>> Artifacts << Reconstruction of the Game

Aleksandar Dimitrijević
June 11th - 20th, 2012 > Opening on June 11th, at 19th

Artifacts – Reconstruction of the Game 3
Aleksandar Dimitrijević does not deal with graphology but as a visual artist, he is attracted by the expression value of notes.

In his work, he uses aesthetic qualities of hand-written sheets of paper with results of various social games as well as inspiration they provide for further development of their visual elements. What leads his work further from just being appealing is Dimitrijevic’s fascination with the phenomenon of personal and social relations which are integrated into symbol-based records of games. The presence of these relations and all levels they reflect upon provides richness of content of created images and their reading includes all the possible interpretations of the symbolism of the game.

Within exhibitions Artifacts – Reconstruction of the Game Dimitrijević for the first time makes visible solid construction of his artistic explorations, previously only hinted in seemingly light images on his canvases. By displaying „artifacts“ and the „reconstruction of the game“ Dimitrijević enters a new phase of his artistic development.

“Yamb” – Portraits of “Players”
In a series of paintings „Yamb“, the artist conveyed the used Yamb sheets onto the canvas. Just like portraitists select and emphasize the elements that would depict the essence of the given personality, Dimitrijević takes the authentic notes and lets them reveal the characters behind them. In this indirect way, the artist presents the personalities of players portraying them with the use of the characteristics of their handwriting. The „players“ are social beings who play/live/fight, and their complexity deserves monumental dimensions (260x200cm) in which an artist represents them.

Game “Behind the Mirror”
Documents of finished games, the starting point of his work, Dimitrijević introduces in exhibition naming them Artifacts. This wordplay implies that, apart from reflecting activities, conditions and relations among players, they also contain autonomous aesthetic values. Artist takes them and creates their new life “behind the mirror”. Further on, he reinterprets them in his drawings as well as in the object “Deconstruction of the Game” in which are presented selected details of the drawing in various combinations of complementary colors. With this interactive object – the puzzle artist introduces the public in the emerging situation “behind the mirror” maintaining the nature of “game” which implies active participation of all the “players”.

Marija Radoš