damirov jubilej

damir stojnic jubilej

“Danas sam ustanovio da sam u posljednje 2 godine nacrtao i objavio 188 stranica stripova. Još 12 stranica i mogu proslaviti 200. jubilej 🙂 / Today I realized that in last 2 years, from 2019 till now, I made 188 pages of comics. 12 more pages and I can celebrate 200 jubilee” 🙂 / 11.6.2021. Facebook

https://komikaze.hr/author/damirstojnic/

28 pages of Report: Subpolis – Published in webzine Komikaze #50 & CBK swedish comic magazine

38 pages of A Witch

33 pages of The Hyperborean – 1st epizode published on webzine Komikaze #53

8 pages of 3 Head

16 pages of Baubalon/Maha Kali Lament – published in Komikaze anthology #19 & webzine Komikaze #55

65 pages of Medusalem – Published as an album by Matrijaršija & Komikaze #54

DAMIR STOJNIĆ: MEDUSALEM

damir stojnic – uvod / introduction:

“Medusalem” je nastao prema jednom snu kojeg sam nedavno sanjao. U samom procesu stvaranja ovog stripa, koji je inicijalno trebao imati dvadesetak strana, došlo je do spontanog razvoja radnje u pravcu nekih intimnih i ezoterijskih tema kojima sam se bavio vrlo dugi niz godina,

tako da sam ga u konačnici rastegnuo na 63 table. Najveći dio nacrtan je
u vrijeme “lockdowna”, početkom proljeća: prekrasno vrijeme u kojem
je moj osobni habitus postao normom globalno prihvaćenog društvenog ponašanja. S dobrim razlogom odijeljen od svijeta koji me uporno “terorizira” racionalizmom, a s druge strane posve nepoetskim, konspiracijskim iracionalizmom, poročno sam se predao bezdanu “vječnih pitanja”. Neću ih ovdje ponavljati. Svima su dobro znana.

I tako, u vrijeme karantene, socijalnog distanciranja i opće zabrane kretanja, ja sam kroz rad na ovom stripu otputovao prilično daleko. U samog sebe. Ali, istinski gledano, i u svakog od nas.

Strip i jest putovanje, pa i šamansko, ako ćemo pravo. Otvoriš knjižicu i “tras”, u drugoj si stvarnosti. Ono što suvremena umjetnička praksa poznaje kao totalni ambijent ili Soba Čudesa (Wunderkammere) već je inherentno mediju stripa. Gotovo po “defaultu”. Ali, pustimo teoretiziranje uokolo “općih mjesta”.

Ostaje pitanje:o čemu se tu radi? Ima li radnja stripa ikakve veze s nekim iole usustavljenim scenarijem ili ga je autor samo htio napučiti opakom i fatalnom Medusom i sisatim vješticama? (Već su mi prijateljice-feministkinje održale predavanje o objektivizaciji ženskog tijela i političkoj ne/korektnosti).

Dakle, evo o čemu je riječ: postoji učenje koje ću, za ovu priliku, općenito nazvati: gnostičkim. Ono govori o prilično naopakoj naravi svijeta u kojem je čovjek zarobljen. Ta narav je dijalektička, dakle, postoji po igri polova suprotnosti i ta klackalica baca čovječanstvo s desna na lijevo, gore/dolje, iz dana u noć i iz zla…u gore. Ovo krajnje pesimističko poimanje dugujem Maniheizmu koji veli da je cijeli svemir djelo zlog Demijurga, a ne istinskog Boga. Ne znam kako vi, ali ja se moram s time složiti. Dakle, ono malo dobra služi samo da bi se zlo, budući da nije apsolutna kategorija, moglo stalno obnavljati tj. “resetirati”.
I onda, stanovita individua, zgrožena beznadnošću situacije, krene tražiti izlaz, nekakvo rješenje. Tako su nastale humanističke znanosti, filozofija, umjetnost…sve od našeg batrganja. No, brzo se dolazi do spoznaje da je to samo flaster na velikoj rani svijeta i ukrašavanje zatvorskih zidina unutar kojih je čovječanstvo zatočeno. I tada se događa završni udar na svakog pojedinca iskrenog prema samom sebi: spoznaja o vlastitoj nemoći i beznadnoj zarobljenosti u mreži determiniranih silnica programa koje predstavljaju njegov život. Od toga trenutka za njega se polariziraju samo dva interesa. Ukoliko je vezan za materijalno, vatreno će se baciti na izučavanje onih metoda koje će mu omogućiti da postane “najjači” u zatvoru, čime će, doduše, proširiti radijus mogućnosti vlastitog djelovanja, ali nikad preko određenih granica. S druge strane, ukoliko ispravno razumije nestalnu, i utoliko nestvarnu prirodu stvari, i nije materijalno previše vezan, vatreno će tragati za onim metodama koje
mu omogućavaju “bijeg” iz zatvora. Kada nešto zaista želimo, ta nas želja magnetizira u pravcu onog čemu težimo, i sasvim je moguće da takav pojedinac dođe do prije navedenog gnostičkog učenja i tako “zarati” ne samo sa cjelokupnim prirodnim poretkom, nego, ponajviše sa samim sobom, preciznije, sa svakom predstavom koju je imao o samome sebi. To učenje mu kaže da postoje dva prirodna poretka, lažni i istinski, i da on potencijalno živi u oba, ali svojom svjesnom egzistencijom isključivo u onom lažnom. I ono mu nadalje kaže da nema “bijega” nego da mora aktivno, i sa stečenim gnostičkim znanjem, sudjelovati u preobrazbi egzistencijalnog zatvora u prostor slobode. Od istinskog poretka u njemu je ostao još samo jedan atom, na eterskoj razini smješten u desnoj klijetki srca, i on mora biti “rasplamsan” ukoliko mu je stalo da iz lažnog prijeđe u istinski poredak. Kada taj atom dovoljno “oteža” on iz srca, kroz središnji kičmeni stub (indijski naziv: Shushumna), silazi u karlicu, gdje se nalazi kundalini- energija. Ta energija, koju još zovu “zmijastom vatrom” je ona koja pogoni naš cjelokupni sustav i omogućuje
nam djelovanje u svijetu iluzije ili Maye, ili Samsare, te se kao “karma” pohranjuje u karlici. Nakupljena karma je gorivo za iduće inkarnacije. Mnogi se bave okultnim osnaživanjem te energije, ne shvaćajući da će se time samo jače prikovati uz Kolo iluzije.
Radi se o tome da se kundalini koji struji centralnim kičmenim stupom, postepeno ugasi. To se događa kroz trezveno, nenasilno reduciranje
našeg djelovanja u svijetu, i ono mora biti generirano isključivo savršenim razumijevanjem opisanog “stanja stvari”, bez ikakvog samoobmanjivanja. To nema veze s nekom afektiranom ili okultističkom askezom. Simbolizam ovog učenja naziva taj proces: hod kroz pustinju. Kako se ta vatra postepeno gasi u središnjem kičmenom stupu- Shushumni, tako se u nervusu simpaticusu aktiviraju polovi koji su
oko njega isprepleteni, u indijskom ezoterizmu označeni kao: Ida i Pingala. Simbol toga uzvišenog procesa je Kaduceus: dvije isprepletene zmije koje se izvijaju prema suncu s krilima. To sunce je zapravo pinealna žlijezda koju rasplamsani atom dodiruje nakon što je neutralizirao karmu nakupljenu u karličnom području. Time bivamo “otkupljeni” od Kola umiranja i rađanja. Aktiviranjem “pinealke” aktivira se, i do kraja obnavlja, istinski čovjek i prelazi tj. vraća se Univerzumu Velikog Logosa. O tome govori Medusalem
i mislim da nakon ovog objašnjenja čitaoc neće imati previše problema kod povezivanja simbola i praćenja radnje stripa. Možda će jedino imati poteškoća u prepoznavanju autora kao osobe zdravog razuma. Ali, sve u redu, neću ja patiti zbog toga.

Naslov “Medusalem” terminološki je pandan Jerusalemu, jer mi
stojimo pred licem Meduse, starimo, “okamenjujemo” i pretvaramo se u prah sa strahom da živimo samo da bismo umrli. Ali to nije sve. Daleko od toga.

U nama postoji upisan svjetlosni most koji povezuje ta dva “grada”. Da li ćemo ga prijeći, na kraju, ovisi samo o našoj potrebi za iskustvima ili umorom od njihova stjecanja.

ON MEDUSALEM:

Medusalem came to me as an idea in a dream I recently had. During the very process of making this strip, initially conceived to be about 20 pages long, there was a spontaneous development of the plot toward certain intimate and esoteric subjects which I had been pondering for a very long time, so in the end I stretched it to 63 pages.
The majority of it was drawn during lockdown in early spring: a lovely time, in which my personal habitus became
a norm of globally accepted social behaviour. Rightly secluded from the rest of the world, perpetually terrorizing me with its rationalism, and on the other hand, utterly unpoetic, conspiratorial irrationalism, I submitted wantonly to the chasm of „eternal questions“. I will not recount them here. They are all well known to all.

And so, during quarantine, social distancing and a general lockdown, I managed to travel far away by working on this strip. I took a trip inside myself. But, in truth, inside all of us.

A strip is a trip, almost of the shamanic nature, truth be told. One opens an album and BAM, one gets transported to another reality. What is known by the contemporary art practices as total ambience or Cabinet of Wonders (Wunderkammere) is already inherent to the strip medium. Almost by default. But, let’s stop theorizing about things that are generally commonplace.

A question remains: what is it all about? Does the plot of the strip have anything to do with at least something resembling a script or has the author just wanted to fill it with a wicked and fatal Medusa and bosomy witches? (My friends have already lectured me on the objectification of the woman’s body and political incorrectness).

So, this is what it’s all about: there is a teaching which I will generally, and for this occasion also, call gnostic. It teaches about a pretty twisted temper of the world in which man has been trapped. This temper is dialectical, which means it exists as a dance of opposing poles, and this seesaw is rocking mankind right and left, up and down, day and night, from bad… to worse. This extremely pessimistic view I owe to Manichæism, which purports that the entire universe is the work of an evil Demiurge, and not a true God.

I don’t know about you, but I must concur with this. So, what little good we have is used for evil, which is not an absolute category, to continually perpetuate, i.e. „reset“ itself. And then, a certain individual, abhorred by this inescapable situation, begins to look for a way out, to find some sort of solution. This is how we got our humanistic sciences, philosophy, art… all from our befuddlement. But, very soon it’s realized this is nothing more than putting a band aid on a gigantic wound of the world or decorating the prison walls which hold all of humanity captive. And then the finishing blow is laid on every individual who is being honest with themselves: the recognition that they are powerless and hopelessly trapped within the network of pre-determined programs that represent their lives. From that moment on, only two interests are polarized for them. If they are attached to the material world, they will fervently explore those methods that would enable them to become
„the strongest“ in this prison, which would, however, expand the possibility radius of their own actions, but only to a certain extent. On the other hand, if they correctly understand the unpredictable, and just as unreal, nature of things, and they are not too attached to things, they will fervently seek out those methods which would allow them to „escape“ this prison. When we really want something, this desire magnetizes us toward that which we seek, it is entirely conceivable that such an individual would come across the aforementioned gnostic teachings and thus „go to war“ not only with the whole natural order, but mostly with themselves, or, more accurately, with every single notion they had about themselves. This teaching tells them there are two natural orders, the false and the true one, and that they potentially inhabit both, but with their conscious existence exclusively in the false one. And it further tells them that there is no „escape“ but that they have to actively, with their gained gnostic knowledge, participate in the transformation of this existential prison into a free space. Only a single atom is all that’s left to them from the true order, located on the ethereal plane in their right ventricle, and this atom needs to be „ablaze“ if they want to pass from false to true order. When this atom becomes „heavy“ enough, it travels from the heart through the central spinal column (Hindu: Sushumna), and descends into the pelvis, where the kundalini energy is stored. This energy, which is also called „serpentine fire“,
is the one driving our entire system, enabling us to participate in the world of illusion or Maya, or Samsara, and it is being stored in the pelvis as „karma“. The accumulated karma is fuel for future incarnations. There are many of those who try to make this energy stronger through occult practices without realizing it would only bind them more strongly to the Wheel of Illusion. It is about gradually turning off the kundalini currents flowing through our central spinal column. This can happen through conscious, non-violent reduction of our actions within this world, and this needs to be generated only by a perfect understanding of the „state of things“, without any self- delusions. It has nothing to do with some feigned or arcane asceticism. The symbolism of these teachings calls this process: a walk through the desert. As this fire gradually burns down within the central spinal column, or Sushumna, at the same time, the two poles, that are wound around the nervus sympathicus, known in Hindu esotheria as Ida and Pingala, are activated. The symbol of this exalted process is the Caduceus: two intertwined serpents arching their wings toward the sun. This sun is actually the pineal gland being touched by the blazing atom after it had neutralized the karma accumulated in the pelvis. This is how we are „redeemed“ from the Wheel of death and birth. By activating the pineal gland, true man is activated and is fully restored, i.e. he returns to the Universe of the Great Logos. This
is what Medusalem is about and I think after this explanation the readers will not have any difficulty connecting the symbolism and following the plot of the strip. Perhaps, they will only have a hard time recognizing if the author is actually sane. But, that’s alright; I will not lose any sleep over it.

The title of Medusalem corresponds terminologically to Jerusalem, for we stand in front of the face of Medusa, we grow old, „turn to stone“ and become petrified with fear faced with the fact that we live only to die. But that is not all. Far from it. Written into us, there is a bridge made of light which connects these two „cities“. In the end, whether we cross it or not, depends only on our need for gaining experiences or the fatigue that this process causes.

o autoru / about author

damir stojnic – r: 1972. živi i radi u rijeci kao profesor na akademiji primjenjenih umjetnosti, hr. stripove crta od ’90. ali ih do komikaze antologije 2019. nije objavljivao. završio je umjetničku akademiju u zagrebu. hrvatskoj i šire (atena, kairo, venecija, london …).
fokus: strip, ilustracija, konceptualna umjetnost, kuriranje

https://www.facebook.com/damir.stojnic.79 

damir stojnic – b: 1972. lives and works as the professor at academy of applied art university in rijeka, croatia. he has been making comics from ’90 but hasn’t published them before the komikaze anthology 2019. 
graduated painting at the academy of fine arts in zagreb. 
exhibited his work in more than 100 group and solo exhibitions in croatia and abroad. 
focus: comic, illustration, conceptual art, curating 

radovan popović/ elektrobeton: damir stojnić je nova ličnost, ali samo nama, sebi nije. profesor je na alu rijeka, slikar, grafičar, a odnedavno, iako ne tako mlad, počeo se zanimati za ozbiljniji i konkretniji pristup stripu, te je za vrlo neobično kratko vreme, uradio gomilu samo takvih stripova u tehnici eksperimenta, apstrakciji hiperrealizma i fotofilije, nadrealne klasike, stilu toliko prepoznatljivom, samo njemu, kod njega i od njega. stare reprodukcije, prve fotografije, psihotisci i jedna neverovatna lakoća uživanja u njegovoj i svačijoj igri i borbi, između erosa i onog drugog, suprotnog, a isto tako magičnog. crta stripove oduvek, ali je tek pred godinu dana prvi put počeo da objavljuje stripove u komikazama i od tada je neizostavan član, prisutan u posljednjih 6 izdanja (uključujući i nagrađeni album). novo doba festival ove godine objavljuje integralno izdanje njegovog stripa „medusalem“. / > > FESTIVAL

Više o Damiru