aleksandravasovic.com

Aleksandra Vasovic

Artist Aleksandra Smiljkovic Vasovic: paintings, drawings, art installations, art performances, interactive light installations and performances, video art, computer art, net art, computer animations, new media art, contemporary art, trans-disciplinary art, multimedia art, multidisciplinary art, cross-disciplinary art, anti-disciplinary art, long term art projects, work in progress...

Installation art, Ambience, Net Art, Drawings, Other Media...

 

DRAWINGS, AMBIENCE, COMPUTER ANIMATION

 
ondulazione   drawings, computer animation, italian cultural center, belgrade, 2001

 

DIGITAL INSTALLATION ART, AMBIENCE, LIGHT INSTALLATIONS, WORKS-IN-PROGRESS
 

nasturtium   ambience   pavilion of the fortress, nis, 1999

only the ball   ambience, animation, center for cultural animation, belgrade, 2001

E75   computer print and animation, suluj gallery, belgrade, 2001

Diamond   DIJAMANT / DIAMOND, ambience - computer animation and prints, lightning efects, ULUS Gallery, Belgrade, 2007

Golden Room ambience, animation, qucera gallery, belgrade, 2009

Rose Petals internet, sketch for ambience, animation, 2008

All is Well net art, ambient media art or ambience, computer animation, installation art, 2012

All is Well (One) net art, ambient media art or ambience, installation art, 2012

All Is One, interdisciplinary interactive work-in-progress, light installation and performance, computer animation, texts

 

COMPUTER ANIMATION
 
safety   computer animation, cultural center rex, belgrade, 2001

kako? (how?)   computer animation, cultural center rex, belgrade, 2002

exhibiting   computer animation, sketch for the computer game, internet, 2003

dejeuner sur l'herbe/ luncheon on the grass-energized   computer animation, digital print, instalation art concept 2004


 

NET ART

 
want internet, 2004

self-portrait   internet, digital print, 2004

Mickey Pearce in space   painting oil on canvas 1995, photos of municipal hall of nish, serbia, 1999, internet 2006

Happy Women's Day!   art project- short questionnaire, internet, media work, professional artists tax department, vracar

municipality, belgrade, serbia, march 7th 2006

Sretjan racun   art corporation action, internet, media work, art business meeting between visual artists aleksandra vasovic and vladimir ristivojevic, café, belgrade, serbia, 2006

Webbienal10, crucial disposition of a fluorescent pink rose petals, Istanbul Contemporary Art Museum, internet, 2010

Self-portrait I, 2012, internet

Liquid Sky, 2015, work-in-progress

Kryptonite Overdose, 2015, work-in-progress

 

 

PAINTINGS

 

works

About 

press clippings

about GOLDEN ROOM 

Indepth Arts News: "Golden Room of Aleksandra Vasovic" 
2009-02-19 until 2009-03-03 
QUCERA Gallery 
Belgrade, YU Yugoslavia


The Golden Room of Aleksandra Vasovic will be shown at QUCERA Gallery in Belgrade from February 19 through March 3, 2009. GOLDEN ROOM is computer animation - ambience with lightning effects . The Room, i.e. gallery lobby, hosting the project is rich in details with them being a visual attractions in their very nature: 2 walls and some details are painted in bright yellow, floor is coated with black & white tiles, the central section of the ceiling is occupied by a huge square-segmented mirror. The viewer is attracted by a reception desk where there are a couple of glasses and wooden doors and big windows with strip curtains, attractive lighting and illuminant items. Aleksandra Vasovic has been a Portfolio Artist at absolutearts.com since 2006.

Nadja Mandic, artistic secretary of the Cultural Center, commented at the exhibition opening:

 

Through creative reconstruction of reality, the artist introduced us into the completely different space by playing with light and color. Digital projection of the room with golden walls, ceiling and floor, gallery wall stands as an imaginary painting; light effects in real space reflected on the walls, glass surfaces and mirrors in the gallery, disintegrate borders between the imaginary and realistic, between two dimensional and three dimensional space and provide an observer with specific synergy with gallery space.

Light effects activate vacancy of the gallery, thereby enabling the gallery itself to become a constitutive element of the installation. The gallery transforms into the space of visual attractions designed and created by Aleksandra Vasovic. As visitors, we are invited into this golden room and we are its comprising part. So, dare! Step into this different space. Experience and feel Aleksandras room for yourselves. View some of Aleksandra Vasovics graphic works in her Free Portfolio at absolutearts.com http://www.absolutearts.com/portfolios/a/avasovic/Aleksandra Vasovic coments, For sure, this ambience was interesting for me, urging me to contribute to this visual experience by using central section of gallery lobby for exhibiting a large-sized digital animation showing the room with sparkling golden walls, ceiling and floor. In addition to animation, part of exhibited project is lighting effects and their producer is Radovan Samolov. They are performing reflects dazzlingly in the mirror, onto the animation and the surrounding glass surfaces. This dazzling is also visible from the outside, through gallery windows, and presents an interesting contrast to external ambience where the gallery is located - the very hillsides of huge Monastery forest (Manastirska suma), home of peace and quiet. Nadja Mandic, artistic secretary of the Cultural Center, commented at the exhibition opening:

 

Through creative reconstruction of reality, the artist introduced us into the completely different space by playing with light and color. Digital projection of the room with golden walls, ceiling and floor, gallery wall stands as an imaginary painting; light effects in real space reflected on the walls, glass surfaces and mirrors in the gallery, disintegrate borders between the imaginary and realistic, between two dimensional and three dimensional space and provide an observer with specific synergy with gallery space.

Light effects activate vacancy of the gallery, thereby enabling the gallery itself to become a constitutive element of the installation. The gallery transforms into the space of visual attractions designed and created by Aleksandra Vasovic. As visitors, we are invited into this golden room and we are its comprising part. So, dare! Step into this different space. Experience and feel Aleksandras room for yourselves.

View some of Aleksandra Vasovics graphic works in her Portfolio 

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Aleksandra Smiljkovic-Vasovic’s virtual gallery

I create my life and art on my own

For her, art is the way of life. Beside paint brush, she uses computer mouse for painting, but she also makes really imaginative and tasty macrobiotic food, translates…ArtistsFor painter Aleksandra Smiljkovic-Vasovic, the art is way of life. Capricorn in horoscope, she has always been a creator of her artistic and living sensibility: beside paint brush, she uses computer mouse for painting, but she also makes really imaginative and tasty macrobiotic food, translates, practices meditations…Her recognizable artistic style include contemporary techniques: digital animations, prints, drawings, but also traditional techniques are not set aside. It also says in her curriculum vitae that she graduated at two faculties – she finished bachelor and master’s studies of painting at the Faculty of Fine Arts, and Faculty of Architecture. She also completed piano lessons at primary music school in Nis, with professor Ljubica Milosavljevic. She says that Mozart, Bach and Beethoven were her ideals in music, and in painting those were autonomous artists whose works could be current in all periods and epochs: Vermeer, Rembrandt, Velasquez, Cezanne, Bonar. She has exhibited paintings, drawings and works at collective and individual exhibitions in the country and on almost all continents. Her works are in collections of domestic, but also foreign art lovers.  


She considers that an artist should not always wait for someone to organize his exhibition. Therefore her website www.aleksandravasovic.com has several purposes: beside Internet galleries where Internet works are displayed as well as presentation of exhibitions, there is also sale part. 
“Through Internet, more people could become acquainted with the work of some artist. Also, an artist could present his creative work in a way that suits him. In my case, the website does not have the purpose of the catalogue only, but it also has creative function. Since individual exhibitions are not that often, and maybe someone from other countries wants to become acquainted with my work, he does not have to wait for exhibitions but with the help of Internet could anytime get an insight in my work” – says Aleksandra Smiljkovic-Vasovic. 


The last exhibition of Aleksandra Smiljkovic-Vasovic was ambient project that represented a combination of digital print, light intervention in space called “Diamond” (www.aleksandravasovic.com/diamond) in October 2007, in ULUS Gallery. 


“I have presented a diamond made in computer and animated in a way to continuously go round in circles around its axis of rotation, creating an impression that it shines a light. It was displayed in big format so that it made an impression of monumental painting at the gallery wall. As the second part, there were sequences and variations of that animation that were arranged around at the walls. Everything was made in digital print technique. As the third part, there were light effects arranged in gallery windows, and the light that changed in certain rhythm, lighting up both exterior and interior of the gallery. All three parts made a unique story - Aleksandra Smiljkovic-Vasovic explains. 
Our interlocutor says there is new on-going exhibition in her virtual gallery at the website. It is the work that she plans to place at certain exhibitions as autonomous Internet work. “These are gentle rose petals. However, this work is at the same time also an outline for some future extensive work and consists of computer animation, outline for ambient work that would present how this animation would look like if it would be shown in some real gallery”, says the artist and adds:


She says that macrobiotics is also a part of her artistic sensibility. While she prepares macrobiotic food, she in that way also creates her artworks – this time in the kitchen. The food that comes out from her kitchen is the spectrum of all the colors. She explains that there are instructions how the food is prepared, which foodstuff could be used and then anyone could combine them according to one’s feeling and make what one like. “This gives me an opportunity to be creative. With macrobiotics, it’s also important that foodstuff is not bought and prepared automatically, but you have to consciously choose what you would like to eat, to buy and prepare. And then everything is easier, more beautiful and more pleasant”, talks Aleksandra Smiljkovic-Vasovic.


- Of course I can not escape from the art. I cultivate my poetics for years. In that way, my attitude towards everything crystallized and clarified more and more. Both towards the people and the air, water, food. An intolerance towards specific foodstuff have arisen, but also an intolerance towards certain phenomena, and even towards certain kinds of socializing that didn’t suit me anymore and I simply couldn’t make any compromise. I have started to pay attention in order to avoid certain foodstuff that incommoded me in my nutrition. The closest to my way of nutrition was macrobiotics, which is a kind of philosophy in itself. And while macrobiotic food is being prepared and while foodstuff is being chosen, there are reasons why this specific foodstuff is being used or why a certain combination of foodstuff is being made. 
Meditations are her need. She emphasizes that she doesn’t want to experience even them as mere rituals. She meditates when she feels a need. Aleksandra Smiljkovic-Vasovic says that, for her, meditations, beside classical ones, could also be walking but also all other things that we do consciously, and not automatically, so painting could be meditation as well. For some time, she has practiced martial arts which she understood in a meditative way, and then she came back to yoga. 


She enjoyed the book “No Time for Karma” by Robey Paxton so much that she translated the book from English to Serbian language, it’s on the Internet now and waits for the publisher. She has entered into translation work by chance, and committed to it with whole her soul. 


- Four years ago, by email, I have received a recommendation for Robey Paxton’s book from my friend Margita. The same evening I have downloaded it from the Internet, have printed and have read. The book is metaphysical and deals with spiritual aspects of life in a warm, human way. I have contacted the author, asked if it is possibly translated into Serbian and said that, if it is not, I would do that. It turned out that an author of such a book, as it was logical to expect, could only be spiritual being, kind, humane. He was glad for my idea to translate the book. I have translated it in a short time. And I have enjoyed in every moment. Paxton put it instantly on his website http://www.notimeforkarma.com and it stands there for years. I have noticed that the book is one of the biggest hits for free download on the Internet. 


When asked how much karma is important to her and if she believes in it, she replies: “I go through life more with my heart and follow my feelings and inner voice. The book is also close to this attitude of mine. Paxton says that classical attitude towards karma “if I am good I will be awarded, and if I make a mistake, there will be punishment’ has to be replaced with the attitude that it depends on you what will happen in your life. You create everything. There is nobody beyond or outside you who award and who punish you. A person alone is responsible for everything, which is not naïve at all. The book is entitled “No Time for Karma – Stepping off the Wheel of Pain and Struggle” and it send us word that we should step out from the circle in which we spin, simply don’t agree to karmic rules, tell them goodbye. And that’s it.”


- There were so many people who thanked me for translating it. I didn’t pay to translate it, I didn’t have any material gain of it, but the biggest pay for me is when someone tells me that the book healed him. If I helped someone in such a way, that’s the biggest award for me, Aleksandra adds. First of all, thanks to Paxton for writing this warm and healing book.       

Authors: Marina Bulatovic and Gordana Jocic

     

Antrfile A painter and an architect

- Even now, when I am not a student anymore, I mainly work a lot and with total concentration, i.e. as I already have said, I work with complete awareness and joy, and not automatically. Architect in me also arise while walking in Belgrade and notice something that is an eyesore. At advanced training, I have stayed in Paris for several months. I have always admired that city. Wherever you look, each cubic millimeter was determined as it has to be. Everything is harmonized, stylistically harmonized. I would like to be the same here too, says Aleksandra Smiljkovic-Vasovic.

 

other press clippings

 

 

 

bio

Bachelor of Fine Arts and Master of Fine Arts degrees from The State Faculty of Fine Arts, Department of Painting, Belgrade University of Arts in Serbia and Bachelor and Masters Architectural Engineering degrees from The State Faculty of Architecture, Belgrade University, Serbia.

Independent artist, member of National Fine Artists Association of Serbia since 1994.

Took part in numerous solo and group exhibitions in Serbia and abroad.

 

Exhibitions

 

SELECTED GROUP EXHIBITIONS

-1998 International Exhibition of the "L’Academie des Artistes de L’Europe Centrale" at "L’Espace des Blancs Manteaux" Le Marais , Paris, France

-2000, 2008 International Biennial of miniature Art in Gornji Milanovac, Yugoslavia

-2001, "Safety", computer animation, Cultural Center Rex, Belgrade

-2002, "How" computer animation, Cultural Center Rex, Belgrade

-2003, "Matricx", computer animation, Cultural Center Rex, Belgrade

-2003 – 2006 Salon Internacional de Arte Digital in Havana Cuba

-2004 Artscape 04, HALL OF PORTRAITS, Pinkard Gallery, Bunting Center, Maryland Institute College of Art, USA

-2005 Istanbul, iS.CaM, Web Biennial 2005

-2005-2011 SALÓN DE ARTE DIGITAL / IV Edición – 2005 , Museo de Arte Contemporáneo del ZULIA, MACZUL, Venezuela

-2006 Japan Madia Arts Festival, Tokyo Metropolitan Museum of Photography, Yebisu Garden Place,Tokyo, Japan

-2006 Lights in the Black Box, Istanbul Contemporary Art Museum

-2011, 2015 XIV INTERBIFEP, International Gallery of Portraits, Tuzla, Bosnia and Herzegovina

 

SELECTED SOLO EXHIBITIONS

-1992 Paintings, "Sebastian" Gallery, Nis, Serbia

-1994 “Paleta Gallery”, paintings, drawings, video for TV, Belgrade Cultural Center, Serbia

-1996 Master Exhibition, paintings, Gallery of The Faculty of Fine Arts in Belgrade

-1997 "Scented little letters", miniature on paper exhibition, "Gallery 73" in Belgrade

-1997 Drawings, Yugoslav Cultural Center in Paris, France

-1999 "Nasturtium" digital print, ambience, Contemporary Art Gallery Pavillion of the –Fortress, Nis

-2001 "Only the Ball", ambience, computer animation, digital performance, Center for Cultural Decontamination, Pavillion Veljkovic, Belgrade

-2001 "Ondulazione", works on paper, ambience, computer animation, Italian Cultural Center, Belgrade

-2001 "e75", computer print and animation, internet, Suluj gallery, Belgrade

-2007 "Diamond", ambience, computer animation, digital prints, lightning effects, light installation, digital and light performance, ULUS Gallery, Belgrade

-2009 "Golden Room", ambience, computer animation, digital prints, lightning effects, light installation, digital and light performance, QUCERA Gallery, Belgrade

-2013 "Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space", ambience, computer animation, digital prints, lightning effects, light installation, digital and light performance, ULUS Gallery, Belgrade

-2014 “The Next Phase of Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space” By Aleksandra Vasovic, MindTrek 2014, November 4-7, 2014, Tampere, Finland

-2015 SKC Filmforum, CRUCIALLY IMPORTANT DISPOSITION OF FLUORESCENT PINK ROSE PETALS IN TIME AND SPACE, video projection, discussion, video art and light  performance by Aleksandra Vasovic and Kvaka teatar, 2015, SKC, Belgrade

-2016, "Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space", paintings, drawings, Gallery of the Republic Center for Study in Cultural Development, Belgrade, Serbia

 

Long term projects,  work-in-progress

 

-2004,  website www.aleksandravasovic.com

-2005, Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space, computer animation, digital prints, lightning effects, light installation, digital performance

-2008, my activity on Facebook

-2011, website www.aleksandraartwork.com

-2015, Liquid Sky, computer animation, digital prints, lightning effects, light installation, interactive performance, SKC, Belgrade

-2015, Kryptonite Overdose

-2016, All is One, computer animation, digital prints, lightning effects, light installation, interactive performance

 

Art residencies

 

-Several months in 1997, 1998 and 1999 at Cité Internationale des Arts in Paris, France

 

Workshops, Published Paper

 

-2011, SAME 2011 – 4th International Workshop on Semantic Ambient Media Experience (NAMU Series), in conjunction with the 5th International Conference on Communities and Technologies, Brisbane, Australia

- 2014, Academic MindTrek 2014, Tampere University of Technology, Finland

- 2016, Academic MindTrek 2016, Tampere University of Technology, Finland

 

All IS well

Interdisciplinary interactive work-in-progress, light installation and performance, computer animation, texts

 

 

 

 

 

 

 

 

 

all-is-well-preview-by-aleksandra-vasovic

Here is an idea, attitude and emotion that I am eager to transmit these days. I am happy to express the feeling that all is well. This is, of course, metaphysical concept, but it resonates in my heart as truth.

Metaphysics, mysticism, spirituality etc. all agree that there is something beyond visible physical reality and that there are many more dimensions and realms beyond three dimensional time and space reality. In dimensions other then 3D, there is no fear, struggle or injustice and there is only total existence in pure love. They say that all is well.

But the problem is that it is not easy that this concept is true, and even if you believe, it is difficult to remember to implement it in everyday life. It is almost impossible to remember it all the time: all is well.

In everyday life there is infinite number of opportunities to remember that all is well. Because, there is always infinite number of situations and circumstances to convince you that reality is unfriendly, cruel and mal.

I will mention one situation which happened not so long ago. Actually, it happened just a few months ago. I was looking forward to finalize and polish some creative writing before the deadline. But, there was one minor delay and obstacle. I had to go to the hospital for a routine surgery. And I had a lot of opportunities to practice the attitude that all is well there. For me the best way to do this is to think of the smiley symbol, that is, of yellow circle that looks like a smiling face. One of examples of implementing this method is while I was at the surgery. I thought of smiley before I went in, and I managed to wake up from total anesthesia after some struggle. And just after I managed to wake up, I thought of smiley and I smiled. All went well. Soon, just two hours after that, I was laying comfortably on the couch in my living room, watching my favorite humoristic TV show and finalizing writing the project to meet the deadline. All really went really well.

So, symbol of smiley is going to be the main theme of my artwork.

For last several years I have an idea of implementing this symbol in many ways. One of them is an artistic installation or ambience. It consists of computer animation and lightning effects already incorporated in animation. Animation is presented in a dark exhibiting place, but this is optional. Also, animation is presented on walls, and/or ceiling, floor, by one/ several/ many video-bim projectors. The artistic audience feels like they became a part of a symbol or an artwork when entering the exhibiting space.

Computer animation consists of huge image of smiley symbol. The symbol changes its color from red to orange, yellow, blue etc. This specter is associated to the colors of human aura. Some people can experience the existence of the aura. I belong to this group.

Smiley symbol is very simple. My computer animation is also very simple and basic.

The message of a symbol and of my artwork that “all is well” is also extremely simple and basic. Maybe this is why this message is the most difficult one to be comprehended and implemented. So simple, so crucial.

for outdoor exhibiting concept see part two.

All IS Well one

Net-art, Ambient Media Art or Ambience, Computer Animation, Installation Art , 2011

Two symbols, smiley face and Christ walking of water as personifications of ideas of safety and miracles are going to be the main theme of my artwork.

“All is Well (One)” is a preparation or a concept for installation art work or ambient art work which is going to be exhibited in a gallery or outdoor. It consists of huge transparent water balls with the symbol of smiley face printed on its surface and an adequate floor facility filled with water. Water balls are very popular in amusement parks. People can enter inside the balls and float or actually walk on the water surface.  Artistic audience becomes a participant of an art work by entering inside the water balls. The artistic audience feels like they became a part of a symbol or an artwork when entering the exhibiting space.

In case the art installation/ambience is presented outdoor, for example in cities or natural landscapes, my artistic concept would be ideally realized by hologram images of huge transparent smilies and people would enter them and go through them, or spend some time inside the hologram images.

There is an excellent example of integrating a spectator in an artwork in Rembrandt’s painting “Night Watch”. Instead of painting portraits of a people who are just posing for a painter, he created the theatrical scene, costumes, plot on a stage, lightning effects. The spectator couldn’t resist being involved and integrated in a picture with his mind and emotions, but still without really becoming a physical part of an artwork. 
I am also trying to offer a different approach and make a synthesis of all the elements of an artwork, and to integrate a spectator in an artwork physically as well, enabling a creation process to flow in the following directions: author-artwork, spectator-artwork, author-spectator-artwork. I use ambient media approach for this process.
Smiley symbol is very simple. 
The message of a symbol and of my artwork that “all is well” is also extremely very simple and basic. Maybe this is why this message is the most difficult one to be comprehended and implemented. So simple, so crucial.
There are some concepts and emotions that I am eager to transmit these days. I am happy to express the feeling that it is normal that all is well and that miracles are very natural thing.  If the joy and miracles are absent, it indicates that something is abnormal. This is something which is abnormal is our perception. This is, of course, metaphysical concept, but it resonates in my heart as truth. My profession, visual art operates with perception and it is a field where I plan to express the ideas above. 
Metaphysics, mysticism, spirituality etc. all agree that there is something beyond visible physical reality and that there are many more dimensions and realms beyond three dimensional time and space reality. In dimensions other then 3D, there is no fear, struggle or injustice and there is only total existence in pure love. They say that all is well.
But the problem is that it is not easy that this concept is true, and even if you believe, it is difficult to remember to implement it in everyday life. It is almost impossible to remember it all the time: all is well.
In everyday life there is infinite number of opportunities to remember that all is well, because there is always infinite number of situations and circumstances to convince you that reality is unfriendly or cruel and mal.

for indoor exhibiting concept see part one

 

Dorucak na travi - energizovan


Dejeuner sur l'herbe - avec l'énergie


Luncheon on the Grass - Energized

Computer Animation, Net-art, 2004

 

serbian (english below)

Rad se nadovezuje i naslanja na radove koje sam radila prethodnih godina ili cija je izrada u toku.

U pitanju je ambijentalna instalacija, sa elementima kompjuterskih igrica (koja se igra "uzivo") i predvidjeno je da postoji ne samo kao samostalan rad, vec i kao predlozak za sledecu fazu. Ta druga faza predstavlja umetnicku kompjutersku video igricu (koja moze da se igra interaktivno na televiziji, internetu ili na kompjuteru, znaci sa CD-a) i video rad- spot koji bi se prikazivao na televiziji, na internetu…
Prostorna instalacija je smestena u kutiju sirine 4m, visine 3m i dubine 5m. Prednja strana kutije je otvorena i kroz taj otvor se rad posmatra ili se u njega ulazi. Pod, plafon, levi i desni zid su oblozeni cupavom tkaninom (kao trava) obojenom sjajnom zlatnom bojom.
Na frontalnom zidu se nalazi video bim. Unutar kutije se nalazi nekoliko internih kamera postavljenih na zgodnim mestima koje snimaju situaciju unutar kutije. Takodje, na pogodnim mestima, unutar kutije, postavljeni su i reflektori koji su programirani tako da se u razlicito vreme ukljucuju i iskljucuju i osvetljavaju zlataste povrsine proizvodeci razlicite zlataste i sjajne svetlosne efekte. Povrsina plafona je diskretno perforirana, u plafonskoj konstrukciji je sproveden sistem tzv. "obrnutog vodoskoka", t.j. sproveden je sistem cevi ispunjenih crvenom bojom koji je kompjuterski programiran tako da sa plafona povremeno i na razlicitim mestima kaplje crvena boja i pada na pod. Ispred ove kutije monumentalnih dimenzija, sa leve i desne strane postavljeni su po jedan elegantni beli stocic ravnih i neupadljivih linija. Na njima se nalaze uredno slozeni i opeglani (tako da se vide ostre ivice), beli cisti carsavi. Ukoliko posmatrac odluci da udje u kutiju i proseta, preporucljivo je da uzme beli carsav i pokrije se po glavi, kako bi se zastitio od crvene boje koja kaplje sa plafona. Carsavom moze da obrise i cipele. Po izlasku iz kutije, posmatrac, t.j. ucesnik, ostavlja carsave u providne (elegantne, jednostavnih linija) kutije koje se nalaze pored elegantnih stocica. Kretanje ljudi u kutiji beleze kamere. Ono sto kamere snimaju, istovremeno se i emituje na frontalnom zidu sa video bimom i osoba u kutiji istovremeno moze i da se gleda, a nju mogu da gledaju osobe ispred kutije. Ukoliko niko nije u kutiji, na video bimu se emituju kompjuterska animacija kutije sa zlatnim zidovima, snimci prethodnih posetilaca. U kutiji (ili izvan nje), na adekvatnom mestu, smestena je i tehnika za emitovanje video materijala.
Ova kutija moze biti smestena u izlagackom prostoru, ali moze biti smestena i u neki poseban pogodan prostor koji vec sam po sebi lici na kutiju. U tom slucaju se ne bi kutija izradjivala posebno, vec bi se samo oblagale povrsine i sprovodile potrebne montazno-demontazne instalacije i tehnika.

This project is installation-ambience, combined with elements from computer games (in this case computer game is real, played in real time and space, by real people). The project is monumental, but it is not final, this is only the first part of more complex project, interactive art computer game that can be played on TV, Internet or computer. The project also consist of art video and video clip that is going to be presented on TV, internet…The first part of the project, installation-ambience, combined with elements from the real computer game, will be presented on exhibition.

 

TECHNICAL DETAILS:
· The work is in the box, which size is: width 4m, high 3m, and depth 5m. Something like room or stage.
· The outside front of the box is open and the work can be observed from this side. Visitor can enter the box from this side.
· The ceiling, floor, left and right side of the box is covered with hairy material (like grass), painted in shiny and reflective gold paint.
· There is a video bim placed on inside frontal wall of the box (the wall opposite from the opened front side of the box). The size of video bim is 4m/ 3m.
· There are several cameras placed at adequate spots inside the box covering and recording each part of the box.
· There is a special designed and programmed artificial light (stage reflectors). The variations and modifications of the reflectors' light turning on and off produces variable light reflection, shiny and golden special effects.
· There is discreet perforation on the ceiling and special tubular system of some kind of "inverse waterfall" is installed inside the ceiling construction. The system is digitally programmed to make the liquid red paint circulate through the system, and from time to time, making small drops of the red paint to drop on the floor through the ceiling perforation.
· There are two elegant, flat white small tables in front of the box, one on the left side, and another on the right side. There is a shipshape pile of white tidily flat-ironed tablecloths on each table. If the visitor decides to enter into the box and take a walk, it is recommended to take tablecloth for protection from the red paint drops or for cleaning the shoes after leaving the box. After visitor gets out the box, tablecloths are left at the elegant, transparent, flat, small junk boxes.
· Cameras record people in the box so both people in and in front of the box can see these scenes simultaneously on video bim (placed on the inside front wall of the box). Computer animation of the shining golden box or video coverage of the previous visits is presented on video bim if there are no visitors in the box at the particular moment. Adequate technical equipment is installed inside or outside the box.
· The monumental box can be installed at the exhibiting place or at another special place (room) apart the exhibiting place. In that case, there may not be necessary to build the total construction of the box, but only to cover the walls, floor and ceiling surfaces and install necessary installation and technique.

to see new version of this work, click here

 

This project also participated at:

VII salón de Arte Digital, Havana, Cuba

VII SALÓN DE ARTE DIGITAL / IV Edición - 2005 , Museo de Arte Contemporáneo del ZULIA, MACZUL, Venezuela

2006 Japan Madia Arts Festival, Tokyo Metropolitan Museum of Photography, Yebisu Garden Place,Tokyo, Japan

 

breakfast01-by-aleksandra-vasovic
breakfast02-by-aleksandra-vasovic
breakfast03-by-aleksandra-vasovic

Golden Room

Computer Animation, Ambience

QUCERA Gallery, Belgrade, 2009

 

serbian (english below)

ZLATNA SOBA
Prostor, odnosno  hol-galerija  u kome je rad izložen obiluje detaljima koji su sami po sebi  vizuelne atrakcije: 2 zida i neki detalji su obojeni jarko žutom bojom, pod je obložen crno-belim pločicama, u centralnom delu na plafonu se nalazi ogromno ogledalo sastavljeno od kvadratnih segmenata, pogled privlači pult recepcije, tu je par staklenih i par drvenih vrata, veliki prozori sa trakastim zavesama, atraktivna rasveta i svetleća tela… 
Naravno da je takav ambijent bio za mene interesantan da i ja dam svoj doprinos vizuelnom doživljaju tako što ću u centralnom delu hola-galerije izložiti digitalnu animaciju velikih dimenzija na kojoj je prikazana soba u kojoj šljašte zlatni zidovi, plafon i pod. Osim animacije, deo izloženog rada su i svetlosni efekti, za čiju je realizaciju zaslužan Radovan Samolov. Oni proizvode blještavilo koje se odražava u ogledalu, na animaciji  i na staklenim površinama unaokolo. Ovo blještanje je vidljivo i spolja, kroz prozore galerije i čini interesantan kontrast sa spoljnim ambijentom u kome se nalazi galerija – a to su sami obronci ogromne Manastirske šume u kojima vlada mir i spokoj.

Aleksandra Vasović

 

Uvodna reč umetničkog sekretara Kulturnog centra sa otvaranje izložbe

 Zlatna soba Aleksandre Vasović

 Kroz kreativno rekonstruisanje stvarnosti, igrom svetlosti i boje, umetnica nas uvodi u jedan sasvim drugačiji prostor. Digitalna projekcija sobe koja ima zlatne zidove, plafon i pod, na zidu galerije, stoji kao imaginarna slika; svelosni efekti u realnom prostoru, koji se odražavaju na zidovima, staklenim površinama i ogledalima u galeriji, ruše granicu između imaginarnog i realanog, između dvodimenzionalnog i trodimenzionalnog prostora i posmatraču omogućavaju specifično sadejstvo sa galerijskim prostorom.

Svetlosni efekti aktiviraju prazninu galerije i time i sama galerija postaje konstitutivni elemenat instalacije.

Galerija prerasta u prostor vizuelnih atrakcija koje Aleksandra Vasović osmišljava i stvara.

Mi kao posetioci, pozvani smo u tu zlatnu sobu i njen smo deo.

Stoga, usudite se. Zakoračite u taj drugačiji prostor.

Sami doživite i osetite Aleksandrinu sobu.

Nađa Mandić

 

GOLDEN ROOM

Room, i.e. gallery lobby hosting the project is rich in details with them being a visual attractions in their very nature: 2 walls and some details are painted in bright yellow, floor is coated with black & white tills, central section of the ceiling is occupied by huge square-segmented mirror, view is attracted by a reception desk, there is a couple of glass and couple of wooden doors, big windows with strip curtains, attractive lighting and illuminant items…
For sure, this ambience was interesting for me, urging me to contribute to this visual experience by using central section of gallery lobby for exhibiting a large-sized digital animation showing the room with sparkling golden walls, ceiling and floor. In addition to animation, part of exhibited project is lighting effects and their producer is Radovan Samolov. They are performing dazzling reflects in the mirror, onto the animation and surrounding glass surfaces. This dazzling is also visible from the outside, through gallery windows, and presents an interesting contrast to external ambience where the gallery is located – the very hillsides of huge Monastery forest (Manastirska suma), home of peace and quiet.

 

Aleksandra Vasovic

Translated by Vesna Lazarevic

 

A statement given on the exhibition opening by artistic secretary of the Cultural Center

Golden room of Aleksandra Vasovic

 

Through creative reconstruction of reality, the artist introduced us into the completely different space by playing with light and color. Digital projection of the room with golden walls, ceiling and floor, gallery wall stands as an imaginary painting; light effects in real space reflected on the walls, glass surfaces and mirrors in the gallery, disintegrate borders between the imaginary and realistic, between two dimensional and three dimensional space and provide an observer with specific synergy with gallery space.

Light effects activate vacancy of the gallery, thereby enabling the gallery itself to become a constitutive element of the installation.

The gallery transforms into the space of visual attractions designed and created by Aleksandra Vasovic.

As visitors, we are invited into this golden room and we are its comprising part.

So, dare! Step into this different space.

Experience and feel Aleksandra’s room for yourselves.

Nadja Mandic

Translated by: Vesna Lazarevic

 

another part of the artwork is here

 

This project also took part at:

 

VII salón de Arte Digital, Havana, Cuba

SALÓN DE ARTE DIGITAL / IV Edición - 2005 , Museo de Arte Contemporáneo del ZULIA, MACZUL, Venezuela

2006 Japan Madia Arts Festival, Tokyo Metropolitan Museum of Photography, Yebisu Garden Place,Tokyo, Japan

2006, Golden Opportunity, Marx-Saunders Gallery, Chicago, USA

Nokia Ubimedia MindTrek Award, Finland

 

diamond

Ambience - Computer Animation and Prints, Lightning Efects, ULUS Gallery, Belgrade, 2007

“Diamond” is further artistic research on the light as one of the basic elements of visual art . The element of a non-linear motion is included, as well. The webpage medium, as transmitter of information, is transmitting information about some non-linear phenomena, in this case.

 

serbian (english below)

Pref Diamond exhib Aleksandra
OTKRIĆE PONIRANJA 
Aleksandra Smiljković Vasović: Dijamant


Premoć medijske pažnje i informatičkih nameta našeg doba neretko uklanja rezultate izbavljenja. U neverovatnom dejstvu vidljivih ili posrednih znakova, signalizacije i naglašavanja materijalizacije iskustva, otkrića koja pronalazimo u pojedinim zahvatima likovne umetnosti nude katkad daleko više i posredno nude  bezbednija pribežišta. Nije zato neobično da se brižljivost kojom je svoje slike, kao svojevrsne reduktivne planove i polja likovnih ostvarenja Aleksandra S.V. uspevala da odrazi u analitičkoj i ništa manje senzualnoj preciznosti okrenula ka novom domašaju.  Njeni raniji programski likovni procesi - razigrani koloriti, oslonci i na medijsku kulturu dopadljivih junaka pokazali su se kao dosledno vodjene etape u kojima se svest i osećaj prema zagonetki poretka rasprostire u doslednom ogledu otimanja od opštih odlika date nam egzistencije. Kretanje ka imaginarno virtuelnom skupu znakova koje je uspevala da načini vlastitim strukturama vizuelne senzacije, i to u periodu posle 2001, našlo se na svojevrsnom traganju za drukčijim uporištima.  Iznenadjujuća je autorkina doslednost da se upusti u proces izmeštanja likovne predstave. Pratilo je to  putanju od izvedene slike kao smišljene i komponovane površine ili slike kao trodimenzionalnog predmeta potenciranog u daljim potragama za tehnološkim osloncima u virtuelnom svetu animiranja kao i fizičke lokacije. Interakcija naslovljena 'Samo lopta'  objedinila je realne košarkaške lopte i projekciju kompjuterske simulacije kao preobražaj prema skrivenom kosmogonijskom poretku nebeskih tela ili ka svojstvima mikrosvetova.
Ambijentalna celina zamišljena i naslovljena 'Dijamant' prenosi, samo na prvi pogled monohromiju koju je slikarka otkrivala u svom ciklusu 'E75'. Potraga za savršenim geološkim uzorom, za kristalizacijom minerala što isijava praosnovu postanka i materijalne energije iz koje se notira, beleži i bazično zasniva naše kretanje, ne mora da bude samo ljudska i kolektivna groznica na  lokalitetu nekog rudnika. U ambijentalnom izložbenom planu 'Dijamant' prerasta u grafički izvedenu  i svetlosno izmenljivu senzaciju isijavanja i prelamanja svetlosti. Tajna kojom se otkrivanje ugljeničkog nalaza sa središtem u neizbrušenosti postavlja u prvi plan upućuje na  zaplet ljudske ekonomske gladi odajući ultrasnažno jezgro skriveno, kako i jeste unutar geoloških slojeva ili podsvesti. Dijamant, u globalno zaslepljujućoj juvelirskoj upotrebi emituje kvalitet sinteze. Istovremeno, u datim enciklopedijskim pojmovima ovaj izbor, kao i umetnička pažnja koju je Aleksandra S.V. poredila približuje likovno prenesene primere ka jednovremenosti, ka kategoriji umetničke arheologije najskrivenije tajne jezgra ugljeničkog hemijskog alotropa. I ukoliko se poreklo iz grčke reči 'adamas' označava kao nenarušivi ili, metaforično, ‘neoborivi’ skup materijalnog nalaza, tada se zamisao sagledava kao provokacija suštinski izmenljive umanjenosti ili zastarelosti ljudskih moći.  Uvodjenjem u ambijentalnu likovnu predstavu kontrolisane svetlosti i odsjaja, ‘Dijamant’ nastanjuje domen kojim se umetničko opredeljenje, poetska snaga i uporište nalaze u približavajućem, pa čak i misterijskom putovanju. Ne treba izgubiti iz zaborava da su smisaona i razrešujuća otiskivanja i putovanja od značaja za ljudsko iskustvo zapravo geološki orijentisana.  U jeku  naučnih, tehničkih ali i umetničkih inovacija ranog XX veka, ruski pesnik Mandeljštam, za razliku od današnjih medijskih, u njegovim godinama pokazaće se, pogubnih ideoloških kampanja za tobožnje poboljšanje sveta, okrenuo se u svojim zapisima  Razgovori o Danteu, firentinskom tvorcu slikovitih opisaBožanstvene komedije.  Kroz trojna iskušenja ljudske duševnosti Dantea, Mandeljštam kao da je pokušao da odgonetne energiju putovanja u središte zemlje, od ognja kažnjenih i prokletih do blistave kosmološke ritmizovanosti smene Sunca i zvezda. Takvo pribežište geoloških, botaničkih i teoloških odlika represivnog vremena prošlosti, moglo bi da izrazi paralele u današnjem rastvoru priredbi i tematskih svodjenja likovne umetnosti  u  kulturološkom strujanju. Izmedju billboard kulture, nametljivih ali  metodično izvedenih poprišta  naših okruženja i zakonitosti reklamiranja, u svom izboru dijamantskog, nenarušivog i unutar zemlje skrivenog komada, za autorku mora da se obavlja i doslovno drukčija,  isijavaljuća predstava. Izmedju iluzije stvaranja u galerijskom ambijentu, i odsjaja ovog zapanjujućeg planetarnog nasledja, kao virtuelnog i izmičućeg motiva, umetnost se približava univerzalnoj jedinstvenosti svoje snage.

Nikola Šuica

 

Aleksandru poznajem već nekoliko godina preko njenog rada. Ona je napredna duša u potrazi za svetlom univerzalnog razumevanja. Njen rad oslikava njenu dušu. Ima sposobnost da sa drugima podeli svetlost i sopstvenu unutrašnju lepotu.

Pakston Robi
Nju Meksiko
SAD

još o Dijamantu...

 

 

Pref Diamond exhib Aleksandra
DIVING REVELATION 
Aleksandra Smiljković Vasović: Diamond


The supremacy of media attention and informatics intrusion of our time often suspends the results of salvation. In unbelievable synergy of visible or indirect signs, signalization and outlining materialization of experience, the revelations we encounter in some fine arts performances sometimes offer far more and safer resorts. It is not a surprise that preciseness used during her painting, as outstanding reductive plans and fields of fine arts work, Aleksandra S.V. managed to express in analytical and nothing less sensual preciseness turn to new range.  Her earlier fine arts processes – playful coloring, reliance on likeable heroes of media culture, proved to be consistently led phases where the consciousness and sense for the enigma of the order spreads in coherent sample grabbing from the rate of given existence. Moving toward imaginary virtual groups of signs, as well as fine arts sensations that she managed to make her own structures of visual sensation, in period after 2001, was overtaken by unique searching for different stronghold. Author’s persistence to get into transposition of fine arts performance is somewhat surprising. It followed path from realized picture as conceived and composed area or picture as three-dimensional object emphasized in further, by all means visual searches for technological strongholds in virtual world of animation, as well as physical location for an interaction titled ˝Only the Ball˝ uniting real basketballs and computer animation projection as a transformation toward hidden cosmogonies order of celestial bodies or conforming with features of micro-world.
An ambient integrity conceived and titles ˝The Diamond˝ transfers, only at first sight, monochrome that was portrayed by the painter in her cycle ˝E75˝. Search for the perfect geological sample, for a crystallization of a mineral radiating foreground of the origin and material energy wherefrom it is noticed, notes and basically establishes that our motion doesn’t have to be just a fewer on some locality. In an ambient U exhibition plan ˝The Diamond˝ outgrows to performed and animated, but also light modifiable sensation of the radiance and light splitting. Secret of discovering carbonic finding with a center in roughness puts in the first plan a twist of human economic hunger by emitting ultra-strong hidden core, as it is the case within geological layers. A diamond, in globally dazzling jewelry utilization emits the quality of synthesis. At the same time in given encyclopedia terms this choice, same as artistic attention compared by Aleksandra S.V. brings together artistically presented examples to contemporary, toward the category of unique artistic archeology, the best hidden secret, and at the same time, core of carbonic chemical allotrope. And if the origin from Greek word ˝adamas˝ standing for inviolable or metaphorically speaking ˝irrefutable˝ group of material finding, than the idea is to be perceived as a provocation of essentially changeable reduction or obsoleteness of human powers. By introducing into ambient fine arts realization of controlled light and shine, ˝The Diamond˝ settle in the domain in which artistic destination, poetic power and stronghold are located in incoming, even journey of mysteries. It should not be forgotten that various and semantic and relieving sets out and journeys significant for human experience are actually geologically oriented. In prime of scientific, technical, but also artistic innovations in the early XX century, the Russian poet Mandeljštam, unlike today’s medial, during his years of what proved to be destructive ideological campaigns for ostensible improvement of the world, turned in his dockets to The Conversations about Dante, Florence creator of picturesque descriptions of The Devine Comedy. Through tripartite experience of human spirituality of Dante, Mandeljštam seemed to try to puzzle the energy of traveling into the center of the Earth, from the fire of the punished and cursed to bright rhythmic alternation of the Sun and the stars. Such resort of geological, botanical and theological characteristic of then repressive period, might express parallels in current solution of performances and thematic assimilation of fine arts in today’s cultural currencies. Between billboard culture, intrusively, yet methodically realized dropping of the system of our environment and law of advertising, in her choice of diamond, unchanged and hidden within a ground piece, the author entails different realization and literally radiating presentation. Between the illusion of creating in ambient of a gallery and a reflection of this amazing planetary inheritance, as virtual and slipping motive, the art is approaching universal uniqueness of its strength. 

Nikola Šuica

translation Vesna Lazarević

 

I have known Aleksandra through her work for several years.  She is an
advanced soul seeking the light of universal understanding.  Her work reveals
her soul. She has the ability to share the light and her own inner beauty.

Paxton Robey
New Mexico
USA

 

this work took part at

SALON DE ARTE DIGITAL, Havana, Cuba, 2006

 

e75

E75, interactive art installation, computer animation, digital prints, internet

serbian (english and french below)

 

SAMOSTALNA IZLOZBA U GALERIJI SULUJ

U prvoj deceniji svog profesionalnog likovnog stvaralastva umetnica Aleksandra Smiljkovic - Vasovic prosla je put od slike kao klasicnog likovnog medija, do slozenijih vidova umetnicke kreacije u oblasti vizuelnih umetnosti. U tom paralelnom procesu ona nije zapostavljala sliku kao primarni vid likovnosti u kojoj je jasno definisala svoj plasticko-poetski stav, da bi kroz druge, sveprisutnije medije i njihovom kombinacijom prosirila vizuelno i tehnoloski polje svog delovanja.
Konceptualnim osmisljavanjem ona ce kombinovati kompjuterske printove i predmetne instalacije u ambijentalnim celinama, ukljucujuci polako i trecu dimenziju, kao i pokret, kroz kompjutersku animaciju…
U galeriji SULUJ Aleksandra Smiljkovic - Vasovic ce prezentovati rezultate ovogodisnjih kreativno - likovnih istrazivanja u virtuelnom, neogranicenom prostoru programskih mogucnosti "Fractal Design Painter "- a ili "3D Studio Max" - a do materijalizacije tog izmisljenog crno - belog sveta kroz kompjutersku grafiku.
Lako kompatibilne, pravougaone grafike srednjih dimenzija dopunjava veoma duga grafika - friz sa izrazitim linearnim akcentom koji opet upucuje na treci segment rada, adekvatnu animaciju koja se ne nalazi u prostoru galerije, vec na odredjenoj internet adresi.
Ceo umetnicki projekat je odraz one racionalne i analiticke prirode umetnickog bica Aleksandre Smiljkovic - Vasovic, naravno, u izrazajnom domenu likovne umetnosti. Jasna prostorno - konstruktivna dimenzija u ovim radovima rezultat je zelje za sagledavanjem imaginarnog - virtuelnog prostora u kome je uocljiv pravilan redosled ponavljanja i smenjivanja geometrijskih oblika i slika. Pravilan i jasan ritam smenjivanja kubusa i kvadrata, posmatranih iz razlicitih uglova, proizvode dinamiku i utisak pravilnog mehanickog kretanja.
Dakle, fenomen kretanja potenciran je i jakom senzacijom pune bele i isprekidane linije koja inace ima jasnu vizuelnu poruku saobracajnog znaka. Trecim segmentom kroz zivu animaciju - pokret, kretanje se jos jednom istice kao bazicna i elementarna istina.
Sazimajuci utiske vidjenog, ne mozemo se oteti utisku da se radi o umetnici kojoj ne lezi patetika vec imaginativno - racionalni pristupu u umetnickon izrazavanju. Sire, poetski, izlozbu mozemo prihvatiti kao osobenu Aleksandrinu zudnju za slobodom kroz licno putovanje bezgranicnim prostranstvima sopstvenog unutrasnjeg - dakle virtuelnog sveta koji svakom pojedincu daje osecaj dosezanja inace nedostupne slobode. Hladna monohromija i strogost mehanickog poretka datih geometrijskih formi upucuje na izvesno bespuce savremene ljudske jedinke kojoj civilizacijske tekovine i tehnoloske blagodeti definitivno, sa druge strane, uzimaju danak u bogatstvu emocija…
O svemu tome, izmedju ostalog, glasno razmislja i pita se i ovom izlozbom Aleksandra Smiljkovic - Vasovic.

U Beogradu, oktobra 2001. 
Ivona Rajacic - Barandovski, istoricar umetnosti

 

ALEKSANDRA SMILJKOVIC - VASOVIC
ONE MAN EXHIBITION IN THE SULUJ GALLERY

In the first decade of her professional creating in fine arts, the artist Aleksandra Smiljkovic - Vasovic has passed all the way from the painting as a classical artistic medium to the more complex aspects of the artistic creation in the field of visual arts. In the paralel process she has not ignored the painting as a primary aspect of fine arts in which she clearly defined her plastic and poetic point of wiev, in order to enlarge visualy and technically the field of her action trough the other more present mediums and their combination.
By the conceptional justifying she will combine computer prints and objects instalations in ambiental complexes, even slowely introducing the third dimension as well as the movement through the computer animation…
In the SULUJ gallery Aleksandra Smiljkovic - Vasovic will present the results of her last year creative and artistic research in virtual and unlimited field of program possibilities of " Macromedia FreeHand", "Adobe Photoshop", "Fractal Design Painter" or "3D Studio MAX" to the very materialization of her imagined black and white world through the computer graphics.
The easy compatible, rectangular graphics of medium sizes are completed by very long graphic-frieze with a stressed linear accent which is leading to the third segment of work, the adequate animation that is not in the space of the gallery, but at a precise internet address.
The whole artistic project is a reflection of the rational and analytical nature of the artistic being of Aleksandra Smiljkovic - Vasovic, but ofcourse in the expressing domain of fine arts. The obvious space-constructive dimension in these works is a result of desire to overlook the imaginary-virtual space in which the regularly sequence of repeating and interchanging geometric shapes and pictures is visible. The regular and sharp rhythm of interchanging the cubes and squares, observed from different angels, produces the dynamics and the impression of regular mechanical movement.
So, the phenomenon of moving is stressed even by a strong sensation of the full white line and the broken white line that otherwise has a clear visual message of a traffic sign. By the third segment through the vivid animation-movement, the moving is being stressed once again as the basic elementary truth.
Sublimating the impressions of what we see, we cannot get over the impression that we are dealing with an artist who does not like the pathetics, but an imaginary-rational approach to the artistic expression.
Looking broadly, poetically, we can take the exhibition as a specific Alexandra's longing for freedom through the personal traveling through the unlimited space of the internal self-that is, through the virtual world which gives to each individual the filing of getting the freedom otherwise inaccessible. The cold monochromy and the strictness of the mechanical order of the given geometrical forms is forwarding to certain "roadless area" of the contemporary human to whom the civilization heritage and technological benefits definitly, from the other side, take the tribute in richness of emotions…
About all that, inter alia, Aleksandra Smiljkovic - Vasovic is thinking loudly and asking herself also by this exhibition.

In Belgrade, October 2001.
Ivona Rajacic - Barandovski, historian of arts

Translation Dorotea Pantelic

 

ALEKSANDRA SMILJKOVIC - VASOVIC
L´EXPOSITION INDIVIDUEL À LA GALERIE SULUJ

Dans la première decenie de sa création professionele en beaux-arts l´artiste Aleksandra Smiljkovic - Vasovic a passéle voie de la peinture e comme le médium classique des beaux-arts jusqu´aux les plus complexes aspects de la création artistique dans le milieu des arts visuels. En ce procès parallèle elle n´a pas négligé l´image comme l´aspect primaire des beaux-arts, sur lequel elle a défini clairement son point de vue plastique et poétique, pour enlargir visuélement et téchnologiquement son domaine d´activité par les autres médiums tout prësents, et par leur combinasion.
Par la justification conceptuale elle va combiner les imprints de l´ordinateur et les instalations des objets dans les espaces ambientaux, introduirant légérement la troisième dimension ainsi quele mouvement, par l´animation de l´ordinateur…
À la galerie SULUJ Aleksandra Smiljkovic - Vasovic présentera les résultats de ses recherches créateur des-beaux-arts de cette année en en espace virtuele et sans limite, des possibilités de programe " Macromedia FreeHand", "Adobe Photoshop", "Fractal Design Painter" ou "3D Studio MAX" jusqu´à la matérialisation de ce monde imaginé noir et blanc par graphique virtuel.
Les graphiques facilement compatibles et réctangulaires des dimensions moyens, sont accompagnés par graphique-frise très long avec l´accent surtout linéaire qui mène au troisième segment du travail, l´animation adequate qui ne se truove pas dans l´espace de la galerie, mais à une adresse précise de l´internet.
Le projet artistic entier est un reflet de la nature rationale et analitique de l´être artistic da Aleksandra Smiljkovic - Vasovic, dans le domaine expressif des beaux-arts, bien sur. La dimension spatiale - constructive claire dans ces travaux est le résultat d´un désire de voir l´espace imaginaire - virtuel dans lequel le séquence régulaire de la répétition et de changement des formes te des images est visible. Le rythme régulier et clair de changementdes cubes et des carrées, observés des angles differents, produisent une dinamique et l´impression du mouvement mécanique régulier.
Alors, le phénomen du moun\vement est intensifié par la sensation de la ligne pleine, blanche et de la ligne blanche entercoupéqui en outre a le message clair de indicateur. Par le troisième segment, par l´animation-mouvement vivide, on met en relief le mouvement encore une fois comme une vérité elementaire de base.
En subliment les impressions de ce qu´on voit on ne se peut pas échapper àl´impression quíl s´agit d´un artiste qui n´aime pas la pathétique mais qui a une approche imaginaire - rational en expression artistique. Largement, poétiquement, on peut approuver l´exposition comme un désire personel d´ Aleksandra de la libertépar un voyage personelpar des espaces illimités de l´interieur de soi-même, alors, d´un monde virtuel qui donne à chaque personne le sentiment de portée de la liberté qui est autrement inaccessible. La monochromie froide et la rigidité d´ordre méchanique des formes géometriques données, mène à une certaine désorientation de l´individue humain contemporaine auquel les acquisitions de la civilisation et les prospérités téchnologiques prennent définitivment le tribut en richesse des omotions, de l´autre côté.
De tout cela, parmi la reste, Aleksandra Smiljkovic - Vasovic pense en haut voix et se demende même par cette exposition.

À Belgrade, octobre 2001.

Ivona Rajacic - Barandovski, l´historien des beaux-arts

Traduction Dorotea Pantelic

 

this work took part at

SALON DE ARTE DIGITAL, Havana, Cuba, 2006

 

e75

Computer Animation, Sketch for Art Computer Game, Net-art, Work in Progress, 2003

more animation

 

serbian (english below)

 

Tri obruca (nivoa), od kojih je sve tezi i tezi onaj koji je blizi sredistu, okruzuju cilj, bonus, zdanje muzeja.
Prepreke su egzibicionisti koji mlataraju krilcima svojih mantila.
Sto je tezi nivo, gusci su i suma i egzibicionisti.
Suma drugog obruca (nivoa) je duplo gusca i po pitanju egzibicionista i po pitanju vegetacije) od sume u parku i sume egzibicionista prvog nivoa.
Takodje, suma drugog nivoa je mracnija od one u prvom.
Najtezi, treci nivo je gotovo nemoguce savladati. Ne samo da je ucestalost egzibicionista u prasumi treceg obruca enormna, vec je i toliko mracno, da je i obicno kretanje skoro nemoguce, a da se i ne govori o kretanju sa toliko egzibicionista na putu.

· Igra pripada zanru koji je tek u zacetku- umetnicke kompjuterske igre
· Igra moze da se igra interaktivno na televiziji, internetu ili na kompjuteru, znaci sa CD-a
· Moze da igra jedan ili vise igraca istovremeno 
· Video igrica je prilicno jednostavna, najvise lici na neku decju igricu. Igra je zamisljena kao 3D, (moze i sa 2D elementima). 
· Detalje u vezi sa pokretima likova, akcijama i td. tek treba razraditi u dogovoru sa onim ko se bavi programerskim delom posla
· Sastoji se od 3 nivoa, koje treba savladati da bi se doslo do cilja.
OPIS
I NIVO: sve se desava u nekoj sumi. U daljini se vidi cilj, neka zgrada (muzej) u koju igrac zeli da udje. Da bi dosao do te zgrade, igrac mora da prodje kroz sumu. Medjutim, tu postoje i neke prepreke. Suma je gusta, mracna, a osim toga, na neocekivanim mestima stalno se iznenada pojavljuje neka ljudska figura, (egzibicionista) koja, kao, plasi igraca tako sto pravi neke smesne pokrete- na primer skace, mlatara rukama i nogama. Igrac te prepreke moze da savlada tako sto ih eskivira, zaobidje ili ih poprska nekim specijalnim sprejom, nesto kao dezodorans, pa one nestanu. 
II NIVO: sve je isto kao u i nivou, ali je suma gusca i mracnija, a vise egzibicionista se cesce pojavljuje
III NIVO: sve je isto kao u II nivou, ali je suma jos gusca, jos mracnija, a jos vise egzibicionista se jos upornije i cesce pojavljuje.
CILJ: posto igrac savlada sve nivoe, on dolazi do cilja, tj. ulazi u zgradu u koju je zeleo da udje.
U celini posmatrano, igra nije narocito teska, moze da se savlada i treba da bude smesna i zabavna.

 

The bonus (entrance of the museum) is in the center of the scene, surrounded with three hoops (levels). The level is more difficult to overcome if it is closer to the center.

The obstacles are exhibitionists flaunting and flickering the wings of their coats.
The density of the forest and exhibitionists rises with the growth of the levels' difficulties.
The forest of the second hoop (the exhibitionists and the vegetation) is twice denser then the forest in the PARK and the forest of the exhibitionists of the first level.
Then, the FOREST of the second level is much more difficult to tress pas than the forest of the first one.
The frequency of the exhibitionists in the JUNGLE of the third hoop is enormous and so dusky, with so many exhibitionists on the way that any movement is almost impossible.

· This computer game is kind of digital artwork.
· The players can play the game as an interactive game (on TV or internet) on computer, etc… 
· One or more players can play the game at the same time
· Characters and the scenes are mostly 3D
· The game should be funny, amusing and not very difficult to play although it is artwork
· There are three levels of the game
DETAILS:
THE FIRST LEVEL: the scene is taking place in some kind of the forest. There is a building of the museum in distant plane of the scene, which represents the aim, the bonus of the game. The player has to get into the building walking through the woods. But there are some obstacles. The forest is dense, dark, and some strange character, an exhibitionist, keeps appearing unexpectedly. This character is trying to scare the player by making fanny and ridiculous poses, flaunting, flickering, fluttering, clapping, capering, frisking…The player can overcome those obstacles by avoiding, ignoring, skipping them, or using a special spray, like deodorant to make them disappear
THE SECOND LEVEL: the same scene like in the first level, but the forest is denser and darker, with more exhibitionists that appear more often. 
THE THIRD LEVEL: the same scene like in the second level, but the forest is even denser and darker, with more exhibitionists that appear more often. 
THE BONUS: getting in the building of the museum

 

This project took part at:

 

2004 Prix Ars Electronica 2004, CyberArts 2004, Net Vision, Linz, Austria

2004 no-org.net new Jerusalem art network, Jerusalem, Israel

2005 Istanbul Contemporary Art Museum, iS.CaM, Web Biennial 2005

2006 "Lights in the Black Box", "Galata Perform", an independent art centre in
Istanbul

 

exhibiting-01
exhibiting-02
exhibiting-03
exhibiting-04
exhibiting-05
exhibiting-06
exhibiting-a-1
exhibiting-a-2
exhibiting-a-3

exhibiting

safety

safety

Want to Go to Cuba Part Two

e75

Self-portrait I

Internet Project, 2012

 

selfportraitone-by-aleksandra-vasovic

Self-portrait 

Internet Interactive Artwork, 2004

 

Focus on one spot between the eyebrows for 20 seconds without winking, then look at the distant clear wall.

I used natural phenomenon to present very traditional theme in new way and new media. Also, my intention was to bring traditional, private theme (self-portrait), usually shown in private, indoor spaces, into public space, to put it in the place normally used by advertising agencies for their campaigns. So, the work will be exposed to the wide audience.

 

This project took part at:

2004 Artscape 04, HALL OF PORTRAITS, Pinkard Gallery, Bunting Center, Maryland Institute College of Art, USA

 

selfportrait

Webbienal10

link

 

Kryptonite Overdose

Work in progress, 2015

It is not only multimedia, but also multidisciplinary artwork.

Besides new media art category, I also create art work using traditional art techniques, such as: oil on canvas, acrylic or watercolor paintings, drawings. But I also use digital art, digital prints, and computer animation and so on.

This is the art work which will obviously become an element of my long term artistic projects group.

What does it mean?

Well, this is indication that this art work will not be exhibited only and exclusively at the typical art gallery or similar exhibiting space. No, it will be omnipresent. It would consist of some elements that I usually use while approaching some artistic themes through various artistic media.  

So, this artistic idea will be explored and manifested in a form of paintings, drawings, computer animation, prints, video, art talks, and light installations performances and so on.

I again claim that my art work is never interrupted by anything. As art work, I define anything I observe and encounter every moment of my existence. I am artist all the time, I don’t pause it. Everything inspires and delights me; I turn everything into the work of art.

Interestingly this artwork was directly inspired and initiated with another artwork. Or, more accurately, it was triggered by recent awkward and obscure cancelling of this other artwork.

Obviously the notorious and obscure, disgusting cancellation of Liquid Sky was that trigger and accelerator of the Kryptonite Overdose birth.

Childhood and upbringing of this long term art project is of course provided by care and love of me, its authoress.

But its development, evolution and excellence is unintentionally granted by shallow, envious, obscure people and structures who accompanied the life of the Liquid Sky as well as my other art projects. Luckily for me, and unfortunately for them, they are actually an excellent compost which enriches the soil where my art blossoms. And, yes it is true, like any compost, they smell like hell, this is the characteristic of their role: disgusting odor.

So we can see that this artistic creation can expect an abundant journey. As everything on this plane, it is born through contrast.

It is useless and absurd to complain when experience contrast, for it is not pleasant.

But, can we deal with contrast? Are there any techniques which can guard us from contrast’s unpleasant unlikable appearances? Can we use some spiritual techniques or methods to conquer this ugly and unfair tormentor?

We were very lucky because there are no sedatives and sedative techniques to remove contrast from our experience for good. Still, they can be of assistance, but only temporarily, because, it is much wiser and pragmatic to, sooner or later, directly confront the so called evil.

Which is the best option to directly confront and conquer this evil?

The best, and fortunately the only way is not to resist it, but to completely accept it, or even better, to be grateful for the circumstances.  When you are really, truly, wholeheartedly grateful for everything which comes your way, then, there is no evil anymore. Everything is bliss.

And this is why we exist here on this plane. Don’t react automatically, just stop, think, and realize how everything is perfect. Easy? Not so much. Lol. Because this is what we are practicing here for eons: not to identify with drama. On the other hand, it is fun, funny game.

 

paintings

link

 

nasturtium

Installation Art, Ambience

Pavillion of The Fortress, Contemporary Art Gallery, Nis, Serbia, 1999

 

serbian (english and french below)

 

SUMA PO MERI NASEG VREMENA

Suma je zbir istih i istovremeno sasvim razlicitih jedinica. Na svakoj od tih jedinica postoji nerpregledan niz istih, i opet ponesto razlicitih delova. Recimo lisca. Suma je, sa druge strane, snazna arhetipska slika - u bajkama se uvek neka nevolja zacinje ili desava u gustim i pomalo mracnim sumama. Ekolozi ce nas, pak, uveriti da je suma osnovna jedinica naseg opstanka - reci ce da su sume pluca sveta i da njihovo propadanje i proredjivanje znaci ozbiljnu opasnost za opstanak planete. Slikari su od davnina slikali senovite i pomalo zagonetne ambijente lugova- setimo se Djordjoneove "Oluje" i mnogih drugih dela. Ambijentalni rad Sandre Smiljkovic, naravno, nastaje u drugim vremenima, na drugacijim iskustvima i koristi sasvim druge mogucnosti i parametre, iskustva iz onoga sto je Valter Benjamin nazvao "epohom tehnicke reprodukcije". Osnovna poluga ambijentalnog rada Aleksandre Smiljkovic jeste kontrast. Unosenje "sume" u pomalo zapusteni galerijski prostor koji je svojom dispozicijom pogodan da primi ovakav rad je kontrast otvoreno-zatvoreno. Tema i realizacija, opet, zahvataju drugi kontrast, kontrast prirodno-vestacko. U sve to umece se i treci kontrast, kontrast uniformno - raznoliko. U samu realizaciju umece se, upotrebom ogledala, i kontrast slika - odraz. Svi ti rasponi tvore jedan pre svega blago ironican, duhovit ambijent. On je, iako formalno razlicit, sasvim na liniji dosadasnjih istrazivanja Aleksandre Smiljkovic ostvarenih u tradicionalnom mediju slike. Ali, istovremeno, on otvara siroke mogucnosti za dalje iskorake u pravcu novih radova i celina izvedenih sasvim novim sredstvima visoke tehnologije.

 

FOREST TO OUR TIMES MEASURE

A forest is a sum of the alike and, in the same time, unlike particles. There are in each of those particles innumerable series of alike and again somehow unlike elements. Leaves, for one. The forest is, on the other hand, a strong archetypal picture - in tales, the plots are conceived, or they occur in dense and slightly darkened forests. The ecologists will ensure us, though, that the forest is the basic element of our existence - they will say that they are the lungs of the planet and that their decay and thinning out is a serious hazard to life on Earth. Since long, the artists painted opaque and some mysterious atmosphere of the groves - to mention Giorgione's 'Storm' and many other... The ambient structure of Sandra Smiljkovic, of course, is a work of different times, based on different experience, using altogether altered potentials and starting points, the experience which Walter Benjamin called 'the Epoch of Technical Reproduction'. The basic lever of her work is a contrast. Inclusion of the 'Forest' in a slightly neglected gallery ambience and its disposition to embody this construction, in fact, is a contrast of closed-unenclosed. The theme and its realization, again catch one other contrast, natural-unnatural. There within lies one more, and that is the contras of alike - unlike. And with the mirror constellations, another polarity emerges, image - reflection. All these scopes create one delicately ironic, humorous surrounding. Being formally different, it is still in agreement with the foregoing research work of Aleksandra Smiljkovic, created in her traditional painted work. In the same time, this one opens spacious possibilities for further steps out to new entirety and work, produced with break-through means of hight technology.

 

LA FORÊT SUR MESURE DE NOTRE TEMPS

La forêt est la somme des même et, simultanément, des tout à fait différantes unités. Sur chaque de ces unités existe une immense série des mêmes, et quelque peu encore, différante partie. Par exemple des feuilles. La forêt, d'autre part, est une forte image archétype- dans les fables, chaque malheur commence ou bien a lieu dans les bois épais et un peu ténébreux. Les ecologistes, cependant, vont nous persuader que la forêt est une unité fondamental de notre existence- ils vont nous dire que les foréts sont les poumons du monde et que leur décadence et raréfaction signifie un péril très sérieux pour la existence de la planète. De toute ancienneté les peintres ont peint les ambiances forestiers ombreux et un peu mystérieux- "l'Orage" de Giorgione ou bien des autres œuvres. L'œuvre ambiante de Sandra Smiljkovic commence, bien entendu, dans les autres temps, sur les différentes expériences et profite les paramètres et les possibilités tout à fait différentes, l'expérience de ça que Walter Benjamin a nommé "l'époque de la reproduction technique". Levier fondamental de l'œuvre ambiante de Aleksandra Smiljkovic est- contrast. L'introduction de "la forêt" dans l'espace négligé de la galerie propice de recevoir, avec sa disposition, telle œuvre est un contraste ouvert- fermé. Le thème et la réalisation, d'autre part, prennent l'autre contrast, contraste naturel- artificiel. Dans tout ça s'interpole même un troisième contraste, contraste uniforme- varié. Dans la réalisation même s'interpole, avec l'usage des miroirs, un contraste: image- reflet. Toutes ces dimensions créent tout d'abord une ambiance d'esprit, discrètement ironique. Elle est, même formellement différente, complètement sur la ligne des recherches jisqu'à présent de Aleksandra Smiljkovic réalisées par un médium traditionnel- peinture. Mais, en même temps, elle ouvre les larges possibilités pour les ultérieurs pas en direction des nouvelles œvres et totalités réalisées avec tout à fait nouveaux moyens de la haute technologie.

MILETA PRODANOVIC

 

only the ball

Interactive Art Light Installation and Performance, Ambience, Computer Animation

Center for Cultural Decontamination, Belgrade, 2001

 

photo by Vesna Pavlovic

 

ondulazione

Drawings, Ambience, Computer Animation

Italian cultural center, Belgrade, 2001

 

Mickey Pearce in Space 

Internet Project, Artwork, 2006

link

 

women

Internet project or artwork, 2006

link

 

sretjan racun

Internet project or artwork, 2006

link

 

liquid sky

Work in progress, interactive art light laser Installation, art performance, 2015

It is another long term art project which I am developing for some time. It consists of some new media art works, such as digital print, digital animation, but also light art installation, light performance, art performance, artist action and so on.  I will create some artworks in traditional art techniques about the same theme, like oil and acrylic paintings, watercolors, drawings. Stay tuned.

LIQUID SKY, one-night light performance and installation was supposed to be opened as my exhibition on June 17th 2015 at the renowned public institution SKC in Belgrade, Serbia. And two days before the opening, completely out of the blue, for unclear reasons, a technician (outside SKC) refused to install the laser show. The institution (SKC) and I had to cancel this much anticipated event. Is it possible only in Serbia? How the art world in civilized countries would react and respond to this?

The light installation is installed in two horizontal levels, which are moving slowly horizontally (up and down) for several inches.  They are also constantly altering colors creating the illusion or impression of clouds which are slowly flowing…visitors are immersed in clouds…this is why the title of the artwork is this...and this is also the laser show effect’s name…

This artwork is actually three dimensional, some kind of sculpture or a mise-en-scène, or computer game, theater play, a compound of light and air…also animated by the motion of visitors immersed in it.

Obviously, important part of light installation are the visitors, non-professional actors, which spontaneously, without premeditation and rehearsing enter the installation, the artwork…they are walking around the space, walking on the clouds, or across the sky, heaven…they interact with the 

So, step into the light, merge with it, play, observe, jump or perform whatever you like…Easy, isn’t it?

 

Crucially Important Disposition of Fluorescent Pink Rose Petals 
in Time and Space

Work in progress, interactive art light Installation, art performance, 2008

serbian and english

Ambience  (artistic installation) "Crucially important disposition of fluorescent pink rose petals in space" is part of a series of similar artistic installations that I produce for  years.


Art installation consists of computer animation of fluorescent pink rose petals flying trough  space with some lightning effects incorporated in animation itself. Lightning effects are fluorescent pink light which sparkles from time to time. Animation is presented on the walls and on the several semi-transparent vertical backgrounds that are hanging from the ceiling to the floor. Animation is also presented on the bodies and faces of the people walking trough space between the semi-transparent surfaces. When somebody is exposed to animation and its lightning effects by walking trough the space, it seems that the observer is a part of the installation and the installation is a part of the observer. There is an interaction between all elements of the installation, including the observers. The disposition of fluorescent pink rose petals in space changes every second and makes different scene and impression. Every scene is different, the scenes are never the same, they are in constant state of change. Also, everybody has his own interpretation of the scene and impression. So, everybody has infinite number of completely different scenes and impressions. For the visitors, each of them has crucially important disposition of fluorescent pink rose petals in space, because it will be gone and change completely in the very next moment, and will never be the same.

 

This project took place at

Solo Exhibition "Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space" 
Ambient Art Installation -- Painting, Computer Animation, Lightning Efects
ULUS Gallery, Belgrade, Serbia, 2013

VII and IX SALÓN DE ARTE DIGITAL /2005 , 2011, Museo de Arte Contemporáneo del ZULIA, MACZUL, Venezuela

SAME 2011 – 4th International Workshop on Semantic Ambient Media Experience (NAMU Series), 29th June-2nd July 2011in conjunction with the 5th International Conference on Communities and Technologies, Brisbane, Australia

“Krucijalno važan raspored fluorescentnih pink ružinih latica u vremenu i prostoru”
u 19h je otvaranje (sreda), traje od 31.7 – 13.8.2013.
Galerija ULUS, Knez Mihajlova 37, Beograd

“The Next Phase of Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space” By Aleksandra Vasovic, MindTrek 2014, November 4-7, 2014, Tampere, FINLAND, paper published here

2015 SKC Filmforum, CRUCIALLY IMPORTANT DISPOSITION OF FLUORESCENT PINK ROSE PETALS IN TIME AND SPACE, video projection, discussion, video art and light  performance by Aleksandra Vasovic and Kvaka teatar, 2015, SKC, Belgrade

2016, "Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space", paintings, drawings, Galery of the Republic Center for Study in Cultural Development, Belgrade, Serbia

Samostalna izložba nosi naziv “Krucijalno važan raspored fluorescentnih pink ružinih latica u vremenu i prostoru”  i sastoji se od elemenata kao što su: slika velikog formata rađena u tehnici akrilik na platnu i ambijentalne instalacije (kompjuterska  animacija  sa svetlosnim efektima emitovana u prostor galerije pomoću kompjutera i video bim projektora).


Izložba je deo većeg umetničkog projekta koji se već nekoliko godina u različitim varijantama izlaže u našoj zemlji i u inostranstvu na grupnim izložbama i radionicama, a ovo je prvi put da se izlaže u obliku samostalne izložbe u galerijskom prostoru. Ovaj umetnički projekat se sastoji iz radova rađenih u različitim umetničkim tehnikama: crtež, akvarel, slika, kompjuterska animacija, kompjuterski print, ambijentalna instalacija, net art, video. Posle samostalne izložbe, projekat nastavlja da se razvija i dalje. 


U  prethodnoj fazi, ovaj projekat je skromnim sredstvima podržalo Ministarstvo kulture Republike Srbije.

 

 

Prisutnost nevidljivog

Stvaralačko iskustvo Aleksandre Vasović odredjuju dva principa.  
Jedan je istraživanje prostora u magiji razigrane projektovane  slike, a  drugi je naginjanje nad istim tim svetom i nastojanje da se on učini boljim. Istovremeno ona problemski posmatra vremenski tok života i prisustvo spolja nevidljivog.

Dvanaestom po redu samostalnom izložbom Aleksandra Vasović kao i dosad, bez obzira na različitost inspiracija, tema i sadržaja, ne odustaje od analize svog prostora. U traganjima kroz njegova dva izdiferencirana plana i njihovu  viševremensku  i "vanremensku" atmosferu, ona ostaje dosledna sebi, svojoj prirodi i potrebi za pročišćenim, idealnim i trajnim, a u čemu je sadržano ono nevidljivo.

Umetničko polje dogadjanja, u kojem se vrši projekcija, svedoči da je njena umetnost  "mesto" i "dogadjaj" susretanja unutrašnjeg i spoljašnjeg sveta i njihovih  fizičkih  kretanja. Motor i snaga njenog stvaralaštva jeste  "putovanje" kroz sam život i ono je metafora (preko specifičnih formi dešifrovanja) za razliku koja postoji izmedju 
vidljivosti pojava i njihove tajnovitosti. Metodički ona prevazilazi protivurečnost  fantazije i fantazmagorije. Njena projekcija, zapravo led light  fluoroscentna ambijentalna instalacija, transponuje i formu i boju i kroz jedan kliše kreira  idealizovanu stvarnost kao jednu "novu realnost". Ovakvim stavom ona artikuliše i proces koji umnožava elemente /boju, formu, svetlost/, skladišti ih i povezuje u celinu. Prožimanjem i preklapanjem istih elemenata stvara se osećaj  sveprisutne  "samoće",  što može da se prevede i kao izolovana egzistencija čoveka u savremenoj stvarnosti. Autentično i originalno ona svoju umetnost sagledava kroz prizmu različitih situacija,  potrebe za sigurnošću i ličnog identiteta. Nepogrešivo u pronalaženju teme ona gradi "igru" po vlastitim pravilima  i na taj način svesno i istrajno kontrira stereotipima naše egzistencije, obrascima ukusa i komunikacije. Izazov da proširi medje svoje umetnosti, a koje je formulisala i odredila posmoderna, 
prihvatila je kao analizu sopstvenog umetničkog dela, naročito onih njenih skrivenih delova.

Radovima izloženim u Galeriji ULUS,  njihovim  formatom i samom koncepcijom, svesna težine i značenja iskustva koje poseduje i kao dobro informisan umetnik, koji prati sva umetnička dostignuća, Aleksandra Vasović daje odgovore na odredjena pitanja savremene umetnosti. Sam postupak u radu je manje zanima, dok težište prenosi na rezultat umetničkog procesa i delovanja. Za nju kao stvaraoca to je primaran faktor.

U anatomiji svog rada izvršila je analizu i odredila elemente, uspešno i dobro savladane, koji mu daju karakteristike medija kojim se bavi. Projekcijom svog projekta u prostoru ona potvrdjuje znalački pristup i iskustvo. Ona slikom projekta, koja preplavljuje ambijent i posetioca - posmatrača, bez ograničenja iskazuje svoju misao, polje dešavanja i lično osećanje. Svesna tog  strukturalnog, sugestivnog i duhovnog potencijala  koristi moć pink roze boje i njenog optimalnog odnosa sa oblikom i nemirnom svetlosti, kao likovnim elementima, a što je potpuno jednako svim onim vrednostima koje u dobrom spoju čine dobru formu. Boja ovde kao dominantni element projekta ima svoju primarnu ulogu čistog likovnog elementa  i sastavni je deo  lične ikonografske sintakse. Galerijski prostor u kojem se stvara i odvija dogadjaj u svim njegovim dimenzijama, zapravo se iznova kreira dobijajući osobine jednog neograničenog kosmičkog prostranstva. Oblici se tom prilikom pretapaju i uranjaju jedni u druge,  pri čemu svaki sledeći liči na senku onog prethodnog. Raslojene forme koje se rasprostiru, spontano udaljavaju i tonu u nedogled kosmičkih prostranstava, kao  i "masovnost" osenčenih formi isključivo tonovima već prisutne pink boje,  svetlost i dodiri daju svojevrstan ritam. Ovaj projekat nudi mnoštvo različitih tumačenja baš zato što ima  simbolički sloj kojim mogu da se evociraju značenja i odredjene analogije.

Izložba u galeriji ULUS reklo bi se da u sebi sadrži siže kao istoriju u malom. Ako bi se u projektu nešto menjalo, onda bi to bio znak da  koncepcija treba da se redefiniše, a time se  otvara i nova etapa jednog kontinuiteta. Sadržaj i bogatstvo likovnog promišljanja u okvirima ovoga projekta doprinose našoj savremenoj, srpskoj umetnosti. Izložbi možemo pripisati, dakle,  smer recentnog umetničkog stvaralaštva. Kvalitetima imanentnim ovde zastupljenom mediju  i aktuelnim načnom izražavanja saopštava se još jedan korak dalje u pravcu istoga smera.

Jasminka Plavšić Djerković

istoričar umetnosti

 

“Crucially Important Disposition of Fluorescent Pink Rose Petals 
in Time and Space”
Opening at 7 p.m. (Wednesday), 
duration in period between 7/31 and 8/13 2013
Galeriy ULUS, Knez Mihajlova 37, Belgrade

Independent exhibition is entitled “Crucially Important Disposition of Fluorescent Pink Rose Petals in Time and Space”and consists of elements such as: big format painting made using acrylic on canvas technique and ambient installation art (computer animation with light effects emitted in gallery space using a computer and video beam projector).
The exhibition is a portion of larger artistic project that has been exhibited in our country and abroad for several years now, in different versions, at group exhibitions and workshops. For the first time it is exhibited independently in gallery space. This artistic project consists of works made in various artistic techniques: drawing, aquarelle, painting, computer animation, computer print, ambient installation art, net art, and video. After independent exhibition, the project will continue its permanent expansion. 
In previous stage, the project was supported with scarce resources allocated by the Ministry of Culture of the Republic of Serbia.

 

Presence of the invisible

Creative experience of Aleksandra Vasovic is determined by two principles. One is exploration of the space in a magic of playful projected image, and other is leaning over that very world and a tendency to make it better. At the same time, she observes the course of life and presence of the invisible from problematic standpoint.

At the twelfth independent exhibition, Aleksandra Vasovic stays faithful to the analysis of her space, regardless of variety of inspiration, topics and contents. In searches through their differentiated plans and their multi-time and everlasting atmosphere, she stays true to herself, her nature and need for purified, ideal and permanent, containing the invisible element.

Artistic field of occurrence used for projection supports the fact that her art is a place and event of encountering internal and external world and their physical motions. Triggering force and power of her creation is a journey through life itself representing a metaphor (thru specific decoding forms) for discrepancy between visibility of occurrences and their secrecy. Methodic-wise it transcends contradiction of a fantasy and phantasmagoria. The projection, essentially led light fluorescent ambient installation transposes both the form and the color through a cliché creating idealizing reality as the new reality. This position allows her to articulate the process multiplying elements (color, form, light), store them and interconnect into an integer. Permeation and overlapping of the same elements created a sense of the ubiquitous loneliness, which can be translated as the isolated human existence in contemporary reality. In authentic and original way she perceives her arts through a prism of different situations, need for security and personal identity. Impeccable in finding topics, she builds her game by her own rules, in this way deliberately and permanently opposing the stereotypes of pour existence, taste and communication patterns. She accepted the challenge of expanding her arts, formulated and determined by postmodern, as an analysis of own artistic work, particularly the underlying part.  

With her works exhibited in the Gallery ULUS, the form and the very concept, well aware of the gravity and relevance of experience that she has as well as well informed artist following all artistic achievements, Aleksandra Vasovis provides answers to some questions of contemporary arts. Procedure used in work is less of her interest, whilst she transfers focus to the result of an artistic process and actions. For her as a creator it is a primary factor.

In anatomy of her work she made an analysis and determined elements, successfully and well mastered, that provides features of the media in question. By projecting her project in the space she reaffirms knowledgeable approach and experience. She overwhelms the ambient and visitor-observer with the project visualization, expressing without limitations her thought, field of activities and personal feeling. Aware of this structural, suggestive and spiritual potential she uses the power of pink color and her optimal relation with the form and restless light, as visual elements, completely equal to all values merged into good form when properly connected. The color as a dominant element of the project has its primary role of visual element and is a consisting part of iconography syntax. The Gallery space used for creating and unfolding of an event in all its dimensions is once again created by gaining features of unlimited space expanse. The forms are then morphing and inter-merging, where the following resembles the shadow of the latter. Stratified expanding forms spontaneously distant and swamp into indefinite space expanses, as well as mass presence of shadowed forms solely with tones of already present pink color, where the light and touches provide unique rhythm. This project offers vast number of different interpretations because of its symbolic layer allowing evocation of the meaning and certain analogy.

It is safe to say that the exhibition in the Gallery ULUS contains the abstract, history in short. Is anything is to be changed in the project, it would mean that it is necessary to redefine it, thereby opening the new stage of a continuity. Contents and richness of an artistic thought within the form of this project contribute to our contemporary, Serbian art. The exhibition can be assigned a course of recent artistic creation. Quality immanent present media and actual way of expressing, announce a step further in the same direction.

Jasminka Plavšić Djerković

Art historian

Translation by Vesna Lazarević

 

 

All IS one

Interdisciplinary interactive work-in-progress, light installation and performance, computer animation, texts

 

 

 

 

 

 

 

 

 

all-is-one-aleksandravasoviccom

This is interdisciplinary interactive work-in-progress, which incorporates several disciplines and methods, like light installation and performance, computer animation, texts, and so on.

The first phase of this work All Is One Demonstration was presented at the international academic conference Mindtrek 2016, Tampere, Finland in the form of the light installation and performance, conducted both in Tampere, in Belgrade and all over the world via live-streaming. In that way the observers of the artwork became its participants and co-creators. The observers/participants/co-creators’ comments and interactions were documented via the discussion’s interface and they are the integral part of the work, as well as the apposite conference paper published at the ACM Digital Library.