Tafil Musović (1950), Mlečane, Kosovo
Graduated from the Academy of Fine Art Belgrade, Yugoslavia (1969-1974).
Postgraduate studies on the Academy of Fine Art Belgrade, Yugoslavia (1977-1979).
Prize for the Best Drawing on the Academy of Fine Art Belgrade (1970), RTV Studio B Prize for the best exhibition (1977), Basissstipendium- Fonds voor Beeldende kunsten (1966,2000,2004,2008).
Works and lives in Amsterdam, The Neherlands.
For more than three decades now, Tafil creates compositions of strikingly sensibilized lines and peculiar nervature, constantly investigating the spiritual condition of contemporary civilization. The human being is in the center of his attention, even on those seldom occasions when there is no one in the painting. First and foremost he treats the human figure as a depersonalized mass, almost in terms of the sculpture. Tafil’s painting unfolds in continual dialogues with the classics of the world painting: from Kranach, Uccelo, Masaccio, via Munch, Soutin, Beckmann, to Bacon of course, but also with prominent writers, poets, thinkers, those who are close to him.
Constantly changing the strategies of the struggle for the meaning and the dignity of the painting, confronted with its hypetrophy, with emancipation of the simulacra, and their uncontrolled distribution within the virtual space, where all contents are devaluated and became meaningless, Tafil had begun to wrestle with civilization which insolently renounces its foundational postulates and distances itself from them, without offering any other acceptable and sustainable humanistic concept. To put it simply, he said: “Enough!” and with his bare hands started the fight with Goliath.
He devotedly begun to search through various press materials, to surf the Internet, to select, to make clippings, to print, thus creating a strange photo-archive of largely bizarre, “trash” scenes, most often with an ingredient of “twisted” humor. In dialogue with them, he begun to form his own visions, the most recent map of drawings – “Without Title”, made in Amsterdam during 2013. He creates his compositions by means of the pencil, charcoal, ink and pen, tempera, and finishes with his fingers, with an immediate contact, thus adding the density of emotion and meaning, the dramatics, but also a certain tactility and plasticity. In his drawings Tafil reframes the Baconian treatment of the space as “the cage”, the stage defined by Euclidean, linear perspective, by means of unexpected perspective turns and fractures, and creates an illusion that the space sometimes permeates the human figure and goes through it, which in fact is the feature of the society of discipline and control in which everything becomes transparent. The walls, the people, their thoughts, their intimacy – they all cease to exist, the limits between the public and the private are erased. Through investigation of animal, (non)human and divine nature of man, Tafil suggests here that in contemporary space the limits between the human and the nonhuman have disappeared.
On his anxious, gloomy cabaret stages, with tones of Weimar decadence and occasional breaths of restrained humor, of controlled emotion and gesture, there are “noble stains” which have a special role – they emerge spontaneously, by shaking off the brush or by running of the ink. While explaining the process of drawing as a walk through the forest, where a man leaves his traces, Tafil wants to leave a trace of his mistake too, since he believes that it is possible for someone to find it only if it is lost.Danijela Purešević