The times change and everything else remains the same. And while nothing changes, the realities emerge and come to life.
Along with the social, materialistic and critical theories, we are, now more than ever, aware of the significance of the total social activity that has inevitably affected the art itself. The privileged among us stand out, both economically and socially. Along with that, we are becoming more and more aware that art existed as someone else’s, it belonged to them and they dictated it. And now, enlightened by that knowledge, we find ourselves in the same situations that carry different signs. Now, when we finally have our freedom, we’re still socially conditioned and prevented to act fully. Now when anyone can become an artist, even someone from an average worker’s family, when women can enroll in schools and academies, we still realize that artistic way of living, sadly, is not for everyone. Like a fog, above the artist folk, the burden of existential pressures lingers. The opportunity to dive in the world of pictures and symbols is finally here, the chance to act and to speak out, to form and structure, and yet we stand on the brink of survival. What is the way we can deal with that, through which endeavors, education and practices can we ensure our survival? In the world that rests on the capital and the artworks are interpreted as elitism or investment, which responds to visual stimuli the commissioner, requires, how can the artist break free? Can that what is genuine of the expression, poeticism and the desire to create be preserved in such climate?
Contrasting the pure will and need for expression to the one equally crucial for survival – financial one, the artist finds himself in the area of double creation. On one side, he creates work that is inseparable from its social reality, and yet these practices often end with the act of exhibiting. On the other side, we encounter the character of a commissioner (more often than a collector) through which the artistic sensibility, knowledge, and investment in oneself turn into the instrumentalization for the wishes of others. For a part of these cases, the author’s style remains intact for the new work is being commissioned because of the previous excellence and uniqueness, but in the manner of realization, the artist is being subdued to the aesthetics and wants of others. Through presenting both worlds the exhibition activates the audience, encouraging the explorer’s spirit through which he can explore all identities that inhabit the contemporary author. The honesty of the artist is represented by his original need for expression and creation, and to that the staged piece is opposed, the one which is created for own security but for someone else’s eye. Through such confrontation, the observer is stimulated for active participation during the exhibition – by connecting two worlds he perceives the differences of different styles finally accepting that the observer can affect the time he exists in. He is inseparable factor of the art world and with his taste, he has the power to define needed and excellent in art.

umjetnici: Dominik Vukovic, Manuela Pauk, Mia Marakovic, Santana Picco, Zdenko Mikša, Zvonimir Ferina
kustosice: Buga Kranželic i Mihaela Zajec
izložba: Narudžba je naša Art  
tekst: Mihaela Zajec
asistentice: Daria Granic, Lora Rajcic, Ivana Završki 
organizira: Klub studenata povijesti umjetnosti Filozofskog fakulteta Sveucilišta u Zagrebu (ili skraceno: KSPUFF)
11. srpnja 2019.

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