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He was born in
Vinkovci.
He finished school of Dramatic arts
in Novi Sad in 1954-
Since than until the day he passed away
he was a member of National Theatre in Sombor.
He had a great carrier
with numerous acknowledgements.
He worked with best directors
and played in cult performances
of National Theatre.
While he was in pension
he kept playing in National Theatre of Sombor.
1991.
when our rebellions and wars started
he didn’t’ want to argue with young generation
who is right, who’s wrong,
and who is guilty for what’s happened;
he withdrew in my wardrobe
and started to paint.
This was his relaxation, his pleasure.
Was that good? He liked it.
He adored flowers. And Seishels.
He had exhibits in:
National Theatre in Sombor,
Gallery Laza Kostić, Sombor,
Museum of Theatrical Arts Belgrade,
Gallery »Prometej« Novi Sad,
Hotel Zvezda, Brus
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SEYCHELLES
AND THE REMAINING FLOWER ISLANDS AS WELL
Vladimir Amidzic' s flowers are not his capricious
passion, but his disturbed, proud, preserved mantra.
It is well known that Marcel Prust preferred
a foamy hawthorn flower that he, being an asthmatic
of long years of suffering, couldn't accept
as a pleasure, and that the tuberoses
of Andrija Adi were, as a poet says erotic
and mortal. Miroslav Krleza sent us
a very loud message that there is no justice among flowers, while
DuSan Matic identified its short life
as a blood circulation of life and
a blood circulation of death.
Disturbance of these colour explosions Amidzic
revealed gradually, in the veils
of his direct intoxication with the same fragrances
to which Danilo Kis dedicated one
of his famous anatomies.
By painting from a close range and feeling
from far away at the same time,
Amidzic doesn't look back by no means and never.
His only prejudice is situated in the effort to,
directly, severely and with undeniable application
of colour, suggest that flame, that short-life,
that fireworks which bring flowers,
always somewhat like Celebration of Roses
by Ujevic, to our dusks, to our abyss,
polar, great night.
These paintings were implemented
as an unprotected, unique praise to the sun,
and therefore the travels of their author towards
the south, in this case to Seychelles,
have a meaning of avoided question, secret,
the third sky that overlooks ourdestinies
and ourfaces as a light itself.
Albert Kami, in one of his extraordinary essays
dedicated to summer, had a thesis that the tragedy
of south is in the Sun.
The Amidzic's magic visions from Seychelles
reach out for the impossible: all the stars
are gathered together, flowers are surreal,
maybe really poisonous as a primal idea.
Katarina Ambrozic had right: Amidzic
is not a naive painter and his unique colourful
sensation care for all the complexity
of thatfatal spoiled flower from Seychelles,
which more authentically and clearly than
any travels, brings us the air of islands,
far away, imaginative and yet conquered.
Precious heavy breath, which was in advance,
long, long before Vlada's travels to Seychelles,
mentioned by Todor Manojlovic, suggests
a strong sensation, rich palette, the truth
that is not to be proved.
PS.
And today, and just sometimes, Seychelles
are the only thing left to us. Like a dream.
In spite of all the planets.
Drasko Redep PhD
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