Jelena Tomašević
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Jelena Tomašević Image 1
  Jelena Tomašević Image 2
Iz serije: Sada kada smo otišli dokle se može ići…, 2006.
From the series Now that we have gone as far as we can go…, 2006


Born in 1974 in Podgorica, Montenegro.
Lives and works in Podgorica.

www.galerie-conrads.de

From the series Now that we have gone as far as we can go…, 2006
Photos: Duško Miljanić

Reality under the stuffy cover of “ART” … no trick cheeky enough, no technique exciting enough, no effect strong enough...

... The presence of death (on these paintings) is a regular and special substance or sublimate of life, its strange proof that we could, legitimately, also call joy of life; the joy of life as unbearable lightness of living and bearable lightness of death. Tomašević’s paintings radiate the atmosphere of universal congestion, indifference, all-permeating boredom, existential apathy, emotional blankness and detachment. Lime Michelangelo Antonioni’s, this world is broken, torn, crumbled, a universe that is expanding, radiating, dispersing, cooling. This is an Antonioni-like wasteland that sucks in, dries and bleaches the individual. However, their destiny is not to vanish, disappear, be wiped. In that entropy there is some secret joy, shapeless joy of living.
Man’s “self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order (W. Benjamin)...

Svetlana Racanović

From The Eros of Slight Offence, ex. cat. 51. Biennial Pavilion of Serbia and Montenegro, (Venice, 2005)

Rođena 1974. u Podgorici, Crna Gora.
Živi i radi u Podgorici.

www.galerie-conrads.de

Iz serije: Sada kada smo otišli dokle se može ići…, 2006.
Fotografije: Duško Miljanić

Stvarnost pod zagušljivom obrazinom „UMETNOSTI” … nijedan štos nije dovoljno drzak, nijedna tehnika nije dovoljno uzbudljiva, nijedan efekat nije dovoljno jak…

... Prisustvo smrti (na ovim slikama) je jedna regularnost i naročita supstanca ili sublimat života i njegova čudna potvrda koju bismo, sasvim legitimno, mogli nazvati i radošću življenja; radost življenja kao nepodnošljiva lakoća postojanja i podnošljiva lakoća smrti. Ove slike isijavaju atmosferu jedne univerzalne tjeskobe, stanja indiferentnosti, sveprožimajuće dosade, egzistencijalne apatije, bezosjećajnosti i distance. Poput Antonionijevog, i ovo je razbijen, rasijan, rasparčan svijet, univerzum koji se širi, osvjetljava, rasijava, hladi. Ovo je neka antonionijevska pustoš koja usisava, suši i izbjeljuje individue, no, njihova sudbina nije iščezavanje, nestajanje, brisanje. U toj entropiji ima nekakve tajne radosti, bezoblične radosti življenja. Čovjekovo „samootuđenje dostiglo je onaj stupanj koji dopušta da on svoje vlastito otuđenje doživljava kao estetsko zadovoljstvo prvog reda” (V. Benjamin) ...

Svetlana Racanović

Preuzeto iz: Eros malog prestupa, 51. Bijenale, Paviljon Srbije i Crne Gore, (Venecija, 2005)