"The enemy should be destroyed without justice and rights, with the help of lies and intrigue." For 53 years of existence Brešanov Hamlet in Mrduša Donja in our lives only the actors changed, the roles were always the same.
The right to answer with a stupid and vulgar style, full of chauvinism and trivialized violence, which is M. Radojicic posted on your behalf Đurović, deals with belittling the real author, packaging and falsifying facts, poisonous insinuations in order to distract attention from the essence, that is, from the irrefutability of my claims presented in the text "Monument to a Hero, Monument to Fraud" (News, 04.12.2021. years): false representation of Radojičić and usurpation of authorship with your wholehearted logistics, commercialization of heroes, manipulation with threats, incompletely paid fee.
Text by M. Radojičić, although you think that you as a sponsor for erecting the sculpture Ljub Čupić in Nikšić, he "frees" me from participating in the fraud, and he gives me as a sculptor and my author's work the role of "executor" and "plagiarist", in fact it serves nothing else than to magnify the megalomaniacal opus and moral debacle of Radojičić, which is placed above the heroic , authorship and sponsorship. The monument to Ljub Čupić was apparently erected to store Radojicic's ego and provide for his pocket. It was enough for him to prefab his idea of initiating the monument into a "conceptual project" by describing an existing half-body photograph and depositing it in the Intellectual Property Office. Why? Radojičić knows, unlike you, that according to the current regulations of Montenegro, "the following cannot be protected by copyright: ideas, scientific discoveries, procedures, work methods and mathematical concepts (...)". Then why did he “patent his idea”? In order to commercialize MY AUTHOR'S WORK: "The role of these intellectual property protection rights is to 'transform' intangible assets into tangible assets and thus create valuable and in certain cases exclusive assets that can be traded or traded on the market." That's how the circle of abduction of the author was closed: plastic souvenirs of Ljub Čupić, a class for drinking tea with the image of a hero before the shooting... why not socks too!?
What a perfidious manipulation, Đurović, are you aware that the man you trust so much has dragged you into copyright theft? The author's work is based on the creation of a work and not on an idea (which is not even an idea but an initiative to erect a monument) and all that spitting and tasteless rhetoric, derived after all from the habitus of Udbas leather coats, serve nothing other than to humbly justify themselves in front of their the boss, to convince you by additional manipulation of selective details that you don't get out of his vicious circle, thereby losing a generous financier because he can't prove his authorship with anything, neither in idea nor in deed.
Therefore, to Đurović, "the author owns the copyright to his author's work by the very act of creating the work and, unlike most other forms of intellectual property, is not subject to any administrative or registration procedure. It does not protect an idea, but a work that is an expression of an idea of the human mind, regardless of the type or quality of the expression." With the Protected Project, M. Radojičić HAS SEIZED FOR HIMSELF THE RIGHT TO REPRODUCE MY SCULPTURE, so that he can issue approvals, including subsequent casting, for my monument. IF THAT'S NOT THEFT, WHAT IS IT CALLED THEN, ĐUROVIĆ!?
Lesson 1: Contract and unscrupulous lateral manipulation
But let's start with the Contract in order, educationally and pedagogically, Đurović, because your advisor is a stubborn manipulative dilettante whose writing requires an open umbrella - he spits so much. Elem, our undersigned Agreement on the provision of services, could have been called i Children's rattle for Miljo Radojičić, but it is important that the Contract specifies the subject (Article 1: development of the artistic solution of the monument), who is the author of the work (Article 6), who are the signatories of the contract: Dušan Đurović (customer) and Zlatko Glamocak (author). Our signed Agreement does not contain a single Nota Bene and Radojičić does not exist in it. And once again: Radojičić does not exist in our contract! Any lateral intrusions and subsequent embeddings of your unscrupulous content outside of this Agreement are void, contrary to existing laws, and considered copyright theft. After all, as a businessman, that should be clear to you.
Considering that you did not know how to make a contract with an artist, and at your request (Radojičić, email from October 3, 2017), I sent, as a prototype, my contract for the monument to the Abducted in Štrpci, Municipality of Bijelo Polje, whose title is no less than : CONTRACT ON THE PROVISION OF SERVICES from which you took the title and numerous points for our Contract. To the perfidious Radojičić, who does not distinguish between intellectual services and work "by house demit facade", the title opened a "mindless" manipulative field for dirty intentions of stealing authorship and turning artists into "executors of works". Ah, he, the drowning man, is grasping at straws, then over Article 3 According to the contract, which specifies that the sculpture will not have a pedestal, he is "foolishly" trying to install the first version of his administratively registered "project" in the Intellectual Property Office. The truth to Đurović is inexorable: "The sculpture would be attached immediately to the path, so it would be without a pedestal", it came from my explanation of the Concept and conceptual design of the sculpture Les Ivanović in Cetinje (August 2017), two months before Radojičić stole and "patented" his disabled masterpiece in order to deceive the author and steal authorship. By the way, on another basis, Radojičić entered the already appropriated historical and, in a certain way, national heritage of Ljubo Čupić's photographs with the "Protected Project".
So, if your Radojičić is the "creator of ideas", why didn't you include him in our signed contract? Of course you didn't, because no one alive would sign it, no author, no artist would agree to perform a work based on someone else's idea. What remains, then, is MANIPULATION, to which you wholeheartedly gave wings: at the end of my finished work, when the sculpture is already in the foundry, you try to invalidate our signed contract, to impose on me the competition of your company Mechanizacija and announce that "Glamočak worked according to the conceptual design Radojicic". How are you not ashamed!? How can you pass through the Square and look at the monument to Ljub Čupić when you have betrayed all his ideals and yours!?
After all, according to Radojičić's own writing, it is clear how much he, and apparently you, Đurović, think of the hero: "I tread on the stars of the film sky." I rub my feet against them on the sidewalks. We raise memorials high. They bring everything to the ground. When you step on them, you have to see them".
Prometheus of Nikšić it's not high on a pedestal, you put it on the ground so that walkers can rub their feet on the hero's name and dogs can pee on it. No ideology has killed a hero more than this shameful act.
Lesson 2: Stereotypes of everyday life
It's not scary not to know, but it is when you don't want to learn and when "smartness" spills out of the lethargy of stupidity. It is especially fatal when it is done in your name, Đurović.
"The work of an artist in the dark" and even in his own studio!? No comment. The French tax administration is at your disposal.
Vaš pulen mediocrely comments on the "clothing" quote of the Belgrade writer D. Velikić Prometheus from Nikšić. First of all, Velikić does not deal with coat brands like Radojičić, but as a spiritually prepared man enters directly into the alchemy of monuments. He does not dress Ljub, like a girl who dresses a Barbie doll according to the fashion of the era, as Radojičić does - according to the measure of his talent.
"Kitsch could be measured by the degree of banality of its associations." You do not lack those associations, such as the request to insert a swastika into the monument, as Radojicic insisted that he would dedicate it to one people. Who? Let him say what he told me.
The monument that you police supervised, accepted and approved the casting arrived at the foundry, in a series of positive comments regarding the "Perfectly Living Man" type monument, after visiting the foundry, Radojičić sent me an email full of praise on May 13, 2018: "I personally have no objections to sculpture in polyester. (…) Kuzma (caster and sculptor, ed.) complimented me on the choice of sculptor and that no one else would have been able to perform that psychological expression. What I recognized when I saw the sculpture in a wider space is that the sculpture lives, not only when you approach it from the front, when you approach it from behind, both directly and diagonally, and that you can see the strength of resistance in the stance and stride. (…) Ljubo even looks more masculine in this version. (…) With gratitude and respect for the performance, cordially M. Radojičić." Caught in lies, shaken, blinded by hatred, he in the News from 11.12.2021. he is looking at a monument that, as recently as yesterday, in April, he wanted to sign as "creator of ideas" and says: "He made the greatest value, the smile, more cynical and not sincere." I would say cynical-sincere because, for example, a masterpiece Leonardo da Vinci it is contained in the fact that, in fact, Mona Lisa is looking at you and that her smile expresses this: that is why Nikšić's Prometheus looks at Radojičić with cynicism and contempt. Like you, Đurović.
Your post, deals with trices and kuchinas in his palanquin answer, so he goes so far as to claim that I do not distinguish between the spiritual and the material. He does not separate them so much, Đurović, that he stole both of them with a "protected" invalid registered "project" of two sentences. After all, while he played his "courtly and chauvinist burlesque" Shock in every roadside bar, even in Chetnik clubs in Chicago under an iconography that we can only imagine, my spirituality and my sculpture were written about by numerous renowned art critics, writers , publicist and three French academics, and at the prestigious French Academy of Arts (Academie des Beaux Arts) I was presented side by side with Picasso, Edvard Munch, Egon Schiele, Van Gogh, Francis Bacon, Henri Michaud, Bernard Buffet, etc.
You gave your word that none of Radojicic's 40 hours of recorded material will be shown without my knowledge and authorization. Namely, prompted by the blackmail and threats of Radojičić by publishing a video: "There will be a lot of dirty laundry", etc. (email June 13), I asked several times that you, as a producer, commit yourself to the Agreement on authorization of the film (June 24), which Radojicic and his "cameraman", i.e. son was supposed to make about the realization of Ljub Čupić's sculpture. After the published video clips deliberately chosen to take revenge on me, taken out of context during private conversations like "The healthy atmosphere reeks of stupidity. Long live Trotsky!", with which the plot begins Kunderin "Jokes" - a masterpiece of a time when it was impossible to control our lives, should I understand that Radojicic has access to your safe where the recorded material was stored? That Nikšić's Beria got out of control and that, in his fall, he also instrumentalizes you and drags you down?
More naturally learned: Don't give old people baby rattles. They play around and dirty the donor as well.
Finally, in accordance with good business practices, before each contract is signed, a conversation is held and ideas are exchanged so that the signed parties agree on all issues. I responsibly claim that never in the negotiations about the monument, and not even afterwards, was there any mention of making the monument according to anyone's idea, which the signed contract itself verifies.
Therefore, in the period between my acceptance to work on the monument and the signing of the contract, Radojičić perfidiously registered his disabled project.
With your help, Radojičić devised a manipulative path and subsequent embeddings, theft of authorship, which in itself is only a matter for the court where you will have to prove on what basis he is considered the author.
This, as far as I'm concerned, ends any public controversy.
Bonus video:
