PEOPLE WHO LIKE TO WATCH TITS

PEOPLE WHO LIKE TO WATCH TITS / Tadija Janičić /curator: Novi Nebojša Milenković September 30th - October 20th, 2016 > Opening on September 30th, at 20h

German doctors (and we all know that German medicine is the best in the world!) have recently disclosed the results of ten-year scientific research that has been proven that watching at women breasts for ten minutes every day has a beneficial therapeutic effect on heart function, regulation of blood pressure, and preventive stress reduction. Also, it was concluded that continuous practice of this contemplative aesthetic and existential practice has the ability and potential to extend life for at least five years!

In a given context, it can be concluded that the Tadija Janičić’s exhibition (People who like to watch tits) has an unquestionable therapeutic potential because it points to the fact that the Serbian art scene is burdened with various lacks and crises (primarily institutional), there is a whole generation of educated, intelligent, lucid and brave (young) artists – and Janičić is certainly one of the most prominent representatives – proving that society is in crisis today not artists and art. The theme and material of Tadija’s art is that society!

The origin of the clearly profiled, stylish and linguistically recognizable, artistic manuscript with Tadija’s signature is in everyday life: prosaic, banal, economic, ideological, institutionally and morally ruined, scarce… In such a society – whose Tadija is a dedicated observer, witness, and participant – his paintings, sculptures, drawings are some sort of essays.

Tadija is focused on a modern man’s psychological, emotional and social disparities, inconsistency, discontent, insecurity, disturbances, moodiness, and other deprivation and confusion… The own strategy of overcoming the huge opening that exists between needs and possibilities – the internal emptiness and non-selective congestion of external worlds and concent – as well as simultaneous complexity and banality of the society we live in – Tadija reconsiders the relativity temporality of his ethical and artistic norms. The heroes of this painting: consumers of reality shows, girls that are fully aware that their bodies are the only thing they can offer in exchange for a decent life. hooligans, sports fans, the new class representatives, and self-proclaimed representatives of the social elite, members of (ruling) political parties, delusional directors, lovers, controversial businessmen, and other respectable citizens who, in addition, to demonstrate the dominant social criteria, speak of complete moral, values, and emotional breakdown of the society we live in. In this society, the actors of this painting prefer to choose the position of passive adoption they often perceive as the only possible(remaining) rather than the tendency to become free and dignified social subjects. Having found themselves in the trap of latent desires and chronic failures/possibilities of their fulfillment, ordinary figures from Tadija paintings, very similar to us, are caught in the world trap in which everyone speaks were words have long lost weight and meaning. By thematizing emptiness(emotional, intellectual, and ideological), Tadija art is mediated by social relation based on simulation and simulacrum – because real and honest relationships do not exist.

And we know for a long time that in Tadija art nothing is arbitrary or accidentally. After all, you remember little Tadija, the central philosophical figure in the famous movie “Varljivo Leto ’68” who is confused by the fact of unexpected afternoon tooth brushing at the moment of receiving guests and starts the dialogue with his mother:
─ Why do we brushing teeth now?
─ Guests are arriving.
─ And what we will do to them?!