20. V – 5. VI. 2008 / Curator: Ivana Rončević / Set up: Anabel Zanze / Photo: Anabel Zanze
(…) Still, the basic power of her paintings inheres in the artist’s use of the line, that, as against the colour, represents ratio, and, what is more, not like the classic drawing, but in an imitation of typewriting in a maximum contrast of two extremes – the non-colours black and white (additionaly deprived of any baroque drama of sharp contrast, as a result of the bizzare and irrational imitation of typewriting) in a conception that is ultimately very distinctly emotionally packed. What is in its nature standardised resists standardisation. Here lies the basic paradox and subversiveness of her work – with means and resources that guarantee reliability and objectivity, she achieves an end that works on us with its unclarity, hesitation and mysteriousness. The style, which contains strict definition as if an immanent property of its own, is presented to us here as its opposite – in irrational procedures and turns (for example, the pointless sequencing of dictionary words that start with the letter „k”, without spacing, the collaging of parts of a text in which key words are missed out, and further examples already mentioned) these texts and words are deprived, through their unreadability, their lack of reader friendliness and meaningless and fragmented contextualisation, of their original and socially accepted meaning; and yet, they cannot completely break free of it. It is as if they were caught in some tension between worlds, in which what is absent, irresolute, always different and unstated, what is sensed and what delibarately confuses us, requires the mental engagement of the observer, whom it wishes to awaken from the stupor of the everyday contemporary routine through its disturbing effect. They also represent a kind of escapism, symptomatic of the fate of the individual in the post-modern, into a world of private meanings and enclosures into the subtle magic of the author’s personal world, where the subjective material is exposed to the maximum. In this manner, the artist’s person is sharply present and presented to the observer through as it were a psychological self-portrayal, which goes beyond the borders of classically understood self-referentiality. (…)