Vladimir Peric-born in 1962 in Zemun,in SFRJ. He studied graphic and photography at the Faculty of Applied Arts and Design in Belgrade. From 1986 to 1996 with the pseudonym Talent he had 19 solo exhibitions and he took part in 47 group exhibitions. From 1996 as a member of Talent Factory group he had 17 solo exhibitions and he took part in 62 group exhibitions. His works were published in the following magazines: Domus, How, Graphics International, Blue, European Photography, Kvadart, Eterna, Rec. New Moment, Remont Art Magazin…
Made in Yugoslavia is one of the many this year’s exhibitions by a hyperactive artist who has been using the pseudonym Talent Factory for years. He is an artist with a big production who never repeats himself, no matter how often he exhibits. Of course, his language is always recognizable but surprises go without saying. This exhibition is different in a special way, anticipated by the title which implies a unique political involvement. But in this exhibition, Talent does not treat the political aspect of the disintegration of the former Yugoslavia . Instead he is focused on his personal memory, deprived of banal nostalgia. It is a part of the memory which belongs to everyone born before the 70s. The idea of Yugoslavia is deeply rooted into our memory. We used to draw maps in geography classes and we were supposed to know by heart all the borders, mountains, rivers and mineral resources. The symbols of national identity (domestic knitwear, the Yugo car) became a part of our personalities which we do not try to suppress.
Talent is one of those artists who prepares every exhibition suitable for the space where he exhibits. This time, the works are designed for the gallery Haos, having in mind the space, the concept of the exhibition and the very name of the gallery.
The drawing of the contour lines of Yugoslavia an a blackboard, precisely done as a result of a long mechanical practice in childhood and not so precise drawings of the republics and provinces done on a small, children’s blackboards are also the reflection of our memory, intensive or vague.
The work made of a strip used for marking the origin of a product is basically a spatial drawing, a “line’ used for writing the word “Haos” (Chaos) which has a number of meanings in this case. From respect for the very name of the gallery to the deep feeling of disorientation caused by the disintegration of the country.
The back door of the Yugo car whose windshield wiper unsuccessfully tries to wipe another drawing (the borders of Yugoslavia ) testifies the intensity of a deep tattoo of the idea which meant much more than the mere political frame to us.