{"id":14213,"date":"2026-05-04T20:59:28","date_gmt":"2026-05-04T20:59:28","guid":{"rendered":"https:\/\/vagon.gallery\/?post_type=izlozbe&p=14213"},"modified":"2026-05-04T21:08:04","modified_gmt":"2026-05-04T21:08:04","slug":"radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila","status":"publish","type":"izlozbe","link":"https:\/\/vagon.gallery\/en\/izlozbe\/radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila\/","title":{"rendered":"Radije bih umerla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila"},"content":{"rendered":"
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\u201eHo\u0107e\u0161 da bude\u0161 mu\u010denik?\u201c upitao je Gejb, podi\u017eu\u0107i obrve.
\u201eValjda. Da, zapravo. Tako ne\u0161to.\u201c
\u201eSajruse,\u201c re\u010de Gejb uz osmeh, \u201eti ne ume\u0161 ni sopstveni prljav ve\u0161 da opere\u0161.\u201c Klimnuo je glavom ka Sajrusovoj majici, izgu\u017evanoj i isprskanoj flekama od kafe oko kragne. \u201eMisli\u0161 da \u0107e\u0161 mo\u0107i da opa\u0161e\u0161 bombu oko grudi i u\u0161eta\u0161 u kafi\u0107?\u201c
\u201eMu\u010denik!\u201d, Kave Akbar<\/p>

Deo dijaloga, izdvojen iz romana \u201eMu\u010denik!”, vratio me je na razgovor sa umetnicom koja je, aludiraju\u0107i na svoj rad \u201eRadije bih umrla nego zgre\u0161ila\u201d, ironi\u010dno govorila o kompleksima mu\u010deni\u0161tva, stavljaju\u0107i svoje lice u kontekst Jovanke Orleanke. U razgovoru o radu izgovara: \u201eOd sebe pravimo velike \u017ertve. Daleko si od Jovane Orleanke; nisi na loma\u010di, ovo je jutjub vatrica\u201d.
U pristupu punom humora, lake egzekucije, ironije i ve\u0161te reprezentacije modela samoprezira, Jana Jova\u0161evi\u0107 postavlja pregr\u0161t pitanja o svakodnevnim preoptere\u0107enjima, kompleksu stradanja i ruminaciji, kao i o artificijalnim metodama otpora koje se nalaze i u na\u0161em svakodnevnom \u017eivotu.
Jova\u0161evi\u0107eva operi\u0161e samokritikom koja je istovremeno alat i tema ove izlo\u017ebe. Kroz lako\u0107u koja nije eskapizam, ve\u0107 svesna strategija suo\u010davanja sa generacijskim rigidnostima i socijalnim konvencijama u kojima u\u010destvujemo, \u010desto protiv vlastite volje, radovi funkcioni\u0161u kao autoportreti koji se deseksualizuju, izla\u017eu i ismevaju, prave\u0107i od sopstvenog lica plod zabrane, objekat pljuvanja ili heroinu \u010dije je stradanje komi\u010dno neadekvatno.<\/p>

U radu \u201eRadije bih umrla nego zgre\u0161ila\u201d, umetnica sebe postavlja u kontekst Jovanke Orleanke, heroine koja je donosila velike, dramati\u010dne odluke za slobodu i prava, nasuprot savremenom paralisanju mikro-odlukama koje karakteri\u0161e na\u0161e dru\u0161tvo. Koliko smo prestravljeni od samih sebe? Koliko intelektualizujemo do te mere da nas to spre\u010dava u delovanju? Jova\u0161evi\u0107eva poentira da od sebe pravimo mu\u010denike u situacijama koje su daleko od loma\u010de, naj\u010de\u0161\u0107e je to performans stradanja, samosa\u017ealjenje obavijeno u estetiku otpora. Audre Lord u svom delu \u201eA Burst of Light” zapo\u010dinje ne\u0161to \u0161to \u0107e danas postati koncept samo-nege, izvitoperen i komodifikovan u odnosu na svoj inicijalni kontekst. \u201eBriga o sebi nije uga\u0111anje sebi; to je samoo\u010duvanje, a ono predstavlja \u010din politi\u010dke borbe.” Danas, ova ideja, koja se prvobitno vezivala za tehnike otpora kako zajednice, tako i pojedinaca, u staranju o sebi kao prkosnom \u010dinu protiv kapitalisti\u010dkog pritiska koji od nas zahteva konstantnu produktivnost, postala je deo \u201e\u010dasti se!” kulture. Kupovinom maske za lice i pu\u0161tanjem lofi hiphop beat-ova generisanih ve\u0161ta\u010dkom inteligencijom pored videa vatre, poku\u0161avamo da smirimo uznemireni nervni sistem, time \u0161to dajemo vreme i novac nehumanim modelima koji su nas u to stanje doveli.
Jova\u0161evi\u0107eva u svom radu \u201eRadije bih umrla nego zgre\u0161ila” bira sliku poznate mu\u010denice Jovane Orleanke i stavlja je u jukstapoziciju sa videom vatre iz kamina, stvaraju\u0107i dvojaku asocijaciju na njeno tragi\u010dno stradanje, ali i na umetni\u010din portret infiltriran u tu situaciju, gde nema dramati\u010dnog fizi\u010dkog stradanja, ve\u0107 samo nemogu\u0107nost oblikovana savremeno\u0161\u0107u. Umetnica ne bira smirivanje kroz lo-fi estetiku ili minimalizam, ve\u0107 kroz artificijelnost slika generisanih putem ve\u0161ta\u010dke inteligencije koje sugeri\u0161u smiraj, ali ga zapravo nikada ne dosti\u017eu. Tu se otkriva jo\u0161 jedan sloj ironije: \u010dak i kada tra\u017eimo utehu, biramo simulaciju umesto zajednice.<\/p>

Jovanka Orleanka, kao i druge osve\u0161tane Device Mu\u010denice, Sveta Agata, Sveta Lucija, Sveta Barbara, koje su vi\u0161e volele \u010dednost i smrt nego \u017eivote ispunjene bogatstvom i seksom, paradoksalno su vi\u0111ene kao jedne od najseksepilnijih \u017eena tokom srednjeg veka, jer su bile lepe i otporne prema telesnosti. Ova konfuzna pozicija, koja istovremeno predstavlja objekt \u017eelje i simbol odricanja, uklapa se u umetni\u010din koncept gde sebe deseksualizuje dok svoj lik stavlja u poziciju mu\u010denice. Me\u0111utim, za razliku od srednjovekovnih svetica, njena “loma\u010da” je digitalna simulacija, a njen \u201cmu\u010deni\u010dki \u010din” predstavlja ironi\u010dnu posmatra\u010dku poziciju prema sopstvenom teatru stradanja, koja kulminira porukom \u201eradije bih umrla nego zgre\u0161ila.” Ova izjava, s jedne strane, validira arhetip device mu\u010denice, a s druge aludira na dana\u0161nji strah od gre\u0161ke kroz prerazmi\u0161ljanje, \u0161to dovodi do nemogu\u0107nosti delanja.
U instalaciji \u201eTree of Knowledge,” umetnica nastavlja ovaj dijalog sa \u017eenskim telom kao mestom greha, isku\u0161enja i kazne. Nasle\u0111uju\u0107i dugu tradiciju u kojoj je lepota bila sinonim za vrlinu, Jova\u0161evi\u0107eva gradi instalaciju koja tu logiku obesmi\u0161ljava. \u201ePo\u0161to je priroda bila shva\u0107ena kao bo\u017eanska, oni koji su bili najsvetiji i stoga najbli\u017ei Bogu bili su tako\u0111e u harmoniji sa prirodom. Prema tome, bili su nu\u017eno lepi”. U ovoj logici, slike pre-pale Eve bile su portreti najlep\u0161e \u017eene koja je mogla postojati.
Jova\u0161evi\u0107eva preuzima ovu ikonografiju, ali je pretvara u parodiju: jabuke nose njeno sopstveno lice, ali nisu plodovi harmonije, ve\u0107 plodovi koji su sami popadali i ostali neubrani. Umesto idealizovane Eve koja stoji na pragu greha, dobijamo multiplikovane verzije umetni\u010dinog lica, ne kao lepotu prema kojoj se sve druge lepote mogu meriti, dok je naravno gola, ve\u0107 kao odba\u010deni plodovi.
Ova deseksualizacija je politi\u010dki \u010din, upravo zato \u0161to je skoro uvek bilo u redu prikazati Evu golom i u crkvenom kontekstu, dok je kontrola nad \u017eenskim telom uvek bila posredovana kroz estetiku i religiju. Stavljaju\u0107i svoj odliv, svoju sliku, svoj lik u prostor instalacije umesto svog tela, ona zadr\u017eava kontrolu nad narativom, ali istovremeno priznaje da se objektivizacija ne mo\u017ee potpuno izbe\u0107i, \u010dak ni u telesnom odsustvu. Umetnica svesno izbegava performans u klasi\u010dnom smislu jer prisustvo tela neizbe\u017eno vodi objektivizaciji. Umesto toga, ona stavlja reprezentaciju lika u situacije u kojima bi ina\u010de bilo \u017eivo telo, \u010dime neizbe\u017eno kontroli\u0161e primarne asocijacije i interpretaciju rada. Procesualnost njenog rada ne dolazi iz konceptualne strogosti, ve\u0107 iz potrebe da se materijalizuje ono \u0161to ina\u010de ostaje u zoni nelagode, ona prijatno-neprijatna teritorija gde se istovremeno pljuje na sebe i gradi narativ o sebi.<\/p>

Rad \u201eTree of Knowledge”, nastao u kolaboraciji sa Katarinom Bo\u0161kovi\u0107, dodatno uslo\u017enjava ove teme kroz pitanje autorstva i kolektivne kreacije. Jabuke sa licem umetnice, zmija-falus kao kruna monumentalne parodije, artificijalni materijali koji nagla\u0161avaju kontekst i uslove u kojima umetnica stvara, sve to govori o pozicioniranju u savremenom sistemu umetnosti, ali i o tome kako se transgresija sama po sebi mo\u017ee pokazati kontingentnom, slu\u010dajnom, \u010dak i komi\u010dnom.
U sklopu izlo\u017ebe “Radije bih umrla nego zgre\u0161ila,” radovi Jane Jova\u0161evi\u0107 ne nude katarzu; umesto toga, postavljaju nam pitanje u kojoj meri na\u0161i mehanizmi odbrane slu\u017ee za\u0161titi, a u kojoj nas parali\u0161u. Koliko se otpor razlikuje od rigidnih konvencija protiv kojih se borimo? I najva\u017enije, da li si spreman\/a da se smeje\u0161 samom\/samoj sebi, ili jo\u0161 uvek misli\u0161 da si na loma\u010di?
Upravo u toj neizvesnosti, u prostoru izme\u0111u samoprezira i samoironije, izme\u0111u paralisanosti i delanja, izme\u0111u Eve pre pada i Eve nakon, Jova\u0161evi\u0107eva gradi svoj rad, koriste\u0107i jeftine materijale, vidljive \u0161avove, odlivke vlastitog lica i simulacije smirenosti. Jer ako ve\u0107 ne mo\u017eemo izbe\u0107i stradanje, mo\u017eemo barem prestati da ga shvatamo toliko ozbiljno. Mo\u017eemo prepoznati da su na\u0161i grehovi mali, na\u0161e loma\u010de digitalne, a na\u0161e mu\u010deni\u0161tvo dobrovoljno. Jova\u0161evi\u0107eva nam ne nudi refrigerijum, ve\u0107 humor kao na\u010din pre\u017eivljavanja, lako\u0107u kao otpor, i jabuku koja nije zabranjena, ve\u0107 mo\u017eda… nepotrebna.<\/p>

Tekst: Jovana Trifuljesko<\/p>

Jana Jova\u0161evi\u0107 (1995, Ivanjica) zavr\u0161ila je osnovne (2022) i master studije (2024) na Vajarskom odseku Fakulteta likovnih umetnosti u Beogradu, gde trenutno poha\u0111a doktorske umetni\u010dke studije. Tokom
2023\u20132024. studirala je na Nacionalnoj visokoj \u0161koli lepih umetnosti u Parizu kroz Erasmus+ program. Dobitnica je Nagrade Vajar Vladeta Petri\u0107 po\u010detkom 2025. godine. Njene skora\u0161nje izlo\u017ebe uklju\u010duju\u00a0Palimpsesti\u00a0(Galerija 73, Beograd, 2024),\u00a0Seks i politika\u00a0(BL Art Festival, Banja Luka, 2024),\u00a0Pseudosenke\u00a0(U10, Beograd, 2024) i\u00a0Stavovi i forme\u00a0(Muzej savremene umetnosti Vojvodine, Novi Sad, 2023). Godine 2023. predstavila je i samostalne izlo\u017ebe\u00a0Zadovolj\u0161tina\u00a0(Galerija Kornja\u010da, Beograd) i\u00a0Pleasure is All Mine\u00a0(\u0160ok zadruga, Novi Sad), kao i u\u010de\u0161\u0107e na izlo\u017ebama\u00a0Playground\u00a0(Earl Lu Gallery, Singapur),\u00a0Plava izlo\u017eba\u00a0(Muzej savremene umetnosti, Beograd) i\u00a0Masterpieces V\u00a0(U10, Beograd). U\u010destvovala je i na vi\u0161e studentskih izlo\u017ebi u Domu omladine Beograda, a izlagala je i na velikim manifestacijama poput Vajari Srbije (Paviljon Cvijeta Zuzori\u0107, 2022). Njene rane izlo\u017ebe uklju\u010duju\u00a0Festum21\u00a0(SKC, Beograd, 2021) i\u00a0Prvi put izla\u017eem\u00a0(Ku\u0107a Jevrema Gruji\u0107a, 2021). U\u010destvovala je na me\u0111unarodnoj rezidenciji Tropical Lab 17 na LASALLE College of the Arts u Singapuru 2023. Od 2024. godine \u010dlanica je Umetni\u010dkog kolektiva U10 u Beogradu. Od 2025. zaposlena je kao istra\u017eiva\u010dica- pripravnica na Vajarskom odseku Fakulteta likovnih umetnosti.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201eHo\u0107e\u0161 da bude\u0161 mu\u010denik?\u201c upitao je Gejb, podi\u017eu\u0107i obrve. \u201eValjda. Da, zapravo. Tako ne\u0161to.\u201c \u201eSajruse,\u201c re\u010de Gejb uz osmeh, \u201eti ne ume\u0161 ni sopstveni prljav ve\u0161 da opere\u0161.\u201c Klimnuo je glavom ka Sajrusovoj majici, izgu\u017evanoj i isprskanoj flekama od kafe oko kragne. \u201eMisli\u0161 da \u0107e\u0161 mo\u0107i da opa\u0161e\u0161 bombu oko grudi i u\u0161eta\u0161 u kafi\u0107?\u201c\u201eMu\u010denik!\u201d, […]<\/p>\n","protected":false},"author":14,"featured_media":14233,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-14213","izlozbe","type-izlozbe","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nRadije bih umerla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila - Vagon Gallery<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vagon.gallery\/en\/izlozbe\/radije-bih-umerla-nego-zgresila-radije-bih-umrla-nego-zgresila-radije-bih-umrla-nego-zgresila\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Radije bih umerla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila, radije bih umrla nego zgre\u0161ila - Vagon Gallery\" \/>\n<meta property=\"og:description\" content=\"\u201eHo\u0107e\u0161 da bude\u0161 mu\u010denik?\u201c upitao je Gejb, podi\u017eu\u0107i obrve. \u201eValjda. Da, zapravo. 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Da, zapravo. 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