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ISSN 1409-6900 | UDK 82+7     Blesok no. 93 | volume XVI | November-December, 2013



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                     Peer-reviewed journal
Blesok no. 93November-December, 2013
Gallery Reviews

Osten Biennale, 2013

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Safet Ahmeti

“Golden Osten” is an artist-in-residence biennale program aiming to provide room for several weeks of work, collaboration and exchange between artists who are recipients of the above mentioned award at the “World Gallery of Drawing”.
    

The sheer diversity of authors and artworks, winners of the Osten prize illustrate the broadness and thoroughness of the gallery's approach to the subject of contemporary art creation. However, it is not just about the diversity of styles in treating the canvas, but about opposed, even confronted theme philosophies. Altogether, they speak about the current state of art production as a kind of ‘nowadays’ phenomenon. Why a phenomenon? Preeminently, because it still exists. In an era when everything, art included, has been reduced to advertising and design in service of advertisement, artwork still hangs on. Or, at least, that’s what we might think. Isn't it just enough to simply ‘enjoy’ the artists virtuosity; the aptitude of those ‘blessed few’? Or has art since gained something of a different role society? By this I also consider the highly problematized phenomenon of artistic “genius”. The numerous quotation marks and question marks in this introductory paragraph clearly attempt to say that art can and probably must continue with its educational role, at the very least. Artwork is work that can open our eyes and can point to the problems of the contemporary as well as of any other previous society. No matter if the artwork is a swipe social critique or one that is apparently self-sufficient within its own enclosed world, they all describe in a very precise manner the relation to reality.
    

Probably the most expressive relation to the world and life we find is in the work of Vladimir Veličković. Not so much a painter of the human form but of human nature. Aggression, brutality, destruction, alienation, eternal escape. These are civilization issues the author constantly confronts us with. They are additionally stripped bare by the precision of the details and the expressiveness of the stroke. As if that were not enough in itself, Veličković ‘throws’ the mighty, tough body into a vast, empty dark space.
    

As a matter of fact there is a question mark as to whether or not the work of Zlatko Glamočak is more or less aggressive-expressive compared to the work of Veličković? In any case, it is created to compel discomfort, uneasiness or as Jovan Despotović had stressed, “a feeling of disgust, queasiness,






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