Dragan Vicentic
Artist

The spine that twists under an invisible burden is a motif that appears again and again in Vićentić’s paintings as an unsettling realization. The mechanism that controls the painter controls both the object of the painting and the eye of the beholder. We are hypnotized by the moon, twisted and bent in an impossible position while we feel: how horns grow from our skull, how our skeleton grows, how a larva turns into a butterfly, how the object of our secret desires turns into line and color. Vićentić does not compromise when he paints: dead love is painted with charcoal and the dead are painted with love. Vićentić’s painting is honest and authentic, it came from neo-expressionism, now it is no longer necessary to define it. The pictures do not need legends to explain them. But the Moon is needed in order to finally see the painter, to recognize his self, when the tide finally lifts him above the sharp sea cliffs. And this is where the painter reveals himself to us as a fragile, sensitive being questioned above the chasm that divides us. The painter is not a guide, nor a dog, nor is that his intention. The painter’s intention is to illuminate the abyss, not to lead us along the paths. If our head falls off, if our spine falls out, if we cannot recognize ourselves, if we magically go astray, the painter has done enough for us. Otherwise, the painter clearly tells us: There is no way back from the skin we grow up in, there is no escape from the small town, there is no escape from love, there is no way out of obsession, we are already in the home computer screen, we are riveted to the image just like cloth.

–Aleksandar Bandović

Dragan Vicentic
Artist

The spine that twists under an invisible burden is a motif that appears again and again in Vićentić’s paintings as an unsettling realization. The mechanism that controls the painter controls both the object of the painting and the eye of the beholder. We are hypnotized by the moon, twisted and bent in an impossible position while we feel: how horns grow from our skull, how our skeleton grows, how a larva turns into a butterfly, how the object of our secret desires turns into line and color. Vićentić does not compromise when he paints: dead love is painted with charcoal and the dead are painted with love. Vićentić’s painting is honest and authentic, it came from neo-expressionism, now it is no longer necessary to define it. The pictures do not need legends to explain them. But the Moon is needed in order to finally see the painter, to recognize his self, when the tide finally lifts him above the sharp sea cliffs. And this is where the painter reveals himself to us as a fragile, sensitive being questioned above the chasm that divides us. The painter is not a guide, nor a dog, nor is that his intention. The painter’s intention is to illuminate the abyss, not to lead us along the paths. If our head falls off, if our spine falls out, if we cannot recognize ourselves, if we magically go astray, the painter has done enough for us. Otherwise, the painter clearly tells us: There is no way back from the skin we grow up in, there is no escape from the small town, there is no escape from love, there is no way out of obsession, we are already in the home computer screen, we are riveted to the image just like cloth.

–Aleksandar Bandović

  • Allen Frame: Whereupon
    Publication
    Palermo Publishing
    International
    Palermo Publishing announces the publication of its first monograph of photography, Whereupon, a selection of images by New York photographer Allen Frame, from the late 1970s to the early 1990s, in black and white and color. Whereupon expands the premise of his recent book Fever, (color photographs of 1981), to show a broader time period with the same subject: his artist friends in their apartments and lofts and on the streets of New York. (more…)
  • George Byrne: Synthetica
    Jun 13 – Jul 14, 2024
    Show Gallery
    Los Angeles, USA
    Show Gallery is pleased to present Synthetica, a solo exhibition by Los Angeles-based Australian artist George Byrne. References to magical realism, modernism, theosophy, and AI combine to explore the tension between the natural and the artificial. The exhibition challenges preconceptions of reality in an increasingly digital age while paying homage to Byrne’s analog photo roots and influence from the new topographic photographers. (more…)
  • Atiéna R. Kilfa: Special Effect
    May 4 – Sep 8, 2024
    Den Frie
    Copenhagen, Denmark
    With Special Effect, Atiéna R. Kilfa presents a new body of works consisting of a short film and two large scale pencil drawings. In continuation of Kilfa’s investigation and restructuring of cinematic archetypes, Special Effect homes in on the nondescript figure of a man sitting at a desk. Shot in black and white, the film eerily evokes a timelessness of the figure by bringing it in resonance with pictorial genres reminiscent of various eras from German Expressionist cinema to the golden age of Hollywood film noir, fast forward to its 4K quality of today. (more…)
  • Georg Kussmann: FRG
    Publication
    MACK
    International
    The German dramatist Heiner Müller observed that German history lies as if smothered by a rheumatism blanket: beneath there is warmth and stagnation, just enough to give the impression all is well, while the peripheries are freezing. Georg Kussmann’s photographs in FRG were created under this metaphoric blanket. Made in the Federal Republic of Germany over a single summer, they depict everyday scenes of life, work, and leisure (more…)
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