In his childhood and early youth, science fiction, be it in the form of literature, film and especially comic strips, occupied a special place on Lađušić’s list of priority inter-ests. Apart from science fiction, what this author found in-triguing, almost to the point of obsessiveness, were issues pertaining to the principles governing the functioning of the world, global economic flows and the notion of an ideal society. Through various contexts and algorithms, he pro-duced his own microsystems and so-called parallel econ-omies, wherein he discovered and studied mutual relations and proportions. Those early worlds of his were for the most part in the form of drawings and free sketches, which he dis-carded upon completion, considering them to be either too intimate or historically inarticulate and worthless. However, that period of his early creative artistic work was one in the course of which he, searching for the principles of creation, established the foundation of his aesthetics. What came into being inside of him was a special feeling, which turned into a colour filter of sorts over time, through which he generat-ed information, arriving at various solutions and opinions. He himself became the way in which he viewed everything around him and pondered his own place in the given con-texts. After the 1990’s, during the course of which Lađušić’s work was dominated by expression and elements of figura-tion, there came a period of technological experimentation with colour, and those pictures were mainly free landscapes reduced to rough association and abstraction. What was lost was a specific emotional charge and weight, characteristic of the preceding period of his work, during the years of a delicate political situation in these parts. In aesthetic terms, those science-fictional landscapes were almost devoid of dimensions, assuming their form out of a kind of optimism that marked the lives of the 1970’s and 1980’s generations, which remains a rather bright period in Lađušić’s memory, regardless of the Cold War era and the political divisions oc-curring at the time. In the 2000’s, the focus was shifted onto atmosphere and colour, which led to the creation of a series entitled Grav-itation, that is, around a dozen large-format pictures. Chaos, the concluding work of this cycle, came into being out of an attempt to explain childhood, as a reminiscence and enliv-ening of that monumental experience. Out of a need to clar-ify to himself the reason for the existence of something as intense and visually alive in its emotion, the author started painting the materialisations of that specific state. Why did that particular colour remain in his con-sciousness for so long? Regardless of what he does or where he moves, it follows him, warns him, it is a constant. Apart from the common features of the entire se-ries, characteristic colours and the temporal dimension that influenced a change in tone and the colour gradation, Chaos stands out in particular. Even though the initial treatment

was the same as in the other works in this series, this pic-ture, which was two years in the making, was perceived by the artist as unfinished for a long time. As regards the ac-tual method of its creation, the picture was treated as if it were of an exceptionally small format. The author shook and turned the picture, initially he painted with a roller, treated the surface with various trowels and tools, used old credit cards, quite simply, when it came to the means at his dispos-al, almost everything that was adequate at a given moment received its utilitarian value (elements of action painting). In Chaos, one can read the multi-layered process of creation, that is, the phases of development. Lađušić was interested in finding out where those multi-layered spreads would take him. The grounding was realised using the acryl-ic technique, and then oil colours were spread onto that base in great quantities. Apart from the multiple layers of colour, the perspective and depth of Chaos were also influ-enced by the artist’s strokes, that is, by the resulting lines of varying thickness, intensity and character. Although it gives off the impression of spreading in all directions, the picture still possesses a supporting geometry that contributes to its monumentality and firmness. The centrality and its sur-roundings are clearly singled out, even though the centrality itself is not excessively limited. Through a careful analysis, we can read the mutually conflicting tendencies of motion almost entirely. At times, it gives off the impression of mov-ing in a direction opposite to its centre, reminiscent of an ex-plosion, whereas in the next moment the picture condenses, that is, moves towards its centre (implosion), which actually contributes to the balance and harmony of the overall im-age. It spreads in all directions, through depth, width and, finally, time. The temporal dimension arose spontaneously, without the artist’s intention or attempt to present it. The cyclical character of the picture arose through the cyclical method of its development. The author gradually filled the surfaces, and then slowly entered the picture itself. During its creation, all the sides were of equal importance. The can-vas had the same value regardless of the plane or the con-text in which it was placed. It is square in terms of shape, but there is a clear symmetry between a square and a circle. Chaos represents the sublimation of all the phases of the cycle Gravitation. With enormous boldness, the idea was exploited to the end. In Chaos, there is no non-colour, Chaos represents a perfect balance of all colours. Chaos is not a part but the whole of memories, of childhood. Chaos is the notion of be-ginning and end. Chaos is emotion. Chaos is entity. Chaos is essence. Chaos is perfect. Perfection does not exist without Chaos. Chaos penetrates borderlines. Chaos confronts you. Chaos is life, and life is Chaos. One who is not in Chaos does not live. Chaos is the paradigm of unfinished work. Chaos is a finished work.

Nataša Radojević

U periodu detinjstva i rane mladosti, posebno mes-to na lestvici Lađušićevih interesovanja zauzimala je naučna fantastika putem književnosti, filma, a naročito stripa.Pored naučne fantastike, autor je bio intrigiran, gotovo do granica opsesivnosti, pitanjima principa funkcionisanja sveta, tokov-ima globalne ekonomije i predstavom o idealnom društvu. Kroz različite kontekste i algoritme, proizvodio je sopstvene mikrosisteme i tzv. paralelne ekonomije, u kojima je otkrivao i proučavao međusobne odnose i proporcije. Ti njegovi rani svetovi uglavnom su bili u formi crteža i slobodnih skica, koje je, po završetku, bacao smatrajući ih ili previše intimnim, ili istorijski neartikulisanim i bezvrednim. Međutim, to razdo-blje početka njegovog umetničkog stvaralaštva je period u kome je, tragajući za principima stvaranja, postavio temel-je svoje estetike. U njemu se rodilo posebno osećanje koje se s vremenom pretočilo u svojevrsni koloristički filter, kroz koji je generisao informacije, dolazeći do različitih rešenja i mišljenja. On je sam postao način na koji posmatra sve oko sebe i promišlja sopstveno mesto u datim kontekstima. Nakon devedesetih godina, tokom kojih u Lađušićevom radu dominiraju ekspresija i elementi figura-cije, usledio je period tehnološkog eksperimenta u pogledu boje, i te slike uglavnom su bile slobodni pejzaži svedeni na grubu asocijaciju i apstrakciju. Gubi se specifična vrsta emotivnog naboja i težine, karakteristična za prethodni pe-riod njegovog rada, tokom godina delikatne političke situ-acije na ovim prostorima. U estetskom smislu, ti njegovi naučnofantastični pejzaži gotovo da su bili lišeni dimenzija i svoje obličje su zadobijali iz jedne vrste optimizma koji je obeležio živote generacija sedamdesetih i osamdesetih go-dina, dosta svetao period u Lađušićevom sećanju, bez obzira na vreme hladnog rata i određenih političkih podela koje su se dešavale u to doba. Tokom perioda dvehiljaditih, fokus se prebacuje na atmosferu i kolorit, i nastaje serija pod nazivom Gravitacija, odnosno desetak slika velikog formata. Haos, zaključno delo ovog ciklusa, nastaje iz pokušaja objašnjenja detinjstva, kao reminiscencija i oživljavanje tog monumentalnog iskustva.Iz potrebe da objasni sebi razlog postojanja nečega tako inten-zivnog i vizuelnoživotnog u svojoj emociji, materijalizacije tog specifičnog stanja, autor počinje da slika. Zašto je baš ta boja opstala toliko dugo u njegov-oj svesti?Bez obzira šta radi ili kuda se kreće,ona ga prati, opominje, ona je konstanta. Pored zajedničkih crta cele serije, karakterističnih boja i vremenske dimenzije koja je uticala na promenu to-naliteta i kolorističku gradaciju, Haos se posebno izdvaja.

Iako je početni tretman bio isti kao i u ostalim delima ove serije, ova slika, nastajala dvegodine, u umetnikovoj per-cepciji dugo je smatrana za nedovršenu. Što se tiče samog postupka nastajanja, slika je tretirana kao da se radi o izuzetno malom formatu. Autor je drmao i okretao sliku, u početku slikao valjkom, prelazio površinu raznim špahtlama i alatima, koristio stare kreditne kartice, jednostavno, što se tiče sredstava, gotovo sve što je bilo adekvatno u datom momentu je dobilo svoju upotrebnu vrednost (elementi ak-cionog slikarstva). U Haosu se čita slojeviti proces stvaranja, odnosno etape građenja. Lađušića je zanimalo gde će ga odvesti ti slojeviti nanosi. Podloga je rađena u tehnici akrilika, a potom su se na tu bazu naslanjale uljane boje u velikim količinama. Na perspektivnost i dubinu Haosa, osim slojevitog nanosa boje, uticali su i potezi,odnosno nastale linije raznih debljina, intenziteta i karaktera. Iako odaje utisak prostiranja u svim pravcima, slika ipak poseduje noseću geometriju koja dopri-nosi monumentalnosti i čvrstini. Centralnost i okruženje su jasno izdvojeni, iako sama centralnost nije preterano limiti-rana. Pažljivijom analizom, možemo očitati gotovo potpuno međusobno protivrečne tendencije kretanja. Na momente nam ostavlja utisak kretanja u suprotnom smeru od svog centra, odajući utisak eksplozije, dok se u sledećem mo-mentu slika sabija, odnosno kreće ka svom centru (implozi-ja), što zapravo doprinosi ravnoteži i harmoniji celokupne predstave. Ona se prostire u svim pravcima, kroz dubinu, širinu i, na kraju, vreme. Vremenska dimenzija je nastala spontano, bez namere ili pokušaja umetnika da je predstavi. Cikličan karakter nastao je cikličnim postupkom građen-ja slike.Autor je postepeno punio površine, a zatim polako ulazio u samu sliku. Tokom nastajanja, sve strane su bile podjednako važne. Platno bi imalo iste vrednosti bez obzira na ravan ilikontekst u koji je postavljeno. Jeste kvadratnog oblika, ali između kvadrata i kruga je jasna simetrija. Haos predstavlja sublimaciju svih faza ciklusa Grav-itacija. Ogromnom smelošću, ideja je eksploatisana do kraja. U Haosu ne postoji neboja, Haos predstavlja savršenu ravnotežu svih boja. Haos ne predstavlja deo, već celinu sećanja, detinjstva. Haos je predstava početka i kra-ja. Haos je emocija. Haos je entitet. Haos je suština. Haos je savršen. Savršenstvo ne postoji bez Haosa. Haos ruši granice. Haos te suočava. Haos je život, a život je Haos. Ko nije u Haosu, ne živi. Haos je paradigma o nedovršenom delu. Haos je završeno delo.

Nataša Radojević

MARKO LAĐUŠIĆ je diplomirao 1995. godine na Fakultetu primenjenih umetnosti u Beogradu, na Odseku za primenje-no vajarstvo. Predaje na istom fakultetu od 1998. godine, a 2015. je izabran u zvanje redovnog profesora. Takođe, od iste godine, predaje i na Fakultetu tehničkih nauka u NovomSadu, na Odseku za scenski dizajn.Bio je art direktor dva kulturna centra /District i Kocka/, u Beogradu, u periodu od 2005. do 2008. godine, koordinator BELEF-a i autor projekta Terratorija od 2008. do 2014. godine. Takođe, autor je projekta Black Box na MIKSER festivalu 2015.Od 2013. godine je na poziciji art direktora Kombank Art Hola.Do sada je imao sedam samostalnih i učestvovao je na više od pedeset kolektivnih izložbi. Participirao je na nekoliko mul-timedijalnih projekata u zemlji i inostranstvu. Njegova dela su uvršćena u više javnih i privatnih kolekcija, a skulpture postavljene na par gradskih lokacija.Bavi se slikarstvom, skulpturom i multimedijalnim perfor-mansom.Trenutno živi u Beogradu.

MARKO LAĐUŠIĆ graduated in 1995 from the Faculty of Ap-plied Arts in Belgrade, the Department of Applied Sculpture. He has been teaching at the above faculty since 1998, and in 2015 he was awarded the title of Full Professor. Also in 2015, he started teaching at the Faculty of Technical Sciences in Novi Sad, at the Department of Stage Design.He was the Art Director of two cultural centres (District and Kocka /Cube/) in Belgrade in the period between 2005 and 2008, the coordinator of BELEF (The Belgrade Summer Festi-val) and the author of the project Terratorija from 2008 to 2014. He is also the author of the project Black Box, featured at the MIKSER festival in 2015.Since 2013, he has been the Art Director of Kombank Art Hall.Until now he has had seven solo exhibitions and has participat-ed in over fifty group exhibitions. He has participated in several multimedia projects in Serbia and abroad. His works have been featured in a number of public and private collections, and his sculptures have been mounted in two locations in the city.He deals with painting, sculpture and multimedia performance.He currently lives in Belgrade.

EKSPLOZIJA I IMPLOZIJA HAOSATHE EXPLOSION AND IMPLOSION OF CHAOS

EKSPLOZIJA I IMPLOZIJA HAOSATHE EXPLOSION AND IMPLOSION OF CHAOS

izdavač / publisher Galerija DAR MARtekst / text Nataša Radojević prevod / translation Novica Petrović lektura / proofreading Borivoje Gerzić fotografije / photo Nemanja Maraš dizajn naslovne strane / cover page design Ana Aleksovdizajn / design Tihomir Dabić štampa / print Cicero, Beogradtiraž / circulation 400decembar / december 2015

CIP - Каталогизација у публикацији - Народна библиотека Србије, Београд

75.071.1:929 Лађушић М.(083.824)75(497.11)(083.824)

ЛАЂУШИЋ, Марко, 1967- Eksplozija i implozija haosa = The Expolosion and Implosion of Chaos :[Marko Lađušić] / [tekst, text Nataša Radojević ; prevod, translationNovica Petrović ; fotografije, photo Nemanja Maraš]. - Beograd : GalerijaDAR MAR, 2015 (Beograd : Cicero). - 1 presavijen list ([6] str.) : ilustr.; 27 cm

Tiraž 400. - Uporedo srp. tekst i engl. prevod. - Slika M. Lađušića ibeleška o njemu.

ISBN 978-86-919411-0-91. Радојевић, Наташа [аутор додатног текста], 1989- 2. Петровић, Новица[преводилац] 3. Мараш, Немања [фотограф]a) Лађушић, Марко (1967-) - Слике - Изложбени каталозиCOBISS.SR-ID 219464716

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