субота, 9. фебруар 2019.

The presence of the view

This new series of drawings is orbiting around the idea that art (or artist) doesn’t belong to the art world but is a phenomenon of experience from which we can reach the immediate reality. In that manner, in a wide sense, we can compare this method to the method of bracketing [epoché] developed in the field of phenomenology.




















недеља, 24. август 2014.

Bruckner project


Bruckner Project
  
Ultimate Finale is a short documentary film that I made in cooperation with Belgian composer Sebastien Letocart in 2013. The film represents the visual dialogue with Bruckner's music, which played very important role in my artistic development and my personal life, as well. During the creation of the film I attempted to present a very personal and artistically honest view of the open space left by the missing final movement of Anton Bruckner’s monumental and transcendent last symphony. Also, this film is a part of a wider project of deconstructing and reconstructing the Bruckner's Ninth which will include other pieces, videos, paintings and more.


     


 VISUAL POTENTIAL OF THE WORK

Many musicians and artists share an opinion that the 9th Symphony contains a kind of programme (context beyond the music) on which Bruckner himself never expressed his opinion. While researching some of these “meanings” and pondering the idea I had a sense of discovery encountering a number of motives in his music which I believe can be artistically elaborated and fantasized upon. Some of them have been directly inscribed in the music material and some have been made through the connection which they have with the facts from the composer’s life.


• Motif of the Cross (The religious dimension of the work in is in the music material as explained in the video by S. Letocart )


• Motif of Light, or a contrast between the light and the darkness, has also been an obsessive Bruckner’s motive. The light is there in a symphony as a gradual crescendo (coming out of the dark) through a very original orchestration and a treatment of the orchestral colours, or as a sudden break of divine light as it is shown in the symphony through the space references (distance, approaching from a far, or from up above) over the specific treatment of the instruments and the orchestra.


• Mask motif – presents a symbol of identity search but it also symbolizes a meaning according to which life is an ultimate illusion and “when the masks fall” the eternal and permanent truth will be revealed.


• Motif of Heaven is a frequent Bruckner’s inspiration. The light which breaks through clouds and movements of clouds, small and enormous, serve as the references to the idea of passing of time and the eternal life that is beyond.


• The image of Eternity. Bruckner’s musical material, through a special compositional process, treats time beyond as static (no time) and opposite to the temporary (linear) time. This corresponds with the medieval and iconographic concept of art and image where there is everything present at a very moment, without any movements, as in eternity. This kind of personal compositional act, elaborated by Bruckner in his symphonies, to some extent puts emphasis on stringing images which are static in nature rather than on a more traditional and conventional organic development of the music material.



петак, 1. август 2014.

Drawings - 2007 - 2014



















Paintings - 2007 - 2012











 





" Pobacani pasvordi "

" Pobacani pasvordi " je eksperimentalno - dokumentarni film iz 2013. godine, nagradjen na internacionalnom festivalu " Uhvati ovaj dan  " u Novom Sadu iste godine. Prikazan je takodje kao deo oficijelnog programa istog festivala u Rijeci i Puli. Film portretiše unutrašnji svet pesnika Siniše Tucića, njegov dijalog sa savremenim svetom, sopstvenim telom, internetom i urbanim okruženjem. Estetika filma je pokušaj dekonstrukcije kompleksnog jezika pesnika te njegova eksterijerizacija, u užem filmskom smislu koristi se jezik nadrealizma, dijalogizira se sa " crnim talasom " a teorijski se mapira periferija grada u kojoj je jedino moguća sinteza kojoj teži umetnik. Telo na periferiji grada uspešno prevazilazi fizičke i duhovne barijere savremenog diskursa i na iskren način otvara prostor za nove energije i ideje, razbudjuje umetničku percepciju pospanu od konformizma i propoveda umetničku doslednost kao jedini put koji vodi izvan matriksa.
Ekipa filma, Siniša Tucić, Narcis Alispahić, Marko Radošević.