November 5th - 14th, 2012 > Opening on November 5th, at 19h
The exhibition represents the result of a research study of the emotional and aesthetic experience of space sensations expressed with color, form, light, shadow, and movement. The main goal of the project is analyses and critical review on visual messages generated and determined by modern digital culture and mass media which permanently complicate our environment, making it perceptually complex. Although modern information is characterized by synthesized multimodality, visual characteristics are its dominant part; therefore, this project is focused on the study of perception and reception of visual content of the message.
The baseline of the study was ample fund of photographs which were collected during two years 2010/11. Photographs are taken at a wide variety of places, all by mobile phones, to emphasize further its informal character and the constant presence of dynamic images and visual information in everyday living space and environment. From the starting fund, to create small collection diverse by dynamics of content, 32 photographs are selected. Photographs are forwarded afterward to various interviewees (by sex, age, education, profession) who had a task to express in one word or short sentence their emotional or associative experience of the observed photograph. According to given answers, an appropriate graphical-typographical construct is created and again integrated into the same photograph, creating a unique visual message together with it. In this way, a strong synergy of three elements is made: IMAGE – INFORMATION – GRAPHIC, which is created based on the same visual sensation, as a special emotional experience of message of environment.
* * *
[…] Synthesized valorization and interpretation of visual message indicate the consequent process of abstraction of its factors, during which, immanent fragments of content are being demystified and structured. In this way, dissociating from anthropomorphic and direct space constituents, the possibility of visible reading of message is created, which implies meta-state of visible or visually experienced. In such circumstances, the integration of a priori non-visual contents into the scope of visual comprehension of information leads to the illusion of disorder of the perceptive process. Still, endeavor to include a certain type of verbal language or narrative into the context of visual originates from gravitation toward synthesized and multilayer perception of the message, not semiotic assimilation of these two languages. Narration, in the context of visual, could be interpreted as a category of verbal discourse, which significantly defines the visibility of visual content itself, translating it into the domain of simulacrum. Hereby, often marginalized language, on psychologically-perceptive edge, is translated implicitly into the very essence of the process of interpretation, estimation, and, ultimately, a memory of visual message. [V. Kovač // Beograd, October 2012]
[Extract from the review]
Milorad Mladenović MSc, associate professor / University of Belgrade – Faculty of Architecture
The work of Vladimir Kovač represents the unique concept of expansion of the scope of design in aspiration for the synthesis of design and language of visual arts. In this concept, design, which is Kovač’s main line of work, is used methodologically as purposeless and not necessary suitable visual identity, to transpose material, which is designing essentially, into an artificial concept and add new meaning and purpose through this process. This process does not annihilate an act of design, it expands its scope of meaning.
Design procedure, which gravitates towards more complex form, is present in the idea of author to be mediator of visual material, which is either ephemeral, as series of photographs which represent exclusively abstract material which author himself produce, or complex, like reaction of other people on sensation of abstract visual basic which is offered to them. Kovač places himself into the role of the mediator who generates concept, taking the exact role that architect has: he does not manage abstract ideas but articulates given facts which he invents and offers, and which, through his design work, gravitates towards syncretization with the reaction of “users”. Thus he produces quality visual material which is authorized, but which was influenced by given facts, not author’s ad hoc choices.
Apart from the fact that every individual design product could be treated as independent and self-sufficient, only in series of that material whole conceptual idea of the author could be realized. It allows the possibility to put in the foreground and emphasize completely different and always unique solutions, which does not originate from a rigid and intrusive position of the author, but the circumstance that it is not possible to maintain uniform visual identity in conditions of diverse natural environment and associative field of users, but, just devised concept could, in accordance with circumstances and with help of architect, designer or visual artist, gain its synthesized identity.
Born in Trebinje (BiH), in 1984. He finished Bachelor and Master Studies at the Faculty of Architecture at the University of Belgrade, where he currently studies the third year of Ph.D. studies. At the same faculty, he is engaged as Teaching Assistant on course Visual Communication and Architectural Graphics at the Department of Architecture.
Award winner of fifteen national and international competitions in field of visual communications and architecture, among which stand out: The First Award on international competition for redesign of visual identity of brand Electric Power Industry of Serbia, the Third Award on international competition for design of brand for Center For Promotion of Science of Republic of Serbia, the Second place on international competition for graphic design of official mascot of Olympic team of Serbia in London 2012. He is, also, a winner of significant national professional awards: Yearly Award of ULUPUDS for Design 2011, Yugoslav Award for Design Nenad Čonkić 2012, as well as ERSTE award Club 27 for most successful young professionals in Serbia in field of art. He had one independent exhibition and he participated in more than 25 collective exhibitions in the country and abroad.
Apart from artistic work, he is practicing intensive scholarly work, trying to apply gathered knowledge onto artistic practice. The focus of his scholarly work is the study of visual perception and representation in the domain of graphical and architectural form. For his activities in the domain of science, he is awarded multiple times with prestigious scholarship of Fond Dr. Milan Jelić, and also, he is a winner of Yearly Award of the University of Belgrade for the best student scientific-research paper. Permanent field of scientific work is scientific lectures, participations on symposiums, as well as facilitation of professional workshops. He had publicized more the 40 scientific papers and professional-artistic projects in the field of architecture and visual communications.
He is a member of the Design section of the Serbian Association of Applied Arts and Designers (ULUPUDS), International Council of Graphic Design Association (ICOGRADA), International Council of Societies of Industrial Design (ISCID).