Gallery Podroom 2018

Vladimir Isailović

Exhibition Proposal: PREMONITION’S YIELD (working title)

A thought experiment. Lets imagine a society ruled by cruel, cynical oligarchy of opportunists without sense of humour, obsessed with controlling the person and its thoughts. Lets imagine a method. Shaping by ignorance. Because, “that which is above is like that which is below” – the alchemical substrate of same-mindedness, through complicity in greed, achieves high level of homogeneity. Through banalisation of public speech, approached with ceremoniousness – by insisting on arrogant unacceptance of discourse, ominous eschatological formulas and mantras about constant danger from outside and inside; followed by self-victimisation sequences and platitudes of general typology. Through massive scenic misappropriation of (state) symbol and choreographically exact and ceremonial flow of servants on the proscenium, in ritual repetitiveness of deceit.

In the base of the exhibiting concept is questioning and reevaluation of given fact, its deconstruction and establishing of own, the more personal and obsessive, the more abstract. From anancastic repetitions, habitual jinx, over idiosyncratic mannerisms of the company and urbanised tribal cults, toward ominously mute, arrogant ceremony of clerical type and generic, post-political monumentality. Solipsistic ritual, decasyllabic liturgy and transparent physiognomy of unknown non-heroes – as defence mechanism from creeping cynicism. Ritual against ritual, ceremony against ceremony, absurdity against banality and deadpan comedy against under-appreciation and ridicule.

The choice of artworks embodies both the mentioned diversity of ritual (ceremonial, monumental) reinterpretations, as well as regard on the nature of the gallery space with which it creates a dialogue. By this factor, exhibits divide in two groups: video works and video installations. First, in form of video, intended for playing on the video display/monitor or by projecting on the wall (i.e., projection canvas), while the second are mainly arranged in the gallery space as autonomous objects. Works are at the same time the only sources of light in the gallery, their succession intended to make the exhibition parcours (visually) more dynamic.