September 17th - 30th > opening September 17th, at 19h
In the time of political, financial and environmental uncertainties, our dedication to the positive disposition towards nature is of utmost importance. Within that context, we find a field of creative energy resisting the everyday grind, building simultaneously a niche not only for itself and its development but for other segments vital to the well being of contemporary society.
Exhibition “Balkan Rhapsody” is a collection of multimedia works, developed within the metaphor about divisions between the peoples of the Balkans, about their passions and perplexities, their hopes and uncertainties, about their sense of community and constant doubting of the sincerity of others. In such a complex psychological and social milieu it is very uncertain which direction is right to discover the probable visual identity.
Realizing one’s moral code is a prerogative for understanding further analysis. Only afterward can we question the existing social codes? We are talking about the same thing, however, quite often they are comprehended in disparate manners. How society upholds and cares about its members is very important? It is interesting also to talk about segments of society which come to reach extreme positions and at what level it happens.
To be more precise, in my intention to analyze the code, I chose one seemingly easy and understandable sentence: I have a dream, and two words: Love and Hope, and I wrote them onto a marble tile as a problem. Of course, they are not the problem, on the contrary. But the way we understand them and how we use them in our day to day lives is a big problem. The true social moral code is reflected there and it obstructs the true meaning.
To continue with my work on the exhibition, I separated the aspect of personal independent thought of an individual through Independence Day, then, retracing one’s past through Tracing memories. Seeing one’s self through dedication to a life in Space of Passion and the highly uncertain, everlasting state which follows the necessity of survival: Transformation.
We are talking about opposites here, accentuating the extreme, hoping to create a conflict to better comprehend the state they’re in. So, it is about understanding the opposites through an extreme emotional response. I supposed that in building the narrative which carried such attributes, crossing over various media would have potentially the most optimal chance of successfully presenting the problem. Installation is the ideal platform to deal with such a problem. In its character, it carries characteristics which can be followed and developed in time and in certain segments (more and easier than in music) because it is constantly present (does not fade in time) and it remains open in its entirety and its parts, in any order, depending on the viewer who decides about the type of coexistence with the work. Installation collects the elements of the narrative, without destroying their source in the process. It puts them into a context that is rounded up by our sensibilities. Simultaneously, it keeps the materials through which it develops as its mirror in which it is reflected. Installation is the sum of its elements which are objects on their own, creating a rhapsody when united, a rhapsody every viewer hears on their own.
Slobodan Trajković graduated Painting at the Academy of Fine Arts in 1978 in Belgrade and completed his post-graduate studies at the same faculty in 1980. In 1982/83 he won the French government’s scholarship to study at l’Ecole Nationale, Superieure des Beaux-Arts in Paris.
In 1984 he had an exhibition at the Salon of Museum of Modern Art, in Belgrade. The same exhibition went on to the Small Gallery, Museum of Modern Art, in Ljubljana. In 1985 he was awarded First Prize for painting at Yugoslav Young Artists Biennale held at the Modern gallery in Rijeka, which was soon followed by the First Prize Award for Painting at October Salon in 1986 in Belgrade.
That was a crucial time in the rise of his career not only in the country but in the USA as well. Following several group exhibitions at the Alternative Museum in New York, he had his first solo exhibition there in 1985. In 1987, after a long spell on New York’s artistic scene, he was chosen as its representative for the New York New Venue exhibition, organized by Guggenheim society, Whitney and Alternative Museum, the exhibition was held at the Mint Museum in Charlotte, North Carolina. In 1988 he moved to live in New York. Since then, he exhibited his works at numerous galleries and museums throughout the USA, Europe, and Asia. He is living as a professional artist since 1979. In 2005 he moved back to Europe, he divides his time between London and Belgrade.
Slobodan Trajković is a multimedia artist and a lecturer. He writes essays on art and contemporary art reviews. He combines and fuses different media such as installation, video, photography, sculpture, painting, and drawing. The primary characteristic of his work is the creation of metaphors about life and its turbulence in the context of social, cultural and political constellations in which he is living.