• 07/09/2024/

• Salon muzeja TERRA

Vida Stanisavac Vujčić – ,,Naked Maya”

07/09/2024, The exhibition  “Naked Maya”   -Vida Stanisavac Vujčić in the salon of the TERRA museum, was opened . The exhibition is open until mid-October.

Vida Stanisavac Vujčić, PhD (1981) graduated in sculpture in 2008 from the Faculty of Fine Arts in the class of Professor Slavoljub Caje Radojčić. She earned her doctorate in 2018 in the Sculpture Department with a dissertation titled “Aren’t You Pretty Stojanović Olga! – The Portrait of the Relationship Between Mother and Daughter – Sculptures, Graphics, Photographs,” under the mentorship of Olivera Parlić-Karajanković, PhD. From 2010-2012, she held the status of an independent artist. Since 2012, she has been teaching at the Department of Arts at the State University of Novi Pazar (titles: Associate Professor of Art and Instructor of Skills). From 2020-2023, she served as the chair of the sculpture section of ULUS.

HARSH BAROQUE

The exhibition “The Nude Maja” by our renowned sculptor Vida Stanisavac Vujčić presents the self-liberating motif of bathing and cleansing of a young woman, a motif that is conveyed through several media. The central piece of the exhibition is the installation “The Nude Maja,” which consists of a plaster sculpture-relief depicting a classically sculpted drapery. Over this drapery, a 13-minute video projection is displayed, evoking the process of the subject showering, symbolically set in a simple bathroom. The poetic vision of the artist, Vida Stanisavac Vujčić, is somewhat explained by the ancient artistic procedure that hints at the shape and action of the subject “behind the veil.” Ultimately, perhaps this is indeed a Spanish procedure, as suggested by the title of the installation “The Nude Maja” (La maja desnuda). However, what truly captivates the viewer-participant in both Goya’s and Vida’s story is the act of washing away dogma or shame—achieved by Goya through the direct and defiant gaze of the young woman directed at the painter, and by Vida Stanisavac Vujčić through the act of bathing the body of individual or collective memory. Vida’s work was awarded last year at the ULUS exhibition “Sculpture 23.” The accompanying program includes large collage photographs and several sculptures of female nudes. It is important to note that her initial work was conceived in the form of a spatial video installation, and the photographs serve as records of the process of sculpting, projecting, and framing. The sculpture we have the opportunity to observe is the first in a series of sculpted works that Vida Stanisavac Vujčić has begun; it represents frozen moments of scenes shown in the video within its anamorphic projection.

Nina Živančević, PhD