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Pictorial Offering

By Nikola Suica
“Everything has disappeared; only a mass of materials from which new forms will be built remains… Until now, we had the realism of the object, but not painted formations of colors. Each form is free and individual. Each form is the world.
Kazimir Malevich, Moscow, 1915

A visual society is permeated by demanding information systems. Visible sensations permeate all types of communication in a fluctuating civilization, and seem to be challenging the millennial dominance of word over image. However, this is not a tested and undisputable shift. Seeking insight into the areas of the discrete and hidden still survives in the sphere of art, as a retreat from the consumer-centered, overwhelming and simplified visual dominance. Expansive presentations and transferring of images, through any type of visible publication and form of use, have reachedconventional offers and an epidemic indifference. This is also the case with liberal, democratically secured, as well as transitional and totalitarian societies in the unfolding 21st century.

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On Goran Juresa’s
‘Chocolate Road’

By Jovan Despotovic

Painting and ‘painting’ can be realized today by practically limitless means and through numerous kinds of media. ( The difference between painting and ‘painting’ is that the former corresponds to the general contemporary creative image, and the latter more or less just imitates modern art, consequently raising questions about its value ). At the same time, the field from which it can cull its topics is as limitless as it is vast, and anything that could be its topic or content finds its expression in plastic language on the flatness of the canvas, or on the surface of the paper, in the case of drawings or collages. In this current linguistic whirlwind of endless authorial poetics it is clear that each artist builds his own individual position with which he defines those imaginary or real, intellectual or irrational, psychological or visionary phenomena which interest him and which he needs to transfer into the visual field of his work.

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Even Bombs are Not What
They Used To Be

by Gordana Stanisic

Every new epoch reminds us of that same old rule: an artist distances himself from his presence very hard, because it is ubiquitous as one of possible realistic situations from his imminent milieu. The times of spontaneous or less spontaneous illusions are long gone. It seems as if we had accepted this fact in a way. An artist is still present here and now, but he is seldom a strategist of ideology. To say it in a simpler manner, he does not express his idea any longer by means of a nihilist view of his absence on one hand, or by means of a recognisable and engaged language and public messages, activating thus a part of his own habitue.We are gradually getting used to the fact that art does not have to be either a seductive illusion or an exclusively critical point of view.

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22 November, 2003

By Kosta Bogdanovic

Forms of contemporary interpretations or reinterpreta- tions of artistic, as well as any other, experience, given ‘in honour of’ or for another reason, presuppose a significantly freer adoption of ideas, so as to include the artist as directly as possible in the trends of rapidly changing conventions and categories of value. The classic understanding of a gained experience, as the possibility to create newness, comprises a motto in the word lemma (Greek for taken) which presupposes, especially in philosophy, the act of taking what is good and what can be good for others. Contemporary reinterpretation and the adoption of existing ideas and experiences in the spirit of postmodernism, does not refer so much to what is good as to what is ’trendy’, especially in art.

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