with Bojana Romić

2002, installation

The gallery has one glass side facing the central Belgrade square.

The photo of the square was taken from the gallery, developed and placed inside the same space. Due to deliberately altered developing procedure, the photo was rapidly decomposing during the exhibition (untill there was nothing left but the clear, white surface).
The photo (in its ever-changing state) was rephotographed every day and then these documents were hung in front of the gallery, forming a time-line.
What we have here is the alteration of the very term “photography” (as a “frozen time” or “preserved image”), from its static to dynamic state. Then, there is the relation between live broadcasted TV image, photography and direct view of the visitor.On the other hand, surveilance cameras imply to another social phenomenon : the society of controlling and supervising.

Nevertheless,  between the seductive photo image and even more seductive TV broadcast, is the sincere experience of observing possible?

Camera 1 is registering the process of decomposition.

Camera 2 is recording the interior of the gallery.

Camera 3 is recording the square in front of the gallery (so that we have the same image on the decomposing photo and TV3).

in front of the gallery, day one

in front of the gallery, day seven

in front of the gallery, day thirteen

images on TV, day 9

“We must act quickly if we still want to see anything. Everything disappears… Where is the color that continues to emanate from the substance of the thing? What remains as substance for the eye?”

Pol Cezanne