Diana Weber: ODMARANJE / RESTING

A very witty piece, containing a high amount of self-criticism.

We can immediately identify the state of mind which, unfortunately, befalls all artists very frequently - and that is the dreaded lack of inspiration. 

The creator of it is depicting himself as empty and tired - utterly abandoned by the Muses.

What is interesting here is the depth achieved by adding mirror to the composition - which symbolizes the intimate communication of the artist with herself.

We are the witnesses to the artist's questioning of creative blocks, futile pursuit of inspiration, searching for the answers within... and also to the internal dialogue rich with a whole spectrum of contradictory emotions - the artist is angry, persuasive, blackmailing, promising, bribing, begging, raging, suffering...and in the end, we are witnessing the surrender, defeat and passive waiting - which is one of the hardest things, difficult for any of us to accept...

Duhovit uradak – koji nosi veliku količinu samokritike.

Naime, odmah možemo iščitati da se ovdje opisuje stanje koje se, nažalost dosta često, javlja kod svih umjetnika –a to je strašni gubitak inspiracije.

Stvaralac  ovdje sam sebe prikazuje kao praznog i umornog – potpuno su ga napustile njegove muze.

Ono što je zanimljivo jeste dubina koja je postignuta uvođenjem ogledala u kompoziciju – čime je prikazana intimna  komunikacija umjetnika  sa samim sobom. 

Vidimo njegovo preispitivanje  blokada, bezuspješnu potragu za inspiracijom, traženje odgovora od sebe samoga … Svjedočimo njegovu unutrašnjem dijalogu koji obiluje čitavom lepezom oprečnih osjećaja – on se ljuti, uvjerava , ucjenjuje, obećava, podmićuje, moli, bjesni, pati… da bi na kraju svjedočili i njegovoj predaji, prepuštanju i pristajanju na čekanje – što je jedna od najtežih stvari, na koju svi nerado pristajemo…

Saša Drenski: MOLITVA BOGU KAOSA / PRAYER TO THE GOD OF CHAOS

Duality of reality...

This is a depiction of the male and female principles, in their infinite play and mutual chase of one another, in the search and desire of understanding... The merging of the two (especially the sexual kind) is only secondary here - the author focuses more on the feelings based on tenderness, on the observation of the two opposites which do not understand each other, but feel each other instead.

Those two inadvertantly, due to their curiosity and ignorance, begin the cyclical course of events which bring about chaos, which, in time, transforms into an endless source of creative energy. Those are the two extremes that never truly get to know the real nature of the other side, nor the duality of reality in which they exist, and which is defined precisely by male/female principles.

Dualnost stvarnosti…

Ovo je prikaz  muškog i ženskog principa, u beskonačnoj igri  i natjeravanju, u potrazi i želji da se shvate… Spajanje, (posebice seksualno), ovdje je u drugom planu – autor se više zadržava na osjećaju baziranom na nježnosti, na posmatranju dviju krajnosti koje se ne shvaćaju, ali se osjećaju.

One nehotično, svojom radoznalošću i neznanjem započinju ciklični tijek događaja koji donose kaos što se vremenom transformira u nepresušni izvor stvaralačke energije. 

Dvije su to krajnosti koje nikada suštinski ne spoznaju pravu prirodu druge strane i dualnost stvarnosti u kojoj žive, a koja je u potpunosti definirana upravo muško-ženskim principima. 

Lea Mimica: NIJEMI KRIK / SILENT OUTCRY

A precise dissection of a relationship in which one of the persons involved is the constant victim of the passive-aggressive behavior of the other. Notice how one of them is trying to reach the other, only to be left withot a response. The icy coldness of the one side, and complete despair of the other, are excellently conveyed by this image.

In addition, their unbreakable bonds (most likely, family ties) is also creatively represented by the tangled 'knitwork of life', made of prejudice as well as pride - which keeps them tied down, trapped and unable to find freedom from the vicious circle... 

Seciranje odnosa u kojemu  je jedna od dviju strana izložena konstantnom pasivno- agresivnom ponašanju onoga drugoga. Primjećujemo kako se jedno od njih pokušava obratiti drugome, pri čemu odgovor izostaje. Ledena hladnoća sa jedne i potpuni očaj sa druge strane ovdje su odlično prikazani. 

Uz to sve,  maštovito je oslikana i njihova neraskidiva (najvjerojatnije porodična) veza –  nerazmrsivo “pletivo zivota” satkano od predrasuda i ponosa – koje ih drži zarobljenima i bez mogućnosti pronalaženja izlaza iz začaranoga kruga...   

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.

Galina Ivanov: REMINISCENCIJA / REMINISSENCE

This artwork demands an in-depth study of itself. The artist is trying to mislead us - by offering us, at first glance, a sappy emotional story.
However, 'Reminissence' is everything but - it tell the story of enslavement caused by inescapable attraction. The addiction (in this case, I personally believe it is the addiction to narcotics) is powerfully incarnated in the given symbols. Magnetically seductive and ominous it (the addiction) is in conflict with symbolically represented author that yields to it, although she knows it is the path to annihilation.
Thanks the schizoid atmosphere of this artwork, we can literally HEAR the outcry of her lost, abused soul begging for help.
In short - this is an extraordinary depiction of the fall and self-destruction and the inability of the natus to resist it...

Ovaj rad zahtijeva studiozan pristup. Umjetnica želi da nas zavara - nudeći nam, na prvi pogled, sladunjavu priču.

A "Reminiscencija" može biti sve ali samo ne to - ona pripovijeda o ropstvu izazvanom neodoljivom privlačnošću. Ovisnost (intimno, smatram da je ovdje u pitanju ovisnost o narkoticima) je ovdje tako moćno otjelovljena.

Magnetski privlačna i zlokobna ona (ovisnost) je suprotstavljena simbolički predstavljenoj autorici koji pristaje na nju - iako zna da je to put uništenja.

Zahvaljujući šizofernoj atmosferi, ovdje naprosto možemo ČUTI urlik njezine izgubljene, zlostavljane duše koja poziva u pomoć.

Ukratko - ovo je izuzetan prikaz pada i destrukcije i nemogućnosti natusa da se tomu odupre...

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.

Deanna Kowalski: COLLATERAL DAMAGE OF PERSONALITY TRANSFORMATION / Kolateralna šteta transformacije osobnosti

Well chosen title.

Frightening in its openness, this work dissects our psyche and moves boundaries.

Here, human being is seen as completely vulnerable, without psychological safety brakes which have been discarded during the transformation process. Here, with completely exposed instinct of death which was originally pointed towards self-destruction, we are allowed to suppose that, after the violent shedding, all of the primal urges will now be directed at the outward destruction - fueled by strong libido which is rooted in the essence of every human being...

Odlično odabran naziv. 

Užasavajući u svojoj otvorenosti, ovaj rad secira našu psihu i pomijera granice. 

Ovdje je čovjek potpuno ranjiv, bez psiholoških amortizera koji su odbačeni u procesu transformiranja. Ovdje, sa posve ogoljenim nagonom smrti koji je prvotno bio usmjeren prema samouništenju, dozvoljeno nam je naslutiti da nakon silovitog odbacivanja, svi iskonski nagoni sada postaju nagoni za uništavanjem - pokretani snaznim libidom koji je ukorijenjen u esenciju svakog ljudskog bića...

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.

Tamara Jakovljević: Ako nisi s nama, onda si protiv nas / If you're not with us, you're against us

Tamara Jakovljević: Ako nisi s nama, onda si protiv nas / If you're not with us, you're against us

Tamara, tvoj rad je jako slojevit - paznju posmatraca naprosto zakiva za ovdje vjesto prikazane turobne osjecaje patnje izazvane neprihvacanjem drustvenih konvencija od stane pojedinca. To je prikaz drustva koje odbacuje one koji su drugaciji, koji se ne uklapaju u njegove standarde...zbog cega se javlja moranje...prisila...kompleks...zelja da se udovolji...zbog cega se i javlja oponasanje (jaje zaogrnuto ljuskom luka) u zelji da se ostvari PRIPADANJE.

Tako jednostavno i ujedno snazno prikazan potisnuti osjecaj gnjeva koji kljuca i svakog trena prijeti eksplozijom revolucije. 

Velicanstveno!! 

Tamara, your work is indeed very multi-layered - the viewer's attention is simply chained to skilfully portrayed gloomy feelings of suffering caused by individual's lack of acceptance of social conventions. This is an exposé of a society which rejects anyone who is different, who doesn't fit in with its standards...which leads to compulsion...forcing...complexes...the will to please...which leads to imitation (egg coated in onion peel) out of desire to experience BELONGING.

Such a simple yet powerful depiction of a supressed rage that keeps pecking from the iside of a shell and threatens with the explosion of a revolution. Magnificent!

Katarina Czabo-Jones: EAT THE GREENS / JEDI ZELENO

"While I was growing up, my mother would tell me over and over again 'Jedi zeleno ('eat the greens')', while I, as many other children, was reluctant to do it...
Now, as an adult, I see that my daily life has become a constant struggle to put the food on the table, and I have developed a new appreciation for the greens, especially the ones not polluted by GMO and pesticides, that end up being more poison than food. My photography project in the making represents desperate grasping for nutrition, wealth, money, and everything that 'green' represents.


Dok sam odrastala, majka mi je stalno ponavljala 'jedi zeleno', dok sam ja, kao i većina djece, to uglavnom odbijala...
Sada, kada sam odrasla, vidim kako se život pretvorio u svakodnevnu borbu za stavljanjem hrane na sto, i razvila sam novo poštovanje prema zelenju, naročito onome nezagađenome GMO-om i pesticidima, što je više otrov nego hrana. Moj fotografski projekat u nastajanju predstavlja očajno i gladno posezanje za zdravom prehranom, obiljem, novcem, i svemu što 'zeleno' predstavlja.

Ovdje mi se svidja jasnoća izraza i tako dobro prikazan akt POSEZANJA, uzurpiranja....penetracije - kao općeprihvaćeni standard u našemu društvu otimačine, gdje više nista nije sveto - pa ni hrana koja u marketinškoj trci postaje samo sredstvo izmuzanja gladne svjetine.

Erozija morala. U srž pogodjena prostitucija vrijednosti.

What I like here is the clarity of expression and excellently depicted act of REACHING, usurping...penetration - as an universally accepted standard in our society of violent taking, where nothing is sacred anymore - not even the food, which has, in a marketing competition, become a mere tool for extortion of the hungry crowd.

Erosion of morality. Prostitution of values shown in its core.

Strahinja Kovač-Bitanga: STUDIJA BOLI / STUDY OF PAIN

Znak PITANJA je ovlaš naznačen - čisto da se nasluti i kroza nj pronikne u simboliku izopćeničkog života ljudi na marginama društva, koji rasipaju fragmente svoje ličnosti kroz borbu sa okruženjem izazvane strahom od iskazivanja vlastite seksualnosti. 


Strahinja Kovač-Bitanga

The QUESTION mark is barely/loosely formed  here - it serves only as a notion through which we are to take a peek into the symbolism of  the renegade and outcast lifestyles of people living on the margins of society, who scatter away the fragments of their shattered personalities during the course of struggle with their surroundings, caused  by fear of expressing their own sexuality.


Strahinja Kovač-Bitanga

Strahinja, izuzetno zanimljiv rad...ta predstava praiskonskog grcevitog i anksioznog trzaja destrukcije kojim se odlucuje prekinuti tisina koja raste i gusi ljude u nedefiniranim odnosima... zaista izuzetno... 

Extraordinarily interesting piece of work, Strahinja...this display of primal, spastic, anxious strike of destruction which decides to end the growing silence which suffocates people stuck in undefined relationships...truly extraordinary...