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Postmoderna je temeljno narušila ovu vrstu modernističkog dogmatizma i u svoje pluralističko stanje uvela je najrazličitije personalne poetike odgovorne isklučivo krajnje subjektivnim potrebama, intencijama i ciljevima danas izrazito autonomnih i atomiziranih primera umetničkih praksi. Ova radikalna promena u umetnostima otvorila je dosad nepoznate mogućnosti i u likovnom stvaralaštvu.

Sadržaje za svoje umetnosti savremeni stvaraoci mogu tražiti ili u spoljašnjim podsticajima ili u vlastitim, intimnim svetovima iniciranim bližim ili udaljenim sećanjem,  ili aktuelnim shvatanjima, razumevanjem i stavom u odnosu  na njihove doživljaje vremenom u kome žive. Svaka od ovakvih, manje-više  čvrstih povezanosti podrazumeva i sasvim određene plastičke sadržaje, odnosno elemente likovnog jezika kojima se oni strukturišu do vizeuelnog znaka, simbola ili predstave.

Takvim savremenim praksama u umetnosti pripadaju slike i crteži Gorana Kosanovića. Njegov privatni, životni svet, kao i svačiji drugi, usamljen, individualan i ličan, tek malobrojnim sadržajima, znakovima i simbolima prenet je u naslikani prizor. U Kosanovićevom slučaju, likovna poetika proizašla je iz dubljih slojeva intimne memorije koja dopire sve do njegovih dečjih fantazami. Ovi bajkoliki prizori, svetovi primarne i nezatvorene vizuelne percepcije, direktno gledanje i doživljavanje spoljašnjeg i okolnog sačuvani su u njegovom najživljem iskustvu i, poput iznenadne erupcije pokuljali su spontano , snažno i nezadrživo. Izuzetna živost, ubedljivost i neposrednost ovih prizora sačuvani su zahvaljujući Kosanovićevom načinu crtanja i slikanja koje je tek malo odgovorno zanatskoj strani ovog medija, a pre svega i ponajviše je okrenuto potrebi da se sačuva njihova svežina i sa entuzijazmom objavi vlastiti unutrašnji poetski život.

Umetničke pojave koje se danas oslanjaju na privatne mitologije čine dominantnu skupinu u recentnom postmodernom pluralizmu. No, ova brojnost ne mora da znači (i ne znači) obavezno  i visok vrednosni nivo u estetičkom pogledu. Otuda je, poređenja i uspostavljanja odnosa radi, neophodno tačno uočiti, razumeti i protumačiti upravo ovakve slučajeve krajnje neposredne, spontane i autentične, da bi se formirao objektivni korpus estetičkih kategorija u današnjim uslovima sve mnogobrojnijih umetničkih produkcija. Među tim primerima, ovi radovi Gorana Kosanovića izdvajaju se i nameću zbog svoje izrazite svežine, kreativnog smisla i zasnovanosti.

Jovan Despotović

Immediate, pure cretivity in current art seems to bi more deficient than ever. The great stylistic movements of modernism  have imposed obligatory (for the artists) propositions and esthetic canons regardless of whwther they were prescribing a formal placement of a plastic layer in the work of art, or, rather, demanding a diverse idelogical or poetical  project in their semantic layers. In high, serious art under these conditions there was hardly space for ghe noticeably scarce, non-typical examples of the authors individual artistc worlds who have exclusively remained accountable to their own creative intention.

Postmodernism has seriously disturbed this type of modernistic dogmatism and has introduced into it s pluralis highly deverse persnonal poetics exclusively answerable to extremely subjective needs, intentions and goals of today s markedly autonomous and atomis examples of the artistic practice. The radical change in the arts has opened up possibilities which were unimaginable until now in the fine arts creative work as well.

Contemporary artistc can look for the substance of their art either in outer incentive or in their personal, intimate worlds initated by recent or distanced remembrances, or in the actual apprehension, comprehension and stand in relation to their experiance of the times in which they are living. Each of these more or less close connections implies very specific plastic contens as well, that is elements of the fine arts language which structure them into a visual sign, symbol or representation.

The paintings and drawings of Goran Kosanovic belong to such a contemporary practice in art. His private, vital word , just like any other, lonely, individual and personal, is transferred onto the painted scene by it s scarce contens, signs and symbols. In Kosanovics case, fine arts poetics has emerged  from the deeper depths of the intimate memory which goes as far as his childhood fantasies. These fairy-tale-like scenes, worlds of primary and unaffected visual perceptions,a direct observation and experience of the auter and the surrounding, have been preserved in his most vivid experience which, like a sudden eruption, has gushed forward spontaneously, stronly and irrepressibly. The exceptional liveliness, convincing quality and directness of these scenes have been preserved thanks to Kosanovics manner of drawing and painting which is only slightly answerable to the artisan side of this medium, and is above all and primarily turned towards the need to preserve the freshness of those scenes and to proclaim the personal inner poetical life with enthusiasm.

Artistc phenomenon which rely on private mytholigies today comprise dominant group in recent postmodern pluralism. However, this numerousness does not necessarily have to incorporate (and doesnt) high value levels in the esthetic sense. Therefore, for the purpose of comparision and of establishing relations, it s essential, to clearly observe, comprehened and interpret just such cases which are highly direct, spontaneous and authentic, in order to form an objective corps of esthetic categories in todays sonditions of surplus artistic production. Amongst those examples, these works of Goran Kosanovic set themselves apart and draw attention by their marked freshness, creative sense and basis.

 Jovan Despotovic