WELCOME TO MY SITE / DOBRODOŠLI NA MOJ SAJT

Biography / Biografija

Miroslav Stakić was born on the 8th of June, 1983, in Sisak, Croatia. He currently resides and works in the city of Prijedor, Bosnia and Herzegovina. He has the Bachelor of Arts degree in painting, awarded by the Academy of Arts in Banja Luka, Bosnia and Herzegovina. Miroslav graduated in the class of professor Veso Sovilj.

Miroslav Stakić, rođen 8. juna 1983. godine u Sisku (Hrvatska). Živi i radi u Prijedoru, Bosni i Hercegovini. Diplomirao slikarstvo na Akademiji umjetnosti u Banjoj Luci, u klasi prof. Vese Sovilja.

 

Group exhibitions / streaming /

2004.
The student’s exposition, the Academy of Art, Banja Luka
Tradition as inspiration, the public and university library, Banja Luka, RS
2005.
The big student’s exposition, the Academy of Art, Banja Luka
2006.
The artistic future of Prijedor, Gallery 96, Prijedor
The exposition of methodology works, the City Museum, Banja Luka
The big student’s exposition, the Academy of Art, Banja Luka
The 85th anniversary of Grammar school in Prijedor, exposition
Students’ exposition, VI, The Academy of Art, Banja Luka
2007.
The big student’s exposition, the Academy of Art, Banja Luka
2010.
namaTRE.ba project, Trebinje
2011.
Artyčok.tv / Czech Republic / Ten minutes for existence of art
2012.
ArtClue / EASTERN EUROPE ART MAGAZINE / The Wall
Kustosiranje #2 / Beograd / The Road of the living
Zavod kolektiva /Ljubljana, Slovenija/
International Video Exchange exhibition/screening at Small Projects Gallery/ Tromso, Norway
2013.
Can Be Outrageously Patient / Heritage house , Belgrade, / January 2013.
Can Be Outrageously Patient / Art gallery of Bosnia and Herzegovina, / Mart 2013
2018.
International Trijenale of autoportraits and portraits /Memorial gallery “Dušan Starčević” in Smederevska Palanka

My own exhibitions:
2006.
People and Machines, The Prijedor Theatre,
2011.
The BIG machine ART, Museum of Contemporary Art Republic of Srpska, Banja Luka
2013.
The Way of the Living, Dogma Arts, Banja Luka

Rewards:
2007.
The reward for the installation “Traces”, The Academy of Art, Banja Luka,
2011.
The third prize for a video work „THE WALL“. The Gallery 96, Prijedor

Conceptual, intermedial and video research:
2006.
Machines as the beginning of creation
2007.
The installation “Traces”
2009.
Video presentation “Cycle”
Video presentation “Chair”
Video presentation and performance “The Big Machine Art 1”
2010.
Performance and video presentation THE BIG MACHINE ART 2
Performance and video presentation THE BIG MACHINE ART 3
Performance and video presentation THE BIG MACHINE ART 4
Performance and video presentation THE BIG MACHINE ART 5
Performance and video presentation THE BIG MACHINE ART 6
Video presentation “The Road of the Living”
2011.
Video presentation „One minute film”
Video presentation ”The wall”
Video presentation / Ten minutes for existence of art

Projects:
2002/03.
Worked as the actor and cooperator in the movies “Todor” and “Maria”, by Zoran Radonjic
2008.
The assembly and camera operator for the video presentation “The Anticeremonial Declaration of The Planet Earth”, by Mladen Bundalo
2010.
The installation, assembly and camera operator for the video presentation “The Road of The Silk”, by Nemanja Cadjo
The assembly for the documentary “I AM”, by Jelena Topic

Kolektivne izložbe / streaming /

2004.
Studentska izložba, Akademija umjetnosti, Banja Luka
Tradicija kao inspiracija, Narodna i univerzitetska biblioteka RS, Banja Luka
2005.
Studentska izložba, Akademija umjetnosti, Banja Luka
2006.
Likovna budućnost Prijedora, Gallery '96, Prijedor
Izložba radova iz metodike, Muzej Republike Srpske, Banja Luka
Studentska izložba Akademija umjetnosti, Banja Luka
Izložba 85 godina postojanja prijedorske Gimnazije, Gallery '96, Prijedor
Studentska izložba VI, Akademija umjetnosti, Banja Luka
2007.
Studentska izložba Akademija umjetnosti, Banja Luka
2010.
NamaTRE.ba4, Trebinje
2011.
Artyčok.tv / Češka / Deset minuta za egzistenciju umjetnosti / Ten minutes for existence of art
2012.
ArtClue / EASTERN EUROPE ART MAGAZINE / The Wall
Kustosiranje #2 / Beograd / Put živih
Zavod kolektiva /Ljubljana, Slovenija/
International Video Exchange exhibition/screening at Small Projects Gallery/ Tromso, Norway
2013
Mogu biti gadno strpljiv(a) /I Can Be Outrageously Patient / Heritage House, Belgrade, januar 2013./
Mogu biti gadno strpljiv(a) /I Can Be Outrageously Patient / The Gallery of Arts, Bosnia and Herzegovine / March 2013
2018
Međunarodno Trijenale autoportreta i portreta /Memorijalna galerija “Dušan Starčević” u Smederevskoj Palanci
Samostalne izložbe:
2006.
Ljudi i Mašine, Pozorište Prijedor
2011.
The Big Machine Art, Muzej savremene umjetnosti Republike Srpske, Banja Luka
2013.
Put živih, Dogma Arts, Banja Luka
Nagrade:
2007.
Nagrada za instalacije “Tragovi”, Akademije umjetnosti u Banjoj Luci
2011.
Treća nagrada festivala kratkog filma „3-3000” Prijedor za kratki film Zid / The Wall
Konceptualna, intermedijalna i video istraživanja:
2006.
MAŠINE KAO POČETAK STVARALAŠTVA
2007.
INSTALACIJA “TRAGOVI”
2009.
Video rad CIKLUS
Video rad The CHAIR / “Stolica”
Performans i video rad THE BIG MACHINE ART 1
2010.
Performans i video rad THE BIG MACHINE ART 2
Performans i video rad THE BIG MACHINE ART 3
Performans i video rad THE BIG MACHINE ART 4
Performans i video rad THE BIG MACHINE ART 5
Performans i video rad THE BIG MACHINE ART 6
Video rad PUT ŽIVIH
2011.
Video rad / Jedan minut film / One minute film
Video rad / Zid / The Wall
Video rad / Deset minuta za egzistenciju umjetnosti / Ten Minutes for the Existence of Art
Projekti:
2002/03.
Radio kao glumac i saradnik na filmovima Zorana Radonjića „Todor” i “ Marija”
2008.
Montaža i kamera za video rad „Anticeremonijalno proglašavanje planete ZEMLJOM“ – Mladen Bundalo
2010.
Postavka instalacije, montaža i kamera za video rad „Put svile“ – Nemanja Čađo
Montaža dokumentarnog filma „JA SAM“ – Jelena Topić


Texts and critiques / Tekstovi i kritike

MLADEN BUNDALO

www.mladenbundalo.com

Converging?

I admit that the performative series under the name “The Big Machine Art” from the author Miroslav Stakić, represents a complete cognitive challenge for me, in the sense of understanding the cause and methods used by the author. Then again, even if I happened to think of a more consistent and intricate semantic web, a problem would arise of which medium to use in order to represent such a mental interpretation to the audience, making sure that it is concise and referring to potentially “objective” values of Miroslav’s performative act, in the process. On that account, with a textual interpretation, I hereby offer several diagrams which I used as assisting means together with this critical text >>> .

Konvergencija?

Priznajem da mi je serija performansa Miroslava Stakića pod radnim nazivom Big machine art potpuni kognitivni izazov, u smislu razumjevanja povoda i metoda kojim se autor služi. Sa druge strane, ako mi se i desila konzistentna, složenija semantička mreža, nastaje problem kojim medijom publici reprezentovati mentalnu interpretaciju, a da bude prihvatljivo koncizna, te referentna na potencionalno „objektivneˮ vrijednosti  Miroslavovog, performativnog akta.
Tim povodom, uz tekstualnu interpretaciju, prilažem nekoliko dijagrama, kojima sam se služio u prilog pronicljivosti ovog kritičkog teksta >>> .

PREDRAG TERZIĆ

www.predragterzic.com


Of difficulty and easiness

Every thing is about to disappear, it’s what it seeks. (Jean Nouvel)

A man was always seeking for a story. Whether drawn or in the written form, depended on the artist. In any case, an artist has his/her own way of telling his story, which consequently leads to the appearance of various drawings. Using the Volvo EC240 machine, Miroslav Stakić found his own way of telling us a story about art (drawing) and technology. As Dana Arnold put it: “The physical attributes of a work of art have a deep impact on how we understand them as objects.” In Miroslav’s case, we have a question of how to understand the usage of excavator’s bucket as a tool for creating the work of art? The connotation of an excavator is more familiar to each of us in its natural surrounding, like the mining or construction site in our vincinity >>> .


O lakoći i težini

Svaka je stvar spremna nestati, to je sve što ona traži. Žan Nuvel (Jaen Nouvel)

Čovek je oduvek tražio priču. Da li bi ona bila napisana ili nacrtana to je zavisilo od umetnika. U svakom slučaju, umetnik ima svoj način ispisivanja priče, što dovodi dalje i do toga da se pojavljuju i različiti crteži. Miroslav Stakić je pomoću Volvo-a EC240 našao svoj put da nam ispriča priču o umetnosti (crtežu) i tehnologiji. Kako kaže Dana Arnold (Dana Arnold): ”Fizičke osobine umetničkog dela bitno utiču na to kako ih razumemo kao objekte.” Kod Miroslava nam se javlja još jedan problem, kako da razumemo upotrebu bagera-kašike kao sredstva za postizanje umetničkog dela? Bager nam je svima razumljiviji u njegovom prirodnom prostoru, poput rudarskog kopa ili gradilišta koji se trenutno nalazi u našoj blizini >>> .

IGOR BOŠNJAK

www.igorbosnjak.com

A man or machine

I’m going to say something to those who despise the body... A soul
is just one word for body. The body is a great wisdom, a cluster with one
meaning, a war and peace, a herd and a shepherd.

The Cartesian dualistic theory of dividing the mind and body was criticized from the very beginning, since its first appearance. In his work “Machine Man” (1748.), Julien Offray de la Mettrie explicitly rejected the Cartesian theory and suggested the existence of connection between the material (the material body) and the one signified as esprit (mind, spirit or soul), claiming that the different conditions of soul are always connected to those in the body. The Cartesian logic emphasised the fact that the body needs to be transcendental, i.e. according to Freud’s terminology, it has to be either repressed or neglected. It should be pointed out that, even though the repressions of the body had been successful in the Cartesian theory, the body still had considerable and important repercussions in the discourse of the history of art. In the second half of the 20th century, such discourses are reflected within the mechanisms of binary or opposing relations according to performative basis: body/work of art >>> .


ČOVJEK I MAŠINA

Reći ću nešto onima koji preziru tijelo… Duša je samo
jedna riječ za tijelo. Tijelo je velika mudrost, mnoštvo
sa jednim smislom, rat i mir, stado i pastir.

Kartezijanska kritika razdvajanja uma i tijela osuđena je još na početku, prilikom svog prvog artikulisanja. U svom traktatu Čovjek mašina iz 1748.godine, Žilijan Ofrej de la Metr eksplicitno kritikuje kartezijanstvo, te špekuliše o postojanju veze između materije (materijalnog tijela) i onoga što označava kao esprit (um, duh ili duša) objašnjavaući da su različita stanja duše uvek u korelaciji sa onima u tijelu. Kartezijanska logika je naglašavala da tijelo mora da bude transcedentno tj. po Frojdovoj terminologiji tijelo je moralo biti potisnuto ili ga se trebalo odreći. Treba naglasiti, da iako su uspješni pokušaji potiskivanja tijela  u kartezijanskoj misli, ono, tijelo je imalo duboke i važne reperkusije u diskursu istorije umjetnosti. Takvi diskursi u drugoj polovini XX vijeka se očituju unutar mehanizama binarnih ili opozitnih relacija po performativnoj osnovi: tijelo/umjetničko djelo >>> .