Short Cuts

Collection of sculptures by Dragan Srdić
January 28th – February 10th, 2016 > Opening on January 28th, at 19:15h

The new season is starting in the O3ONE Gallery! The 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 this year: on Thursday, January 28th, at 19:15h. O3ONE is presenting the work of Dragan Srdić in the form of a collection of sculptures called Short Cuts.

Dragan Srdić was born in 1958, Belgrade. He graduated from the Faculty of Philosophy in the art history department. He is the kind of author that exhibits rarely and spends a lot of time preparing a single project. Srdić, 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 in a scrapyard, the works of Antun Augustinčić, and Sreten Stojanović. Those are Augustinčić’s busts of Marshal Tito that were desecrated by an unknown individual and Stojanovic’s bust of one of the key persons that were in charge of Tito’s safety, and the security of the whole country, Slobodan Penezić Krcun the chief of OZNA.

Cutting Augustinčić’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 Srdić. 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 vandalization these artifacts have become some sort of symptoms of the transformation of society. In this circumstance, Srdić 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.