Marko Stojanovic shows the core of his interests and research in the field of visual communications by his works exhibited at the ART Clinic. Although still a student of the Academy of Arts in Novi Sad, Stojanovic introduces himself as an already profiled artist who has mastered the medium, capable of clearly transposing his intellectual etudes into visual messages. The works from the cycle H&H – Hajduk Veljko vs. Hamlet are a result of his reaction to Brand-ization, trademarking and typisation strongly and obsessively penetrating all aspects of our everyday existence and often having an aggressive impact on intellect. Stojanovic, as a representative member of the generation growing up in the times of a global domination of the brand ideology and manipulation on the widest level (born in 1982), recognizes codes and their traps without succumbing to them. Such an attitude enables him to stay focused on his education and relaxed about the famous. Searching for the essence, the author primarily turns towards exploring the bases of brand communication – typology and typisation. The research into the range of meanings and effects of already established archetypal models – Hajduk Veljko as a canon figure of the Macho principle, active battle and heroism on one side, and Hamlet as a symbol of unrecognized intellectual honesty and a search for an ethical codex on the other, Stojanovic carries out by comparing them to the newly established symbols of the current civilization effects. Crude and often cruelly sarcastic combination resulting from it reveals the non-sense created by overusing an archetype which after the stadium of being a prototype becomes a stereotype. In the history and theory of art it has already been established that humor and irony are the starting points of realism, and that caricature is one of the strongest instruments of the criticism and expressions of the essence. The combination of the archaic and primitively shaped relief of Hajduk Veljko made from a beaten copper plate and a sophisticated, and (not irrelevant) waxed model shaped by body building taken from the covers of Playgirl or gay web sites (completely all the same and yet again very important) clearly shows the mechanism of ideological distortion. A widely spread use (abuse) of a myth deprives the content of the archetype of any sense whatsoever. An irresponsible utilization destroys the sense in most cases. The kitschy décor used by Stojanovic is not an act of ridicule, but an act of reminding us of the responsibility in creating brands and an act of provoking the audience into considering this topic..                                                        
Dejan Radovanovic

 


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Clash of Mythologies
---‘Hajduk Veljko vs. Hamlet’ exhibition in the ‘Art Klinika’ Gallery in Novi Sad---
The Novi Sad based gallery ‘Art klinika’ continues its daring exhibiting policy of representing innovative young artists whose work is somewhere on the edge of experiment and the established scene, between everyday life and highly aesthetic values, between new and classical means of expression. This is the place where Marko Stojanivic (Negotin, 1982) is currently being presented, a third-year graphical design student from the Novi Sad Academy of Fine Arts, with his exhibition of digital prints and installations named ‘Hajduk Veljko vs. Hamlet’. The entire exhibition relates to the myth mania marking our reality and the relationship towards cultural tradition and art, especially so in respect to smaller communities such as Negotin where Stojanovic comes from, and where he draws his inspiration from. The cult of Hajduk Veljko is especially strongly cherished there, where many institutions such as a hospital, restaurants, mill, football club and fitness centre bear this hero’s name, which inspired Stojanovic to put the figure of this folk hero opposite symbols of masculinity from the world of show business, naked muscular athletes from gay and women’s magazines in his digital prints. It is all made in a kitschy style seasoned with yellow-red roses and orchids, decorative wall papers, Turkish sabers, reared horses and erotic scenes taken from Worhal’s record sleeves or the bathroom interior from pop-artist Veselmann’s canvas. One of the backgrounds shows a list of contemporary foreign artists with Hajduk Veljko’s name inserted among them, and next to the sign post with the hero’s name there is a builder standing on the pedestal of an antique pillar. On the other side we have a series of Hamlet-like delicate man characters, a bit feminine, adorned with blue flowers. And in these very contrasts is where Stojanovic’s poetic and ironic play, which has a universal value, take place.
Andrej Tisma


Photos from the gallery