mobile serigraphy, 75 x 73 cm, signed, dated and titled on the back, "MIROSLAV ŠUTEJ GRAPHICS (19)74/1 EA-1974"

Research information

The version of the artwork is reproduced in the catalogue "Retrospective of Graphics by Miroslav Šutej", 1996., Zagreb, under the title "Graphic 74/1", on page 85.

The idea that a work of art is something that its recipient completes and that is constantly reassembled in interaction with the audience was very current in art theory (both visual and literary and musical) in the second half of the 20th century. Poststructuralist teachings insisted on the eternal incompleteness of a work of art, and artists tried to allow viewers, readers and listeners of their works some sort of participation, receptive and perceptual choice of aesthetic experience offered to them, with ludic approaches. In this vein, we can interpret the mobile graphics (and mobile drawings) of Miroslav Šutej (1936 - 2005). Two key determinants of his creativity - drawing and humor - corresponded quite well with the aesthetics of the era in which he was formed - the 1960s and 1970s. The result of Šutej's experiments with the possibilities of interaction in his inherited, two-dimensional, graphic medium are mobile screen prints, like this one. Its segments, with linearly animated textures and pronounced color, are connected with movable joints that allow them to be moved and restructured. Certainly, Šutej's mobile graphics are justified by the artistic theories of their time, and, more generally, theories about abstract art as poetics that seeks its completion in the reflection of the viewer. But they are even more so a subversion of the usual attitude towards a work of art as something completed, static, unique, and limited at the time of its creation. FG

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