Making Traces – summary

I like Tate. A lot. Last year I lived really close to it, so I would spend almost every weekend there. The space makes me calm. It’s clean, spacious, there’s a lot of heavy metal constructions and ceilings are unreasonably tall – just as I like them to be.


Main reasons why I like Tate, besides sterile architecture are as following:

a) Good art
b) Huge bookshop
c) Location (Bankside is so FETCH.)
d) Making fun of pretentious ‘art critics’



It wouldn’t be art enough if it wasn’t black and white

I love how people stare at simple canvases just for the sake of appearing intellectual, trying to figure out what it is that they’re actually looking at. When I stare at canvases, it’s mainly because I’m trying to find sense in what I see. I can’t say I find much sense in contemporary art. Maybe some rare examples like Marina Abramović ( A) because performance is great and B) you gotta love some politically charged art) and Braco Dimitrijević. I find them amusing. Most contemporary art isn’t. It’s unreachable to viewers. Artists put themselves in positions where they are unreachable, and it’s wrong. Abramović does these amazing performances where she’s vulnerable. And that’s what art should be, at least good art.


Here’s me looking, this time not in black and white. I prefer colour anyway


This was my favourite piece in the whole Making Traces exhibition, besides the amazing golden leaf canvas (it was so good, like modern-day Klimt and I like Klimt, a lot)

And here’s the actual review:

My only client is my mom

Working with same principles as in my referencing essay poster, I made another one.

I would love to say A CLIENT, but it was my mom, can’t lie, that asked me to turn a verse from the Bible into a poster. Considering the verse is about strength, I’ve used photographs of Roman soldiers I took in V&A.


psalam image



A story about Slovenia and North Korea

There is a small country in Europe, right next to Croatia and Hungary – JK, that does not help anyone determine the geographical location, so what if I say Italy and Austria?

So, yes. There is a small, and when I say small, I do mean small – like Toscana or Lombardia sized country. It used to be a part of The Great Socialist Federal Republic of Yugoslavia. (I just added ‘The Great’ bit)

Yugoslavia was a socialist state, which existed from mid 40’s till early 90’s.

And socialism did good to music. Serbia and Bosnia and Herzegovina produced some ah-mazing rock bands, that are beloved all across the Balkan region even today. Regardless of ethical nationalism, we can all agree that Riblja Čorba is amazing.

80’s were especially good to Slovenia – a controversial political and art group was born as a response to the Nazi annexation during WWII and seven centuries prior to that. It was called Neue Slowenische Kunst (from German – New Slovenian Art).

Guys like Laibach, IRWIN, Gledališce Sester Scipion Nasice (all collectives) took upon a quest of using art as a form of social commentary and commenting on the state’s ideology. One of the main ideas was uncovering totalitarianism, not as some historical abstraction, but the present.

To conjure this idea of provocative and radical art:

Name of this song is a total lie. No one dances to Laibach. You politely clap after every song, sip on your beer while avoiding eye contact with a middle-aged couple making out (talking from personal experience).

Laibach in Zagreb at the Museum of Modern Art, August 2015

So how does a Southern / Eastern-ish European country fit in the dictatorship of North Korea? It has everything to do with Norway.

Artist Morten Traavik organises cultural exchanges with North Korea, and he directed Laibach’s Whistleblower video. Which is exactly how Laibach became the first Western band to perform in Pyongyang.