Mihael Milunović
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  Mihael Milunovic Image 2 Mihael Milunovic Image 3 Mihael Milunovic Image 4 Mihael Milunovic Image 5 Mihael Milunovic Image 6
FАR-St-E 002 (Fusil d’Assault Reliquaire – St.Etienne 002), 2006
FAR-St-E 002 Jurišna puška relikvija – St.Etjen – 002, 2006.


Born in 1967, lives and works in Belgrade.

Graduated from the Department of Painting at the Faculty of Fine Arts in Belgrade in 1992.
Obtained his MA degree at the above Faculty in 1995.

Attended a specialisation course at l’Ecole Nationale Supérieure des Beaux-Arts de Paris, France, in 1995-1996. Has exhibited at numerous exhibitions in his home country and abroad (2006 March-May, Memory, (with Polhuis and Skala) Langhans Galerie Prague, the Czech Republic, 2005 April, Gallery Hilger, Vienna, Austria, 2004 November, Under Che, the O3ONE Gallery, Belgrade, Serbia and Montenegro, 2004 June, Arme Sacrée, Galerie La Serre, Ecole Nationale des Beaux-Arts et de Design, St. Etienne, France, 2003 September, Notebooks, the French Cultural Centre, Belgrade, Serbia and Montenegro).

FАR-St-E 002 (Fusil d’Assault Reliquaire – St.Etienne 002)

A Holy Weapon (Arme Sacrée)

For a number of years, my work has been linked with research into the domain of the Holy; it has not been restricted to, for example, iconography, but has included the phenomenology of images and objects of Faith in its entirety. It is my view that religious phenomenology intermingles and integrates with the social, political, military and intimate life of populations; its projections find their place in the foundations of modern utopias and become transfigured in keeping with the will of political systems.

These projections create room for formally new and more sophisticated forms of veneration, which, however, preserve the same tendency towards repetition, word, memory and its material conservation, towards the cult of the place and customs.

My new works follow the systematisation of the preservation of anonymous content – but holy in spite of everything – by invoking the essence through banal, ordinary objects without a past – thus constituting new reliquaries, filled with force, repossessing, symbolically, the territory long ago abandoned by “true” relics, that of the battlefield.

The epoch that we know through our personal knowledge or through education, first and foremost the 20th century, a century of wars, is an epoch wherein the search for absolute military domination led to a total destruction of the entire nation. An absolute weapon. A notion possessing the aura of the absurd. This “miracle weapon”, “saving weapon”, “weapon of deterrence”… the search for absolute power, so close to the symbols of czars and emperors of the past, only turned inside-out in this case, the search for a pure war, a zero-casualty war, has created new sacralisations of weapons and military equipment.

Incredible significance, even of the spiritual and religious variety, has been given to objects produced in their hundreds of thousands, automatically assembled on factory assembly lines. To weapons that win wars and preserve power.

In reality, this anonymous content has been replaced by a sacral one, real or presumed, altered, assembled and placed in the system of industrial production, becoming a symbolically absolute but strictly personal weaponry.

The rifle-reliquary, filled with its new content, becomes a weapon of “transfiguration” (conversion) – a weapon that does not kill but subjugates its enemies. A weapon of the future without casualties.

I introduce relics into the battlefield – their original territory; by charging them, I give them a future that is tumultuous, mobile and open to all manipulations and all dangers.

Having thus become “absolute” weapons, relics obtain a mythic aura summarising the symbolic roots of contemporary conflicts within itself.

Rođen 1967. godine, živi i radi u Beogradu.

Diplomirao slikarstvo na Fakultetu Likovnih Umetnosti u Beogradu 1992.
Magistrirao na istom Fakultetu 1995.

Specijalizirao na l’Ecole Nationale Supérieure des Beaux-Arts de Paris, Francuska,1995-1996. Izlagao na brojnim samostalnim i grupnim izložbama u zemlji i inostranstvu (2006 Mart-Maj, Memory, (sa Polhuis i Skalom) Langhans Galerie Prag, Češka Republika, 2005 April, Gallery Hilger, Vienna, Austria, 2004 Novembar, Pod Che, Galerita O3ONE, Beograd, Srbija i Crna Gora, 2004 Juni, Sveto Oružije (Arme Sacrée), Galerie La Serre, Ecole Nationale des Beaux’Arts et de Design, St. Etienne, Francuska, 2003 Septembar, Sveske, Francuski Kulturni Centar, Beograd, Srbija i Crna Gora).

FAR-St-E 002 (Fusil d’Assault Reliquaire – St.Etienne 002)
Jurišna puška relikvija – St.Etjen – 002, 2006.

Sveto oružje (Arme Sacrée)

Moj rad je, već dugi niz godina, vezan za istraživanje domena Svetog. To istraživanje se ne ograničava samo na ikonografiju, na primer, već i na fenomenologiju slika i objekata vere u celosti. Smatram da se religiozna fenomenologija meša i integriše u društveni, politički, vojni i lični život stanovništva; njene projekcije nalaze svoje mesto u temeljima modernih utopija, i bivaju preobražene po volji političkih sistema.

Te projekcije stvaraju prostor za formalno nove i sofisticiranije forme obožavanja, koje uvek sačuvaju istu težnju za ponavljanjem, za rečju, za sećanjem i njegovim materijalnim očuvanjem, za kultom mesta i za običajima.

Moji novi radovi prate sistematizaciju očuvanosti anonimnog sadržaja (ali, uprkos svemu, svetog) prizivanjem bitnog banalnim, običnim predmetima bez prošlosti, praveći, tako, nove relikvije, nabijene silom, koji nanovo zauzimaju, simbolički, teritoriju odavno napuštenu od „pravih“ relikvija – teritoriju bojnog polja.

Epoha koju poznajemo kroz našu sopstvenu spoznaju, ili ono što nam je preneseno kroz obrazovanje, a pre svega XX vek, vek ratova, jeste epoha u kojoj je potraga za apsolutnom vojnom dominacijom dovela do potpunog uništenja čitave nacije. „Apsolutno oružje“. To je pojam sa aurom apsurda. To „čudesno oružje“, „spasonosno oružje“, „oružje odvraćanja“, potraga za potpunom moći, toliko bliskoj simbolima careva i imperatora iz prošlosti, ovde je samo izokrenuta potraga za čistim ratom, i ratom sa „nula-mrtvih“, ona je stvorila novu sakralizaciju oružja i vojnog materijala.

Neverovatan, čak duhovni i religiozni, značaj dat je predmetima proizvedenim u stotinama hiljada primeraka, automatski sastavljenim na fabričkim linijama. Oružju koje dobija ratove i štiti moć.

Taj anonimni sadržaj je, u stvarnosti, zamenjen sa sakralnim, stvaran je, ili pretpostavljen, prekrojen, sastavljen i postavljen u sistem industrijske proizvodnje, tokom koga će postati simbolički apsolutno, ali isključivo lično, naoružanje.

Puška–Relikvijar, „nabijena“ svojim novim sadržajem, postaje oružje „preobraženja“ (konverzije) – oružje koje ne ubija, ali koje potčinjava svoje neprijatelje.

Oružje budućnosti bez žrtava.

Relikvije uvodim na bojno polje – na njihovu izvornu teritoriju, stavljajući ih u šaržer, zadajem im budućnost: burnu, pokretnu i otvorenu ka svim manipulacijama i svim opasnostima.

Pošto su, tako, postale „apsolutno“ oružje, relikvije dobijaju mitsku auru koja u sebi sažima simboličke korene savremenih sukoba.