When I met Bata Ristanović, I realized that I had known him all my life, because I had always hoped that there was someone like him.

Bata, with his expertise in printing technology, had a subtle approach to working with people. He educated all the clients who had serious projects in his print mill. To me, a young designer, that process was stressful at first. But, when he communicated with all of us, Bata was like an anesthetic, reducing our anxieties. With his polite voice accompanied by his smile, he profoundly conveyed the trades of the craft. 

Bata deeply influenced us young designers and photographers who collaborated with him on the Publikum Calendar. He taught us the new technologies of the industry that were adopted and used by Publikum, ahead of the curve.

As the publisher, financier, or sponsor of the project, Bata gave the artist incredible freedom. He supported even the most outrageous visions, which he might not have entirely perceived at that moment.

Still, he was persistent that a creative person would come up with an authentic and culturally relevant idea and bring it to fruition.

The experience of working with Bata was surreal, especially in the business environment of offset printing. He was a Renaissance man who fell from the sky and into the world of materialism, consumerism, and everything the print industry is founded on.

From the very first moment I spoke to Bata, I saw a man who was on a meta-level. In his presence, one had the feeling that everything was in control—or that nothing was in control, and that all surrendered to good forces and vibrations of the Universe.

That sense of giving in to the flow of life energy is something I experienced for the first time in my life with Bata. He had a very successful company with his partner Dragan Janković, but what always came first in Publikum was the care for the fluidity of energy within, and in second place for profit. I have never seen or met such a person in my entire life.

In 2002 while preparing for the printing of my first photo monograph, “Serbia, Life, and Customs,” which I designed and financed myself, I came to Publikum and met with Bata for the first time. He quickly made a strong impression on me with his sincerity and desire to help me in every way possible. 

Back then I knew almost everything about photography; however, print prepress was something completely different, and I was almost entirely ignorant about it. Bata always listened to me patiently, and, like a father, advised me on how to proceed in solving challenges of the effects I wanted to achieve in my book. I received a profound education, and I am immensely grateful to him for that.

The memories we cherish are the manifestation of intangible energy that exists between people. It occurs in positive encounters and allows us to realize who we are, what we are, and where we are. That connection is a testimonial of those who have left the evidence of doing good. They were the guarantors of culture, quality, and positive human interactions.

Dearest Mr. Bata,

Thank you for your hospitality. We had a fantastic time in Serbia. We were treated like kings, although we’re just two regular guys from New York City.  Hvala, Hvala, Hvala! 

While we were in Belgrade for 12 days, there was all this craziness and intensity of interactions we had. But every time we met with Bata, we felt he was relaxed and yet in control. We pictured him if everything would go down to drain, he would stay calm, levitating above the whole situation, almost like a Buddha. He was interested in what we were doing, but he would not say to us this is right or wrong.

Every team that had Bata on had a pretty easy undertaking because having Bata on the team was like having a locomotive. He was an engine that did not grumble about the problems it overcame as he did not want to waste anyone’s time on it. He was one of those people who did not gossip and did not brag.

Although he had a big collection, I do not think, for example, that he was crazy about collecting paintings, but he did help to print a huge number of artist books in his printing press. Bata often traveled to the Far East, where he learned a great deal from Indian philosophy about helping others, about charity, and about doing good. He was a benefactor and a philanthropist.

That personal quality, that enthusiasm, that simplicity—that’s a life philosophy in essence.

Bata was an artist deep in the heart, and everything that had to do with printing and his company Publikum stood out. He was very fond of things that were extraordinary.  

There was something light and relaxing about him, but as they say beneath the calm waters a hundred devils sprang out. I am sure there were problems and obstacles in his work like with any complex business, but he never made any drama out of it. In his mind, things were simply the way they were. 

He was always interested in stuff that seemingly did not have anything to do with our everyday lives. I remember it could have been 1996 or 1997, a troubled period (in Serbia), a terrible year, cold winter. I heard someone ringing at our door. I opened, and I saw Bata, standing in the dark, and he said, “Hey, I just came back from the Himalayas.”

Publikum was one of the few printing mills that put a lot of effort into training its people who operated the print press machines to master the skills of artwork reproduction in hi-quality print. Bata’s interest in art collecting and support of the art scene indirectly served the business goals.

Modesty and serenity were signature trades of Bata’s personality. In my mind, I saw him almost like a levitating zen basketball player because he was so tall. He was a man who continuously enriched himself through meaningful interactions with people.