Inex Gallery!

Filed under: afirmator,vizuelne umetnosti |

makrobi apsurda

 

 

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Nikola Jovanović
Rođen 25.11.1983. u Beogradu
E-mail: mikulaquarelle@hotmail.com
Obrazovanje:
2013. Fakultet likovnih umetnosti u Beogradu, Master studije odsek vajarstvo u klasi Mrđana Bajića
2008-2012. Fakultet likovnih umetnosti u Beogradu, Bečlor studije, odsek slikarstvo
2008. Filmska škola Dunav film (viša škola), smer: animacija
2005. Škola za dizajn, smer: grafika

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Inex is dead. Long live !nex

Piše: Milja Stijović
Nikolini radovi u prostoru beogradskog skvota nisu slučajnost. Potcrtavanje energije prostora pećinskim crtežima, kako bi se isti prepoznao i akcentovao kao mesto pribežišta, upravo je objašnjenje zašto baš !nex&Nikola. Crteži ugljenom kreiraju okvir za sagledavanje skulptura ili njegove dece, kako naziva svoja minimalistička rešenja, ali i kolevku nove umetnosti, u kojoj će uživati i umivati se nova pećinska elita, ističe Jovanović.
Kako sam objašnjava njegovo istraživanje skulpture je započelo kad je „došao do organskog i fizičkog karaktera slike kao glavnog izražajnog sredstva kojim transformiše prostor“. Jovanovićevi radovi se odlikuju u svojoj biti (dišanovskim) redimejdom, obraćajući nam se tako kroz Makrobe apsurda, samo ako ste dovoljno iskreni prema sebi da pročitate poruku. Umetnik je patentirao makrob kao termin kako bi problemski pokrio očigledne stvari koje su nosioci bolesti društva, učesnici simbioza. Simbioze, naizgled nečitljive, zapravo su jasne ako ih sagledamo kao male manifeste čistog pogleda, onog detinjeg u nama i kako bismo, da smo sačuvali nešto od te dečije razigranosti, sagledali sadašnjicu. Nikola ipak podseća kako je „detinjatost u svima, da je ne možemo otkriti već da je se možemo setiti i iz odgovornosti prema sebi i našoj deci, i da o tome ozbiljno razmislimo“.
Smeh dok citira Gebelsa „kad ugledam umetnika latim se za pištolj“ objašnjava prema čemu se njegovi radovi ironično odnose i kako danas taj citat u našoj sredini prestaje da referiše na nepotrebnost umetnika i umetnosti, već na art mafiju. Ako je njegova instalacija, zapravo alegorija umetnosti u našoj državi, ne smemo dopustiti da njegove simbioze prođu mimo nas kao još jedan glas u daljini. U uzajamnom prepoznavanju potencijala prostora/dela rodila se ova izložba, uživajte i budite odgovorni prema svojoj deci!

 

 

Inex is dead. Long live !nex

Nikola’s work in the space of a Belgrade squat is not a mere coincidence. Underlining the energy of space with cave drawings, so that they are identified and accented as a sanctuary, a place of refuge, is an explanation to why exactly !nex&Nikola. Charcoal drawings create a framework for understanding sculpture, or his children, as he calls his minimalist solutions, but also the cradle of the new art, in which a new cave elite will enjoy and wash themselves, stated Jovanović . As he explained, his research of sculpture began when he “reached the organic and physical nature of the image as the principal form of expression which transforms the space“. Jovanović ‘s works are characterized in its essence by (Duchamp-like) ready-made, addressing us through Macrobs of absurd, but only if you are honest enough with yourself to be able to comprehend the message. The artist has patented Macrob as a term only to problematically cover the obvious things that are the carriers of the illness affecting the society, the participants of the symbioses. Symbioses, seemingly incomprehensible, are actually clear if we observe them as little manifests of a pure scope, of a child’s perspective, and if we are to observe presence, we have to maintain some of that kid’s playfulness. Nikola still recalls how “ childishness is in each and every one of us, we cannot discover it but we have to recollect and to think seriously about it due to responsibility towards ourselves and our children. Laughter, as he quotes Goebbels „when I see artists, I reach for the gun“, explains to what exactly the irony in his works referrers to and how that quote stops referring to the fact that artists and art are unnecessary, but only to the art mafia. If his installation is really an allegory of the state of art in our country, we must not allow his symbioses to elude us like just another voice in the distance. This exhibition was born in mutual recognition of potential space/works , enjoy it and be responsible towards your children!

 

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