The new media hegemony, along with global reception, has increasingly become a source of new iconography in painting and graphic art, creating new motifs and methods of (re)presentation. Painting has thus distanced itself from tranquil art\u2014 from synchronized humanism and philanthropy, from precision, from a reality that once blended ideal dreams and perceptions of the possible. Contemporary (or pseudo-contemporary) painting is now edging closer to the visions of medieval prophets such as Bosch and Bruegel, with their ominous foretellings of futures shadowed by miracles, monsters, conflicts, and events beyond the bounds of possibility. The question remains open: where do the borders lie between the real and the imagined, the transcendental and the future, the unfathomable and the long-foretold?\n\nWhen speaking of a painter, his legacy and artistic output, the works that legitimize him\u2014in this case, the young artist Milo\u0161 Mili\u0107evi\u0107\u2014it is only natural to examine his technique (or technology), themes, and inspirations. This is especially relevant in our era, where many values have been replaced or have simply vanished, lost. Fortunately, our painter has not locked himself within a personal mental cocoon from which his artistic existence could only be inferred. In a concise yet revealing artist statement, he opens up, exposing personal dreamscapes dominated by conflict: \"the conflict between the living and the inanimate, the human and the machine, the human being and itself\u2014a battle with the chains into which we are born in this age.\"\n\nAnd yet, beyond this verbal expression, is there perhaps some other forgotten or repressed meaning hidden beneath the surface, the interpretation of which might reveal a disturbing, concealed trace?\n\nWhen observing the works that define Mili\u0107evi\u0107\u2019s profile, one thing is beyond doubt: he belongs to that generation of young artists who have carved their own path through the broken fences of classical art\u2014fences that, for decades or perhaps even centuries, have restrained modern creation.\n\nThe cycles Devouring, Crossings, and other works by Milo\u0161 Mili\u0107evi\u0107 represent unique and endless syntheses of visual symbolism. The symbolism of Devouring is perhaps the most pronounced\u2014both visually and thematically. Mili\u0107evi\u0107\u2019s symbols unite the conscious and the unconscious, the past and the future, the rational and the transcendental. Starting from the depiction of teeth on paired or fused figures, he emphasizes their extremity, which serves as a paradigm for devouring. He lends particular weight to additional accents that emphasize the symbolism of the universe or the infinity of time, as he complements the figures with braided wire shaped into wheels, circles, or square rectangles.\n\nSymbol implies a sign, an emblem, a story in images. Symbolism highlights the expressiveness of external things that have internal and often hidden meanings\u2014or, more precisely, allegorical and enigmatic meanings\u2014that frequently dominate modern painting techniques. Numerous accents, such as spilled paint, pointillist color forms, figures merged into irregular rectangular shapes, and metal and braided wire rendered in Mili\u0107evi\u0107\u2019s elusive symbolism, hint at an unresolved inner trace\u2014one that is not stated and not to be discussed.\n\nLatent conflicts are evident in the Crossings cycle, regardless of visual consistency (or inconsistency) in the depiction of the clashing elements. These conflicts are often interwoven\u2014visually represented by intersecting bird beaks or caught in a depressive struggle aimed at the destruction of the other. We perceive conflict in elements of living beings entwined with traces of metal or machine parts. Again, these are terrifying cries torn from living creatures, who, in their mutual destruction, care least about each other. Mili\u0107evi\u0107\u2019s world is detached from any form of control and blindly rushes toward destruction. \u201cIf we allow ourselves to be seduced by the image, we may miss the essence\u2014and that whirlwind of energy is deposited in the figures and their irritability.\u201d\n\nIn Mili\u0107evi\u0107\u2019s painting, the depicted violence, conflict, and signs of destruction are a kind of explosive condensation. His search for layered symbolism\u2014hinted at and sensed in every panel or graphic\u2014is his personal drama, likely a way of fulfilling his own individuality.\n\nIt is known that the Latin word Obscenus has been interpreted in various ways, often according to one\u2019s vocation or need. It generally denotes an omen\u2014more precisely, a bad omen\u2014something dreadful that inevitably comes... That connotation is often misunderstood, except by interpreters of the metaphysical or ritualistic, who linger on it at length. \u201cIt is a bad omen when something emerges from the night, for it may be the realm of the dead, or a terrible place where light dies. But the ultimate bad omen would be if, one day, the sun were to rise in the west\u2026\u201d\n\nCan we classify Mili\u0107evi\u0107\u2019s painting as obscenous art\u2014more precisely, art of ill omen? Disregarding aesthetic conventions, perhaps a more effective definition would be that it is a direct projection of disturbing absurdity\u2014perhaps a conspiracy of the unconscious. Ultimately, however, one thing is certain: the works of Milo\u0161 Mili\u0107evi\u0107 represent authentic painting.<\/p>\n\n\n\n
Dragi\u0161a Milosavljevi\u0107<\/em><\/p>\n\n\n\n Photographs by Srdjan Jankovic<\/p>","protected":false},"featured_media":0,"parent":0,"menu_order":0,"template":"","izlozbe":[8],"class_list":["post-3924","izlozbe-cpt","type-izlozbe-cpt","status-publish","hentry","izlozbe-prosle"],"acf":[],"_links":{"self":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe-cpt\/3924","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe-cpt"}],"about":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/types\/izlozbe-cpt"}],"wp:attachment":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/media?parent=3924"}],"wp:term":[{"taxonomy":"izlozbe","embeddable":true,"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe?post=3924"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}