Short Cuts

Collection of sculptures by Dragan Srdic
28th of January – 10th of February 2016 > Opening of the exhibition 28th of January 19:15h

Dragan-Srdic

New season is starting in O3one gallery! Year 2016 will be marked by collections and testimonies of some (recent and distant) past times, our relationship towards past, present and future.

It is our pleasure to invite you to the first opening in this year: on Thursday 28th of January at 19:15h O3one is presenting the work of Dragan Srdic in the form of a collection of sculptures called Short Cuts.

Dragan Srdic was born in 1958 in Belgrade. He graduated from Faculty of Philosophy on the art history department. He is the kind of an author that exhibits rarely and spends a lot of time preparing a single project. Srdic, as a visual artist, has since the nineties been reconceptualizing objects found on scrapyards that have strong cultural and societal implications. Collection exhibited under the name Short Cuts is consisted out of busts of two “heroes of all our peoples” that were found on a scrapyard, the works of Anton Augustincic and Sreten Stojanovic. Those are Augustincic’s busts of Marshal Tito that were desecrated by an unknown individual and Stojanovic’s bust of one of the key persons that was in charge of Tito’s safety, and the security of the whole country, Slobodan Penezic Krcun the chief of OZNA.

Cutting Augustincic’s busts of Tito like this has changed their status form the works of art that are relevant for the history of local art to real masterpieces claims Srdic. He exhibits them insisting on all three stadiums of their creation: representative works of portrait art, objects of iconoclastic actions and also by being exhibited after their vandalisation these artifacts have become some sort of symptoms of the transformation of society. In this circumstance Srdic is also in the role of an art historian that is systematically going to dumps, regular markets and flea markets, but as an artist he uses all of that as a material for his artwork.

He treats elements of his work like they are recycled, as elements of material culture of several eras: one, in which they had a significance of normed societal identification, other where they were objects of dealing with ideological past, and current where they are instruments of artistic intervention and returning the content that was erased from the general public.