Preparations for the exhibition in the Chaos Gallery. Relaxed conversation. Numerous questions, professional and personal, reflections of the private mythologies. About other and otherness. About reality and how to comprehend it.
Thus, D. M., for whom the work is necessity, wondered if there is any point in exhibiting. I remembered my professor and repeated her maxima ’Everything that exists in the world has some point.’ The truth is binding and decades of D.M.’s authorship confirm his dedication and remarkable energetic potential.
We have came to the problem of aging. Philosophical, artistic, psychological, biological phenomena. If we allow ourselves to be shaken by the chronometers and their too strong alarms, there will remain critical time gap and dilemmas: What have we done and has anything happen? Individualisation and choices. Futility or success? Restlessness or peace? Vital importance of the experience and mistakes. During the years, problems of the individual and his integrity are being concentrated as he learns how to structuralize the space and the unique time. Trust. Insight. Mirrored picture. Powerful, exciting and/or fatal self/reflection?...
Maybe that is why this exhibition is all about happiness. Its perception are variable. Aren’t the happiness and myth about it relative? According to Andrić ‘What does not hurt – it is not life, what is not temporary – it is not happiness.’
No. This artistic subversive game concept tests the hypothesis by which the politicians are the happiest people. Ironic and provocative thesis.
Of course, the politics and its opiate power leave nobody indifferent. Neither active nor passive members. Neither those who are pro, nor those who are contra. D.M.’s reception of happiness is only criticism of the ideological context, but also the articulated expression of personal being and personal existence. While looking at D.M.’s works, I think about powerfull weight of Grünewald’s paintings and wonder how would he paint the Crucifixion today.
In theory, there was already discussion on question of the art’s existence in the time of media and the internet communication. Practise has given positive answer. For D.M., drawing has power of the basic media. Similarly, the model of his exhibition is spatial and ambient situation released of hierarchic code and turned into system of relation drawing-painting-sculpture and consecutive points such as sculptural within artistic and picturesque within sculptural. In mutants’ happiness, cynicism, fragmentariness, far-outness, aggressive rhetoric, eroticism and non/permitted obscenity have interpreted with fierce chromatic action and scenic character of constructed puzzle-scenery. In such a freed space for the dialogue, it is also possible to generate personal moment of happiness.