The Known [2004–2015]

Photography frequently implies recognition – to see is to know. The distribution of knowledge, in post-industrial society, has itself become an ideological apparatus. Still, knowledge – in the sense of information organised into a meaningful whole – is often lost in sequences of unrelated data or limited by progressively narrowing specialisations. Although quantitatively we certainly know much more than we used to, the very concept of learning has radically changed. The seemingly easy verifiability and quick access to information usually do not mean the acquisition of greater knowledge.

Instead of the typically impenetrable visual chaos of the media or the urban environment, these photographs represent isolated objects in, for the most part, undefined non-urban landscapes. The function of the structures presented is unknown. They presumably have a purpose, or have had one in the past. The private motivation behind these anonymous sculptures in public spaces remains a secret from the viewer. The banality of the fact that the meaning of these relatively simple elements of the visual environment usually cannot be easily deciphered may be read as an unpretentious sign of the epistemological shift in which we live. [MV]

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Poznato [2004–2015]

Fotografisanje najčešće podrazumeva prepoznavanje – vidi se ono što se zna. Distribucija znanja u postindustrijskom društvu i sama je postala industrija. Ipak, znanje – u smislu informacija organizovanih u smislenu celinu – često se gubi u nizu nepovezanih podataka ili usled ograničenja koja nameću sve uže specijalizacije. Iako u kvantitativnom smislu sasvim sigurno znamo više nego ranije, sam princip saznanja je radikalno promenjen. Naizgled laka proverljivost i brz pristup informacijama najčešće ne znače veće znanje. Prevazilaženje knjige kao osnovnog izvora znanja podrazumeva da u procesu saznanja ne otkrivamo, već samo pronalazimo.

Umesto uobičajeno neprobojnog vizuelnog haosa medijskog ili urbanog prostora, ove fotografije predstavljaju objekte izolovane u uglavnom nedefinisanom neurbanom pejzažu. Iako funkcija prikazanih struktura ostaje nepoznata, ona je zasigurno postojala, ili još postoji. Cilj privatne inicijative iza ovih anonimnih skulptura u javnom prostoru za posmatrača ostaje nesaznatljiv. Banalnost činjenice da uglavnom ne možemo lako odgonetnuti smisao ovih relativno jednostavnih elemenata vizuelnog okruženja može postati nepretenciozna metafora za epistemološku promenu u kojoj živimo.