9 May 2018
The Model as Chimera: Surrealism in Fashion
By Genevieve Barnott Jones
The subject of fashion and surrealism is one of perennial fascination since its first explosion into cultural circles in the 1930s. For your favourite couturier, someone like Schiaparelli, who previously made only the chicest and flattering outfits suitable for high society to start experimenting and collaborating with crazy artists like Salvador Dali or Meret Oppenheim was quite a delicious shock. At the same time the art of fashion photography was growing and hitting its stride, and photographers like Man Ray began to subvert the form.
10 April 2018
Interview with Marko Ilic
'It’s true that the majority of art historical accounts of the New Art Practice have focused on its marginalised position in Yugoslav society. While they have noted that galleries of Students’ Cultural Centres as the sites for the federation’s conceptual and performance art scenes, they have frequently approached them as spaces of ‘controlled’ freedom. These perspectives are partially defensible. Coming from the ‘margins’ of Yugoslavia’s youth spaces, we could conclude that the New Art was impeded in terms of its potential influence and reach.'
26 September 2017
Interview with Dragos Burlacu
'The transition, in its entirety, has been slow. Still, contemporary Romanian art has redefined itself; it became free in expression, while corresponding to the high academic standards of art schools. Both the Romanian visual art and cinematography after 2000 – largely inspired by realism of the Romanian society – have become very successful internationally (I primarily refer to the Cluj School of Art and the new wave of Romanian cinematography).'
15 July 2017
Balkan Art in Corporate Collections: The Case of Deutsche Telekom
By Yana Stancheva
Corporate patronage of the arts is not a new phenomenon; in fact, almost every global corporation owns art collections of some volume (the biggest one being that of Deutsche Bank). In 2016, pptArt, a crowd-sourced platform of art, organised the first Corporate Art Awards in Rome, in collaboration with LUISS Business School.
1 June 2017
Interview with Tadija Janicic
'I do not follow trends. There are many who do, but in my view, such an approach is not of long duration. It is unlikely that today’s artists can change anything, but at least they should be able to point out different problems, so they become apparent and generate further discussion. All artists tend to draw attention to themselves. The only problem is that some are much more concerned with the career proper and much less with artwork.'
5 May 2017
MONUMENTAL FEAR: Interview with photographer Jovana Mladenovic
'I have always been inspired by architecture. From my earliest fashion work, location has always played a very important role. Brutalism attracts me because it is so raw and because this provides me a lot of room for expression. Colours are often associated with particular feelings and careful colour selection can expand the emotional impact of my pictures.'
3 April 2017
Interview with Marija Sevic
'People are important in my artwork. They are placed in various situations across a number of interior and exterior backgrounds. The identity itself is something that I often deliberately hide, leaving enough room for the observer to recognise and imagine themselves inside it. It is scenes from an ordinary life of a contemporary person that I seek and that constantly lure me back to review them.'