Smile

Iz takšnih izkušenj nove generacije umetnikov, ki so še napre ostali zavzeti za sam videz svojih del se je rodila potreba po vrnitvi nekaterih prikritih ali iizgubljenih vrednost v njihova umetniška dela. Ta vsebina ima lahko splošne značilosti, vendar je najpogosteje izraz skrajno osebnih, individualnih mitologij, ki jih ti avtorji nosijo v sebi kat svoje najgloblje in najbolj iskrene občutke, kot izraz spremenjene senzibilnosti ali preprosto spremenjene mentalitete ob koncu tega stoletja (in tisočletja).

Tudi Goran Kosanović, ki se je nedolgo tega pojavil na beogradjski umetniški sceni s skrajno subjektivno zvrstjo slikarstvo p svojih najglobljih  kreativnih značilnostih pripada umetnikom  s takšnimi značilnostima. Njegova zvrst slikarstava ne pripada znanim “lokalnim” šolam, vendar je vzbudila pozornost zaradi svoje svežine, neposrednosti in izrazne aventičnosti ter iskrenega ustvarjalnega nastopa, ki se niti najmanj ne azira na standardne medijske zahteve, akademske in pedagoške namere in še manj na običajna pričakavanja strokovne javnosti in občinstva. Kosanović je presenetil tudi s tem, ko je takoj po edini razstavi svojih “avtobiografskih” del z neprikritimi osebnimi izpovedmi začel nov umetnški ciklus in to tako, da je v dvodimenzionalno slikarsko tehniko vnesel še tretjo dimenzijo. S tem postopkom se je Kosanović naptil k reševanju številnih in zapletnih problmov, ki jih je povzročila nujnost specifične “ambijentalicacije” njegovih novih del, nastala iz logične potrebem  ki jih je vsilil splet njihovih tematskih stranskih pojavov.

Šest predstaljenih del, “Derbi”, “3.maj – vsak dan”, “Tri barve-rdeča”, “Živa narava”, “Nasmeh” in “Stanje” , ki so nastala leta 1998 kažejo, da je Goran Kosanvić deosledno ostal v domenu svoje prejšnje osebene narativnosti, izpolnjene z izrazitim simboličnim subjektivizmom in umetniškim znaki, za dešifriranje katerih je potrebno globoko poznavanje osebnosti tega avtorja (kar je vsekakor privilegih maloštevilnih), ki pa se prav zato vendarle nadomeščajo in izkazujejo s spošnimi, raspoznavnimi in znanimi vsebinami iz sveta zgodovine umetnosti, mnižične zabave, kulturnih žanrov itd. Glede na to, da se popolnama zaveda pomankljivosti sodobne umetnosti, ki smo jih omenili na začetku je Kosanović s svojimi deli uspel, da njihova uzredna, praktično rečeno neznana vizuelna in estetska atraktivnost v današnjem beograjskem umetniškem krogu ne doživi  usodo izpraznjenosti, pustega formalima in poigravanja z dobro znanimi možnostmi, ki so dones na raspolago manipulantom in ustvarjalcem vseh medijskih radov in spletov. Zato je Gojih “3.maj” po skorajda dveh stoletjih izstopil iz zgodovine in s tem postal vsakdanjik neke evropske regije ob koncu dajstega soletja in prav zato je hipnost tega dogodka ponovljena v “Derbiju” kat primeru masovnega in kolektivnega  aktivizma in ukvarjanja z navidezno postanskimi fenomeni. Prav zato tudi  tema mrtve narave absurdno oživlja in kakor (mogoč) Feniks pri avtorjih kat je Kosanović veličastno zbuja  optimezem, energično voljo, življenskost ter dejavno in ustvarjalno nepristajanje na eksistencialna in ideološka naključja prostora in čaša..

Toda ali so te like – prizori točni? Iskreni in resnični vsekakor so. Nastali so iz izkušnje, ki ne čuti potrebe, da bi komurkoli in kadarkoli polagala račune glede svojih namer, teženj, ciljev – pa naj bodo življenski ali umetniški. Edino realno merilo za njihovo ocena je njihova prpričljivost, merjena z njihovim učinkom na zavest opazovalcev. In ne verjamem, da bo v to podvomil kdorkoli od tistih, ki jih videli.

Jovan Despotović

Atractiveness in the visual field in  the recent history of the plastic arts, installations, ambiance art) has come of the fore in the nineties with an exceptional liveliness which directly trends toward amplified effects on the perceptive apparatus  of the observer, and on his waning attention which has been exhausted and saturated by endless sensatinalism and attempts to reduce the art object exclusively to the values and meanings of its exterior characteristics in the aggressive strategiea of the numerous and entrenched avant-garde, modernist (and post-modernist) movementsm in this way the work of visual art has been gradually but inevitably emptied of crucial semantic meaning. After such experiences, a need arose in one generation of artists, who continued to be interested in the very appearance of their works, for retrievig certain eclipsed and lost values, for infusing such pure formalism with new content which could have general characteristics, but is most frequently an expression of completely personalized, individualized mythologies which these authors sincerely carry eithin themselves, much like the pofoundest and most authentic emotions, types of changed sensibilities or simply a changed creative mentality at the end of this century(and millennium).

In his profoundest creative characeter, Goran Kosanović belong to the group of artists with precisely such offinities. He has recently appeared on the Belgrade Art Scene with a completely subjectively conceived kind of paitnting which does not belong to any known “local” school, but which has attracted attention with its freshness, directness and authenticity of expression and sincere creative attitude, that does not base itselt in the least on standard media propositions, on academic requireents of pedagogy, nor on the usual exhibitions of the professional public. Immediately following his only exhibition of such “autobiographical” works of unveiled personal statements, he began a cycle which he executed with a two-dimensional painting technique, introducing a third one – the spatial dimension. With this procedure Kosanović took up the resolution of many complex problems which were posed by the  specific “ambientalization” of zhis new works that arose out of a logical need which was imposed by the entwining of their thematic layers.

The six  exhibited works - “Derby”, “May 3 – evey day”, “Three Colors – Red”, “Moving Still Life”, “Smile” and “State” - were all painted in 1998, and show that Goran Kosanović has stricltly remained within the domain of his earlier, “personal” narrative which is filled with exceptional symbolic subjectivity and signs that require profound knowledge of this artist in order to be understood (which is certanly a privilege that few peole have), but which precisely for that reason substitutes and carries messages with generally recognizable and know contens from the areas of art history, mass media, cultural genres, etc. Being completely aware of deficiency in modern art, which we discuseed at the beginning, Kosanović managed to achieves an exceptional, a virtually unknown degree of visual and aesthetic attractiveness in his worka which cannot be found anywhere in art circles in Belgrade today, and which prevents his works from sufferintg the fate of empy formalism and interfields and intercannected areas. Hence, Goya s “May 3” has come out of history, after nearly two centuries, in order to become everyday reality of a region in Europe at the end of the 20^th Century. The momentariness of this event was repeated in “Derby” an an example of colletive activism and engagment in seemingly disparate fields. In this way the theme of  “still life” was given “movement” in an absurd way, and (possibly) like a Phoenix, at least in the works of artists like Kosanović, it emrges gloriosly, awakening optimism, energy, will life, creative and active refusal of existential and ideological demands of time and space...

But can these paintings, these scenes be considered correct. They are cetainly sincere and true fo life. They were created out of an experience which has no need of ever answering to anyone regarding its intentions, tedndencies and gaals – artistic or existential ones, regardless. Their only true parameter is their persuasiveness measured acording to the effect they have of the viewers aeareness. I do not belive that  anyone who sees these paintings will doubt this.

Jovan Despotovic