︎︎︎ Graphic Design
OFFSIDE
(exhibition)
Exhibition Concept /
Banners Design
Authors: Milan Maksimovic, Milica Vuckovic
Venue: Gallery Bioskop Balkan
Text: Mia Kisic
2023
OFFSIDE
(exhibition) Exhibition Concept /
Banners Design
Authors: Milan Maksimovic, Milica Vuckovic
Venue: Gallery Bioskop Balkan
Text: Mia Kisic
2023
The central focus of the exhibition "Offside" is to consider questions about the nature of art itself – its content, impact, and audience. It confronts the viewer with two narratives – one about Art with a capital A, which is self-sufficient, self-referential, and belongs to gallery spaces, and the other about art that believes it can enter into the everyday life of individuals, be socially engaged, and for which entry into museum and gallery spaces might be more of an end than a beginning of its action.
Such confrontation prompts a dialogue about the possibility of art – or, indeed, its need to transcend the boundaries of the artificial and address the real world around it, including the societal margin, but also what has traditionally been considered "non-artistic."
Such confrontation prompts a dialogue about the possibility of art – or, indeed, its need to transcend the boundaries of the artificial and address the real world around it, including the societal margin, but also what has traditionally been considered "non-artistic."
The observer encounters three parts that each communicate the question of art's involvement in the field of social engagement in their own way.
First, Milica Vučković's canvases play with references to prominent artworks by choosing art as the theme of art, but also a traditional medium such as painting for its expression, as a commentary on the principle of self-sufficiency of art closed in on itself. While on one hand, the paintings seem to provide an ironic commentary on such artistic practices, on the other hand, they also defend the right to such kind of creativity. In the next step, in the work of Milan Maksimović, the artist attempts to find a way to incorporate engagement into his work: written sentences represent excerpts from the dominant discourse about the "Other," which Milan brings in from the non-artistic domain (comments on social media), choosing a conceptual medium for creating an artistic object. The artist here acts as a mediator and commentator on social reality and some of its violent manifestations – but can he/she have legitimacy to speak in the name of such reality or those who live such reality.
First, Milica Vučković's canvases play with references to prominent artworks by choosing art as the theme of art, but also a traditional medium such as painting for its expression, as a commentary on the principle of self-sufficiency of art closed in on itself. While on one hand, the paintings seem to provide an ironic commentary on such artistic practices, on the other hand, they also defend the right to such kind of creativity. In the next step, in the work of Milan Maksimović, the artist attempts to find a way to incorporate engagement into his work: written sentences represent excerpts from the dominant discourse about the "Other," which Milan brings in from the non-artistic domain (comments on social media), choosing a conceptual medium for creating an artistic object. The artist here acts as a mediator and commentator on social reality and some of its violent manifestations – but can he/she have legitimacy to speak in the name of such reality or those who live such reality.
Finally, there is the street musician – a reality that represents itself, its voice, without interpretation. Brought into the field of art, or into the gallery space, it becomes an artistic object (but also a subject).
Can presentation then be replaced by artistic representation? What is the role of the artist as a creator or mediator in the communication of socially engaged content? And if the artist is there only to create a space for the voice from the margin to be heard – is there space for him/her in such art if he/she does not belong to those he/she speaks about? And, ultimately – who is the one to whom such art addresses, and can (or does) he/she want to be the bearer of social change?
Can presentation then be replaced by artistic representation? What is the role of the artist as a creator or mediator in the communication of socially engaged content? And if the artist is there only to create a space for the voice from the margin to be heard – is there space for him/her in such art if he/she does not belong to those he/she speaks about? And, ultimately – who is the one to whom such art addresses, and can (or does) he/she want to be the bearer of social change?
The Offside exhibition leaves viewers to answer these questions through the confrontation of the three given representations – and perhaps more than that, to contemplate their responsibility as observers.
