Viewing posts from: izlozbe

29.05.2012.

ON VALUE

Jelica Radovanovic and Dejan Andelkovic: A Multimedia Project, The Gallery of Modern Art at the Pancevo Cultural Center, April 3rd – 20th, 2012.

By: Slađana Golijanin

Jelica Radovanovic and Dejan Andelkovic, an artist couple from Belgrade, have been creating and exhibiting their artwork together for over two decades.  They decided to work together when they realized that they had the same or similar ideas and that their ways of realization coincided.  In their method of creating, various media and materials are used, while the themes that intrigue these two artists remain the same at their core, with minor variances from 1991 until today.  This time period is at the same time characterized by turbulent and radical changes in social relationships, in the status of the individual in society, as well as in the role of art in society.  Above all, the themes that they deal with are based on the reexamination of the identity of the subject via Lacan’s theory of language, through the relationship between and towards “The Great Other,” and, in the past few years, on questions that are posed by neoliberalism.  The modern framework of life and work in this region, which appeared after the break-up of the former Yugoslavia, is developed by the artists from the aspect of posing questions instead of giving concrete and defined answers.  In this way, new works of art also enter the prism of former interests, and they are placed under the inspection and research of relational instances between those concepts from the social practice of the former Yugoslav States which seem to have been determined once and for all.

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27.01.2012.

ART DESPITE RABBITS

Nikola Džafo: Painting: The Second Time Among the Painters | Gallery Nova, Belgrade | December 22, 2011 – January 31, 2012 

By: Ana Bogdanović

Rabbit the Mayor, rabbit Christ the Saviour on the cross, rabbit the executioner, vengeful warrior, rabbit that ate the museum – in art, unlike other public and private spheres, anything is possible. Therefore, artists often believe that their profession, more than any other, has the potential to change the world. The revolutionary and emancipatory character of art, which has survived many disheartening episodes of modern and contemporary society since the vanguard, is strongly rooted in the beliefs of the Novi Sad artist Nikola Džafo. His exhibition in the Gallery Nova, where the main part is played by the rabbits, offered another reason to ask ourselves whether art really possesses the power to actively affect socio-political reality. more >

27.01.2012.

BLEAK POSTCARDS FROM THE FUTURE

Željko Kipke: Third retrofuturist exhibition: Hello from Zagreb, Ulrich Gallery, December 12 – December 31, 2011

By: Tihana Bertek

The term “retrofuturism” was first used by the editor of the eponymous magazine and multimedia artist Lloyd Dunn in 1983, referring to a direction in art that presents the future from the perspective of the past. It spread through different fan cycles, especially SF, exploring the tension between the future and the past, based on imaginary technologies and parallel realities, shrouded with a feeling of nostalgia and dys/(u)topia. Well known painter and writer Željko Kipke shows six large oils on canvas in the Ulrich Gallery, entitled Hello from Zagreb, (December 12-31, 2011). more >

25.12.2011.

WHO SETS THE LIMITS OF PERCEPTION?

Igor Eškinja, Inhabitants of generic places | NO Gallery of Contemporary Art Museum, Zagreb| November 4 – November 20, 2011

By: Ana Bogdanović

One of the powers of art lies in its ability to provoke experience from the audience by employing conspicuous visual means which allows them, at least for a moment, to share the distorted point of view imposed by the artist. In order for the play with the viewer to be successful, artists used trompe-l’œil (French for “illusion”), which means accurate presentation of space in the painting with the aim to create an illusion of three-dimensional space which is a seamless continuation of the tangible space surrounding the viewer. Removing the boundary between real and imaginary space, perception was fooled and a human need satisfied, to make things appear as real in art as they are in life. If we apply this to our day and age, where the mass phenomenon of virtual reality, popularity of four, five, and six-dimensional movie experiences in cinemas, skillfully and very manipulatively, affects the confusion between the real and construed space of the viewer, mimetic representation of familiar situations in art does not manage to satisfy the complex perceptional expectation of the viewer. Testing the limits of perception, not just art, but what we call reality, is the main challenge posed by the Croatian author Igor Eškinja with Inhabitants of generic places.

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