Art Work 2015

AsimART\elilovi}WORK2015

Asim \elilovi}

ART WORK 2015

Text:

Ibrahim Krzovi}, Nenad Veli~kovi}, Sulejman Bosto,

Besim Spahi}, Aida Abadì}-Hodì}, Branka Vujanovi},

Sla|ana Golijanin

Translation:

Majda Ganibegovi}, Iris Bi~ak~i}, Branka Vujanovi}

Nina Lazovi}, Sla|ana Golijanin

Amidas

Photo:

Admir Hadìemri}, A}if Hodovi}, Sanda Popovac

Almin Zrno, Enis Logo, author

DTP

Bori{a Gavrilovi}

Cover side

Archeology, object, 2015

Page 3:

Astro Cuba, object, 2000

Not for commercial using.

All Right reserved.

Sarajevo, 2015

SUPPORT

Admir Hadìemri}, Nusret Kulovac, Ibrahim Odoba{i}, Senad Halilovi},

Edin Odoba{i}, Enes Topoljak, Mehmed Ak{amija, Sefir Gasal,

A}if Hodovi}, Sanda Popovac, Stjepan Ro{, Jasmina Hopi},

Fatima Masli}, Ibrahim Halilovi}, Nihad Fu{ko, Hasan Gasal,

Galib [i{i}, Muhsin Ma{i}, Mirko Adàip, Asim Sadiba{i},

Dragana Baner, Ognjenka Finci, Branislav Mari}, Tarik Jasenkovi},

Zavi~ajni muzej Travnik, Arhiv srednje Bosne Travnik, Safet Deli},

Mubevir Gegi}, Amir Halilovi}, Samir Halilovi}, [evala Alibegovi},

Dervi{ Alibegovi}, Arif [akrak, Semir Mujki}, Bori{a Gavrilovi}, nenad

Veli~kovi}, Enis Logo, Dragana Antoni}, Udruènje likovnih umjetnika

primjenjenih umjetnosti i dizajnera Bosne i Hercegovine Sarajevo,

SCCA Sarajevo, Economic Vitez, Adnan Zolota, Dèvad Huseinspahi},

Enis Logo, Senad Hrnji}, Damir [agolj, Galerija Java Sarajevo.

007 After Paradise017 War Lords035 Cocacolanization055 Behind Ideology107 Articles149 Portraits167 Secrets197 Archeology

AsimART\elilovi}WORK2015

4

Art Work Diary 5

BIOGRAPHY

Asim \elilovi} was born in Vitez (Bosnia and Herzegovina) on 20 October 1964. In January 1991, he graduated inthe class of Prof. Zlatko Ugljen at the Department of Product Design of the Sarajevo Academy of Fine Arts, and postgraduated too. He is Master of product Design. Works from “After Paradise” – first author’s project with we beginningthis book were published in the book entitled “Evil Doesn’t Live Here” by Alina Boboc and Daoud Sarhandi, wich waspublished by Princeton Architectural Press, New York, 2000, and in book “Graphic Agitation 2 – Social and PoliticalGraphics in the Digital Age by Liz McQuiston, Phaidon Press, London, 2004.Group Exhibitions: 2011) Flags – Book – Maps, â~ak, Serbia, November 05.-25. 2011; Youth Century ofReneisance, City hall Gallery Br~ko, Br~ko, February 21. – March 05. 2011; Purchase in National Gallery BiH 2000-2010, (Custos Meliha Husedìnovi}), National Gallery BiH, Sarajevo, March 15.-25. 2011; 2010) Fire, Collegiumartisticum, February 10-25, 2010; Fire, Aluminum gallery, Mostar, March, 2010; Earth, International Art Project,Gro`njan, Croatia, June 09.-24.2010; Earth, International Art Project, City gallery Orsola – Buje, Croatia, September17.-30. 2010; Fire, International Art Project, City Museum Skopje, Macedonia, October 2.-16. 2010; Youth Centuryof Reneisance, Gallery Preporod, Sarajevo, Dezember, 6.-22. 2010; 2009) Earth – Book – Maps, Sarajevo,Collegium artisticum, January 09-24, 2009; Design decade – Contemporary Design in Bosnia and Herzegovina,Cankarjev dom, Ljubljana, March 18 – April 05, 2009; Sarajevo Design Week, Collegium artisticum, September 07-14, 2009; Design decade – Contemporary Design in Bosnia and Herzegovina, ULUPUH Gallery, Tkal~i}eva 14,Zagreb, October 16-29, 2009; 2008) Recycling, Palffy Palace, Wienna, Austria, April 21 – May 04, 2008; Sarajevoin Art Works, Collegium artisticum Sarajevo, August 2008; Pula – Sarajevo / Sarajevo – Pula, MMC Luka, Pula,November 14-27, 2008; Earth – Book – Maps, â~ak, Serbia, November 2008; 2007) Recycling, Collegiumartisticum Sarajevo, Sarajevo Winter Festival, March 2007; Recycling, Podogorica-Bar, Montenegro, Aprile-May2007; Recycling, Cankarjev dom, Ljubljana, Slovenia, July 2007; Recycling, National Gallery (Small Station), Skopje,Republic of Macedonia, September 29 – October 10, 2007; 2006) Recycling in the Art Works of Sarajevo’s Artists,Bratislava, Slovakia, November 21 – December 10, 2006; 2005) Actuality 2005, Collegium artisticum Sarajevo;February 09-19, 2005; The Silence, Podgorica, Srbija & Crna Gora; February 29 – March 08, 2005 – and: Sarajevo,Gallery Roman Petrovi}; March 09-19, 2005; Srebrenica 1995-2005, Collegium artisticum Sarajevo, July 09-24,2005; Once Again, Never Again, Turkish Cultural Center, New York , July 10-25, 2005; 1998) 1998-2005; ZGRAF 8,International Exhibition of Graphic Design and Visual Communications in Zagreb, Croatia March 14 – April 5, 1999);1997) Spring Saloon, Collegium artisticum, Sarajevo 1997; Collegium artisticum Exhibitions; Solo Exhibitions: 2012) Imaginarium, Gallery of Travniks Museum, Travnik, December 23, 2012. – January 10,2013.; Peripheries/Face/Reverses, Collegium artisticum Gallery Sarajevo, June 08-23, 2012.; 2011) The LastSupper, Novi Hram Gallery Sarajevo, December 30, 2011.; Youth Center of Belgrade, Beograd, November 04-14,2011; 2010) Witnesses – Testimony, St. Francis gallery, [iroki Brijeg, June 15-24, 2010; 2009) Witnesses –Testimony, Novi Hram Gallery Sarajevo, December 09-24, 2009.; 2008) Heavens Door, ULST Gallery, Travnik, April12-30, 2008; 2004) In Meantime, Mak Gallery Sarajevo, October 20-30, 2004; 2003) Periphery Art/redesign,Cankarjev dom – Mala galerija, Ljubljana, Slovenia, October 29 – November 23, 2003; Periphery Art/redesign,Pokrajinski muzej Ptuj – Miheli~eva galerija, Ptuj, Slovenia, November 27 – December 23, 2003; 2000) Outside Art,Gallery Roman Petrovi}, Sarajevo, October 10-20, 2000; 1999) From another side, Gallery Terra, Travnik, February 6– March 6, 1999; 1998) After Paradise, Mak Gallery, Sarajevo, June 22 – July 8, 1998; Living and working in Sarajevo.


007AFTER PARADISE

After Paradise 9

01 Welcome to Sarajevo,

screen-silk, 100x70cm, 1996

(1992)

01

Ibrahim Krzovi}POSLIJE RAJATekst kataloga za izlo`bu, Galerija Mak Sarajevo,22.06-08.07.1998.

Materijal koji je rezultirao ovim naslovom po~eo seuobli~avati 1992. godine, nekako s po~etka agresijena Bosnu i Hercegovinu. Ve} tada, s prvim danimarata nastaju i prvi radovi: Don't panic..., Bosna,

Welcome to Sarajevo,.. Doga|aji koji su potomuslijedili proizveli su sve ostalo. Tokom ratnih godinarje{enja su biljeèna kao skice, ili realizirana ustvarnom formatu i bojena ru~no olovkom, tu{em ilitemperom. Neki od naslova po prvi put suprezentirani devetog maja 1995. godine najednodnevnoj izlo`bi organiziranoj u suradnji saSenadom Kumali}em, Mustafom Varupom i AzizomBekirom u Pozori{tu Travnik. Kako se projekatokrupnjavao pokazalo se nu`nim pojasniti doga|ajekoji su prethodili bosanskoj tragediji. Tako su nastalinaslovi CIAo i Proleteri..., a da bi se cjelina zaokruìlai osnovna ideja provela do kraja bilo je nu`norealizirati i naslov The End. Time se krug na odre|enina~in zatvorio i materijal je postao cjelinom. Iakodeterminiran kao Dosije o ratu u Bosni i Hercegovini

projekat je pretrpio promjenu naziva te time poprimionovi kontekst i konotaciju.

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02 CIAo! screen-silk,

100x70cm, 1996

03 Alternative, screen-silk,

100x70cm, 1996 (1992)

Ibrahim KrzoviæAFTER PARADISEThe Catalogue Text for the Exhibition, the “Mak”Gallery Sarajevo, 22 June – 8 July 1998

This exhibition is a result of material that wasproduced at the beginning of the aggression onBosnia and Herzegovina. At that time, the firstartworks were created, such as “Don't panic...Bosnia“, “Welcome to Sarajevo“, etc. The events thatfollowed produced everything else. During the war,the solutions were marked as sketches, or werecreated in a live format and hand painted by pencil,an Indian ink or tempera. Some of the abovementioned titles were presented on a one-dayexhibition at the Travnik Theater on 9 May 1995,which was organized in cooperation with S. Kumaliæ,M. Varupa and A. Bekir. As the project evolved, itbecame necessary to clarify events that had occurredprior to the Bosnian tragedy. This is how “CIAo“, and“Proleters“ were developed. However, in order tocomplete the entirety, it was necessary not just tocreate the title “The End” but also to implement thebasic idea through the end. The completion of thistitle finalized the entire circle in a specific way and thematerial became the aforesaid entirety. Although itwas referred to as a file about the war in Bosnia and

0302

After Paradise 11

04 Next, screen-silk,

100x70cm, 1996 (1993)

05 The Aftermath, screen-silk,

100x70cm, 1996

Cjelokupni materijal broji 27 naslova idejnokoncipiranih u vremenu izme|u 1992. i 1997. godineostvarenih tehnikom sitotiska tokom jula i augusta1997. godine. Naslovi su realizirani u formatu B1, podeset otisaka svaki i prire|eni kao mape.

Iako pojavno zasnovan na jednostavnim grafi~kimrje{enjima ovaj materijal je iznimno kompleksan ivi{eslojan. Prva njegova konstanta je sam njegovpredmet – domicilna dru{tvena stvarnost i socijalniodnosi koji je oblikuju. Time, tim svojim predmetomovaj materijal postaje “savremen” jer se bavineposrednom dru{tvenom zbiljom, ratom kaooblikom ispoljavanja dru{tvene svijesti, stanjemodnosa izme|u i unutar kolektiviteta, a time otvara iona sociolo{ka pitanja koja funkcioniraju na razinipojedinac – grupa.

U svojoj osnovi, izlo`ba se bavi ~ovjekom,njegovim personalitetom i njime kao dru{tvenimbi}em. Semanti~ka dvojnost ~itanja (potaknuta isamim naslovom) druga je konstanta ovogamaterijala. Ona omogu}ava da se, kako ~itav projekt,tako i svaki naslov ponaosob razumijeva na dvije ilivi{e razina. Prva, proistekla iz naslova, omogu}avada se cjelokupni predmet izlo`be, rat i ratna stvarnostpostave u vremenski slijed “Titove Jugoslavije”, idruga koja ~itavu situaciju interpolira u okrilje“religije” daju}i joj metafizi~ku konotaciju ~ovjekovogizgona iz raja.

Herzegovina, the project endured the title changes bycreating new contexts and connotations.

The entire material consists of 27 titles, ideallycreated in the time between 1992 and 1997. Thematerials were developed in typography techniquesbetween July and August 1997. The titles wererealized in the B1 format, 10 prints per each andprepared as maps.

Even though the material appearance is based ona simple graphics solution, it is extremely complexand with multiple layers. Its first constant representsthe subject itself, the local social reality and socialrelations that shape it. This is when the materialbecomes “modern“, because it deals with a directsocial reality – the war, which again represents anexpression of social conscience, the relationsbetween and within collectivity. It also opensquestions about those social issues that appear inrelationships between an individual and a group.

Basically, the exhibition deals with issues relatedto a human being, his personality as well as him as asocial human being. The semantic duality of reading(inspired by the title itself) is the second constant ofthis material. It enables understanding of the entireproject, but also of every title individually, on two ormore levels. The first constant, inspired by the title,puts the entire exhibit subject, war and war reality,into the time frame of Tito's Yugoslavia. The second

04 05

Slijede}a bitna konstanta ovog materijalaodre|ena je oskudnim i minimalnim (kao rezultatimaratnog vihora) koji na estetskom planu pokazuje jednopo~etno zanimanje za grafit kao subkulturni fenomen,dakle, za tekst-poruku koja postaje bitnim sadràjemovog projekta (Uh!, Next, Moda). No, estetski okvirnije odre|en samo time. On je pro{iren jednom pop-artisti~kom orijentacijom koja je proistekla iz stripa ilije njime potaknuta. Naslovi Savr{eno, Kraj rata,

Aftermath Bosnia potvr|uju tu intenciju. No, ovimprimjerima oblast likovnog kao da prevazilazimogu}nosti Pop Arta i svoje granice pro{iruje i naone likovno estetske anga`mane koji su u umjetnosti20. stolje}a zapo~eti iskustvom japanskih majstoradrvoreza, nastavljeni fovizmom i dovr{eni tzv.ameri~kim apstraktnim imaìzmom zbog nastojanjada iz jednostavnih vizuelnih stimulansa izazovevi{ezna~ne i sloène asocijacije. I upravo tavi{ezna~nost i slojevitost ~itanja jesu ona dodatnasnaga i dra` ovih ostvarenja.

Zanimanje za estetsko i likovno nije primarno poljeumjetnikovog interesa. On poku{ava i uspijeva dalokalnim manifestacijama da op}eljudsku iuniverzalnu komponentu. Time ovi radovi nadrastajustvarni poticajni izvor (rat u Bosni i Hercegovini) ipostaju op}im civilizacijskim simbolima.

Smatraju}i da su sredstva koja su mu dostupna,linija, forma, boja,... samo elementi jednog govora

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06 Srebrenica, screen-silk,

100x70cm, 1997

07 Dem... Dem, screen-silk,

100x70cm, 1997

constant incorporates the entire situation into theconcept of religion, giving it a metaphysicconnotation of man's exile from Paradise.

The next important constant of this material isboth minimal and meager (as a result of war), whichaesthetically shows the beginning of an interest ingraphite as a subculturual phenomenon, or rather atext-massage that becomes an important context ofthis project (“Uh!“, “Next“, “Fashion“). However, theaesthetic frame is not determined only by this. It isexpanded with one pop-artistic orientation that camefrom and was inspired by a comic book. Thefollowing titles confirm this intention: “Perfect“, “Endof the War“, “Aftermath Bosnia“. The fine art not onlyovercomes the possibility of a pop-art with theseexamples, but also expands its boundaries on thoseartistic-aesthetic engagements, that came to art in20th century with an experience of Japanese mastersof wood-engraving, followed by phovism andcompleted by, so called, American abstract imagism.The author’s intention was to provoke complex andpolysemantic associations out of a simple visualstimulant. These very polysemantic interpretationsrepresent additional strength and charm of author'sachievements.

The author’s primary interest is not in an aestheticand fine art. He tries and succeeds in giving general-human and universal semantic component to local

06 07

SREBRENICA

After Paradise 13

08

(jezika) on nastoji da uspostavi komunikaciju s~ovjekom, sa neposrednim promatra~em nastoje}i daga “isprovocira”, da ga “probudi” ili stalno drìbudnog u smislu upita njegove kona~ne ljudskezada}e, u smislu prihvatanja ili razumijevanja njegovevlastite odgovornosti za svoju i sudbine drugih ljudi.Vide}i u prvom redu ~ovjeka i bave}i se njime onpoku{ava u procesu totalnog razgoli}enja stvarnostiprona}i, ili uhvatiti onaj succus koji nakon svegaostaje, istinu.

Ovaj rad u jednom generalnom odre|enju otvara ineka od krucijalnih pitanja savremene likovneprodukcije i poku{ava da u svjetlu zbivanja s krajastolje}a (ili njegove druge polovine) redefinira istvarni cilj umjetnosti. On kao da brani onu poziciju usavremenoj kulturi koja pretpostavlja da je likovnijezik, jezik vizualnog, samo jedan od komunikacijskihkodova, da je to oblik govora, a stvarni predmet togagovora postaje na{a svekolika stvarnost, na{ ljudskihabitus, na{i odnosi, javni i dru{tveni ìvot.

Autor kao da ovim svojim anga`manom preferiraideju, sposobnost da se prisutno markira i “vidi”, daga se zabiljeì, da istinu koja se doga|a pribliì i u~inijasnijom. Time, takvim svojim anga`manom, on kaoda zapostavlja zanimanje za estetsko, likovnuokrenutost sebi samoj, smatraju}i i estetsko samojednim separatom stvarnosti, izva|enim iz testvarnosti i u~injenim imobilisanim, nefunkcionalnim i

manifestation. Thus, these works of art overcome thereal stimulate source (war in B&H) and becomegeneral symbols of civilization.

Considering that the resources available to theauthor, such as line, form and color are the onlyelements of speech (language), he strives to establishcommunication with a man, with a direct observer.He tries to provoke him, awake him or constantlykeep him awake by questioning his final human taskin order to accept or understand his ownresponsibility for his and other people’s fate. Seeingthe man first, and dealing with him, the author tries tofind or catch that succus that stays behind, the truth.

In general, this exhibition opens some other crucialissues related to the modern fine art production andtries to redefine the ultimate goal of art in the light ofevents that took place at the end of 20th century (itssecond half). It is almost as though his works try todefend the modern culture position, which makes anassumption that the language of fine arts, and ofvisual, is only one in the pool of many communicationcodes – the form of speech. The real subject of thatspeech becomes our overall reality, our humanhabitat, our relations, as well as public and social life.

It is almost as though the author prefers an idea,the ability to mark and “see”, to note and to make thetruth of what is happening closer and clearer throughhis engagement. It feels as though he sets aside the

08 The End, colored pencil,

28x20cm, 1996

slabim. On time kao da poru~uje da nije smisaoumjetnosti da proizvodi stvari koje }e biti dekorsvijeta, ve} da bude jezik kojim se govori isporazumijeva, oru|e kojim se utemeljuje, poja{njavai gradi.

Nazivi radova, ideogramska rje{enja kojaizraàvaju stav umjetnika spram neposrednedru{tvene zbilje, zapravo spram rata, nepravde,hipokrizije i razgoli}enja stravi~nog lica i nali~jasavremene evropske pa i svjetske civilizacijepredstavljaju novu cjelinu angaìrane umjetnostiuo~ljive stvarala~ke rezistencije, izraèn savremenimjezikom umjetni~ke komunikacije, koja aktivira {iriprostor Bosne i Hercegovine. On je utemeljio novipunkt aktiviteta “nove umjetnosti” pa zajedno saregistracijom primjera stvarala~kog otpora u drugimmjestima, kao {to su Tuzla i Zenica, ovaj umjetnikdoprinosi rasprostranjenosti pojma “~uda otpora” na{iru teritoriju Bosne i Hercegovine.

14

interest in aesthetic and fine arts, its focus towardsitself, considering the aesthetic as yet another part ofreality, the part that has been taken out of the realityand made immobile, dysfunctional and weak.

This is how he tries to convey that the purpose ofart is not in producing things that will decorate theworld, but to serve as language that is spoken andunderstood, as tool that makes the foundation, butalso clarifies and builds. The artwork titles areideogramic solutions that express the author’sattitude towards direct social reality, or rather towardsthe war, injustice, hypocrisy, and total exposure of adreadful face and surface of a modern European, aswell as the world civilization. They represent a newentirety of “an engaged” art, or visible creativeresistance, expressed through a modern language ofan artistic communication that activates placesthroughout Bosnia and Herzegovina. He founded anew checkpoint of a new art activity that, togetherwith the registration of examples of creativeresistance in places, such as Tuzla and Zenica,contributes to spreading out the term “wonder ofresistance” to a wider territory of Bosnia andHerzegovina.

After Paradise 15

09 The End of the War,


09


017WAR LORDS

18

da se ispod zelene kore nalazi crveno “srce”, alipetokraka toj op{tepoznatoj istini daje novu i nimalonaivnu poruku: ni{ta se su{tinski nije promijenilo,iako se ma{e drugim zastavama, i prijeti i obe}avadrugim frazama; i dalje ìvimo u jednopartijskomsistemu, a na{e su sudbine u rukama demagoga,frazera i poltrona. A gnijezdo, ispleteno od bodljikaveìce, kao dom koji postoji samo unutar o{trih ineprelaznih granica, i u njemu ~okoladna jaja iz kojihse ne moè i nikad ne}e izle}i ìva ptica koja pjeva ileti, jeste duhovita i pomalo cini~na kritikanovoste~enih eti~kih vrijednosti.

Plakati Asima \elilovi}a su duhoviti i angaòvani,daleko od jeftinih konceptualnih dosjetki, direktni inedvosmisleni, klasi~ni u najboljem smislu te rije~i.

Nenad Veli~kovi}, knjièvnikDVA PLAKATA

Na jednom plakatu Asima \elilovi}a vidimo parkinder-jaja u pti~ijem gnijezdu, na drugom iz lubeniceizva|en “~ep” u vidu petokrake. Oba su primjerjednostavnosti u izraàvanju ideja i stavova, za kojunisu dovoljni samo marljivost i talenat.

U Bosni i Hercegovini, gdje je sve teè preìvljavatiizvan dva preovladavaju}a koncepta razmi{ljanja(nacionalnog i trì{nog), jasno}a i skromnost nisuvrline za preporuku. A upravo su one ideal kojem teì,i u navedenim primjerima osvaja, Asim \elilovi}.

Jasno}e izraza nema bez jasno}e misli, a mislitijasno ne moè se ucijenjenim ili potkupljenimmozgom. Umjetniku koji podilazi o~ekivanjimasponzora, partijskim ili piljarskim, svjedno, nijemogu}e jasno i potpuno sagledati i razumjeti realnostu kojoj ìvi i stvara. Bez mirne savjesti i bez ~istihruku ne moè se stvarati velika i zna~ajna umjetnost.

Dva plakata koja nas osvajaju upravo jasno}om (uizrazu) i skromno{}u (u sredstvima) proizvod suintelektualne zrelosti i moralnog po{tenja. U vrijemekada siroma{na dràva tro{i stotine hiljada na jalove isnobovske festivale, ili na projekte odnacionalnoplanetarnog zna~aja, kupiti za desetmaraka jednu lubenicu i izrezati ~ep u njoj te{ko jedoìvjeti kao umjetni~ko djelo. Naravno da svi znamo

War Lords 19

10 Sarajevo Surprise, object,

22cm, 2000

20

11 Astro Cuba, object, 30cm,

2000

War Lords 21

Nenad Veli~kovi}, writerTHE TWO POSTERS

On one of the two posters of Asim \elilovi}, we cansee a couple of chocolate/kinder-eggs in a bird’snest. The second poster shows a “cork” being takenout of a watermelon that looks like the red star. Bothposters are examples of simplicity in expression ofhis ideas and attitudes. The expression that takesmore than just a hard work and talent.

Clarity and modesty aren’t really recommendablevirtues in the country like Bosnia and Herzegovina,where it is very difficult to live outside of the twoprevailing concepts of thinking: national and market.And yet, these are the ideals that Asim not onlystrives towards but also achieves in the above-mentioned examples.

Clarity of expression cannot happen without clarityof thought, and a blackmailed or bribed mind is notthe one that can think clearly. An artist driven by itssponsor’s expectations (either by its party’s or itsvendor’s) cannot clearly and comprehensively reviewand understand reality in which he lives in andcreates. One cannot create great and meaningful artwithout clear consciousness.

The two posters that capture our attention withtheir clarity (in expression) and modesty (in terms offinancial resources) are products of his intellectual

maturity and moral respect. In times when a poorcountry spends hundreds of thousands on snobbishand useless festivals and projects that are of nationalmeaning, buying a watermelon an d cutting a corkinside of it, is something that one can hardly perceiveas a piece of art. It is generally known that the red“heart” lies underneath the green core of awatermelon, but giving it a shape of the red star givesa new and not at all naive message of a well-knowntruth: that nothing has truly changed, that eventhough we wave with different flags and threaten andgive promises with different phrases, we continue tolive in a one-party system and our destinies are inhands of demagogues, phrase-mongers andsycophants. And the nest is funny and somewhatcynical criticism of newly-formed values, knitted witha barbed wire and presented as a home, with sharpand insurmountable boundaries, to chocolate eggsthat will never give birth to living birds that sing andfly.

The posters of Asim \elilovi} are funny, inventiveand engaged, far from being cheaply conceptual, theyare direct, unequivocal and classic in the best senseof the word.

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12 20/21, digital print,

70x50cm, 1999

War Lords 23

13

24

14

War Lords 25

13 Medicine, object, 20cm,

1999 (left)

14 Follow Your Instinct, photo,

85x100cm, 1999

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15 Push it!, object, 16cm, 2001

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War Lords 27

16 North – South, photo,

85x100cm, 1999

16

28

17

17 First Aid, object, 1999

War Lords 29

18 The Cold War, object,

1999-2004

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War Lords 31

19 When the Saints go Marchin’

In, object, 2x(55x75)cm, 1999

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32

War Lords 33

20 When the Saints go Marchin’

In (part two), digital print,

42x58,5cm, 2011

21 Garland glory, digital print,

42x58,5cm, 2011

21


035COCACOLANIZATION

Sulejman BostoPERIPHERY ARTTekst uz izlo`bu, Roman Petrovi}, Sarajevo, 10.oktobar 2000.

Danas, u dana{njem vremenu, kad se niko od nas nemoè kladiti na jedinstven i jednozna~an pojamumjetnosti, ili druga~ije re~eno, kada je ne{to kao“jedinstvo kanona” likovnog umjetni~kog oblikovanjazbilja, stvar pro{losti, kada se, takore}i, upluralisti~koj pra{umi ili gusti{u nebrojenih izama ilipostizama likovno-umjetni~ko djelo izmi~emogu}nosti da bude oblikovano i razumljeno popravilima neke univerzalne likovne gramatike, – utakvim okolnostima predstavljaju umjetni~ki likovniiskazi i izrazi kojima je vrlina precizna jednostavnost(ili jednostavna preciznost) njihove likovne ideje, i kojiujedno nemaju problema sa ~uvenim zahtjevom zakomunikativno{}u, razumljivo{}u ili ~itljivo{}usemanti~kog sadràja. Sve ovo kaèm stoga {to namse upravo likovni iskaz Asima \elilovi}a, – kojegprezentira ova izlo`ba nudi kao rijetkost, rijetkost nesamo tehni~ke ~isto}e i preciznosti, nego kaorijetkost ~isto}e izabranog likovnog koncepta ipro~i{}ene misli o svrsi i razlogu likovnogoblikovanja. Naravno, u osnovi ovakvog likovnog

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22 Viva America, digital print,

(oil on canvas), 70x90cm, 2001

23 Always on the Life side,


Sulejman BostoPERIPHERY ARTthe introductory text of the promotion – RomanPetrovi}, Sarajevo, October, 10th 2000

These days, none of us can be sure in universal artconcept with its one simple meaning, in other words,we can not be sure if the “uniformity canon” of fineart shaping really belongs to the past. This is the ageof various -isms or postisms, when the piece of fineart is no more shaped and understood by the rules ofsome universal visual-art-grammar. Fine artsexpressions appear, in these circumstances, whosevirtue is precise simplicity (or simplicity precise) oftheir idea, but which do not have any problems withthat well-known request for communication,comprehensibility or legibility of semantic contents. Iam saying all this, because, Asim \elilovi}’s fine-artexpression -presented in this exhibition – is rarity oftechnical purity and accuracy, rarity of the fine-artconcept chosen here and the idea of the fine-artshaping purpose. Of course, the essence of this pieceof fine art, is clear author’s act of choosing of theconcept, of its awakening of the reason of fine-artengagement.

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Cocacolanization 37

24 Don’t worry, screen-silk,

70x100cm, 1999

25 Icon, object (part 2),

30x40cm, 1999

ostvarenja leì jasan autorov izbor na konceptualnojrazini, odnosno na razini njegovog vlastitogosvje{tenja razloga likovnog anga`mana.

U \elilovi}evom slu~aju, to je o~ito uvjerenje daumjetni~ki anga`man mora biti upravo eksplicitananga`man, ukoliko on zna~i: u koordinatama vremenau kojem ìvimo neposredno gledati i sagledavatineposredni ìvot, njegove konstelacije i tendencije,njegove znakove i {ifre, njegova lica i nali~ja, ukratko,angaìrati se u osebujnom spoznajnom i moralno-kriti~kom smislu, i tu spoznaju (koja je ujednoskop~ana i sa zada}om vrednosnog prosu|ivanja),oblikovati likovnim jezikom, te njegovom gramatikom(gramatikom toga jezika) precizno oblikovati jasaniskaz o svijetu, ta~nije, vlastitu likovnu percepciju,njezine fokuse i akcente oblikovati u jasan spoznajni i

moralni stav. Ako je ovo postulat \elilovi}evoglikovnog oblikovanja, ako je njegov umjetni~ki credosadràn u uvjerenju da baviti se umjetno{}i zna~izrcaliti svijet, ili ìvo vrijeme u kojemu ìvimo, i to nana~in raskrivanja njegovog prikrivenog (ili ~akfalsificiranog) smisla i zna~enja, i ako to ponajprije,zna~i razumijevati svijet na na~in da ga se takore}i“ogoli do kosti” u njegovoj istini (raskrivaju}i njegovemaske, sile ili zavodljive geste) onda je jasno u ~emu\elilovi} vidi zada}u, ili ako ho}emo, temeljni razlog i

In \elilovi}’s case, it is about obvious persuasionthat the artistic engagement must be explicit, as faras its meaning is: to look at and to examine our ownlives in frames of the time we’re living in, to considerlife’s constellation and tendency, its signs and codes,its faces and its seamy side and to be aware ofcognition in its moral-critic sense. This cognition (thathas in itself the task of judging values) should beshaped in language, so that its grammar (thegrammar of that language) precisely gives us theclear image of this statement about the world, i.e. itsown fine-art perception, its focus and emphasis,should be shaped in a clear cognitive and moral

attitude. If this is the thesis of \elilovi}’s fine-artshaping, if his artistic credo is in conviction that theart engagement is mirroring the world, or alive time inwhich we are, in a way of revealing its hidden (ormaybe fake) sense and meaning, and if it means tounderstand the world in such a way that it becomes“naked to the bone” in its truth (putting away itsdisguises, its forces or seductive manners) – then, itis quite clear to have the idea of \elilovi}’s task, or ifwe want, the main reason and purpose of artistic(fine-art) perception. To look at the world and to seeit has its sense only if it’s to comprehend, and if thiscomprehension is precisely shaped in focus of fine-

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svrhu umjetni~ke (likovne) percepcije svijeta. Kodnjega gledati i vidjeti svijet ima smisla samo zato dabi se uvidjelo, i da bi se taj uvid, precizno oblikovan ufocus likovnog iskaza, takore}i posudio promatra~u, injegov pogled usmjerio na poentu umjetnikovogopaànja.

\elilovi}, naime operira sa idejom da umjetnostmora kazivati i pokazivati, da mora zauzeti stav i dataj stav mora u~initi javnim. Utoliko je njegovokazivanje s one strane ezoteri~ne “imanencije” u sebezatvorene samosvrhovitosti nekog djela, kao i s onestrane “prazne profinjenosti” tradicionalnog likovnogumjetni~kog djela, kao i s one strane bilo kojeg“elitizma” koji se gradi nedu`nim i dalekim od ìvogatoka svijeta. A taj svijet niti je idila, niti pozornicaljudske nedu`nosti, niti pozornica herojskih ljudskih~ina, na kojoj toboè sve glatko te~e po scenarijimautopija slobode, ljepote i istine.

\elilovi}, naprotiv, po~inje i ostaje usred svijetasvog vremena, kao svom legitimnom ishodi{nom(perceptivnom i refleksivnom) horizontu. Taj je svijetsvijet svakodnevnog, nabijen, nakrcan i progutanikonama, simbolima i amblemima vremena u kojemuìvimo. I upravo sa nivoa percepcije svakodnevnog\elilovi} gradi svoju interpretaciju svijeta. Tosvakodnevno, koje u svojoj obi~nosti,samorazumljivosti, u automatizmu i povr{nosti na{egdnevnog opaànja izmi~e uvidu, u na{eg autora

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26 Global Idea, object, 30cm,

2000

27 Spirit of America, oil on

panel, 31x40cm, 1999-2003

art expression, let’s say, if it lends itself to theobserver, and if his look is pointed at the essence ofartist’s observation.

\elilovi} operates with the idea that the art musttell us and show us, it must have the attitude, whichshould be a public attitude. To the extend that hisfine-art telling from its esoteric side of “immanence”is closed in itself, as well as from the side of “emptysophistication” of traditional piece of fine art, andfrom the side of any kind of “elitism” built from theinnocent and the far from the alive currant of theworld. This world is neither idle, nor the stage ofheroic human acts, at which, seemingly, everythinggoes easy, by the Utopian script of freedom, beautyand truth.

\elilovi}, starts and stays in the middle of theworld of his own time, as his legitimate, original(perceptive and reflexive) horizon. This is an every-day world, loaded, freighted, and swallowed by theicons, by the symbols and emblems of time in whichwe’re living in. Just from the every-day perceptionlevel, \elilovi} builds his interpretation of the world.This every-day living, which in its ordinariness, self-comprehension in automatism and shallowness ofour daily observations, which runs out of sight,becomes thematic in the work of our author. It is notonly about this everyday life – that is iconography ofour age – which is to be subdued to a bad eternal

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Cocacolanization 39

28 In the darkness, object,

1999

29 Tears of Youth, object,

10x30cm, 1999

postaje tematskim. I to ne samo da bi se tosvakodnevno koje zapravo predstavlja ikonografijuna{eg doba podvrglo lo{oj beskona~nostireproduciranja, umnoàvanja i recikliranja, nego da bise upravo istrglo iz automatizma na{eg opaànja,fokusiralo i dovelo u novi i ~isti semanti~ki kontekst, ina taj na~in ogolilo od svoga pravog smisla. U tomsmislu \elilovi} svijet kriti~ki opaà kao svojevrsnudeponiju suvremenog ikonografskog otpada, kaopozornicu igre i mo}i i manipulacije ~ovjekom kaopukim materijalom u slu`bi takozvanih velikihpoliti~kih, religijskih, ekonomskih i drugihsvjetonazornih ideja, kao strati{te tih velikih ideja,koje on u svojim asamblaìma, montaàma,fotografijama, objektima ironijski ili parodijskirazgoli}uje do kraja. U njegovom prikazu, on svijet ivrijeme u kojemu ìvimo, interpretira kao kakvugigantsku probavnu ma{ineriju koja proizvodi ipro`dire ideologije, politike, svjetonazore, mode itrendove. Ukratko, on nastoji da prozre la` ideologija iutopija na{eg vremena.

Ako bih htio ukratko stilizirati taj \elilovi}ev kriti~kinaboj, u kojemu on razobli~uje na{ svijet kao igrumo}i i igru laì, pokazuju}i svojevrsnu potro{njuvrijednosti (koje su pretvorene manipulacije u jezikuikonografije modernog svijeta), onda bih to u~iniokroz jednu jezi~ku dosjetku koja djelimi~no moèilustrirati i \elilovi}evo nastojanje da dosljedno varira

reproduction, multiplying and recycling, but also todisturb our automatic observations, to focus it andbring in the new semantic context, and in this way tomake it naked to its real sense. In this context,\elilovi} observes the modern world as a kind oficon-graphic garbage place, as a stage for the gameof power and manipulation of men, as if they were amere substance which serves to, so called, bigpolitical, religious, economic, and other ideas aboutthe world, as a scaffold of these great ideas, whichhe reveals in his packings, montages, photos, objects– in a very ironic and parodic way. In his showing ofthe world, he interprets the world and the time as agigantic digestion machinery that produces anddevours ideologies, policies, world-views, fashionsand trends. Briefly, he is trying to see through theideology lie and Utopias of our time.

If I would like to style this \elilovi}’s criticalcharge, in which he de-shapes our world as a gameof power and the game of lies, showing its valueconsumption (that are manipulations in the languageof modern world icon-graphy), – then I would do itthrough one linguistic witty remark illustrating\elilovi}’s endeavour to vary one of our time middleicons, a bottle of Coca-Cola. We all know very wellthat the recent brutal forms of political, economicaland cultural colonization is a matter of the past.Colonization (especially the cultural one)- which

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jednu od za njega sredi{njih ikona na{eg vremena,bocu Coca Cole. Svi dobro znamo da su nekada{njibrutalni oblici politi~ke, ekonomske i kulturnekolonizacije stvar pro{losti. Kolonizacija (posebnokulturna) koja je \elilovi}u o~ito tematski vrloizazovna danas vi{e nije kolonizacija ali jest, govore}isa autorom, cocacolanizacija. To bi mogao bitisubliman izraz za \elilovi}evo kriti~ko likovnobavljenje takvim svijetom, kojeg on razumije kaosvijet igre mo}i i svijet posvema{nog uniformiranja, akoji opet predstavlja nali~je toliko hvaljeneglobalizacije.

To bi, dakle, u mojim o~ima bio takore}i “idejnisklop” \elilovi}eve likovne akcije. U pogledu njegovestrogo likovne fizionomije, ja ne èlim previ{e govoriti.Jasno je da i na konceptualnom i tehni~kom planu\elilovi} bez predrasuda, sinkretisti~ki koristi svaraspoloìva sredstva da do rije~i dovede svojeo{troumne asocijacijske sklopove, svoje ironijskeakcente i dosjetke, lako ~itljive zna~enjske kontraste,te da izborom prepoznatljivih rekvizita (objekata)sredstava koja stavlja u jasne asocijacijske odnose,postigne poentirane efekte vlastite zamisli. U tehni~kojizvedbi on je precizan, odmjeren, ekonomi~an, a narazini teze svakog pojedinog izlo{ka ~itak, jasan iduhovit. Pri svemu ovome, ovaj likovni projekat,ovakav izbor umjetni~kog govora èli do rije~i dovestione, danas gotovo zaboravljene impulse {to ih je,sada ve} davno, bila pokrenula umjetnost pop-arta iliumjetnost objet trouve. U cijeloj stvari, \elilovi}nastupa kao jasna umjetni~ka individualnost, sasvojim jasnim umjetni~kim credom i respektabilnimartisti~kim umije}em, te svojim iskazom, svojimnastojanjima i nadama oboga}uje i osvjeàva na{ulikovnu scenu. U svakom slu~aju, svakome od naspredstoji da se pred \elilovi}evim radom sami u touvjerimo.

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seems to be very challenging in theme to \elilovi}-today is no more a colonization, but it is acocacolanization. This could have been the sublimeexpression for \elilovi}’s critical fine-art engagementof the world, which he understands as a world ofpower game and the world of uniformity, but whichpresents the face of so-much-praised globalization.

This would be “idea framework” of \elilovi}’sartistic action, in my eyes. In terms of his strict fine-art physiognomy, I do not want to talk a lot. It isobvious that in conceptual and technical terms,\elilovi} uses all devices available, without anyprejudices, do bring down to the words his bright,associative frame works, his ironic emphasis andremarks, which are easy legible contrasts, so that hewith the choice of recognizable equipment (objects),gets to the pointed effects of his own idea. He is, inhis technical performance, very precise, discreet,economic, but at the level of each of his pieces, verylegible, clear and witty. To add to all of this, this fine-art project, this kind of choice of artistic speechwould like to bring down to the words thoseimpulses, which are long forgotten, that were set inmotion by the art of pop or the art of objet trouve. Inthis whole thing, \elilovi} performs as a real artisticindividual with his clear artistic credo and respectableartistic skill, so with his expression, hisendeavourings and hopes enriches and refreshes ourfine-art scene. In any case, what’s forthcoming to allof us is to see this in front of his works.

Cocacolanization 41

30 No Title (A mother with a

child), installation, 40x50cm,

1999

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42

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Cocacolanization 43

31 20th Century Man (part II),

object, 70x100cm, 2001

32 20th Century Man, object,

70x100cm, 1998 (right)

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Cocacolanization 45

33 World Map, object,

170x120cm, 2000

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46

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34 Ice Box, object, 26x34cm,

1999

Cocacolanization 47

35 Icon, objects

(part 1, 3, 4, 5), 30x40cm,

1999

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36 Last World Idea,

assemblage, 112x82cm, 1998

37 American Red, object,

40x50cm, 2000

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Cocacolanization 49

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38 At the Olymp, oil on canvas,

200x140cm, 1999-2003

Cocacolanization 51

39 Ginny from the bottle, oil on

canvas, 70x90cm, 1999

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40 Ever – Never, photo,

2x(50x70)cm, 2003

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Cocacolanization 53


055BEHINDIDEOLOGY

Besim Spahi}PERIPHERY ART / redesignTekst uz izlo`bu, Cankarjev dom, Ljubljana, 23.oktobar 2003.

Dilema koja mi se pojavila sa pitanjem: da li pisati,danas, u vremenu mno{tva, brzine i slike kad ljudigotovo da i ne ~itaju, “ozbiljan tekst” o radu ~iji smosvjedoci ovom izlo`bom, ili pustiti vas, sudionikeovog svjedo~anstva da vidite i doìvite, ne spektakl ulikovno-estetskom smislu, ve} britko}u i jasno}ukojom nam autor (na tragu najbritkijih i najjasnijihsvjedo~anstava vrhunske umjetnosti) predstavljasvijet na{eg svakodnevnog iskustva, na{e okruènje inas same. Osobna me spoznaja uvjerava da je boljesugerirati vam ona mjesta na{e savremenosti kojih seautor doti~e, a koja ~ine predmet njegovih vizuelnihinterpretacija, nego opse`no i na{iroko elaborirati ovajopus. Impresiju o njemu ostavljam vama.

Opredijeliv{i se za distancu naspram umjetnosti iprostora u kom ìvi, a ipak ostaju}i vremenit potemama koje obra|uje u svome radu (religija,ideologija, dru{tveni odnosi, potro{a~ko dru{tvo,...),lokalan i univerzalan istovremeno, Asim \elilovi},dizajner (po obrazovanju) a umjetnik i filozof povokaciji, svoj misaoni interes, uokviren u nominacijuperipheryart, primarno veè za iskustva civilizacije~iji je sudionik, ne po prirodi svoga dizajnerskogposla, inauguriraju}i, inoviraju}i i provode}i ih, ve}

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41 American Freedom, poster,

70x100cm, 2003

42 About Freedom,

(Will the Freedom be able to

sing as the slaves sang about

her – B. Miljkovic), object,

40cm, (detail), 1999

Besim Spahi}PERIPHERY ART / redesignThe introductory text of the promotion – Cankarjevdom, Ljubljana, October, 23th 2003

I am faced with a dilemma: in this age of massproduction, speed and images, when people hardlyread anymore, should I write a “serious text” aboutwork we are wittnessing at the present exhibition orshould I leave you, the judges of this event, to seeand experience not a spectacle in an artistic andaesthetic sense, but the bitterness and clarityemployed by the artist (following the footsteps of themost bitter and clearest testimonies in art) to presentthe world of our everyday experience, ourenvironment and ourselves? From my personalexperience, I know that it is better to hint at themoments in our present time, addressed by the artistand adopted as subjects of his visual interpretations,than to speak at length and in great detail about hiswork. I leave you to form your own impressionsabout it.

Adopting a distance towards art and his livingenvironment while remaining contemporary throughthe topics he addresses in his work (religion,ideology, social relations, consumer society), AsimÐelilovic is both local and universal. As a designer(by education), artist and philo-sopher, his maininterest within peripheryart is the experiences of a

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Behind Ideology 57

43 In continuo, collage,

50x70cm, 1999

44 For sale (Revue empaquetes

– part 2), object, 40x50cm,

1999

aktivno svjedo~e}i one pojave i tendencije unutarsame civilizacije ~iji posljedi~ni background ostavljasna`ne brazgotine na prostor ~ovjekova olju|enja.Autorova borba za ~ovje~nost i ~ovjeka, primje}ena jeneko}, borbom za sljedbeni{tvo na religijskom planu,postav{i danas, borbom za fanove i potro{a~e naekonomskom planu. Religijske ikoni~ke tvorevinezamijenili su danas brandovi potro{a~kog dru{tva.

Savremeni ~ovjek je, u vizuri ovog autora,sljedbenik i potro{a~, operiran od odgovornosti ibrige. On ne tvori, ne kreira, ne utemeljuje i ne nosi(kao neko}), on samo upotrebljava, koristi i tro{i. Zanjega kreiraju drugi, za njega brinu i odgovaraju drugi.Ideja njegova ìvota postala je igra, zabava, izadovoljstvo.

U tom smislu i prirodu same umjetnosti, za koju jeC. G. Argan ustvrdio da je neko} bila “proizvoditeljemideja za svijet tehnike”, ne nalazimo vi{e sadrànu uproizvoditeljskoj inovaciji, dakle u ideji, (jer to danas~ini nauka) ve} njenu “idejnost” prepoznajemo uopservaciji o svijetu tehnike i prepoznajemo uposljedi~nom karakteru odnosa primje}enih uneposrednom civilizacijskom okruènju.

Nastupaju}i kao pobornik demitologizacijesavremene ikoni~ke kulture, ovaj autor djeluje narazobli~enju lica i nali~ja me|unarodnih mainstream

medijalnih i stvarnih zbivanja detroniziraju}i ideju“progresa” i ideju “demokracije” pretpostavljaju}i ihprividom i slikom produciranom za “{iroke narodne

civilisation which he judges and, to which he belongsnot as a designer inaugurating, innovating andimplementing these same experiences, but as anactive witness of those phenomena and tendencieswithin the civilisation itself, the resulting backgroundof which leaves deep scars in the space of man'shumanity. The artist's struggle for humanity and manonce perceived to be a struggle for succession on thelevel of religion has today become a struggle for fansand consumers at the level of the economy. Religiousiconic creations are today replaced with thetrademarks of the consumer society.

As seen by the artist, contemporary man as afollower and consumer has had all sense ofresponsibility and concern surgically removed. Hedoes not create, establish and sustain (like he usedto); he only uses, employs and spends. Others createfor him, take care of him and are responsible on hisbehalf. The central focus of his life has become agame, fun and pleasure.

In this sense, the nature of art, for which C.G.Argan claimed that it had used to be “the source ofideas in the world of technology”, can no longer befound in production innovation, that is in ideas(because they now belong in the domain of science),but its “ideaness” can be recognised in theobservations about the world of technology and theresulting nature of relationships in the immediatecivilised environment.

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mase”, nastoje}i prozrijeti stvarnu su{tinu “napretka”sugeriraju}i stanje vo|enja i zavo|enja, po planu iinteresu. Ta se ideja, izme|u ostalog provodisvakodnevnom CNN-izacijom i holywood-izacijompomo}u kojih se na{a svakodnevna zamjenjujemedijskom realno{}u.

Djeluju}i na tragu Chomskoga, Virilia, Baudrillarda,Arentove,.. u postmodernisti~kom svijetu sa svemanje (evropske) dijalogike i sve vi{e (ameri~kog)monisti~kog futurizma ovaj autor svojim vizualnimjezikom istraùje, analizira i tuma~i pojave i tendencije“savremenog svijeta” nastoje}i ih prepoznavati uprostoru cjeline povijesnog ljudskog iskustva. Nalazdo koga dolazi uvjerava nas da instrumentarijprovedbe “novoga svijeta” za ljudsku sudbinu nezna~i “bolju budu}nost”, i da nam predstoji jo{ jednobolno iskustvo, tlapnja, krv i suze.

Radovi koje nalazimo na ovoj izlo`bi uvjeravajunas da autorova vizuelna promi{ljanja ne gube naintelektualnoj svjeìni i autenti~nosti, afektivnosti ipropulzivnosti. âk u mnogim momentima, i vi{e odciljno (reklamne kampanje) i agresivno tipiziranih ikreativno insuficijentnih reklamnih poruka djelujufrapantnije po duh, udaraju agresivnije na oko smotivikom koja ima zadatak da nas razbudi, i u~inisvjesnijim vlastitog mjesta i uloge u svijetu. U tomsmislu, djeluju}i s periferije, iz Sarajeva (malogJeruzalema), on kao da nas uvjerava da nema “malih

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45 The Circles, video

(based on Omega watch),

60 sec, 2001-2003

As an advocator of the demythologisation ofcontemporary iconic culture, the artist exposes thetrue nature and background of the internationalmainstream media and real events and dethrones theidea of “progress” and “democracy”, presenting themas an illusion and image produced for the “broadmasses” and endeavouring to disclose the realessence of “progress” by suggesting that thecondition of leading and being led is dictated by planand interest. This is, amongst others, carried outthrough the everyday CNN-isation and Hollywood-isation that substitutes our everyday reality withmedia-dictated reality.

Following in the footsteps of Chomski, Virilio,Baudrillard and Arendt, in the post-modernist world ofdeclining (European) dialogue and growing(American) monistic futurism, the artist employsvisual language to explore, analyse and interpretphenomena and tendencies of the “contemporaryworld”, recognising them in the integral space ofhistorical human experience. His findings convince usthat the instruments of the emergence of the “newworld” do not mean a “better future” for man'sdestiny and that we are facing another painfulexperience, a fraud, blood and tears. Exhibited worksshow that the artist's visually expressed thoughtshave not become any less intellectually fresh andauthentic, affective and propulsive. In many ways,they are more powerful and their motifs that are

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Behind Ideology 59

i bezna~ajnih” i da je “centar svijeta” ondje gdje smomi, te da se bitka za njega vodi upravo tu, i s nama.

Asocijativna i angaìrana ova umjetnost nepriznaje tabue i zabrane. U tom smislu otvoreno i bezskrupula autor razgoli}uje lice i nali~je ideologije iideologizama, ideju vo|stva i liderstva (u svijetu bezstvarnih vo|a i lidera, potro{enih na moralnom ieti~kom planu), analizira utemeljenje i zloupotrebudru{tvene mo}i, torturu demokratije i denunciranjepojedinca.

Jasno postavljaju}i paralele izme|u znane namlogike utemeljenja religijske ikonografije i ikonografijepotro{a~kog dru{tva autor proziva autenti~nost ijednog i drugog pitaju}i nas da li je simbolikautemeljenja savremene potro{a~ke ikone istovrsnasimbolici religijske? Ako jeste, i ako je obrazacutemeljenja i jedne i druge istovrstan, onda upit ovjerodostojnosti jedne, odnosno druge, dovodi usumnju ~itav prostor ljudskog iskustva i upitnimpostavlja njegovu strukturu. Ako je ova sumnjaopravdana postavlja se pitanje u {ta smo to potro{ilidano nam vrijeme, i nije li trud bio uzaludan?Odgovor moramo izna}i sami.

U likovno-interpretativnom smislu instrumentarijza provo|enje ovih stavova je nekonzistentan. Svakanova tema, predmet autorova interesa zahtijeva drugipristup, novi materijal i tehniku. U tom smislu autorne njeguje osoben likovni izraz, koji razu|en nalazimou seriji sli~nih radova. Ali se konzistentnost “vlastita

intended to wake us and make us more aware of ourown place and role in the world attack the eye withgreater force than the target-oriented (advertisingcampaigns), aggressively typified and creativelyinsufficient advertisements. By working from theperiphery, from Sarajevo ('little Jerusalem'), heconvinces us that the “small and insignificant” do notexist, that the “centre of the world” is where we areand that the struggle for this centre of the world isfought here and by us.

This associative and engaged art does not knowtaboos and prohibitions. Openly and without scruples,the artist exposes the background of ideology andideologisms, leaders and leadership (in the worldwithout true leaders of ethical and moral values) andanalyses the institution and abuse of social power,the torture of democracy and denunciation of theindividual.

By drawing clear parallels between the knownlogic of the institution of religious iconography andthe iconography of consumer society, the artistquestions the authenticity of both and asks uswhether the symbolism of the contemporaryconsumer icon is equal to the symbolism of thereligious icon. If so, and if the formula of both is thesame, the investigation into the authenticity of bothcasts a shadow of doubt on the entire space ofhuman experience and questions its structure. If thisdoubt is justified, we must ask ourselves, on what we

rukopisa” ~ini o~itim u predmetu umjetnikova interesai korpusu tema koje tretira. Likovno iskustvopredstavljeno na ovaj na~in pokazuje {irinu autorovihinterpretativnih mogu}nosti. Ideja asamblaà, objekti,instalacije, light design, tiskovine, slikane forme,fotografija,... samo nas dodatno uvjeravaju u tomstavu. Autor kao da nagovje{tava da likovni jezik jestejezik koji nam omogu}ava interpretaciju one spoznajesvijeta koja nam je omogu}ena u neposrednomsusretanju s njim. Tako pozicionirana umjetnostdana{njice postaje dokumentarnom, a umjetnikdokumentaristom svijeta {to prolazi.

Nalaze}i ih u naplavinama {to ostaju uz obalesvijeta, umjetnik prikuplja, prepoznaje i dovodi u vezuone dokumente, nalaze materijalne kulture koji sobommogu potvrditi njegovo bivstvo. U tom smislu i ovajprojekt nastaje na ideji dokumentarne umjetnosti pona~inu na koji autor razumijeva i koristi predmet,prona|eni predmet koji uvodi u strukturu svojihradova inauguriraju}i ideju po kojoj umjetnik nestvara, ve} primje}uje i nalazi, prepoznaje i osloba|a.Otuda njegovi radovi jesu prona|eni predmeti,sa~uvani otisci ljudskog bivstvovanja, dokazi njegoveegzistencije, djelovanja i mi{ljenja.

Umjetnik, dakle postaje onaj koji vidi. Onaj ~ijemoku ni{ta ne promi~e. On primje}uje. Biljeì.Razotkriva. Predmet u ovom smislu nije predstavljan,nije podraàvan. On jeste sobom i sam. Natopljeniskustvom ambijenta i vremena iz kog je izva|en onsvjedo~i to iskustvo i to vrijeme. I mi zajedno s njim.

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have spent the time that was allotted to us andwhether our efforts were in vain. We must find theanswers to these questions alone.

In the artistic and interpretative sense, theinstruments for expressing these points of view areinconsistent. Every new subject that is the focus ofthe artist's attention demands a different approachand a new material or technique. As a result, theartist does not foster a personal artistic expression ofthe kind that we find fragmented in a number ofsimilar works. The consistency of “his manuscript” isevident in the subjects that interest him and thethemes that he investigates. The artistic experiencepresented in this way displays a breadth of theartist's interpretative possibilities. The concepts of theassemblage, object, installation, light design, printedmaterial, painted forms and photography are merelyan additional proof of this. The artist declares thatartistic language is what facilitates the interpretationof knowledge about the world that is possible onlythrough direct experience. This type of contemporaryart is documentary and the artist is a documentaristof the world that passes by.

From amidst the flotsomand jetsom of the world,washed on the artist's shores, he collects, recognisesand connects those documents and vestiges of thematerial culture, which confirm its essence.Therefore, the project is based on the concept ofdocumentary art and is carried out in accordancewith the artist's understanding and handling of afound object that he incorporates into the structure ofhis work, inaugurating the idea of an observing,exploring, recognising and liberating artist rather thana creating artist. Consequently, his works are foundobjects, preserved imprints of human essence,proofs of human existence, activity and thoughts.

The artist becomes the person who sees. Nothingcan escape his eyes. He notices, records, unveils.Therefore, the object is not represented or depicted. Itis what it is. Permeated with the experience of theenvironment and time from which it comes, it testifiesto this experience and this time. Together with us.

Behind Ideology 61

46 No Title, object, 21x27cm,

1999

46

Behind Ideology 63

47 The people that has that kind

of youth…, installation, 2002

48

Behind Ideology 65

48 No smoking, installation,

30x30cm, 1999

49 Comrad Tito… photo,

45,4x25,5cm, 2002

49

66

50

Behind Ideology 67

50 Behind Ideology, photo,

3x(20x15)cm, 2002 (left)

51 Place – Time, Bugojno

1977-1997, photo, 2001

51

68

52

52 About Freedom,

(Will the Freedom be able to

sing as the slaves sang about

her – B. Miljkovic), object,

40cm, 1999

Behind Ideology 69

53

53 After Paradise, object,

70x100cm, 1999

70

54

54 The Survival Art, painted

wood, 55x75cm, 1999

55 In God We Trust, digital

print, 70x100cm, 1999

Behind Ideology 71

56 A Short History of Bosnia,


74

Behind Ideology 75

57

57 A short History of Bosnia 1-

4, (part two) print on paper

60x80cm, 2013

76

58 59

58 Made in Paradise, object,

80x110cm, 2002-2003

59 American Freedom, object,

74x104cm, 2003

Behind Ideology 77

60 Behind, photo,

2x(50x75)cm, 2002-2003

60

Behind Ideology 79

61 American Dream, object,

200x40x70cm, 2003

61

Behind Ideology 81

62 Over Love, object, 10cm,

2002 (left)

63 Marilyn (Monroe), object,

12cm, 2001

63

82

Behind Ideology 83

64 Prophet light, photo,

2x(50x70)cm, 2003

64

84

65 Prophet light, photo,

70x100cm, part 2, 2003

65

Behind Ideology 85

66 Jesus, photo, 50x70cm,

(Based on Robert Mapelthorpe),

2011

66

Behind Ideology 87

67 Leaders (from instruments),

digital print, 3x(28x41cm), 2004

67

88

68 St. George, object, 10cm,

2003-2004

69 Work in Progress,

(from instruments), object,

2004-2005 (right)

70 Between,

(from instruments), instalation,

2006 (next page)

68

Behind Ideology 89

90

Behind Ideology 91

Behind Ideology 93

71 Coexistence, digital print,

70x50cm, 2000 (page before)

94

72 Don’t Taste it! (from 3rd-4th),

object, 9cm, 2004

73 United (from 3rd-4th), flag

240x70cm, 2004 (right)

Behind Ideology 95

96

74 Not for everybody, photo,

20x28cm, 2004

75 Fine, video, 2005 (right)

74

Behind Ideology 97

IL NE FAUT PAS...Il ne faut pas laisser les intellectuelsJouer avec les allumettesParce que Messieurs quand on le laisseseulLe monde mental MessssieursN'est pas du tout brillantEt sitôt qu'il est seulTravaille arbitrairementS'érigeant pour soi-mêmeEt soi-disant généreusement enI'honneur des travailleurs du bâtimentUn auto-monumentRépétons-le MessssssieursQuand on le laisse seulLe monde mentalMentMonumentalement.

Jacques PrévertEditions GallimardCopyright Fatras succession

Jacques Prévert

NE TREBA...Ne treba ostavljati intelektualce da seIgraju {ibicamaJer ta gospoda kad ih ostavite sameMentalni sklop ove gospodeUop}e nije blistavA posebno kad je prepu{tena sama sebiDjeluje svojevoljnoProgla{ava sama sebeA navodno nesebi~no u ~ast graditeljaOtkriva sama sebi spomenikPonovimo ta gospodaPrepu{tena sama sebiNjihov sklop mentalniFoliraNa na~in monumentalni.

Jacques PrévertEditions GallimardCopyright Fatras successionJacques PrévertPrijevod Mirsad Be}irba{i}Me|unarodni centar za mirSarajevo 1997.

98

76 Life, object, 4cm, 2005

77 Life, photo, 42x59cm, 2005

(right)

Behind Ideology 99

100

Behind Ideology 101

78 Taken, installation, 2005

(left)

79 Is this the Pipe of Peace,

object, 18cm, 2003

79

102

Behind Ideology 103

80 The Golden Spoon

(from instruments), group,

2005

81 The Spoon

(from instruments), object,

2005

104

82

82 Works Book – Words Book,

object, 2x30x30cm, 2002

83 Pro memoria, object, 2005

(right)

Behind Ideology 105


107ARTICLES

Aida Abadì} Hodì}ARTIKLI KAO AUREOLE

Umjetni~ka aktivnost Asima \elilovi}a tematizira seponajprije oko sistema vrijednosti na kojima po~ivamoderno i suvremeno dru{tvo. Otuda \elilovi}eviradovi doti~u pitanja uloge i mjesta vjere u ìvotu~ovjeka modernog doba; pitanje kulturne kolonizacijeod strane domininantne svjetske supersile, posljediceekonomske globalizacije, ulogu i na~ine interpretacijehistorije u na{im podnebljima, ali i nagla{avajuotu|enost modernog ~ovjeka i njegovunezainteresiranost za promjenu stanja. Mo`da biparadigmatski primjeri njegovog osje}anja stanjamodernog ~ovjeka bili objekti ôvjek 20. stolje}a

(1998), ôvjek 20. stolje}a ll (2001) te Svjetska

mapa (2000) koji ponajbolje ilustriraju konzumersku,gomilaju}u, usamljenu i izgubljenu du{u ~ovjekana{eg vremena ~iju glavu, na mjestu nekada{njeaureole, priti{}e teret upravo onih artikala kojiocrtavaju jednu i istu kulturnu granicu na mapisvijeta. O ovim je mjestima u \elilovi}evu opusu bilove} rije~i, a mo`da je jedna od najboljih odrednicaona koja o njemu govori kao o autoru kojidemitologizira savremenu ikoni~ku kulturu. (B.Spahi})

Kad je rije~ o njegovom stvarala~kom postupku, ona~inu realizacije djela, autor nesumnjivo polazi od

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84 Product, object, 20cm, 2005

85 Next (part 2), object, 10cm,

2004

Aida Abadì}-Hodì}ARTICLES AS AUREOLES

Artistic activities of Asim \elilovi} and his reflection(this paper talks about) is firstly about the system ofvalues that the modern and contemporary society isbased upon. This means that his artworks touchupon the question of the role and place that religionplays in life of a modern man; the question of culturalcolonization by dominant world super-power,consequences of economic globalization, the role andways of history interpretation in our areas, but it alsoemphasizes an alienation of the modern man and hisdisinterest to change the situation he is in. Perhaps,the following objects: “20th Century Man” (1998),“20th Century Man II” (2001), and “The Map of theWorld” (2000) would serve as paradigmaticexamples of his feelings towards the situation of amodern man, which best illustrate the consumers,accumulated, lonely and isolated soul of a man of ourtime. The man, whose head is in the place of aformer aureole, pressed by the burden of thosearticles that make one and yet the same culturalboundary on the map of the World. People havealready spoken about these places in his experimentand perhaps one that best describes Mr. \elilovi} asan author is the one that breaks the myth of a

contemporary iconic culture (B. Spahi}).

84 85

Articles 109

86 Love, light design, object,

50x40cm, 2000-2003

87 Black Jack, object,

40x50cm, 1999

pretpostavke da se svaka pojava u suvremenojcivilizaciji moè ~itati i tuma~iti kao znak ili sistemznakova, te da nijedna od tih pojava nije sama zasebe i po sebi nego je uvijek uvr{tena u mnogostrukerelacije, uvedena u komunikacijski lanac, ponu|enadrugom, upu}ena na kori{tenje – da je ona otvoreno

djelo. (U. Eco)Kako su brandovi potro{a~kog dru{tva ono {to na

planu motiva dominira u njegovom djelu, autor ne ideza tim da kreira “novu stvarnost slikarskog prostora”,ve} duboko uranja u svijet ve} proizvedenog –manipulira njime, rekontekstualizira ga, neponavljaju}i doslovno vidljivo, ve} ~ine}i vidljivim (P.Klee). \elilovi} uglavnom kre}e od izravnogsu~eljavanja – u formi diptiha ili triptiha. Predmete nedovodi, poput nadrealista, u neki nemogu}i kontekst,ve} u susret u kojem ti predmeti otkrivaju neku jasnoprepoznatljivu, zajedni~ku karakteristiku, naj~e{}e nanivou forme, ali koja se, istovremeno, otkriva kodpredmeta sasvim opre~nih sadràja. Otuda takavsusret postaje sasvim neo~ekivan, {okantan, i nosisnagu iznenadnog otkrovenja. Oblici iz svijeta prirode,tehnologije i svijeta kulture gube svoju vizualnunevinost i neutralnost i pokazuju da oblikovanjem usvijetu suvremene reklame, marketinga i agresivnemedijske kampanje ne postoji slu~ajan odabir. [to bijedan ananas, ru~na granata i bo~ica toaletne vodemogli imati zajedni~ko? Jedno pripada svijetu prirode,

When looking at his creative procedure, the wayhe creates his artwork, he undoubtedly goes from aperspective that each phenomenon in a contemporarycivilization can be read and interpreted as a sign orsystem of signs. He goes on explaining that neither ofthose phenomena can stand on its own, but isalways inserted into multiple relations, and introducedinto a communication chain, offered to another anddirected for usage- the phenomenon is an open workof art. (U. Eco)

Since the brands of consumers society representsomething that is dominant in his artwork plan of motif,the author does try to create “a new reality of painter’sspace”, but deeply dives into the world of what hasalready been produced – he manipulates it, itrecontextualizes it, never repeating the visible, butmaking it visible. (P. Klee). \elilovi} mostly begins froma direct confrontation in the form of diptych andtriptych. He does not put subjects, like some realistsdo, into an impossible context, but into an encounterwhere those subjects, at the form level, reveal clearlyrecognizable and common characteristics but of thesubjects of totally opposite contents at the same timeas well. This is when such encounter becomes totallyunexpected, shocking, and carries the strength of asudden revelation. The world form of nature,technology and culture lose its visual innocence andneutrality, and shows that in the world of modern

86 87

drugo tehnologije, a tre}e svijetu visokoprofitneindustrije kozmetike, mode i dizajna. Povezuje ihsli~nost njihova vanjskog lica. Ali, kako sam autorkaè, treba vidjeti pojavu s nali~ja kako bi se

razumjela cjelina (tekst osvrta uz izlo`bu Peripheryart

1998/99), te on nenametljivo, britko, s prigu{enomironijom “struè” guste slojeve isprepletenihsemanti~kih razina koje se skrivaju ispod na{evizualne stvarnosti. U takvom su~eljavanju nalaze se irevolver u opasa~u uz fotografiju ameri~kogpredsjednika Busha (Work in progress), lik PapeIvana Pavla ll, predsjednika Busha i Micka Jaggera(Triptih, 2004), rastvoreni dlanovi i otvorena knjiga(Works Book-Words Book,2002), lik ène iza burke idjevojke koja prikriva nago tijelo zastavom SAD-a(Behind, 2002-2003). Autorov postupak je gotovominimalisti~ki, intervencije u ready-made promi{ljene,kompozicija jasna, pregledna, ~ista: time je poljekonotiranja pro{ireno, a likovna poruka dobiva snaguuniverzalnosti.

Tehnike izvedbe uglavnom se odnose na upotrebudigitalnog printa, instalacija, objekata, fotografija,sitotiska – upotreba klasi~nog slikarskog postupkavrlo je rijetka i uglavnom nosi simboli~ko zna~enje,kada se aludira na svijet drevnih, klasi~nih civilizacijai time potcrtava njihova “neprimjerenost” dana{njemtrenutku (Olimp, 1999-2003) ili, opet, kada se udrveni slikarski ram smje{taju nove ikone.

110

advertising, marketing and aggressive media campaign,such choices do not exist in the process of creating.What could possibly a pine-apple, hand-grenade and abottle of St. Georg perfume have in common? The firstbelongs to the world of nature, the second to the worldof technology, and the third to the world of highlyprofitable industry of cosmetics, fashion and design.They are all connected by the similarity of the outerface. But, as the author himself says, one should lookat the phenomenon from the surface in order to

understand the entirety (reference text from thePeriphery art exhibition 1998/99). Inspired by this, heunobtrusively, sharply, and yet with smothered irony“scrapes” the dense layers of interwoven semanticlevels that are hidden underneath our visual reality.Such confrontation is presented in the artworks fromthe series of “Instruments”, such as: A revolver insaddler with a photography of an American presidentBush (“Work in progress”), a character of Pop JohnPole II, the president Bush and Mike Jagger (“Triptych”,2004), or open palms and an open book (“WorksBook-Words Book”, 2002), a character of a coveredwoman and a girl who covers her naked body with theUSA flag (“Behind”, 2002-2003). Author’s procedure isalmost minimal, his interventions are ready-made andthe composition is clear, examined and pure: whichexpands the field of connotation and gives the strengthof universality to a fine art message.

88 89

88 Sky theme – Umbrella,

object, 90cm, 2001

89 Sky theme – Box (Photolife),

object, 12cm, 2001

Articles 111

90 Bread (from about Peoples’

Hearts), object, 2005

91 Egg on eye, object, cca

9cm, 2009

\elilovi} potcrtava vezu s predmetnim svijetom, sopipljivim realizmom upotrebnog: tu tendencijupratimo od novog realizma i, jo{ izraènije, od pop-arta i neodade {ezdesetih godina u kojima seumjetnost povezuje sa sredstvima masovnekomunikacije, obra}aju}i im se jednakom“ozbiljno{}u” kao i tzv. lijepim umjetnostima. U okvirusvog djela, Dèlilovi} stvara jedan novi kod kojipromatra~ treba otkriti (stvaranje jednog novog kodajedna je od konstanti suvremene umjetnosti), astvaranje ovog novog koda izvodi se dijalekti~ki uodnosu na sistem ve} postoje}eg, prepoznatljivogkoda. U Svjetlu proroka (2003) aureolu i bljesakmetafizi~kog svjetla koji je u baroknom slikarstvunosio dramati~ni chiaroscuro oko lista Krista, sadanadomje{ta flesh fotografskog aparata koji se zrcaliod staklenu bocu Coca Cole. Ponekad doìvljaj djelaodre|uje isprepletenost iskustva razli~itih osjetila(taktilnih, vizualnih, zvu~nih) kao u radu Ljubav

Gospodnja gdje je Kristovo srce izvedeno od gustemreè tankih metalnih {ipki ili u radu Srce, kroz vrloizraàjnu i sugestivnu upotrebu materijala (kamenprekriven zelenom mahovinom).

Takvi slu~ajevi eksplicitnog i svjesnog citata krozprividni hommage, parodiraju i ironi~no citiraju op}amjesta. Dakako, da bi gledalac mogao razumjetialuziju, mora poznavati originalnu “okolinu”, onamora biti dio kolektivne imaginacije. Pri tome ~esto

Performance techniques are mostly related to theuse of digital print, installation, objects, photography,and typography -the use of classic painting is very rareand usually carries a symbolic meaning, especiallywhen eluded to the ancient world, classic civilizationsunderlining their “disproportion” to today’s moment(“Olimp”, 1999-2003). Or, again when new icons areplaced into an ancient painter’s frame.

\elilovi} underlines the relationship with the subjectworld, with tangible realism, addressing them with anequal seriousness: this tendency is followed from theperiod of a new realism, and more specifically from thetime of pop-art, the sixties period, when the art wasconnected to the means of massive communication. Inthis work, \elilovi} creates a new code that needs tobe discovered by an observer (creation of one suchcode is a contemporary art constant), and creation ofthis new code is done in a dialectic way, connecting itto an existing system of recognizable code. “In the

light of vises”(2003), the aureole and the flash ofmetaphysics light, which in the time of baroque fine artcarried dramatic chiaroscuro around the leaf of Christ,is now replaced by the flesh of camera which reflectsthe Coca Cola glass bottle. Sometimes the experiencesof artwork determine how different senses areintertwined (the sense of touch, sound, and the visualsense). This is shown in the artwork named “TheLords Love”, where the heart of Christ has been taken

90 91

dolazi i do namjerne nepodesnosti citata (kao {to jeinstalacija s bocom Coca Cole s dje~jim dudama uzlik ène s djetetom koja nalikuje na uvrijeèni prikazBogorodice – Bez naslova, 1999). Tehnike citiranja{ire na{ koncept vremena u potro{nji umjetni~kogdjela (isprepli}u}i citate djela nastalih u razli~itimhistorijskim i stilisti~kim epohama), spajaju}i vrijeme

iskazanog sa vremenom kulture. (U. Eco)Popularizacija i vulgarizacija ready-madea ozna~ila

je i njegovu demokratizaciju: pronalazak ready-madeaoduzeo je umjetnosti njenu supstancijalnost i u~inio jeproceduralnom. Svijet je postao preplavljen estetskomatmosferom: civilizirani ljudi 21. stolje}a ìve uvremenima trijumfa estetike, oboàvanja ljepote; uvremenima njezina idolopoklonstva.(Y. Michaud)

U umjetni~koj produkciji, djela su zamijenjenamehanizmima i postupcima koji funkcioniraju kaodjela i proizvode iskustvo umjetnosti. Namjere istavovi postaju nadomjesci djela. Ali, dakako, to nije ikraj umjetnosti: to je kraj njezine vladavine nadpredmetom. Umjetnik postaje postupno sve vi{e

112

92 Dolce Vita, object, cca

10cm, 2009

93 Dolce Vita (part two), object,

cca 10cm, 2009

92 93

out from a dense net of thin, metal polls; or in the work“The Heart” through very intensive and suggestive useof material (stone covered with green moss).

Such cases of an explicit and conscious quotemark and ironically cite, through an apparenthomage, the general places. Surely, in order for aviewer to understand an allusion, he must know theoriginal “environment” and has to be a part ofcollective imagination. This is when the quotebecomes inappropriate (just like the Coca Cola bottleinstallation with children’s pacifiers, next to a womancharacter with the child that looks like an ingrainedimagery of the Mother of God – without the title,1999). The quoting techniques expand our timeconcept in consumption of an artwork (entwining thequotes of the artwork developed in different historicaland stylistics periods), connecting the expression

time with the time of culture. (U. Eco)Popularization and vulgarization of the ready-made

has marked its democratization: discovery of ready-made has taken away substantiality from art and hasmade it procedure-like. World has become floodedwith an aesthetic atmosphere: civilized people of 21st

century live in the time of aesthetic triumph,worshiping beauty; in the time of its idolatry (Y. Mitchaud).

In the art production, the artworks are replacedwith mechanisms and procedures that function likeartworks but produce the experience of art. Theintentions and attitudes become a substitute of anartwork. However, that is not the art’s end: it is the

Articles 113

proizvoditelj iskustva, iluzionist, ~arobnjak; graditelju~inka. Lijepo se dizajnira i pojavljuje u medijskiproizvedenim ikonama spektakla. (@arko Pai})Nagla{enim osje}ajem za oblikovanjem (koje odajenjegovu primarnu vokaciju), ali i kroz izazov koji zanjega ima svijet vizualne kulture suvremenog dobakao nedvosmisleni odraz duha na{eg doba (Marilyn,

AstroCuba, Slijedi svoj instinkt), \elilovi} ipak ~uvavezu sa predmetnim svijetom. Njegovo jesudjelovanje u predmetnoj i pojavnoj stvarnostiangaìrano na na~in koji dovodi u pitanje potpunuutemeljenost stava o tome kako je estetski stavspram ìvota nu`no i uvijek pasivni stav i kako jenjegovo navodno uniàvanje na nivo osjeta(aesthesisa) hranjenje prividnim, a ne stvarnimsvijetom.

\elilovi}ev rad nema nagla{ene agresivnosti kojakarakterizira zna~ajan broj dana{njih performansa ihappeninga koji radikaliziraju odnos prema vlastitomtijelu, glavnoj temi i mediju suvremenog izraza.Njegov je iskaz direktan, ali prigu{en, upu}en vi{ementalnom nego li emotivnom. I u tom radu, nanajìvlji na~in, i dalje pulsira duh aktivizmastudentskog prolje}a 1968. godine, saèt u jednomod grafita koji su se tih dana pojavili na ulicamaPariza: “Biti slobodan – zna~i sudjelovati.”

end of its domination over a particular subject. Thus,an experience producer, illusionist, or a wizard,successively becomes a creator of an impact, whichis beautifully designed and appeared in the form of anicon spectacle, produced by media (@arko Paji}).\elilovi} nurtures the connection with the subjectworld with an emphasized feeling for creation (whichdiscovers his primary vocation) and through thechallenge that he perceives the world of visual cultureof a modern time as an unequivocal reflection of ourtime (Marilyn. AstroCuba, follow your instinct). Hisengagement in subject and phenomenal realityquestions the ultimate foundation of an argument thatthe aesthetic attitude towards life is always necessaryand passive, and yet his alleged decrease on the levelof senses (aesthetes) represents sustaining with theapparent and not the real world.

\elilovi}'s work is not characterized by stressedaggressiveness as are today’s performances andhappenings that radicalize relationship towards ourown body, main theme, and media of contemporaryexpression. His expression is directed more towardswhat is mental rather then what’s emotional. Hecontinues to palpate, in his work and in the liveliestway, the spirit of the spring student activism from1968, through a condensed graphite, which was oneof those that, at that time, appeared on the streets ofParis: “To be free – Means to be a part of.”

Articles 115

94 Sky theme – Window,


94

116

95 No title, object, 80x120cm,

2007

96 About the Heaven’s door,

video – object, dimension No.

limited, 2005 (right)

95

Articles 117

Articles 119

97 Light in the Heart, Land Art,

2006.

98 A Little Story about Peoples

Heart’s, object (group),

2000-2005

120

Articles 121

122

Articles 123

124


Heart’s, object (group),

2000-2005, performance,

Br~ko, June 2005

100 Eclipse of the Heart, digital

print, 42x58.5cm, 2011

99

Articles 125

126


Heart’s, object , (graphic – part

1-4),

42x58.5cm, 2011

102 Hot Heart,

digital print, 70x100cm, 2010

103 Heart of Earth,

digital print, 42x58,5cm, 2011

104 Trace of Heart,

digital print, 42x58,5cm, 2011

101

Articles 127

128

Articles 129

130

105 Chocolate Heart, object,

cca 20cm, 2010

Articles 131

132

106 Heart, object, 20x30cm,

2010


2010

Articles 133


2007

Articles 135

109

110

Articles 137

138

109 Green Grass Heart, digital

print, 42x58.5cm, 2011 (before

page)

110 Colored Heart, painting on

the panel, 20x28cm, 2008

(before page)

111 Badly Heart, object,

2x(20x25cm), 2010

Articles 139

111

Branka Vujanovi}MMC LUKA, PULA, 2008.

Dje la Asi ma \e li lo vi }a svo jim idej nim bo gat stvom ikri ti ~kom an ga ̀ i ra no{ }u na di la ze nje go vu osno vnuvo ka ci ju pro dukt di zaj ne ra. Na su ges ti van na ~in onapo ka zu ju kom plek snost zna ~e nja i fun kci ja sli ka upro ce su kre ira nja ide olo {kih im pe ra ti va i obli ko va njadru{ tve nih odno sa, kao {to pot vr|u ju i kri ti ~ku mo}umje tni ~ke sli ke u ra zma tra nju so ci olo {kih i eti ~kih pi -ta nja. Vi zu al nost je je dan od naj zna ~aj ni jih na ~i naproi zvo dnje kul tur nih vri je dnos ti, kao {to i na {e ide jeo to me {ta je vri je dno gle da nja i za {to je vri je dno gle -da nja ima ju ko ri jen u so ci jal noj i kul tur noj is to ri ji.Kom bi na ci ja iko no graf skih ele me na ta i sim bo la u dje -li ma Asi ma \e li lo vi }a, kao i kom bi na ci ja sli ke i ri je ~i,do vo de do po jav lji va nja spe ci fi ~nog vi zu al nog “tek -sta” ko ji spa ja po lje eti ke i po lje es te ti ke.

140

Branka Vujanovi}MMC LUKA, PULA, 2008.

Asim \e li lo vi} wor ks its con cep tu al ric hness and cri -ti cal are en ga ge ment beyond Asim’s pri mary vo ca ti onof pro duct de si gner. A sug ges ti ve way, it shows thecom plexity of me aning and fun cti on of the ima ge inthe pro cess of cre ating and sha ping the ide olo gi calim pe ra ti ves of so ci al re la ti ons, as con fir med by thecri ti cal power of pa in tin gs in the con si de ra ti on of so -ci olo gi cal and et hi cal is su es. Vi su al is one of themost im por tant mo de of pro duc ti on of cul tu ral va lu esand our ide as abo ut what is wor th seeing and why itis wor th seeing are ro oted in so ci al and cul tu ral his -tory. The com bi na ti on of ico no grap hic ele men ts andsymbols in the wor ks of Asim \e li lo vi}, and the com -bi na ti on of pic tu res and wor ds, le ading to the oc cur -ren ce of a spe ci fic visual “text” that conection the fi -eld of et hics and aes the tics.

116 Breakfast on the grass,

detail (first interpretation),

120x70x70cm, 2005

114

Articles 141

142

Articles 143

112 Breakfast on the grass,

object, (detail on before

page),120x70x70cm, 2012

114

113 Getho, object, 40x50cm,

2009 (next page – right)

Articles 145

114 Contemporary Art,

object, cca 100cm, 2007

146

Articles 147

115 Napoleon, digital print,

80x120cm, 2007


149PORTRAITS

150

Portraits 151

116 Portraits, photo,

12x(42x58.5cm), 2009

42x58.5cm, 2009

116

152

117

Portraits 153

117 Portraits, photo,

12x(42x58.5cm), 2009

42x58.5cm, 2009

154

Portraits 155

118 Portraits, digital print,

12x(71.0x53.5cm),2013

118

Portraits 157

119 Portraits, digital print,

12x(71.0x53.5cm),2013

119

158

Portraits 159

120-121 Portraits, digital print,

71.0x53.5cm,2013

160

122 Hell, photo, 60x80cm,

2011

Portraits 161

123 Badly Head, charcoal on

metal board, 42x58.5cm, 2011

162

Portraits 163

124 Closed mind, digital print,

100x70cm, 2011

164

125 American Red (part two/1),

photo (based on Robert

Mapplethorpe: Ken – Mood and

Robert), 40x40cm, 2011

125

Portraits 165

126 American Red (part two/1-

4), photo (based on Robert

Mapplethorpe: Ken – Mood and

Robert, M0303, RM, Jack),

4x(40x40cm), photo print, 2011

126


167SECRETS

Bran ka Vu ja no vi}VI ZU AL NA KO DI FI KA CI JA RE AL NOS TIO pe ri fer noj umje tnos ti Asi ma \e li lo vi }a

Po jam pe ri fer ne umje tnos ti ko jim Asim \e li lo vi} ime -nu je svo ju do sa da{ nju umje tni ~ku akti vnost ima vi {e -sloj no zna ~e nje. Slo ju hi je rar hij skih po zi ci ja (“vi so ka”i po pu lar na umje tnost) i pro ble ma ti ci te ri to ri jal nihopo zi ci ja (sre di {te – pe ri fe ri ja, za pa dna kul tu ra – kul -tu ra ju go is to ~ne Evro pe, na ci onal no – in ter na ci onal -no) pri dru ̀ u je se pi ta nje dje lo va nja u oblas ti umje -tnos ti ko ja je po ma knu ta na pe ri fe ri ju u odno su nadne vno-po li ti ~ku i eko nom sku stvar nost. Sa te vi {es -tru ke po zi ci je “pe ri fer nog” umje tni ka Asim \e li lo vi}spro vo di ne dvo mi sle nu vi zu al nu kri ti ku ka ko lo kal ne ire gi onal ne tran zi cij ske post-ju go slo ven ske si tu aci je (uci klu si ma pod na zi vi ma Po sli je ra ja i War Lor ds) ta koi glo bal nog “post-ide olo {kog” do ba li be ral nog ka pi ta -li zma (u ci klu si ma pod na zi vi ma Co ca co la ni za ti on iIza ide olo gi je). Ide olo gi ja ne pred stav lja sa mo odre -|e nu dok tri nu ili sis tem ilu zi ja o re al nim uslo vi ma ì -vo ta (Al thus ser) ve} i sis tem sva ko dne vnih pra ksi ilina vi ka ko ji ma ~o vjek u ve }oj ili ma njoj mje ri do la zi dosop stve nog sa mo-os tva re nja (Bo ur dieu).

\e li lo vi} fo ku si ra pa` nju upra vo na vi zu al nu ko di fi -ka ci ju sva ko dne vi ce ka ko bi uka zao na kul tu ro lo {ko,eko nom sko, re lig jsko i me dij sko obli ko va nje men tal -nog sklo pa sa vre me nog ~o vje ka. Ko ris te }i prin ci pe

168

Branka Vujanovi}VISUAL CODIFICATION OF REALITYOn the Periphery Art of Asim \elilovi}

A multilayered notion of periphery art has been usedby Asim \elilovi} to designate his artistic activitysince the mid 1990s. The layers of hierarchicalpositions (“high” art and popular art) and territorialpositions (center – periphery, Western culture – EastEuropean culture, national – international) areaccompanied by the problem of being engaged in thefield of art that is moved to the periphery in relationto our daily-political and economic reality. From sucha position of “periphery” artist, Asim \elilovi} carriesout his relentless visual critique of both local andregional transitional post-Yugoslav situation (cyclestitled After Paradise and War Lords) as well as ofglobal “post-ideological” era of liberal capitalism(cycles Cocacolanization and Behind Ideology).Ideology is not only a specific doctrine or a system ofillusi-ons about the real conditions of life (Althusser)but also a system of everyday practices or habits thatdirects subjects’ self-realization (Bourdieu).

\elilovi} focuses attention upon the visualcodification of the everyday in order to point to itscultural, economic, religious, and medial role inshaping the mentality of contemporary man. At theborder between high art and design, the principles of

Secrets 169

Pop Ar ta kao sred stvo ogo lje nja pro pa log obe }a njapro spe ri te ta, ova umje tnost se re ali zu je na gra ni ci di -zaj na i umje tnos ti, pri ~e mu su re kla mne i pro pa gan -dne stra te gi je stav lje ne u slu ̀ bu “de mi to lo gi za ci je su -vre me ne iko ni ~ke kul tu re [...]

Ta ko po zi ci oni ra na umje tnost pos ta je do ku men tar -nom, a umje tnik do ku men ta ris tom svi je ta {to pro la zi”(Be sim Spa hi}, tek st uz izlo ̀ bu A. \e li lo vi }a, Can kar -jev dom, Lju blja na, 23. okto bar 2003).

Asim \e li lo vi} se, me |u tim, na za us tav lja na ogo -lje nju mi ta “post-ide olo {kog” do ba u ko jem fun kci oni -sa nje ide olo gi je ne je nja va ve} uzi ma oblik kon zu me -ris ti ~ke pro pa gan de ko ja je dna ko gu ta vri je dno sne sis -te me kul tu re, po li ti ke i re li gi je. On svo ju umje tni ~kuson du spu {ta i do uni ver zal nih pi ta nja o hu ma nos ti,pi ta nja srca i uma, ~i me pro du blju je jo{ je dan slojzna ~e nja “pe ri fer ne umje tnos ti”. Ka ra kte ris ti ~na je se -ri ja Ma la pri ~a o ljud skim srci ma (2000-2005) gdje jegla vno sred stvo is ka za vi zu ali zo va na i ma te ri ja li zo va napo et ska me ta fo ra: ima srca ko ja su od svje tla, od ze -mlje i cvi je }a; ima onih drve nih na ko ji ma su tra go vipo ̀ a ra; ka me nih srca obra slih ma ho vi nom ili onih ko jaje r|a na gri zla. Na ovu se ri ju se na do ve zu je i se ri jaPor tre ta (2009) u ko joj se stan dar di zo va ni pro fil-{a -blon tran sfor mi {e u za vi snos ti od po za di na na ko jena li je ̀ e: od li{ ~a ili li {a je va na ko ri drve ta do pje ne ta -la sa. Di gi tal ni print “Clo sed Mind” (2011) ta ko |er jevi zu ali zo va na po et ska me ta fo ra uni ver zal nog zna ~e nja.

Pop Art in this case serve as means for disclosingthe broken pro mises of prosperity, while theadvertising strate gies are put in the service of“demythologisation of contemporary iconic culture[...] This type of contemporary art becomesdocumentary, and the artist is a documentarist of theworld that passes by” (Besim Spahi}, introductorytext to the exhibition of A. \elilovi}, Cankarjev dom,Ljublja na, October 23rd, 2003).

Asim \elilovi} documents how ideology functionsfurther in “post-ideological” era in the form ofconsumerist propaganda that swallows cultural,political, and religious value systems. However, theartist does not reduce his work to disclosing post-ideological myths. His interest goes to the universalquestions of humanity, questions of heart and mind,which add another layer of meaning to his notion of“periphery art.” Particularly telling in this regard is theseries of works titled Little Story on Peoples Hearts

(2002-2005) in which the mane means of expressionare visualized and materia lized poetic metaphors:there are hearts of light, earth and flowers; there arewooden hearts with traces of burning; there arehearts of stone covered by moss and hearts eaten bycorrosion. This Story is followed by the series ofPortraits (2009) in which the pattern-portrait goesthrough transformation depending on the backgroundit leans on: from leaves to waves. Digital print

Iako umje tnik svo ju kri ti ku spro vo di sa upe ~a tlji -vim hu mo rom, ne mo ̀ e se os ta ti imun na gor ~i nu ko -ja ne mi lo srdno pro bi ja kroz po ko ri cu hu mo ra. Gor ka ihu mo ris ti ~na, dje la Asi ma \e li lo vi }a ba zi ra ju svo ju vi -zu el nu upe ~a tlji vost na su sre tu pro ti vrje ~nih aso ci ja ci -ja, tj. su ~e lja va nja li ca i na li ~ja po ja va i fe no me na. Prito me je vi zu el na or ga ni za ci ja za sno va na na prin ci pu“ni ~eg pre vi {e”. Ovaj prin cip odre |u je zna ~enj sku ies tet sku sve de nost u ko joj, za ra zli ku od da da is ti ~kihili na dre alis ti ~kih vi zu el nih ma ni fes ta, ne ma ni {ta slu -~aj no, pre tje ra no, ha oti ~no ili fan tas ti ~no. âk je isme }e bri` lji vo ra spo re |e no i sva ka juk sta po zi ci ja du -bo ko pro mi{ lje na i do bro is pla ni ra na: ra spo red otpa -da ka oko “ô vje ka 20 vi je ka” ili na “Ma pi svi je ta”;~o ko la dna ja ja Kin der-Sur pri se u gni jez du od bo dlji ka -ve ì ce (“Sa ra je vo Sur pri se”); ku ti ja prve po mo }i uko joj su slo ̀ e ne gra na te, me ci, ku ti je Mar llbo ro ci ga -re ta i li men ke Co ca-Co le; sta kle ne bo ce Co ca Co le uobje kti ma i in sta la ci ja ma; upo re di vost si lu eta gra na te iana na sa na fo to gra fi ji “Sje ver-jug”; ~e li ~ne re {et kekao re al no-is kus tve ni kon tra pun kt ap strak tnoj plo -{nos ti ame ri ~ke zas ta ve kao sim bo la “Ame ri ~ke slo -bo de”...

U svom tros tru kom po jav lji va nju (kao tek st, kaovi zu al ni kod i kao opre dme }e na me ta fo ra) umje tni ~kiar te fakt Asi ma \e li lo vi }a ula zi u me dij ski pro {i re nopo lje vi zu al nos ti ko je, za ra zli ku od “~is te vi zu al nos ti”vi so kog for mal nog mo der ni zma i po ne kad de po li ti zi -

170

“Closed Mind” (2011) is also a visualized poeticmetaphor with universal meaning.

Although \elilovi}’s visual critique is conductedwith a characteristic humor, it is also imbued withbitterness that cannot be ignored. The visuality ofthese bitter, humoristic, and associative works isbased in the encounter of contradictory associati-ons, and the confrontation of the phenomena andtheir reverse meanings. However, visual organiza-tionis therein grounded in the principle “nothing inexcess.” According to this principle, in contrast toDadaistic or Surrealistic visual manifests, there isnothing accidental, saturated, chaotic or phanta-stic.Even garbage is carefully arranged and everyjuxtaposition thoughtfully planned: the arrange-mentof waste around “The Man of the 20th Centu-ry” oron the “Map of the World”; chocolate eggs Kinder-Surprise in the nest of barbed-wire (“SarajevoSurprise”); the First Aid box in which the grenades,boxes of Marllboro cigarettes and cans of Coca-Colaare placed; glass bottles of Coca-Cola in objects andinstallations; visual similarity in form of the grenadeand pineapple in the photo-work “North-South”; steelgrilles as real-experiential counterpoint to the abstracttwo-dimensionality of American flag as a symbol of“American Freedom”...

In its triple appearance (as text, as visual cod andas materialized metaphor), the work of Asim \elilovi}

Secrets 171

ra ne vi zu al nos ti Pop Ar ta, pos ta je mjes to pro pi ti va njadru{ tve nih i kul tur nih me ha ni za ma pa m}e nja, ra zli ko -va nja i dis tri bu ci je zna ~e nja, ali i afir ma ci je uni ver zal -nih vri je dnos ti otvo re nog srca i otvo re nog uma.

Vi zu al na ko di fi ka ci ja re al nos ti jes te je dan od naj -zna ~aj ni jih na ~i na proi zvo dnje kul tur nih vri je dnos ti,kao i pred sta ve o to me {ta je vri je dno gle da nja i za {toje vri je dno gle da nja. Dje la Asi ma \e li lo vi }a svo jimidej nim bo gat stvom i kri ti ~kom an ga ̀ i ra no{ }u na di la zenje go vu osno vnu vo ka ci ju pro dukt di zaj ne ra. Na su -ges ti van na ~in ona po ka zu ju kom plek snost zna ~e nja ifun kci ja sli ka u pro ce su kre ira nja ide olo {kih im pe ra ti -va, kao {to pot vr|u ju i kri ti ~ku mo} spe ci fi ~nog vi zu al -nog “tek sta” ko ji spa ja po lje eti ke i po lje es te ti ke.

enters into the expanded field of visuality that incontrast to “pure visuality” of high modernistformalism and sometimes depoliticized visuality ofPop Art becomes a space for questioning the socialand cultural mechanisms of remembrance,difference, and distribution of meanings, but also aspace for the affirmation of universal values of openheart and open mind.

Visual codification of reality is one of the mostimportant mode of production of cultural values andour ideas about what is worth seeing and why it isworth seeing. Conceptual richness and criticalengagement of Asim \elilovi}’s works go beyond hisprimary vocation of product designer. They showsuggestively the complexity and functioning of theimage in the process of creating and shaping theideological imperatives, as well as the critical powerof artistic “image-text” that brings about theconcurrence of ethics and aesthetics.

127 Black Us writes, print on

paper, 50x50cm, 2013

Secrets 173

130

CRNO NAM SE PI[E

Nenad Veli~kovi}INTERVENCIJA U STVAR/NOST

Ra do vi Asi ma \e li lo vi }a pred stav lja ju ve} pu nih pe -tna est go di na ne pre ki nut niz vis pre nih za pa ̀ a nja osta nju sa vre me nog ~o vje ka u otu |e nom svi je tu. Iakoje ì vo tom i po slom sve to vri je me ve zan sa Sa ra je vo,nje go ve te me su op {te. Umje tnost za nje ga ni je azilizvan stvar nos ti obi lje ̀ e ne kri zom de mo kra ti je i kon -zu me ri zmom kao al ter na ti vom slo bo di ne go sred stvootpo ra me na dè ri ma tog no vog i sve ne hu ma ni jegsvi je ta.

Za to je nje gov opus naj ve }im svo jim di je lom va ri -ja ci ja je dnog od po ~et ka ja snog an ga ̀ ma na bez ve li -kih ek spe ri ma na ta u for mi, ko ji odre |u ju, pri je sve ga,mi ni ma li zam i ja sno }a po ru ke. âk i kad je ja sno po -sve }en ma te ri ja lu (pri je sve ga u ci klu si ma na te mu: Oljud skim srci ma i Por tre ti) ja sno }a na mje re i idej nostpo ru ke os ta ju prvi i gla vni cilj umje tni ~kog po du hva ta.

Na kon de ce ni je i po ve }i na nje go vih in sta la ci ja (ilibi bi lo bo lje re }i in ter ve ni ci ja u stva ri ma!?) dos tu pnaje na pos te ri ma i fo to gra fi ja ma. To bi u ne kom dru -gom slu ~a ju mo ̀ da bio hen di kep za pu ni do ̀ iv ljajumje tni ~kog dje la, ali \e li lo vi }ev kon cept ne mis ti fi ci -ra vlas ti ti zna ~aj. On }e, ako mo ra bi ra ti, ra di je predso bom ima ti za mi{ lje nog po sje ti oca ne go na smi je {e -nog kri ti ~a ra.

174

Nenad Veli~kovi}INTERVENTION INTO REALITY

For the past fifteen years the works of Asim \elilovi}have represented a continuous sequence of poignantobservations on the state of contemporary man in analienated world. Even though his life and work hasbeen linked to Sarajevo during that time, his themesare universal. For him, art is not a refuge from reality,marked with the crisis in democracy andconsumerism as an alternative to freedom, but aninstrument of resistance to the managers of that newand increasingly inhuman world.

Hence, his opus is, for the most part, a variationof a clear engagement without greater experiments inform, defined mostly by its minimalism and clarity ofits message. Even when he is clearly dedicated to thematerial (especially in the cycles on the themes: On

human hearts and Portraits) the clarity of intentionand idea of the message remain the first and maingoals of his artistic venture.

After decade and a half, most of his installations(or should one say interventions into objects?!) areavailable on posters and photographs. In some othercase, it would present an obstacle to the fullappreciation of the work of art. However, \elilovi}’sconcept does not mystify its importance. If given achoice, he would choose an abstracted visitor overan approving critic.

Secrets 175

Igra i hu mor su kon stan te bez ob zi ra na ma te ri jal ite hni ku. Hu mor je adut ra ci onal nos ti, a ona je sa ve -znik na ko ga \e li lo vi} ra ~u na u svom obra }a nju lju di -ma. Po ne kad smi jeh proi zve de pu ka sli ~nost, kaoizme |u ana na sa i gra na te, ili met ka i am pu le s li je -kom, ili je zi ~ka do sjet ka (Kraj ra ta ra ta ta ta taa!?) ali~e{ }e se do ko mi ~kog efe kta do la zi su ~e lja va njempa` lji vo oda bra nih pre dme ta (san du ~i} za prvu po -mo} ispu njen pro fi ter skim ar ti kli ma) ili fo to gra fi ja (udip ti si ma s Ti tom). Naj bo lji su ipak “ru ~ni ra do vi”, oniu ko ji ma je umje tni ko va ru ka pri pre mi la te ren :-), kaonpr. gni jez do od bo dlji ka ve ì ce s dva kin der-ja ja, ili“~ep” na ze le noj lu be ni ci izre zan u for mi pe to kra ke.

Pe to kra ka je, uz lo go co ca-co le, naj ~e{ }i sim bol u\e li lo vi }e vom opu su; crve na bo ja po ve zu je dva ide -olo {ka po la i nju umje tnik ko ris ti ka ko bi uka zao napri vi dnost nji ho ve su prot stav lje nos ti. Po nje mu, ne mastvar ne ra zli ke izme |u ono ga {to se ne ka da zva lo Is -tok i Za pad; na obje stra ne ~o vjek je ne slo bo dan, jerje bez stvar ne al ter na ti ve. Ame ri ka ni je ze mlja slo bo -de. Na pro tiv, ona je gra blji vi ca pod ~i jim sim bo lom,bje lo gla vim or lom, sla vuj mo ̀ e pre ̀ i vje ti sa mo u ka -ve zu. Nje na zas ta va, ko ja le pr{a is to ri jom 20. vi je kapo bje do no sno na vo dno {i re }i de mo krat ske vri je dnos -ti, pre {i ve na in ter ven ci jom auto ra u obi ~nu pos te lji nu,pre tva ra ame ri ~ku sa mo pro kla mo va nu mo ral nu su pe -ri oro nost izvan sva ke re al nos ti. Ame ri ~ki san je san osi gur nos ti, ~is to }i i to plo ti u ga ba ri ti ma zas ta ve. Ci ni -

Play and humor pervade regardless of thetechnique and the material. Humor is the greatestasset of rationality, and it is an ally that \elilovi}counts on in his communication with people.Sometimes laughter is caused by mere resemblance,as between a pineapple and a grenade, or a bulletand an ampoule with medicine, or a word pun (The

war is over rom-pom pon), but more often the comiceffect is achieved by confronting carefully electedobjects (first aid kit filled with profiteer commodities)or a photography (diptych with Tito). Nevertheless,his “handmade works” are the best, the ones wherethe artist’s hand has prepared the ground, such asthe nest made from barbed wire with two kinder eggsin it, or the “cork” on a green water melon cut out inthe form of a five-pointed star. The five-pointed staris, together with the logo of coca-cola, the mostfrequent symbol in \elilovi}’s opus; the red colourconnecting the two ideological opposites is used bythe artists to show the illusion of their contrariness.In his view, there is no real difference between whatused to be called the East and the West; on bothsides one is not free, since there is no realalternative. America is not the land of freedom. Onthe contrary, it is a bird of prey under whose symbol,the griffon eagle, a nightingale can survive only in thecage. Its flag, fluttering over the history of the 20th

century, supposedly victorio-usly spreadingdemocratic values, is sewn by the artist’s

zam ni je ~est gest i gost u sta vo vi ma i ra zmi{ lja nji maAsi ma \e li lo vi }a, ali u ve zi s Uj ka Se mom pri je jepra vi lo ne go izu ze tak. Re zi gni ra ni umje tnik pod sje }ana pro {lost te slo bo dar ske na(ra)ci je, stav lja ju }i In di -jan cu co ca-co lu u ru ke, okre }u }i ci jev pi {to lja pre mavrhu stre le, ili su ge ri {u }i, u kon tek stu ge no ci da nadsta ro sje di oci ma kon ti ne tna, da je pred sje dnik USA jo{uvi jek i da lje – re vol ve ra{.

Je dna ko strog su di ja \e li lo vi} je i pre ma ide olo gi jidrà ve u ko joj je odras tao. Dvi je do ku men tar ne sli ke sis tim mo ti vom, lo vac s no gom na ubi je noj ì vo ti nji,su ~e lja va ju nje go vom in ter ven ci jom Ge rin ga i Ti ta, is -to vre me no su ~e lja va ju }i Ti to ve vjer ne po {to va oce spi ta njem: ka kve ve ze ova dva po li ti ~a ra ima ju? Ki {ov -skim ma ni ri ma uhva }en u zlo ~i nu, nad ne vi nom`rtvom, u spor tu ko ji to za ì vo ti nje ni je, ti to izam os -ta je du ̀ an da po lo ̀ i ra ~u ne o kul tu li ~nos ti, Blaj bur gu,Go lom oto ku, crve noj bur ̀ o azi ji...

Kri ti ~an pre ma sva koj ide olo gi ji (ko ju shva }a kaootu |e nu svi jest) \e li lo vi} ne za obi la zi ni vje ru. In sta -la ci ja, ko ja je i svo je vrstan oma` Ma gri tu (po red onedo po la spu {te ne ro le tne na pro zo ru iza ko ga je – zid),sas tav lje na iz dva di je la – sli ke za tvo re nih vra ta usredne ba, i ci pe la ra si ja nih is pred sli ke, na po du ga le ri je –do vo di u ve zu dva mo ti va: ma so vne gro bni ce (na ko jeaso ci ra ju ra zba ca ne pra zne ci pe le) i mo li tvu (ci pe leos tav lje ne is pred vra ta dà mi je). Je li vje ra vri je dnostve }a od ljud skog ì vo ta i je su li vra ta bo go mo lja vra ta

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intervention into ordinary bed linen, which renders itsself-proclaimed moral superiority unrealistic.

The American dream is a dream of security,cleanliness and warmth in the dimensions of the flag.Cynicism is not a frequent gesture and guest in theattitudes and thoughts of Asim \elilovi}, but when itcomes to Uncle Sam it features more as a rule thanan exception. The resigned artist reminds us of thepast of that free na(rra)tion by putting a coca-cola inthe hand of an Indian, by turning the point of a gun atan arrow, implying, in the context of the genocide ofthe Continent’s indigenous population, that theAmerican president remains- a gunman. \elilovi} isan equally austere judge of the ideology of thecountry he grew up in. Two archive photos with thesame motive, a hunter with his leg on the deadanimal, by the artist’s intervention confront Göringand Tito, and at the same time confront Tito’sadmirers with the question: what is the connectionbetween these two politicians? Caught in the crimeover innocent victim, in the manner of Danilo Ki{, inthe sport which is not a sport from the perspective ofthe animal, titoism has to answer for the cult ofpersonality, Bleiburg, Goli otok, red bourgeoisie...

Critical of every ideology (which he believes to bealienated consciousness), \elilovi} does not bypassreligion. The installation, which represents a kind ofhomage to Magritte (the half-lowered shutter on awindow behind which there is a wall), consists of twoparts –a picture of a closed door in the middle of the

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ra ja? Autor iro ni jom od go va ra odri ~no. Ne tro {e }i vri -je me na do ka zi va nje do ka za nog (ge no cid u Sre bre ni -ci) umje tnik pos tav lja pi ta nja o ide olo {koj (u ovomslu ~a ju kon fe si onal noj) zlo upo tre bi `rta va.

Kon zu me ri zam je ta ko |er na me ti \e li lo vi }e vogumje tni ~kog i dru{ tve nog an ga ̀ ma na. Osim po me nu -te co ca-co le u fo ku su nje go ve kri ti ke je far ma ce ut skain dus tri ja. Je dna od sva ka ko nje go vih na je fek tni jih in -

ter ven ci ja u stva ri ma jes te po zna ta Go tje ova bo ~i caza par fem, obli ko va na u èn ski tor zo, ko ju \e li lo vi}ispu nja va ra zli ~i tim me di ka men ti ma. @i vot na re cept,pri vre men ì vot, ì vot na kre dit, ovi sni ~ki ì vot, ì votko ji je tek kon tro li sa na bo lest, to je ì vot ~o vje ka da -na{ nji ce, upla {e nog i uci je nje nog i za glu plje nog. I tune ma po mo }i: ~ak je i \e li lo vi }ev ì vo tni po ziv, pro -dukt-di zajn ({to pi {e na ogro mnoj ku ti ji li je ka u sho -ping-ko li ci ma) upre gnut u glo bal no po ni {ta va nje ljud -skos ti. Otu da i pra zni okvi ri umje tni ~kih sli ka, za ka ~e -ni za me sar sku ku ku kao ju ne }i but. Na dru gommjes tu stva ri izva |e ne i po re da ne is pred se ha re za -mje na su za ì vot i lju de ko jih vi {e ne ma. Je li to sve{to pre os ta ne, je su li ti pa pi ri i dran gu li je je di ni na {ipos mrtni os ta ci? Je li umje tnik ne kro fi li ~ar? Ili izvansvi je ta ma te ri ja nog pos to je vri je dnos ti ko je je umje -tnost du ̀ na da ot kri va i bra ni? \e li lo vi }ev rad opre di -je ljen je za po to nje.

U tom smi slu trip tih Li de ri (iz In stru men ti) mo ̀ dapo naj bo lje os tva re nje u ovom izbo ru, na naj bo lji na ~insa ̀ i ma po eti ku Asi ma \e li lo vi }a. Pa pa Voj ti la, Bu{Ju ni or i Mik Dè ger, je dan po red dru gog, sva tri s mi -kro fo nom i sva tri sa {a kom ko ja si je ~e zrak, po slo ̀ e -ni kao u ani mi ra nu se kven cu, u ko joj se mi kro fon po -di ̀ e a {a ka spu {ta, pos ta ju je dno: lik go spo da ra svi -je ta ko ji vla da si lom, vje rom i do ko li com. Ali jo{ uvi -jek ne i umje tno{ }u ko ja mu se smi je, ras krin ka va ju }iga. Umje tno{ }u ~i ji je, u Sa ra je vu, u na {e vri je me,sja jan pred sta vnik Asim \e li lo vi}

sky, and shoes scattered below the picture – on thefloor of the gallery. The two parts bring together twomotives: mass graves (implied by the scatteredshoes) and prayer (shoes left in front of the door ofthe mosque). Is religion more valuable than humanlife and are the doors of the mosque the gates ofheaven? The author’s ironic answer is no. Wastingno time on proving the obvious (genocide inSrebrenica), the artist questions the ideological (inthis case religious) misuse of the victims.

Consumerism is also a target of \elilovi}’s artisticand social engagement. Apart from the alreadymentioned coca-cola, pharmaceutical industry is alsoin the focus of his criticism. One of his most effectiveinterventions into objects is the famous Gautier’sperfume bottle in the shape of a female torso, which\elilovi} fills with different medicines.

Life on prescription drugs, temporary life, life on aloan, life that is little but controlled illness that is thelife of the contemporary man, scared, blackmailedand stultified. There is no remedy for this: even\elilovi}’s profession, product design (written on thegiant box of medicines in a shopping cart) isharnessed in the global annulment of humanity.Hence the empty picture frames, hanged on abutcher’s hook like legs of beef. Similarly, items takenout of and placed in front of a chest box serve as areplacement for life and the deceased. Is that all thatis left after us, are those pieces of paper and trinketsour only remains? Is the artist a necrophiliac? Or arethere values that exist outside the material world thatthe art has to discover and defend? \elilovi}’s workis committed to the latter.

In that sense, the triptych Leaders (from

Instruments) is arguably the best artistic achievementin this collection, summarizing the poetics of Asim\elilovi} in the best possible way. Pope Woytila, BushJr. and Mick Jagger, one next to the other, all threewith microphone and a fist splitting the air, lined upas in an animated sequence, in which themicrophone rises and the fist lowers, become one: animage of the master of the world, who governs byforce, religion and leisure. But not art which laughs athim, taking off his mask, the art whose excellentrepresentative in our time is Asim \elilovi}.

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128 The Secret Sapper,

happening (SARTR Theatre

Sarajevo, 16.09.2011) and

photo print 200x75cm, 2011

128

129

180

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130

129-134 Waiting for The

Messiah, happening (Gallery of

Academy of Fine Art, Sarajevo,

29.04.2013) and photo print

70x100cm, 2013

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131

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132

184

133

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134

186

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188

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135 The Heart, print on canvas

70x50cm, 2013

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136

136 In Heaven and on Eart,

video, and print on canvas

70x100cm, 2013

Sla|ana GolijaninPERIFERIJE/LICE/NALI^JAPetak, 26 oktobar 2012Asim \elilovi}: Periferije/Lice/Nali~ja, CollegiumArtisticum, Sarajevo, 7.6. – 23.6.2012.

Koliko periferija i nali~ja ima postjugoslovenskodoba? – pitanje je koje sebi svakodnevno postavljajunjegovi sudionici. Na simboli~noj razini seproblematiziranjem ovog fenomena bavi umjetnikAsim \elilovi}, koji izlo`bom Periferije/Lice/Nali~japodriva reinterpretiranje vlasti i ìvota u SFRJ,su~eljavaju}i ih direktno onome {to je danas ostalood njih. Ili, bolje re~eno, onome {to od njih danasNIJE ostalo.

\elilovi} (1964) je docent produkt dizajna naAkademiji likovnih umjetnosti u Sarajevu i ~lanorganizacionog odbora Sarajevo Green Design WeekFestivala, te vizuelnoj umjetnosti pristupa s pozicijedizajnera, {to je primjetno i u koncepciji izlo`bePeriferije/Lice/Nali~ja, u kojoj dizajnerski intervenirana upotrebnim predmetima. Na pomenutoj izlo`bi,koja je otvorena 7. juna ove godine u Gradskoj galerijiCollegium Artisticum u Sarajevu, izloìo je radove izciklusa pod nazivima: Portraits, People's Hearts, War

Lords, Behind Ideology i Cocacolanization. Postavkaobuhvata objekte, instalacije, intervencije naupotrebnim predmetima (stolu, krevetu, kanti zaodlaganje sme}a), fotografije, digitalne printove,

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Sla|ana GolijaninPHERIPHERY/HEADS/TAILSFriday, October 26th 2012Asim \elilovi}: Periphery/Heads/Tails, CollegiumArtisticum, Sarajevo, 7th June – 23th June 2012

How many shapes and forms does the post-Yugoslavage have? That is a question often asked by itsinhabitants. The artist Asim \elilovi} tackles thesymbolic level of this phenomenon withPeriphery/Heads/Tails which depraves reinterpretationof government and life in former Yugoslavia,confronting them with their own leftovers. Orconfronting them with what is NOT left of them today,to be more precise.

\elilovi} (1964) is an assistant professor ofDesign at The Academy of Fine Arts in Sarajevo andis also a board member of the Sarajevo Green DesignFestival. Being a designer, he has a visual approachto art, and in Periphery/Heads/Tails he uses design tointervene in items. Exhibition opened on 7th June thisyear at City Gallery Collegium Artisticum in Sarajevoand presents works called: Portraits, People's Hearts,

War Lords, Behind Ideology and Cocacolanization.

There are objects, installations, interventions withitems (table, bed, trash-bin), photographs, digitalprints, posters and assemblages, which reflect\elilovi}'s criticism towards local and regional post-

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plakate i asamblaè, ~ijim se sadràjima \elilovi}kriti~ki odnosi kako prema lokalnom i regionalnompostjugoslovenskom tranzicijskom dobu, tako i premaglobalnom neoliberalnom kapitalizmu. U tom smislu,radovima iz ciklusa Portraits i People's Hearts

"prodire" u unutra{nji svijet pojedinaca, alegori~nopredstavljaju}i sadràje glave i srca. Na digitalnimcrno-bijelim printovima Zarobljeni um (2011.) i Osipa

se zemlja od koje smo sa~injeni... (2011.), koriste}imedicinsku shemu kao predloàk, glavu ispunjavabodljikavom ìcom, odnosno izmrvljenom zemljom.O{tro i konkretno, umjetnik ukazuje na problem: udana{njem svijetu medijska i komunikaciona sredstvadirektno utje~u na stanje ljudske psihe, pune}i,zatrpavaju}i i zarobljavaju}i mozak. Ciklus People's

Hearts (2000-2010.), realiziran serijom manjihobjekata u obliku ljudskog srca sa~injenog odkamena, gline, bodljikave ìce, zemlje, granja, sijena,prenosi sli~nu poruku. Drugi vitalni ljudski organ jetako|er ugroèn. Ovaj ciklus dopunjen je idokumentacijom umjetnikovog performansa Hearts.Na izloènom printu vide se svije}e poredane u oblikusrca koje sagorijevaju jakim plamenom. Jo{ jednommetaforom, autor skre}e pa`nju na sve brè"unutra{nje sagorijevanje" individualca. Zna~enja iposljedice globalizacije i ugroàvanje kulturnihidentiteta, \elilovi} preispituje ciklusom War Lords.Objektom A Short History of Bosnia (2000.), koji sesastoji od ~iviluka s oka~enim fesom, kapom i

Yugoslav transition towards global neoliberalcapitalism.

Portraits and People's Hearts ''penetrate''individual's internal world, with allegories of what is intheir heads and hearts. Digital black and white printscalled Trapped Mind (2011) and Earth of Which We

Are Made of is Falling Apart… (2011) contain amedical scheme of a head full of barbed wire and aheart full of crumbled earth. The issue is clear:today's media and means of communication directlyinfluence the human mind, they are overwhelming,filling up and they entrap the brain. People's Hearts

(2000-2010) carries a similar message in a series ofsmaller objects in shape of the human heart andmade of stone, clay, barbed wire, earth, branches,hay. The second vital human organ is also in danger.This work also contains documentation of theperformance Hearts. A print shows candles set inshape of a human heart burning out in strong flames.This is another metaphor of personal ''burnout''.

With War Lords, \elilovi} tackles meanings andconsequences of globalisation and endangerment ofcultural identities. A Short History of Bosnia (2000) isa hat stand with a fez hanging, a hat and a cap withthe Nike logo, implicating the exchange of authenticlocal characteristics with global ones. Theendangered old values are also presented in Sarajevo

Surprise (1999-2000), a nest with two Kinder eggsinside with ''surprise'' written on them. This time he

ka~ketom s oznakom Nike, direktno implicira zamjenuautenti~nih lokalnih obilje`ja s globalnim. Teza ougroènosti donedavno vaè}ih vrijednosti se provla~ii kroz rad Sarajevo Surprise (1999-2000.), objektsa~injen od gnijezda s dva kinder jajeta na kojimapi{e "surprise", samo {to se ovog puta aludira i napromjenu odnosa prema prirodi, u kontekstu zamjeneprirodnog proizvoda industrijskom "{arenom laòm".

Radovi iz ciklusa Behind Ideology tako|erproblematiziraju drasti~ne promjene vrijednosnogsistema, u ovom slu~aju na polju ideologije. Jedan odradova iz ovog ciklusa, neimenovan, nastao 1999,prikazuje Titovu sliku koja je do pola izgorenaplamenom masivnog Zippo upalja~a s natpisomKentukcy Straight Bourbon Whiskey, otvorenog ipostavljenog ispod nje. Na slici se jedino vidi Titovaglava, donji dio je izgorio. Jednu ideologiju koju jesimbolizirao Tito, snagom plamena Zippo upalja~a,sinonima "napredne" opreme ameri~ke vojskepobje|uje i uni{tava druga. Stavljanjem u odnosstvari s opozicionim zna~enjem, umjetnik insistira nakritici neoliberalizma, koji doslovno guta nekadadavno konstruirane bedeme jednog druga~ijegdru{tvenog ure|enja. Iste opozicije problematiziraciklus Cocacolanization. Ve} vje{tom igrom rije~i unjegovom nazivu, spajanjem izraza Coca-Cola ikolonizacija (colonization), umjetnik ukazuje da radovitematiziraju ameri~ku, odnosno zapadnja~kukolonizaciju drugih nacija putem svojih proizvoda i

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also alludes to the changes towards Nature, in thecontext of exchanging natural product with a''colourful industrial lie''.

Behind Ideology also tackles the issue of drasticchanges in the system of values. One of these works,from 1999 and without a name, shows a half-burnedpicture of Tito. The picture is half-burned with amassive Zippo lighter with the Kentucky StraightBourbon Whiskey logo, which is left openedunderneath the picture. Tito's lower part is burnedand only his head can be seen in the picture. Titostands as a symbol of a defeated ideology, destroyedby the flames of a Zippo lighter, a symbol of the''advanced'' and well-equipped American army. Thiscomparison insists on criticism of neoliberalismwhich is swallowing old values of a different socialorganisation. The same issue is present inCocacolanization. With play on words, (Coca-Colaand colonization become one word), artist uses thiswork to point out American, i.e. Western colonisationof other nations through their products and trade.Photo print American Red (2011) presentscolonisation of human brain and invasion of Americanproducts. Through a star-shaped hole on the foreheadand chest of a human figure, the brain and the heartare filled with Coca-Cola corks, packs of Marlborocigarettes and Kodak batteries.

It is evident that by choosing straightforwardexamples, the artist questions meanings and

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(Tekst je nastao u sklopu projekta Criticize This! koji organizuju Kulturtregeri Kurziv iz Hrvatske, SEEcult i Beton iz Srbije i Plima iz Crne Gore.Projekat se provodi u sklopu programa "Kultura 2007-2013" Evropskekomisije.)

trì{nog sistema. Kolonizaciju ljudskog mozga,njegovu, gotovo pa opsadu, ameri~kim proizvodima\elilovi} predstavlja na photo printu American Red

(2011.). Kroz iskruèni otvor u obliku petokrake na~elu i grudima ljudske figure, u predjelu mozga i srca,vide se ~epovi fla{a Coca-Cole, kutije cigaraMarlboro, baterije Kodak.

Odabirom nedvosmislenih primjera, evidentno jeda umjetnik propituje zna~enja i implikacijekarakteristi~nih ozna~itelja savremenog doba.Sukobljavaju}i sada{nje vrijednosti u odnosu na onekoje su bile zastupljene u na{oj bliskoj historiji,potencira probleme koje name}e neoliberalnikapitalizam, s akcentom na ameri~ko konzumeristi~kotrì{te i propagandu. U tom sukobu najugroèniji jepojedinac.

Da se vratimo pitanju s po~etka i probamo sadaodgovoriti. Danas su periferije i nali~ja bezbrojni, licene postoji. U samom nazivu izlo`bePeriferije/Lice/Nali~ja, me|u interpunkcijskim znacimakoji ukazuju na opozicione odnose, lice/individualac jeu manjini, zarobljen. Do njega je nemogu}e do}i odnepreglednih i neizbrojivih periferija i nali~ja. Ljudskosrce i mozak su zatrovani ovako prihva}enimkonzumeristi~nim proizvodima. Nema tu mjestahumanosti, pravom licu, dokazivanju individualnosti,~uvanju identiteta. To je ono {to pokazuje \elilovi} ito je ono {to ovu izlo`bu ~ini zna~ajnom.

implications of individuals who left their mark on themodern world. By comparing today's values withthose from our recent history, he underlines problemsbrought on by neoliberalism, with an emphasis onAmerican market and propaganda. The easiest markin this ''conflict'' is the individual.

Let us focus on the question from the beginningand try to answer it. Today there are numeroussuburbs and inside shapes and there is no person.Title of this exhibition Periphery/Heads/Tailsimmediately establishes the opposing positions, thepersonal and the individual are a trapped minority.They are out of reach amongst numerous suburbsand inside shapes. Human heart and brain arepoisoned by such acceptance of these products.There is no room for humanity, personality,individuality, identity. This is \elilovi}'s point and thisis what makes this exhibition so important.


197ARCHEOLOGY

198

Archeology 199

200

Archeology 201

Archeology 203

204

146 Images from Hell, object,

h=80cm, 2014

147 2012, digital print,

70x70cm, 2011

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147

210

148 London, Paris, New York...

Like Gaza, digital print,

6x(20x30cm), 2014

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INDEX

22/23, 20/21 (Right: Fariba Hajamadi, Enormous as Insomnia – The

Guanches/part/Atlantica – International revista de las Arts; Left: Pedro

Luis Raota, Argentina/part/Youth/Unesco/Bruxelles, 1985.)

38, Spirit of America (Southwest Art/July 1996.)

41, No title (Milan Borovicka/Youth/Unesco/Bruxelles/1985.)

50, At the Olymp (Cologne catologue/Photokina/1996.)

51, Giny... (Aladin/W. Disney/1997.)

57, For Sale (Christo/Revues empaguetes)

58, The Circle (Watch/Omega)

65, Druè Tito... (Right: Hulton Getty Press, Left: Ivo

Eterovic/BIGZ/1978.)

66, Behind Ideology (Right: Tito u lovu, Left: Hulton Getty/30'ts)

72/73, A Short History of Bosnia (Fess, Franch cap, American bonnet)

76, Made in Paradise (Baseball, Franklyn, USA)

77, Behind (Burqa from Afganistan, American Flagg)

81, Marilyn (bottle/Parfumes by Jean Paul Gautier/Paris)

82/83, Prophet Light (Right: Coke/2003., Left: Jesus)

86/87, Leaders (Internet explorer/Google/2005)

88, St. Georg (Parfumes bz Hugo Boss)

89, Work in progress (Time/NY/2004)

90/91, Between (Samuel Colt 1864, Arrow of Apache, 2006)

101, Is this the Pipe of Peace (Pipe from Ba{~ar{ija, Sarajevo, 2003)

102, The Golden Spoon (Rostfrei, 2005)

104, Works Book – Words Book, (BIGZ Beograd, 2005)

105, Pro memoria, (Sehara, 2005)

109, (Jack Daniels)

110, (Kodak)

111, (Kinder Suprise)

112, (Bottle/Parfumes by Jean Paul Gautier/Paris)

140/141, (Rosenthal)

Documents

Art Work 2015