May 23rd - June 6th, 2017 > Koče Popovića 9

The works presented at the exhibition titled “Dreamless Night on Earth” have been emerging successively during the past half of a year representing the reflective and marking a ‘transformative’ period in the artist’s life. Recent personal traumatic events shifted her person, leading her to search and define herself (to ‘come to her senses’), while a single, intimate, and profound quest led her to the horizon of life and art. Believing in introspection she shook and spun that very horizon and shared with spectators the fresh records of personal life’s meanders and self-knowledge – a fruit of an often problematized passionate relationship between internal development and creation.

A Safari Hunt on Self Motifs that have been imposing themselves to Jagoda, and that she used in building a visual symbolic narrative indicates traveling, safari and exotic – there is a map with landscapes, wild animals, a deer hide, a woman with a rifle… There is a sense of excitement, danger, brutality and uncertainty in facing the wild and unknown discoveries. Sporadically, the drawings are executed as light, primitive sketches, while at other times the expression turns to obsessively, minutely built symbolic representations – and concerning these facts, we can divide the works into notes of certain processes, and archetypal static representations such as large-scale drawings on painting canvases. The complete registry of used symbols determines the nature of this journey as a safari hunt on self. The self – as an exotic primitive, wounded and banished from the natural habitat of her own.

From Brussels to self, the road is long “What determines me?“ is the trophy question of this voyage, shaved into the deer hide. This skin of a wild creature is, in fact, the membrane of a living being, a particular referential point where everything exists solely outside of or within it. In the same way, the search for that static spot of personal stability progresses by feeling the space on the inside and out. Who and what defines me? Where is my/our center? Who am I and who are they? Concerning whom and what am I well, or concerning whom or what am I unwell? Where on this map do I feel the power and where am I powerless? “Map of Europe or Dreams without Dream” is the map of a consciously accepted construct, the repetition of the myth that the center, the power, and the responsibility are found outside of self. A difficult life on the periphery of this territory is psychologically even harder because it negates its importance and seduces into depression and self-oblivion. From the peripheral position, the helplessness multiplies progressively and as such, exhausts further.

Instinct, Passion, and Peace
The exhibition ensued as the means of conscious articulation of psychological chaos. Jagoda started from symbols and exciting visual stimulants she planted into the course, the process, the fabric, the story. One of these stimulating images for the artist was an old photograph of her mother in which she is young and beautiful, while decisively aiming a shotgun. The piece “In my hands” represents a breaking point in the rhythm and flow of the exhibition as a part of the sequence of three monumental, iconic drawings executed on raw painting canvases. These drawings “Map of Europe or Dreams without Dream”, “Mountain Called Obsession” and “In My Hands” are fragile, but also of strong effect. A pale trace of graphite pencil on crinkled, “natural” canvases creates an impression that the messages these works carry are important, ancient – the archetypal messages of the unconscious. The fading and disappearing effect describes their existence in time even before they appeared in the mind of the artist. Hence, the motif of a woman holding a weapon, i.e. power and control, is both sobering and awakening.

Through the shot of a powerful woman the rhythm of the exhibition is broken, and the chaotic, low register of instinctive energy culminating in the video drawing “Survival”, is disrupted. The chaos of instincts carried by restless, interrupted drawings and moving images of hunting and mating, is cut off with a gunshot, being channeled and “cultivated” into the process of individualization. In the final instance, the artist is calm, letting herself engage in an “obsessive” construction of a drawing of a grand mountain range that, according to the Jungian analytical theory, can be interpreted as a path of personal development.
Marija Radoš
Translation to English: Ana Bambić Kostov

Jagoda Micovic (1984)
She finished the Faculty of Fine Arts of the University of Arts in Belgrade, Department Painting, 2009; Ph.D. Arts Studies at the Faculty of Fine Arts of University of Arts in Belgrade, mentor Doctor of Arts Mileta Prodanović, 2015. She had done 12 solo exhibitions in the county and abroad, more than 40 collective exhibitions in the country and (Houston, Brussels, Sofia, Thessaloniki, Graz, Zagreb, Rovinj, Riccione), a Guest artist at Kulturamt 2012 in Dusseldorf, 2012.
2009 – Awarded by the Faculty of Fine Arts of University of Arts in Belgrade with Great prize “Beta and Rista Vukanović, painters” for the best realized artistic work in the 2008/2009 school year.
2009 – Awarded by Art organization Art Clinic from Novi Sad (Serbia) “Perspectives 08” for Painting
2009 – Garden Art Gallery in Sombor for artistic research and development
2009 – Awarded by bookstore Talent from Belgrade
Scholarship of the City of Dusseldorf, Germany
Republican Foundation for Scientific and Artistic Youth, Ministry of Education, R. Serbia
Fund for Young Talents, Ministry of Youth and Sports, R. Serbia
Scholarship of the City of Belgrade
Public and private collections: Center for graphics arts in Belgrade, UH Houston Clear Lake, Kulturamt Dusseldorf; and in the monograph The University of Arts in Belgrade, bilingual issue, 2012; monograph Euthanasia 2009-2011, Novi Sad;
Private collections: Brussels, London, Melbourne, Rome, Wiesbaden, Podgorica, Banja Luka, and Belgrade.

Jagoda Mićović (1984)