here … the moon by Ivana Kličković

Notes on the Painting Practice of Ivana Kličković

 

Thinking and writing about painting today raises the inevitable question about the all too often proclaimations of death of the medium which has been repeatedly revived; about the dilemma that persistently contributes to the confirmation of the vitality of this historically established practice that recurrently succeeds in retaining relevance in contemporaneity. The reasons for this are manifold, the most important of which being the assumption that painting draws its actuality from the potential to imply different meanings through painterly gesture, thus revealing the habits and ways of the production and circulation of images, as well as of creating representation, which are still embedded into the foundations of the logic of our culture rooted in the visual. The social, cultural and historical distinctiveness of painting, as well as the competencies of the modernist understanding of its medium, constitute the inevitable reference points for any discussion about the status of painting in art today – the ability of painting to perform a constant self-reflexive operation seems to be a commonplace of art historical discussion on this topic. But how does one debate on painting that is being created at present that does not provide room for identifying and writing down direct historical or media-specific references; how does on observe the result of a painting practice that cannot be classified chronologically, stylistically or in the context of a certain thematic (narrative) preoccupation?

 

 

The painting practice of Ivana Kličković can hardly be fitted into the framework of the interpretation of the aforementioned, dominant type of art historical analysis. Her paintings cannot be described as examples of the influence of a particular school of thought in painting or the results of exploring specific issues related to a certain political or theoretical context; they evade the definition that would determine them in a historical, problematic or formal and stylistic sense. Rejecting the possibility of placing herself within a specific art historical narrative comes as a result of the artist’s approach to painting. The focus of interest of Ivana Kličković is in the process of creating paintings based on the selection and sampling of culturally and chronologically distant visual patterns, such as Japanese woodblock prints, drawings of old theatrical scenery and digital images from the Internet, which she, using various painting techniques, recreates on canvas as simultaneously overlapping painted layers of reduced image fragments that form large-scale compositions, which are spatially flat and open to interpretation, abstract and/or quasi-representational. The visual patterns that Ivana Kličković uses as an incentive to paint are not selected solely on the basis of their cultural or media specificities, but on the basis of the formal and aesthetic fascination that is mostly related to the imaginative potential of these image fragments, thus confirming the atemporality as one of the main features of her painterly gesture. Through this approach to painting, Ivana Kličković indirectly but accurately comments on the multidirectional and constant, often chaotic circulation of images in our everyday life, in which everything has already been seen and exists intertwined, overcoming independent or isolated cultural patterns and social phenomena, and at the same time finding a way to –  by participating in such an organized global economy of dissemination of visual information – organize her own painting structure, within which she takes over and examines the possibilities of the mentioned logic of overlapping, mixing, flexibility, conflicting and simultaneity of motifs and styles.

 

 

As the name of the exhibition – here … the moon – suggests, these paintings were not created with any pretense to either semantic coherence or didactic speech. And if a reference to history or specificity of painting had to be used in relation to them, then the landscape, in its broadest sense, could be stated as the methodological framework from which Ivana Kličković’s paintings are being developed – the landscape that, in painting, appears as a fragment of an infinite horizon from which the sequences of the visible are being isolated by the eye. In this case, however, we are looking at imaginary landscapes that open up as vast horizons built on a network of fragments and sequences overlapping in a way that involves multiple views and, at the same time, have nothing to do with what can be comprehended exclusively by the eye.

 

The exhibition may be viewed until December 7th 2017 at Kulturni Centar Beograd – Cultural Centre of Belgrade.

Text by Ana Bogdanović

www.ivanaklickovic.com

 

 



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