December 5th - 10th, 2005
The art is in a permanent and inevitable closure process into institutional frameworks, directions, trends, and brands become an illustration of theoretical postulates, a means of cultural policy, a part of the culture industry, and the entertainment industry, or is simply reduced to the individual hobby of the producers. At a time dominated by the postulates of avant-garde and radical modernism, there was at least some faith in the negatory potential that the artist carries with his work, but he has long been proclaimed naive, while the art system has taken a triumphant victory over an individual attitude and collective utopia. Where is space for personal and autonomous artistic intervention? Sadly the answer is: nowhere. He can not be found as something positive, and then only use it; that space must always be reopened and initiated, but no longer by the heroic acts of denying the entire existing tradition, as was the case with the historical avant-garde practices, but by the gestures of establishing unstable and short-lived temporary autonomous zones that evade the logic of the system. The work of Dragan Zdravković in the context of the 51st Venice Biennale was performed as a sort of materialization of the attitude on this issue.
Dragan Zdravković interpreted the act of exposing as an extreme performer. The exhibitor, whom he personifies in action in the context of the Biennial, is not a passionate participant in a revival manifestation, but an exhibitionist who wants to show his need for showing, by showing it at the same time as the space and object of personal passions, with anyone who finds himself here as a casual passerby hopefully this can be just the object of his desire, with the hope that this passerby is here just to meet the space for art, and not only with the space of presenting national cultural policies and curatorial practices.