Drawing Art Gallery CHAOS

Vladan Radovanović
was born in Belgrade, September 5 th , 1932. He graduated in composition at the Belgrade Music Academy in the class of Prof. Milenko Živković. He was one of the founders of the Radio Belgrade Electronic Studio, and its head from 1972 to 1999. In 1993 he initiated the SINTUM Open Group Project.

His creative domain is music as well as painting, literature, new media and polymedia synthesis. Coinciding with avant-garde streams, yet independently from them he researched in the field of the vocovisual, projects (1954), tactile art (1956), polymedia and body action (1957), tape music (1960), electronic music (1966), computer music (1976), and computer graphics (1988). The central position in his creative poetics is reserved for the ART SYNTHESIS. He has authored over 200 theoretical texts on music and new tendencies in the arts.

He has worked in experimental music studios in Warsaw (1966), Paris (1969), U trecht (1976) and Budapest (1987). He has had 1 9 individual exhibitions and performances at home and abroad.

He has been the recipient of ten domestic and international awards for music (among them three first prizes at Yugoslav Radio Music Competition, October Award of the City of Belgrade 1971, Second Prize for electroacoustic music in Bourges 1979, Gianfranco Zafrani Award at Prix Italia 1984, First Prize at the International Review of Composers, Belgrade 1998), three awards for literature (one of them the award of the prestigious publisher Nolit in 1968) and four for visual arts (among them   the First Prize of the Ministry of Culture for the best multimedia exhibition in 1992, and the First Prize for video in Sao Paolo 1997). He is a member of the Serbian Composers Association and Serbian Fine Arts Association. Since 2001 he has been Guest Lecturer for Polymedia at the University of Arts in Belgrade. In 2005 he received an honorary Ph D in music at University in Columbus, Ohio.
The title of this work of synthesized art points at the collusion between the (visual) and the (acoustic) line ( linea , Lat. line, stroke, flax thread; aria, Ital. also means melody, air) and their specific synthesis.
Line is the source and origin of a drawing. Its properties are direction, thickness, strength and two types of velocity. The first, the velocity of the line's emergence, is not gleaned directly and is “read” instead from the nature of the line. In Linearia the lines do not rely on that velocity. In Linearia the drawing breaks through the left and right edge of the usual rectangular format and moves forward to the left or to the right (the directions representing the course of time in the Western civilisation). Owing to our mobile perception Linearia' s circumscribed drawing acquires fluidity necessitating the velocity of observation. This is the line's other velocity which more than just being perceived directly represents the perception itself. It is our “rendition” of the drawing in an unforeseeably changing tempo.

Linearia is more than a drawing made of lines. Here too, undoubtedly, a sheaf of lines generates a drawing, but these lines do not sacrifice their noticeability to the drawing and stand out in it instead. Linearia is a drawing about the line. Dedicated to the line, it addresses its properties and also something much more substantial: its existence. Therefore, its non-existence as well. It reveals how a line becomes an anti-line when it disappears in the split in the underlying surface. And the line disappears differently when after breaking up into dashes it ends by breaking down into dots.

In its movement around the line undergoes a transformation. From clearly outlined twists it creates the twists of meaning which can be words about the line itself. But in Linearia the use of words to consider one's own nature does not go beyond a hint. I aspired to achieve a certain mental characteristic of the work, directly but ambiguously, using as the basic means the line and its shaping rather than words as a non-poetically vicarious yet grossly non-ambiguous means.

Music is the second component of Linearia. Electronic sounds and words create a structure of eight voices analogous to the visual structure. However, just as the graphics here is not a set of scripts intended, like a musical score, to draw the attention to the rendition and possesses instead its own visual regularity, so the music, rather than just “practising” graphic lines, finds room in the clearance of reciprocal analogising to manifest its own musical regularity. In point of fact, both components – in line with the principle of synthesised art – developed simultaneously, through their interaction.

The third, visual-acoustic, component of Linearia is a temporally defined projection of animation on a place on the video tape. This animation, like a “loop”, makes it possible to behold the tape in its totality.

Since the exhibition space enters the work, consideration was given to the space which the work will enter. Although Linearia can also be displayed in some other suitable space, it was created with the Chaos Art Gallery in mind. Vladan Radovanović

Vladan Radovanović

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