November 9th - 17th, 2018 > Koče Popovića 9

Miloš Kališki: right paintings from November 9th – 17th, 2018.

In the second decade of the 21st century, after the modernist releases, expressive bouncing, abolition and self-examination, the act of painting is in a persistent physical and spatial confrontation. The power over time, it turns out, is unconquerable, and equally representations of reality and the media heritage of painting did not end their cultural and historical era. By the presence of distinctive peculiarities in different visions and heights, as well as on oil paintings on and canvases, intersections of perceptions of authentic sensibility and experiential trace can still be seen.

The publication of the phantasmagoric space in the expression of the manuscript is not without roots. Miloš Kališki, with the vibrant, contours and surfaces created by the inflammatory, often, nocturnal atmosphere, causes the appearance of seemingly primordial cognitions of strangeness. If it is a paradox, there is a certain striking penetration which the mental interior performs as the direction of the vibrant purity of existence. Art themes are thus shown in their relational basis of a stopped scene – an undeniable painter’s empathy. Such an imaginary transmission or translation into the composition range of the scene is shown in the gradations, hence the path of the interior of experiencing reveals itself as a platform of personal perseverance. For the two-dimensional examples, the irreducibly such a spatially representative adventure of the subject, the represented figures and the protagonists of the painted scene is transforming into the experiential aura inherited from the early modernist range. Examples sluice at the meditation of lost places, and also strongly emphasized escaped but remembered relationships. It does not leave the reference matrix of an informed and sensitive direction – the popular culture and the hidden distribution and the gestural position point equally to the musical sonority or the facts of moving images, the atmospheres that are for all of us in the long media culture of sounding, promoting and animating or moving. Hence, it is inevitable and the direct theme of the state of humanity that is showing as an artistic habit, and always the passionate direction of expression: in the impenetrable nature of shadowy and nightly figurative situations there is an unusual connection. Hyperstimulation of the presented one of the given physical properties or several ingredients takes place on the edge of urban exhaustion and the over-classification of our expectations. The sensory range of the images of Miloš Kališki stimulates the drama of consciousness and the active collusion of the hopeless.* (An active perception of the painting concept as a gravitating type of sinking and highness of the individual feeling is methodologically given in the influential study of Robert Rosenblum: Modern Painting and the Northern Romantic Tradition – Friedrich to Rothko, New York: Harper & Row, 1975). Not only are these scenes created in the original sense confirmed by the trace and romancing warning. The affirmation of the sublimity of the bare sensorimotor feelings of the author’s manuscript was carried out: the unnamed expositions of the earlier ones, for the artistic expression of the prevailing periods of the alien creative solitude and absurdity, confronted with the announcement of a basketball in fine arts and literary descriptions, now an ancient and often mythologized liberating modernism. Development stages show themselves in the spontaneous programming potential of their own borders, residing on the symbolic historical path of painting freedoms. Certainly, through the most notorious cases of the unsustainable tide from the subconscious, as with the painters of Van Gogh or Munko, such views are transcribed to today’s neo-existentialism and the experience of the modernity that the historical stage introduces in its own experience. *(The earliest definitions of the period of the era of Aquarius as a phenomenon of the new era, and thus of the renewing and traumatic trauma, was given by Colin Wilson in the mid-sixties in the thesis on the phenomenological existentialism of the coming times). The social conditions of the environment and their participation in the changes of the perplexing knowledge of the vast and imposed spectacle of today point to the stories of Franc Kafka transformed into a kind of redemption from the depths of physical reality. At this border of the phantasmagoria of freedom and loneliness – a long time and space, the hub of the paintings of the ancient experiences of the city of Vršac, the multinational territory of Banat and the aristocracy of the Central European past is being collected for the sensual breakthrough. Shares and plans of a prominent event, situation or disclosure enter into the acoustic quality of the screaming, repulsive or accentuated refuge in the images of the truth of the omitted transshipment and deafening boundaries, but scenically given in the traces. Images are concentrated around the vegetative and architectural exposures of lost security. The animation is achieved in a gestational voltage whose intensity is transferred to the potential of the narrative trail. However, contemporary visual art is abandoned by allusive or descriptive harbors, for which the original existentialist theory of imaginary and psychoanalytic opening advocates in the imagery of the record of creative consciousness *. (Gaston Bachelard in his minuscule observations in studies and the imaginative power of creativity and design, in The Poetics of Space Culture, Belgrade, 1969, or the Poetics of Dreams, V. Masleša, Sarajevo, 1985). An irrefutable element of metaphysical security occurs in painted condensed exteriors. The program spontaneity, unnamed and unwanted redundancies, and the untitled, untitled, programmatic spontaneity, unrequited and unwilling redesigns, take place in the presence of a lonely affliction, first of all by design and moves, the performances of the night range of towns, such as the Vršac and Belgrade, are equally painted for the painter. Spontaneously emphasized the representation alliance with the predecessors that make up the European painting intimacy of the experience of a lonely and degenerate line of self-examination: the symbolic position of ‘living in one’s own house’ has been achieved in the Heidegger’s sense of solitary re-examination. The absence of support is not the only outcome of a kind of typology of occurrences and schematized presence in low, melancholy bristles. The repertoire takes place from the play of lower types (boogeyman, a bird in the cage, dog)to selected functional nodes (cities with suburbs, the female body, dark interiors) it goes all the way to the epiphany (mother). This has led to the connection with disturbing existential modes of dipping equally and ruin, resembling picturesque descriptions in Samuel Beckett’s prose, where a solitary individual Dante’s game of knowledge and gestures takes place in the intertextual romanticizing of the memory power.* (On the stages of the complexity of memory and deflation in the interpretations of the author’s work in the collection “Beket”, Gradac 143-145, Čačak, 2002).

Far from monitoring the phantasmagoric atmosphere, the painter moves to the memory receptor, testifying that the most intimate signs of our specialty, our substance, and our traces as well as our voices, which do not belong to us alone, come from the outside environment. There is no doubt about the realization: the image in its derivation and the vibrant layers is a powerful and at the same time discrete identification of existence.

Nikola Šuica

Miloš Kališki was born on October 13th, 1989 with current residence in Vršac. He graduated from the Faculty of Fine Arts in Belgrade, Department of Painting, Master Academic Studies.

Selected exhibitions:

2018, solo exhibition, Gallery Pro3or, Belgrade
2018, solo exhibition, Čedomir Krsrić, Pirot
2018, solo exhibition, Cultural center the Vrbas, Vrbas
2018, solo exhibition „Pod Kulom“, Youth center Vršac, Vršac
2017, solo exhibition, Church, Žabalj
2017, solo exhibition, Museum Robert Hamerštil, Gudurica
2017, solo exhibition, Cultural Center, Vršac
2017, solo exhibition, Youth center Vršac, Vršac
2016, solo exhibition, Gallery History Archive, Pančevo
2016, solo exhibition „Kolonija Moja Voda“, Town museum Vršac, Vršac
2016, solo exhibition „Vetroart“, Gallery „Tačka Susretanja“, Vršac
2016, solo exhibition, Town Museum Vršac, Vršac
2015, „Izložba crteža“, Cultural center – Studentski Grad, Beograd
2014, „Deset godina vršačkih likovnih susreta“, group exhibition, Vršac
2014, group exhibition, Belgrade Youth Center, Belgrade
2012, „Izložba crteža i skulptura malog formata studenata FLU“, Belgarde Youth center, Belgrade
from 2011,  Years exhibition  FLU, Belgrade