top of page

TABLEAUX VIVANTS at the Cultural Center Novi Sad

Solo show of photographic works by Vojislav Radovanovic opens in Novi Sad Cultural Center, Mali Likovni Salon.


Cultural Center Novi Sad is proud to present:


Tableaux Vivants

A Solo Exhibition of recent photographic works by Vojislav Radovanović


Jul 24 – August 29, 2020




Vojislav Radovanović is an artist with a rich oeuvre of drawings and paintings, but he never limits his body of work to just one medium. This visual artist also has a vast history of works realized as ambiental installations, experimental films, photography and performance.

Since 2017, Radovanović has been living and creating in Southern California. Radovanović’s move from Serbia to California further encouraged his dedication to creating a unique vocabulary and narrative that permeates the deep questions of life, nature, personal identity and spirituality. The influence of California’s unique culture, history, folklore, landscape, climate, flora, and fauna can be recognized in many of his new works. A careful observation reveals a subtle influence of several artistic movements that took place in the second half of the twentieth century in California.

“Tableau Vivant” is a series of performances, events and installations specifically framed and captured by the camera lens. Instead of thinking of them as merely still images and photography, we can view them as artifacts of a staged event and moments in time that are parts of a performance in an ongoing narrative.

Although there is no single storyline, the photographs are unified by the inclusion of original drawings and other artworks that Radovanović places in certain shots. There is an invitation for the viewer to construct connections and fill in the spaces between the images. There is a strong dreamlike feeling that permeates throughout the photos, a sunbathed coastal euphoria in both the landscape and essence. In some works, Radovanović himself interprets the role of a puppeteer who brings to life two-dimensional drawings of animals and plants, putting them in the foreground. And sometimes he himself is present in the composition, not only as someone who operates these paper puppets but is in conversation with them.

These photographs are only a small part of a much broader series, scenes of a kind of spiritual pilgrimage, one in which the observer can feel something that is beyond our intellectual stratum, yet giving the sense of universal unity of all that exists.


Jason Jenn




Comments

bottom of page