Među ostalim talentima, Goran Kosanović nesumnivo ima i dar da pronaše tu tanku, neprekinutu nit koja nas povezuje sa doživljajima iz najudaljenihih slojeva našeg bića. Kao autor koji se bavi stvaralaštvom na specifičan, vrlo redak i neobičan način on, dakako, vrlo dobro shvata simboličku uslovljenost dela slikovnih umetnosti, i to uslovljenost ne samo njihovim istorijskim kontekstom već pre svega  važnim emocionalnim porukama koje se odatle iščitavaju. On zna psihozu masovnih doživljaja javnih događaja i vrlo dobro poznaje ikonografiju umetničkog, muzičkog, filmskog ili naučnog sveta koja je potpuno ispunjavala vreme odrastanja i sazrevanja(ne samo njegove generacije), ili čarolije crtanih aštarija iz najranije mladosti koje se na krajnje neuobičajen način sada vraćaju kao doživljaji podstaknuti ovim radovima, izbijaju na površinu sećanja, te ih ponovo postajemo svesni – naravno isprovocirani Kosanovićevom svesnom namerom da od njih učini trodimenzionalne slike u čiji se minijaturni svet svako, makar nesvesno i makar na tren, može uvući i sa njihovim tvorcem podeliti davno izgubljeni osećaj slobode, sreće i ljubavi.

Ko može takvom pozivu odoleti?

Jovan Despotovic

The views of the embodied images (talking the famous examples from the history of art; Goya s  everyday is 3^rd of May; from sport: Derby, from the world of music: Sgt Peppers Lonely Hearts Club Band by the Beatles; from the world of fairy tales: Disney s Peter Pan and Captain the Hook on the planet of pink rabbits), altogether processed by means of Goran Kosanovic s imagination, became in his latest works suffestive to the extent of being hardly avoidable. It is definitevely impossible to escape those appealing devices with the enchanting invitations interwoven within them and which incite the senses with their intoxicating ilusionism. Those genuine invitations for participation in the game, amusement, love, in a beautiful feeling of divine conception and aesthetic creation, but also for the recurring experience of some forgotten or curbed happenings which still reside in everyone, memorised as the onetime period of maturation, learning and coming across the first real experiences and pleasures of the world (later, and especially today, lost in the entirely altered circumstances of active reality), are available and beneficial to everyone who has free memory or who still keeps in himself, although as concealed as possible, that spark of his own childhood and happiness which used to reward him with the utmost satisfaction.

Moreover, Goran Kosanovic undoubtedly possesses the gift of a psychologist – of the one who can trace that frail, unbroken connection with the experience from his furthest mental layers. Since this author often indulges in the creative work in a very specific and unusual way, he his very familiar with the symbolic dependence of the works of fine art, not only upon their  historical context, but above all, upon the substantial emotional messages which are thus communicated, or with the psychosis of the simultaneous mass responses to public events. Furthermore, he is fully aware of the aware of the most imprtant icongraphy of the artistic, musical, cinematographic, scientifi and other worlds, which fulfilled the period of maturation (not only of his own generation), and of the magic charms of drawn fantasies from the earliest youth which are very oddly recurring in a form of experiences instigated by these works and which are emerging to the surface of our remembrances, making us aware of them ahain – certainly provoked by Kosanovic s alert choice of creating three-dimensional images out of them, and inventing a miniature world available for everyone to sneak in, even uncosciously or just for one moment, and share with his author the previosly lost and forgotten feelings freedom, happiness and love.

Jovan Despotovic

This year in Great Britain the song of the millennium was chosen to be "All you need is love" by the Beatles. Quite coincidentally, artist Goran Kosanovic and his assistant, modeler Igor Stefanovic, mounted the exhibition LOVE at the same time. The three dimensional "box-picture" with an exact replica of the legendary album cover for the Beatles Sergeant Pepper's Lonely Heart's Club Band is one of the main works displayed, a kind of logo of this exhibition. Spectators of the year 2000 celebration in London could see hologram projections of angels descending from the sky and hear intoned a hymn to God ("Oh Lord"), and as a final message, one key word signifying hope and faith in the new millennium - LOVE. Love is all you need.

It is as if Kosanovic managed to miraculously extract himself from our grayish everyday existence and to sore up to such completely authentic frequencies of love, to the secure region of pure calm and happiness. In fact the exhibition LOVE is not addressed to us, but to "the child within us," to the forgotten, overgrown, but untouched garden in our hearts, to the pure crystal of the soul, to the gay innocence which we abandoned so lightly, which we "outgrew", the only, existing personal paradise which we banished ourselves from. "LOVE" is a voyage directly into the world of fairy tales and that part of childhood when we still believed that it is possible to fly. That was even before we learned of fairy Wendy and the power of her magic wand. Even if it had no artistic worth, the greatest worth of this exhibition lies in its medicinal, therapeutic, psychological dimension. Especially, knowing that the creators of this sugary, trashy world with a powerful aesthetic of kitsch and acid, live - like the rest of us - in Serbia.

LOVE is a call for a return to happiness, a cry for Walt Disney's heroes whom we abandoned in our enlightenment, a call that is deeply etched into our beings. From the collective unconscious of the 20th Century, Kosanovic picks positive motives which have the power to evoke that happiness: enormous hearts, stars, comets, Christmas lights, sea waves, flowers, stylized dandelions, human forms drawn with the hand of a child peeking through little tracing paper windows on installations. In "box-pictures," objects - which are certainly the strongest works at the exhibition - myriads of miniature figures done by the hand of Ivan Stefanovic invite us to remain for a long time peering at them. How could we fail to be amazed by 2000 miniature football fans and players made from clay, plastic, tea, rope, all painted with the brightest colors, in just a single work - "Derby"; or by a host of pink rabbits - each one unique - and red mushrooms with white polka dots in a work with Peter Pan and Captain Cook; or a quotation of Goya's famous picture done three dimensionally (entitled "May 3 - Every Day," giving this work an added social dimension and activism); or finally the 73 famous personalities from the album cover of "Sergeant Pepper," done on a lush lawn made from moss and palms made from bird feathers?

LOVE is an exhibition which differs. It is sincere and is based on an absence of shame of everything that really makes us shine. LOVE is an excellent way to begin the New Year and to venture into the long heralded New Era. Fell free to smile at Peter Pan. And blow into a dandelion� it brings luck.

text by Ana Popovic