Place
House of King Peter I, Belgrade
25 Years Retrospective,
Illuminator of the new cycle
Date from
april 2018
Date to
may 2018
Sinisa Jeremic (Zagreb, 1966), is the successor of the Belgrade School of Visual Esoterism and one of its best representatives of the new cycle.
Siniša is at the very top of a new wave of fantastic art that has suddenly risen in Serbia in the new century. Unlike individuals, he is not a vulgar interpreter and follower of Mediala but an independent esthette of highly developed senses for a divine beauty.
His drawings have the rhythm and harmony of musical compositions, the sensibility and tactility of someone who has reached the limits of the sensual in art. Also, he had created a completely new aesthetic ideal, different from the Mediala, especially from the black wing of this group.
Jeremic, who is completely different from Dado, Velickovic, Ljubo and Toskovic, creates a shade of cheerfulness, heats the sun of dendism, he subtly and skillfully entered the dialogue with aesthetics from the end of the nineteenth century, with what began with Jean Delvil and severely interrupted the first modernists.
Kemp, androgine, esoteric, ultrabeauty, terror of beauty, higher meaning, antimodernism and supermodernism, categories are determined by this art of the finest weaving, silk structure, drawings understood as absolute. At a time when young people increasingly becoming more and more influenced with fantasy as a drawing roughness that should be synonymous of the power of expression, Jeremic presented an unprecedented culture of drawing, precision, fineness of modeling and perseverance in work, which can only be a consequence of ultimate enthusiasm and entchantment with art.
After Mediala, in Serbian art there were five waves of returns to fantasy, but Siniša Jeremić differs from all. He did not address the northern type of drawings with the ink and the pen, which was discovered by the group in our art, and since the fifties of the last century, it has been transferred to this day. His work is subtle, melodic, in the sphere of the finest shadows in the pen technique on paper, he creates amalgams of light, shadows and lines, magical works, not just figurative drawings. Jeremic is engulfing more streams of his story, such as many layers of drawings, turned to urban, cultured, civic and dendist aesthetics, not rural, warlike, or junklike.
His drawing is Rosicrucian, abstract, sets the ideals of eternal, ultimate youth and beauty, beyond which there is nothing beyond God.
Lonely, among the younger ones, he uncovered neo-symbiosis and a new secession when no one even thought of them, and from renaissance to impressionism, perhaps the best and most creative artistic phenomena, the dawn of modernity, as well as every dawn miraculous and short, unstable, illuminated by magical light and full hope. Vladimir Vlaja Jovanović has the work of “Iluminata” and Sinisa Jeremic his illuminations in response to this time and state of mind.
Sinisa is primarily concerned with spirituality in art, his pure state, as little as a link with the material. It creates an antimaterial, pure art, excluded from today’s world, at a price not to be fashionable. He seeks for the extraordinary and is not like anyone in the present aesthetics of an overly vulgar, impenetrable and reckless reflection of reality.
His fine drawing tissues are like an epidermis, they make abstractions in terms of Renaissance allegories rather than modernistic reductions, drawings with style, meaning, content and endless symbolic value, which forbids and rejects (post) modern and especially (post) conceptual art.
It is not only about counterrevolution and neoconservativism of the higher order as resistance to nothingness and nihilism (post) modern but about openness to the wonders of the world, nature and secrets of the sexes, he captures the true nature of man and woman in the midst of the loss of gender and identity.
Dejan Djoric, art critic
