Olga Lech -Troupova: NE! / NO!

The first thing we notice about this composition is that it strongly reminds us of a page of an unwritten book.

'NO!' ambiciously urges us to ponder the problems of language and communication - what is necessary in order to convey a message? How is the transfer of information influenced by its form, intensity, or colour?

'NO!' offers an abstract, minimalist, yet legible description of rage which whiters down to exhaustion and surrender.

Magnificent.

Primjećujemo da je kompozicija takva da nas djelo asocira na stranicu neispisane knjige.
“NE!” nas ambiciozno tjera na promišljanje o jeziku i komunikaciji  - šta je potrebno da bi se prenijela poruka? Kako na prijenos utječe njena  forma, intenzitet ili boja?

“NE!” kroz apstraktno, minimalistički i čitko opisuje bijes koji se pretvara u iznemoglost i predaju. 

Maestralno.

Olivera Davidović – Vučković: DANAS SAM DOBRE VOLJE / I'M IN A GOOD MOOD TODAY

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'I'm in a good mood today' is an artwork that simply radiates optimism. The atmosphere is fully charged with positive energy. The artist has skilfully set up the composition in a way that gives us the feeling that the structure shown in the photography will, in a matter of moments, burst out of its frame and engulf us in joy.

It is the very same feeling of the infinite inspiration which I recognize in the marvelous painting by Jackson Pollock 'Mural on Indian Red Ground' (shown below for those of you not familiar with it).

'I'm in a good mood today' is a true refreshment, and honestly, I would like to have it in my collection.

“Danas sam dobre volje”  je uradak potpuno protkan optimizmom.  Atmosfera  je nabijena pozitivnom energijom. Umjetnik je majstorski postavio kompoziciju tako da dobijamo osjećaj da će se struktura sa fotografije svakog trena, doslovice, izliti i preplaviti nas ugodom.

To je isti onaj osjećaj bezgranične inspiracije koji prepoznajem i na sjajnoj slici Jackson Pollocka ““Mural on Indian Red Ground”. (niže prikazano, za Vas koji niste upoznati s dotičnim djelom)

“Danas sam dobre volje” pravo je osvježenje i iskreno – volio bih ju imati u svojoj kolekciji.

Jackson Pollock, 'Mural On Indian Red Ground'

Nikica Drogbaba: KAD JE JUNG SREO FREUDA / WHEN JUNG MET FREUD

The two phallusoid vertical objects which symbolize Jung and Freud have been skilfully juxtaposed with the passive, feminine openness of the horizontal lines, barely visible in the background.
The pulsating Eros is almost tangible here, mixed with a sense of guilt - simmering hypnotic sexual desire that regularly gets repressed during the upbringing, which is irresistible as much as it is threatening, capable to annihilate the laws of behavior and living and bring confusion and pain due to overpowering change and penetration of the unknown - which is something that the Western civilization (which we are a part of) is genuinely terrified of.


Falusne vertikale - kojima su ovdje simbolički prikazani Freud i Jung majstorski su povezane sa pasivnom ženskom otvorenošću horizonatalnih linija, ovlaš naznačenih u pozadini.

Tu se naprosto može napipati pulsirajuća erotičnost pomiješana sa osjećajem krivnje – tinjajuća hipnotička seksualna želja  koja se redovito potiskuje zbog odgoja, a koja je neodoljiva i ujedno prijeteća, sposobna razoriti zakonitosti  ponašanja i življenja te donijeti  pometnju i bol zbog nastale promjene i ulaska u nepoznato - čega se duboko u sebi Zapadna civilizacija, (koje smo i mi dio), iskreno užasava.

Rahani Packard: TRAKTAT O FEMINIZMU / TRACTATE ON FEMINISM

I have to admit - this artwork, which was submitted to me for review quite a while ago, is among the top 7 of my favourites.
The edgy humor which it radiates is contagious, while the story it tells is actually rather simple - this is the illustration of the contempt towards the generally accepted definitions of a woman is regularly (in the media and otherwise) represented as a mere sexual object - property of a man, without her own voice.
This is the female perspective of the situation - a protest against such society and its perfidious manipulative appendages and institutions (primarily, the fashion industry and the marketing machinery which exploits the female body in the most heinous possible way).
(Suggestion)
An alternative title for this artwork which could convey the message even more clearly: 'Misogyny on the pillar of shame'


Priznati ću - ovaj rad, kojeg sam prilično davno dobio na komentiranje, jedan je od mojih 7 omiljenih.

Britki humor kojim odiše je zarazan, dok je priča koju nosi zapravo prilično jednostavna - ovo je slika prijezira prema općeprihvaćenim definicijama žene koja se redovito (u medijima i uopće) prezentira kao seksualni objekat - vlasništvo muškarca, koje nema pravo glasa. 

Ovo je žensko viđenje situacije - protest protiv takvog društva i njegovih perfidnih manipulativnih pipaka - institucija (pri čemu se prvenstveno misli na modnu industriju te marketinšku mašineriju koja u svom radu eksploatira žensko tijelo na najgnjusniji mogući način).

(Prijedlog)

Novi naziv za ovaj uradak koji bi jos jezgrovitije mogao prikazati ovu poruku bio bi: Mizoginija na stubu srama.

Damir Pašić: Ispovijest jednog ateiste / Confessions of an atheist

Iz uratka se iščitava intimni portret autora, čija ličnost je u svojoj esenciji rascijepljena. 

On je odrastao u vjerskoj porodici. 

Njegov osjećaj povezanosti sa Bogom žrtvovan je novom, odraslom i potentnom muškarcu koji egzistira kao vrhovni autoritet - hipotetički konstrukt, u svijesti autora.

What we can see in this artwork is the intimate portrait of its author, whose personality is, in its essence, fractured.

He was raised in a religious family.

His sense of connection with God has been sacrificed to the new, adult and potent man in his life who exists as a supreme authority - hypothetical construct, in the mind of the author.