Books

Žvaka za ludaka

originalslika-Radovan-Hirsl-Zvaka-za-ludaka-20901577

Ova ogoljena, brutalno antipatetična ispovest bivšeg narkosa-veterana, hipi-prvoborca i čoveka koji je do balčaka odživeo sve (sup)kulturne oluje od prvih bit-igranki pa do dekadencije i raspadanja “novog talasa” – a sve vreme srčano boraveći u samom njihovom epicentru – knjiga je posve izvan svakog šablona, kniga-događaj u onom važnom, ne-industrijskom, izumirućem smislu reči. Nasuprot sugestiji iz sopstvenog naslova, Žvaka za ludaka je subjektivno, a pouzdano svedočanstvo o jednoj epohi koja nas je sve (ovako ili onako) formirala, pisano sa pozicije društvenog “marginalca”, umetnika koji je – pre svega zahvaljujući izvesnim svojim “lošim navikama” – godinama imao više posla sa dilerima i uličnim pozornicima nego sa galeristima i kritičarima, ali koji je učesnik i lucidni svedok (slobodno se krećući po društvenoj i prostornoj vertikali i horizontali) jednog grada i jedne zemlje u čijim razvalinama mi dan-danas obitavamo, pokušavajući da stvorimo nešto novo, mada uglavnom ne znamo tačno šta. Prateći jedan uzbudljiv životni put, od golotrbog detinjstva u (još) posleratnim pedesetim, preko kojekakvih, tada pomodnih, kosijanerskih putešestvija po Dalekim Istocima (mnogi će se tehno-konzument, recimo, iznenaditi još kad su ono njegovi preci otkrili famoznu indijsku državu Goa…), a pre i izvan svega minuciozno portretirajući duh, ljude i navade kulturološki prevratnog vremena sazrevanja YU-društva, Hiršl uspeva da mu Žvaka za ludaka na svakoj svojoj stranici bude pre svega jedno upečatljivo pretresanje vlastitog života, bespoštedno prema sopstvenim posrtanjima – kakva, jelte, “primerni građani” drže pod trostrukim ključem – a da, kao uzgred, bude i hronika turbulencija jednog bivšeg života, onog čiji se društveno-epohalni kontekst u međuvremenu rastočio u ništavilu. Pri tome je Hiršl pisac sigurne ruke, možda nesklon bravurama, ali pouzdan surfer kroz sopstvenu Priču; voleo bih da se nešto slično može reći za većinu ovdašnjih Književnika Sa Dna Kace, doživotnih i odživotnih pretplatnika na kojekakva gromopucatelna priznanja & titule. Razume se, ova će knjiga ostati uglavnom neprimećena i kritički nevrednovana; razume se još nešto: nemojte dopustiti sebi da ne pročitate jednu od najbitnijih knjiga pisanih na srpskom 2006. godine.

Teofil Pančić,
VREME 836, 11. januar 2007. / KULTURA

http://www.knjizara.com/knjige/knjiga/116202_%C5%BDvaka+za+ludaka_ISBN:86-07-01707-1

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Joyful Apocalypse:

The Art of Radovan Hirsl

v_9783078880323

Preface to Joyful Apocalypse-The Art of Radovan Hiršl

(ed. by Claude Steiner)

I met my friend Radovan Hiršl in spring 1991. At our first encounter, I suppose, we both knew, that henceforth our roads will run parallel and entangled. I just found new room for my printing shop, however, it was simply too big for me alone. So I asked Radovan, whether he needed an atelier and would like to move with me in the Geroldstrasse 5. He agreed immediately, and I visited him the next day in his place at the Erismannhof, where he lived with his wife Ljiljana and his daughter Irma, who was nine months old.

The place was full of art, sculptures and paintings – mostly by Radovan himself. I was almost bowled over by what I saw. I certainly knew that I have met an artist – but what kind of an artist!

Two weeks later we moved in the big room at Geroldstrasse 5 in Zürich. In that same building, the first techno club, the “Catacomb,” opened its gates beneath us, and one store above us, anarchist mountain-bikers organized themselves in a bike courier collective. A little while later, a few house blocks further, people from the dispersed anarcho-milieu occupied the factory “Wohlgrot.” Illegal bars and small meeting points were opened all over Zürich. A living artistic community emerged at the right time for us, idealistic culture activists with boundless hashish euphoria. Those, who had some room, could realize their ideas. We worked, discussed, lived and tried our visions constantly. We established in that manner the “Virus-Workshop” as an artistic collective and exhibition team. Other ateliers were added and we installed in the greater part the Virus-Bar as a meeting point, club and rehearsal room for our music project “Nihilo Stabilo.” The Virus Publishing House was established as a reservoir for many graphic products, posters, books and documentations of our friends artists, that I printed at that time.

Radovan was painting constantly. When he didn’t work, he talked – told stories and wisdoms. The war started in Yugoslavia. He painted this subject – “War-series” emerged.

Few years later, the Virus-Bar was closed. The police intervened during the premiere of the movie “Blutgeil.” We dissolved our collective, but did not stop our collaboration.

In the beginning of 1995, together with Nadia Honarchian and LJiljana Hiršl, we took over the gallery Tumb at the Lutherstrasse in Zürich. During a year and a half we organized exhibitions, lectures and film evenings. In 1999 we founded the Nachtschatten Art in collaboration with the Nachtschatten Publishing House in Solothurn, and organized an exhibition of works of more than 40 artists on the occasion of a congress in Basel: “The Psychonautic Landscape.” We continued with this exhibition series in Zürich and Amsterdam. On the occasion of the 60th anniversary of the discovery of the psychoactive effect of LSD we exhibited works of more than 60 artists. Following this, we published a catalogue “A Trip into Psychonautic Art.” Few months ago, we organized another exhibition and presented it in Amsterdam under the name “Psychonautic Landscape IV.”

So we knew with certainty that our roads are going to entangle and I am happy to be involved with Radovan. His art interested me since the beginning of our friendship and for that reason I was always looking forward to this moment – to realize a book about his work.

In this sense, I wish you all a joyful apocalypse.

Claude Steiner, Zürich 2005.

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