Serbian Pavilion – 55th Biennale di Venezia. June 1st – November 24th 2013

Serbian Pavilion at the 55th Venice Biennale
May 24, 2013 5:08PM

ArtistsVladimir Perić and Miloš Tomić

Exhibition titleNothing Between Us

Commissioner: Maja Ćirić

Venue: Giardini della Biennale

1 June – 24 November 2013

Preview days: 29, 30 and 31 May 2013

The project Nothing Between Us comprises the works of two artists/researchers/collectors, Vladimir Perić and Miloš Tomić, who have developed a particular way to present some segments of the collections they have amassed over the years through obsessive accumulation of various used objects (especially childhood memorabilia, in Perić’s case, and sounds generated using unconventional sound-producing tools/devices, in Tomić’s). Perić’s installations in the Pavilion form an ensemble that has been very precisely conceived and ordered expressly for the space of the Pavilion. It includes various portions of several of his collections, but mainly consists of the Museum of Childhood. Tomić’s works are instead video diaries of his research on a broad spectrum of spontaneous, unconventional, amateurish, unsophisticated, innocently unpretentious and even naively arrogant attempts to make some kind of music outside the accepted cannons of professional music production. His aim was to experiment with complex forms of music and video based precisely on such premises.

As for Perić, the high degree of order and the utmost precision he imparts to the structure of his works is however not taxonomical: he does not present his Museum collections in a museological fashion. On the contrary, he reshapes their content into allegorical assemblages that tell stories of the places and settings whence they were gathered, and recount the now lost times when their elements had some practical function in the lives of their former owners. At the same time, he takes issue with present times, as well as the position artists assume with their works at the exhibition. He integrates these collected objects into minimalist installations, whose elements are ordered according to repetitive schemata, making the individual features of those elements disappear in the play of optical illusions.

Departing from any stable established order, the seemingly out-of-control nature of Miloš Tomić's work (diametrically opposed to Perić’s) nevertheless presents underlying formal aspects. Tomić constantly shifts the application grounds of professional skills and knowledge, in order to enable various unplanned, unexpected, and even unwanted things to appear, requiring the invention of new work strategies and methods. His diaries have no aim to professionally document or adequately represent processes or situations, people or events, or the course of his research on anything and everything that could be counted as music. All such documentary recordings of utterly anarchistic content - evoking the traditions of anti-art predating the gaze of the onlooker - are just starting points and authentically raw materials that infuse the project with particular vivacity. For the structure of the final products these recordings have been significantly altered by the form into which they have been converted, enhanced by multiple visual and musical layers, made with high-level media sophistication and according to controlled production standards.

An insistence on experimentation, as well as working with found materials (both objects and situations) link these two artists, who maintain “there is nothing between us”, that their works are heterogeneous and mutually independent. However, it is precisely the relation between these two bodies of work that creates a “dialectical tensions between the poles of disorder and order”.

 

 

Serbian Pavilion at the 55th Venice Biennale
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019