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IN THE RHYTM OF THE CITY, solo exhibition by Marija Milinković, curated by Biljana Jotić, Suluj gallery, Belgrade, November 2018.

A solo exhibition of drawings and installation by Marija Milinkovic “IN THE RHYTHM OF THE CITY” was opened on November 19 at the Suluj Gallery by Biljana Jotic, an art historian. For this occasion the music was composed by Darko Dzhambasov.

The author’s text in the catalog was written by Biljana Jotic:

… “This big city has always been like this, torn, spilled, just as if it never exists, but eternally emerges, builds up and recovers. From one end it grows and grows, from the other vein and collapses. She always moves and waves, never stops and doesn’t know what tranquility and silence is … “Ivo Andrić

It has a long history and the distant past of the city’s formation. The city, the cities, here, there … many questions arise regarding the experience of the term that formulates urban space as a large and permanently human settlement. In the last part of this definition, I would like to look for the concept of the thematic basis of the works formulated as a whole of the exhibition “In the Rhythm of the City”. The process of creating and shaping the city’s motifs in paper drawing techniques, oil paintings and space installations, practically invites each individual to step into urban spaces and gain their own experience.

Assuming that the artistic expression is a shaped performance driven by an inner need and expressed sensibility, the thought concept of the question from which Mary originates – whether the very notion of identity is a constant trying to resist inevitable external influences or is it a quality that changes again and again? transformed by interacting with the environment? Dualieth at the very core of thought is about the process of making choices, the opportunity that the modern age offers for a person to choose answers in a prosotor relationship, a humanistic approach that sees a person as a witness.

Engaging the issue of cultural anthropology, that is, human variability in relation to the external environment, the artist starts from an objective point of search for identity, that is, identification in relation to the outside world, from the city as an environment in which cognition occurs. The dehumanization of vision contained in geometric forms that multiply, mirror each other, agree or arise from one another, suggest the call for each individual to communicate directly and find their own place in urban spaces. Balanced technical moves, contrasts and pronounced volume add to the atmosphere of spatial objectification, and the presence of the mirror enhances the vision of the experience and draws the viewer to be an integral part of the story and seek its diversity in the whole of identity finding.