Kosanoviću su kao polazišne tačke poslužila kultna ostvarenja Kjubrika (“2001: Odiseja u svermiru”), Ajzenštajna (“Aleksandar Nevski”), Felinija (“Amarkord”) i Kurosave (“Snovi”, odnosno vinjeta posvećena Van Gogu). Čuvene scene (poput one sa hominidima na početku “Odiseje”,  ili scena bitke na Čudskom jezeru u “Aleksandru Nevskom”), Kosanović rekreira u nizu crteža izvedenih različitim tehnikama. Crteži su zatim sastavljeni tako da postaju animirani filmovi sastavljeni iz uzastopnog niza “zamrznutih” scena. U nekoliko minuta, koliko traje svaki od filmova, umetnik nas majstorski, vešto “režirajući” sled čuvenih scena, zapravo provodi kroz celokupnu radnju odabranih filmova. Kosanovićeve verzije remek dela sedme umetnosti evociraju kod posmatrača sentimente koje određene scene čuvenih filmova bez sumnje izazivaju. To su oni utisci koji u gledaočevom sećanju ostavljaju trajni zapis, čak i kada radnja filma potpuno ili delimično izbledi. Očigledno je da Kosanović, kao uvek, insistira na osećanju.  Radnja filma — u smislu dijaloga, zapleta ili razvijanja karaktera — stavljena je u drugi plan, ali je u Kosanovićevim “instant” verzijama bez sumnje ekstrahovana esencija onoga što taj skup pojedinačnih dramskih elemenata čini vrhunskim filmskim ostvarenjima. 

Nastavljajuci da radi na ajpedu, Kosanovic je za potrebe izlozbe “Pokretne slike” uradio oko dvesta radova. Od crno-belog Aleksandra Nevskog, preko Odiseje u svemiru i Amarkorda , do Snova, on pokazuje svo svoje crtačko i likovno znanje odvodeći nas u neke za njega nove likovne forme, od kojih je samo deo predstavljen na izložbi.

Kosanovic u decembru!

Slogan pod kojim se odvijaju dve izložbe: “ Fashion” u Etnografskom muzeju i “Pokretne slike” u galeriji “Zvono” donose nam  pregršt novih  radova umetnika Gorana Kosanovica, koji na kraju ove 2015. godine još jednom pokazuje sav svoj talenat i maštu upakovanu u ljubav i stotine isrctanih srca.

Goran Kosanović has been a part of our art scene for a very long time now. A two-decade long exhibiting experience speaks to the fact that formal education at the Academy of Fine Arts is not a prerequisite for successful artistic work. What is significant about Kosanović is that he, without any hesitation, approaches the works of great artists and is often inspired by them. On the other hand, he pays his respects by dedicating his works to them. He had the chance to cooperate with some of his role models, such as Radomir Damnjanović Damnjan (their face painting performance and their collaboration on the project of the limned dresses, currently on display at the Museum of Ethnography).

In his work so far, Kosanović has displayed an interest in the most diverse range of human action: pop culture, rock music, football, design, tourism, fashion... At this point, he will present his short animated films created as a result of his interest in the ‘seventh art’, as a part of an exhibition called ʺThe Moving Picturesʺ at the Zvono gallery.

As a starting point, Kosanović used the cult creations by Kubrick (2001: A Space Odyssey), Eisenstein (Alexander Nevsky), Fellini (Amarcord), and Kurosawa (Dreams, more precisely the vignette dedicated to Van Gogh). Kosanović recreates the famous scenes (such as the one with the hominids at the beginning of the Odyssey, or the battle scene at the lake of Chudskoe in Alexander Nevsky), through a series of drawings in a variety of techniques. The drawings are then connected to become animated films, made up of a succession of ‘frozen’ images. Within only a few minutes, which is the duration of each of the movies, the artist actually guides us in a masterly manner through the entire plot of the movies in question, skilfully ‘directing’ the sequence of the famous scenes. Kosanović’s versions of these masterpieces of the ‘seventh art’ evoke the sentiments that are undoubtedly aroused in the audiences by certain scenes from the renowned films. It is those impressions permanently imprinted in the spectator’s memory, even after the plot of the film fades away partly or completely. It is evident that Kosanović, as he always does, insists on emotion. The plot - in the sense of dialogue, storyline or characterization - becomes less significant; however, Kosanović’s ‘instant’ versions indubitably contain the extracted essence of what makes that collection of individual dramatic elements a supreme work of cinematic art.

Continuing his work on an iPad, Kosanović created around two hundred works for ʺThe Moving Picturesʺ exhibition. From the black and white Alexander Nevsky, to the Space Odyssey and Amarcord, and on to Dreams, he demonstrates all of his painting and drawing skill, taking us to the newly discovered artistic forms, only some of which are presented at the exhibition.

Kosanović in December!

The slogan of the two exhibitions: ʺFashionʺ at the Museum of Ethnography and ʺThe Moving Picturesʺ at the Zvono gallery bring to us a handful of new works by Goran Kosanović, an artist that, at the end of 2015, once again displays all of his talent and imagination wrapped up in love and hundreds of outlined hearts.

Jedan deo izloženog materijala čine komadi odeće sačinjeni od papira i slikarskog platna i nadahnuti delima poznatih umetnika i modnih dizajnera: Pita Mondrijana (i njegova izložba iz 1966. godine gde je inspiracija umetnost Pita Mondrijana), Aleksandar Mekvin (izložba iz 1999. godine inspirisana Eserovom umetnoscu), Koko Šanel i japanska moda.

Iako je ovo nov trenutak u Kosanovićevom radu, ostaje prepoznatljiv njegov osobeni, slobodni stil. Umetnik vešto spaja različite elemente iz istorije umetnosti, mode i sopstvenog rada. Kosanovićev pogled na modu dolazi iz umetnosti. Zato ne čude dve slike koje su postale haljine: “Žute mrlje” i “Tegljač”, na kojima su Radomir Damnjanović Damnjan i Goran Kosanović islikali svoje kreacije, čime je nastavljena duga saradnja Kosanovića sa poznatim umetnikom, započeta još u devedesetim godinama prošlog veka, kada su zajedno izveli performans oslikavanja lica u galeriji Zvono u okviru Kosanovićeve izlozbe “Touch”.  Kosanović pravi šaljiv potez i među modne-umetničke velikane stavlja sebe: za jedan od modela poslužila je pomenuta slika “Tegljač”, koju je naslikao i predstavio na izložbi “Love” 1999. godine u galeriji “Zvono”. 

Na izložbi su predstavljene i majice: “Madrid”, “Ja volim Mladenu”. Majica “Madrid” je nastala u saradnji sa saradnicom na ovoj izložbi, Draganom Vučenić. Pored haljina i majica Kosanović je izložio i crteže u kojima je kao polazište uzeo reklame i ambalažu poznatih parfema (Chanel, Kenzo, Hugo Boss...) Na njima se najčešće pojavljuje motiv srca, karakterističan u Kosanovićevom likovnom rečniku; srca se stalno pojavlju na njegovim  slikama, u filmovima, na objektima, u skoro svim fazama umetnikovog stvaranja. Kosanović je likovni pesnik Ljubavi, i ne usteže da u svojim delima govori o “velikim temama”, za razliku od mnogih savremenih umetnika. Ono što je karakteristično, jesta da on o tim velikim temama govori jednostavno, bez postmodernističke ironije, sasvim otvoreno i pre svega: OD SRCA!

The combination of painting and fashion design has often produced interesting results, and these two creative forms have developed simultaneously throughout the history of contemporary art. Thus, Giacomo Balla, an Italian painter of the Futurist movement, designed dynamic clothes with asymmetrical patterns and bright colors, which presented the hectic rhythm of the imagined future in a way that was as convincing as his paintings. The textile and fashion design output by Varvara Stepanova, a Russian Constructivist artist, was amazing. Salvador Dalí collaborated with Elsa Schiaparelli to create the famous ‘lobster’ dress and the shoe-hat. Vasarely’s influence on fashion is still going strong today, half a century after the mods’ op-art patterns craze in the sixties.

Goran Kosanović, an artist known to Belgrade audiences for the daring and versatility of his artistic explorations, is now presenting the works ensuing from his interest in fashion and the realm of fashion advertising at the Museum of Ethnography. Kosanović attended tailoring and sewing classes for a number of months. The experience he has acquired there is successfully merged with his artistic work so far, which is evident in his latest works at the exhibition called ʺFashionʺ.

One part of the exhibition consists of clothing items made of paper and canvas, and inspired by the works of famous artists and fashion designers: Pit Mondrian (and his 1996 exhibition inspired by Pit Mondrian’s art), Alexander McQueen (the 1999 exhibition inspired by Escher’s art), Coco Chanel and Japanese fashion. Although this is a novelty in Kosanović’s work, his signature unconstrained style remains visible. The artist aptly combines diverse elements from art history, fashion and his own work. Kosanović’s outlook on fashion comes from art. That is why the two paintings turned dresses do not come as a surprise - ʺYellow spotsʺ and ʺTugboatʺ, in which Radomir Damnjanović Damnjan and Goran Kosanović limned their designs as an extension of Kosanović’s collaboration with this well-known artist dating from the 1990s, when the two of them did a face painting performance at the Zvono gallery as a part of Kosanović’s exhibition called ʺTouchʺ. Kosanović makes a humorous move by placing himself among the fashion-art notables: one of the models was his painting ʺTugboatʺ, which was painted and presented at the 1999 exhibition called ʺLoveʺ at the Zvono gallery.

The exhibition included T-shirts as well: ʺMadridʺ and ʺI love Mladenaʺ. The ʺMadridʺ T-shirt was a result of collaboration with the exhibition’s co-author, Dragana Vučenić. Apart from the dresses and T-shirts, Kosanović also displayed the drawings in which advertisements and packages of famous perfumes (Chanel, Kenzo, Hugo Boss...) served as a starting point.

They often contain the heart motif, typical of Kosanović’s artistic vocabulary; hearts reappear in his paintings, films, and objects, throughout the phases of the artist’s work. Kosanović paints the poetry of Love, and does not refrain from tackling ʺgreat themesʺ in his work, unlike so many of his contemporaries. What is typical of him is that he talks about those great subjects plainly, without the postmodernist irony, completely candidly, and most of all: FROM THE HEART!