This web exhibition accompanies the current exhibition STETIC[POSTER} at the National Museum Kraljevo, Serbia opening on Sunday, August 16, 2015, 20:00 Exhibition August 16 - September 15, 2015 See more posters from Slobodan Stetic on Pinterest.

BIOGRAPHY of SLOBODAN STETIC Slobodan Stetic was born in Jagodina in 1958. He graduated from Faculty of Applied Arts, Department of Graphics. He does posters, photographs, book graphics and painting. He is a full professor at Faculty of Philology and Arts in Kragujevac, Department of Graphic Design. He had hundreds of one-man shows and group exhibitions of graphic design, photographs, paintings and illustrations in France, Poland, Finland, Japan, Canada, San Marino, Switzerland, Sweden, Taiwan (Taipei), Russia (Moscow), Italy, Mexico,Bulgaria, Hungary, Czechoslovakia, Bolivia etc. He designed many books of poetry, fiction, science and art. He is the author of photographs and graphic and artistic design of many catalogues, monograph catalogues and monographs. He has been a member of the Association of Applied Arts Artists and Designers of Serbia (ULUPUDS) since 1986.

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THEATRE OF ONE DESIGNER Theatre posters of Slobodan Stetic can be described as the theatre of posters. In the poster for Aida only one letter exists. Yet, it is enough for the poster to be successful as both the sheet and the formula of imperishable opera. For every professional designer, elementary geometry is foremost means. Here, it also demonstrates its strength, when a huge, fiery triangle erupts into the foreground from the light beam of the letter "A". The same, precise triangles which clearly reveal the concept of the drama, rush towards the front part of the scene in another, also laconically construed poster for Macbeth. However, geometrical construction, rational composition and unambiguous symbols are rarely found so openly in the works of Slobodan Stetic. They are often concealed, hidden within the sheet, as if deep in the scene, appearing only sometimes as central symmetry or muffled dynamics of a diagonal. But what multitude is invisible on the mere poster scene of Slobodan Stetic! Figures and faces, corsets and shoes, shields and swords, angels and dragon flies, butter-flies and flies, ancient anatomic skeletons and quaint technical devices… All these are nearly always multilayered, in several strata, often in xylography or eau-forte, specific carving techniques. The work is completed with flashing colours and radiance, brutal drawing of letters, refined classical or nervous contemporary calligraphy, smeared photographs and all sorts of graphic, cultural waste. By combining historical items and miscellaneous details of contemporary world, visual effects, graphic techniques and means, to put it briefly, by mixing odds and ends, Stetic creates outstandin-gly comprehensive area of the sheet, abundant with whirlpools of vital energy which are, at the same time, the means of expression and self-expression. The contents are the pure sensuality of the scene, picturesque ambience which primarily appeals to subconsciousness and the emotional sphere.Complex, unusual metamorphoses of form thus become both a stimulus and an inspiring challenge for the fancy of audience. They are perceived as the ecstasy of the author's actions, interpreted not only with the help of visual shrewdness, but also with "humorous feelings" of the scenic pre-sentation to which the posters are dedicated, which bear witness of the dramatics of our time. Sergei Serov OBSESSIVELY AND UN RESTRAINED I am neither a critic nor an art analyst. I am a creator and an admirer of posters. My relationship towards posters is spontaneous and full of emotions. Two years ago I was especially excited when I opened the parcel sent by Slobo-dan Stetic for the Fourteenth International Biennial of Posters in Rzeszów. There were a few posters with the motifs of insects. Slobodan Stetic employed old engravings to produce them. This reminded me of the good old school of posters in Po-land between the nineteen-sixties and seventies. It certainly does not mean that Stetic's posters are archaic or old-fashio-ned. Quite on the contrary! They acquired a new life by employing copperplates from old books, refreshed by modern computer technology. By using typographic game in an un-interrupted spinning and blending of unusual shapes and surfaces in intensive colours, modern expressionist-like compositions are achieved. The posters live their own life obsessively and unrestrained. To be precise, these old grap-hics, combined with dynamic typography in free compositions make Slobodan Stetic's posters elegant with great emotional potentials. Thus the presented compositions encourage us to see the promoted spectacle. Despite apparent chaos, modern, dynamic collages composed of myriad of elements look quite tame and balanced. Everything is subordinated to the vision of plastic composition. Metaphor, humour, expressiveness are thus transmitted to the street world or galleries. I feel pleasure when I look at the works of Slobodan Stetic. His posters are a modern typographic game, emotional and abundant with colours. The letters are vivid, luminous, disappearing, and interactive with a prominent role. The applied typography is very significant element; it is not a mere supplement to the empty spaces in the graphic surface of posters. They show energy, freedom and joy of the act of creation. The movement and fantastic expressiveness are the step out of rigid limits, which thus illustrate artistic freedom. All these specifically bear witness of the potential and temperament of the author whose posters are recognisable and characteristic amidst all printed advertisements which continuously attack us all around our cities. Krzysztof Motika OPPOSING ELEMENTS One of interesting aspects of Slobodan Stetic's poster design is his utilisation of two opposing elements. On the one hand he employs minimum nineteen-century and early twenty-century black and white engravings, while on the other hand maximum photo shop tools, i.e. every possible effect. This combination creates visually rich multi-layered texture and pictorially saturated surface: poster-fireworks. For those reasons Steven Heller and I included two of his posters in our latest book Presenting Shakespeare: 1,100 Posters from Around the World. Mirko Ilic