not accomplished.12
42
Matković’s abandonment of the classic media of the arts and his initial works in 13
Mirko Radojičić, “Tekst 1”, Katalog retrospektivne
the domain of visual exploration resulted in letter (sign) interventions on computer- izložbe Grupa Kôd, ($, ($-Kôd, Galerija savremene likovne
umetnosti, Novi Sad, 1995, p. 78
released sheets that took place in the summer of 1970. Most of these have been
lost, but a small portion (Visual Research and Treatment of Wasted Computer 14
“Where the word ends, an image begins, and it is there, in
Material) was – luckily – reproduced in the book 5112A co-authored by Matković this ‘inter-space’ between the image and the word that
and László Szalma in 1971 . Matković has left the following testimony on the early decided – a decade or longer ago – to undertake exploration
and to search for the possibilities to articulate my own artis-
works: “I saw kilometers of infinite monotonous columns of digits and reached a tic commitment. In a word, it was through Kassáak,
conclusion that the computer-released material can excellently be exploited in cre- Apollinaire, Tamkó-Sirató and my own intuitive sense that I
ative work... During the first visual explorations, I filled in the zeroes in the rows of tried to reach my personal zenith and thus reached the ini-
digits, breathing some life into the dead ocean of numbers...” In the abovemen- tial points of my own visual beginning. The word was sud-
denly substituted by the image. The concept odslik (‘coun-
tioned signifying situations, and in keeping with the post-Babelic syndrome, Slavko terpart’) substituted the ‘signal’ and everything turned to be
Matković dealt with the creation of inter-relations (not so much between the typo- easy and simple within the circle of the so-called visual-
graphic signage and symbols used, as the relations between paper and text); i.e. he poetic space. In those years, McLuhan was sending his mes-
tackled the relations between the sign, the signifier and the material (medium) sage, the philosophy of the planetary village, so humane and
human, so needed and purposeful in those years. His was a
exploited in the act and process of signifying. He did so using typewriter and still message of general humane and human relatedness. Bense
under the influence of Kassák’s constructivism and the artist’s programmatic prin- shaped it all into “New Esthetics”, and I identified my way.
ciple “Pull down in order to be able to build!”, employing deconstruction of the Some works were coming into being concurrently with the
textual structure by way of separation of letter signs and their desemanticization or theories of those ways; on the other hand, some works still
lack adequate theoretical account – one may only to wait for
interventions within printed texts (books, dictionaries, newspapers). their time, for their space. I feel my work to bear commit-
“As long as there is need for a language, it means that the language is imper- ment esthetically as much as socially-artistically. The task
fect. Within the system of the perfect language, communication as a function is has resulted above all from my artistic ‘credo’ by which I
unnecessary. A perfect language is autonomous. In that case, language is art.”13 wish to articulate some truths on the existing ways of art
today. Where I’m going and where I shall arrive – that is a
The explorations pursued by Matković were referred to as structured events by the matter of time. It may not be of great importance at this
Slovenian theoretician Denis Poniž who pointed out the fact that the sole ‘content’ moment, it is essential to trust your own heart and keep
of those texts was actually nothing else but their structure. In the interventions, we moving forward...” - Slavko MATKOVIĆ, Tekst, September
witness an effort to reach the zero degree of the sign, this being a conspiciously 22, 1983.
unexclusive activity which added to the need - felt by Matković in the early stage 15
Denis Poniž in: Slavko Matković, Knjiga, vizuelno-poet-
of his work - for art aimed at reaching a new visual consciousness. It seems that ska istraživanja 1971-1978, Gradska biblioteka, Subotica,
Matković reached that visual consciousness toward the end of 1970 or at the begin- 1979.
ning of 1971, the time when he started practising visual poetry through the proce-
dure of inter-permeation between image and text.14 These works of Matković were
followed by those that fall in the 1971 cycle Document Forms (Formulari) where
his visual interventions employed standard payment forms/receipts used by elec-
tricty-supply, PTT, housing-and-maintenance, or construction-and-repair compa-
nies, various certificates and the like. It is letters, signs and other visual corrections
that Matković added/inserted into the impersonal, bare, administrative facts and
thus converted them into artefacts, lasting documents of transitory moments in the
artist’s private history. It is personal letters, statements re the arts, drawings that he
wrote/drew on these – all grounded on word-image inter-permeation. A Certificate
of Small-Pox Immunization (Potvrda o imunizaciji protiv velikih boginja) is an
example of administrative art: it is a medical certificate of re-vaccination against
small-pox. Matković did undergo re-vaccination, but one cannot see from the paper
whether it was on March 29 or April 19, 1972. The sole artistic intervention on the
certificate consists of an art stamp representing the author’s portrait which he glued
onto the upper right corner of the document. Through its striking non-exclusivity,
as is the case with the much prevailing part of Matković’s output, this work of his
confirms the Fluxus Movement’s favourite thesis that there is no situation in life
which is short of art-bearing charge; that is, there are no situations to which an
artist cannot attach some artistic meaning and context: “If someone says it’s art, it’s
art.” (Judd after Duchamp)
However, in terms of percentage, the largest number of Matković’s works in the
domain of visual-poetic research is grounded on inter-permeation and mutual inter-
lacing between the image and the text, emphatically narrative in character and with
a multitude of collage-appliqués. In that stage, Slavko Matković amply exploited
the iconographic elements of the popular media culture of the 1970’s, those based
on pop music, literature, new theatre and happening, poetry... Those were explo-
rations in which, as Denis Poniž says, “the relation between the pictoral and the
linguistic was never structured so that one layer would prevail at the cost of
another”.15 These works by Matković, the peculiar visual essays, appeared in The
Book: Visual-Poetic Research 1971–1978 (Knjiga: Vizuelno-poetska istraživanja
43
1971–1978), published by the Municipal Library of Subotica in 1979. By reduction 16
Slavko Matković, “Novi putevi vizuelne poezije”, I
of the verbal material of his poem in his visual works of that period, Matković con- Aprilski susret, Bilten br.2, Studentski kulturni centar,
5.4.1972.
centrated himself on the relational aspect, that is, visual effects, which resulted
from the inter-permeation of desemanticized elements of the poem – by letters
being combined with visual (drawn or collaged) effects.
The genre labels of the said works were provided by Matković himself through
the names of cycles such as: ‘typographics’, ‘discovered visual-poetic contents’,
‘homages’, ‘visual-poetic concretizations’, ‘typoflorae’, ‘versessays’, ‘signal-iza-
tions’, ‘new comics’ (tipografike, nađeni vizuelno-poetski sadržaji, omaži, vizuelno-
poetske konkretizacije, tipoflore, pesmoeseji, signal-izacije, novi strip). Such poetic
concretizations indicate the maturity of the visual language which at the same time
rejects and obstructs an approach to the object-poem. As Matković put it, The Book
contained his “poetic particles”, based on two opposite codes – semantic and
esthetic – which, depending on the nature of individual works, alternately prevailed
over each other. In the opinion of Ješa Denegri, these early works enable one to
monitor Matković’s further artistic route: “From concretization of the letter one can
directly cross over to concretization of material, it is by visualization of the inde-
pendence-winning letter sign that an avenue opens from the narrativeness inherent
to literature to straightforward expression of the media and to their tautological
iteration in the objects discovered or re-made”.
The works exhibited within the second show of the Bosch+Bosch group, held in
Senta in 1971, should be included in the cluster of works that deal with re-exami-
nation of visual conditions, for, what Matković used as vehicles to carry out and
materialize his ideas are visual materials from everyday life: apples, ping-pong
balls, multicolor wool or styrofoam combined with 29 “Forevit” tablets. His instal-
lation Apples in the Wind (Jabuke na vetru) is an outstandingly lucid game-play
with what in Serbian, especially Vojvodina’s, art had already been an established
“poetics rooted in the values of the native land”. Fully in keeping with the spirit of
Arte Povera, this early object-installation was made of the metal frame of a white
umbrella, ping-pong balls suspended from its ribs and set to motion by a fan laid at
the bottom of the whole construction. Within his first individual exhibition entitled
Rad/Work, and held at the Youth Forum in Novi Sad, Matković exhibited Waterfall
(Vodopad), a piece in the spirit which characterized ‘impoverished art’ (Arte
Povera), made of aluminium foil fixed to a wall of the gallery from which cascad-
ing tufts of light-blue-dyed wool were falling ‘downstream’. Representing thorough
tautological self-sufficiency, the work named Object (Objekat) was exhibited with-
in the same show: it consisted of a multitude of emptied atomizer bottles of varied
sizes, all held together by transparent office tape. The environmental situation is
actually the artist’s concept materialized.
Of significance to one’s comprehension of the abovementioned works, as well
as of Matković’s own approach to, and understanding of, these visualia is his study
The New Ways of Visual Poetry (Novi putevi vizuelne poezije), published in 1971. It
first appeared in the Slovene language within a volume of Ljubljana’s review
Problemi, and the 1972 saw its Serbian and Hungarian versions: the former in the
bulletin of the First April Encounters in Belgrade, the latter in the Novi Sad review
Új Symposion. Theoretically speaking, the said study considerably contributed to
the growth of this international movement. In The New Ways of Visual Poetry,16
recording the drawbacks reflected in the chamber character of the vehicles of that
poetry (“it has offered a new language of viewing but not of reading”), Slavko
Matković ascertained that “visual poetry cannot meet the demands for permanent
changes required by the present moment of the artistic avant-garde”. Further on,
the study considers inter-actionable relations between a physical object as a source
of esthetic information on the one side, and the poet as creator on the other, and the
work, i.e. the completed poem, on the third side. Departing from the fact that each
thing or physical object in our environment has esthetic-poetic content of its own
which deserves to be registered through creation, Slavko Matković confronts two-
dimensional interpretation (“a creator consciously abolishes the third dimension, he
runs away therefrom, throwing his perceptions and the results of his mental pro-
cessing onto a sheet of paper/board”), concerned with an attempt to emancipate the
physical object of the poem, poem as object, that is, object as poem. Vodopad / Waterfall, 1970.
44
Referring to the three-dimensional feature of the poem, Matković is a proponent 17
Attila Csernik went furthest in concretization of this idea
of writing on an object, more specifically, on an object which has been selected and of Matković: setting up the category of three-dimensional
textuality, he makes a step ahead – impressing letter signs,
singled out as a subject of poetry (“the author has to ‘write’ over what he writes words and symbols onto his own body which in that way
about”). In that way, objects rise to the level of a piece of poetry,17 anticipating turns into a site and medium where visual poetic effects are
theoretically Matković’s future visual poems to be carried out in the open space. exhibited.
It was through the mediation of visual poetry that the members of Bosch+Bosch
(Matković, Csernik, Szombathy, Ladik, Szalma) soon abandoned their purely lin-
guistic/analytical Conceptualism/’Reism’ that had been characteristic of, say, the
early OHO or of the Novi Sad-based groups “Kôd” and “($”; leaving plane (of the
paper) they introduced the category of three-dimensional textuality onto Serbia’s
art scene. It means that they abandoned traditional vehicles of textual utterance
(pencil-paper-book) and went close to the textuality of gesture and to the set-up of
a new visual consciousness/experience in the spirit of Arte Povera and Land Art
which tend to free art from semantic intricacies and cause-and-effect relations
between significance and the signified. A work is just there and does not imply
anything but its own existence.
In the wake of the proposed absolute transience in art, a sequel of artistic
actions was carried out by Slavko Matković. These took place at Lake Ludas
(Ludoško Jezero), in the vicinity of Subotica. Executed with the assistance of fel-
45
low members of the Bosch+Bosch group, without audience and providing just Sol Lewitt, “Paragraphs on Conceptual Art”, Artforum 5,
18
scarce photographic documents, the Ludas projects were characterized by the New York, October 1967.
simultaneity of the idea and its realization. Intervening directly and for a short 19
At the same time, in April of 1971, a commune was estab-
while into the everyday condition, carrying out works that were post festum to be lished at Šempas, Slovenia by the members of the OHO
relinquished to the action of the natural forces, Slavko Matković explored the Group. In 1977, applying the principles and ethic views
modes of escape from any possible sociologization (of museum/gallery type) of the identical to those of Matković and leaving Novi Sad,
Božidar Mandić founded such a commune in the village of
new art. The output of that sequel does not fit fully into the context of what the Brezovica at Mt. Rudnik.
proponents of New Art themselves aspired at, that of dematerialization of the
objects of arts. Here we face an attempt to make ideas and conceptual propositions 20
Happenings: An Illustrated Anthology, Written and edited
(that is, ideas about works) visible, whereas their visibility itself is exhausted and by Michael Kirby, Dutton Paperback, New York, 1966.
cancelled at the very moment they are recorded/registered/perceived. “In
Conceptual Art, the idea or concept is the most important aspect of the work. When
an artist uses a conceptual form of art, it means that all of the planning and deci-
sions are made beforehand and the execution is a perfunctory affair. The idea
becomes a machine that makes the art. Neither is this kind of art theoretical nor it
illustrates theories: it is intuitive and linked to most diverse mental proceedings
and free from any goal set in advance.”18 Before describing the particular actions
carried out, I have to note that the locality of Lake Ludas is also significant for the
fact that in early 1970’s Slavko Matković had actively proposed establishment of a
creative community of artists there, one where they would literally live their art,
checking daily upon it through experience.19
By his action Lake Ludas Project (Projekat Ludoško jezero), executed in May
of 1971 with the assistance of Laszlo Szalma and Balint Szombathy, Slavko
Matković made a correction in the existing landscape above the lake surface by
stretching a 100 m long nylon fishing line and fixing A4-size sheets of paper
thereto. Next, continuing the action, and stressing the processuality of the proce-
dure as well as the fact that the work was in existence only during its execution, he
‘arranged’ 100 sheets of 15 x 18 cm size over the surface of the lake and let the
water current of Ludas carry them. On that same locality, another action took place
in June-July of 1971, one entitled The Fusion of Lake Ludas Water Mass with 1/2
Liter of Yogurth (Fuzija vodene mase Ludoškog jezera sa 1/2 litre jogurta): thereby,
quite in the spirit of Zen and emphasizing the temporary and shortlived character of
the effect produced by the artistic action, he marked/’imprinted’ the surface of the
lake by an act of pouring a negligible quantity of yogurth thereon. Inclusion of nat-
ural environment into the context of a work of art establishes some relations with
Ecological Art. Just like in the case of visual and concrete poetry, where the artist
creates not only the mutual relations between letters and symbols and signs but also
the empty spots, the blank spaces in between these, Slavko Matković treats the
environment chosen for his actions in the open space as a constructive element of
the work itself, and not as a mere stage setting where artistic events take place.
Wishing to emphasize their tactile value and character, Matković uses the qualifier-
expression “Conceptual sculpture” (konceptualna skulptura) to determine his
actions and interventions in the open space. In an explicit and persuasive manner,
these ‘Conceptual sculptures’ reflect his efforts to explore “the current logical con-
dition of the idea as idea” and indicate the open character of the process of
(dis)forming the idea which – through the very fact of its being recorded – turns
into its own antipode. Since the actions contain some elements of happening, it is
advisable to recall the thesis launched by Allan Kaprow when proposing art free
from external references: “An action should not mean more than the sheer momen-
tariness of what happens.”20
Following his experiences with visual, typographic and concrete poetry, Slavko
Matković began to practise spatial visual poetry, displaced from plane and paper-
sheet context and transposed into open space, mostly the scenery of natural envi-
ronments in the vicinity of Subotica. As rather characteristic I will point out the
actions named Interventions in the Open Space (Intervencije u slobodnom pros-
toru) and a sequel of works under the joint title Visual Poetry in Spatial Setting
(Vizuelna poezija u prostoru). They were both carried out in 1972. In the
Interventions, Matković experimented: with lime powder, he delineated a circle on
the water surface and in the backyard of his house respectively. In Visual Poetry, he
arranged paper-made letter signs or computer-released sheets in a space, emphati-
46
cally trying to decontextualize his own art; or, he executed burning-out of the let-
ters that make up the word ART, taking photos thereby of the processing effect of
the fire onto his work. In spatial visual poetry, Matković also attached artistic/poet-
ic value to numerous objects from daily use such as old and disused chairs, atomiz-
er bottles, soda-water siphon bottles, rope, wooden boards – he laid these in inter-
active relations with big white letters cut from paper or cardboard. In unambiguous
correspondence to the work and experience gained by practising concrete and visu-
al poetry, the said actions fall within the term prostorne poeme (Land Poems),
introduced by Czech Conceptual artist Miroslav Klivar. Undergoing documentary
recording, the de-materialized 3-dimensional (theoretical) objects in the open space
were left exposed to the action of the weather.
The early 1970’s saw Matković’s actions and projects carried out with organic
and unorganic substances. As most representative I am pointing out Red Radish
Sprouting (Klijanje rotkvica) and Corroding Nails (Korozija eksera). In the wake of
an idea by Slavko Bogdanović, Matković executed the project Corroding Nails in
Subotica in 1972. It lasted from March 1 to March 30. The author’s description of
the project/process reads: “1/2 kg of 50 mm-long nails was poured into a porcelain
bowl. The vessel was then taken out into the open space. The process of corrosion
has been evidenced with the 4 photographs presented herein. The last, final shot
was snapped as a slide. Weather changes: sunny, rainy, snow, frost.” Immediately
after the Corroding Nails, Red Radish Sprouting was carried out – this time,
instead of unorganic matter (nails), organic substance (red radish) was monitored
while suffering weather conditions and the changes caused thereby, all evidenced
as well. Arranged in landscape, the substances also have function to highlight the
processual feature in the procedure of work-making, yet now – unlike the projects
undertaken in 1971 whereby the author himself had executed particular interven-
tions – the two actions (Nails and Red Radish) had co-authors, for such is the role
one can ascribe to natural weather impacts (rain, snow, frost, sunshine, heat). Both
actions foreshadowed Matković’s future preoccupation with de-materialization of
the object of art and, ultimately, with de-personalization of his own art through
annulment of the authoral result accomplished by the artist himself in the process
of (the final) execution of his work.
Although Matković’s environmental concepts were manifested through their
visual occurrence, it would be erroneous to consider their visual effect predominant
in any way. Manifested externally in the visual plane, the actions had their primary
function on the mental plane mostly. The act of registration turns the works as Klijanje rotkvica / Red Radish Sprouting, 1971.
ideas into the documents of ideas as works; mental perception of the work is trans-
posed from the artist to the viewer/recipient. Following the motto I do not make art
– I understand, Slavko Matković asserts the spontaneity, naturalness and temporari-
ness of his output acting upon, around and inside art. What we see ‘onstage’ is
practising of art, or, more appropriately perhaps, visual mental activity as it is,
without over- or pre-assessment of results, outcomes or any other ultimate social or
cultural consequences and effects produced by the works: “The interventions are
not carried out in order to mean interventions to themselves…The function of these
elements is not one of content but a purely visual one, yet the visual effect is just
seemingly of primary importance and it is merely the material result of the whole
operation…” By his interventions in the open space, Slavko Matković introduced
the category of the art of conduct into his work, which became a conspicious part
of his latter output. The above-mentioned label could apply on the major part of his
oeuvre. Those were extremely intimate actions, most of them scarcely documented,
wherein the artist tried - in keeping with his own artistic motto “I exist and leave
traces” – to produce almost imperceptible incidental situations through which one
inserted tiny overthrows into the mundane realities; it is only the participants of the
said actions themselves who cared about the intimate and artistic value of such
overthrows. In that way, art became an incessant process of producing situations
and simulating them which – as a rule – was taking place far from the public eye;
the situations were in most cases programmatically confronting the existing system
of art. In the wake of Beuys, art was solely practiced as private mythology.
Referring to the example of Walter de Maria who in the Nevada desert in 1969
chalked two mile-long parallel lines, I am pointing out Matković’s work entitled
47
Snapping the Clouds (Snimanje oblaka), made in 1970: over a six-month period, 21
“therefore I proclaimed the clouds over Subotica/my
from early summer to late autumn, the artist daily took photos of the clouds above objects of art/but only in case/I regard them/from my own
angle”, poem “Clouds” (“Oblaci”) in the book We Are Small
his house. Of course, one cannot speak here about photography as art but about Foolish Consumers (Mi smo mali šašavi potrošači), Osvit,
employment of photography in art, whereby art itself is neither photography nor Subotica, 1976.
what has been photographed; here, art is the uncapturable and unconveyable inte-
gral process of the birth, execution and reception of the work itself. At the same
22
Mirko Radojičić, “Tekst 1”, Katalog retrospektivne
izložbe Grupa Kôd, ($, ($-Kôd, Galerija savremene likovne
time, the object snapped or the situation thereby exist independently on the artist’s umetnosti, Novi Sad, 1995, p. 78
(more or less explicitly expressed) artistic objectives. Certainly, the essence lies in
the very absence of any intentions or artistic pretensions. Instead of the artistic pur- 23
Vladimir Kopicl, (I; IV 1971), Polja, No. 156, Novi Sad,
pose, here we can rather find a radical demystification of the very place and role of 1972.
the artist in the realization of his own work,21 as well as demystification of art itself Joseph Kosuth, “Joseph Kosuth” in the catalogue
24
and, hence, of the work executed. In such actions, most of which have remained Concept-theorie, Galerie Daniel Templon, Paris, 1969.
unknown to us despite their large number in Matković’s artistic practice, the lan-
guage, the semantic charge and potential aspects of the work are only pre-sensed
25
Katrin Mile (Catherine Millet), “Konceptualna umetnost
kao semiotika umetnosti”, Polja, No. 156, Novi Sad, 1972.
by the artist although he – however paradoxically it may seem – does not think
about them. That is art of processual approach wherein “as final results of of art, 26
Speech delivered on the occasion of award ceremony for
the works are inseparable from the processes through which they have been accom- Nagyapáti Kukac Péter Prize in Bačka Topola, 1985.
plished”. This leads to the conclusion that “the pieces of Conceptual art are not
pieces, they are works, that which is worked upon”.22 On the other hand, if we
resort to yet another quotation, we can see the whole situation in the following
way: “a) a work cannot exist either; there is just awareness of the impossibility to
record it; b) a work is recording of the awareness of impossibility beyond record-
ing; c) a work is recording of the awareness of the impossibility to record the
work.”23 Lawrence Weiner puts it more precisely: The artist can execute a work.
The work can be executed by someone else, too. A work does not necessarily have
to be executed. At the end of the series, I am referring to an invention of Robert
Morris who in 1968 established a model of artistic work called Anti-Form Art.
Applying the Morris thesis onto the output of Slavko Matković, we shall conclude
that a work is self-executed and self-transformed while the artist is an active viewer
of an artistic process, that is, of a process which has by the artist’s will been identi-
fied and pronounced as art. By that procedure, ultimately and despite the (non)exis-
tence of artistic intentions by their creator, chosen objects of art necessarily become
sociologized and placed within a social-artistic context.
Conventionally speaking, a work of art – depending on the context within which
it has been executed or regarded – possesses primary/autoreferential and ascribed
meanings. However, Slavko Matković took no interest in the art which should be
autonomous spiritual practice, independent on any significance or on the need/aspi-
ration to signify anything. If we follow the thesis by Catherine Millet which says
that Conceptual Art does not aspire to transpose and explore the world but to
explore itself, it is on the basis of the above-mentioned examples that we shall arrive
at the fact that in Matković’s case we can speak of a reversible process of exploring
and examining the linguistic nature of art and of the nature of the art’s language –
simultaneously. The language of art and the language as art are conditioned mutual-
ly and interlaced to an extent at which one is almost incapable of determining the
points of their encounter. “Art is whole, not a part” – says Joseph Kosuth,24 observ-
ing that art is tautological, hence the idea of art (‘artwork’) and art itself are one and
the same thing. “Art has begun to explore itself”, adds Catherine Millet, with a
remark that in Conceptualism one actually faces the semiotics of art which shall
necessarily lead to a new understanding of the function of art.25
His interests being within the domain of broadly understood media (ranging
from visual to auditive), Matković at one point raised the issue of the purposeful-
ness of the term: “Expanding, the media at a certain moment, in some border areas
and on some margins, have to meet and intermingle, and then multimedial relations
occur – the media get mixed... Anyway, all my work has been directed toward
experimentation in those marginal spheres of the media, so it is difficult for me to
say ‘this is where poetry ends and painting or whatever begins’. I deal with inter-
space and it is in the interspatial areas that I’m trying to produce effects and
works.”26
48
The projects and actions in early 1970’s 27
Published in: Miško Šuvaković, SCENE JEZIKA – Uloga
teksta u likovnim umetnostima fragmentarne istorije 1920-
1990, antologija tekstova umetnika (SCENES OF LAN-
In the aftermath of his concrete and visual poetry, and of his interventions in the GUAGE – The Role of Text in the Arts of Fragmentary
open space, Slavko Matković undertook exploration of mental processes in art and History: An Anthology of Writings by Artists), Galerija
the possibilities that these get recorded and registered. Scrutinizing, contemplating ULUSa, Beograd, 1989.
and investigating, studying nearly all of the procedures known by then within the
New Art Practice and introducing some fresh ones, Matković arrived (in mid-
1970’s) at the conclusion that each materialization of an idea is in direct opposition
to the initial Conceptualist principle of idea as a work of art. This insight gave rise
to doubts and fear in the founder of the Bosch+Bosch Group: Was Conceptual art
unstoppably moving in the direction opposite to its proclaimed ideals? There is tes-
timony of that, a statement by which he described the changes which had been
going on in his work since 1974: “I could no longer work and create, for each of
my works – provided it was carried out or recorded in some way – would automati-
cally turn inadequate to my principles and attitudes; I could no longer justify
myself as an artist through my artistic output.” Accordingly, Matković was increas-
ingly displaying a tendency to de-author, hence to depersonalize, his own art. In his
Essay on Conceptual Art (Esej o konceptualnoj umetnosti),27 written for the exhibi-
tion Tendencies 5 at the Gallery of Contemporary Art in Zagreb, Slavko Matković
explicitly determined the Conceptual propositions of his work: “1. Conceptual art
is a mode of communication by way of ideas as artworks”, “3. A Conceptual artist
is an artist to the degree to which he contemplates art without making any”; “10.
My work is my idea”; “12. An idea as an idea (recorded one) is an idea-work
wherethrough I do not apply esthetic norms, but in spite of that it still is a recorded
work: because of my artistic-act intention, because of myself as an artist, it is art
as idea-work, as a proposition of Conceptual art and of Conceptual art as an art
proposition.” Therefore, the following Hegel’s maxim can apply in Conceptual art,
too: Art asks for our mental scrutiny, and not with an aim to re-create art but to
reach – in a scholarly manner – the knowledge as to what art is.
The ideal of minimum visibility of the artist’s participation in the execution of
his own work, and of his practising art as his intimate history, was carried out by
Slavko Matković through his numerous projects and actions during the years 1972
and 1973. Within the First April Encounters at the Student Cultural Center in
Belgrade, he carried out the following actions from April 4 to April 6: The Flow of
Scent through the Air Cubature of the Exhibition Room (a project with scent)
(Protok mirisa kroz vazdušnu kubaturu izložbene dvorane (projekat s mirisom)),
Valja 1, Valja 2 and A Count of Visitors in the Exhibition Room Using Compass
Directions (Prebrojavanje posetilaca u izložbenoj dvorani pomoću strana sveta). In
The Flow of Scent, Matković positioned four ‘receptors’ (action performers) into
four parts of the Center’s gallery, at different heights and distances from the ‘emit-
ter’ (broken little bottle of scent). The objective was to measure and register statis-
tically the time needed by the ‘receptors’ to smell the odour. The Count of Visitors
included stretching of thick ropes along the gallery floor in such a way that they
produced the form of a cross, its shafts pointed to the four cardinal directions pre-
ascertained with a compass device. At a critical moment, the ropes are taken
upward so as to create four parts then undergoing count of visitors. The results, that
is, the artistic outcomes of the action, are registered statistically (card-forms pre-
pared in advance were filled out). These actions were followed by Day/Light and Koncept / Concept, 1974. (?)
Night/Dark Have Been Perceived by the Sense of Sight (Percipirani/registrovani su
čulom vida dan-svetlo i noć-tama), carried out in Subotica on August 23, 1972, and
I Was in Ljubljana – I Was in Zagreb, With My Sense of Sight I Registered
Ljubljana at 11 A.M. Zagreb at 2:45 P.M. (Bio sam u Ljubljani - bio sam u
Zagrebu; Registrovao sam čulom vida. Ljubljanu u 11h Zagreb u 14,45h) carried
out on June 27, 1973. In his guidelines for these works, Matković wrote about his
need to design works that would involve all of the author’s senses. In addition to
sight, touch sense was intended to be registered and the senses of smell and hearing
to be roused. The perception sequel had, apart from seemingly bizarre information,
clearly planned goals and artistic intentions in the background. Writing about these
Matković’s projects at the Student Cultural Center, Slavko Timotijević put special
emphasis on their inter-medial character which involved the audience into
49
resolving visual problems.28 Matković made efforts to show that art is actually the 28
Slavko Timotijević, “O projektima Slavka Matkovića”
very manner in which the artist raises issues provoked by, and related to, art; or, the (“On the Projects by Slavko Matković”), I Aprilski susret,
Bilten br.3, Studentski kulturni centar, 6.4.1972.
way in which he answers (non)existent questions, identifying the situations which
he is going – at a selected moment - to declare to be artistic. Linguistic-visual infor-
mation thus gain the significance of first-rank artefacts of art, and the mode in which
opinions on art are expressed becomes a form of art’s manifestation. Articulated
visually and verbally side by side, the information on art turn into works of art.
Having realized that every artistic effort essentially comes to be a matter of
choice or identification of a certain surface, as well as of – later – mapping thereof
and intervention on it, Matković launched (in 1973) his sequel Imprinted Surfaces
(Obeležene površine) which was to include more than one thousand works over the
next few years. That work of Matković is most frequently referred to throughout
the reading available, and here is a record on its artistic intentions, made in late
1980’s by the artist himself: “I started the project IMPRINTING OF SURFACE in
October of 1973, and so far I have done more than one thousand surfaces, mostly
on A4-size sheets. I approached this work of mine with the determination that,
prior to image, all is surface, and that individual craftsmanship in imprinting it is
the essence of artistic work. Neglecting the craftsmanship-stylistic postulate of the
visual-artistic, and approaching the whole problem from a Conceptualist stand-
point, my work was reduced to ever identical imprinting of a surface, whereby the
rule was that I should imprint as large area on square-shaped or rectangular sur-
faces as possible, cancelling the marked surface with two intersecting diagonal
lines yet taking care that the borderlines of the surfaces lie as close to the edge of
the sheet treated as possible. Through my work I arrived at the conclusion that
each person must have a certain peculiar (unconscious though it may be) determi-
nation of how he should imprint a surface most purposefully. I therefore began to
collect the imprinted surfaces of my friends and acquaintances, fellow-artists,
which they had imprinted upon my appeal.” In addition to his own imprints/cancel-
lation of the selected surfaces (mostly carried out on A4-size paper sheets, with two
intersecting straight lines – in the above-described way), Matković included in his
project the fellow-participants in the Fourth April Encounters in Belgrade (1974).
The artists were asked to leave their personal interventions on the surfaces, becom-
ing co-authors and active protagonists of the execution of the project. On that occa-
sion, 30 works were carried out within the project of Imprinting Surfaces, and the
authors included Joseph Beuys, Marina Abramović, Francesco Clemente, Luigi
Ontani, Braco Dimitrijević, Raša Todosijević, Ilija Šoškić and many others. As the
project of Imprinting was continued over the years to come, on various occasions,
it later included Achille Guglielmo Cavellini, Shozo Shimamoto and a large num-
ber of other artists and art theorists from various parts of the world, as well as
anonymous people, incidental passers-by or non-members of artistic circles whom
Matković happened to know.
A number of actions, mostly carried out at Lake Ludas, promoted the artist’s
body as poetic object-medium, conveyor and emitter of visual messages. These were
adjoined by those from the cycle Breakthroughs (Proboji). The best-known of the
body art actions within the Breakthroughs were One Substance Breaking Through
Another – A Spray Can Breaking through the Sweater (Prodor materije kroz materi-
ju – probijanje džempera kapsulom spreja), Ash, Fire, Cigarette-Paper (Pepeo,
vatra, cigaret papir) and Breakthrough-Entry into the Student Cultural Center
(Prodor-Ulaz u Studentski kulturni centar); they re-examined the role of the artist’s
body as both subject and object of his own art. The body of the artist became a
medium/source of conflict between different matters/materials and physical-chemi-
cal means used to trigger off the conflicts: the effect of a spray-can onto the artist’s
sweater, the effect of fire and heat on a plastic foil spread on the entrance door of
the Center’s gallery (Belgrade) whereon the artist intervenes by melting and burning
it with a welding torch, and thus causing emission of abundant smoke and stink.
During the 1973-74 period, Matković began execution of a multipart project
Yugoslav Vitrine – Distribution of the Total Redundance (Jugoslovenska vitrina –
Distribucija totalne redunance). In terms of the complexity of its internal structure,
it outshone nearly all of his prior projects and ideas. The said project was to be
executed with the help of Ida Biard and her Galerie des locataires (‘Tenants’
50
Gallery’) in Paris;29 it was designed as an attempt to establish a cluster of parallel 29
La Galerie des locataires was founded in Paris in 1972 by
artistic groups as a sociological phenomenon, and these were “to be structured on art historian Ida Biard and artist Goran Trbuljak; it was
designed as a communication center, in reaction to the sys-
the basis of chance passing by and visual perception”. More specifically, in the tem in which galleries operated at the time. According to the
first stage of the project, at least three groups were to be formed, each counting founder, “the Tenants’ Gallery gathered those young artists
three members (kindly see the structure chart), and they should grow in number who had experienced the powerful and falsifying role of the
branching off both horizontally and vertically. present-day galleric system and who therefore wished – by
this choice of free way of their output’s communication - to
The first formal group was made up of Valerija and Zaviša Matković point out their own attitude to that system.” – Ida Biard,
(Matković’s wife and son) and Slavko Matković himself; their portraits were exhib- “Galerija stanara” in Nova umjetnička praksa 1966 – 1978,
ited on the famous French Window of the Tenants’ Gallery (the window facing the Galerija suvremene umjetnosti, Zagreb, 1978.
street). Thereby, the first viewer of each of the Matković portraits were taken photo 30
Galerija 24000 operated from June 1973 to the end of
of. These viewers made up the second informal group, and their portraits were October 1974, occupying an area of 350 x 280 cm on the
exhibited in the window next – the Parisian viewers could be seen in the window of northern wall of Slavko Matković’s study at Stipe Grgića
Matković’s family house in Subotica, Stipe Grgića Street no. 32, i.e. at the “24000 Street no. 32 in Subotica. The gallery had a permanent exhi-
Gallery” (“Galerija 24000”, the number being Subotica’s postal code)30 (this window bition, plus almost daily alterations and substitutions; tem-
porary exhibitions were mounted occasionally, too.
was on the backyard side of the building). Upon exibiting the photo-portraits of the
Parisian viewers, the viewers of Subotica were taken snapshots of while looking at 31
Slavko Matković, “Ja prepisujem život” (“I Am Re-
these, and they made up the next informal group. That was the first part of the proj- Writing Life”), interview published in Subotičke novine,
ect, titled Yugoslav Vitrine. The other part – Distribution of the Total Redundance – conducted by E.B, No.47, November 25, 1983.
implied multiplication of the number of groups and their informal membership, now
including other cities, in addition to Subotica and Paris, and their viewers.
In the 1972-75 period, a series of four Conceptualist paintings by Slavko
Matković appeared: Horizontal I, Horizontal II, Forget the Painting – Memorize
this Painting and Botticelli Sandro 1444/45-1510 The Birth of Venus Canvas
175x278 Detail (Vodoravno I, Vodoravno II, Zaboravi ovu sliku – Memoriraj ovu
sliku i Botticelli Sandro 1444/45-1510 Rođenje Venere Platno 175x278 Detalj.
Today, they are treasured at the Museum of Contemporary Art in Novi Sad. These
works are based on contemplation procedure and not on painting-creation and thus
they are close to the experiments with concrete and visual poetry. With these works
Matković in a serious and reduced manner, exploiting an exquisite charge of irony,
plays a game both with the painting itself and the prevailing taste of the milieu.
From the early 1970’s, the years of Matković’s most intensive work, we have also
registered a number of partly-realized projects and some that have been left in the
form of sketches and plans.
Artwork de-authored
Martek.
the interactive relation between art and its potential consumer, Matković took an
invariable interest in investigating the models of art’s functioning in public places. Slavko Matković, Budimpeštanski dnevnik (Budapest
36
Among the works and interventions executed in urban environments, I am pointing Diary), 1979.
out the Conceptualist collage/triptych which came into being during Matković’s
visit to Kassák Memorial Museum in Budapest, on September 26, 1979.34
Therewith, Matković conceptualizes and contextualizes the visual material picked
up in the neighbourhood of Kassák Museum: “The neighbourhood of Kassák
Museum is made up of a new housing development consisting of ten-storeyed
highrisers, at the entrances and walls of which there are hundreds of private mes-
sages and small ads written out or printed on paper scraps, and sellotaped to walls.
On our way back from the Museum, Klara Potocki and Gábor Tóth with me, we
tore off a dozen of messages and, with an addition of some material from my docu-
mentation to these ‘particles’, the triptych was born.”
While in the 1970’s quite intimate explorations were taking place in isolated
exhibition rooms and natural environments, the stage of such ventures in 1980’s
moved to the streets and squares of towns. While, during the 1970’s, he had prac-
tised art as a strikingly intimate history of the artist himself, in the 1980’s,
Matković was trying to make it familiar to as wide audience as possible by way of
including people straightforwardly into the execution of his actions and projects. If
we were to find parallels to this on international scale, Matković’s interventions in
urban environments (above all, I Was in Ljubljana – I Was in Zagreb and
Individual Topographies of World Cities – Rijeka 1983) could by distant analogy be
connected to the Fluxus artist On Kawara and the works of his series I Went from
1960’s: thereby, Kawara declared his daily movements art. I Went is a series made
up of town plans of the cities Kawara visited with the street routes he took marked.
In his attempt to achieve the ideal of a meaningless work, Kawara’s motivation for
practising this kind of art was extremely intimate, consciously and wilfully isolated
from the museum/gallery system, any publicity or exposure before public.
However, what underlies Matković’s actions in urban environments are intentions
that can be grasped within the framework of his statement “I do not make art – I
understand”. The adherents of New Art in the mid-sixties and the seventies were
irritated by the attempts at separation and isolation of art from life and its transfor-
mation into an autonomous craftsmanlike activity that should be independent on
the artist’s aesthetic, ethical and intellectual views and interests. Not so seldom did
Matković practise his art as a means of manipulation, for the sake of both examina-
tion of tautological models that function inside art and defining the relations within
the system of art. It is by practising art as a strikingly non-utulitarian spiritual
activity – whether those actions are carried out in urban environment or in land-
scape – that the issues are raised of the following chain of relations: artist-artwork-
criticism-market. Understanding of art was manifested through permanent attempts
to emancipate it and utmost efforts to save art – at all costs – from aestheticizing,
market and all sorts of banalizing.
Without any aspiration to adapt himself to economic realism (ekonomski rea-
lizam35) which emerged with Postmodernism, Slavko Matković decided to occupy
himself with obviously intimate practising of art and thus carried out a series of
painting-records within a cycle titled I Paint This Way. Exploring the possibility of
art-and-life interpermeation within diverse media, as well as attempting to create “a
work which branches out in hundreds of directions and still tells about one com-
mon direction – expressing the direction in which my mind flows,”36 it was in 1978-
79 that Matković instituted a new artistic genre, one he labeled Sellotape Texts
53
(Pasted Pieces of Gutenberg Galaxy) – Selotejp tekstovi (Nalepci Gutenbergove 37
Vujica Rešin Tucić, “Uspomena na dugo sećanje - Slavko
galaksije). Here is his account of the very moment in which his invention occurred, Matković 1948-1994” (“A Recollection of a Long memory –
Slavko Matković 1948-1994”), interview, Magnet, No.2,
stressing the decisive role of chance in contemporary art practice: “For many years Radio B92, Beograd, 1995.
I had been working in the City Library, its antique book section. Next to the
antique section room, there was a book-binding room where we had our books 38
Slavko Matković, “Selotejp tekstovi/Ragasztószalag
restored. In order to mask the spots on the walls where plaster had fallen off, I szövegek” (“Sellotape Texts”), Új Symposion, Novi Sad,
1989.
started to fix, by Sellotape, cigarette packets thereon. And, believe me, such spots
grew to a multitude...and then a colleague...her little son appeared and revealed that 39
Vladan Radovanović, advising editor’s note for the book
he was going to collect such packets, too... At one moment, I know it was when I Selotejp tekstovi, Új Symposion, Novi Sad, 1989.
was tearing off a Marlboro packet for him, the letters ‘MAR’ stayed on the tape...I 40
Slavko Matković, Predlog za jednu izložbu (A Proposition
was caught by a thought over the Sellotape, that piece with the three letters, and for a Show), Salon primenjenih umetnika i dizajnera
realized that it looked so good indeed...”37 Eager to support his invention Vojvodine, Novi Sad, 1973.
theoretically, too, Matković would gladly cite Marko Pogačnik’s statement on poet-
ry as a mental activity wherein “once the word is shattered, letters remain, and
once we shatter the letters there are scratch-and-scrawl remnants – a poetry grow-
ing out of scratch-and-scrawl, sellotaped items, mundane waste materials, print
media waste”. In his book Sellotape Texts,38 he writes: “All my life is like these
texts. Reduced to rows of pasted pieces – defective information – a narrowly spe-
cialized world and life. These pasted pieces are the numbers, people, data, books
and all other trifles I keep forgetting daily, which make up the everyday life in its
quick passage. At some moments it is a chaotic world of date-books, calendars and
squeezed scraps instructing ‘to be done’, ‘don’t forget’ or ‘ring up’. In the end,
there are some incoherent and torn-into-pieces recollections of some ‘unspecified
similarity’ to the onrushing things seen and experienced, so everything begins to
look similar and merge into a blur-oblivion which wraps it all up. That is what
makes this an autobiographical record, a game/riddle of consciousness, an ‘aes-
theticized’ experience of chaos – all is there and nothing exists.” Understanding
these texts as “yet another mode of introducing marginal means of non-artistic
practice into the artistic one”, Vladan Radovanovic39 remarks that, with Matković,
“Sellotape as a spatial tape used to stick objects together is transformed into an
instrument of tearing away and sticking together of the scenes which are momen-
tarily torn up and at the same time moments torn off”.
The Body Project “Slavko Matković” (I Make Art, I Contemplate Art, I
Scrutinize an Artwork, I Discuss Art) - Body projekat “Slavko Matković” (Pravim
umetnost, Razmišljam o umetnosti, Posmatram umetničko delo, Razgovaram o
umetnosti) falls under the rubric of experiments in the field of “de-authoring of an
object of art” in, perhaps, the most radical way and form. It was started in 1979 and
lasted until 1989. The project was conceived mentally, whereby the artist labels as
works of art his own contemplations about art. Material traces of the project execu-
tion consist of four picture-postcard-sized photographs and the artist himself
videotaped while contemplating.
The newly created spiritual climate of the period between 1962 and 1970
brought about a boom in the art of comic strip, though still conventional in
approach. From the year 1971 onwards, novelties in terms of contents and experi-
mental cartoon appeared. It was in the latter period that Matković began to show
interest in the comic field. He first did some research, then engaged himself in the
signalist cartoon (1970-72) and in anti-narrative comic strip (from 1971 onwards).
The result could be seen in public at the 1973 exhibition held in Novi Sad, titled A
Proposition for a Show (Predlog za jednu izložbu). It was one of the first exhibi-
tions of authorial comic in the country (Yugoslavia). In his study New Comics as a
New Structure (Novi strip kao nova konstrukcija),40 Slavko Matković wrote about
his authorial propositions. Writing on independence-winning visual and narrative
aspects which in the new comics existed autonomously and side by side, Matković
pointed out that his work implied the “classic composition made irregular” and
“reaching the information presented within one frame not by sheer looking and
reading, but also by analysis and an intellectual superaddition to the visual”; fur-
54
ther in his text, he concluded that “a work deprived of mentally creative superaddi- 41
Slobodan Ivkov, 60 godina domaćeg stripa u Srbiji1935-
tion by the viewer exists merely in the form of an undefined visual object”. The 1995 (60 Years of Serbian Comic Strip 1935-1995), Likovni
susret, Subotica, 1995.
usage of language in a given context does not serve the verbal sujet, it is treated as
an autonomous communication system which has absolutely no relation with the 42
Term used by Germano Celante
depicted or pasted/collaged frame with which it appears textually inside a cartoon.
Thus, in the new comics, “the artist and the consumer are equally creators and
43
Miško Šuvaković, Pojmovnik moderne i postmoderne
likovne umetnosti i teorije posle 1950 (A Glossary of
‘heroes’ of the very work. The consumer, thus, decoding information and shaping Modern and Postmodern Art and Art Theory since 1950),
the message automatically establishes a ‘creative communication’ with the produc- Srpska akademija nauka i umetnosti, Prometej, Beograd-
tion which crosses over from the entertaining (often) carnival-like basic story of the Novi Sad, 1999.
classic cartoon – into the arena of total social commitment”.
Departing from Sergei Eisenstein’s thesis that any two fragments, when juxta-
posed, will inevitably blend into a new picture – their ordering producing a new
quality, Slavko Matković preoccupied himself with dismantling the habitual narra-
tive structure of the comics and approached the new cartoon as an analytical decon-
struction of the medium by an action inside itself. Slobodan Ivkov wrote about the
anti-narrative character of Matković’s comic strips41 referring to them as tableaux
of free forms and emphasized their low degree of communication with broader
audiences; he remarked that with this artist parts of photos and sequels citing the
existent cartoons are brought into opposition to strip-balloons, “the textual contents
of which have near-to-nothing to do with the ‘contents’ of the photos or drawings”.
Ivkov also said that “no other person has ever destroyed and literally cut into
pieces (when citing, of course) so many volumes of a favourite character [meaning
Alan Ford] from the ‘ninth art’”.
Matković’s experiments in the domain of comic strip being, besides Mail Art,
the largest segment of his artistic commitments, I shall – leaving a detailed analysis
for another part of this writing – divide them into several topical fields and enlist
just some characteristic examples:
1. Signalist New Strip
2. Visual strip-essays on art: An Essay on the Bosch+Bosch Group – 1975; An
Essay on Beuys – 1975; A Homage to the OHO Company - 1977 (Esej o grupi
Bosch+Bosch, Esej o Beuys-u, U slavu skupine OHO)
3. Cycle on pop-stars: My name is Beatle (1971), The Rolling Stones Live in My
Street - 1971, An Essay on Roger Daltry – Some Good Versions of Rock-Opera -
1975 (Moje ime je Bitls, Roling Stonsi stanuju u mojoj ulici 1971, Esej o Rodžeru
Daltriju - neke dobre verzije rok opere)
4. Autobiographical comic strip (Homo Poeticus): We Are Foolish Small
Consumers – 1973, Noisy Poem – 1976, An Autobiogrphical Record – 1976, Venus
with a Musician: Tiziano-Matković – 1976, Bauhaus Collapsed Yesterday I-VIII
(1979 [?]), NECKERMANN, A Consumers’ Photo-Strip – 1979, De-Authoring:
Alan Ford & Art Lover - 1981 (Mi smo mali šašavi potrošači, Bučna pesma,
Autobiografski zapis, Venera s muzičarom:Tiziano-Matković, Juče se raspao
Bauhaus I-VIII, NEKERMAN Potrošački foto strip, Deautorizacija – Alan
Ford&Art Lover).
Richard Serra
periodicals open for the New Art were no longer published, the number of post- Bogdanka and Dejan Poznanović when traveling to the
Documenta event in Kassel.
object artists decreased rather rapidly – they either stopped working or turned
toward painting, literature and Mail Art. As for Matković, grave and existentially 45
Slavko Bogdanović, “Feedback letter-box personal comu-
threatening doubts assailed him, concerning the purposefulness of pursuing art and nication in continue ili globalno selo Bogdanke
even living the life itself. His total identification of art with life resulted in inter- Poznanović”, Dalje, No.7/8, Sarajevo, 1983/84. as well as
in: Politika tela (Body Politics), K21K, Prometej, Novi Sad,
twining life and family crises which automatically turned into art(istic) crises. A 1997.
feeling of senselessness, terrifying loneliness and awareness that the commitments
under way were something great and significant yet to be recognized as such in a
later time only – all of that was reflected in the artist’s everyday life. On the one
side, there were existential/financial problems, his wife and two sons, the parochial
mentality and spirit of Subotica with which he was in a growing conflict; on the
other side, there was art which demanded total surrender and the whole of a human
being. The gap between art and life was daily growing wider, and the artist’s posi-
tion was increasingly troublesome and dramatic. The situation that seemed to offer
no way out haunted Matković to the extent that he searched for a solution of his
innermost intellectual drama in ever more frequent consumption of immense, self-
destroying quantities of alcohol. Matković got caught into the inescapable triangle
art-personal crises-alcohol in mid-1970’s and until death never managed to get out
of it; it was death that he longed for and called for, and more than once it appeared
as one possible and even the sole logical exit and outcome.
In consequence to his doubts regarding the purposefulness of pursuing art he
most explicitly expressed it through the decision to – using the first-person-singular
strategy of artistic voicing – publish a commercial ad in the German daily newspa-
per Hartzburger Zeitung of November 26, 1974: Ich bin Künstler. Slavko Matković
(I Am an Artist. Slavko Matković).44 His idea was that a project titled I Am an
Artist (Ja sam umetnik) should be his major work at the time. Referring to it in his
letter to Balint Szombathy of November 12, 1974, he wrote: “Please put an ad for
me in Magyár Szó, under the rubric “Personal Announcements”. The text reads: ‘I
Am artist Slavko Matković (naturally, in the Hungarian language). I want this
announcement published through all leading papers worldwide! The project is in
progress already – including, so far, Canada, West Germany, France, England’.”
Whether such ads were printed and how many of them – remains unascertained.
But it is beyond doubt that the project I Am an Artist was a major turning point in
the work of Matković personally and the Bosch+Bosch group alike. Szombathy
thinks that Matković’s decision can be understood as artistic egocentricity in its
extreme, on the one hand, but can also – on the other hand – lead to utmost feeling
of dispensability of any further pursuit of art. I dare say that the decision meant
both. As yet another proof of the fact that similar ideas in art are repeated cyclically
from time to time and independently on one another, I shall point out the informa-
tion published in Zagreb-based daily Večernji list (March, 1991) as a commercial
ad: “A piece of information: On the invitation by publisher Francesco Conco of
Verona, the members of ‘Gorgona’ have carried out a collective work in the seclu-
sion of Tirolo di Merano.”
In the middle of the 1970’s, delving more explicitly into the domain of de-mate-
rialization of artistic output, finding more straightforward and faster
communication systems, Matković and Szombathy became more active in the field
of Mail Art which had since the beginning been part of their artistic commitment.
At the rear of the process of dematerialization and desacralization of the art object,
Mail Art proclaimed communication to be art; it was a special form of communica-
tion – mailing of artistic messages through national postal services. Facing the fact
that the New Art Practice was going back to its underground roots, Matković and
Szombathy saw the opportunities provided by Mail Art as an embodiment of the
ideal of art – distanced from all that is utilitarian and exclusive. According to Ješa
Denegri, the practice of Mail Art meant a hard ideological struggle against elitism
in art and culture, while Slavko Bogdanović observes that the Mail Art practice
manages to outdo the often depressive isolation of the artist which is conditioned
by manipulative/commercial relationship between the artist and the social structure,
whereby it persuasively manifests the consciousness of the existence of a singular
sensibility that permeates the world of avant-garde art practices.45 Art in Mail Art
57
becomes solely a personal need whereby – through a process of articulation of indi- 46
This is a pun which implies references to a fishpond, game
vidual mythologies, by inexpensive and accessible means – the artist no longer stakes and group of people. At the same time, Artpool was
the name of an institution and art archives founded by
communicates with unidentified masses but with a human being with name, sur- György Galántai in Budapest in 1970’s who has been run-
name and an address. ning it until today.
The first Mail Art piece done by Matković was The Postcard (Dopisnica) from
the year 1969/1971/1980. It represented visual content discovered – a PTT-issued
47
Guglielmo Achille Cavellini, Autoritratti, Mostra a domi-
cilio, Brescia, 1981; Guglielmo Achille Cavellini, Nemo
postcard which was, according to the seals, sent from Belgrade on January 28, to propheta in patria, Edizioni Nuovi Strumenti, Brescia, 1978.
reach Subotica on January 29, 1969. The written text reveals that someone’s grand-
mother informs on her husband’s stay in hospital and says she is not well, asking if
the adressees have prepared themselves for wintertime, that is, whether they had
enough fuel, coal, stored. The said postcard, a Conceptualist Mail Art piece, was
first exhibited as a readymade artefact in 1971, by Slavko Matković; later, in 1981,
he – following the Fluxus spirit – sent it to the Hungarian artist György Galántai, to
Budapest. On the obverse of the card Matković inserted a segment of his comic
depicting a car crashing against a tree, then glued a handmade stamp with his own
portrait and added Artpool46 as destination-determinant. Thus, it was a postcard
which came into being out of entirely personal, non-artistic motives, which was
then given the function of an artwork (conveyor of a value that was at a certain
moment proclaimed to be one of art) and, finally, its (formal) content (message of
someone’s grandmother) was transposed into an illegible code and sent to a man
who, due to the language barrier, could not understand it. The addressee experi-
enced the card non-verbally, as a document of art the emotional value (grandmoth-
er’s message) of which was cancelled and transformed into a first-rank historical-
artistic artefact. To make the absurdity even greater, the present museological values
of the work were beyond anyone’s (old woman’s/creator’s, Galantai’s/recipient’s,
Matković’s/sender’s,) awareness at the moment of dispatch. The Postcard is nowa-
days treasured at the Artpool Archives. However, the destiny of most of the other
Mail Art pieces has remained undiscovered, which is fully in keeping with the very
character of Mail Art, for it had from the outstart announced its programmatic tem-
porariness.Two moments are of prime importance: that of dispatch and the one of
receipt. The duration of the work is determined by the time which the ‘journey’ of
the postcard takes; it remains within the domain of chance or circumstantial condi-
tions uncontrolled by the protagonists in this communication. A number of
Matković’s letters and telegrams contained art(istic) messages, comics and visual
poems; in addition to these PTT-mediated communication, Slavko Matković’s Mail
Art activities included design of unique postage stamps, stickers, Mail Art objects
and authored seals. One of his Mail Art projects bears the title Saga (1980) and con-
sists of the sketches for the occasion-inspired stickers, posters and postage stamps
intended to mark the centenary of birth of the Bosch+Bosch members. The action
additionally corresponded with Matković’s action Kosuth–Cavellini Parallel Ideas.
In the Saga project, appropriation of another artist’s ideas takes place again. Once
again, it is Cavellini, who had previously – resorting to the strategy of auto-histori-
cization and on the occasion of his virtual marking the centenary of his own birth Bez naziva / Untitled, 1986.
(the year 2014) – began, in 1976 and under the patronage of international PTT, to
publish occasion-related postage stamps which side-by-side represented the portraits
of himself and a number of great figures of world art (e.g. Cezanne 1839-1939:
Cavellini 1914-2014).47 In early 1980’s, Matković started to post art objects to his
friends and those were assemblages strikingly intimate in character: he would dis-
patch comparably small boxes, and the addressees were supposed to take photos of
these and then send these snaps to the author.
The fact that I exist proves that the world makes no sense whatsoever.
Emil Cioran
The terrifying symptoms of the global and personal crisis, introversion and
melancholy of the artist living in a world of betrayed hopes (“I aspire at utmost liv-
ing and not at mere veg-out”48) are on these paintings represented, iconographically
speaking, by a monster with its jaw agape, out of which there protrudes just an
59
unswallowed remnant of a human hand, hand of a man being devoured by the mon- 49
Slavko Matković, Antigraf, Minerva, Subotica, 1983.
ster in the very moment of painting. While on the paintings of Kerekes László we
witness daily defeats, but also fierce struggle, of the individual man trying to con-
front the world’s madness, what we find with Slavko Matković is passive resist-
ance, man realizing that each particular resistance is futile and in vain which makes
him succumb to the drift. The apathy of the hope-deprived human being seems to
have overwhelmed the monster itself, and it devours the prey with no passion at all,
with an absent-minded look in its eyes, as if being only aware of the imperative to
fill, possibly to overflow, the intestines before the uncertain and unpromising future.
The Conceptualist painting output is an autobiographical confession of Slavko
Matković, to a larger degree so as compared to any other segment of his prolific
activities. There is a highly intimate entry in his diary, dated October 11, 1984 and
addressed to Balint Szombathy, which testifies to the feelings dominating the artist
in the time when the earliest works of his series I Paint This Way came into being.
It reads: “I’m all cocked up. Veins cut, nerves cocked up, heart failing and I’ve got
to go to hospital. But the spirit of Alan Ford keeps and will keep on going in spite
of it all! Hug and kiss you all heartily brotherly and friendly Yours Alan Ford
p.s. sorry it’s all so nervous but I might be saying good-bye to you”
The cycle I Paint This Way is a product of a nerve-ridden art but also of an
ironizing playfulness of Slavko Matković who plays a game with/against himself,
art, betrayed ideals, the milieu in which he lived and worked, and, finally, with the
disturbed realities of the world (a disease of the civilization which limits and
threatens the inner life of the individual). Art – painting art, in this case – is under-
stood and experienced as a plunge into the void, into a timeless emptiness that is
defeated and surrendered by the artist’s ignoring attitude to the superimposed reali-
ty, by the refusal of the individual to follow prescribed rules and accept limita-
tions, except for the limits imposed by his own art. As a vehicle for the articulation
of hopelessness, art grows into an act of resistance and response to the superim-
posed horrors of mundanity. However paradoxical it may appear, art survives as a
daily empirical test of art – but, equally, as a doubt concerning art which gains in
power proportionately to the testing carried out. The artwork itself is manifested as
an infinite re-examination of reality, i.e. of work’s embodiment, which also hap-
pens through a permanent apprehensiveness regarding the possibility of the art-
work’s existence. In the case of the series I Paint This Way, the author’s intentions
were not to produce but – by way of experience – to re-examine the role and posi-
tion of art in everyday life. The strategy of life as art, and of art as life, in the cycle
I Paint This Way as the first part of the project Slavko Matković means empirical
practising of art as faith and doubt in connection with everything, and mostly with
the purposefulness of one’s own pursuit of artistic activities. Art simultaneously
turns into an instrument of re-examination and surpassing one’s self. It is from that
attitude that we are deducing a paradoxical equation that could read as follows: I
am an Artist and my work is the best negation of the claim just uttered.
Side by side with art, Slavko Matković pursued literature, as well as explo-
rations in the field of image-and-text inter-permeation, so in some of his works it is
sometimes impossible to discern their genre with certainty. Visual poems, collages,
Sellotape texts and other interventions are often part of his poetic or prose works.
Also, his artworks often contain elements appropriated from the vocabulary of lit-
erature. For instance, in early 1970’s, he undertook translation of visual poems,
typographic and concrete poetry, as well as of activist agitations by Lajos Kassák
and some artists close to Kassák’s circle. When referring to himself as a seasonal
worker in literature and in his books of verse, Slavko Matković wanted, as a rule,
to emphasize and underpin his artistic credo: some poems literally describe some of
his visual works, just as his artworks often drew attention to his poetic vocation.
The poem “How I Make Some Poems” from the book Antigraph49 describes his
procedure. Here are the opening lines:
60
a picture in the newspaper 50
On the cover of the book published by the publishing
– i cut it out department of the review of Subotica, the name of the advis-
ing editor whose opinion stands printed there has been omit-
a frame of the comic strip ted by error.
– i tear it off
a headline in the magazine Slavko Matković, Fotobiografija, Matica srpska, Novi
51
In the capacity of advising editor for Matković’s book We Are Foolish Small
Consumers (Mi smo mali šašavi potrošači, 1976), Katalin Ladik or Ivo Popić50
wrote about the above-mentioned inter-permeations: “Slavko Matković consciously
rejects well-trodden and long-tested, effective ways of poetry writing. He does not
write ‘beautiful’ poems. He speaks about everyday, simple things and events. He is
most poetic when writing on ‘unpoetic’ things in a rather simple language. The
range of artistic expression in these poems is broad indeed: from mere registering
things surrounding him to commentary, from irony to the warmth of phrasing, from
revolt to daydream. The way in which he writes poetry certainly has some impact
on his work in the domains of visual poetry, comic strip, poster-making and
extended media.” Matković does accept regular forms of poetry (‘long poems’,
poems, ‘short poems’, and haiku-like miniatures at times), but merely in terms of
their form and appearance; it is from within that he undermines and dismantles the
seemingly adopted forms, destroying their sense. Here is an example: “To Write a
Poem” (“Pisanje pesme”) from the book We Are Foolish Small Consumers:
Not infrequently, in Slavko Matković’s books of verse the author depicts his
own actions and projects in art. In Photobiography (Fotobiografija51), he uses a
poetic form to versify the portraits of outstanding figures of the New Art Practice.
A connoisseur will easily make out real persons in this portrait-poem series: Slavko
Bogdanović, Bogdanka Poznanović, Miroslav Mandić, Katalin Ladik, Franci
Zagoričnik, Raša Todosijević and many others. In the poem “Person Number Six”
(“Ličnost broj šest”), Matković describes his encounters with Ješa Denegri:
[*The name is used for Belgrade’s Museum of Contemporary Art. Ušće means ‘confluence’ and as a
personal noun designates the area at Novi Beograd at the confluence of the Danube and the Sava where
the Museum is situated.]
In addition to four books of poetry, Slavko Matković has left behind many
unfinished works, artistic and literary ones alike. Concluding from the author’s
61
diaries, special heed should be given to Matković’s intertextual experiments and his 52
This boarding house was given the name in 1934 after
intention to compose a visual-poetic novel dedicated to Subotica’s Town Hall King Aleksandar Karađorđević was taken there during the
general confusion immediately following the assassination,
Building which almost emblematically permeates his works. By this visual novel, on October 9 after four o’clock in the afternoon. The King
known under the title The Lilacs of Marseille (Marseljski jorgovan), the indubitable passed away in that same place.
cosmopolitan Matković is in the most appropriate light represented as an extraordi-
nary local patriot. In his ‘conception of duration’ (the expression he borrowed from
Sartre and liked to use) this novel, sub-determined as an individual mythology, was
conceived as a “mythologem of love for this city”. Speaking about his search, as a
reader, for an integral text, Matković decided to write one, to versify one, that is, to
paste one together. Aware of the fact that it was impossible in his time to exploit
just one medium without any ‘cross-breeding’ with another, and being one of the
pioneers in such an approach to art in this region, Slavko Matković designed a
novel, more specifically, a ‘novelistic item’ which should be made up – without
mutual hindrances – of fiction, visual poetry, written poetry combined with painted
or collaged visual segments. The idea struck Matković in France, at the end of
May, 1990, during his participation in a festival of experimental poetry to which he
was invited after his essay “The Lilacs in the Central European Experimental
Poetry of 1970’s and 1980’s” (“Jorgovan u srednjeevropskoj eksperimentalnoj
poeziji sedamdesetih i osamdesetih godina”) had been published in the Parisian
review Atelier Hongrois (Magyar Műhely); the writing roused rather broad interest
in the circles of young artists of the day. It was then that Matković undertook a trip
to Marseille, for he had an appointment to meet Jeanette le Clode, a critic, at 111
Rue de Rome, i.e. at the little hotel of the name “Alexandre 1er”.52 However, the
two never met due to – as Matković testifies - inexplicable chain of events caused
by an apocalyptic rainstorm. Since then, a “death virus, brought from Marseille by
sheer chance and unintentionally”, as “a history of a beginning”, inhabited his
being. About that beginning Matković wrote on June 9, 1992: “It is no longer my
wish to write or paste together a visual novel, but to create an entity within which
written and visual expressions, poetry and prose, all of it simultaneously, exist con-
sistently and build upon each other.” Stating that the content of the novel would be
defined by its form, Matković made up his mind to – departing from the essayistic-
philosophical-artistic domain – try to reduce the event to an everyday-experience
scale. The fictional writing in the novel thus, formally speaking, turns into an expe-
rience which is persuasively coloured with the artist’s fictions, mythologems and
dreams. Similarly to his Sellotape texts, “the author has for years been picking up
the tiny chippings of his future novel”. The said puzzle-pieces are not articulated as
a piece of prose but as a visual entity where communication between the novel’s
creator and the future reader is broken totally, since each of the novel’s segments
practically exists independently as an autonomous work of art. Caleidoscopically
ordered there is a set of possible contents out of which somebody could one day Slavko Matković, Poziv za partijski sastanak, 30. maj 1989.
compose a novel of his/her own. Summons for a (Communist) Party meeting, May 30 1989
The work is “a description and double disturbance of tradition”. It is a new
kind of abstraction composed of real, visible values and circumstances. “A novel
without classic content and one without classic writing act...Everything looks like a
‘ribbon’ of sellotaped text or being on a motion picture tape... According to
Eisenstein’s definition, whenever two separate sequences, two separate values are
juxtaposed, they produce a third value. Two becomes three, and two thus newborn
values, when juxtaposed, produce yet another value, an unforeseeable one, com-
pletely placed on a plane and road which leads to abstraction.” The main character
of the novel is the Town Hall in Subotica as “the capital of Matković’s poetic
world”; in addition, there are Marcel Proust, Franz Kafka, Saint-John Perce, Anna
Akhmatova, Mikhail Bulgakov... Matković’s novel ‘appropriates’ the protagonists
of the novel The Master and Margaret, the builders of Subotica’s Town Hall, and
also people taken from the everyday life in Subotica; the latter include members of
the Bosch+Bosch group. The events/chapters dealt with in the novel include: two
poets and a painter at lunch, construction of the Town Hall, advent of Anna
Akhmatova and Mikhail Bulgakov and their encounter in Subotica, Dada-Futurist
plot of the members of Bosch+Bosch who decide to carry out – as their major art-
work – an action of pulling down the Town Hall and, as ‘angels of evil’ become the
subject of a debate on good and evil. In the end, a video-portrait of Slavko
62
Matković himself was planned within the novel. The complexity and ambition of 53
It was as syntheses of his own artistic-literary-life
the idea which due to the author’s illness was carried out only in a small part is one experiences that Slavko Matković conceived and partly car-
ried out the following visual-poetic entities: Brain Antigraph
more proof showing Matković’s resoluteness to achieve a synthesis of several kinds - Antigraf mozga (undated); Rainfall - Kiša, visual novel (in
of art. It proves his effort to create a meta-work which should – persuasively and the entries of his diary, the novel is referred to since mid-
suggestively contain the author’s artistic, lifestyle and literary (poetic, particularly) 1970’s as the most ambitionsly planned work of Matković);
views and ideals. In this work, all above-mentioned elements were to make a per- Budapest Diary - Budimpeštanski dnevnik, 1979; Nails in
the Sink and Other Stories - Nokti u lavabou i druge priče,
fect and harmonious unity; it was also to differ – in terms of form and content alike (lost), 1982; Morris (The French Park) - Morris (Francuski
– from whatever had been created until then, both in literature and in art. Finally, it park), visual novel, undated; The Lilacs of Marseille -
was to be a work seen as a generator of a new genre and a novel kind of art, similar Marseljski jorgovan, visual novel, 1990; Sourdough - Kiselo
to whatever there is and at the same time unique and irreproducible.53 testo, visual novel, 1992-93; Babushka - Babuška, fragment-
novel, 1992-94.
54
Monty Cantsin, “Neoista ne umire, samo se preobražava”
Neoism (“A Neoist Does Not Die, Just Gets Transfigured”), Rukovet,
No. 1-6, Subotica, 2004.
Razgovaram o umetnosti) or, more explicitly, I Am Not Making Art, I Understand. I Body as the Place and Tool of Art”), interview conducted by
Dragana Popov, Bulevar, No.102, Novi Sad, 2003.
Am an Artist (Ja ne pravim umetnost ja razumem. Ja sam umetnik.).
Obsessed with his fatal disease (lung cancer), slow ‘fadeaway’ and the nearing
demise, Matković was becoming ever closer to transcendental Conceptualism as a
highly special, esotheric skill which is manifested as the sole gesture of existence on
the part of an artist who took in the horrors of daily life with lessening resistance,
accepting them as a logical outcome of his own personal and artistic drama. The
roots of the drama reached as deep into the past as the early 1970’s. Here is an
episode from the ‘pre-history’ (1979): Exhausted with the provincial intrigues inter-
mingling with constant artistic and personal crises, as well as with his breaking
health, and subsequent to the publication of The Book (Knjiga), a book of visual-
poetic experiments, Slavko Matković wrote a letter to Oskar Davičo [powerful polit-
ical and literary figure in post-second-world-war period] appealing on him to protect
Yugoslavia’s visual poets. It is obvious from the letter that Davičo had recently visit-
ed Subotica and participated in a panel discussion on committed literature – it was
probably on that occasion that the two men were acquainted with each other. Slavko
Matković sent to Davičo two titles – The Book and We Are Foolish Small
Consumers, reminding the highest-ranking poet of the fact that Yugoslav visual
poets were making a significant contribution to that kind of art on the world’s scale.
He asked Davičo to write a letter with his opinion on these artists and reported on
the mental terror practised toward his art in Subotica by the [Communist] Party offi-
cial of the lowest rank.62 Matković emphasized that as ‘committed’ in “our time” we
should understand the approach based on “building new thoughts in art and new
views of the world”, expecting Davičo’s public response which, of course, never
came. Another testimony of the atmosphere in which the promoters of new art
worked comes from Balint Szombathy: “We were surrounded by ignorance and mis-
understanding... In the harshened socio-political atmosphere of the early 1970’s,
together with the like-minded people all over Yugoslavia, we became some kind of
class enemy. Our production turned into material on which culture-cops fed, gaining
credits with Party forums and climbing up the ladder of human malice.”63
Early in the 1980’s, self-destructive drive was gaining ground in Matković. It is
within such a framework that we should regard his sketch-paper Do It Yourself
(Uradi sam, 1983), which is practically the artist’s sketch/instruction on how to
64
commit suicide. Death was obviously a challenging subject for Matković in those International Festival of Alternative Art, Kino Mier, Nové
64
days. It was then that his sporadic pursuit of Performance Art began – he was more Zámky, Slovakia, 1991; Gallery “Most” (“Bridge”), Novi
Sad, 1991; Expannzió 5, Vác, Hungary, 1993.
often a co-participant in the performance works of others than he indulged in some
of his own. According to the documentation available, Matković carried out only 65
In most cases, these performance acts would have a per-
three performances of his own. The body action Face (Lice) was performed three sonal epilogue in the author’s nausea and vomiting.
times (Budapest – 1981; Sremska Kamenica – 1982; Novi Sad, “Most’ Gallery –
Plateau in front of the Youth Forum (Tribina mladih),
66
1989). It was based on testing the utmost limits of one’s own organism. In terms of Novi Sad, December 12, 1992.
brutality and life-danger involved, it could be compared to the performances of
Marina Abramović from her early, Belgrade stage. For the audience, the event had
some deeply upsetting moments: With a wide Sellotape, so emblematic of his art,
Matković wound around, wrapped and deformed his own face causing air insuffi-
ciency and beginning to suffocate. Suffocation would have happened if at the criti-
cal moment the audience (realizing the artist’s resoluteness to go on literally to his
own end) had not ran up to him and started to cut and tear away the tapes, literally
salvaging the artist from his own art. The work Poetry (Poezija) was performed
twice, in the year 1990: in Marseille and in Kassák’s birthplace Nove Zamky in
Slovakia. Like the body action Face, Poetry was based on testing the limits of the
artist’s organic endurance; instead of suffocation by Sellotape, Matković filled his
mouth with water and thus, his mouth full, tried to pronounce the word ‘poetry’
causing fits of coughing. The water in his mouth prevented him from uttering the
word, but, some of it being spilled out during the speech attempts onto the cloth
spread on the table in front of him, the word ‘poetry’ does appear – owing to the
fact that, during one part of the performance which the audience had not witnessed,
the artist had written it out between two halves of the folded cloth with potassium
permanganate, salt that turns dark red when in contact with water (H2O). Poetry did
emerge finally, written out in a colour that alluded to the phrase on poetry being
written with one’s own blood, or, in Matković’s case, to art which, existentially
speaking, destroys its own creator both physically and psychologically.
Over the 1990’s, Matković assisted three times64 in the performance piece of
Balint Szombathy In Honour of the Last Poet (U čast poslednjem pesniku). With an
accompaniment of music by Erik Satie, which underlined the dramatic atmosphere
of the event, Sombathy and Matković commemorated 36 deceased world poets and
shifted the limits of endurance of their own bodies: they drank up one glass of
vodka each for every one of the dead poets (each of the artists had an intake of 8
deciliters in 18 minutes).65 A slide projector produced a ‘backdrop’ where number-
marked gravestone crosses of the poets for whose souls’ peace they drank followed
one another. After Matković’s death, Szombathy went on performing a ‘remake’
under the same title and with the audiences assisting – the poets commemorated
now including Slavko Matković. I shall here mention Slavko Matković’s participa-
tion in Dada Symposion by Milica Mrđa Kuzmanov – the action they performed
together bore the title An Apology of the Encounter Slavko Matković-Milica Mrđa
Kuzmanov (Apologija jednog susreta Slavko Matković-Milica Mrđa Kuzmanov).66
In 1989, in response to re-affirmation of the material aspects of artworks, Slavko
Matković carried out ‘G’-Object (Objekat “G”) which can be ranked among the top
achievements of the new sculpture in Vojvodina’s art of the 1980’s.
The disintegration of Yugoslavia, civil wars, galloping hyperinflation, forcible
deportations of population, nationalisms, xenophobia, the time of totalitarian rule
and most primitive political terror, exterior isolation and interior populist kitsch,
chronic poverty which drove him to the verge of physical survival, consumption of
large intakes of spurious drinks made with methyl alcohol on massive scale in
Subotica, the progressing fatal disease... – all of that was part of Matković’s life in
those last years. The excerpts from his regularly kept Diary quoted below are illus-
trative enough:
July 7, 1993
Psychologically, I’m done for. There’s something cutting me from inside, there’s no Objekat “G” / Object “G”, 1989.
65
subject to help me get a grip on myself, to catch my attention... I’m falling into an 67
Istvan Sajko, a painter of Subotica who in early 1990’s
abyss – an ego trap... Suicide’s coming to my mind... lived in the triangle Budapest-Munich-Subotica.
Aug. 5, 1993
I’m gonna write to Sajko67 in a day or two to ask him if a gallerist of his or some-
body up there in Deutsch[land] needs naive painting on glass. I would even do that
to earn a couple of bucks. No-way-outness is nearing... That’s my last chance to
earn some money, for there’s no other way to do so, secondly, I must hurry up for
my eyes, my sight is weekening fast, and that may speed up...
Oct. 6, 1993
My teeth are decaying, my hair falling off, my stomach fucking – it’s all cock-up.
This is the beginning of an end – my ghetto called Subotica is becoming ever more
unbearable...
In the last year of his life, Matković hardly had any exhibitions, fully sunken in
the war-related topics, and chronically affected by depression and personal crises. It
was only now and then, when persuaded by Balint Szombathy, that he made up his
mind and undertook some short trips, the longest one taking him to Budapest or
Nove Zamky. In 1990’s, Slavko Matković was an artist who – though rarely and spo-
radically – responded with an activistic impulse to the socio-political situation and
the disintegration of the country he lived in. That is the spirit that permeated his visu-
al long poem – composed in 1990 – A Premonition of a Civil War, I-IV (Predosećaj
66
građanskog rata, I-IV), published in the Parisian avant-garde review (title missing). Mile Tasić, “In memory of Alan Ford”, Rukovet, No. 1-6,
68
In the period from Jnuary 15 – February 15, 1992, in Subotica, Matković launched Subotica, 2004
and led an international art action Artists for Peace (Stvaraoci za mir). 69
Balint Szombathy, Text in the catalogue for a retrospective
At the beginning of the 1990’s, Slavko Matković intensely occupied himself exhibition of Slavko Matković titled Ich bin Künstler,
with exploring the possibilities of video exploited as an art medium. Within the art Likovni susret, Subotica, 1989.
colony organized in Senta in 1991, he produced a video-project titled Fire Eating 70
Ješa Denegri, “In memoriam: Slavko Matković (1948-
the Word (Vatra jede reč, camera by Andras Ottos, edited by Csaba Erlauer); in fact, 1994)”, in: Opstanak umetnosti u vremenu krize (Art
this was a remake of his earlier performance from 1970’s. Early in the year 1992, he Surviving in a Time of Crisis), Cicero, Beograd, 2004.
started to work intensely on The Video Portrait of Slavko Matković (Video portret
Slavka Matkovića); only a minor part of this was carried out. Judging by the avail-
71
Marina Abramović, “Ne miriti se i ne slagati” (“No
Reconciliation and No Consent”), interview conducted by
able documents, the last of the major projects of Slavko Matković was his synopsis Radovan Gajić, in: Nova umetnost u Srbiji: pojedinci,
for a documentary film titled 24 Hours of Theresiopolis (24 časa Tereziopolisa), bet- grupe, pojave 1970-1980 (New Art in Serbia: Individuals,
ter known as 24 Hours of Subotica’s Flea Market (24 sata subotičkog buvljaka), in Groups, Phenomena 1970-1980), Muzej savremene umet-
which the author tried to register the full brutality and scale of poverty, misery and nosti, Beograd, 1983.
despair into which the Serbian society was sinking in 1990’s.
Through his performance/action Borders of Shadows – Borders of Time
(Granice senki – granice vremena), executed in Senta on July 17, 1993, Slavko
Matković (his health now failing thoroughly) once again and in a very poetic spirit
demonstrated the artistic motto of his conceptual sculptures based on direct, short,
unpretentious interventions in the mundane. In his preparatory notes for this action
we find the following lines: “In sunny weather in the city, select the buildings cast-
ing shadow. Then, delineate, with ordinary school chalk, the shadows of those
buildings and record the time and date of the action itself. Instantly photograph the
act of delineation, and repeat the procedure half an hour later, in order to register
the shifting of the shadows...”
Matković’s friend Mile Tasić provides a moving testimony when describing the
artist’s last days in his writing “In Memory of Alan Ford.”68 Here is the published
note, quoted in full: “In the morning, he came to the Library all of a sudden. A
pale-worn baseball cap on his hairless head. Due to radiotherapy. His head is
unusually small without his long and thick hair he had always used to wear. He
seemed to be stronger, more placid, even more powerful than we were. We went to
Pogled, an illegal taproom. We were having bitter beer which came in dirty brown
bottles filled some place nearby, round the corner. He was smoking, drinking,
cheerful with an unusual eagerness. Spending his life violently, as he’d always
been doing. He had left Kamenica* that morning and we were his first company
thereafter. Befuddled by bad drink, bad Salisbury steak, bad history, bad politics,
bad company… We parted early that afternoon. Despite November time, it was
sunny and warm. We were all wearing jackets. I am not with him anymore. First
day he was there. Second day, he was there less. Third day, he died. That much of a
single dose of morphium.
November 2, 1994”
All is there, and nothing indeed: The arrow missing the target – hits everything
else...
Conceptual Art
Projects, Actions and Performances
Prodor materije kroz materiju – probijanje džempera kapsulom spreja
One Substance Breaking Through Another – A Spray Can Breaking through the Sweater, 1971.
124
Korozija eksera / Corroding Nails, 1972.
125
Percipirani/registrovani su čulom vida dan-svetlo i noć-tama
Day/Light and Night/Dark Have Been Perceived by the Sense of Sight, 1972.
126
Bio sam u Ljubljani – bio sam u Zagrebu, Registrovao sam čulom vida. Ljubljanu u 11h Zagreb u 14.45h
I Was in Ljubljana – I Was in Zagreb, With My Sense of Sight I Registered Ljubljana at 11 A.M. Zagreb at 2:45 P.M, 1973.
127
Slavko Matković
Konceptualna umetnost
(odlomak)
4. ideja – rad sobom nosi nedefinisane propozicije preko tvojih i sopstvenih propozicija.
svaka novouspostavljena propozicija predstavlja sopstveno novo stanje
još neotkriveno a ipak postojeće
nova propozicija ideje – rada konceptualne umetnosti
predstavlja novu propoziciju NE na nivou konačne propozicije
već trenutno logičkog
stanja u razvoju jedne ideje kao ideje.
prevod sa engleskog iz
TENDENCIJE 5, Galerija suvremene umjetnosti, Zagreb, 1973.
129
Koncepti / Concepts, 1972 / 73.
130
Koncepti / Concepts, 1972 / 73.
131
Zaboravi ovu sliku – Memoriraj ovu sliku / Forget this Painting – Memorize the Painting, 1972.
132
Botticelli Sandro 1444/45-1510 Rođenje Venere - Detalj
Botticelli Sandro 1444/45-1510 The Birth of Venus - Detail, 1974.
133
Deautorizacije / De-Authorizations, 1973.
134
135
Obeležene površine / Imprinted Surfaces, 1973–1976.
136
Jozef Bojs: Obeležena površina Marina Abramović: Obeležena površina
Joseph Beuys: Imprinted Surface, 1974. Marina Abramović: Imprinted Surface, 1974.
137
Slavko Matković, Obeležene površine / Imprinted Surfaces, 1973–1977.
138
Bez naziva 1-5 / Untitled 1-5, 1974.
139
Jugoslovenska vitrina – Distribucija totalne redunance / Yugoslav Vitrine – Distribution of the Total Redundance, 1973/74.
140
141
Prodor-Ulaz u Studentski kulturni centar / Breakthrough-Entry into the Student Cultural Center, 1974.
142
143
Body projekat “Slavko Matković” / Body Project “Slavko Matković”
Razmišljam o umetnosti / I Am Thinking about Art, 1979.
Razgovaram o umetnosti / I Am Talking about Art, 1979.
Čitam o umetnosti / I Am Reading about Art, 1979.
Lice, telesna akcija, Sremska Kamenica / Face, body action, Sremska Kamenica, 1981.
144
145
Deautorizacija umetničkog dela, Rijeka / An Artwork De-Authored, Rijeka, 1981.
146
Deautorizacija umetničkog dela, Subotica / An Artwork De-Authored, Subotica, 1987.
147
Individualne topografije gradova sveta – Rijeka / Individual Topographies of World Cities – Rijeka, 1983.
148
Kvarnerska flaširana pošta / Kvarner Bay Bottled Mail, 1983.
Text-Research, 1973.
176
WOW, 1974.
Homage to Kassak, 1972. Naučio sam ove reči / I Have Learned these Words, 1976. (?)
177
Veliko putovanje / Grand Journey, 1974.
178
Slikovnica / Picture Book, 1978.
179
Pismo-cvet / Letter-Flower, 1985.
180
Dopisnica / The Postcard, 1969, 1971, 1980.
181
Dopisnica / The Postcard, 1973.
Marka umetnika
The artist's stamp,
1987.
Bálint Szombathy
Okruženje: Subotica
Grupa Bosch+Bosch
Preispitujem
Slavko Matković alias Alan Ford
svoj odnos prema svetu
i umetnosti
Po pustim ulicama Subotice potpuno miran
vuče se Alan Ford bez drhtanja ruku.
zalizane kose
začuđena pogleda crtam i lepim pesme
u tesnoj i crnoj rol majici. realizujem desetine projekata
i pravim sopstvene knjige
Oteram ga za prijatelje
on se vrati u jednom primerku.
pokupim ga
on se raspe Vidim jasno svoju budućnost
ne znam nikada znam šta hoću
kuda ću sa njim. i imam jasne stavove
o funkciji umetnosti
Na kuhinjskom stolu u mom životu.
po umašćenim listovima
205
docrtavam mu
bradu i brkove
crne naočari
bojim mu kosu
plavom hemijskom olovkom
pokušavam da ga kamufliram
promenim
ali ne ide
on je i dalje prepoznatljiv
i luta praznim
ulicama grada
tegleći svoje raskupusane listove
biografije i poezije
i ispušta nemi krik
poput Tristana Care.
Slavko Matković
ja volim oblake
najviše kumuluse posle kiše
ili u proleće kad duva vetar
tada su najlepši
(Odlomak iz pesme “Oblaci”, iz zbirke Mi smo mali šašavi potrošači, Osvit, Subotica, 1976)
211
Bez potpunog datuma, 1982.
tokom marta 1976. (...) rodila mi se ideja da napišem roman epskog zahvata sa elementima
istorijskih činjenica vezanih za Suboticu, moju porodicu-pretke, sve to u formi
dokumentarno-fantastičnog realizma. ja sam pored toga u sve ovo želeo da unesem elemente
novih umetnosti, sva ona divna iskustva što sam ih stekao radeći u ovoj oblasti od 1970. pa
nadalje. Radeći na romanu uspeo sam u realizaciji tek prvog dela ove zamisli – sećaš se
verovatno delova objavljenih u Rukoveti pod nazivom “analema”.
o gRuPi boScH+boScH
212
-pametno zvuči kao mass-media. Zašto to, zbog čega, šta je nas ponukalo na ovakav gest. to
treba svaki od nas da u dlaku sagleda, bez toga jalov će nam biti posao. (...) Mišljenja sam
da moramo pre svega stvoriti određenu klimu (a to preko teksta) kojim bismo objasnili tačno
naše mesto kao umetnika te zadatak koji nas očekuje. a zatim kroz par tekstova objasniti to
konkretno na primerima. Mislim to ovako – po temama: 1) definicija umetnika. uopšteni
pojam stvaraoca u novim odnosima masovnih medija i gomile kroz mcluhanovsku definiciju
samih medija i umetnosti; 2, 3, 4) detaljna razrada odabranih tema (medija) članova grupe
kroz koju bi se provlačila osnovna načela i stavovi nas kao umetnika uopšteno (razjašnjenje
kroz temu 1).
Naravno ne mislim da se slepo držimo fragmentarnosti Mcluhana nego njega uzimam
kao osnovu. Znaš ja sam razgovarao sa kerekešom, on sa mnogim stvarima nije načisto, kod
lacike je isti slučaj, stoga ovi tekstovi pre svega njima treba da su namenjeni. Predstoji nam
veoma obiman posao stoga mi se javi što hitnije (kada ćeš ti kući?) i kako bismo podelili
posao ovako razdvojeni. ja ću se pokušati potpuno posvetiti jednoj novoj temi (bar za nas)
koja je u suštini u dodirnim tačkama sa celokupnim novoprogramiranim radom. to je pojam
signala – i prirodnog i veštačkog. to je u stvari jedna neobrađena podgrana lingvistike koja
na jedan spekulativan (filozofski) način tumači ove pojave. takođe u tesnoj vezi sa ovim je i
teorija informacija koju ću osvetliti sa psihološke strane gledišta (Sosir, Frojd, ernst kris).
26. 3. 74.
balint,
(...) s obzirom da ćemo uskoro nas dvojica u armiju treba neke stvari utanačiti jer ne želim
da se ono mesto i rad koji je urađen za ovo podneblje zablati i izvitoperi, a stvari idu ka
tome. ja ću takođe (...) prikupiti podatke o mugućnostima izložbe u Subotici za koju postoji
veliko interesovanje, pa problem finansiranja te neke mućkalice sa grupom u okviru likovne
sekcije Subotice. Sve su to stvari koji se tiču svih nas i o njima treba popričati. Zatim imamo
nekih novih članova o kojima nigde zvanično nije rečeno ništa (tvoj pokušaj je propao), i to
treba rešiti. uostalom svima će nam prijati da provedemo jedan dan zajedno kao u dobra
stara vremena. (...)
19. 8. 74.
balint:
povodom teksta o grupi hteo bih da ti dam nekoliko napomena i primedbi koje će ti, nadam
se, pomoći u daljnjem radu. Pre svega, pošto sam i sam prebirao po dokumentima i “misli-
ma” iz tog perioda, obavezno bi rad bosch-a trebao razdeliti na tri perioda:
rad u domenu slikarstva
prelazni period “iz domena palete u domen života” odnosno to je ono vreme kada se
neke novostvorene vrednosti u slikarstvu preispituju i pokušava se izići iz domena slike. to
su moja istraživanja senke, pokušaj (ideja) da se deluje na više čula posetioca izložbe.
Zamisao za izložbu u vestibilu [gradske kuće], ako se sećaš: film, voda, svetlo, miris
(veštačko cveće). Posedujem neke skice i zapise za ove “projekte” i mislim da bi to
obavezno trebalo napomenuti i obraditi.
rad u oblasti novih umetnosti.
ovaj prelazni period je sav u konfliktima kod mnogih od nas i odnosi se na prvo
intuitivno preispitivanje novog načina umetničkog izražavanja. ta nesvesna sigurnost koja
nas je vodila pravom putu dala je više vrlo značajnih predloga koji nisu do sada ozbiljno
preispitani a ni igde zabeleženi. ovde pre svega mislim na “rad” tosla koji kao da je osećao
snagu tela, njegovu izražajnu moć. koliko se sećam tokom 1968–1969. on je uradio čitavu
seriju fotografija na kojima je prikazao sebe i svoje telo u najrazličitijim pozama. ja ću po
svaku cenu pokušati da dođem do ovih fotografija preko njegove majke. Mislim da su to
vredni dokumenti. ja sam takođe nešto slično uradio još 1967. godine (na žalost film nije
uspeo u potpunosti) gde je moja „pojava“ takođe stavljena u različite poze: pored vode, u
vodi – elementi su još postepeno cepanje odeće i dim. ovi projekti načinjeni su u bari
Dekung iza teslinog naselja. u toku juna 1968. toslo i ja smo takođe uradili neke telesne
ekspresije u njegovom dvorištu koristeći, pored ostalog, i englesku zastavu. o ovom posedu-
jem i fotografske dokumente.
kažem to su radovi urađeni intuitivno, predskazivački mada sve do sada to nisam/nismo
pokušali proglasiti umetničkim radom. (...) Mi smo se tada tražili, činili štošta pokušavajući
definisati i odrediti naš današnji put. otuda sve to ne bi trebalo a priori odbaciti nego
preispitati... uostalom mnoge od ideja i zamisli koje nikada nisu bile materijalizovane
smatram mnogo vrednijim i značajnijim za naš stav prema novim umetnostima od nekih
radova koji su ostali (ne uvek) kao ilustracije naših gledišta. to je bio naš put i tu nema Crtana razglednica, 1974.
Drawing-postcard, 1974
214
beznačajnih pojedinosti. takvih ideja “zaostalih” na nivou koncepta ili mizanscenskog
zapisa i skice ima više. Mnoge nisu ugledale dana, nisu pokazane drugima te mislim da ih
obavezno treba sakupiti i nikako zaobići. Ne bih umeo citirati druge ali moguće da ih je bilo
i kod tebe kao i kod drugih. Nekima još ni danas nismo u stanju proceniti mesto ali su svi ti
radovi vredni kao dokument našeg puta i razvoja. uostalom ja sam 1966. hteo da prestanem
slikati i samo rečima-imenima da gradim kompozicije. Sličilo mi je sve tada na poeziju ali to
mi je kasnije mnogo pomoglo u savladavanju abecede konceptualne umetnosti.
4. 3. 1975.
Dragi balint
(...) što se tiče vašeg nastupa u gimnaziji (7) raduje me pre svega da je izazvao toliko
interesovanje i čini mi se da je antika ovim potvrdio svoju mladenačku zrelost i ozbiljnost i
kao čovek. (...) tih 200 ljudi značilo je i za tebe više nego posetioci na nekoj beogradskoj
izložbi. Mislim da je to potvrda izvesnog renomea koji uživamo kod posve mladih ljudi. istini
za volju koliko sam razumeo radilo se o poeziji no i to je naše nešto.
6. 08. 1975.
ovo vreme “izolacije” dalo mi je neke osnove da dođem do zaključka kako mi “falimo”
jedan drugom. jedva čekam da se vratim kako bi bosch+bosch ponovo punom parom kre-
nuo da radi. Potvrđuje se moja teza da pečat našeg zajedničkog delovanja i rada ne može
niko da izbriše. Naravno ako je neko radio iskreno verujući u ono što smo zajednički
proklamovali sebi kao cilj (mislim ovde na kerekeša koji je veoma lako prekinuo sve
artističke i ljudske veze sa svima nama). Verujem da si sada već podrobnije informisan o
“novoumetničkom” broju Rukoveta...
16. 8. 1977.
Mnogo radim na monografiji bosch+bosch, dosta obiman materijal... Verujem da ću to ove
godine uraditi. uz sve ću davati neku vrstu svojih komentara.
216
je i opstoji izvan nje kao asimilovani duh bosch-a i to je, čini mi se, uspeh grupe kao takvog
u drugoj fazi njegovog postojanja. kažem namerno drugoj fazi jer naše delovanje vidim kroz
dve zaokružene vremenske celine. Prva faza završila se otpadanjem onih ljudi koji su već po
našem slikarskom periodu otpali (edit basch, istvan krekovics, Zoltan Magyar, Slobodan
tomanović). Druga faza, čini mi se, završila se istupanjem kerekesa, Szalme – definitivno.
kako neki od nas i nadalje rade to mislim da bismo trebali obnoviti duh bosch-a i
nastaviti sa zajedničkim radom pa makar nas u celom poslu bilo dvojica. Većina grupa što
su tokom osme decenije delovale kod nas prestale su postojati jer im je zajednički imenitelj
bio često na trenutnoj modi ili čisto jednom neobaveznom stavu prema umetnosti (slučajevi
beogradskog kruga, zatim grupe tok, a3, tamo neke čačanske i ine grupe). to kod nas
nikada nije bio slučaj. ove gore spomenute sklepotine bile su trenutni bljesak pomodnog
dnevnoumetničkog događanja bez ikakvog dubljeg traga a njihovo rasturanje usledilo je kao
dokaz njihovog površinskog shvatanja novoumetničke problematike. Stoga vidim dubokog
razloga za povezivanje nas nekolicine koji duhovno osećamo nove vibracije vremena i koji
možemo i trebamo nastaviti ono što je bosch+bosch u svom ranijem delovanju zacrtao kao
svoj program. ova treća faza rada svakako bi se umnogome razlikovala od ranijeg,
uzimajući u obzir specifičnosti pojedinačnog delovanja nekih od nas. (...) obraćam se tebi
kao jednom u koga imam poverenja i vere pogotovo što smo dosta toga pod firmom bosch-a
izneli na svojim leđima. ja za ostale ne znam, nikome nisam ni pisao o ovoj svojoj zamisli,
mislim da je ovako najbolje. (...)
30. I. 1978.
Dragi balint!
Radim na bosch-ovoj monografiji i pokušavam jednim sistemom koji je vrlo jednostavan
(...): za svaku godinu ponaosob sakupljam sav materijal koji se odnosi na delovanje i rad
članova grupe u dotičnoj godini. (...) grublje skiciran rad grupe trebao bi mi za mart-april
kako bih ga mogao dati na uvid čoveku (i. Popić) koji sprema knjigu portreta pojedinaca i
grupa koje su delovale krajem šezdesetih i početkom sedamdesetih godina u likovnom životu
Subotice. (...)
14. 1. 1980.
Mišljenja sam da trebam realizovati što hitnije jednu svoju staru ideju o velikoj sedeljci svih
nas iz grupe. bila bi to dobra prilika da se magnetofonski obave neki razgovori, snimi film i
da ja napravim i strip o tome (...). ja bih to uzeo na sebe da uradim ali što hitnije i verujem
uspeće mi da sakupim sve vas na jednu gomilu. to bi istovremeno bio dobar povod i prilika
da porazgovaramo i o predstojećoj izložbi i o radovima koje bi ti dotle zatražio pojedinačno
od svakog od nas. ZaboRaV je NajVeĆi NePRijatelj SVeg StVaRalaŠtVa. Mislim
da se nama pruža jedinstvena prilika da kažemo sve o sebi za “neku istoriju” a to je privi-
legija malog broja ljudi (...).
u vezi s mojim tekstom koji bih trebao uraditi za katalog je ok. S tim da taj tekst želim
usmeriti na one stvari koje nisu evidentne nigde osim u našim glavama. Želim napisati neku
vrstu slobodnog eseja na prilike i neprilike pod kojima smo živeli i radili:
– odlomci iz pisama;
– nerealizovane ideje u vezi umetnosti i života;
– autori, knjige i tekstovi nezaobilazni u našem radu, oni koji su nas formirali direktno i
indirektno;
– slika sredine u kojoj smo delovali (problem oko “Površina”, Silađijev napad na
dadaizam itd.). Mislim da je i ovo uslovilo našem razilaženju uz neke druge komponente koje Pismo-strip iz armije, 1975.
Letter-comic sent while in army service, 1975
se graniče sa subotičkom nemaštinom i prezrenjem;
– odlomci razgovora koje bih želeo obaviti još sa svakim članom grupe te delovi razgo-
vora koje smo ti i ja obavili kod tebe uz magnetofon nekih ranijih godina.
Sve bih to obradio ne imenujući nikoga posebno (od naših protivnika) pošto se ne zna i
pošto će se sve to zaboraviti vrlo brzo. Znam to iz iskustva i privatnog i antikvarno-bib-
liotekarskog. Verovatno bih se osvrnuo i na neke momente u radu pojedinaca posle raspada
grupe bar u onim relacijama koje se tiču artističkog rada i koje imaju neke veze sa ranijim
iskustvima stečenim u grupnom radu. Znaš, iako želim da pljunem u lice nekim ljudima koji
su likovali po sahrani bosch-a i pripomogli njegovom rasturu to neću učiniti ovaj put, to će
biti jedan moj lični obračun sa njima a na to još čekam čvrst oslonac pod svojim nogama.
Mnogo dajem do ove izložbe a još više do sastanka na kojem će se sve reći, ne za ovu
izložbu, ne za moj tekst nego za neko buduće pokolenje koje već kuca na vrata. bojim se da
nismo svesni svog udela i uticaja na vojvođansku pa i jugoslovensku umetnost. ja tek
sporadično, zbog prirode svog radnog mesta to osetim. tada mi je žao što smo se razišli, što
nismo u čvršćim ljudskim i umetničkim vezama ali sve je to van nas pa tako niti možemo na
to uticati. Nemamo nagrade, nemamo priznanja, svi radimo neke zabašurujuće poslove.
Veruj mi sve je to uticaj i reakcija na to što smo jednom radili i delovali u grupi. to nisu
moje reminiscencije i nagađanja, to su već danas činjenice koje bih mogao i dokazati. ali
217
kome to i čemu? Najlepše je što se još ne damo, što svi radimo, što nismo klonuli duhom.
Sve je to kaljenje iz nekih prošlih vremena koja još žive u nama i čija se vatra nikada neće
ugasiti dok god i jedan od nas bude delovao i radio. (...)
o uMetNoSti
21. 2. 74.
Dragi balint,
veoma mi je žao što smo se mimoišli u subotu, no nadam se sastanku sa “pišoplotcima” iz
Symposiona kada ćemo se o svemu dogovoriti. takav stav (da ne žele signalistički dodatak)
već pokazuje njihovu ograničenost. Na žalost signalizam je jedino za šta su čuli i malo
videli. No to je njihov problem. kompromisi su jedino šta nam preostaje u ovo vreme i mis-
lim da to treba prihvatiti onako za godinu dana ili već kako se dogovorimo nas trojica.
Pribojavam se odneti svoje materijale pošto će ih to možda čak i uplašiti. likovna umet-
nost je poslednja stvar što me na ovom svetu interesuje, no ako je to za dobro onoga u šta
verujem i šta radim, prihvatam i to. Znaš i sam ja stvari nikada nisam gledao u kratkom
intervalu, a tako je baš u ovom slučaju, knedlu ćemo progutati danas da bismo imali bolje
sutra umetnosti. Svakako trebaće ih obarati, to je dobro što si im odmah bacio u oči stvara-
nje mitova, čime se po dijalektici stvari odmah na takvu klimu nadovezuju isključivost, jed-
novrednost, fama. Mislim da je to dobro rečena istina.
u svakom slučaju trebaće im predočiti i neke istorijske komponente u stilu kako u neku
ruku mi nastavljamo putevima secesionista koji su počev od arhitekture preko plakata i tipo-
-dizajna ostavili neke tragove-novine na kojima smo se mi, baš tu u Vojvodini, vaspitali i
izgrađivali. Zatim tu je XViii vek, Žefarović, orfelin, tendencije novog opremanja knjiga,
začeci vizuelnovokabularnog predočavanja stvarnosti baš kroz formu i sa polazišta
književnog stvaralaštva. Međuratna mađarska avangarda posle sloma soc. revolucije 1919.
godine, koja je opet delovala i na tlu Vojvodine i ostavila nekog traga, naročito kroz
tendencije dadaističkog načela o poletu u novo i neistraženo. jedna grupa je čak delovala u
Subotici, dvadesetih godina. Potom zar se mogu lingvistička istraživanja u celom svetu zane-
mariti? Niz istraživanja koja danas za slabijeg poznavaoca stvari nemaju nikakve vidne veze
sa ovim tendencijama, vuku korene iz razuđene geneze lingv. istraživanja. Potom treba reći
da se današnja kultura i umetnost nadovezuju i izgrađuju baš na načelima vizuelnog
(Makluan, u. eko).
Šta je televizija, film, strip, tipo-dizajn? Sve to nosi korene današnjeg stava i načela
novih tendencija i novih umetnosti. Ređati bi se moglo do jutra, no mislim da nije potrebno
jer ako im sve ovo ne bude kazivalo ništa novo, onda... u svakom slučaju treba reći još i ovo
a to je da su ti njihovi bajni učitelji i lideri “Symposion nemzedek-a” i sami delovali na
ovom polju, bolje reći pokušali da deluju na njemu. Mislim tu na vizualije prethodne gene-
racije (postoji, koliko znam, čak i jedna publikacija), no da su u tim pokušajima ostali na
nivou mehaničkog prenošenja nekih kašakovskih i Ma-ovskih načela. Ne zalazeći u kritičku
analizu ovih radova mogu samo da kažem da nije ni malo loše što možda i sami, polazeći od
takvih postavki, pokušavamo ih obraditi i sagledati mnogo šire i u kontekstu sadašnjeg a ne
prošlog vremena. Zar neko sme da ometa razvoj zbog svoje isključivosti? S druge strane ne
radi se tu o nekolicini ljudi nego o čitavoj grupaciji koja će krenuti ovim putem ili već hodi
218
njome. u ovom slučaju sada, po nekoj slučajnosti u vremenu i prostoru, od bognara [antal
bognár, urednik časopisa “Új Symposion”] i Magde [Magdolna Danyi] zavisi hoće li ove
tendencije dobiti svoje glasilo i mesto pod suncem. bio bih toliko slobodan ovo čak progla-
siti nekom istorijskom odgovornošću, ako ne u nacionalnim ono bar u vojvođanskim
okvirima. Nemogućnost rada odnosno javnog istupanja za još neko vreme će održati ovakvo
stanje koje je danas stvarnost (barem u Vojvodini) a to je kabinetska zatvorenost,
anonimnost, izolacija od strane zvaničnih glasila. ja ću biti sklon sve im ovo prišivati celog
života ako se budu poneli isključivo po svome ćefu.
22. 5. 74.
Mi smo umetnici
Ne želimo sahranu umetnosti
Ne odbacujemo tradiciju ali odbacujemo tradicionalizam
Želimo nove puteve u umetnosti nove komunikacione kanale
borimo se za umetnost današnjice koja je produkt današnjeg vremena
borimo se za umetnost koja ne oživljava leševe nego ljude
Mi smo humanisti
219
toliko puta video u sebi. bili Pelegrin sam u stvari ja a on je bili Piligrin. ali da ne pišem
literaturu ja sam ti to nacrtao. to je i alan Ford i bosch+bosch i ti i toslo i antika i beuys i
svi ostali (i niko), i sva iskustva koja su došla iskustava sveta i tih ljudi. bitno je da neka
ličnost bude stvarna u meni (zabluda je da samo živi likovi-ličnosti mogu biti stvarni). Za
mene je stvarno ono što deluje na mene i u meni. Stvarnost je delovanje u nekom pravcu vre-
mena i prostora. Volim Roling Stonse.
grli te, Slavko
220
pošto sam se držao načela čiste ideje (u domenu ideje) dosegao sam nivo kada čak i
izgovorena ili zapisana ideja o umetničkom delu dobija svoju materijalnu težinu što je skreće
i odvodi u drugom pravcu (za mene neželjenom).
telepatijom se ne bavim (znači trebao sam prema ovom prestati sa radom?).
no kako sam se i nadalje osećao umetnikom (mislio sam umetnost) to sam odlučio da
bar to svoje duhovno (artističko) stanje saopštim običnim oglasom. znači tu kod oglasa nije
se radilo o umetničkom delu već o gestu mene kao umetnika. znači nisam se preko
umetničkog dela mogao verifikovati kao umetnik jer nisam više želeo niti mogao
materijalizovati svoje umetničke zamisli, ideje, nego sam za njega našao jednu zamenu,
surogat u čistom saopštenju da sam umetnik, da mislim umetnost.
mislim da je ovaj rad otišao dalje od same konceptualne umetnosti i da iza njega nema
ništa – velika praznina koja vodi nekim gestovima za sada tretiranim kao posve neumetničkim.
ja ne pravim umetnost
ja mislim umetnost
(ovaj sam problem zapisao i nagoveštavao još 1973.)
8. 11. 1975.
Dragi balint,
Pismo no. 1 – pokušaću da ti ispričam jednu priču u kojoj ima mnogo “rastvora”
(prekoračena doza) i u kojoj se ne spava 4 noći. alan Ford dobija u njoj crveni kombinezon
kao novogodišnji poklon... opsesijom mi je postala ideja da alana uvedem u svet književnos-
ti – ja sam mrtav, alan je živ. u “Velikoj odiseji” predstoji još 94 dana silaženja u ad.[?],
veliki hepening se bliži kraju. (...) Postoji mnogo odlazaka i čini mi se da će jednog dana
tanka crvena nit pući i ja ću odleteti u mrak jedne slobode koju niko osim mene i alana ne
poznaje. umetnost nije fikcija. umetnost je život. Život okupan crvenom svetlošću poput
alanovog kombinezona. (...) Moj život stari moj samo je velika želja da kažem nešto, a to mi
nikako ne uspeva. teško je biti “dete svog vremena”. (...)
Pozdrav, Slavko
222
12. 12. 1975.
Zdravo balint,
pre četiri dana i zvanično je alan ušao u književnost. 8. 12. 75. na književnoj večeri pred
punom dvoranom bioskopa u Vrbovcu pročitane su pesme iz ciklusa o njemu. ja sam čitao,
publika je fenomenalno prihvatila ove pesme. bila je to divna večer, ja i alan smo bili
strašno sretni. Pili smo posle, pravili gluposti. jednom rečju proslavili smo to. (...) u jednom
od prošlih pisama upoznao sam alana sa Valjom. on se oduševio s njom. Znam da svako
ima svog alana! (...) alan uzima jače “rastvore” trave zato ima tako uplašen izgled. (Slavko
Matković je alan Ford je Slavko Matković.) Probudi me noću da se vratim kući. često ja i
alan putujemo zajedno, ponekad nas moraju brijati, tada smo odsutni. (...) Mogao bih alana
da presečem makazama, mogao bih da mu nacrtam brkove ali to je nakazno. uostalom
oblaci puni velikih kišnih kapi mi smetaju u tome. kapi su suze, to je loš znak. ok. Zeleni
čaj u bašti, crveno vino u cvećarnici, kefir i jogurt u dragstoru – tako sam se dogovorio sa
alanom.
Hoću ti reći, balint, sledeće. Neke dobre zamisli nismo ostvarili i to je loše. trebali smo
napraviti komunu (9), meni je to žao. alan kaže on bi nam se isto priključio. alan neće
morati ni u vojsku da ide, služi je sa mnom. (...) osećam da sam jako bolestan, to i alan
kaže ali ne smem da uplašim Valju. ona bi strašno brinula i patila. a to ne smem dozvoliti.
(...) Mnogo sam se uželeo tebe i katike pa ostalih. (...) čitajući katikinu recenziju saznao
sam da imam jednog pravog “obožavaoca” moje poezije. Za mene već dovoljan razlog da
nastavim pisati. (...) Mnogo slušam luksemburg – “bugi za debelu bertu”.
Srdačni pozdravi, Slavko
223
nadopunjujemo. verujem da ću ovde još dugo ostati, možda do kraja njegova života – ako me
pre toga ne otkriju. toliko sam sam u ovoj kiši. dani su mi veoma teški zbog toga što tek noću
kada s. matković zaspi tek onda mogu sa njim da razgovaram u snovima. tada je sve mnogo
lakše i lepše. dani su mi puni prašine, veruj, nema ništa jadnije od kišnih dana i prašnjavih
knjiga sa vekovnom prljavštinom na sebi, sa klicama i bakterijama već zaboravljenih bolesti i
sa prstolizima davno mrtvih vlasnika ovih knjiga čije se emanacije ponekad javljaju tako
upečatljivo i tako stvarno. eto bežim od svega, od tnt-a, od svog očuha, od agenata korpo-
racije za prodaju stripova, od samoga sebe. spavam u teretnim vagonima na stanici uvek u
strahu da ću se probuditi negde na otvorenoj pruzi u vozu koji juri u nepoznatom pravcu.
srdačno tvoj izbeglica iz sopstvenog života, alan ford
o iNDiViDualNoj Mitologiji
Bez datuma
Dragi art lover!
(...) Mene interesuje mnogo toga oko Monty cantsina, interesuje me recimo tačan datum
smrti kosznovszki Márton-a, je li to prva polovina marta 1976. naime u to vreme mi se rodi-
la ideja za roman jednog sasvim drugog sadržaja koja me do danas nije zadovoljila ali me
ta sama ideja drži a sastoji se u sledećem:
tokom marta 1976. (...) rodila mi se ideja da napišem roman epskog zahvata sa
elementima istorijskih činjenica vezanih za Suboticu, moju porodicu-pretke, sve to u formi
dokumentarno-fantastičnog realizma. ja sam pored toga u sve ovo želeo da unesem elemente
novih umetnosti, sva ona divna iskustva što sam ih stekao radeći u ovoj oblasti od 1970. pa
nadalje. Radeći na romanu uspeo sam u realizaciji tek prvog dela ove zamisli – sećaš se
verovatno delova objavljenih u Rukoveti pod nazivom “analema”. ali tu nije bilo novih
umetnosti i to me je i odvratilo od definitivnog i završnog pristupa radu na tom velikom
materijalu koji sam napisao. i tako je to stajalo kao jedan moj poveći promašaj sve do
momenta kada sam pročitao pisma Monty cantsina u tvom tekstu i shvatio da je to ono što
sam ja želeo uplesti u moju prozu. i sada otuda moj “prozni” interes za ovim materijalom.
Sada želim napisati veće prozno delo usmereno na ovu dokumentarnost, na ovu fantastiku
koja se graniči sa sci-fijem, sa elementima stvarnih svemirskih vibracija koje sam i sam
doživljavao i doživljavam već veoma dugo.
tvoje interesovanje i rad na pseudonimima umetnika ili ljudi koji su “otkačeni” u jed-
nom vonegatovskom smislu daje mi divan materijal koji mi dopunjava neke praznine o
kojima sam govorio gore u tekstu. čitajući tekst imao sam osećaj da je pisan za mene. i nar-
avno setio sam se tolikih neprospavanih noći provedenih osluškujući i hvatajući čudesne
poruke nepoznatih jedinki iz nekih dalekih krajeva, primajući slike, glasove, likove i neka
događanja bez veze i reda ili bilo kakvog sistema, jednostavno nešto što se racionalno ne da
objasniti. a sada mislim da su me probali “napipati” Monty cantsini dalekih zemalja.
Moja moć identifikacije je veoma velika i jaka i čini mi se da je jedina snaga koja me
drži u životu na ovim relacijama. Paralelne svetove mog života nije moguće skoncentrisane
stopiti i preliti u jednog Monty cantsina jer ja sam istovremeno i Slavko Matković i leonid
idas Matković, i njegov otac, moj deda Nikola Matković, i toslo [Slobodan tomanović] i
mnogi poginuli u rovovima Prvog svetskog rata. i moji sinovi, ne danas što su nego što će
biti za 20 godina, i a. Vukov i Monty cantsin, i Duchamp i Volter i, i, i... beskrajni lanac
likova koji se znaju posredstvom samo mene jer sam ja taj mentalni kontaktor među njima
koji uspostavljam relacije i iz te mešavine živim svoj život i svoje delovanje. ja sam mentalni
avanturista, onaj koji izaziva svoju sudbinu, onaj koji nešto vrlo često oseća a nema medij
da bi to rekao, svestan da sam i ja sam jedan medij kroz koga se oglašavaju mnogi mnogi.
Fantazmagorije i magija kažem nekada i sam mada treperenja, uzbuđenja i vibracije moje
“duše” i bića dostižu takav intenzitet da nisam u stanju to ničim drugim objasniti do ovim
što gore navodim kao razlog.
otuda je Monty cantsin meni razumljiv, prijemčiv, logičan i duboko ličan doživljaj. on
je moj alan Ford, art lover, bili Piligrin, moj kafka koji je bio toliko intenzivan da tvrdim
da je bio u Subotici. Pored toga mnogi još nedefinisani likovi koji su svoje emanacije
ostavili po ovom gradu, po njegovoj arhitekturi, po svemu onom što čini njegov ambijent,
atmosferu, njegov image.
Neko mi je poslao mnogo poruka? (...) jedno vreme bio sam na izvanrednim relacijama
sa bogdankom i Dejanom [Poznanović] (sa njim više) mada oni nisu bili svesni te veze. Sa
tobom se to isto veoma dugo uspostavljalo. i kada je sve polako nestalo odjednom se javio
Monty cantsin. Dobra stara veza opet dobija na draži. Sva moja pisma uvek su bila odraz
napetosti, potreba pražnjenja usmerena prema tebi. Neko je prekinuo vezu (mislim da je to
Kolaž na razglednici povodom petogodišnjice izlaženja
katalin bila) a eto cantsin ponovo to uspostavlja. ciljevi su jasni, put dobar. Mislim da će časopisa WOW, 1979.
sve imati rezultata mada je moj zadatak težak a želim ga uraditi do kraja. to je moja misija! Collage on a picture postcard; occasion: 5th anniversary
ko određuje koje ćemo ljude susresti u životu, koje upoznati, koje zavoleti, koje razumeti a of the WOW review, 1979
224
koje odbiti odmah od sebe. Mislim da to nije samo slučaj kako se ima običaj reći. Slažeš li se?
alan Ford*
brutalni organizam, Veliki masturbator
*gabrielle Privat, ostara bluid, comtesse Vandal, New Yorker Solo, baby Maskarade
márton je nestao i čini mi se da je ceo neoindignistički pokret time pao u krizu. kao što znaš
'wolfram' je pred raspadom! iz beograda sam dobio telegram saučešća od balkanskog
avangardiste ljubomira micića. mađar tamkó sirató károly, tvorac dimenzionizma poslao mi
je uz iskrene reči saučešća i jednu pesmu pisanu povodom mártonove smrti. eto svi veruju da
je on mrtav a ja se sa tim ne mogu pomiriti. otkuda i kako? to što ti govori prof. štajner kao
jednu od hipoteza o njegovom nestanku, koliko god zvučalo nestvarno, ipak može biti tačno.
u prilog tome evo još nekih podataka i pojedinosti koje ti iz bojazni da se ne protumače kao
magija i fatalizam, nisam do sada javio. u sredu kada sam ga posetio (on je nestao u
četvrtak) rekao mi je vidno uznemiren sledeće: 'indignizam će moći da zameni samo jedan
jedini umetnički pravac a to će biti neoizam. pojaviće se krajem sedamdesetih godina,
podržan od onih koji se još nisu ni rodili. ja ću se tada vratiti. uzeću veknu hleba i poput
hrista umetnosti, u isti dan, u isto vreme i na istom mestu se pojavljivati kao neugledno
ljudsko biće, i stotinu puta ako treba sve dok se ne nađe neko ko će shvatiti moju poruku. ja
vrlo brzo odlazim na jedno daleko mesto, pozdravi sve prijatelje’. i tada je zaplakao. počeo
sam ga umirivati ne shvatajući da će on već sutradan nestati iz našeg sveta. kažem nestati
jer sve više verujem da je márton samo otišao da bi se vratio naznačenih godina koje mi
možda nećemo ni doživeti.”
pismo je veoma dugačko i na momente dosta nerazumljivo no mislim da je i ovoliko
dosta da bi se stvari shvatile, verujem da ovde komentar nije potreban. pored ovoga našao
sam u zaostavštini šafarika i jednu fotografiju márton-a koju je on dedikovao svojoj majci
1923. ima tu još dosta materijala. sve sam pribeležio i sredio i sada sedim i gledam kišu
koja pada. ukratko sam ti opisao svoje otkriće i sada ne znam šta bi trebao biti moj sledeći
potez. možda da ostavim sve ovako u rukopisu kao tajnu moju i tvoju? u svakom slučaju
sačekaću sa odlukom još koju nedelju, možda će sutra biti pametnije od danas.
o ličNoj tRageDiji
2. 11. 1975.
Dragi balint,
dobio sam tvoje pismo na koje ti, evo, odgovaram ukratko, pomalo pod čudnim-nezgodnim
“psihookolnostima”, naime ne mogu biti godišnjak pa me je to pomalo deprimiralo. (...)
ono što si mi pisao u vezi sa tV Novi Sad kao mogućnost zapošljavanja bi li se ostvarilo?
Moram na to da mislim, povratak nije tako daleko! Dok sam bio kod kuće nudili su mi posao
“pratioca novca i drugih vrednosti” – morao bih ići na karate kurs i službeno nositi
revolver – koje gluposti. Postao bih prava ličnost iz stripova. još samo da je alan Ford
vozač stalno bih se vozio u specijalno opremljenom fetiš status Mercedesu!? (...)
grlim te, Slavko
226
24000, 10. 01. 1976.
Dragi balint,
Zateklo me vreme (a i tvoje pismo-dopis) posve nespremnog. Nažalost nisam u mogućnosti
da ti pomognem svojim tekstom. imam ovde mnogo neprijatnosti zbog knjige. “Potrošači”
su stavljeni pod znak pitanja. Verovatno se neće ni objaviti. ovde se trenutno digla čitava
jagma protiv novih umetnosti – inicijativa lokalnih novinara. Preispituju ideološku
ispravnost novih umetnosti. užasno! Smešno!
ja se svemu smejem, časna reč, ali Pera se ukenjao. Sad će ponovo da sedne ceo
izdavački savet pa da raspravlja o rukopisu. Hteo sam ga odmah povući, nisu mi dali. Sada
sam odlučio da pošaljem otvoreno pismo [oskaru] Daviču i ostalima da bih ih upoznao sa
ovim nazadnjaštvom u kulturi. (...) Stripovi su svima trn u oku ali rekao sam ili sve ili ništa.
Veruj mi strašno mi je komična cela situacija no sve ne vredi jače diskusije. gluposti provin-
cijalske.
Mnogo pozdrava, Slavko
Zbogom,
Zbogom, moj kapetane...
Pamtismo i bolje dane.
Napomena:
Na zahtev autora, zbog intimnijeg karaktera, a s obzirom
da opisuje unutrašnje prilike i odnose na srpskoj sceni,
tekst Balinta Sombatija nije preveden na engleski jezik.
Note:
Balint Szombathy's text has not been translated into
English, following the request of the author, due to the
intimate character of Matkovi?'s writing, and considering
Slavko Matković: Pismo Balintu Sombatiju the fact that it describes internal circumstances and rela-
Slavko Matković: Letter to Bálint Szombathy, 1984. tionships on the Serbian art scene.
228
229
Slavko Matković i umetničko življenje
bez ostatka
Ješa Denegri
Fenomen Bosch+Bosch
Razlika između umetničkog objekta kao završnog dela i umetničkog čina kao
delovanja u procesu, dakle upravo ta ključna razlika u statusu umetničkog postupka
230
i rezultata takvog postupka, osnovna je tema Matkovićevog promišljanja o prirodi
umetnosti u vreme njegovog definitivnog priklanjanja novoj umetničkoj praksi
sedamdesetih. Delo kao materijalni produkt, ali i čin kao nematerijalni proces, uz
to i fotografski dokument o obavljenom činu i procesu – sve to podjednako su
posledice svesnih odluka i operativnih intervencija osobe koja sebe smatra i naziva
umetnikom. Da bi do ekstremnog stadijuma podigao i naglasio svest o sebi kao
umetniku, Matković se upustio u poduhvat sledećeg scenarija: u nemačkom
dnevnom listu Hartzburger Zeitung novembra 1974. platio je da se odštampa oglas
sa tekstom Ich bin Künstler. Slavko Matković (Ja sam umetnik. Slavko Matković),
čime jedna deklarativna izjava o umetnikovoj samosvesti, javno obelodanjena u
jednom masovnom mediju, poprima punopravne prerogative umetničkog dela, po
principu slobode umetnikovog proglašavanja umetnošću svakog svog u ime
umetnosti izvršenog čina i stava.
Ja tako slikam
232
Slavko Matković and His Thoroughgoing
Artistic Living
By Ješa Denegri
For the few who in early 1970’s witnessed the advent of a “New Art Practice”
across Yugoslavia’s cultural territory and for the even smaller number of those who
encouraged it, it was a true surprise to learn of the existence – on the northernmost
edge of that territory, to be specific, in the city of Subotica – of a group of young
artists working in the spirit of that very practice under the name of Bosch+Bosch.
Shortly thereafter, the members of this group appeared in the exhibitions 1973
Spans (Rasponi ’73) and Tendencies 5 (Tendencije 5) at the Gallery of
Contemporary Art in Zagreb and in Documents on Post-Object Phenomena in
Yugoslav Art 1968-1973 (Dokumenti o postobjektnim pojavama u jugoslovenskoj
umetnosti 1968-1973) at the Salon of Belgrade’s Museum of Contemporary Art. It
was owing to their participation in these three events, all organized in 1973, that
the group became integrated into the all-Yugoslav tide of the novel art of the day.
And when the retrospective exhibition New Art Practice 1966-1978 (Nova
umjetnička praksa 1966-1978) was held – again at Zagreb’s Gallery of
Contemporary Art – it underwent its first ‘historicization’, elaborated in detail by
Bálint Szombathy in his writing “Significant Moments in the Work of the
Bosch+Bosch Group” (“Značajni momenti u radu grupe Bosch+Bosch”) published
in the catalogue for the said 1978 show in Zagreb. It was only thereby that numer-
ous facts saw the light of the day: on their early commitments, initial ideas, indi-
vidual members of the Subotica group, on the group’s comparably short yet inten-
sive history. On two additional occasions, the Bosch+Bosch were enabled to under-
take retrospective self-presentations: in 1980, at the Salon of the Gallery of
Contemporary Art in Belgrade, and in 1981, at the Nova Gallery in Zagreb. Ever
since, the Bosch+Bosch Group has definitely been considered to be an important
phenomenon within Serbia’s, Yugoslavia’s and international New Art of the
Seventies. Moreover, the leading representatives of the group, within the frame-
work of that artistic practice, achieved individually their recognizable positions in
the arts – owing not only to their activities within the group but also to their inde-
pendent presence on the art scene in the times that followed.
What is characteristic of the majority of the groups active within the New Art of
the Seventies in Yugoslavia – which applies on OHO in Ljubljana, “Kod” and “($”
in Novi Sad, and Bosch+Bosch as well – is that the members of these small art
communities came from non-standard circles of the young generations of artists: Crtež / Drawing, 1968. (?)
233
they were not attending art academies, which can today be taken, paradoxically, as
an easier way for them to break off the ties with the legacy of the conventional
school-provided artistic education. However, all of them possessed an awareness,
or at least a vague feeling that the changes taking place were bearing far-reaching
impacts – in the domains of culture, art, and above all behavioural attitudes and all-
embracing view of the world demonstrated by young generations that were matur-
ing during, or shortly following, the 1968 youth revolt. It is within that overall
framework that we should perceive the totality of the complex phenomenon of
young people’s Counterculture at the turn of the 1960’s to 1970’s; someplace deep-
er inside we shall find the penomenon of the then current new art, and the Subotica
group was one of its exponents in the early stage of their activity. Gradually, as its
members were maturing as personalities and becoming familiar with the pioneering
breakthroughs of the New Art on international scale, their individual positions were
gaining profiles that surpassed the threshold of the originally alternative and count-
er-cultural youth tide, growing – ideologically and in terms of MO – into com-
pletely conscious and ripe demands of the New Art of the Seventies.
Speaking about the Bosch+Bosch Group, the process of maturing was taking
place rather rapidly in the period between their early appearance in public at the
Foyer of the Popular Theatre in Subotica soon after they had established them-
selves (1969) and their first shows outside of Subotica, at the Youth Forum (Tribina
Mladih) in Novi Sad (1970) and the exhibition Young Artists – Young Critics
(Mladi umetnici - mladi kritičari) at the Museum of Contemporary Art in Belgrade
(1972); these shows had preceded those mentioned above, in Zagreb and Belgrade,
in 1973. Over the rather short lapse of time, the Bosch+Bosch group and some of
its members defined their basic positions, and they implied application – with
greater or lesser shifts towards specific original solutions – of those modi operandi
of the New Art of the Seventies which were enlisted in Balint Szombathy’s afore-
mentioned survey of the output of the Subotica group: “Owing to the polyphonic,
multiple use of the media, the members of the group tangentially dealt – for longer
or shorter whiles - with the issues of spatial intervention, Land Art, Arte Povera,
Project Art, concrete poetry, conceptual art, visual semiology, new comic strip,
Mail Art etc.” And in the opinion of the members of the group, the unifying prem-
ise for all of those proceedings was identified in a thesis launched by Jan
Mukařovsky and cited by Szombathy, to be taken over and often quoted by the
later interpreters of the group’s commitment: “Art is not an enclosed sphere. There
is no strictly determined demarcation line to separate art from what is external to it.”
The difference between an object of art as a finite work and an act of art as
work in process – i.e. the crucial status difference between an artistic procedure
and the result of that very procedure – is the basic subject of Matković’s reflexion
on the nature of art in the time when he definitely opted for the New Art Practice
of the Seventies. The work as a material product, but also the act as a non-material
process, and additionally a photographic document on the work and process carried
out - those are equally consequences of conscious decisions and of operative inter-
ventions by someone who considers and labels himself an artist. In order to raise
and emphasize his awareness of himself as an artist to an utmost degree, Matković
ventured to put into practice the following scenario: in November 1974, he payed
for an ad to be published in the German daily newspaper Hartzburger Zeitung
which read: Ich bin Künstler. Slavko Matković (“I am an artist. Slavko Matković”);
thereby, a declaratory statement on the artist’s self-awareness, spotlighted in a mass
media, acquired legitimate prerogatives of a work of art, following the principle of
the artist’s freedom to declare any of his acts and stances undertaken in the name of
art – to be art.
The issue of authorship in the New Art, ranging from (over)emphasizing to full
repression of the artist’s ego – that was the basic subject of Matković’s reflexions
as an artist. Thus, on the opposite pole from his pronouncedly egocentric statement
“I am an artist” there is withdrawal and annihilation of the artist’s subjectivity in
the project Imprinting of a Surface (Obeležavanje površine, carried out within the
4th April Encounters at the Students’ Cultural Centre in Belgrade, 1974): on that
occasion, Matković appealed on a number of foreign and Yugoslav artists
(including Marina Abramović, Joseph Beuys, Francesco Clemente, Radomir
Damnjan, Braca Dimitrijević, Luigi Ontani, Neša Paripović, Ilija Šoškić, Raša
Todosijević, Gergelj Urkom) to complement and finalize his initial authorial idea
by way of putting their peculiar personal sign onto pretextual paper sheets of A4
size. However, it was not only the said distinguished artists, but also anonymous
passers-by that were given an opportunity to act as co-authors and finalizers of the
artist’s idea in some of Matković’s interventions, as was the case with his action
Work of Art De-Authored (Deautorizacija umetnickog dela) which was first carried
out on the streets of Rijeka during the Biennial Exhibition of Young Artists in 1981
and later repeated on the streets of Subotica (1987).
The advance of the altered spiritual and artistic climate in early 1980’s, general-
ly labelled as Post-Modern, found Matković as a lonely, withdrawn, perhaps deeply
disillusioned artist; this had resulted from his failure to carry out the aspiration to
the possiblility of change in the overall human existence – and that used to be an
over-idealistic belief of some (like himself) of the pioneers of the New Art of the
Seventies. Expectedly enough, when doubt prevails as to the overthrowing power
of art in its public and social environment, one seeks and can find refuge in paint-
ing activities and painting art as an intimate procedure and as a pronouncedly indi-
vidual discipline of creative work. That is what happened with Matković, too.
Between 1984 and 1989, under the joint title I Paint This Way (Ja tako slikam), he
produced a series of works of rather small size on wood, cardboard and paper, car-
ried out in colour pencils and oil pastel. Like and following László Kerekes, his
companion from the early days of the Bosch+Bosch Group, Matković – arriving
from the New Art of the Seventies – began (surprisingly, it seems) to paint: in these
235
paintings, he brought to light an utterly subjective and dramatic theme of repre-
sentation. However, this conversion of his did not take place so as to enable him to
‘catch up’ with the currently appreciated postmodernist and trans-avant-garde ‘new
image’ (nuova immagine), but because of an urgent need of his, known to him sole-
ly, for an intimate confession while islolated, depressed, perhaps also feeling the
first signs of the emerging fatal disease that was to torture him both physically and
psychically, and to defeat him in the sad end. Matković’s cycle I Paint This Way
provides evidence for the fact that the painting art in the eighties – especially in the
case of the artists who had experienced the New Art of the Seventies – was by no
means a conservative “return to painting”; actually, it was – using different media
of expression – an organic extension and continuation of that same existential
groundedness and loyalty to the jeopardy of art, which marked the destiny of the
true adherents and descendants of the culture and ideology of historic avant-gardes
where Matković belonged from the beginning by his intellectual and spiritual
development, existential beliefs, innate artistic vocation and activist manner in pub-
lic commitment.
A contemporary and co-working artist who knew him most closely, one of the
members in the early days of the Subotica group, Balint Szombathy, described
Matković as “a parallel interpeter of two cultures – South European and
Hungarian”, considering him to be a carrier and advocate of “the idea of Central
European spirituality”. He was hailing from and living permanently “in the
border(ing) area of Subotica which is situated on the edging territory of Central
Europe and the edging territory of the Balkans, that is – politically speaking – on
the edge-stretch of Central Europe. At the same time, it is a faraway province and a
cosmopolitan place so characteristic of the remnants of heterogenous empires.” (M.
Šuvaković). Thus, through his spiritual formation of a poet, visual and conceptual
artist, it was owing to his background and education that Matković inherited and
intermingled the ‘waterways’ flowing from diverse cultural sources. He thought the
Hungarian Activist artist Lajos Kassák to be his historical antecedent, while his
contemporaries were Yugoslav protagonists of the New Art of the Seventies – from
Ljubljana-based OHOists to the first generation of conceptualists in Zagreb, Novi
Sad and Belgrade. Yet Szombathy claimed him to be “a child of the year 1968, a
poet of pop and rock culture”, and whoever was that, biologically and spiritually,
could by no means avoid living an intensive and torn life that led to ultimate
burnout. He himself claimed that his whole artistic oeuvre actually consisted of
“trivialities that make up the everyday life quickly passing by”; those are but other,
easier and simpler words for the destined identicalness of living and artistic com-
mitment, fully in keeping with the current longing for “an esthetic society”. Today,
however, it is definitely clear that the longing was but a sheer utopia; yet in the
time when it seemed to be an achievable reality, the longing appeared worth invest-
ing every effort, as was demonstrated – unreservedly and through his own “maxi-
malist life-living”, by full devotion and in a thoroughgoing way – by Slavko
Matković.
238
Bálint Szombathy, Slavko Katalog izložbe grupe
Matković, Ješa Denegri, Biljana Bosch+Bosch, Zagreb, 1972.
Tomić, Zaviša and Valerija
Matković, Subotica, 1972. Catalogue for the Bosch+Bosch
exhibition, Zagreb, 1972
239
Braco Dimitrijević, Slavko Slavko Matković, Subotica,
Matković, Bogdanka 1973.
Poznanović, Bálint Szombathy
and László Kerekes, Drugi aprils-
ki susret, (Second April
Encounter), Belgrade, 1973
240
Plakat izložbe Tendencije 5, Naslovna strana drugog broja
Zagreb, 1973. časopisa WOW, 1975.
241
Porodica Matković: sin Zaviša, Plakat i katalog izložbe
supruga Valerija, majka Janja, Vizuelno-poetska istraživanja
sin Damir i Slavko, Subotica, 1971–1978, Zagreb, 1979.
1978.
Poster and catalogue for the
Matković family: son Zaviša, exhibition Visual-poetic research
wife Valerija, mother Janja, son 1971–1978, Zagreb, 1979
Damir and Slavko; Subotica,
1978
242
Ispred svojih stripova na retro- Ištvan Kantor (Monti Kentsin) s
spektivnoj izložbi grupe vlastitom pozlaćenom bistom,
Bosch+Bosch, Zagreb, 1981. Balint Sombati, Simon Grabovac
i Slavko Matković na
In front of his comic strips dur- neoističkom susretu, Sremska
ing the Bosch+Bosch retrospec- Kamenica, 1982.
tive, Zagreb, 1981
István Kántor (Monty Cantsin)
with the gold-plated bust of
his, Bálint Szombathy, Simon
Grabovac and Slavko Matković
during a Neoist encounter,
Sremska Kamenica, 1982
Pozivnica za izložbu
Deautorizacija umetničkog dela,
Rijeka, 1981.
243
Naslovna strana knjige pesama Naslovna strana knjige pesama
Antigraf, Subotica, 1983. Fotobiografija, Novi Sad, 1985.
244
Slavko Matković, Rijeka, 1987. Naslovna strana knjige Selotejp
tekstovi, Novi Sad, 1989.
245
Slavko Matković i Katalin Ladik, Naslovna strana kataloga
Budimpešta, 1990. samostalne izložbe Selotejp tek-
stovi, Novi Sad, 1993.
Slavko Matković and Katalin
Ladik, Budapest, 1990 Title page of the catalogue for
the individual exhibition
Sellotape Texts, Novi Sad, 1993
Autoportret, 1994.
Self-portrait, 1994
Pozivnica komemorativne
izložbe Umetnost kao
umetnikova lična drama –
povodom desetogodišnjice
smrti Slavka Matkovića, Novi
Sad, 2004.
246
Nebojša Milenković
Biografija / Biography
Slavko Matković rođen je u Subotici 15. maja 1948. godine.
Osnivač umetničke grupe Bosch+Bosch i najizrazitiji reprezent strategije umetničkog nomadizma u srpskoj umetnosti druge polovine XX veka. Osnivač i
urednik časopisa Kontaktor 972 pokrenutog 1972. godine, a u saradnji sa Balintom Sombatijem 1974. godine pokrenuo je i internacionalnu reviju za umet-
nost WOW. Bavio se vizuelnom, konkretnom i tipografskom poezijom, intervencijama u prostoru i tekstu, konceptualnom umetnošću, projektima, akcija-
ma, performansom, novim stripom, slikarstvom, autorskim filmom, mail artom... Takođe, bavio se i teorijom umetnošću i književnošću.
Umro je u Subotici 2. novembra 1994. godine.
1971.
Novi Sad, Galerija Tribine mladih, Rad – Work
1973.
Paris, French Window, Distribucija totalne redunance – Jugoslovenska vitrina
Novi Sad, Salon Udruženja primenjenih umetnika i dizajnera Vojvodine, Predlog za jednu izložbu
Milano, Flash art galery, Slavko Matković
1974.
Subotica, Galerija 24000, Stalna postavka
1976.
Struga, Spomen domot na Braća Miladinovci, Vizuelna poezija Slavka Matkovića
1979.
Zagreb, Galerija Studentskog centra, Vizuelna istraživanja 1971–1978
Budapest, Fiatal Művészek Klubja, Vizuelna istraživanja Slavka Matkovića
1981.
Rijeka, Moderna galerija, Deautorizacija umetničkog dela
1983.
Rijeka, Moderna galerija, Vojvođanski art bend – Kvarnerska flaširana pošta (sa B. Sombatijem)
1985.
Subotica, Izložbena sala Gradske biblioteke, Izložba mail art dokumentacije
Bačka Topola, Izložba Slavka Matkovića povodom dodele nagrade Nagyapáti Kukac Péter
1987.
Osijek, Studentski kulturni centar, Izložba vizuelne poezije
Subotica, Izložbena sala Gradske biblioteke, Deautorizacija umetničkog dela
1989.
Subotica, Likovni susret, Ich bin Künstler Slavko Matković
Beograd, Salon Muzeja savremene umetnosti, Ich bin Künstler Slavko Matković
Zrenjanin, Savremena galerija, Ich bin Künstler Slavko Matković
Novi Sad, Galerija savremene umetnosti, Ich bin Künstler Slavko Matković
Maribor, Razstavni salon Rotovž, Ich bin Künstler Slavko Matković
Zagreb, Galerija studentskog centra, Ich bin Künstler Slavko Matković
Rijeka, Moderna galerija, Ich bin Künstler Slavko Matković
247
1990.
Subotica, Gradska biblioteka, Selotejp tekstovi i vizuelni roman
1991.
Senta, Umetnička kolonija, Vatra jede reč
1992.
Subotica, Kamerna galerija redakcije 7 Nap, Selotejp tekstovi
1993.
Novi Sad, Galerija Most, Selotejp tekstovi
1996.
Subotica, Gradska biblioteka, Projekti i akcije Slavka Matkovića – dokumenti (omaž prijatelja)
2004.
Novi Sad, Likovni salon Kulturnog centra, Komemorativna izložba povodom desetogodišnjice smrti (projekcija video zapisa performansa Poezija)
1966.
Subotica, Foaje Narodnog pozorišta, II zimska izložba Tribine mladih
1968.
Subotica, Pozorišni klub, Crteži
Subotica, Foaje Narodnog pozorišta, IV izložba Tribine mladih
Čurgo, Dom kulture, Izložba umetničke kolonije Čurgo
Hajdukovo, Dom kulture, Izložba umetničke kolonije Čurgo
1969.
Subotica, Likovni susret, Likovno stvaralaštvo mladih subotičkih stvaralaca
Subotica, Foaje Narodnog pozorišta, VI likovna izložba Tribine mladih
Subotica, Likovni susret, Likovno stvaralaštvo Subotica 69.
1970.
Novi Sad, Klub NIP Forum, Izložba grupe Bosch+Bosch
Subotica, Dom kulture, Izložba grupe Bosch+Bosch
Novi Sad, Salon Tribine mladih, Izložba grupe Bosch+Bosch
Senta, Paviljon Eugen, Izložba grupe Bosch+Bosch
Subotica, Gradski muzej, Likovno stvaralaštvo Subotica 1945–1970.
1971.
Senta, Paviljnon Eugen, Bosch+Bosch
Beograd, Atelje 212, Internacionalna izložba vizuelne poezije
Novi Sad, Salon Tribine mladih, Izložba časopisa Képes Ifjúság
1972.
Novi Sad, Salon UPIDIV, Prodori – Bosch+Bosch
Balatonboglár (Mađarska), Kápolnatárlat, Bosch+Bosch
Subotica, Likovni susret, Izložba grupe Bosch+Bosch
Zagreb, Galerija studentskog centra, Izložba grupe Bosch+Bosch
Beograd, Muzej savremene umetnosti, Mladi 72 – mladi kritičari i mladi umetnici ´72
Beograd, Studentski kulturni centar, 1. aprilski susret
1973.
Zagreb, Galerija suvremene umjetnosti, Rasponi 73
Zagreb, Galerija suvremene umjetnosti, Tendencije 5
Beograd, Muzej savremene umjetnosti, Dokumenti o postobjektnim pojavama u jugoslovenskoj umetnosti 1968–1973.
Zagreb, Galerija suvremene umjetnosti, The rational and irrational in visual research today match of ideas
Balatonboglár, Texts (Internacionalna izložba vizuelne poezije)
Zagreb, Galerija Studentskog centra, Još jedna prilika da budete umetnik
Pécs (Mađarska), Gallery Pécsi Műhely, Bosch+Bosch
248
Zagreb, Galerija Studentskog centra, Xerox
Beograd, Atelje 212, Likovni BITEF 7, Bosch+Bosch – projekat Deautorizacije
Helsinki, Huvilakatu gallery, Post conceptual show
Beograd, Galerija Studentskog kulturnog centra, Informacije ´73
Gratz, Student haus, Was ist kunst?
Reykjavik, Sum-Gallery, Was ist kunst?
Omaha (USA), Joslyn Art Museum, Was ist kunst?
1974.
Beograd, Studentski kulturni centar, 3. aprilski susret
Novi Sad, Galerija Tribine mladih, Neuroart, Pesmos, Kontaktor 972
Zagreb, Galerija suvremene umjetnosti, Signalizam
Novi Sad, Atelier DT 20, The Book – Izložba eksperimentalnih knjiga YU autora
Stockholm, Post conceptual show
Budapest, Műszaki Egyetem, Vojvođanska avangarda
Subotica, Gradski muzej, Szabadkai képzőművészek – Likovni umetnici Subotice
1975.
Wien, Akademie der bildenden Künste, Aspekte Gegewärtige Kunst aus Jugoslawien
Beograd, Galerija Studentskog kulturnog centra, Bosch+Bosch
Beograd, Salon Muzeja savremene umetnosti, Signalizam
1976.
Zagreb, Galerija suvremene umjetnosti, NF 2 – Fotografija kao umjetnost
Beograd, Salon Muzeja savremene umetnosti, Fotografija kao umetnost
Novi Sad, Likovni salon Tribine mladih, Projects Bosch+Bosch
Maribor, Razstavni salon Rotovž, NF 2 – Fotografija kao umjetnost
Stuttgart, Galerie Umwelt, Experiment-Bücher
Subotica, Gradski muzej, Oktobarski susret
1977.
Milano, Lotta poetica 1971–1975
1978.
Zagreb, Galerija suvremene umjetnosti, Nova umjetnička praksa 1966–1978
Kranj, Galerija v Prešernovi hiši, Bosch+Bosch
Rijeka, Mali salon, Westeast Avant-Garden-party
1979.
Banja Luka, Izložbeni salon Doma kulture, Prisustvo fotografije u savremenoj umjetnosti
Beograd, Galerija Studentskog kulturnog centra, Sekvence
Zagreb, Muzički salon i Centar za multimedijalna istraživanja Studentskog centra, Sekvence
1980.
Milano, Palazzo Reale, Camere incantate – Espansione dell´ Immagine – video, cinema, fotografia e arte negli anni `70
Beograd, Salon Muzeja savremene umetnosti, Bosch+Bosch 1969–1976
Waga Waga (Australija), Waga Waga-Riverina college, Mislaid Information
Forte dei Marmi (Italija), The First International Mail Art Badge Show
Budapest, Artpool Archive, Post Art Work
1981.
Rijeka, Moderna galerija, 11. bijenale mladih
Zagreb, Galerija Nova, Bosch+Bosch 1969–1976
Zagreb, Galerija Nova, Mail love art
Sisak, Mail love art
Castel San Giorgio (Italija), Mail art exibition – Fantastic art
Salerno (Italija), Salone Palazzo S. Massimo, Oggi larte e un carecere
Beograd, Biblioteka grada Beograda, Knjiga kao ideja
Fukuoka (Japan), Fukuoka Cultural Center, The World message now
Ispica (Italija), Pinacoteca Comunale di Palazzo Bruno, International mail art exibition Messages 81
Frankfurt, Frankfurter Kunstverein, International Book Fair
Beograd, Srećna galerija SKC, Marke umetnika
Barselona, Centre de dokumentacion d’art actual, Artist Books-Libres d’artista
1982.
Beograd, Muzej savremene umetnosti, Verbo-Voko-Vizuel,Verbo-Voko-Vizuelno u Jugoslaviji od 1950–1980
Budapest, Fészek Galéria, World art post
249
Skopje, Muzej na sovremenata umetnost, Verbo-Voko-Vizuel,Verbo-Voko-Vizuelno u Jugoslaviji od 1950–1980
Maribor, Razstavni salon Rotovž, Verbo-Voko-Vizuel,Verbo-Voko-Vizuelno u Jugoslaviji od 1950–1980
Sarajevo, Umjetnička galerija BIH, Verbo-Voko-Vizuel,Verbo-Voko-Vizuelno u Jugoslaviji od 1950-1980
Beograd, Galerija Studentskog kulturnog centra, Deliti-Delati-Delo, Westeast
Odžaci, Galerija Doma omladine, Deliti-Delati-Delo, Westeast
Kranj, Gorenjski muzej, Studio Signom, Bosch+Bosch
Istanbul, Sergisi D.T.G.S.Y.O. Kultur etkinlikler, Mail art exibition
Milano, Teatro CTH, L’insistenza del Segno
Kanjiža, 30. književna kolonija, Izložba vizuelne i konkretne poezije
1983.
Beograd, Muzej savremene umetnosti, Nova umetnost u Srbiji 1970–1980, pojedinci, grupe, pojave
Zagreb, Galerija suvremene umjetnosti, Nova umetnost u Srbiji 1970–1980, pojedinci, grupe, pojave
Rijeka, Moderna galerija, 12. bijenale mladih
Santiago de Compostela (Španija), Mail art
Odžaci, Mail art projekt Dovrši marku
Trstenik, Likovni salon Doma kulture, Deliti-Delati-Delo, Westeast
Novi Sad, Poslovni i sportski centar Vojvodina, Sudbina fotografije u likovnoj umetnosti Vojvodine
Priština, Galerija umetnosti Priština, Nova umetnost u Srbiji 1970–1980, pojedinci, grupe, pojave
Subotica, Gradska biblioteka, Vojvođanska vizuelna poezija
Guenca (Španija), Muestra internacional de poesia en Castilla-La Mancha
Odžaci, Dom omladine, Mail art projekat 16. avgust
Senta, Izložbena dvorana grada Sente, Izložba umetničke kolonije Senta
1984.
Beograd, Galerija Doma omladine, Vokovizuel
Novi Sad, Galerija Forma, Mail art olimpijada
Zagreb, HDLU – prostor PM, Svetska porodica umetnika
Odžaci, Dom omladine, Jugoslovenski umetnički pečat – jugoslovenska umetnost pečatom
Ciudad de Mexico, Los moviemientos de vanguardia en Yugoslavia
Subotica, Likovni susret, Likovno stvaralaštvo Subotica 1944–1984
Odžaci, Sala M.Z, Jugoslovenska umetnost telegramom – Yu telegram art
1985.
Ispica (Italija), Pace e libertá dei popoli
Nishinomiya (Japan), Anart space, Art in the Bed
Sarajevo, Muzej XIV olimpijskih igara, Mail art olimpijada
Novi Sad, Bada Dada galerija, Art in the Bed
Subotica, Izložbena sala Gradske biblioteke, Mail art dokumentacija Jaroslava Supeka
Subotica, Izložbena sala Gradske biblioteke, Mail art dokumentacija Bálinta Szombathya
Subotica, Izložbena sala Gradske biblioteke, Mail art dokumentacija Dobrice Kamperelića
Subotica, Izložbena sala Gradske biblioteke, Mail art dokumentacija Andreja Tišme
1986.
Subotica, Likovni susret, Nova umetnost 70-ih: Doslednost i kontinuitet, Situacija u Vojvodini
Zrenjanin, Savremena galerija, Privatni život
Subotica, Likovni susret, Susreti ’86
1987.
Subotica, Izložbena sala Gradske biblioteke, Izbeglice
Odžaci, Dom omladine, Music In Visual Art
Subotica, Izložbena sala Gradske biblioteke, Izložba unikatne i autorske knjige
Kovačica, Galerija naivnog stvaralaštva, Umetničke poštanske marke jugoslovenskih mail art umetnika
1988.
Sao Paulo, I Mostra Internacional de Poesia Visual de Sao Paulo / I International Exhibition of Visual Poetry
Subotica, Likovni susret, Likovni susret Subotica 1962–1987.
1990.
Marsej, 15. Polifonix festival, Poezija (performans)
Nové Zámky, 3. Medzinárodny festival alternativneho umenia, Poezija (performans)
1991.
Nové Zámky (Slovačka), The 4th International Alternative Art Festival of Studio erté
Novi Sad, Galerija Most, U čast poslednjem pesniku (kao saučesnik u performansu Balinta Sombatija)
250
1992.
Novi Sad, Katolička porta, Dada-Symposion (Apologija jednog susreta Slavko Matković – Milica Mrđa Kuzmanov)
Visegrád (Mađarska), Salamon Torony, Dunav
Budapest, Budapest Art Expo
Subotica, Likovni susret – Hotel Patrija, Stvaraoci za mir i pomoć ugroženoj deci (aukcija)
Budapest, Dokuplast Bemutatóterme, Kontaktus
Nové Zámky, Transart communication – 5th International festival of alternative arts
1993.
Vichte (Belgija), Cultural center gallery, Serbian artists in the cage
Senta, Dom kulture, Művelődési Ház – Lica koja nestaju
Vác (Mađarska), Expanzió 5, U čast poslednjem pesniku (kao saučesnik u performansu Balinta Sombatija)
1994.
Beograd, Studentski kulturni centar, Izložba dokumentacije časopisa Cage
Dallas, Modern Realism Gallery, Art above the embargo
Tokyo, Metropolitan Art Museum, Embargo art from Serbia island
1995.
Subotica, Likovni susret, 60 godina domaćeg stripa u Srbiji 1935–1995
Odžaci, Centar kulture, Umetničke embargo marke
1996.
Beograd, Umetnički paviljon Cvijeta Zuzorić, Primeri apstraktne umetnosti – jedna radikalna istorija
1997.
Priboj, Galerija Spirala, In Memory of Alan Ford
1998.
Vršac, Centar za savremenu kulturu Konkordija, Prestupničke forme devedesetih – Postmoderna i avangarda na kraju XX veka
Novi Sad, Muzej savremene likovne umetnosti, Prestupničke forme devedesetih – Postmoderna i avangarda na kraju XX veka
Beograd, Narodni univerzitet Božidar Adžija, Omaž Franci Zagoričniku (1933–1997)
2001.
Novi Sad, Muzej savremene likovne umetnosti, Likovna umetnost u Vojvodini 1950–2000, izbor dela iz zbirki Muzeja
2002.
Novi Sad, Muzej savremene likovne umetnosti, Treći jugoslovenski bijenale pejzaža Pejzaž 2002, Projekat izmenjenog pejzaža
Novi Sad, Muzej savremene likovne umetnosti, Centralnoevropski aspekti vojvođanskih avangardi 1920–2000, granični fenomeni, fenomeni granica
Beograd, Salon Muzeja savremene umetnosti, Centralnoevropski aspekti vojvođanskih avangardi 1920–2000, granični fenomeni, fenomeni granica
2003.
Novi Sad, Muzej savremene likovne umetnosti, Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej XXI veka
2004.
Niš, Galerija savremene likovne umetnosti, Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej XXI veka
Sarajevo, Umjetnička galerija Bosne i Hercegovine, Antiteza – Umetnost u Vojvodini na kraju XX i početkom XXI veka
1971.
Vizuelna poezija u slobodnom prostoru, akcija, okolina Subotice, maj
Intervencija u slobodnom prostoru – krug prečnika 6 m, akcija, atar sela Čurgo, maj
Projekat Ludoško jezero, Ludoško jezero, okolina Subotice, maj
Fuzija vodene mase Ludoškog jezera sa 1/2 litre jogurta, akcija, južna obala jezera, jun–jul
Mobilna skulptura – Intervencija u prostoru (u realizaciji učestvovali članovi grupe Bosch+Bosch), okolina Subotice, jun
Intervencije u slobodnom prostoru, akcija (uz učešće Balinta Sombatija i Lasla Salme), Ludoško jezero – jugozapadna strana jezera, okolina Subotice, jul
Prodor materije kroz materiju – probijanje džempera kapsulom spreja, Subotica
Korozija eksera, projekat, Subotica, 1–30. mart
Klijanje rotkvica, projekat, Subotica, april–maj
Intervencija u slobodnom prostoru, akcija, okolina Subotice, jun–jul
Vizuelna poezija u prostoru, projekat, Subotica, avgust
251
1972.
Valja 1 – Valja 2, projekat, Beograd, I aprilski susret, park iza zgrade Studentskog kulturnog centra, Beograd, 5. april
Prebrojavanje posetilaca u izložbenoj dvorani pomoću strana sveta, projekat, I aprilski susret, Galerija Studentskog kulturnog centra, Beograd, 5. april
Protok mirisa kroz vazdušnu kubaturu izložbene dvorane, projekat, I aprilski susret, Galerija Studentskog kulturnog centra, Beograd, 6. april
Percipirani – registrovani su čulom vida dan-svetlo i noć-tama, akcija, Subotica, 23. avgust
Identifikacija – My name is Slavko Matković, fotoperformans, Subotica
1973.
Bio sam u Ljubljani – bio sam u Zagrebu, akcija, Ljubljana – Zagreb, 27. jul
Obeležavanje površine, projekat, 1973–1976.
Deautorizacije, ulična akcija u okviru izložbe Informacije ’73, Beograd, april
Potrošačka euforija i ekološka zagađenost prirodne sredine, video projekat u okviru manifestacije Trigon 73
Prikazivanje gradova, akcija (uz pomoć saradnika), gradovi sveta
Alternativa – alter – ego, akcija (uz pomoć saradnika), gradovi sveta
Jugoslovenska vitrina, projekat, Subotica – Pariz (uz pomoć Ide Biard i Gorana Trbuljaka)
1974.
Distribucija totalne redunance, projekat, Pariz–Subotica
Prodor, akcija, III aprilski susret, ulaz u Studentski kulturni centar, Beograd, april
Uključivanje posetilaca u projekat Ja sam umetnik, III aprilski susret, Studentski kulturni centar, Beograd, 18. april
Pepeo, vatra, cigaret papir, akcija (iz serije Prodori), Subotica
1975.
Obeležavanje površine kruga, performans, Studentski kulturni centar, Beograd, 22. januar
1977.
Paralelne ideje Kosuth – Cavellini, akcija, 1973–1977.
1979.
Ruka, akcija iz serije Preobraženja, Budimpešta
Body projekat “Slavko Matković” (Pravim umetnost, Razmišljam o umetnosti, Posmatram umetničko delo, Razgovaram o umetnosti), delimično realizo-
vano, 1979–1989.
1980.
Saga, projekat povodom stogodišnjice rođenja članova grupe Bosch+Bosch
1981.
Lice, telesna akcija, Budimpešta
Deautorizacija umetničkog dela, akcija (sa Balintom Sombatijem), Rijeka
Atentat na tradicionalističku umetnost, projekat (nerealizovano), Sarajevo
Puštanje sopstvenog mozga niz Miljacku, projekat (sa Robertom Tilijem), Sarajevo, maj
1982.
Lice, telesna akcija, Sremska Kamenica, jun
Noćno nebo, neoistički projekat, Subotica, 9. mart od 01.05h do 01.20h
1983.
Individualne topografije gradova sveta, akcija (saradnik Balint Sombati), 12. bijenale mladih, Rijeka, 25. jun
Kvarnerska flaširana pošta, projekat (sa Balintom Sombatijem), 12. bijenale mladih, Rijeka, 26. jun
1984.
Ja tako slikam, projekat, 1984–1989.
1985.
Zamena izgleda: Slavko Matković – Japan & Shozo Shimamoto – Jugoslavija, telesna akcija, Sremska Kamenica
1987.
Deautorizacija umetničkog dela, akcija (saradnik Balint Sombati), Subotica
U slavu poslednjeg pesnika, performans (kao saučesnik; autor: Balint Sombati), Festival multimedijalne umetnosti, Nové Zámky
Palićka flaširana pošta, akcija, Palićko jezero
1988.
Čitam o umetnosti, akcija, 1988–1989.
1989.
Lice, selotejp performans, Galerija Most, Novi Sad
252
1990.
Poezija, performans, 15. polifonix festival, Marselj, Francuska
Poezija, performans, 3. International Festival of Alternative Art, Nové Zámky, Slovačka, 30. jul
1991.
U čast poslednjem pesniku, performans (kao saučesnik; autor: Balint Sombati), 4. International Festival of Alternative Art, Kino Mier, Nové Zámky (Slovačka)
Akcija za mir u Jugoslaviji, 4. International Festival of Alternative Art, Kino Mier, Nové Zámky (Slovačka)
U čast poslednjem pesniku, performans (kao saučesnik; autor: Balint Sombati), Galerija Most, Novi Sad
Vatra jede reč, akcija, Umetnička kolonija, Senta
Vatra jede reč, video projekat (snimatelj Andraš Otoš, montaža Čaba Erlauer), Umetnička kolonija, Senta
1992.
Stvaraoci za mir, akcija, 15. januar – 15. februar
Video portret Slavka Matkovića, projekat (nerealizovano)
Apologija jednog susreta Slavko Matković – Milica Mrđa Kuzmanov, plato ispred Tribine mladih, Novi Sad, 12. decembar
1993.
U čast poslednjem pesniku, performans (kao saučesnik; autor: Balint Sombati), Expanzió 5, Vác (Mađarska)
Granice senki – granice vremena, akcija, Umetnička kolonija, Senta, 17. jul
24 sata subotičkog buvljaka, sinopsis za video dokumentarni film
Filmovi umetnika
Belo plus, 8 mm, c/b, 7 min, 1971.
Linija duga 5 minuta, 8 mm, c/b, 5 min, 1972.
Remećenje toka sunčeve svetlosti, 8 mm, 1972.
Film o grupi Bosch+Bosch, 3 min, 1972.
Putovanje autobusom dan i noć, 8 mm, c/b, 5 min, 1972.
253
Art Actions and Projects
1970
Snapping the Clouds (Snimanje oblaka), project, Subotica, May - October
1971
Visual Poetry in Spatial Setting (Vizuelna poezija u slobodnom prostoru), action, environs of Subotica, May
An Intervention in the Open Space – A 6-m-diameter Circle (Intervencija u slobodnom prostoru – krug prečnika 6 m), action, territory of the village of
Csurgó, May
Lake Ludas Project (Projekat Ludoško jezero), Lake Ludas, environs of Subotica, May
The Fusion of Lake Ludas Water Mass with 1/2 Liter of Yogurth (Fuzija vodene mase Ludoškog jezera sa 1/2 litre jogurta), action, southern waterfront of
the lake, June–July
Mobile Sculpture – An Intervention in the Open Space (Mobilna skulptura – Intervencija u prostoru), (carried out with the participation of members of the
Bosch+Bosch group), environs of Subotica, June
Interventions in the Open Space (Intervencije u slobodnom prostoru), action (co-participated by Bálint Szombathy and László Szalma), Lake Ludas –
southwestern waterfront of the lake, environs of Subotica, July
One Substance Breaking Through Another – A Spray Can Breaking through the Sweater (Prodor materije kroz materiju – probijanje džempera kapsulom
spreja), Subotica
Corroding Nails (Korozija eksera), project, Subotica, March 1-30
Red Radish Sprouting (Klijanje rotkvica), project, Subotica, April–May
Interventions in the Open Space (Intervencije u slobodnom prostoru), action, environs of Subotica, June–July
Visual Poetry in Spatial Setting (Vizuelna poezija u prostoru), project, Subotica, August
1972
Valja 1 – Valja 2, project, Belgrade, First April Encounter, park at the back of Student Cultural Center Bldg, Belgrade, April 5
A Count of Visitors in the Exhibition Room Using Compass Directions (Prebrojavanje posetilaca u izložbenoj dvorani pomoću strana sveta), project, First
April Encounter, Galerija Student Cultural Center, Belgrade, April 5
The Flow of Scent through the Air Cubature of the Exhibition Room (Protok mirisa kroz vazdušnu kubaturu izložbene dvorane), project, First April
Encounter, Gallery of the Student Cultural Center, Belgrade, April 6
Day/Light and Night/Dark Have Been Perceived by the Sense of Sight (Percipirani - registrovani su čulom vida dan-svetlo i noć-tama), action, Subotica,
August 23
Identification - (Identifikacija) My name is Slavko Matković, photo-performance, Subotica
1973
I Was in Ljubljana – I Was in Zagreb (Bio sam u Ljubljani – bio sam u Zagrebu), action, Ljubljana–Zagreb, July 27
Imprinting of a Surface (Obeležavanje površine), project, 1973–1976.
De-Authorizations (Deautorizacije), street action within the exhibition Informacije ’73, Belgrade, April
Consumers’ Euphoria and Eco-Pollution of Natural Environment (Potrošačka euforija i ekološka zagađenost prirodne sredine), video project within the
event Trigon 73
Showing Cities (Prikazivanje gradova), action (with assistance on locations), cities worldwide
Alternative – Alter – Ego (Alternativa – alter – ego), action (with assistance on locations), cities worldwide
Yugoslav Vitrine (Jugoslovenska vitrina), project, Subotica–Paris (with assistance of Ida Biard and Goran Trbuljak)
1974
Distribution of the Total Redundance (Distribucija totalne redunance), project, Paris–Subotica
Breakthroughs (Prodori/Proboji), action, Third April Encounter, entrance of the Student Cultural Center, Belgrade, April
Involvement of Visitors in the Project “I Am an Artist” (Uključivanje posetilaca u projekat Ja sam umetnik), Third April Encounter, Student Cultural
Center, Belgrade, April 18
Ash, Fire, Cigarette-Paper (Pepeo, vatra, cigaret papir), action (Breakthroughs series), Subotica
1975
Marking the Surface of a Circle (Obeležavanje površine kruga), performance, Student Cultural Center, Belgrade, January 22
1977
Kosuth – Cavellini Parallel Ideas (Paralelne ideje Kosuth – Cavellini), action, 1973-1977.
1979
Ruka/Hand, action within Transfiguration series (Preobraženja), Budapest
Body Project “Slavko Matković”: I Make Art, I Contemplate Art, I Scrutinize an Artwork, I Discuss Art (Body projekat “Slavko Matković”: Pravim umet-
nost, Razmišljam o umetnosti, Posmatram umetničko delo, Razgovaram o umetnosti), executed partially, 1979-1989
1980
Saga, project on the occasion of the centenary of birth of the Bosch+Bosch membership
1981
Face (Lice), body action, Budapest
254
An Artwork De-Authored (Deauthorizacija umetničkog dela), action (with Bálint Szombathy), Rijeka
An Assassination of Traditionalist Art (Atentat na tradicionalističku umetnost), project (unexecuted), Sarajevo
Launching One’s Own Brain down the Miljacka River (Puštanje sopstvenog mozga niz Miljacku), project (with Robert Tilly), Sarajevo, May
1982
Face (Lice), body action, Sremska Kamenica, June
Nocturnal Sky (Noćno nebo), Neoist project, Subotica, March 9, from 01:05 a.m. to 01:20 a.m.
1983
Individual Topographies of World Cities (Individualne topografije gradova sveta), action (assisted by Bálint Szombathy), 12th Biennial of Young Artists,
Rijeka, June 25
Kvarner Bay Bottled Mail (Kvarnerska flaširana pošta), project (with Bálint Szombathy), 12th Biennial of Young Artists, Rijeka, June 26
1984
I Paint This Way (Ja tako slikam), project, 1984–1989.
1985
Exchange of Appearance (Zamena izgleda): Slavko Matković – Japan & Shozo Shimamoto – Jugoslavija, body action, Sremska Kamenica
1987
An Artwork De-Authored (Deautorizacija umetničkog dela), action (assisted by Bálint Szombathy), Subotica
In Honour of the Last Poet (U slavu poslednjeg pesnika), performance (as co-performer; author: Bálint Szombathy), Festival of Multimedial Art, Nové
Zámky, Slovakia
Battled Mail at Lake Palić, action, Lake Palić
1988
I Read about Art (Čitam o umetnosti), action, 1988-1989.
1989
Face (Lice), Sellotape performance, Gallery “Most”, Novi Sad
1990
Poetry (Poezija), performance, 15th Polifonix festival, Marseille, France
Poetry (Poezija), performance, 3rd International Festival of Alternative Art, Nové Zámky, Slovakia, July 30
1991
In Honour of the Last Poet (U čast poslednjem pesniku), performance (as co-performer; author: Bálint Szombathy), 4th International Festival of
Alternative Art, Kino Mier, Nové Zámky (Slovakia)
Action for Peace in Yugoslavia (Akcija za mir u Jugoslaviji), 4th International Festival of Alternative Art, Kino Mier, Nové Zámky (Slovakia)
In Honour of the Last Poet (U čast poslednjem pesniku), performance (as co-performer; author: Bálint Szombathy), Gallery “Most”, Novi Sad
Fire Eating the Word (Vatra jede reč), action, Art Colony, Senta
Fire Eating the Word (Vatra jede reč), video project, (cameraman András Ótos, edited by Csaba Erlauer), Art Colony, Senta
1992
Artists for Peace (Stvaraoci za mir), action, January 15–February 15
The Video Portrait of Slavko Matković (Video portret Slavka Matkovića), project (unexecuted)
An Apology of the Encounter (Apologija jednog susreta) Slavko Matković – Milica Mrđa Kuzmanov, plateau in front of the Youth Forum Bldg, Novi Sad,
December 12
1993
In Honour of the Last Poet (U čast poslednjem pesniku), performance (as co-performer; author: Bálint Szombathy), Expanzió 5, Vác (Hungary)
Borders of Shadows – Borders of Time (Granice senki – granice vremena), action, Art Colony, Senta, July 17
24 Hours of Subotica’s Flea Market (24 sata subotičkog buvljaka), synopsis for a video documentary film
Artists’ films
White Plus (Belo plus), 8 mm, b/k, 7 min, 1971
The Line 5 Minutes Long (Linija duga 5 minuta), 8 mm, b/k, 5 min, 1972
Interfering with the Direction of Sunlight (Remećenje toka sunčeve svetlosti), 8 mm, 1972
A film on the Bosch+Bosch group, 3 min, 1972
Day and Night on the Bus (Putovanje autobusom dan i noć), 8 mm, b/k, 5 min, 1972
256
Olga Kovačev Ninkov
Nebojša Milenković
Autorski tekstovi, intervjui i vizuelni radovi Slavka Matkovića / Authored writings, interwiews and visual pieces by
Slavko Matković
1970.
Vizuelna istraživanja / Visual Research, Signal, Beograd, br. 1, str. 42.
Az első és a második ifjú barátsága (esszé – esej), prevod Bognár Antal, 4, 7 Nap, Subotica, 4. septembar, str. 10.
Proglas / Psoevs – Közlemény / Psoevs, Kompjuterska obrada teksta, prevod Bálint Szombathy, Grupa Bosch + Bosch, katalog, Likovni salon Tribine
mladih, Novi Sad, 2–12. decembar.
1971.
Vizuelna istraživanja / Visual Research, Signal (separat časopisa Úy Symposion), Novi Sad, br. 4–5.
Cvet saznanja (poezija), Polja, 17, 152, Novi Sad, oktobar, str. 10–11.
5112 A (knjiga vizuelnih istraživanja – sa Lászlóm Szalmom), samostalno izdanje, Subotica, novembar.
Novi putevi vizuelne poezije, Problemi, Ljubljana.
1972.
Poezija u slobodnom prostoru, My Name is Beatle, u: Rad/Work (katalog), Tribina mladih, Novi Sad, januar.
Novi putevi vizuelne poezije, Bilten I aprilskog susreta, Studentski kulturni centar, Beograd, br. 2, 5. april.
Cvet saznanja (poezija), Rukovet, XVIII, Subotica, br. 5–6, str. 25–251.
Rime u oblicima. Vizuelna poezija nije ni slikarstvo u rečima ni poezija u slikama, (članak), Sada, III, 5, Subotica, decembar, str. 22–23.
1973.
Konceptualna umetnost (članak), Sada, IV, 1–2, Subotica, januar–februar, str. 24–25.
Rukovet bibliografija 1972, Rukovet, XIX, 1–2, Subotica, str. 133–143.
Grupa Bosch+Bosch – Subotica, Novi strip 72, Novine, Galerija Studentskog centra, Zagreb, br. 9/10, ožujak, str.168.
Strip kao pitanje (istraživanje), (sadrži: Strip kao konstrukcija, Novi strip kao nova konstrukcija), Rukovet, XIX, 3–4, Subotica, str. 248–251.
My Name is Slavko Matković, u: Rasponi 73, katalog, Galerija suvremene umjetnosti, Zagreb, travanj.
Strip kao pitanje, Novine, Galerija Studentskog centra, Zagreb, travanj, str. 174.
Tiskanica, Kontaktor, Printed matter, Novine, Galerija Studentskog centra, Zagreb, svibanj, str. 4.
Conceptual art, u: T-5, The Rational and Irrational in Visual Research Today Match of Ideas, Galerija suvremene umjetnosti, Zagreb, 2. jun.
Bosch+Bosch: WOW, Novine, Galerija Studentskog centra, Zagreb, rujan–listopad, str. 4.
Cvetovi saznanja (poezija), (sadrži: Umesto predgovora, Posvećeno najlepšem cvetu mojoj usnuloj leptirici Valji, Cvetovi saznanja), Rukovet, XIX, 9–10,
Subotica, str. 545–577.
Umetnost tela – Bodi Art (članak), Sada, IV, 5–6, Subotica, novembar, str. 20–21.
Novi strip kao nova konstrukcija, Novine, Galerija Studentskog centra, Zagreb, br. 48, prosinac, str. 202.
Cvet saznanja (poezija), (sadrži numerisane stihove: 75, 81, 85, 86, 116, 133, 395), Zaokrice, zbornik poezije mladih pesnika, urednik Vladimir Stevanov,
Dom omladine i pionira, Subotica, str. 33.
Novi strip kao nova konstrukcija, u: Predlog za jednu izložbu, Salon primenjenih umetnika i dizajnera Vojvodine, Novi Sad.
Fuzija vodene mase Ludoškog jezera, u: Dokumenti o postobjektnim pojavama u jugoslovenskoj umetnosti 1968–1973, Muzej savremene umetnosti, Beograd.
1974.
Mi smo mali šašavi potrošači (knjiga poezije), Osvit, Subotica.
WOW (sa Bálintom Szombathyem), izdanje autora, Subotica.
Rukovet bibliografija 1973. (sa Valerijom Matković), Rukovet, XX, 1–2, Subotica , str. 103–109.
Uvodni tekst i vizuelni rad Obeležavanje površine, WOW, No 2. (andergraund) katalog grupe Bosch + Bosch, Subotica, str. 1, 3.
Ja sam umetnik – I am Artist, Bilten III aprilskog susreta, Studentski kulturni centar, Beograd, br. 3, 6. april.
Tekst slika – slika tekst (istraživanje, vizuelna poezija), Rukovet, XX, 3–4, Subotica, str. 190–194.
Mi smo šašavi mali potrošači (poezija), (sadrži: O tekstu, Digresija, 002, Projekt art, O G. Apolineru, Gradska čistoća, Mi smo mali šašavi potrošači,
Plastično cveće, Pop-art), Rukovet, XX, 5–6, Subotica, str. 259–268.
Ispovest bratu (kraće prozno delo), Rukovet, XX, 5–6, Subotica, str. 289–293.
Život = umetnost = život (Portret Mikloša Biroa), Rukovet, XX, 5–6, Subotica, str. 305–313.
A megismerés virágai (poezija, crteži), prevod: Kopunovity Mária, (sadrži: Carlo Crivelli 1457–1495, Blagovesti 207 x 146,5, National Gallery, London,
Gradska čistoća, Percepcija vizuelne težine, 001, Oblaci, O površini o slici), Üzenet, V–VI, 5–6, Subotica, str. 423–427.
001 (poezija), Polja, 20, 189, Novi Sad, novembar, str. 18–19.
On Object, New Signalistic Strip Poyzq. No. 3, u: Signalizam, katalog, Galerija suvremene umjetnosti, Zagreb, str. 9.
1975.
Rafaelo 1509, Obeležena površina – S. Matković 1974, Obeležena površina, Vodoravno (vizuelna istraživanja), Híd, Novi Sad, br. 1, januar, str. 143.
Konceptualna umetnost (istraživanje), Rukovet, XXI, 3–4, Subotica, str. 199–201.
257
Galerija 24000 Subotica (prikaz), WOW, No 3. (andergraund) katalog grupe Bosch + Bosch, Subotica, str. 2.
Konkretna, vizuelna i signalistička poezija, Vizuelna poezija u slobodnom prostoru, u: Konkretna, vizuelna i signalistička poezija (antologija), Delo,
Beograd, god. XXI, br. 3, mart.
Vizuelna poezija u slobodnom prostoru, Delo, Beograd, god. XXI, br. 3.
Obeležavanje površine (vizuelni rad), WOW, br. 4, Studentski kulturni centar, Zagreb, str. 2.
Portret, Obeležavanje površine, in: Aspekte Gegenwärtige Kunst Aus Jugoslawien, Akademie der Bilden Künste, Wien, 28. oktober – 29. november, 44–45. p.
Strip intervencije, u: Signalizam, katalog, Muzej savremene umetnosti, Beograd.
1976.
Samostalna izložba Štefice Mirić, tekst u katalogu, Dom JNA, Križevci, januar.
Signalistički strip, u: Signalizam 1–2, Koraci, Kragujevac, br. 1–2, januar–februar.
Alan Ford ili pesma autobiografskog karaktera kao esej o stvarnosti, Križevci 1975 (poezija), Rukovet, XXII, 9–10, Subotica, str. 518–519.
Projekt art (članak), Ulaznica, 10, 53–54, Zrenjanin, str. 27–28.
Az új szignalista képregény (članak), Képes Ifjúság, Novi Sad, 25. oktobar
Proboj, u: Fotografija kao umetnost (Photography as Art), Centar za fotografiju, film i tv – Muzej savremene umetnosti – Razstavni salon Rotovž, Zagreb
– Beograd – Maribor.
1977 .
002 (poezija), prevod M. Cs. A., 7 Nap, Subotica, III, 11, str. 16.
Konkrét költemények (konkretna poezija u slobodnom prostoru), Új Symposion, Novi Sad, god. 13, br. 149, septembar, str. 14.
Šta radiš ti ovde? (poezija), (sadrži: Kafka, Subotica 1976, Stranice sna – san-pesma 1–6, Subotica, 28. XII 1976, Kako ću umreti iznenada [prilog za
autobiografiju]), Rukovet, XXIII, 9–10, Subotica, str. 603–607.
1978.
Analema – ili ono što ima nameru da objasni neke slike koje su prethodile danu mladih, zvezdanih zasada (kraće prozno delo), (sadrži: Salamandra 1967,
Nepaginirane stranice), Rukovet, XXIX, 1–2, Subotica, str. 26–41.
Ljubiši Jociću (poezija), Rukovet, XXIV, 3–4, Subotica, str. 159.
Az álom sorai – álomdal (poezija), prevod: Molcer Mátyás, 7 Nap, Subotica, 12. maj, str. 16.
Hogyan halok meg hirtelen (poezija), prevod: Molcer Mátyás, 7 Nap, Subotica, 25. avgust, str. 14.
Pesme: Soba koja razume čoveka, Imaginarna biografija za fantastičnu enciklopediju svetske književnosti, Sonet za Leonida Matkovića, 1978, Rukovet,
XXIV, 11–12, Subotica, str. 482–484.
Special post-card, DOC(K)S, A vos postes portez pour un futur numéro spécial, No Bélyegalbum, Kafka, Mit csinálsz itt? (poezija), prevod: Molcer
Mátyás, Üzenet, XII, 12, Subotica, str. 671–672.
Slavko Matković, mail-art post card, u: Special post card. A vos postes portez pour un futur numéro spécial, Doc(k)s, Ventabren (France), No.15–16–17–18.
1979.
Knjiga, vizuelno-poetska istraživanja 1971–1978, Osvit, Subotica.
Vizuelno-poetska istraživanja 1971–1978 (katalog), Galerija Studentskog centra, Zagreb.
V slavo skupine OHO, Literatura (vizuelni radovi), Problemi, Ljubljana, letnik XVII, št. 188, str. 22, 70.
Fotobiografija Leonida Matkovića – Idasa 1903–1967, Polja, 25, 239, Novi Sad, I, str. 32.
1980.
Dve pesme: Prostak u noći, Kako pravim pesme, Rukovet, XXVI, 1, Subotica, str. 24–25.
Letnje popodne sa tri glasa (poezija), Polja, 26, 252, Novi Sad, februar, str. 72.
Sedmog maja 1980. godine (poezija), Rukovet, XXVI, 3, Subotica, str. 263–264.
Ratna izdanja Titovih dela štampanih u Subotici tokom 1944. godine (prikaz), Rukovet, XXVI, 3, Subotica, str. 297–300.
Typoflora, Ungarische rhapsodie No. 2, DehumanisatiO, Typoflora II, Antonello da Messina-Botticelli Sandro-Canaleto, Poezzija, Hommage Kassák 1972
(vizuelne pesme iz časopisa Polja), Mozgó Világ, Budapest, No. 3, március, 46, 50, 53, 54, 61, 63, 67. p.
Rotbardt – Mond extra, ***, ***, Grupna fotografija, Subotička razglednica, Rukovet, XXVI, 4, Subotica, str. 316–318.
Biro Miklošu pred slike, Rukovet, XXVI, 4, Subotica, str. 413–419.
I read about art, I talk about art, I think about art, u: Camere incantate, espansione dell’immagine, Comune di Milano – Ripartizione cultura e spattacolo,
Milano, 15. maggio – 15. giugno, 75–76. p.
Umetnički pečati, u: Neoism, WOW, Subotica, br. 6, 1979/80.
Problemi YU vizualne poezije (vizuelni esej), u: Kriza poezije, Problemi, Ljubljana, god. XVIII, br. 200, str. 7.
1981.
Vizuelna istraživanja, Vizuelna obrada teksta, Intervencija u slobodnom prostoru na jezeru Ludoš, Vizuelna poezija, Obeležena površina, Mi smo mali
šašavi potrošači, u: Bosch+Bosch, katalog retrospektivne izložbe, Muzej savremene umetnosti – Gradski muzej, Beograd – Subotica, februar, str. 3–11.
Četiri pesme: Kako sam postao umetnik, Misterija pesme, Čitanje pesama, Kamuflaža, Rukovet, XXVII, 4, Subotica, str. 388–391.
Mikac, Klek, Micić (prikaz), povodom desetogodišnjice smrti Ljubomira Micića, tvorca zenitizma, Rukovet, XXVII, 5, Subotica, str. 523–527.
Kako je Božidar raskrinkao Petrovića (kraće prozno delo), Rukovet, XXVII, 6, Subotica, str. 648–651.
Uz drvoreze u ovom broju (prikaz), O ksilografiji Pola Bodijea, Rukovet, XXVII, 6, Subotica, str. 730.
Otkriće (poezija), Dometi, 27, Sombor, str. 54–55.
A pecsét (prozno delo), Új Symposion, Novi Sad, str. 173, 315.
258
1982.
Kako su poleteli Božidar i nastavnik opštetehničkog obrazovanja Veličković (kraće prozno delo), Rukovet, XXVIII, 4–5, Subotica, str. 348–351.
Ex Libris (prikaz), Rukovet, XXVIII, 4–5, Subotica, str. 442–450.
1983.
Antigraf (knjiga poezije), Minerva, Subotica.
Musica domestica (kraće prozno delo), Rukovet, XXIX, 4, Subotica, str. 61–64.
Konac dvadesetog veka, 5, Velika integracija (koautor sa: Boškovski, Jozo; priređivač: Despotov, Vojislav), Letopis Matice srpske, Novi Sad, april, str.
714–731.
Proboj, Deautorizacija umetničkog dela, u: Nova umetnost u Srbiji 1970–1980: pojedinci, grupe, pojave, Muzej savremene umetnosti – Galerija
suvremene umjetnosti – Galerija umetnosti, Beograd – Zagreb – Priština, april–jun.
A tárgyakról (poezija), prevod: Kenyeres Kovács Márta, Üzenet, V, 5, Subotica, str. 205–206.
Deautorizacija umjetničkog djela, u: 12. bijenale mladih jugoslovenskih umjetnika, Moderna galerija, Rijeka, jul–avgust–septembar.
Poštanska umetnost, u: Gogolyák Sándor: Mail Art, predgovor knjizi, autorsko izdanje, Odžaci, septembar, str. 4–10.
Ja prepisujem život, intervju, razgovarao E. B, Subotičke novine, Subotica, br. 47, 25. novembar.
1984.
Ličnosti iz mog dnevnika sedamdesetih godina (poezija), Polja, 30, 300, Novi Sad, februar, str. 101.
Antigráf (poezija). Alan Ford avagy önéletrajzi ihletésű költemény, mint esszé a valóságról, Az embert értő szoba, Előadás Beuysról, A szó felfedezése, pre-
vod: Lantos László, Új Symposion, XX, 3–4, Novi Sad, str. 12–19.
Grga Bajić I, II (poezija), Rukovet, XXX, 4, Subotica, str. 404–407.
Kamuflaža (poezija), Rukovet, XXX, 5, Subotica, str. 518.
Szabadkai képeslap (poezija), prevod: Brasnyó István, 7 Nap, XXXIX, 21, Subotica, 25. maj, str. 30.
Vyznačovanie plochy 1974, Nový život, Novi Sad, br. 5–6, god. 40, maj–jun, str. 378–386.
Mali poetski sanduk, Vokovizuel, Galerija Doma omladine, Beograd, 3–20. jul.
Amenofilisz fáraó piramisa (vizualna poezija), Új Symposion, 10, Novi Sad, str. 50–53.
Biro Miklošu pred slike, Bíró Miklós (1948–1975), Forum Könyvkiadó, Novi Sad.
Mail art pečati, u: Jugoslovenski umetnički pečat – Jugoslovenska umetnost pečatom, Udruženje književnih i likovnih stvaralaca, Odžaci.
1985.
Fotobiografija, Matica srpska, Novi Sad.
Nokti u lavabou (kraće prozno delo), Rukovet, XXXI, 3, Subotica, str. 268–270.
TAKT 10, Új Symposion, 7, Novi Sad, str. 51.
U slavu skupine OHO, Vizuelna poezija u prostoru, Nový život, Novi Sad, septembar, god. 37, br. 7, str. 533, 538.
Arcképek a hetvenes évekből (poezija), prevod: Lantos László, Új Symposion, 9–10, Novi Sad, str. 2–9.
Hiányzó életrajz [Juhász Erzsébet: Nagyapáti Kukac Péter, Forum, Novi Sad 1985], prevod: Mák Ferenc, Üzenet, 10, Subotica, oktobar, str. 658–660.
Portret Slavka Matkovića (naslovna strana), Képes Ifjúság, Novi Sad, XV, br. 1767, 16. oktobar.
Álmokkal és művészettel (Sa snovima i umetnošću) – intervju. Képes Ifjúság, Novi Sad, 16. oktobar.
Mail art, Ulaznica, Zrenjanin, god. XIX, br. 100, decembar, str. 73–74.
In onore del Gruppo OHO, Cassetta poetica, in: Vocovisivo (antologia), La battana, Rivista trimestrale di cultura, Edit, Fiume–Rijeka, anno XXII, numero
78, dicembre, 65–95. p.
1986.
Rotbart Mond – Extra (poezija), Dolgozók, Novi Sad, januar, str. 3, 9.
Grga Bajić I, II (poezija), prevod: Lantos László, Üzenet, I–II, 1–2, Subotica, str. 15–17.
Antigraf mozga. Analiza reči mozak, po delu Paola Santarcangelia: Hotulus Literarum Ossia Magia Delle Lettere, uz delove ličnih zapisa (istraživanje),
Rukovet, XXXII, 3, Subotica, str. 258–265.
Poezija, proza (maksmedijalna istraživanja), Limske večeri poezije, Priboj, br. 1, maj.
Dve značajne privatne biblioteke u Subotici s kraja prošlog i početka ovog veka (bibliotekarstvo), fragmenti iz šireg neobjavljenog rukopisa, Rukovet
XXXII, 6, Subotica, str. 544–548.
Egy festmény keretére, avagy a varázsló kertje (Kerekes László műveiről), prevod: Lantos László, Új Symposion, 9–10, Novi Sad, str. 26–27.
Hiányzó életrajz (Juhász Erzsébet: Nagyapáti Kukac Péter), Üzenet, Subotica, god. XVI, br. 10, oktobar.
Juče se raspao Bauhaus (strip), u: Nova umetnost 70-ih – doslednost i kontinuitet, Likovni susret, Subotica.
1987 .
Miris španskih buba ili blow-up (kraće prozno delo), Rukovet, XXXIII, 2, Subotica, str. 176–187.
Uz stogodišnjicu rođenja Lajoša Kašaka (prikaz), Rukovet, XXXIII, 3, Subotica, str. 236–239.
Napomene uz prevode Tipografskih pesama Lajoša Kašaka, biobibliografija, Rukovet, XXXIII, 3, Subotica, str. 238.
Vizuelna poezija posvećena Lajošu Kašaku (Kassák Lajos), napomena o nastanku ove pesme na str. 239, Rukovet, XXXIII, 3, Subotica, str. 245.
Szabadkai képeslap (vers), prevod: Lantos László, Új Symposion, 3, Novi Sad.
Kako je izgubljena jedna priča (kraće prozno delo), Rukovet, XXXIII, 6, Subotica, str. 596–606.
1988.
24000 Year Alan Ford, Nový život, Novi Sad, br. 5–6, god. 40, maj–jun, str. 285.
Ličnost broj dva (kraće prozno delo), (sadrži: Ličnost broj dva, Potkivač knjiga), Rukovet, XXXIV, 6, Subotica, str. 652–656.
Cellopate-szöveg, u: Irodalmi Szemle, Bratislava, XXXI, szeptember, p. 701 + reprodukcija na koricama.
Slavko Matković Art (vizuelni radovi), Poetry (?), Stúó Erté, Nové Zámky, str. 51–54.
259
1989.
Ragasztószalag Szövegek – Selotejp tekstovi, Új Symposion, Novi Sad.
Ragasztószalag Szövegek, Híd, Novi Sad, br. 1, str. 135–146.
Megalopolis (poezija), (sadrži: Zima, Tom Wesselman, Vatra, Peter Grass, Skulptura, Andy Warhol, Večera, Mrak, Hrana, Bubašvaba, Vetar, Captain
America, YOO HOO, Jerry, Montaža, Park), Rukovet, XXXV, 3, Subotica, str. 318–325.
Szalma László montázsai: a 7 Nap címoldalairól, prevod: Balázs Arth Valéria, Üzenet, 3, Subotica, str. 223–224.
Vizuális költemény, Tiszatáj, Szeged, Hungary, No. 4.
Ukažky vizuálnej poézie mladého jugoslovenského autora S. Matkovića, Dotyky, časopis pre mladú literatúru a umenie, Bratislava, No. 4.
Arkadijacu Danilu Kišu (In memoriam), Rukovet, XXXV, 5, Subotica, str. 537.
Bašte – divljakuše (esej), Letopis Matice srpske, Novi Sad, god. 165, knj. 443, sv. 5, maj, str. 803–806.
Arkadijancu Danilu Kišu (esej), Letopis Matice srpske, Novi Sad, god. 165, knj. 444, sv. 6, decembar, str. 778–779.
Vizuelna poezija, I Mostra Internacional de Poesia Visual de a Paulo / I International Exhibition of Visual Poetry, Sao Paolo.
Vizuelna obrada teksta, u: ŠUVAKOVIĆ, Miško: Scene jezika, Uloga teksta u likovnim umetnostima 1920–1990, fragmentarne istorije, Galerija ULUSA,
Beograd, str. 66.
Konceptualna umetnost, u: ŠUVAKOVIĆ, Miško: Scene jezika II, Uloga teksta u likovnim umetnostima fragmentarne istorije 1920–1990, antologija tek-
stova umetnika, Galerija ULUSA, Beograd, str. 55–56.
Kertek (esej), prevod: Sinkovits Péter, Kertek & Parkok, Forum Könyvkiadó, Novi Sad, str. 138–140.
1990.
Ličnost iz mog dnevnika sedamdesetih godina (kraće prozno delo), (sadrži: Ličnost broj dvanaest, Rupa koja vrišti), Rukovet, XXXVI, 1, Subotica, str.
790–795.
Adalékok (pismo Balintu Sombatiju), Híd, Novi Sad, br. 5, maj, str. 580–588.
Slavko Matković Yougoslavie: Peintures – photographies – livres – manuscrits, Le Cahier du Refuge, Centre International de poésie, Marseille, France, 22.
mai – 9. juin.
Tumultus aetheris (poezija), Rukovet, XXXVI, Subotica, 6, str. 1680–1684.
Foto solilokvij (kraće prozno delo), Rukovet, XXXVI, 9, Subotica, str. 1983–1985.
Čovek koji je čuo tišinu (kraće prozno delo), Rukovet, XXXVI, 11, Subotica, str. 2123.
1991.
A hetvenes évekből való naplóm személyiségei (Ličnosti iz mog dnevnika 70-ih godina), Hétvilág, Szeged, Hungary, No. 1, 5–6. p.
Pohvala Čurgou (lirska proza), Rukovet, XXXVII, Subotica, 4–5, str. 311–313.
Képversek (vizuelna poema o građanskom ratu), Magyar Műhely, Párizs–Bécs–Budapest, június, 28–31. p.
Prljavi vetar (tekst o građanskom ratu), Subotičke novine, Subotica, br. 38, 20. septembar.
Nove tendencije. Uz knjigu Balinta Sombatija Nova umetnost novog doba (prikaz) [Szombathy Bálint: Új idők – Új művészet, Forum, Novi Sad], Dnevnik,
Novi Sad, 15. decembar, str. 12.
U čast poslednjem pesniku, performans o raspadu SFRJ (fotodokumentacija), Stúdió Erté 4, The 4th International Alternative Art Festival of Studio Erté,
Nové Zámky, Slovakia, 50–51. p.
Rad Gradske biblioteke (1918–1944), u: Sto godina Gradske biblioteke u Subotici 1890–1990, Subotica, str. 39–82.
1992.
A helyi költők egyesülete (poezija), prevod: Gácsi Áron, Üzenet, XXII, 1–4, Subotica, str. 40–41.
Uvodni tekst za katalog Stvaraoci za mir i pomoć ugroženoj deci – Alkotók a gyermekek megsegítéséért (aukcija), Likovni suret – hotel „Patrija“, Subotica,
28. mart.
A polgárháború előérzete (prva strana vizuelne poeme o građanskom ratu), Electrographic art, Árnyékkötők, Budapest, No. 1, március, 22. p.
1993.
Selotejp tekstovi (katalog), Kulturno prosvetna zajednica Vojvodine, Galerija Most, 24. jun – 8. jul.
1994.
Dva pesnika i jedan slikar ručaju, Društvo lokalnih pesnika, Poslednji pesnik – pesniku Balintu Sombatiju (poezija), Rukovet, XL, 1–3, Subotica, str. 28–29.
Képversek (vizuelne pesme sa starim ćiriličnim slovima), Magyar Műhely, Párizs–Bécs–Budapest, No. 91, március, 48–50. p.
Fotopalimsest, Grga Bajić I–II (poezija), Rukovet, XL, 6–7, Subotica, str. 18–20.
Hogyan halok meg – hirtelen, önéletrajzi adalék; Kafka, Az álom sorai – Álom dal, Mitt csinálsz itt? (poezija), prevod: Molcer Mátyás, Üzenet, XII, 12,
Subotica, str. 850.
Omča (proza), Rukopis, 2, Dani, III, 51–2, Subotica, 28. decembar, str. 41.
Uvodni tekst u katalogu izložbe Roberta Tilija, Likovni susret.
Selotejp tekst, Projeka®t, Novi Sad, br. 4, str. 2.
1995.
Uspomena na dugo sećanje, intervju, razgovarao Vujica Rešin Tucić, Magnet 2, List grupe Tradicija avangarde, str. 5, Radio B92, april.
Juče se raspao Bauhaus (strip), u: IVKOV, Slobodan: 60 godina domaćeg stripa u Srbiji 1935–1995, Likovni susret, Subotica, str. 97, 150.
1998.
Grga Bajić I–II (poezija), Rukovet, XLIV, 10–12, Subotica, korica, str. 13–16.
Ich bin Künstler Slavko Matković, iz serije radova Ja tako slikam, u: DENEGRI, Ješa; ŠUVAKOVIĆ, Miško: Prestupničke forme devedesetih –
Postmoderna i avangarda na kraju XX veka, Muzej savremene likovne umetnosti – Centar za savremenu kulturu Konkordija, Novi Sad – Vršac, str. 18–19.
260
1999.
Hogyan válhatsz művésszé (Kako se postaje umetnik), Kamuflázs (Kamuflaža), Budapesti naló (Budimpeštanski dnevnik), Hogyan halok meg váratlanul
(Kako ću umreti iznenada), (poezija), prevod: Lantos László, Budapesti Jelenlét, 23–24, Budapest, 95–101. p.
Ja tako slikam, 1989; Ja sam umetnik, 1989, u: ŠUVAKOVIĆ, Miško: Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950, Srpska
akademija nauka i umetnosti – Prometej, Beograd – Novi Sad, str. 224, 329.
2002.
Projekat Ludoško jezero, Zaboravi ovu sliku / Memoriraj ovu sliku, Drvo, Ja tako slikam), u: MILENKOVIĆ, Nebojša: Projekat izmenjenog pejzaža,
Muzej savremene likovne umetnosti, Centar za vizuelnu kulturu Zlatno oko, Galerija Bel art, Novi Sad, jun.
2003.
Deautorizacija umetničkog dela, Strip o grupi Bosch+Bosch, U slavu grupe OHO, u: UGREN, Dragomir: Neuporedivi identiteti – Kolekcija vojvođanske
umetnosti za Muzej XXI veka, Muzej savremene likovne umetnosti, Novi Sad, novembar, str. 14.
U slavu grupe OHO, Dnevnik, Novi Sad, 17. decembar, str. 20.
2004.
Ličnost iz mog dnevnika sedamdesetih godina (nedovršen tekst, str. 34–36); Legenda o nervoznom anđelu (str. 37–39); Potkivač knjiga (str. 39–41); Mi
smo šašavi mali potrošači, Odiseja – stripovi (str. 42–49); Morris – francuski park (str. 52–59); Pisma kao život, život kao pisma, korespondencija Slavka
Matkovića Balintu Sombatiju 1971–1977 (str. 62–86), Rukovet, tematski broj posvećen Slavku Matkoviću, XLIX, 1–6, Subotica.
Deautorizacija umetničkog dela, u: UGREN, Dragomir: Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej XXI veka, Galerija savremene
likovne umetnosti, Niš, mart, str. 9.
Deautorizacija umetničkog dela, u: VUKSANOVIĆ, Suzana; MILENKOVIĆ, Nebojša: ANTITEZA – Umetnost u Vojvodini na kraju XX i početkom XXI
veka, Muzej savremene likovne umetnosti, Umjetnička galerija Bosne i Hercegovine, Novi Sad – Sarajevo, april, str. 16.
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Literatura / Literature
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1970.
ÁCS József: Bosch + Bosch, Magyar Szó, Novi Sad, 15. februar.
JOVANČEV, Jovica: Grupa Boš+Boš, Praktična žena, Beograd, 20. maj.
ÁCS József: Bosch + Bosch szabadkai tárlata, Magyar Szó, Novi Sad, 30. maj.
DURANCI, Bela: Likovno stvaralaštvo – Képzőművészeti Alkotások, Subotica 1945–1970, Gradski muzej, Subotica, X–XII; str. 64, 79–84.
ÁCS József: Bosch + Bosch Újvidéken, Magyar Szó, Novi Sad, 12. decembar.
1971.
Izbor vizuelne poezije, Signal, 4/5, Beograd – Novi Sad.
MARKULIK, József: Bosch+Bosch, Magyar Szó, Novi Sad, 13. avgust.
Izbor evropske vizuelne poezije, Problemi, 105, Ljubljana.
TODOROVIĆ, Miroljub: Signalistička poezija, Új Symposion, Novi Sad.
1972.
MATIČEVIĆ, Davor: Mladi 72, Telegram, 542, Zagreb, 24. januar.
JUHÁSZ, Erzsébet: Kilátás a világra, interjú Slavko Matkovićtyal, Képes Ifjúság, 1238, Novi Sad, 9. februar.
DIMITRIJEVIĆ, Slavko: Projekti Slavka Matkovića, Bilten I aprilskog susreta, Studentski kulturni centar, Beograd, br. 3, 6. april.
TIMOTIJEVIĆ, Slavko: O projektima Slavka Matkovića, Bilten I aprilskog susreta, Studentski kulturni centar, Beograd, br. 3, 6. april.
SZOMBATHY Bálint: Négy szöveg, Új Symposion, Novi Sad, br. 89, septembar, str. 409–411.
ÁCS József: Bosch + Bosch szabadkai tárlata, Magyar Szó, Novi Sad, 7. novembar.
1973.
ANONIM: Stvaranje novog senzibiliteta (Bosch+Bosch), Studentski list, Zagreb, br. 1–2.
DENEGRI, Ješa: Rasponi 73, uvodni tekst u katalogu, Rasponi 73, Galerija suvremene umjetnosti, Zagreb, april.
MANDIĆ, Igor: Ne! (Bleferi u galeriji), Oko, Zagreb, br. 2, 25. april.
DIMITRIJEVIĆ, Slavko: Rasponi 73, Index, XVI, br. 281, Novi Sad, 10. maj.
DENEGRI, Ješa: Dokumenti o postobjektnim pojavama u jugoslovenskoj umetnosti 1968–1973, uvodni tekst u katalogu, Muzej savremene umetnosti,
Beograd, jun–jul, str. 5–11.
KADIJEVIĆ, Đorđe: Postobjektna realnost, Nin, Beograd, 1172, 24. jun.
ANONIM: Nekoliko reči o grupi Boš+Boš, Bilten 01, Studentski kulturni centar, Beograd, septembar.
SZOMBATHY Bálint: Vajdasági alkotók a balatonboglári kápolnatárlatokon, Művészeti életünkben egy egységes szellemi áramlat van kialakulóban,
Magyar Szó, Novi Sad, 15. septembar.
GROH, Klaus: Visuell – Konkret International (Csernik, Kerekes, Matković, Szalma, Szombathy), Und, Gersthofen, No. 11/12.
ÁCS József: Újvidéki tárlatok (o izložbi Matkovića u Salonu UPIDIV-a), Magyar Szó, Novi Sad, 19. decembar.
LALIĆ, I(štvan): Predstavljamo vam Slavka Matkovića, Cvetovi saznanja, Sada, IV, 78, Subotica, decembar, str. 19.
Antologija svetske vizuelne poezije, Mix Magazin, Sastakov, Kanada.
1974.
VIRÁG Ágnes: Eszmélés és önkeresés [Slavko Matković: Cvetovi saznanja, Rukovet, Subotica, 1973.], Üzenet 3, Subotica, mart, str. 302–304.
SZOMBATHY Bálint: A Bosch + Bosch első (festészeti) korszaka, Híd, 9, Novi Sad, str. 1010–1021.
SZOMBATHY Bálint: A Bosch + Bosch első (festészeti) korszaka (Prvi slikarski period grupe Bosch+Bosch), Híd, Novi Sad, br. 10, septembar, str. 1010–1017.
SZOMBATHY Bálint: A Bosch + Bosch öt éve 2“ (Pet godina grupe Bosch+Bosch 2), Híd, Novi Sad, br. 11, oktobar, str. 1140–1147.
SZOMBATHY Bálint: „A Bosch + Bosch öt éve 3“ (Pet godina grupe Bosch+Bosch 3), Híd, Novi Sad, br. 12, novembar, str. 1317–1327.
TODOROVIĆ, Miroljub: Signalizam, uvodni tekst u katalogu, Galerija suvremene umjetnosti, Zagreb, str. 3–5, (Strip intervencije).
1975.
SZOMBATHY Bálint: A Bosch + Bosch öt éve 4 (Pet godina grupe Bosch+Bosch 4), Híd, Novi Sad, br. 1, str. 135–146.
TODOROVIĆ, Miroljub: Konkretna, vizuelna i signalistička poezija. Antologija, Delo, Beograd, god. XXI, br. 3, mart.
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DESPOTOV, Vojislav: Otvoreni razlozi jedne knjige [Slavko Matković: Mi smo mali šašavi potrošači], Ulaznica 10, 55–56, Zrenjanin, str. 100–101.
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SZOMBATHY Bálint: A konkrét költészet újtai III / Putevi konkretne poezije / The Ways of Concrete Poetry, Új Symposion (separat časopisa Új
Symposion), Novi Sad, god. 13, br. 149, septembar.
ÁCS József: Időszerűség a jugoszláv képzőművészetben (Aktuelnosti u jugoslovenskoj likovnoj umetnosti), Magyar Szó, Novi Sad, 24. septembar.
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KOVÁCS-KENYERES Márta: Nyolc új Osvit-könyv (Vizuális és verbális S. Matković), Magyar Szó, Novi Sad, br. 1, 7. januar.
SZOMBATHY Bálint: A Bosch + Bosch csoport hét éve (Sedam godina grupe Bosch+Bosch), Híd, Novi Sad, br. 1.
ZAGORIČNIK, Franci: Naslov i adresa avangardnog pesništva, Off, Zagreb, br. 1, listopad, str. 56–60.
SZALMA László: Könyv, könyve, könyvvel, Beszélgetés Slavko Matković költővel a Szabadkai Városi Könyvtár antikváriumának munkatársával (razgovor
sa Slavkom Matkovićem), 7 Nap, Subotica, 8. decembar, str. 16.
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BLAINE, Julien: Catalans et Yougoslavie, Mode des materies, Doc(k)s, Ventabren (France), No. 12–13–14.
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SZOMBATHY Bálint: Značajni momenti u radu grupe Bosch + Bosch, u: Nova umjetnička praksa 1966–1978, Galerija suvremene umjetnosti, Zagreb, str.
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SUSOVSKI, Marijan: Bosch+Bosch, grupa (Bibliografija, Hronološki podaci o radu grupe Bosch+Bosch), u: Nova umjetnička praksa 1966–1978, Galerija
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L. K.: Umesto reči slikovno pismo – Blic susret sa Slavkom Matkovićem, Subotičke novine, Subotica, god. XXXV, br. 11, 16. mart.
SZOMBATHY Bálint: Konkrét vizuális költemények [Slavko Matković: Knjiga], Híd, Novi Sad, br. 4, april.
GRUJIĆ, Milorad: Sa Slavkom Matkovićem na ti: vreme je na mojoj strani, Glas omladine, Novi Sad, 10. maj.
SEBŐK Zoltán: Experimentális költészet, könyvben és nálunk? [Slavko Matković: Knjiga], Új Symposion, Novi Sad, br. 168.
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BLAINE, Julien: Open: chaine internationale “c”, Doc(k)s, Ventabren (France), No. 19.
1980.
SZOMBATHY Bálint: Procesi koji teže oslobađanju od vlasti centara moći, Delo, Beograd, br. 2, str. 49–50.
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tura e spattacolo, Milano, 15. maggio – 15. giugno, 15–19. p.
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PETROVIĆ, Slobodan: Prevazilaženje klasičnih formi (Slavko Matković, Knjiga, vizuelno poetska istraživanja 1971–1978), Književna reč, Beograd, god.
IX, br. 142, str. 15.
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TODIĆ, Milanka: Retrospektiva grupe Bosch+Bosch u Beogradu, Književne novine, Beograd, 10. januar.
SOMBATI, Balint: Sedam godina grupe Bosch+Bosch (tekst u katalogu retrospektivne izložbe), Grupa Bosch+Bosch, Muzej savremene umetnosti –
Gradski muzej, Beograd – Subotica, februar, str. 3–11.
BOSNYÁK István: Világporos-a-kalapom-úgy-tudják-hogy-abban-lakom, Híd, 3, Novi Sad, mart, str. 328–352.
BRISKI, Maja: + Bosch + Bosch + Bosch + Bosch + (prikaz izložbe u galeriji Nova), Polet, Zagreb, 18. mart.
NEGRIŠORAC, Ivan: Signalizam u akciji, povodom izložbe Signalizam ’81 u Odžacima, Polja, Novi Sad, oktobar–novembar, str. 439.
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1982 .
SEBŐK, Zoltán: Slavko Matković szignalista képregényei, Médiumok és művészetek, Forum Könyvkiadó, Novi Sad, str. 16–21.
GRUPA autora: Bosch&Bosch, Gorenjski muzej, Kranj.
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VINTERHALTER, Jadranka: Umetničke grupe – razlozi okupljanja i oblici rada, u: Nova umetnost u Srbiji 1970–1980: pojedinci, grupe, pojave, Muzej
savremene umetnosti – Galerija suvremene umjetnosti – Galerija umetnosti, Beograd – Zagreb – Priština, april–jun, str. 14–23.
STANIVUK, Ljubica; GAVRIĆ, Zoran: Hronološki pregled 1966–1980, u: Nova umetnost u Srbiji 1970–1980: pojedinci, grupe, pojave, Muzej savremene
umetnosti – Galerija suvremene umjetnosti – Galerija umetnosti, Beograd – Zagreb – Priština, april–jun, str. 73–118.
STANIVUK, Ljubica; GAVRIĆ, Zoran: Dokumentacija, Bibliografija, Katalog, u: Nova umetnost u Srbiji 1970-1980: pojedinci, grupe, pojave, Muzej
savremene umetnosti – Galerija suvremene umjetnosti – Galerija umetnosti, Beograd – Zagreb – Priština, april–jun, str. 119–140.
KAMPERELIĆ, Dobrica: Otkriće reči (Slavko Matković, Antigraf, Minerva, Subotica,1983), Dnevnik, Novi Sad, 22. septembar.
ANONIM: Slavko Matković i Antigraf, Subotičke novine, br. 45, 11. novembar.
SOBRAL, Anton: Mail art organizacion, u: Mail art organizacion, AGAX – Asociacion Galega de Artistas Xovenes & CIDAO – Centro de Investigacion
De Actividades de Ocio, Santiago de Compostela – B. Pontevedra, Spain.
1984.
ROŠULJ, Žarko: Antigraf (Slavko Matković, Antigraf, Minerva, Subotica, 1983), Delo, Beograd, br. 1–2, str. 265–267.
KENYERES KOVÁCS, Márta: Ábrázoló költészet [Slavko Matković: Antigraf, Minerva, Subotica, 1983], Üzenet 3, Subotica, mart, str. 161–163.
DESPOTOV, Vojislav: Slavko Matković: Antigraf, Minerva, Subotica, 1983. (prikaz), Letopis Matice srpske, Novi Sad, 5. maj, str. 798–799.
PAVIĆ, Vladimir: Antigraf Slavka Matkovića, Stremljenja, Priština, god. XXIV, br. 6, str. 193–194.
A. T.: Umetničke radionice. Dopisivanje i dogovaranje, Dnevnik, Novi Sad, 20. avgust.
KIRALJ, Laslo: Pitamo Slavka Matkovića, višeg knjižničara – antikvara. Umetničke poruke putuju poštom, Subotičke novine, br. 37, 14. septembar.
VINTERHALTER, Jadranka: Umetničke grupe – razlozi okupljanja i oblici rada, u: Nova umetnost u Srbiji 1970–1980, Muzej savremene umetnosti,
Beograd, str. 14–23.
KAMPERELIĆ, Dobrica: Otkriće reči [Slavko Matković: Antigraf, Minerva, Subotica, 1983], Dnevnik, Novi Sad.
1985.
STEPANOV, Sava: Prepoznavanje umetnosti, uz izložbe u Subotici i Novom Sadu, Misao XI, 3–4, Novi Sad, 25. februar, str. 36.
SOMBATI, Balint: Panorama posleratne jugoslovenske eksperimentalne poezije, Rukovet, god. XXI, br. 4, Subotica, str. 402–412.
SEBŐK, Zoltán: Signalistički stripovi Slavka Matkovića, Istra, Pula, god. 23, br. 5–6, str. 147–149.
KIRALJ, I: Umetnost poštanskih pošiljki (razgovor o mail artu), Subotičke novine, 3. maj.
POPIĆ, Ivo: Iz aprilskog dnevnika (o izložbi Mail Arta 29. aprila u Gradskoj biblioteci), Misao, XI, 14, Novi Sad, 15. maj, str. 30.
C Panoráma juhoslovanskej experimentálnej poézie po oslobodení. Verbo-voko-vizuálne snaženia skupiny Bosch+Bosch (temat o grupi Bosch+Bosch),
Nový život, Novi Sad, god. 37, br. 7, septembar, str. 529–539.
SEBŐK, Zoltán: Prikaz umetnika u publikaciji povodom nagrade Nagyapáti Péter (mađarski), Bačka Topola.
PENOVÁC NÁRAY, Éva: Képzőművészetünk jelene, Beszélgetés az idei Nagyapáti Kukac Péter – díjasokkal, Magyar Szó, Novi Sad, 22. oktobar, str. 12.
SEBŐK, Zoltán: Kísérleti médiumhasználat, Slavko Matković kiállítása Topolyán, 7 Nap, XL 44, Subotica, 1. novembar, str. 32.
VOJIN, Igor, Ž.: Slavko Matković: Fotobiografija, Matica srpska, Novi Sad, 1985. (prikaz), Letopis Matice srpske, Novi Sad, novembar, str. 644–645.
BALOGH, István: Mondrián hajnali háztetőn [Slavko Matković: Fotobiografija, Matica srpska, Novi Sad, 1985], Üzenet 12, Subotica, decembar, str.
774–776.
RADOVANOVIĆ, Vladan: Vocovisivo, u: Vocovisivo (antologia), La battana, Rivista trimestrale di cultura, Edit, Fiume–Rijeka, anno XXII, No. 78, dicem-
bre, 65–95. p.
1986.
M. Ig.: Priznanja “Ferenc Bodrogvari”, Dnevnik, Novi Sad, 17. januar.
ANONIM: Dodeljena nagrada “Ferenc Bodrogvari”. Priznanje kulturnim stvaraocima, Subotičke novine, 24. januar.
PISAREV, Đorđe: Čudesna kuća “strave” (Nova umetnost 70-ih – doslednost i kontinuitet), Glas omladine, Novi Sad, 8. oktobar.
RAJKOVIĆ, Radomir: Opiranje prolaznosti, Subotičke novine, 40, 10. oktobar.
KAMPERELIĆ, Dobrica: Slavko Matković: Fotobiografija, Matica srpska, Novi Sad, 1985. (prikaz), Oko, Zagreb.
SOMBATI, Balint: Nova umetnost 70-ih, doslednost i kontinuitet – A hetvenes évek művészete – folyamatosság és következetesség (tekst kataloga), Likovni
susret, Subotica.
VOJIN, Ž. Igor: Slavko Matković: Fotobiografija, Rays, Bulletin of the Writers Association of Vojvodina, Novi Sad, jesen, str. 54–55.
ART LOVER: Umetnici sa pseudonimima, Dalje, Sarajevo, god. V, br. 17, str. 3–11.
1987.
STANOJEVIĆ, Slobodan: Tragom ocene na zboru književnika Vojvodine. Šta (ne) rade subotički pisci, Subotičke novine, 8, 27. februar.
RADOVANOVIĆ, Vladan: Vokovizuel, Nolit, Beograd, str. 229.
1988.
BABIĆ, Sava: Pesnik je izvršio presedanje, ne zaboravljajući na svoje rekvizite [Slavko Matković: Fotobiografija, Matica srpska, Novi Sad, 1985],
Rukovet, XXXIV, 1, Subotica, str. 75–78.
SZOMBATHY Bálint: Nová umelecká prax 1966–1978, Nový život, Novi Sad, br. 5–6, god. 40, maj–jun, str. 378–386.
SZOMBATHY Bálint: Betű és kép (Slavko Matković Art), Poetry (?), Stúó Erté, Nové Zámky, 51–52. p.
DENEGRI, Ješa: Slikarstvo, skulptura, grafika i novi mediji u zbirci Likovnog sureta. Festészet, szobrászat, grafika és új médiumok a Képzőművészeti
találkozó gyűjteményében, Likovni susret – Képzőművészeti Találkozó Subotica 1962–1987, Subotica, str. 46–50, 58–63, 236.
264
1989.
DENEGRI, Ješa: Slavko Matković: Ich bin Künstler (uvodni tekst kataloga retrospektivne izložbe – a retrospektív tárlat katalógusának bevezető szövege),
Likovni susret – Képzőművészeti Találkozó, Subotica, 28. mart – 15. april.
SZOMBATHY Bálint: Slavko Matković: Ich bin Künstler (uvodni tekst kataloga retrospektivne izložbe – a retrospektív tárlat katalógusának bevezető
szövege), Likovni susret – Képzőművészeti Találkozó, Subotica, 28. mart – 15. april.
A. I.: Slavko Matković, od umetničkog dela do ideje. Trnovita komunikacija, Subotičke novine, 13, 31. mart.
DURANCI, Bela: Jugoslovenska dokumenta 89, Rukovet, 4, Subotica.
SZOMBATHY, Bálint: Art vital, Slavko Matković visszatekintő tárlata Szabadkán, Képes Ifjúság, Novi Sad, 5. april.
CSERNIK, Attila: Korának gyermeke, Slavko Matković tárlatáról, Dolgozók, Novi Sad, 6. april.
A. I.: Ješa Denegri – Umetnost bez demokratije, Subotičke novine, 14, 7. april, str. 11.
KEREKES László: A pálya varázsa. Szubjektív jegyzet Slavko Matković szabadkai kiállítása kapcsán, Magyar Szó, Novi Sad, 15. april.
ÁCS, József: Slavko Matković művészete (Visszatekintő tárlata hét városban), Magyar Szó, Novi Sad, 5. maj.
KEREKEŠ, Laslo: Orfelin u avangardi (Ich bin Künstler – retrospektiva Slavka Matkovića, Likovni susret, Subotica), Stav, Novi Sad, 19. maj.
SZOMBATHY Bálint: A korai avantgarde ifjú örökösei, Életünk, Budapest, XXVII, július, 49–67. p.
UGREN, Dragomir: Govor u prvom licu. 20 godina Bosch + Bosch (povodom retrospektivne izložbe SM), Stav, 40; 29. septembar.
SZOMBATHY Bálint: Bemutatjuk Slavko Matković grafikáit, Élet és Irodalom, Budapest, okt. 1.
SOMBATI, Balint: Estetiziranje haosa. Slavko Matković: Selotejp tekstovi, Glas omladine, Novi Sad, 6. oktobar.
TIŠMA, Andrej: Mišljenje umetnosti – retrospektivna izložba Slavka Matkovića u Galeriji savremene likovne umetnosti u Novom Sadu, Dnevnik, Novi
Sad, 13. oktobar.
SUPEK, Jaroslav: Namerna slučajnost. Selotejp tekstovi Slavka Matkovića Dnevnik, Novi Sad, 11. novembar.
RADOVANOVIĆ, Vladan: (tekst u knjizi) Slavko Matković: Selotejp tekstovi, prevod: PURGER Tibor, Új Symposion, Novi Sad.
SZOMBATHY Bálint: (tekst u knjizi) Slavko Matković: Selotejp tekstovi, prevod GOTESMAN, Mirko, Új Symposion, Novi Sad.
1990.
ANONIM: Pénteki találkozások, Slavko Matković mixmediális estje, Magyar Szó, Novi Sad, 25. januar.
CSORDÁS Mihály: Egy mögöttes világ látnoka, Beszélgetés Slavko Matkovićtyal, 7 Nap, Subotica, 23. februar.
SZOMBATHY Bálint: Homályból világba, Híd, Novi Sad, br. 5, maj, str. 565–588.
STANKOVIĆ, Goran: Ikone selotejpa [Slavko Matković: Selotejp tekstovi, Új Symposion, Novi Sad, 1989], Letopis Matice srpske, Novi Sad, god. 166,
knj. 446, 1–2, str. 182–184.
SZOMBATHY Bálint: Alternativne umelecké periodiká vo Vojvodine na začiatku sedamdesiatych rokov, u: Nový Život – Novè Umenie / New Life – New
Art, Obzor, Novi Sad.
1991.
ART LOVER: Periodične alternativne edicije u Vojvodini početkom sedamdesetih godina, Gradina, Niš, br. 4, str. 225–236.
NEGRIŠORAC, Ivan: Hiperrealistička vizura, Pisac, br. 16, Novi Sad, 25. april.
DÁRDAI Zsuzsa: …Holvagyasi?…, Magyar Narancs, Budapest, oktober 9.
CSEPÉCZ Szilvia: A metakomunikáció vonulása, Heti Ifi, Nové Zámky, oktober 23.
PERNECZKY Géza: A Háló – alternatív művészeti áramlatok a folyóirat-kiadványok tükrében 1968–1988, Héttorony Kiadó, Budapest 371. p.
SZOMBATHY Bálint: Új idők – Új művészet, Forum, Novi Sad, str. 73–74, 97, 123–126.
JUHÁSZ, R. József: Stúdió Erté 4, The 4th International Alterative Art Festival of Studio Erté, Nové Zámky, Slovakia, p. 2–3.
PTÁČEK, František: Provokácie, Profil, Bratislava, No. 17–18.
MARTELL, Richard: 4e Festival d’art alternatif – Le Théâtre désoperation, Art actuel, Quebec (Canada), No. 53, 14–21. p.
DURANCI, Bela: Jugoslovenska dokumenta 89. Olimpijski centar „Skenderija“, Sarajevo, leta 1989, Duga nad akademijom, Savremena galerija centra za
kulturu, Pančevo, str. 213.
BLAINE, Julien: Journal de Nové Zamky, Doc(k)s, Ventabren (France), 3. séria, No. 2–3, 200–213. p.
1992.
KOVAČIĆ, Ladislav: Umetnička radionica: Slavko Matković. Dopreti do ljudi, Subotičke novine, 31. januar, str. 11.
KOVAČIĆ, Ladislav: Sto godina Srpske književne zadruge. U subotičkoj Gradskoj biblioteci svečano obeležen jubilej, Subotičke novine, Subotica, 24.
april, str. 5.
ANONIM: Dan Slavka Matkovića, Dani, Subotica, 6. maj, str. 29.
ART LOVER [SZOMBATHY Bálint]: Kontaktus, Magyar Szó, Novi Sad, 5. septembar.
DURANCI, Bela: Subotička likovna scena 1992. godine, Subotičke novine, 31. decembar, str. 9.
ART LOVER [SZOMBATHY Bálint]: Kontaktus (uvodni tekst kataloga), Budapest.
Spisak učesnika Umetničke kolonije u Senti – A Zentai Művésztelep résztvevőinek névsora, u: 40 katalog, KOC Thurzó Lajos, Senta.
TIŠMA, Andrej: Mišljenje umetnosti, u: Druge te(rit)orije, Krovovi, Sremski Karlovci, str. 93–96. (tekst prvi put objavljen 1989).
KAMPERELIĆ, Dobrica: Umetnost kao komunikacija, Grafopublik, Zemun.
1993.
KOVACSEV Olga: Árnyékkötők, a fényt hozók, Magyarországi elektrografikusok kiállítása – Modern Művészek Képtára, Magyar Szó, Kilátó, Novi Sad, 6.
februar, str. 12.
TIŠMA, Andrej: Komunikacija pod lupom (Selotejp tekstovi Slavka Matkovića u Galeriji Most u Novom Sadu), Dnevnik, Novi Sad, 11. juli.
1994.
DENEGRI, Ješa: Slavko Matković, u: Fragmenti – šezdesete – devedesete umetnici iz Vojvodine, Prometej, Novi Sad, str. 52–60.
KOVAČIĆ, Ladislav: Da te ljudi razumeju!, Subotičke novine, 6, 11. februar, str. 8.
265
SZOMBATHY, Bálint: A művészet és a természet összejátszásának főbb tendenciái a Délszláv kulturális térségben (előzmények és végkifejlet) The Main
Tendencies of Interplay Between Art and Nature in the South-Slavic Cultural Region (the Precedents and the Outcome), Természetesen. Természet és
művészet Közép-Európában – Naturally. Nature and Art in Central Europe. Ernst Múzeum, Budapest, III., 254–267. p.
V.(ujica) R.(ešin) T.(ucić): U spomen na dugo sećanje (Slavko Matković, 1948–1994). Razgovor, Subotica–Palić, 11. I 1994, Magnet, br. 2, Beograd, april.
SZOMBATHY Bálint: Slavko Matković (1948–1994), Projeka®t, Novi Sad, br. 4, str. 3.
PETRINOVIĆ, F.(ranja): Slavko Matković (1948–1994), Dnevnik, Novi Sad, 4. novembar.
SZOMBATHY Bálint: Slavko Matković (1948–1994), Magyar Szó, Novi Sad, 5. novembar.
P. V.: In memoriam Slavko Matković (1948–1994), Žig, Subotica, 5. novembar, str. 11.
SUPEK, Jaroslav; TIJARDOVIĆ, Jasna: YU Mail art, Muzej savremene umetnosti, Beograd.
SZALMA, László: In memoriam Slavko Matković (1948–1994), 7 Nap, Subotica, XI, str. 10, 11.
M.(arković) A.(nna): A ragasztószalag elszakadt, Képes Ifjúság, Novi Sad.
CVEJIN, Tatjana: Homo poeticus Slavko Matković (1948–1994), Nova Atlantida – Westeast, br. 3–4, Kranj.
ŽIVKOVIĆ, Živan: Signalizam: geneza, poetika i umetnička praksa, Vuk Karadžić, Paraćin.
JOVANOV, Jasna: Slavko Matković i (de)kodiranje sedamdesetih, Nezavisni, Novi Sad, 11. novembar.
MIKOVIĆ, Milovan: Slavko Matković, 14. V 1948 – 2. XI 1994, Rukovet, XL, 6–7, Subotica, str. 19.
VUKOV, Petar: Matkovićev fotopalimsest o Grgi Bajiću, Rukovet, XL, 6–7, Subotica, str. 18.
GUBÁS Ágota: Az örök kísérletező: búcsú Slavko Matkovićtól (1948–1994), Üzenet 12, Subotica, decembar, str. 932.
VUKOV, Petar: Stvaralački portret Slavka Matkovića, Rukopis, 2, Dani, III, 51–2, Subotica, 28. decembar, str. 42.
1995.
KECMAN, David – Dako: Nebeski pevači, Slavku Matkoviću (poezija), Bezdomni anđeo, Rukovet, XLI, 1–3, Subotica, str. 20.
SZOMBATHY Bálint: Három hódolat – Andy Warhol, Markulik József, Slavko Matković, Híd, br. 7–8, Novi Sad.
KAMPERELIĆ, Dobrica: In memoriam Slavko Matković, Književne novine, Beograd.
TRICEPS (LANTOS László): Nye sztrahuj, Vologya! Szombathy Bálint performansza Slavko Matkovic emlékére, Jump Magazin, No 1. Budapest, X. 14.
HOMMAGE A SLAVKO MATKOVIĆ, memorijalni skup:
SZOMBATHY, Balint: Slavko Matković iliti antiheroj – tragedija posvećenosti; ROŠULJ, Žarko: Iz epistolobiografije Slavka Matkovića“; VUKOV, Ante:
Prisećanja prijateljske prirode; SZALMA, László: Umetnik Slavko Matković; TILLY, Robert: Dva pesnika i jedan slikar u ekspres restoranu;
SUPEK, Jaroslav: Traktor u Budimpešti; DESPOTOV, Vojislav: Slavko Matković; TOLNAI, Ottó: Anđeosko biće Slavka Matkovića; DURANCI, Bela:
Selotejp tekstovi Slavka Matkovića; DENEGRI, Jerko: Slavko Matković; ŠUVAKOVIĆ, Miško: Jezik umetnosti: nomadizam Slavka Matkovića; KUBURIĆ,
Đorđe: Nemi krik, pesma; ŠRAM, Olga: Prisutnost Matkovićevog likovnog opusa u Subotici; NINKOV KOVAČEV, Olga: Slavko Matković i umetnička
kolonija u Senti; CINDORI-ŠINKOVIĆ, Marija: Veliko-mala poezija Slavka Matkovića; VUKOV, Petar: Poezija i poetika Slavka Matkovića; TUCIĆ REŠIN,
Vujica: Umetnost Slavka Matkovića; SIFLIS, Zoltan: Video-snimci Slavka Matkovića; Gradska biblioteka, Subotica, 1. novembar
A. H.: Otvorena izložba Roberta Tillya – Hommage Slavku Matkoviću, Subotičke novine, 17. novembar.
ŠRAM, Olga: Hommage prijatelju. Izložba kolaža i asamblaža Roberta Tilija (Tilly), Rukovet, XLI, 10–12, Subotica, str. 46–47.
IVKOV, Slobodan: 60 godina domaćeg stripa u Srbiji 1935–1995. – Six decades of comics in Serbia – A hazai képregény 60 éve Szerbiában, Likovni
susret – Képzőművészeti Találkozó, Subotica, 97, str. 150.
GAJDOS Tibor: A Bosch + Bosch csoport működése, Szabadka Képzőművészete, Életjel, Subotica, str. 282–283.
1996.
DENEGRI, Ješa: Bosch + Bosch, u: Sedamdesete: teme srpske umetnosti, Svetovi, Novi Sad, str. 43.
SZOMBATHY Bálint: Mail Art in Yugoslavia, u: Mail Art-Osteuropa im internationalen Netzwerk, Staatliches Museum Schwerin, Schwerin (Deutchland).
ŠUVAKOVIĆ, Miško: Jezik umetnosti: Nomadizam Slavka Matkovića, u: Asimetrični drugi, Prometej, Novi Sad, str. 122–130.
PAVLOVIĆ, Milivoje: Svet u signalima, u: Prilog letopisu signalizma 1965–1995, Prometej, Novi Sad, str. 135–156.
Lj.(iljana) G.(ogić): Omaž Slavku Matkoviću, Subotičke novine, 44, 31. oktobar, str. 5.
TIŠMA, Andrej: Fanzini: kultura slobode, Krovovi, Sremski Karlovci, br. 36–38, str. 134–138.
Z.(latko) R.(omić): Hommage a Slavko Matković, Život umetnost, i obratno, Subotičke novine, 45, 8. novembar, str. 9.
M.(ihályi) K.(atalin): A szó, a mozdulat, a hang mestere volt, Magyar Szó, Novi Sad, 1. decembar.
1997 .
SZOMBATHY Bálint: Mail art u Jugoslaviji, Projeka®t, Novi Sad, br. 8/9, mart, str. 141–142.
[TASIĆ, Mile]: Gradska biblioteka Subotica – Omaž Slavku Matkoviću, Luča, Subotica, VI, 5, str. 78.
MANDIĆ, Miroslav: Valika o Slavku, u: Sva sela – Hodanje kroz Vojvodinu, Matica srpska, Novi Sad, str. 37.
NEŠIĆ, Dragan: In Memory of Alan Ford, Galerija Spirala, 13–30. novembar, Likovni život, br. 69/70, god X, Beograd, oktobar–novembar.
ANONIM: In Memory of Alan Ford (o izložbi u galeriji Spirala u Priboju), Subotičke novine, 46, Subotica, 21. novembar.
1998.
SZOMBATHY Bálint: Slavko Matković alias Alan Ford avagy az antihős elhivatottságának tragikuma, Symposion, Novi Sad, januar–februar.
DENEGRI, Ješa: Umetnost u zatvorenom društvu u uslovima kulturne globalizacije, u: Prestupničke forme devedesetih – Postmoderna i avangarda na
kraju XX veka, Muzej savremene likovne umetnosti, Centar za savremenu kulturu Konkordija, Novi Sad – Vršac, str. 4–7.
ŠUVAKOVIĆ, Miško: Prestupničke forme, u: Prestupničke forme devedesetih – Postmoderna i avangarda na kraju XX veka, Muzej savremene likovne
umetnosti, Centar za savremenu kulturu Konkordija, Novi Sad – Vršac, str. 8–14.
ŠUVAKOVIĆ, Miško: Slavko Matković (1948–1994), omaž, u: Prestupničke forme devedesetih – Postmoderna i avangarda na kraju XX veka, Muzej
savremene likovne umetnosti, Centar za savremenu kulturu Konkordija, Novi Sad – Vršac, str. 18–19.
Leksikon pisaca Jugoslavije, IV, M–Nj, Matica srpska, Novi Sad, str. 249–250.
RAZORA, Lazar: Osamnaest subotičkih literata u Leksikonu pisaca Jugoslavije, Subotičke novine, 9, Subotica, 6. mart, str. 9.
ANONIM: Subotičani na beogradskoj izložbi, Subotičke novine, 26. jun.
266
LALOVIĆ, Dragana: Galerija Spirala, likovna sezona 1997/98, Koraci, br. 4, Gimnazija, Priboj, str. 15.
DENEGRI, Ješa: Omaž Slavku Matkoviću, Nezavisni, Novi Sad, br. 274, jun.
1999.
MIKOVIĆ, Milovan: Smrt Grge Bajića, u: Život i smrt u gradu, Katolički institut za kulturu, povijest i duhovnost „Ivan Antunović“, Subotica – Hrvatsko
akademsko društvo, Subotica, str. 191–201.
LANTOS László: Beleške uz prevode 4 pesme Slavka Matkovića, Budapesti Jelenlét, 23–24, Budapest, 95–101. p.
ŠUVAKOVIĆ, Miško: Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950, Srpska akademija nauka i umetnosti – Prometej, Beograd
– Novi Sad, str. 260, 398, 537, 588.
2001.
SZOMBATHY Bálint: A vajdasági Bosch + Bosch csoport, Külön világban és külön időben. A 20. századi magyar képzőművészet Magyarország határain
kívül. Magyar Képzőművészek és Iparművészek Társasága, Budapest, 259–262. p.
2002.
MILENKOVIĆ, Nebojša: Andergraund u sopstvenom gradu – Zašto je Novom Sadu neophodan Muzej savremene umetnosti, Dnevnik, Novi Sad, 27.
februar, str. 17.
MILENKOVIĆ, Nebojša: Pluralizam modela – identifikovanje razlika, u: Projekat izmenjenog pejzaža, Muzej savremene likovne umetnosti, Centar za
vizuelnu kulturu Zlatno oko, Galerija Bel art, Novi Sad, jun, str. 3–4.
SUPEK, Jaroslav: Umetnost i simulacija simulakruma, povodom izložbe Projekat izmenjenog pejzaža Nebojše Milenkovića, Bulevar, Novi Sad, br. 89, 5.
jul, str. 28–29.
VUKSANOVIĆ, Suzana: Emancipovanje druge linije vojvođanskog pejzaža, intervju sa Nebojšom Milenkovićem, Bulevar, Novi Sad, br. 90, 19. jul, str.
28–29.
MILENKOVIĆ, Nebojša: Neoekspresionizam – užasi jezika slike (Laslo Kerekeš, Slavko Matković), u: Centralnoevropski aspekti vojvođanskih avangardi
1920–2000, granični fenomeni, fenomeni granica, Muzej savremene umetnosti, Novi Sad, septembar, str. 153–161.
MILENKOVIĆ, Nebojša: Konceptualna umetnost od dela do teksta – Umetnost kao istraživanje umetnosti (Grupa Bosch+Bosch: Od vizuelne poezije do
poezije u prostoru), u: Centralnoevropski aspekti vojvođanskih avangardi 1920–2000, granični fenomeni, fenomeni granica, Muzej savremene umetnosti,
Novi Sad, septembar, str. 89–134.
MILENKOVIĆ, Nebojša: Konceptualna umetnost od dela do teksta – Mail art: Nemoguća komunikacija (Umetnost postumetničke ere, Slavko Matković,
Bogdanka Poznanović, Balint Sombati, Jaroslav Supek), u: Centralnoevropski aspekti vojvođanskih avangardi 1920–2000, granični fenomeni, fenomeni
granica, Muzej savremene umetnosti, Novi Sad, septembar, str. 135–141.
ŽIVANOVIĆ, Milan: Književnost kao eksperiment, Ključevi duha: 50 razgovora, posebno izdanje Dnevnika, Novi Sad, str. 158–160.
2003.
POPOV, Dragana: Telo kao mesto i oruđe umetnosti, intervju sa Balintom Sombatijem, Bulevar, Novi Sad, br. 102, 24. januar, str. 34–37.
ZUBAC, Pero: S. M. – Dobri duh severa, Subotičke novine, 23, Subotica, 6. jun, str. 12.
NINKOV KOVAČEV, Olga: WOW! – stvaralaštvo 70-ih iz vizure lista grupe Bosch + Bosch, Ex Pannonia, 5–7, Subotica, str. 75–79.
NINKOV KOVAČEV, Olga: A vajdasági magyar könyvillusztráció (1918–2000), Az elsüllyedt jelek I. A 20. századi magyar könyvillusztráció
Magyarország határain kívül. Magyar Képzőművészek és Iparművészek Társasága, Budapest, 5–25, 42. p.
UGREN, Dragomir: Selektivna hronologija važnijih događanja i izložbi 1990–2003, u: Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej
XXI veka, Muzej savremene likovne umetnosti, Novi Sad, novembar, str. 31–48.
UGREN, Dragomir: Katalog otkupljenih i poklonjenih umetničkih dela 1990–2003, u: Neuporedivi identiteti – Kolekcija vojvođanske umetnosti za Muzej
XXI veka, Muzej savremene likovne umetnosti, Novi Sad, novembar, str. 49–58.
MILENKOVIĆ, Nebojša: Filozofija umetnosti ili umetnost kao filozofija, Dnevnik, Novi Sad, 17. decembar, str. 20.
2004.
DENEGRI, Ješa: Grupa Bosch+Bosch, u: Studentski kulturni centar kao umetnička scena, Studentski kulturni centar, Beograd, str. 95–98.
DURANCI, Bela: Triglav – dnevničke beleške, Subotičke novine, 6. februar.
B. M.: Protiv kulturne hegemonije Beograda, razgovor sa Dragomirom Ugrenom i Nebojšom Milenkovićem povodom izložbe Neuporedivi identiteti,
Narodne novine, Niš, 23. februar, str. 14.
VUKSANOVIĆ, Suzana; MILENKOVIĆ, Nebojša: ANTITEZA – Umetnost u Vojvodini na kraju XX i početkom XXI veka, katalog, Muzej savremene
likovne umetnosti – Umjetnička galerija Bosne i Hercegovine, Novi Sad – Sarajevo, april, str. 3–6.
POPOV, Nina: Umetnost devedesetih (Dani kulture Vojvodine u Sarajevu), Dnevnik, Novi Sad, 18. april, str. 16.
TEMATSKI BROJ RUKOVETI POSVEĆEN SLAVKU MATKOVIĆU:
TOLNAI, Oto: Anđeosko biće Slavka Matkovića (str. 1–3); MONTY – CANTSIN [KÁNTOR István]: Neoista ne umire, samo se preobražava (str. 4);
Fotobiografija iz fototeke Balinta Sombatija (str. 5–11); MILENKOVIĆ, Nebojša: Filozofija umetnosti ili umetnost kao filozofija (str. 12–14); TRICEPS
[LANTOS László]: Nje strahuj Volođa! (str. 15); SOMBATI, Balint: Selotejp tekstovi (str. 16–17); RADOVANOVIĆ, Vladan: Slavko Matković: Selotejp
tekstovi (str. 18); DENEGRI, Ješa: Slavko Matković (str. 19–20); NINKOV KOVAČEV, Olga: Slavko Matković u senćanskoj koloniji (str. 21–22); VUKOV,
Petar: Poezija i poetika Slavka Matkovića (str. 23–24); CINDORI, Marija: Velikomalo stvaralaštvo Slavka Matkovića (str. 24–26); DURANCI, Bela:
Dnevnik o Matkoviću (str. 27–31); KEREKEŠ, Laslo: Trezor subotičkog Bosch + Bosch (str. 31–32); TILLY, Robert: (Jebeno sjeban) jedan slikar & 2 pes-
nika u express-restaurantu (str. 32–33); SOMBATI, Balint: Slavko Matković alias Alan Ford – ili tragika pozvanosti antijunaka (str. 50–51); KECMAN,
David – Dako: Tačka preseka svih (ne)vidnih putanja (str. 60); CVEJIN, Tatjana: Homo poeticus Slavko Matković (1948–1994) – objavljeno u Beogradu
1994. (str. 61); TASIĆ, Mile: In Memory of Alan Ford (str. 61); Rukovet 1–6, Subotica.
T. M. (Tanja Mandić): Kolekcionari, javite se!, Subotičke novine, Subotica, 14. maj.
DENEGRI, Ješa: In memoriam Slavko Matković (1948–1994), u: Opstanak umetnosti u vremenu krize, Cicero, Beograd, str. 126–130.
VUKSANOVIĆ, Suzana; MILENKOVIĆ, Nebojša: Slike stvarnosti sna, intervju sa Jaroslavom Supekom, Dnevnik, Novi Sad, 19. jun, str. 19.
267
LOTINA, R.: Anđeosko biće Slavka Matkovića, Dnevnik, Novi Sad, 26. jul, str. 16.
I. B.: Ja sam umetnik, Dnevnik, Novi Sad, 11. avgust.
ANONIM: Ich bin Künstler Slavko Matković, http://www.b92.co.yu, Beograd, septembar.
S. S.: Sećanje na Slavka Matkovića, Danas, Beograd, 1. novembar, str. 17.
TIŠMA, A.: Matkovićeva lična drama, Dnevnik, Novi Sad, 4. novembar, str. 16.
S. Č. (Silvija Čamber): Komemorativna izložba i video-zapis performansa Poezija – U susret retrospektivnoj izložbi Slavka Matkovića, Građanski list,
Novi Sad, 4. novembar, str. 11.
268
Kataloški popis izloženih radova Esej o grupi Bosch+Bosch, 1975.
kolaž, kombinovana tehnika, 29,5x21 cm
vl. Muzej savremene likovne umetnosti, Novi Sad
Istraživanja vizuelnih stanja, arte povera
Poezija, 1975.
Crtež, 1965. flomaster na papiru, 24,8x17,8 cm
hartija, tuš u boji, 11,2x9,2 cm vl. Kolekcija Marinko Sudac, Zagreb
vl. Zaviša Matković, Subotica
Esej o Beuysu, 1975.
Ludoš, 1967. flomaster, hemijska olovka na papiru, 21x14,9 cm
tuš na papiru, 20,2x29,2 cm vl. Kolekcija Marinko Sudac, Zagreb
vl. Zaviša Matković, Subotica
Bučna pesma, 1976.
Bez naziva, 1968. flomaster na papiru, 29,8x20,3 cm
tuš u boji na hartiji, 60x42 cm vl. Kolekcija Marinko Sudac, Zagreb
vl. Muzej savremene likovne umetnosti, Novi Sad
Drvo (Iz ciklusa Typoflora), 1976.
Bez naziva, 1968. kolaž (karton, novinski papir, flomaster), 28,5x20,7 cm
tuš u boji na hartiji, folija, 60x42 cm vl. Kolekcija Marinko Sudac, Zagreb
vl. privatno, Novi Sad
Literatura (Iz ciklusa Typoflora), 1976.
Bez naziva, 1968. kolaž (karton, novinski papir, flomaster), 28,6x20,7 cm
hartija, tuš u boji, 63,5x42 cm vl. Kolekcija Marinko Sudac, Zagreb
vl. Muzej savremene likovne umetnosti, Novi Sad
Prostor u tekstu, 1976.
Crtež, 1969. intervencija na novinskom papiru, 29,7x21 cm
hartija, tuš, 24,2x15,6 cm vl. privatno, Novi Sad
vl. Atila Černik, Novi Sad
Espana, 1976.
Crtež, 1969. kolaž, 28,9x21 cm
hartija, tuš, 29,4x20,8 cm vl. Gradski muzej, Subotica
vl. Atila Černik, Novi Sad
U slavu grupe OHO, 1977.
Obrada odbačenog kompjuterskog materijala, 1970. kolaž, 29x20,5 cm
kompjuterski tekst, flomaster na papiru, 91x42 cm vl. Muzej savremene likovne umetnosti, Novi Sad
vl. Kolekcija Marinko Sudac, Zagreb
Ungarishe Rhapsodie No. 2, 1978.
Vizuelna obrada kompjuterskog teksta, 1970. kolaž, 30,4x21,4 cm
kompjuterski tekst na papiru, 21,4x33 cm vl. Gradski muzej, Subotica
vl. Muzej savremene likovne umetnosti, Novi Sad
Selotejp tekstovi II, 1979.
Vizuelna obrada kompjuterskog teksta, 1970. kolaž sa tekstom i vunicom, 40,4x27,8 cm
kompjuterski tekst na papiru, flomaster 2x(30,5x21 cm) vl. Gradski muzej, Subotica
vl. Balint Sombati, Budimpešta
Selotejp tekstovi, 1979.
Vizuelna obrada kompjuterskog teksta, 1970. hartija, selotejp, štampani tekst, 14x(19x21,5 cm)
kompjuterski tekst na papiru, flomaster 2x(30,5x21 cm) vl. Kolekcija Marinko Sudac, Zagreb
vl. Balint Sombati, Budimpešta
Selotejp tekstovi – Nalepci Gutenbergove galaksije, 1979.
Prevod rada Alberta Molnara Sencija iz 1607, 1970. hartija, selotejp, štampani tekst, 2x(29,7x21 cm)
tekst na papiru, 34x24 cm vl. Muzej savremene likovne umetnosti, Novi Sad
vl. privatno, Novi Sad
Budimpeštanski dnevnik, 1979.
The Art on the Bridge, 1971. tekst na papiru, kolaž, 23x(29,6x21 cm)
stranica knjige, flomaster, 15,5x9,5 cm vl. Zaviša Matković, Subotica
vl. Kolekcija Marinko Sudac, Zagreb
U slavu Zaharija Orfelina, 1981.
Ciklus Pop-starovi (Help, My name is Beatle, Roling Stonsi stanuju kolaž sa tekstom, 29x20,8 cm
u mojoj ulici), 1971. vl. Gradski muzej, Subotica
kolaž na novinskom papiru 3x(29,7x21 cm)
vl. Kolekcija Marinko Sudac, Zagreb A 51, 1981.
kolaž sa selotejpom, 29,2x20,6 cm
Prevod rada Lajoša Kašaka, 1971. vl. Gradski muzej, Subotica
flomaster na papiru, kolaž, 4x(29,7x21 cm)
vl. Kolekcija Marinko Sudac, Zagreb Morris (Francuski park), 1985–1990.
kolaž (tekst, novinski papir, flomaster), 8x(29,5x20,7 cm)
vl. privatno
269
Bez naziva, 1986. Intervencije u slobodnom prostoru, 1971.
akrilik na platnu, 70x70 cm koncept, (tekst, crno-bele fotografije), 20x30 cm
vl. Snežana Matković, Subotica vl. Muzej savremene likovne umetnosti, Novi Sad
Gradska domaćica – Moj doprinos razvoju naive u Srbiji, 1986. Vizuelna poezija u prostoru, 1971.
flomaster na papiru, 21x28 cm crno-bela fotografija, 30x20 cm
vl. Kolekcija Marinko Sudac, Zagreb vl. Muzej savremene likovne umetnosti, Novi Sad
270
Obeležene površine, 1973–1976. Belo plus, 1971.
više segmenata, 29,7x21 cm film, 8 mm, c/b, 7 min.
vl. porodica Slavka Matkovića vl. Muzej savremene likovne umetnosti, Novi Sad
Muzej savremene likovne umetnosti, Novi Sad
Film o grupi Bosch+Bosch, 1971.
Obeležene površine, No. 737, 738, 739, 740, 1974. film, 8 mm, c/b, 3 min.
Kombinovana tehnika na papiru, 4x(29,4x20,7 cm) vl. Muzej savremene likovne umetnosti, Novi Sad
vl. Likovni susret, Subotica
Bez naziva 12, 1971.
Proboj – Ulaz u Studentski kulturni centar, 1974.
unikatna knjiga, 3 str., 19,5x14,5 cm
koncept (tekst, crno-bela fotografija), 29,4x30,4 cm
vl. Balint Sombati, Budimpešta
vl. privatno
Oglas Ich bin Künstler, 1974. Putovanje autobusom dan i noć, 1972.
Dnevni list “Harzburger Zeintung” od 26. novembra, 44,5x31,3 cm film, 8 mm, c/b, 5 min.
vl. Kolekcija Marinko Sudac, Zagreb vl. Kolekcija Marinko Sudac, Zagreb
Botticelli Sandro 1444/45–1510: Rođenje Venere (detalj), 1975. Mentalni palindrom, 1973.
kombinovana tehnika (tuš, letraset na papiru) 43x31 cm knjiga-objekat, 12,5x8 cm
vl. Muzej savremene likovne umetnosti, Novi Sad vl. Kolekcija Marinko Sudac, Zagreb
Otvoreno pismo članovima grupe Bosch+Bosch, 1977. Strip projekt II deo – Čudnovata mašina za mlevenje, 1974. (?)
kolaž, tekst na papiru, 28,8x17 cm flomaster na papiru, 41,4x28,8 cm
vl. privatno, Novi Sad vl. Kolekcija Marinko Sudac, Zagreb
Dopisnica, 1973.
flomaster na papiru, 10,3x15,7 cm
vl. Muzej savremene likovne umetnosti, Novi Sad
Ja ovako slikam
Mornar, 1984.
uljani pastel na kartonu, platno, 22x17 cm
vl. Muzej savremene likovne umetnosti, Novi Sad
273
Izdavač / Published by
Muzej savremene likovne umetnosti, Novi Sad
Museum of Contemporary Art, Novi Sad
Jevrejska 21, 21000 Novi Sad, SCG / Serbia & Montenegro
Tel: + 381 21 613 897 / Fax: + 381 21 611 463
E-mail: msluns@eunet.yu / Web site: www.msluns.org.yu
Urednik / Editor
Nebojša Milenković
Bibliografija / Bibliography
Olga Kovačev Ninkov
Nebojša Milenković
Fotografije / Photographs by
Pavle Jovanović, Bálint Szombathy, Árpád F. Tóth, Edvard Kirbus, Martin Candir, László
Kerekes, Károly Kovács, Katalin Ladik, József Markulik, Zaviša Matković, Dejan
Poznanović, Dragutin Savić, Gábor Tóth
Staging of the exhibition and printing of the monograph have been carried out owing to the
support by The Secretariat for Culture and Education of the Executive Council of the
Autonomous Province of Vojvodina.
CIP – Каталогизација у публикацији
Библиотека Матице српске, Нови Сад
Matković, Slavko
Ich bin Künstler: Muzej savremene
likovne umetnosti, Novi Sad, [decembar 2004, Studentski
kulturni centar, Beograd, februar, 2005, Gradski muzej,
Subotica, Galerija Likovni susret, Subotica, mart, 2005] / [autori
tekstova Nebojša Milenković, Bálint Szombathy, Ješa Denegri;
bibliografija Olga Kovačev Ninkov, Nebojša Milenković;
prevod na engleski Angelina Čanković Popović, prevod sa
mađarskog Árpad Vickó,]. - Novi Sad: Muzej savremene
likovne umetnosti, 2004 (Novi Sad: Stojkov). – 273 str.:
ilustr.; 26cm
ISBN 86-84773-13-6
COBISS.SR-ID 199672071
ISBN 86-84773-13-6