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ART PROJECTS here presented represent only one short selection from over more than 80 art projects that were are created and performed over the last 30 years.

''HAPPY FAMILY'' is unique art performance / project was made in Paris 1994

''Happy Family'' is unique art performance / project was made in Paris 1994 and in studio Indigo / Belgrade, (2003) confirmed in its forecast in 2005.

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This project included a photos of  virtual  installations from the cycle ‘’Happy family’’

"Destiny is choice, Choice makes destiny" Those words was the motto of this project.

 

Thematic units of modern advertisements and fashion photography undoubtedly form our impressions and mental substrates, with which we sublimate the structure of desires and impressions about our concept of the Ideal. Harmonization of my subconscious reactions during the meditative process dedicated to the recognition of emotional aspects, to which we unconsciously subdue during the formation of our living anatomy of choice, caused the concept of this work.

Reinterpretation of the modern-fashion ideal-type of family, accentuation of its true meaning and mechanisms according to which existential structures of our hidden desires operate, reconsideration of their possibilities and principles of realization are only some of polemical subjects of this work. Conceptual carrier of message of this work is a kind of future (projected) finished product, ready-mades taken from the pages of fashion magazine, carefully selected and based on subconscious projections of desire recognized as such. This work indirectly opposes to the exploitation of global mass obsessions by putting the spotlight on our most intimate fantasies, and in a unique way, by the mere act of choosing, it photographs an authentic personal desire of the individual, acknowledging it as such.

Thus, I also see this photo installation as my intimate ready-mades - introduced with a unique icon of my visual conception of the aesthetic, even when it comes to conceptual identity of this virtual photo-installation of family.

In accordance with the aforementioned context, material taken as quotation and ready-mades sample were revised to an extent that satisfies the retinal perception of the viewer at the level of newspaper printing shown (body postures and facial expressions are in accordance with the needs of emotional substrate of satisfaction, which was specially adapted for this purpose to the atmosphere adorned with special aesthetic and spiritual note of Italian model Renata S \ see a collection of works memory of smile*.

Guided by intuitive aspects of memory (reminiscences), I felt initiated to visually register exactly with it one spontaneously and intuitively formed identity of virtual family like this. Thus, this work becomes (a kind of personal) photography of dream projected with self-thematisation, which is by consideration of initiated memories being represented by ready-mades sample of newspaper printing used for this installation.

Cycle of installations on this topic implied a special meditative preparation which personifies the unconscious emotions of the author toward the existent biological parameters within which manifests itself one of the forms of contemporary visual identity of marriage.

By self-thematisation, as here meaningful form of expression was created my personal icon of family. Using a sample of newspaper printing, photos registered according to the real experience of identification on the basis of already lived elements that work fully confirms with accompanying symbols. In thematic focus of this visual construct conceived by individual desire, is being formed a trace of magically ritual aspect in which created, nominated and visually established consequence often initiates the cause.

Aesthetic ideal of woman and her position in the family for me is incredibly close to the illusion of this photo installation, so I tried to touch with its choice some values of visually clear established concept of photographing the wish as a dream.

The work was created in 2001 and in 2005 is being realized this imaginary cause that turns out to be one of the key parameters of this and in this way illustrated desire. The function of creating of consequence conceived as initiator of cause of the wish itself.  Art as established consequence which arouses causes. Therefore, it is the ultimate contextual meaning of this work to point out the importance of our illustration of desire and its most precise embodiment at the imaginary level, which by automatism defined of positively defined values are being created extremely high possibilities of realization. Thus, what we await, catches up with us, both at the individual and at the global level.

Photos from the cycle „Happy family“, installation for meditation from the cycle ''Prisoner on a whim ''1993

''The STEPS - BEFORE and AFTER'' art video from cycle ''Before the SILENCE'', 1996

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''The Steps - Before and After'', Kotor, Montenegro (One day exhibition ''Neonatology in art ''/ drawings in gallery ''Decatera'' as an introduction to performance "The Steps - Before and After " by Nikola Markovic and Olga Suvorova* from "Bolshoy Theatre". This project prompted the making of a short artistic film which, using the effect of overlapping frames, shows the movements of baby's feet merging into the images of the similar movements of the ballerina, spontaneously executed during the performance. The sound for the film is a synchronization of the ballerina's heartbeat and the heartbeat of a newborn baby.
Speaking about the baby's prenatal movements during the film, I tried to point out that the rhythm of our contemporary way of life has become mechanical, and how man's obsession with science and technology has led him ever more astray from the purity and joy of his first steps.
Work on this project required special psychological preparations and training by the ballerina and this sometimes included hypnosis performed by the artist himself.
The working title of the film is "The steps - Before and After" with the duration of 12,5 minutes. This film has been produced in co-operation with the Cultural Centre Kotor/MNE 1996 year

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'''LITTLE BUDDHA'' / thetraksis' art - performans 1995

 

Ovaj projekat je radjen na temelju identifikovanja elementa vode sa onim neprolaznim vrijednostima zivota pa samim time i njegovog najvaznijeg razvojnog perioda kao sto je djetinjstvo, od projekta je na žalost sacuvano samo nekoliko fotografija koje ukazuju (izložene kao poliptih) na posebnu vezu vode,  vatre i ukusa morskog oblutka koje aspektuje ulogu cula kod djece. Lik jednog od cetvoro djece koje se zateklo pri razvoju pozara na nasoj obali 1992 godine (kada je i nastao rad) asociralo je naziv ovog rada u kojem se ukazuje na 4 osobe uzrasta do 5 godina koje spontano rade i izvode posveceni u svojoj meditaciji one radnje koje im culno definisu život u okruženju Vatre, vode i vazduha..gdje njihova meditativna opustenost i usresredjenost smireno iskazuju i cetvrti element.

THE NEWBORN BABYCOLOSSUS 1994

The newborn babycolossus / sculptural installation 1994

...It is said that historians do not write history which may well be true. The story of civilization was first hewn in stone, carved in wood, or maybe buried in the prehistoric volcanic ash of Africa in the shape of the footprints of the first family some 3.5 million years ago. Back in antiquity, it was the readily available rough components found in nature that gave man his first lasting history - autochthonous tools and resourceful material that he used to shape his environment.This reasoning animal, ready to express his emotions, by filling the spatial and visual vacuum with tools and artifacts, has left a lasting trail in the temples, canals and statues built to celebrate the glory of gods.
My original determination to study antiquity is based on some ancient and unknown music, which haunted me occasionally, creating images and impressions which belong to these very old ages. Those lavish and clear images helped me understand the motives which initiated such power in artists of ancient civilizations so as to recreate their idols in the dimensions we see today as wonders of the world. Building the Pyramid of Cheops, the Corinthian Canal or the Colossus of Rhodes, man the social animal and man the technologist had come of age. The latter of the ancient wonders was a monument built to honor the 305 BC battle for the defence of the besieged city of Rhodes. It was a colossal representation 110 ft. tall, the life’s work of Chares of Lindos built to celebrate the victory over Demetrios Poliokretes. Built astride the entrance of the Port of Rhodes, the biogenic arch, bridging the mouth to the harbor, surpassed the Egyptian masters in art form and human largesse. It symbolizes, we can surely say, man’s temporary and occasional victory over nature, as well as the task of making peace among men as a perpetual
historical temptation. Throughout the ages, this colossal statue dedicated to the sun god Helios, became the axle and the wheel, the creative drive for many monumental projects of art on the border between sculpture and architecture. Perhaps one of the most recent examples is the famous Statue of Liberty of New York Harbor whose stature and aureole bear a striking resemblance to the monumental sculpture of Rhodes. Since its unveiling, first on  the river Seine in Paris (the model is still there on display) and then offi cially in New York on 4 July 1886, nowhere did the message of the “guiding light” fi nd its most intrinsic meaning and application as in this new, future symbol of the global children’s industry.
Promoting the future global symbol of child for the New Millennium, this gigantic 147-meter high sculpture of the new Colossus, recreated in the form of a newborn baby boy will capture us with its imagery and antics of adolescence, marking the tri-millennial threshold. This feat of the ages, constructed out of high-tech materials and visual wizardry (holography) is to be displayed at the Pompidou Center in Paris and Rhodes itself, at the original site. The newborn baby colossus unveils the greatest secret to us in sheer realism, as to prevent any doubt in what it wants
to say. The newborn Baby-Colossus is intended to promote the cause of children and make their plight in the modern world more visible and assertive. Revealing a great secret of unprotected generations of newborn babies, this statue points out many dangers such as human cloning which I believe will happen in the millennial year, the year that takes upon itself the task to promote a historical symbol of the child – a man to be – a child crying for freedom, democracy and prosperity. With a powerful media campaign, this colossal sculpture of a newborn baby would soon
unite the boundless and unshown energy dedicated to children of earliest age. A direct contact with impressions that the gigantic newborn baby creates does not but provoke deep admiration before an image of the fi rst touch of life. What is exquisite about this sculpture is its genuine and persuasive power, suggested by nothing and intended for nothing. It exists by itself and for itself, and the more we look at it we realize that it can start breathing or moving any moment. If we take a better look at its radiant aureole, we will recognize, through memory or emotion, the still young Colossus of Rhodes.

“Maybe this newborn baby angel can really replace the mythological wonder of the world!”

(M. Lompar, 1998)

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