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…

Erik Vellmar: MOJA BAKA JE ODLIČNO PRIČALA VICEVE / MY GRANDMA WAS EXCELLENT AT TELLING JOKES

When it comes to this photograph, it is very true that a picture is worth a thousand words.

Right away, even if we are not familiar with the title, we can tell that this artwork was inspired by an elderly person. Notice how the dominant element, which takes up the central space in the composition (the chili pepper), symbolizes the old, wrinkled skin by its texture.

We also discover that the chili pepper has, in spite of everything, retained its bold colors - which tells us that the person that this artwork is referring to has also succeeded in retaining her youthful spirit.

Furthermore, the pepper is curved - which clearly indicates that we are dealing with a rebellious person which does not conform to the rules of society.

And finally - the fact that it is a chili pepper - reveals that we are to find inside the portrayed subject is a very focused and strong intellect which is able to (due to its rich life experience and lively spirit) easily define and approach all of the possible life situations in an appropriate way.

A grand portraiture with the use of minimalistic style.

Applause!

Za ovu sliku doista vrijedi pravilo da govori više od tisuću riječi. 

Odmah, čak i ako nam njen naziv i nije poznat, mi znamo da je ovo djelo inspirirala starija osoba. Opažamo kako dominantni element, koji zauzima centralno mjesto u kompoziciji (papričica), svojom teksturom savršeno podražava izgled stare, smežurane kože. 

Otkrivamo i da je papričica, uprkos svemu, zadržala svoje žive boje – što nam govori da je pomenuta osoba također uspjela očuvati svoj svježi, mladalački duh.
Nadalje, papričica je zakrivljena – što poručuje da imamo posla sa buntovnom osobom - za koju pravila ne važe.

I na poslijetku – to je ljuta papričica – što će reći da je unutar portretiranog subjekta koncentriran jak intelekt koji može, zahvaljujući njegovu životnu iskustvu i bistru duhu, jako lako definirati i prići na pravi način svim životnim situacijama.

Majstorsko portretiranje u minimalističkom stilu.

Aplauz!

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'

Lavinija Erdinger: OTETO / RAPTURED

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What is immediately obvious here is the author's contemplation of the question - 'is there a life after death'.

We clearly see the notions of forgiveness, reconciliation and letting go of the toxic fear of tomorrow, pain and existence. Lavinija has surrendered after a futile struggle and refusal to confront the complexity of life's situations which grind her into dust and demand a constant war with the inner hell and its demons. The ability to believe and to hope - even to be afraid - have been taken away from her.

This is an extremely strong and intimate confession...

Odmah se može uhvatiti zamisao autorice koja kontemplira nad pitanjem   - postoji li život nakon smrti.

Ovdje jasno iščitavamo oprost, mirenje i opuštanje nakon grčevitog straha od sutrašnjice, boli i bitka. Lavinija se predala nakon uzaludne borbe i odbijanja da se suoči sa kompleksnosti životnih situacija koje ju melju i traže svakodnevnu borbu sa unutrašnjim paklom i demonima.

Njoj je oteta mogućnost da vjeruje i da se nada - čak i da se plaši. Ovo je izuzetno snažna i intimna ispovijest...  

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.

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...