Nikola Marković
PELCER
DATE 16. decembar – 26. decembar 2017.
transformArt gallery
Svetog Save 8, 11000 Belgrade

Izložbu Nikole Markovića čine kolaži nastali 2016. i 2017. godine, od materjala koje je autor sakupljao tokom deset godina kao inspiraciju za svoje pojedinačne radove iz prethodnog perioda. Svaki deo, čak i sasvim minijaturan, isečen je sa neverovatnom preciznošću, i postavljen u odnosu na drugi. Kreiranjem novih odnosa između izdvojenih fragmenata koji referišu na postojeće radove, nastaju nova značenja i uspostavljaju se nove mape interpretacije umetnikovog dela.

“Postupak kojim gradi telo slike – kolaža je sličan organskom: kroz prepoznavanje solidnih veza zasnovanih na dinamici odnosa strukturalnih vizualnih pojmova – kontrasta, površina, oblika  koje identifikuje u fragmentima. Oni se integrišu u nova perceptivna iskustva – sliku mnoštva koje čini celovitu jedinicu tj. delo jedinku. Na ovaj način umetnik reinterpretira sopstvene stavove rušeći autoritet ustanovljenog formalnog i ideološkog identiteta dela. Izolacijom i fragmentiranjem od tela slike-roditelja, delo razmatra pre kao rasadnik živih i beskonačno mogućih konstrukata nego kao čvrstu i tendeciozno postavljenu estetsku i formalnu pozicij”. (Ksenija Marinković).

Pelcer: “Scion” in English, is the replotting of plants through a piece of the stem or root of the source plant, placed in new soil.

Nikola Marković’s exhibition, from 2016 to 2017,  is a collection of art pieces composed of materials assimilated within 10 years of his life from his past works. Each piece, even of miniature size, is made with incredible precision as well as exhibited accordingly in relation to the whole collection. Creating new relationships between independent fragments that refer to past works generates new meaning in each piece and offers alternative interpretations of the artist’s former concepts.

“The approach to creating form within a painting is, organically,  similar to that of a collage: through recognizing solid bonds designed on the dynamic relations of structural, visual notions such as contrast, surface, associative forms and fragmentation. They integrate into new perceptions; a piece construed by many smaller parts to create a whole. With this method the artist regenerates their own stance while self-destructively recreating. The destruction of one’s own authority, set up through rigid and ideological works representing one’s identity, rejuvenates identity. Isolating and fragmenting bits of the “mother-piece” is essentially replotting, as if plant matter, art that still lives and making infinite options of recreation from what was once a finite, tediously aesthetic and formal structure.” (Ksenija Marinkovic, English translation: Sonja Lundin)