MANIK EXHIBITION

May 31, 2004

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MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

THE EXHIBITION OPENS ON THURSDAY, JUNE 3RD AT 7 PM.

ULUS GALLERY, KNEZ MIHAJLOVA STREET 37, CLOSES ON 15TH OF JUNE

MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

The space of the new/old planet, one of the Earths, is a shadow of the form=
er Earth. Departure seen through the last look of an animal and girl. The m=
igration of molecules and their transfer into a shady settlement of a missi=
ng people. The suspension of all territories.

In the dispersed surface the shadow of compulsive light with no beginning, =
edits itself and connects itself into a leap.

A green desert, too many backgrounds, a desert unit. Repetition of the part=
icular and differential. A unit is the condition of repetition.

Deprived off negation. Conifers of black forests.

The secret of the brain and the girl wrapped in boxes and put away and aban=
doned. The secret of the brain and the girl carved out of marble and revele=
d as white, heavy and rectangular in shape. On the surface, along the lines=
of invasion, an illuminated egg, the egg of a battle. For a missing people.

First I gave birth to a ruby, or no, first I was a girl, or no, first I was=
roebuck, or no, first I had a concept, or no, I flew over to my lover, or =
no, first there was a sky which was not blue, or no, the sky and the blue c=
olor have no contact point, or no, first there were a people who were lover=
s, or no, after I imagined the second, third …not for the second, third, =
but for the space for a missing people.

In a glass bed, porous and monitored by the fan which originated at the sam=
e time as the missing people … is that a girl in a refugee flight?

But … the cloud, the cloud moves here and there alternating obliteration.=
I look aside and observe: the multitude and speed of alternations through =
physical operations.

LIST OF EXHIBITED WORKS

- Last Look of an Animal

acrylic on canvas, 170x260cm, 2004.

- Verwerfung, the egg of a battle

marble,steel,neon light 112x100x30cm,2003

- The Missing People, Lovers

oil on canvas, 120x85,2004

- A Girl in A Refugee Flight

glass, steel, synthetics, 90x181x50cm

- The Invasion of the Rear Lines,

acrylic on canvas, 160x220cm,2003

- Units

oil on canvas, 60x50(4 x),1997

- The Secret of the Brain and Girl, the Missing Space

300 boxes 'Verwerfung' 38x32x28cm,2003

-But … the cloud, physical operation

acrylic on canvas120x200cm,2003

Invisible in the wind

acrylic on canvas,160x220cm,2004

We have chosen for the exhibition MANIK, A MISSING PEOPLE such images, anno=
uncements, material, schedules, relations and acts which create conditions =
for a space where meaning appears. We have chosen them to be not only logic=
al but also physical requirements and acts.

The works have been created over a period of many years. Some of them were =
executed in other media forms, e.g. in the form of e-mail announcements po=
sted during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made =
in the form of posters and given away or were put together as Manik magazin=
e. We have used some of them to serve as links with the blocks we have done=
so far and by which dispersion is provoked …

We have decided to exhibit as a team, male-female, and vice versa, as bisex=
ual and multisexual, non hierarchical, it is a political decision: disguisi=
ng-creating-disappearing above and despite the chaos and change; to re-exam=
ine the place of these roles, which is in a way alienated by renouncing the=
possessed and desired, by speeding up and replicating them, and the reason=
and effect is found in the links it establishes and transcends as well as =
in the meanings that appear.

Each social context creates its own rejected zones (verwerfung), which the =
social contract does not see, since they are socially unacceptable, they ar=
e not places of freedom because they are not socialized, they are undemocra=
tic because they do not belong to the order of the majority. A multitude of=
surfaces and channels which are on the edge, the fringe, invisible, lackin=
g freedom, undemocratic, which establish their nomadic social context, a mi=
ssing people.

Nikola Pilipovic Marija Vauda

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

illIllustration:Invisible in the wind,acrylic on canvas,160x220cm.2004.

Nikola Pilipovic ,B.A. And M.A. At The Faculty of Fine Arts, Belgrade.

Marija Vauda ,B.A., Faculty of Applied Arts, Belgrade.

Both exhibited at numerous group exhibitions and had one-man shows in Serbi=
a and Montenegro and abroad.

Address: 29 Novembra 74/6, 11000 Belgrade

E-mail [email protected]

tel :011-764150

063 864 10 50

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MANIK, THE MISSING
PEOPLE<?xml:namespace prefix = o ns =
"urn:schemas-microsoft-com:office:office" /><o:p></o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p></=
P></DIV>
<DIV align=center> </DIV>
<DIV align=center><IMG align=baseline alt="" border=0 hspace=0
src="cid:001e01c44712$3f49c880$767789d5@e9o9t1"></DIV>
<DIV align=center> </DIV>
<DIV align=center>
THE EXHIBITION O=
PENS ON
THURSDAY, JUNE 3RD AT <?xml:namespace prefix = st1 ns =
=
"urn:schemas-microsoft-com:office:smarttags" /><st1:time Hour="19"
Minute="0">7
PM</st1:time>.<=
/P>
ULUS GALLERY,
<st1:Street><st1:address>KNEZ MIHAJLOVA=

STREET</st1:address></st1:Street> 37, CLOSES ON=

15TH OF JUNE<o:p></o:p>
<o:p> </o:p>
<o:p> </o:p>
<o:p> </o:p>MANIK, THE MISSING=

PEOPLE<o:p></o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p>
The space of the new/old planet, one of =
the
Earths, is a shadow of the former Earth. Departure seen through the last lo=
ok of
an animal and girl. The migration of molecules and their transfer into a sh=
ady
settlement of a missing people. The suspension of all
territories.<o:p></o:p>
<o:p> </o:p>
In
the dispersed surface the shadow of compulsive light with no beginning, edi=
ts
itself and connects itself into a leap.<o:p></o:p>
<o:p> </o:p>
A
green desert, too many backgrounds, a desert unit. Repetition of the partic=
ular
and differential. A unit is the condition of
repetition.<o:p></o:p>
Deprived off negation. Conifers of black=

forests.<o:p></o:p>
<o:p> </o:p>
The secret of the brain and the girl wra=
pped in
boxes and put away and abandoned. The secret of the brain and the girl carv=
ed
out of marble and reveled as white, heavy and rectangular in shape. On the=

surface, along the lines of invasion, an illuminated egg, the egg of a batt=
le.
For a missing people.<o:p></o:p>
<o:p> </o:p>
First I gave birth to a ruby, or no, fir=
st I
was a girl, or no, first I was roebuck, or no, first I had a concept, or no=
, I
flew over to my lover, or no, first there was a sky which was not blue, or =
no,
the sky and the blue color have no contact point, or no, first there were a=

people who were lovers, or no, after I imagined the second, third …not fo=
r the
second, third, but for the space for a missing
people.<o:p></o:p>
<o:p> </o:p>
In
a glass bed, porous and monitored by the fan which originated at the same t=
ime
as the missing people … is that a girl in a refugee
flight?<o:p></o:p>
<o:p> </o:p>
But … the cloud, the cloud moves here =
and
there alternating obliteration. I look aside and observe: the multitude and=

speed of alternations through physical operations.<o:p></o:p>=

<o:p> </o:p>
LIST OF EXHIBITED
WORKS<o:p></o:p>
<o:p> </o:p>
-
Last Look of an Animal<o:p></o:p>
acrylic on canvas, 170x260cm,
2004.<o:p></o:p>
<o:p> </o:p>
-
Verwerfung, the egg =
of a
battle<o:p></o:p>
marble,steel,neon light
112x100x30cm,2003<o:p></o:p>
<o:p> </o:p>
- The Missing People,
Lovers<o:p></o:p>
oil on canvas,
120x85,2004<o:p></o:p>
<o:p> </o:p>
- A Girl in A Refugee
Flight<o:p></o:p>
glass, steel, synthetics,
90x181x50cm<o:p></o:p>
<o:p> </o:p>
-
The Invasion of the Rear Lines,<o:p></o:p>
acrylic on canvas, 160x220cm,2003<o:p></o:p>
<o:p> </o:p>
- Units<o:p></o:p>
oil on canvas, 60x50(4
x),1997<o:p></o:p>
<o:p> </o:p>
- The Secret of the Brain and Girl, the Mis=
sing
Space<o:p></o:p>
300 boxes 'Verwerfung'
38x32x28cm,2003<o:p></o:p>
<o:p> </o:p>
-But … the cloud, physical
operation<o:p></o:p>
acrylic on
canvas120x200cm,2003<o:p></o:p>
<o:p> </o:p>
Invisible in the
wind<o:p></o:p>
acrylic on
canvas,160x220cm,2004<o:p></o:p>
<S=
PAN lang=SL
style="mso-ansi-language: SL"><o:p> </o:p>
<o:p> </o:p>
<o:p> </o:p>
We
have chosen for the exhibition MANIK, A MISSING PEOPLE such images,
announcements, material, schedules, relations and acts which create conditi=
ons
for a space where meaning appears. We have chosen them to be not only logic=
al
but also physical requirements and acts.<o:p></o:p>
<o:p> </o:p>
The works have been created over a perio=
d of
many years. Some of them were executed in other media forms, e.g. in the fo=
rm
of  e-mail announcements post=
ed
during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made in th=
e
form of posters and given away or were put together as Manik magazine. We h=
ave
used some of them to serve as links with the blocks we have done so far and=
by
which dispersion is provoked …<o:p></o:p>
<o:p> </o:p>
We
have decided to exhibit as a team, male-female, and vice versa, as bisexual=
and
multisexual, non hierarchical, it is a political decision:
disguising-creating-disappearing above and despite the chaos and change; to=

re-examine the place of these roles, which is in a way alienated by renounc=
ing
the possessed and desired, by speeding up and replicating them, and the rea=
son
and effect is found in the links it establishes and transcends as well as i=
n the
meanings that appear.<o:p></o:p>
<o:p> </o:p>
Each social context creates its own reje=
cted
zones (verwerfung), which the social contract does not see, since they are=

socially unacceptable, they are not places of freedom because they are not=

socialized, they are undemocratic because they do not belong to the order o=
f the
majority. A multitude of surfaces and channels which are on the edge, the=

fringe, invisible, lacking freedom, undemocratic, which establish their nom=
adic
social context, a missing people.<o:p></o:p>
<o:p> </o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p>
++++++++++++++++++++++++++++++++++++++++=
+++++++++++++++++++++++++++<o:p></o:p>
<o:p>ill<FO=
NT
color=#c0c0c0>Illustration:Invisible in the wind,acrylic on
canvas,160x220cm.2004. </o:p>
 
Nikola Pilipovic ,B.A. And M.A. At The F=
aculty
of Fine Arts, 
Belgrade.<o:p></o:p>
<o:p> </o:p>
Marija Vauda ,B.A., Faculty of Applied A=
rts,
Belgrade.<o:p></o:p>
<o:p> </o:p>
Both exhibited at numerous group exhibit=
ions
and had one-man shows in Serbia and Montenegro and
abroad.<o:p></o:p>
Address: 29 Novembra 74/6, 11000
Belgrade<o:p></o:p>
<FONT=

color=#c0c0c0>E-mail <A href="mailto:[email protected]">MANIK@ptt.yu</A><o:p></o:p>
tel :011-764150<o:p></o:p></=
FONT>
      063 864 1=
0
50<o:p></o:p>
<o:p> </o:p><=
/DIV></BODY></HTML>

——=_NextPart_001_0020_01C44723.02E36160–

Comments

2004-05-31 11:19, manik vauda marija manik nikola pilipovic

——=_NextPart_001_000E_01C44742.830B8380
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—– Original Message —–
Subject: MANIK EXHIBITION

MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

THE EXHIBITION OPENS ON THURSDAY, JUNE 3RD AT 7 PM.

ULUS GALLERY, KNEZ MIHAJLOVA STREET 37, CLOSES ON 15TH OF JUNE

MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

The space of the new/old planet, one of the Earths, is a shadow of the form=
er Earth. Departure seen through the last look of an animal and girl. The m=
igration of molecules and their transfer into a shady settlement of a missi=
ng people. The suspension of all territories.

In the dispersed surface the shadow of compulsive light with no beginning, =
edits itself and connects itself into a leap.

A green desert, too many backgrounds, a desert unit. Repetition of the part=
icular and differential. A unit is the condition of repetition.

Deprived off negation. Conifers of black forests.

The secret of the brain and the girl wrapped in boxes and put away and aban=
doned. The secret of the brain and the girl carved out of marble and revele=
d as white, heavy and rectangular in shape. On the surface, along the lines=
of invasion, an illuminated egg, the egg of a battle. For a missing people.

First I gave birth to a ruby, or no, first I was a girl, or no, first I was=
roebuck, or no, first I had a concept, or no, I flew over to my lover, or =
no, first there was a sky which was not blue, or no, the sky and the blue c=
olor have no contact point, or no, first there were a people who were lover=
s, or no, after I imagined the second, third …not for the second, third, =
but for the space for a missing people.

In a glass bed, porous and monitored by the fan which originated at the sam=
e time as the missing people … is that a girl in a refugee flight?

But … the cloud, the cloud moves here and there alternating obliteration.=
I look aside and observe: the multitude and speed of alternations through =
physical operations.

LIST OF EXHIBITED WORKS

- Last Look of an Animal

acrylic on canvas, 170x260cm, 2004.

- Verwerfung, the egg of a battle

marble,steel,neon light 112x100x30cm,2003

- The Missing People, Lovers

oil on canvas, 120x85,2004

- A Girl in A Refugee Flight

glass, steel, synthetics, 90x181x50cm

- The Invasion of the Rear Lines,

acrylic on canvas, 160x220cm,2003

- Units

oil on canvas, 60x50(4 x),1997

- The Secret of the Brain and Girl, the Missing Space

300 boxes 'Verwerfung' 38x32x28cm,2003

-But … the cloud, physical operation

acrylic on canvas120x200cm,2003

Invisible in the wind

acrylic on canvas,160x220cm,2004

We have chosen for the exhibition MANIK, A MISSING PEOPLE such images, anno=
uncements, material, schedules, relations and acts which create conditions =
for a space where meaning appears. We have chosen them to be not only logic=
al but also physical requirements and acts.

The works have been created over a period of many years. Some of them were =
executed in other media forms, e.g. in the form of e-mail announcements po=
sted during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made =
in the form of posters and given away or were put together as Manik magazin=
e. We have used some of them to serve as links with the blocks we have done=
so far and by which dispersion is provoked …

We have decided to exhibit as a team, male-female, and vice versa, as bisex=
ual and multisexual, non hierarchical, it is a political decision: disguisi=
ng-creating-disappearing above and despite the chaos and change; to re-exam=
ine the place of these roles, which is in a way alienated by renouncing the=
possessed and desired, by speeding up and replicating them, and the reason=
and effect is found in the links it establishes and transcends as well as =
in the meanings that appear.

Each social context creates its own rejected zones (verwerfung), which the =
social contract does not see, since they are socially unacceptable, they ar=
e not places of freedom because they are not socialized, they are undemocra=
tic because they do not belong to the order of the majority. A multitude of=
surfaces and channels which are on the edge, the fringe, invisible, lackin=
g freedom, undemocratic, which establish their nomadic social context, a mi=
ssing people.

Nikola Pilipovic Marija Vauda

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

illIllustration:Invisible in the wind,acrylic on canvas,160x220cm.2004.

Nikola Pilipovic ,B.A. And M.A. At The Faculty of Fine Arts, Belgrade.

Marija Vauda ,B.A., Faculty of Applied Arts, Belgrade.

Both exhibited at numerous group exhibitions and had one-man shows in Serbi=
a and Montenegro and abroad.

Address: 29 Novembra 74/6, 11000 Belgrade

E-mail [email protected]

tel :011-764150

063 864 10 50

——=_NextPart_001_000E_01C44742.830B8380
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<DIV> </DIV>
<DIV style="FONT: 10pt arial">—– Original Message —–
<DIV>Subject: MANIK EXHIBITION</DIV></DIV>
<DIV> </DIV>
<DIV align=center>
MANIK, THE MISSING
PEOPLE<?xml:namespace prefix = o ns =
"urn:schemas-microsoft-com:office:office" /><o:p></o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p></=
P></DIV>
<DIV align=center> </DIV>
<DIV align=center><IMG align=baseline alt="" border=0 hspace=0
src="cid:000c01c44731$bf2ec720$0100007f@e9o9t1"></DIV>
<DIV align=center> </DIV>
<DIV align=center>
THE EXHIBITION O=
PENS ON
THURSDAY, JUNE 3RD AT <?xml:namespace prefix = st1 ns =
=
"urn:schemas-microsoft-com:office:smarttags" /><st1:time Minute="0"
Hour="19">7
PM</st1:time>.<=
/P>
ULUS GALLERY,
<st1:Street><st1:address>KNEZ MIHAJLOVA=

STREET</st1:address></st1:Street> 37, CLOSES ON=

15TH OF JUNE<o:p></o:p>
<o:p> </o:p>
<o:p> </o:p>
<o:p> </o:p>MANIK, THE MISSING=

PEOPLE<o:p></o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p>
The space of the new/old planet, one of =
the
Earths, is a shadow of the former Earth. Departure seen through the last lo=
ok of
an animal and girl. The migration of molecules and their transfer into a sh=
ady
settlement of a missing people. The suspension of all
territories.<o:p></o:p>
<o:p> </o:p>
In
the dispersed surface the shadow of compulsive light with no beginning, edi=
ts
itself and connects itself into a leap.<o:p></o:p>
<o:p> </o:p>
A
green desert, too many backgrounds, a desert unit. Repetition of the partic=
ular
and differential. A unit is the condition of
repetition.<o:p></o:p>
Deprived off negation. Conifers of black=

forests.<o:p></o:p>
<o:p> </o:p>
The secret of the brain and the girl wra=
pped in
boxes and put away and abandoned. The secret of the brain and the girl carv=
ed
out of marble and reveled as white, heavy and rectangular in shape. On the=

surface, along the lines of invasion, an illuminated egg, the egg of a batt=
le.
For a missing people.<o:p></o:p>
<o:p> </o:p>
First I gave birth to a ruby, or no, fir=
st I
was a girl, or no, first I was roebuck, or no, first I had a concept, or no=
, I
flew over to my lover, or no, first there was a sky which was not blue, or =
no,
the sky and the blue color have no contact point, or no, first there were a=

people who were lovers, or no, after I imagined the second, third …not fo=
r the
second, third, but for the space for a missing
people.<o:p></o:p>
<o:p> </o:p>
In
a glass bed, porous and monitored by the fan which originated at the same t=
ime
as the missing people … is that a girl in a refugee
flight?<o:p></o:p>
<o:p> </o:p>
But … the cloud, the cloud moves here =
and
there alternating obliteration. I look aside and observe: the multitude and=

speed of alternations through physical operations.<o:p></o:p>=

<o:p> </o:p>
LIST OF EXHIBITED
WORKS<o:p></o:p>
<o:p> </o:p>
-
Last Look of an Animal<o:p></o:p>
acrylic on canvas, 170x260cm,
2004.<o:p></o:p>
<o:p> </o:p>
-
Verwerfung, the egg =
of a
battle<o:p></o:p>
marble,steel,neon light
112x100x30cm,2003<o:p></o:p>
<o:p> </o:p>
- The Missing People,
Lovers<o:p></o:p>
oil on canvas,
120x85,2004<o:p></o:p>
<o:p> </o:p>
- A Girl in A Refugee
Flight<o:p></o:p>
glass, steel, synthetics,
90x181x50cm<o:p></o:p>
<o:p> </o:p>
-
The Invasion of the Rear Lines,<o:p></o:p>
acrylic on canvas, 160x220cm,2003<o:p></o:p>
<o:p> </o:p>
- Units<o:p></o:p>
oil on canvas, 60x50(4
x),1997<o:p></o:p>
<o:p> </o:p>
- The Secret of the Brain and Girl, the Mis=
sing
Space<o:p></o:p>
300 boxes 'Verwerfung'
38x32x28cm,2003<o:p></o:p>
<o:p> </o:p>
-But … the cloud, physical
operation<o:p></o:p>
acrylic on
canvas120x200cm,2003<o:p></o:p>
<o:p> </o:p>
Invisible in the
wind<o:p></o:p>
acrylic on
canvas,160x220cm,2004<o:p></o:p>
<S=
PAN lang=SL
style="mso-ansi-language: SL"><o:p> </o:p>
<o:p> </o:p>
<o:p> </o:p>
We
have chosen for the exhibition MANIK, A MISSING PEOPLE such images,
announcements, material, schedules, relations and acts which create conditi=
ons
for a space where meaning appears. We have chosen them to be not only logic=
al
but also physical requirements and acts.<o:p></o:p>
<o:p> </o:p>
The works have been created over a perio=
d of
many years. Some of them were executed in other media forms, e.g. in the fo=
rm
of  e-mail announcements post=
ed
during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made in th=
e
form of posters and given away or were put together as Manik magazine. We h=
ave
used some of them to serve as links with the blocks we have done so far and=
by
which dispersion is provoked …<o:p></o:p>
<o:p> </o:p>
We
have decided to exhibit as a team, male-female, and vice versa, as bisexual=
and
multisexual, non hierarchical, it is a political decision:
disguising-creating-disappearing above and despite the chaos and change; to=

re-examine the place of these roles, which is in a way alienated by renounc=
ing
the possessed and desired, by speeding up and replicating them, and the rea=
son
and effect is found in the links it establishes and transcends as well as i=
n the
meanings that appear.<o:p></o:p>
<o:p> </o:p>
Each social context creates its own reje=
cted
zones (verwerfung), which the social contract does not see, since they are=

socially unacceptable, they are not places of freedom because they are not=

socialized, they are undemocratic because they do not belong to the order o=
f the
majority. A multitude of surfaces and channels which are on the edge, the=

fringe, invisible, lacking freedom, undemocratic, which establish their nom=
adic
social context, a missing people.<o:p></o:p>
<o:p> </o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p>
++++++++++++++++++++++++++++++++++++++++=
+++++++++++++++++++++++++++<o:p></o:p>
<o:p>ill<FO=
NT
color=#c0c0c0>Illustration:Invisible in the wind,acrylic on
canvas,160x220cm.2004. </o:p>
 
Nikola Pilipovic ,B.A. And M.A. At The F=
aculty
of Fine Arts, 
Belgrade.<o:p></o:p>
<o:p> </o:p>
Marija Vauda ,B.A., Faculty of Applied A=
rts,
Belgrade.<o:p></o:p>
<o:p> </o:p>
Both exhibited at numerous group exhibit=
ions
and had one-man shows in Serbia and Montenegro and
abroad.<o:p></o:p>
Address: 29 Novembra 74/6, 11000
Belgrade<o:p></o:p>
<FONT=

color=#c0c0c0>E-mail <A href="mailto:[email protected]">MANIK@ptt.yu</A><o:p></o:p>
tel :011-764150<o:p></o:p></=
FONT>
      063 864 1=
0
50<o:p></o:p>
<o:p> </o:p><=
/DIV></BODY></HTML>

——=_NextPart_001_000E_01C44742.830B8380–

2004-05-31 13:15, manik vauda marija manik nikola pilipovic

——=_NextPart_001_002C_01C44753.6FB4E400
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charset="iso-8859-1"
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MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

THE EXHIBITION OPENS ON THURSDAY, JUNE 3RD AT 7 PM.

ULUS GALLERY, BELGRADE,KNEZ MIHAJLOVA STREET 37, CLOSES ON 15TH OF JUNE

MANIK, THE MISSING PEOPLE

Nikola Pilipovic Marija Vauda

The space of the new/old planet, one of the Earths, is a shadow of the form=
er Earth. Departure seen through the last look of an animal and girl. The m=
igration of molecules and their transfer into a shady settlement of a missi=
ng people. The suspension of all territories.

In the dispersed surface the shadow of compulsive light with no beginning, =
edits itself and connects itself into a leap.

A green desert, too many backgrounds, a desert unit. Repetition of the part=
icular and differential. A unit is the condition of repetition.

Deprived off negation. Conifers of black forests.

The secret of the brain and the girl wrapped in boxes and put away and aban=
doned. The secret of the brain and the girl carved out of marble and revele=
d as white, heavy and rectangular in shape. On the surface, along the lines=
of invasion, an illuminated egg, the egg of a battle. For a missing people.

First I gave birth to a ruby, or no, first I was a girl, or no, first I was=
roebuck, or no, first I had a concept, or no, I flew over to my lover, or =
no, first there was a sky which was not blue, or no, the sky and the blue c=
olor have no contact point, or no, first there were a people who were lover=
s, or no, after I imagined the second, third …not for the second, third, =
but for the space for a missing people.

In a glass bed, porous and monitored by the fan which originated at the sam=
e time as the missing people … is that a girl in a refugee flight?

But … the cloud, the cloud moves here and there alternating obliteration.=
I look aside and observe: the multitude and speed of alternations through =
physical operations.

LIST OF EXHIBITED WORKS

- Last Look of an Animal

acrylic on canvas, 170x260cm, 2004.

- Verwerfung, the egg of a battle

marble,steel,neon light 112x100x30cm,2003

- The Missing People, Lovers

oil on canvas, 120x85,2004

- A Girl in A Refugee Flight

glass, steel, synthetics, 90x181x50cm

- The Invasion of the Rear Lines,

acrylic on canvas, 160x220cm,2003

- Units

oil on canvas, 60x50(4 x),1997

- The Secret of the Brain and Girl, the Missing Space

300 boxes 'Verwerfung' 38x32x28cm,2003

-But … the cloud, physical operation

acrylic on canvas120x200cm,2003

Invisible in the wind

acrylic on canvas,160x220cm,2004

We have chosen for the exhibition MANIK, A MISSING PEOPLE such images, anno=
uncements, material, schedules, relations and acts which create conditions =
for a space where meaning appears. We have chosen them to be not only logic=
al but also physical requirements and acts.

The works have been created over a period of many years. Some of them were =
executed in other media forms, e.g. in the form of e-mail announcements po=
sted during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made =
in the form of posters and given away or were put together as Manik magazin=
e. We have used some of them to serve as links with the blocks we have done=
so far and by which dispersion is provoked …

We have decided to exhibit as a team, male-female, and vice versa, as bisex=
ual and multisexual, non hierarchical, it is a political decision: disguisi=
ng-creating-disappearing above and despite the chaos and change; to re-exam=
ine the place of these roles, which is in a way alienated by renouncing the=
possessed and desired, by speeding up and replicating them, and the reason=
and effect is found in the links it establishes and transcends as well as =
in the meanings that appear.

Each social context creates its own rejected zones (verwerfung), which the =
social contract does not see, since they are socially unacceptable, they ar=
e not places of freedom because they are not socialized, they are undemocra=
tic because they do not belong to the order of the majority. A multitude of=
surfaces and channels which are on the edge, the fringe, invisible, lackin=
g freedom, undemocratic, which establish their nomadic social context, a mi=
ssing people.

Nikola Pilipovic Marija Vauda

illIllustration:Invisible in the wind,acrylic on canvas,160x220cm.2004.

Nikola Pilipovic ,B.A. And M.A. At The Faculty of Fine Arts, Belgrade.

Marija Vauda ,B.A., Faculty of Applied Arts, Belgrade.

Both exhibited at numerous group exhibitions and had one-man shows in Serbi=
a and Montenegro and abroad.

Address: 29 Novembra 74/6, 11000 Belgrade

E-mail [email protected]

tel :011-764150

063 864 10 50

——=_NextPart_001_002C_01C44753.6FB4E400
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MANIK, THE MISSING
PEOPLE<?xml:namespace prefix = o ns =
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Nikola Pilipovic Marija
Vauda<o:p></o:p>
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THE EXHIBITION O=
PENS ON
THURSDAY, JUNE 3RD AT <?xml:namespace prefix = st1 ns =
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STREET</st1:address></st1:Street> 37, CLOSES ON=

15TH OF JUNE
&n=
bsp;
<o:p> </o:p>MANIK, THE MISSING=

PEOPLE<o:p></o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> </o:p>
The space of the new/old planet, one of =
the
Earths, is a shadow of the former Earth. Departure seen through the last lo=
ok of
an animal and girl. The migration of molecules and their transfer into a sh=
ady
settlement of a missing people. The suspension of all
territories.<o:p></o:p>
<o:p> </o:p>
In
the dispersed surface the shadow of compulsive light with no beginning, edi=
ts
itself and connects itself into a leap.<o:p></o:p>
<o:p> </o:p>
A
green desert, too many backgrounds, a desert unit. Repetition of the partic=
ular
and differential. A unit is the condition of
repetition.<o:p></o:p>
Deprived off negation. Conifers of black=

forests.<o:p></o:p>
<o:p> </o:p>
The secret of the brain and the girl wra=
pped in
boxes and put away and abandoned. The secret of the brain and the girl carv=
ed
out of marble and reveled as white, heavy and rectangular in shape. On the=

surface, along the lines of invasion, an illuminated egg, the egg of a batt=
le.
For a missing people.<o:p></o:p>
<o:p> 
First I gave birth to a ruby, or no, fir=
st I
was a girl, or no, first I was roebuck, or no, first I had a concept, or no=
, I
flew over to my lover, or no, first there was a sky which was not blue, or =
no,
the sky and the blue color have no contact point, or no, first there were a=

people who were lovers, or no, after I imagined the second, third …not fo=
r the
second, third, but for the space for a missing
people.<o:p></o:p>
<o:p> </o:p>
In
a glass bed, porous and monitored by the fan which originated at the same t=
ime
as the missing people … is that a girl in a refugee
flight?<o:p></o:p>
<o:p> </o:p>
But … the cloud, the cloud moves here =
and
there alternating obliteration. I look aside and observe: the multitude and=

speed of alternations through physical operations.<o:p></o:p>=

<o:p> </o:p>
</o:p><o:p></o:p><o:p>
LIST OF EXHIBITED
WORKS<o:p></o:p>
<o:p> </o:p>
-
Last Look of an Animal<o:p></o:p>
acrylic on canvas, 170x260cm,
2004.<o:p></o:p>
<o:p> </o:p>
-
Verwerfung, the egg =
of a
battle<o:p></o:p>
marble,steel,neon light
112x100x30cm,2003<o:p></o:p>
<o:p> </o:p>
- The Missing People,
Lovers<o:p></o:p>
oil on canvas,
120x85,2004<o:p></o:p>
<o:p> </o:p>
- A Girl in A Refugee
Flight<o:p></o:p>
glass, steel, synthetics,
90x181x50cm<o:p></o:p>
<o:p> </o:p>
-
The Invasion of the Rear Lines,<o:p></o:p>
acrylic on canvas, 160x220cm,2003<o:p></o:p>
<o:p> 
- Units<o:p></o:p>
oil on canvas, 60x50(4
x),1997<o:p></o:p>
<o:p> </o:p>
- The Secret of the Brain and Girl, the Mis=
sing
Space<o:p></o:p>
300 boxes 'Verwerfung'
38x32x28cm,2003<o:p></o:p>
<o:p> </o:p>
-But … the cloud, physical
operation<o:p></o:p>
acrylic on
canvas120x200cm,2003<o:p></o:p>
<o:p> </o:p>
Invisible in the
wind<o:p></o:p>
acrylic on
canvas,160x220cm,2004<o:p></o:p>
<S=
PAN lang=SL
style="mso-ansi-language: SL"><o:p> 
We
have chosen for the exhibition MANIK, A MISSING PEOPLE such images,
announcements, material, schedules, relations and acts which create conditi=
ons
for a space where meaning appears. We have chosen them to be not only logic=
al
but also physical requirements and acts.<o:p></o:p>
<o:p> </o:p>
The works have been created over a perio=
d of
many years. Some of them were executed in other media forms, e.g. in the fo=
rm
of  e-mail announcements post=
ed
during 2002-2004 on the Rhizom.org.(Rhizome _Raw) Some have been made in th=
e
form of posters and given away or were put together as Manik magazine. We h=
ave
used some of them to serve as links with the blocks we have done so far and=
by
which dispersion is provoked …<o:p></o:p>
<o:p> </o:p>
We
have decided to exhibit as a team, male-female, and vice versa, as bisexual=
and
multisexual, non hierarchical, it is a political decision:
disguising-creating-disappearing above and despite the chaos and change; to=

re-examine the place of these roles, which is in a way alienated by renounc=
ing
the possessed and desired, by speeding up and replicating them, and the rea=
son
and effect is found in the links it establishes and transcends as well as i=
n the
meanings that appear.<o:p></o:p>
<o:p> </o:p>
Each social context creates its own reje=
cted
zones (verwerfung), which the social contract does not see, since they are=

socially unacceptable, they are not places of freedom because they are not=

socialized, they are undemocratic because they do not belong to the order o=
f the
majority. A multitude of surfaces and channels which are on the edge, the=

fringe, invisible, lacking freedom, undemocratic, which establish their nom=
adic
social context, a missing people.<o:p></o:p>
<o:p> </o:p>
Nikola Pilipovic Marija
Vauda<o:p></o:p>
<o:p> 
<o:p>ill<FO=
NT
color=#c0c0c0>Illustration:Invisible in the wind,acrylic on
canvas,160x220cm.2004. </o:p>
 
Nikola Pilipovic ,B.A. And M.A. At The F=
aculty
of Fine Arts, 
Belgrade.<o:p></o:p>
<o:p> </o:p>
Marija Vauda ,B.A., Faculty of Applied A=
rts,
Belgrade.<o:p></o:p>
<o:p> </o:p>
Both exhibited at numerous group exhibit=
ions
and had one-man shows in Serbia and Montenegro and
abroad.<o:p></o:p>
Address: 29 Novembra 74/6, 11000
Belgrade<o:p></o:p>
<FONT=

color=#c0c0c0>E-mail <A href="mailto:[email protected]">MANIK@ptt.yu</A><o:p></o:p>
tel :011-764150<o:p></o:p></=
FONT>
      063 864 1=
0
50<o:p></o:p>
<o:p> </o:p>
</o:p></o:p></o:p></FO=
NT> </o:p></DIV></BODY></HTML>

——=_NextPart_001_002C_01C44753.6FB4E400–

2007-02-23 06:06, manik vauda marija manik nikola pilipovic

MANIK,FULLSIZEIMAGE(2007)>>>>>>>http://seecult.org/v-web/gallery/album88
MANIK,THE MISSING PEOPLE(2005)>>>http://seecult.org/ipw-web/gallery/album03

—————————————————————————-
—-

MANIK.
——

MANIK is the name adopted by Belgrade artists Marija Vauda and Nikola
Pilipovic for their collaborative practice. This collaboration has led to
work in a wide range of media over the last decade from improvisations with
paint on gallery walls or on bare flesh through installations of painting
and sculpture to the virtual media of email and weblogs. This diversity is
the product of pursuing a realistic artistic practice in a changing world.
This realism is social,
artistic, and personal.

Faced with a wall of cardboard boxes each of which MANIK have printed the
word "verwerfung" on it might seem reasonable to ask what is being represent
at all, never mind whether it is realistic or not('The Secret of the Brain
and Girl,The Missing space').
Andy Warhol's grocery boxes represented only grocery boxes, and for Arthur
Danto this represented the end of art itself, but there is no such brand as
"verwerfung", and these are actual cardboard, not painted wood. Verwerfung
is a word used by Sigmund Freud and later Gilles Deleuze to describe a state
of mind beyond denial or repression. In this sense it means the repudiation
or complete
sealing away of unbearable thoughts or memories. It originally meant a
geological fissure or faultline, its psychological use indicates a similar
break.

The wall of boxes has a companion, a small low table of stone with
"verwerfung" carved into its top and a bright light shining onto the
floor from its underside('Verwerfung,the egg of a battle'). Both pieces are
allegories of verwerfung, or repudiation. But repudiation of what? The
unbearable is boxed
away, but there is a lot of it. The unbearable is sealed behind
thick stone, but the light of the truth shines out. On another wall,
in the same brown as the boxes, is a list of names. Whose names?
(Wood panel with 200 repetitions of words/terms/idioms: without
parents,withoud children,without ideology,without nation,without
state,without competition,without imitators,without human….)
Another painting shows a family at the beach in rich pinks and
blues('Invisible in the wind').
One of the children has his fists up to play fight with an unseen
figure. Or a missing figure, as if a totalitarian bureaucrat or a
mass media producer has taken his airbrush to a photograph. There is more.
The canvas painted with words in unfashionably rounded letters, this time in
English rather than German, "But… the cloud", in cloud white on sky blue.
There is a carpet rolled up (too tight to hold a body) and stuffed on the
shelf of another table, this time glass rather than stone. There are
paintings of numbers, but only the figure 1 in rough black on an
undifferentiated dull green ground.

Each of these works relates to the others. Sometimes they relate
directly, as with the two verwerfungs. Sometimes they relate to other
relations between works, like the beach scene. There is an interplay of
formal qualities and of references to places and things outside the gallery.
This animates those references, making the viewer party to a discussion, or
at least a set of reminiscences, between the pieces that build up and
combine to create an image (for an expanded sense of the word "image") of a
state of loss, perhaps of unbearable loss, and of the repudiation of this.

This is not a sealed world of hermetic meaning. It has internal
complexity, certainly, but it reaches out to the world of lived
experience of events that are already measurable as history. This is a
visual poetry of formal and historical references. The installation is an
allegory for a real psychological or social state in a historic moment. This
indirection allows it to bypass the viewer's psychic filters and impart the
full force of its message. This is realism because it is a presentation of
reality that could not be achieved so effectively any other way. The endless
detail of news reports overwhelm the senses. What is left is psychologically
unbearable.
Individuals and society as a whole must seal it away and call it
history. But to do so takes a lot of boxes, and the light of the
facts takes a lot of stone to bury.

Despite modern art's protests to the contrary history has a way of
contaminating everyday life. Aerial bombardment, economic collapse, social
unrest and regime change become personal when they are happening outside
your window, or breaking your window.
MANIK's
performances involving the allegorical figures of virtue and
unstoppable history, or their performances involving giving away
gifts are both responses to the events around them. They are also
artistic responses, part of another dialogue that MANIK hold, with
global contemporary art.

MANIK's work animates a set of relations betwen references to the artistic
and historical wider world. But as an artistic collaboration MANIK
themselves are a relationship that must be negotiated, a small social world.
The studio is a site of dialogue rather than solitude for them. This
dialogue is at the heart of the production of their work. MANIK produce work
from their creative synergy that would not happen otherwise. An art group is
no different from a rock music group in this respect. Some work is produced
by one or the other of them, some is produced together. The people in the
painting of the family in "The Missing People" were painted by one, and the
waves of
the sea by the other. The final image has a unity, as the show has a unity,
and this unity is built on a shared framework of concepts and a shared
artistic ability that is visible even in their earliest work.

MANIK's work represents international contemporary art practice with
unnering precision. The paintig such as '((()))((()))'an image of nested
brackets of various sizes in a generic typeface that ironises abstraction,
shows the depth of MANIK's engagement with contemporary art practice. It
contains many references in a single image. A Bridget Riley Op-Art painting.
A Cold War artificial intelligence program writen in the Lisp programming
language. A complex conversation with the content removed and only the
structural traces of digression remaining. But it did not start as a
painting, or even
a drawing.

The first version of the image was made using the web page language HTML and
sent in an email to the Rhizome net art community. MANIK have been active
participants in the Rhizome community for some years
now, and this has informed their practice on a number of occasions. Taking
part in the "Free Manifesta" organised via Rhizome informed their
perfromances around the idea of art as a form of gift (and in the case of
their performance piece of buying drinks for everyone in their local bar the
gift as a form of art).

The email was then recontextualised as an image in MANIK's weblog. Weblogs
are the public diaries of the internet. They often have an informal,
intimate or even confessional feel. They are a deflationary context for art,
paintings lose their detail, sculptures are rendered weightless, even
electronic work loses its focus. But when the medium is embraced as a medium
for artistic production rather than simple presentation, it can become a
kind of ironised studio or gallery, presenting without pretention. MANIK's
use of the weblog medium builds on the humour (or mischief, which is not to
say that the work not is deadly serious)of their email work and on the more
somber drawing and painting of the same period to produce a kind of
narrative that would not be possible in any other medium.

The weblog image was finally realised as a large scale painting in
the masked style that is so representative of curent painting
practice. As a painting the image keeps its roots in HTML, a medium that
does not precisely control the visual presentation of
information. It is an image created of the global conversation of the
internet that has related to an audience in a number of different contexts.
The painting has a story, it is an image of an abstraction not directly of
anything, real or unreal, but with many referents that relate to the context
of its production. The painting has a story, recoverable using google, and
this story is of what the painting is, the production of contemporary art.
That this story
begins with references to points outside its immediate context is a
fact that underlies contemporary art. Again the image functions as an
allegory.

The last few images on MANIK's weblog are of drawings and paintings of
teardrop-like forms in representional scenes('Violet violence in retro
landscape'). These images have
their own missing people. The dramatic monochrome scenes strongly imply
human drama. But in the place of human figures are human-sized teardrop-like
forms. The product of emotion is substituted for the producer of emotion. Or
the abstract for the figurative. The immediate effect is dissonant, and such
dissonance is the root of comedy. Or bathos. The abstract forms deflate
their representational context, and vice versa. But these teardrop shapes
persist in trying to do the representational and expressive work of human
figures. They become more complex, either as combinations or by gaining
internal structures.

The forms are substitutes, proxies, fetishes. A product of
displacement (a state of mind less extreme than repudiation), again a
transformation of strong emotion into symbolic form. If expressing something
directly would cause people to turn away or would not get through their
numbness, then it must be expressed indirectly. That way they will not
realise what they are being told until it is too late.

There remains something unknowable about these images. This gives them a
feel of nostalgia or a sense of loss or shattered dreams. What with human
figures would be melodrama becomes unresolvable to a single category. Which
allows it to do the work of tragedy in the form of bathos. This functions
again as a bypassing of emotional filters and as a solution to the endless
images of the mass media that art must now compete with. Compared to mass
media images the drawings and paintings are ungrammatical, or rather they
have their own grammar. Their difference marks them clearly as art and their
maker as an artist.

MANIK's position as artists has changed as the relation of the state to its
citizens has changed; as the relation of the state to its artists has
changed. It is a truism of art history that disruptive
change in social life will be reflected in art. This truism hides the
fact that art itself must continue in order to do the reflecting, and
this continuity offers the possibility of keeping some sense of self
as an artist. To keep some sense of self as an artist against such a
backdrop of change, through such displacement, is to exemplify the process
of keeping some sense of self generally in the chaos of contemporary life.

MANIK's realism can be seen in their artistic response to historical
events, in their engagement with the processes and practices of
global contemporary art and in the relationship that their shared
artistic practice creates between this and the work that they
produce.This work serves as models of the unseen facts of reality,
the "wiring under the board", as art of any worth always must. If
MANIK's work sometimes seems uncanny that is because it is a true
representation of an increasingly uncanny world.
Rob Myers

++++++++++++++++++++++++++++++++++++++++++++++

http://rhizome.org/object.rhiz?37992
http://www.tiija.blogspot.com

http://www.culturalaid.com/images%20serbia.htm

http://seecult.org/v-web/b2/index.php?cat=7
http://www.kcb.org.yu/v2/program/detail.php?id

2007-02-23 07:59, Rhizomer

manik, you have no myspace site. therefore you cannot exist.

Am 23.02.2007 um 14:10 schrieb manik:

MANIK,FULLSIZEIMAGE(2007)>>>>>>>http://seecult.org/v-web/gallery/album88
MANIK,THE MISSING
PEOPLE(2005)>>>http://seecult.org/ipw-web/gallery/album03

————————————————————————
—-
—-

MANIK.
——

MANIK is the name adopted by Belgrade artists Marija Vauda and Nikola
Pilipovic for their collaborative practice. This collaboration has led
to
work in a wide range of media over the last decade from improvisations
with
paint on gallery walls or on bare flesh through installations of
painting
and sculpture to the virtual media of email and weblogs. This diversity
is
the product of pursuing a realistic artistic practice in a changing
world.
This realism is social,
artistic, and personal.

Faced with a wall of cardboard boxes each of which MANIK have printed
the
word "verwerfung" on it might seem reasonable to ask what is being
represent
at all, never mind whether it is realistic or not('The Secret of the
Brain
and Girl,The Missing space').
Andy Warhol's grocery boxes represented only grocery boxes, and for
Arthur
Danto this represented the end of art itself, but there is no such
brand as
"verwerfung", and these are actual cardboard, not painted wood.
Verwerfung
is a word used by Sigmund Freud and later Gilles Deleuze to describe a
state
of mind beyond denial or repression. In this sense it means the
repudiation
or complete
sealing away of unbearable thoughts or memories. It originally meant a
geological fissure or faultline, its psychological use indicates a
similar
break.

The wall of boxes has a companion, a small low table of stone with
"verwerfung" carved into its top and a bright light shining onto the
floor from its underside('Verwerfung,the egg of a battle'). Both pieces
are
allegories of verwerfung, or repudiation. But repudiation of what? The
unbearable is boxed
away, but there is a lot of it. The unbearable is sealed behind
thick stone, but the light of the truth shines out. On another wall,
in the same brown as the boxes, is a list of names. Whose names?
(Wood panel with 200 repetitions of words/terms/idioms: without
parents,withoud children,without ideology,without nation,without
state,without competition,without imitators,without human….)
Another painting shows a family at the beach in rich pinks and
blues('Invisible in the wind').
One of the children has his fists up to play fight with an unseen
figure. Or a missing figure, as if a totalitarian bureaucrat or a
mass media producer has taken his airbrush to a photograph. There is
more.
The canvas painted with words in unfashionably rounded letters, this
time in
English rather than German, "But… the cloud", in cloud white on sky
blue.
There is a carpet rolled up (too tight to hold a body) and stuffed on
the
shelf of another table, this time glass rather than stone. There are
paintings of numbers, but only the figure 1 in rough black on an
undifferentiated dull green ground.

Each of these works relates to the others. Sometimes they relate
directly, as with the two verwerfungs. Sometimes they relate to other
relations between works, like the beach scene. There is an interplay of
formal qualities and of references to places and things outside the
gallery.
This animates those references, making the viewer party to a
discussion, or
at least a set of reminiscences, between the pieces that build up and
combine to create an image (for an expanded sense of the word "image")
of a
state of loss, perhaps of unbearable loss, and of the repudiation of
this.

This is not a sealed world of hermetic meaning. It has internal
complexity, certainly, but it reaches out to the world of lived
experience of events that are already measurable as history. This is a
visual poetry of formal and historical references. The installation is
an
allegory for a real psychological or social state in a historic moment.
This
indirection allows it to bypass the viewer's psychic filters and impart
the
full force of its message. This is realism because it is a presentation
of
reality that could not be achieved so effectively any other way. The
endless
detail of news reports overwhelm the senses. What is left is
psychologically
unbearable.
Individuals and society as a whole must seal it away and call it
history. But to do so takes a lot of boxes, and the light of the
facts takes a lot of stone to bury.

Despite modern art's protests to the contrary history has a way of
contaminating everyday life. Aerial bombardment, economic collapse,
social
unrest and regime change become personal when they are happening outside
your window, or breaking your window.
MANIK's
performances involving the allegorical figures of virtue and
unstoppable history, or their performances involving giving away
gifts are both responses to the events around them. They are also
artistic responses, part of another dialogue that MANIK hold, with
global contemporary art.

MANIK's work animates a set of relations betwen references to the
artistic
and historical wider world. But as an artistic collaboration MANIK
themselves are a relationship that must be negotiated, a small social
world.
The studio is a site of dialogue rather than solitude for them. This
dialogue is at the heart of the production of their work. MANIK produce
work
from their creative synergy that would not happen otherwise. An art
group is
no different from a rock music group in this respect. Some work is
produced
by one or the other of them, some is produced together. The people in
the
painting of the family in "The Missing People" were painted by one, and
the
waves of
the sea by the other. The final image has a unity, as the show has a
unity,
and this unity is built on a shared framework of concepts and a shared
artistic ability that is visible even in their earliest work.

MANIK's work represents international contemporary art practice with
unnering precision. The paintig such as '((()))((()))'an image of nested
brackets of various sizes in a generic typeface that ironises
abstraction,
shows the depth of MANIK's engagement with contemporary art practice. It
contains many references in a single image. A Bridget Riley Op-Art
painting.
A Cold War artificial intelligence program writen in the Lisp
programming
language. A complex conversation with the content removed and only the
structural traces of digression remaining. But it did not start as a
painting, or even
a drawing.

The first version of the image was made using the web page language
HTML and
sent in an email to the Rhizome net art community. MANIK have been
active
participants in the Rhizome community for some years
now, and this has informed their practice on a number of occasions.
Taking
part in the "Free Manifesta" organised via Rhizome informed their
perfromances around the idea of art as a form of gift (and in the case
of
their performance piece of buying drinks for everyone in their local
bar the
gift as a form of art).

The email was then recontextualised as an image in MANIK's weblog.
Weblogs
are the public diaries of the internet. They often have an informal,
intimate or even confessional feel. They are a deflationary context for
art,
paintings lose their detail, sculptures are rendered weightless, even
electronic work loses its focus. But when the medium is embraced as a
medium
for artistic production rather than simple presentation, it can become a
kind of ironised studio or gallery, presenting without pretention.
MANIK's
use of the weblog medium builds on the humour (or mischief, which is
not to
say that the work not is deadly serious)of their email work and on the
more
somber drawing and painting of the same period to produce a kind of
narrative that would not be possible in any other medium.

The weblog image was finally realised as a large scale painting in
the masked style that is so representative of curent painting
practice. As a painting the image keeps its roots in HTML, a medium that
does not precisely control the visual presentation of
information. It is an image created of the global conversation of the
internet that has related to an audience in a number of different
contexts.
The painting has a story, it is an image of an abstraction not directly
of
anything, real or unreal, but with many referents that relate to the
context
of its production. The painting has a story, recoverable using google,
and
this story is of what the painting is, the production of contemporary
art.
That this story
begins with references to points outside its immediate context is a
fact that underlies contemporary art. Again the image functions as an
allegory.

The last few images on MANIK's weblog are of drawings and paintings of
teardrop-like forms in representional scenes('Violet violence in retro
landscape'). These images have
their own missing people. The dramatic monochrome scenes strongly imply
human drama. But in the place of human figures are human-sized
teardrop-like
forms. The product of emotion is substituted for the producer of
emotion. Or
the abstract for the figurative. The immediate effect is dissonant, and
such
dissonance is the root of comedy. Or bathos. The abstract forms deflate
their representational context, and vice versa. But these teardrop
shapes
persist in trying to do the representational and expressive work of
human
figures. They become more complex, either as combinations or by gaining
internal structures.

The forms are substitutes, proxies, fetishes. A product of
displacement (a state of mind less extreme than repudiation), again a
transformation of strong emotion into symbolic form. If expressing
something
directly would cause people to turn away or would not get through their
numbness, then it must be expressed indirectly. That way they will not
realise what they are being told until it is too late.

There remains something unknowable about these images. This gives them a
feel of nostalgia or a sense of loss or shattered dreams. What with
human
figures would be melodrama becomes unresolvable to a single category.
Which
allows it to do the work of tragedy in the form of bathos. This
functions
again as a bypassing of emotional filters and as a solution to the
endless
images of the mass media that art must now compete with. Compared to
mass
media images the drawings and paintings are ungrammatical, or rather
they
have their own grammar. Their difference marks them clearly as art and
their
maker as an artist.

MANIK's position as artists has changed as the relation of the state to
its
citizens has changed; as the relation of the state to its artists has
changed. It is a truism of art history that disruptive
change in social life will be reflected in art. This truism hides the
fact that art itself must continue in order to do the reflecting, and
this continuity offers the possibility of keeping some sense of self
as an artist. To keep some sense of self as an artist against such a
backdrop of change, through such displacement, is to exemplify the
process
of keeping some sense of self generally in the chaos of contemporary
life.

MANIK's realism can be seen in their artistic response to historical
events, in their engagement with the processes and practices of
global contemporary art and in the relationship that their shared
artistic practice creates between this and the work that they
produce.This work serves as models of the unseen facts of reality,
the "wiring under the board", as art of any worth always must. If
MANIK's work sometimes seems uncanny that is because it is a true
representation of an increasingly uncanny world.
Rob Myers

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http://rhizome.org/object.rhiz?37992
http://www.tiija.blogspot.com

http://www.culturalaid.com/images%20serbia.htm

http://seecult.org/v-web/b2/index.php?cat=7
http://www.kcb.org.yu/v2/program/detail.php?id