Place
House of King Peter I, Belgrade
25 Years Retrospective,
Fictional creatures and where to find it
Date from
april 2018
Date to
may 2018
In his works, Sinisa Jeremic presents an guiding idea which is as fascinating as simple. Have we, people of modern times, explored ourselves in the same way that we were studying those we considered to be others or different? Despite our self-reflection, despite our great stories of identity and non-identity, have we had enough time, will and courage to move away from ourselves and expose to a view that leaves nothing hidden?
I think that Sinisa is responding to these questions, with hypnotic and secure style shatters the path through the thicket of overcome ideas and with a lot of irony, humor and anger, with a large number of pictures as impressive examples, he writes an exciting, powerful and important text.
There are fictional creatures in all of his works as a product of his psyche, soul, and intuition. However, fictional creatures could also represent a nomadic vision of a posthumous subject and It is precisely this perspective that provides a very important insight into the production of scientific knowledge in his art.
Surgical precise anatomy damaged by visible scars is characteristic of his early works. However, In recent works, the human body is presented as a surface for recording the event of the merging of two bodies of a different sex into a single whole. In this way, Sinisa clearly points to the long way that we, as a civilization, have crossed out to eliminate the visually available differences between empirical sexes, races, and species. It remains to be asked whether in this way Sinisa problematized the gender and fully liberated subject as one of the thesis of his work.
Surgical precise anatomy damaged by visible scars is characteristic of his early works. However, In recent works, the human body is presented as a surface for recording the event of the merging of two bodies of a different sex into a single whole. In this way, Sinisa clearly points to the long way that we, as a civilization, have crossed out to eliminate the visually available differences between empirical sexes, races, and species. It remains to be asked whether in this way Sinisa problematized the gender and fully liberated subject as one of the thesis of his work.
Sinisa’s work drags and intertwines us observers into his story. This feeling can be compared with the enjoyment of listening to a favorite symphony in which the listener is never fascinated by the work, for he projects his subjectivity to that music, but because the work requires him to become part of the art. He can become a part of a story, a genius interpreter, a sharp critic, or an active observer. This is what art makes of us. For this reason, I’m confident that each of you will find part of this unusual interpretation of reality.
I believe that during the exhibition and after discussing between ourselves the fictional beings with the same passion, precision and propensity to prove as if we are discussing something that we know very well and what we adopted.
Those who feel, and I hope that you all will feel how the work holds you and puts through the changes by demands and ideas, means that you have allowed Sinisa work to move in you and fictional creatures from his drawings will continue their lives in you further, always in specific way.
dr Vesna Petrović, PhD
