ON THE MODULAR GRAPHICS BY MILO OREVI AND LJUBOMIR VUINI

At this moment, artists act, just like the entire population, in very specific circumstances of a universal iconosphere, in circumstances in which every day, every moment, the universal jumble pulsates with new and new images. They reach us, as the consumers, through advanced and networked technology channels, and are manifested on screens, monitors and displays of vastly different origin, function and character; in photographs, prints and billboards set up so that all these inconceivable images are permanently in front of our eyes and in our consciousness. Regardless of their origin, regardless of our visual sensibility and the ability to read all of these images and their meaning - our life, in some cases, existentially (most directly in the optical branches of different scientific fields) becomes dependent on this universal visual spectacle. In such a milieu of civilization, dealing with paintings, and visuality in general, they obtain a specific meaning and significance. The two artists on this exhibition in Zrenjanin, Milo orevi and Ljubomir Vuini, are acutely aware of the connection between their own existential artistic mission with current trends in the field of the image and overall visuality. Their actions reflect the principle of modernism by which "Art has a right to privacy - not to be singled out - but as a model for other knowledge and other practices." Therefore, in their artistic practice they act as artists-specialists. As "experts" in the field of graphics, they emphasize the experimental approach to graphics as a separate visual media of expression. In the domain of the graphic print, they are attempting to achieve new models and possibilities of expression. As a result they delve into the very being of the graphic sheet, dealing with ontological questions and debates, reducing the graphic sheet to basic assumptions. In this analytical procedure both artists create quite a simplistic, almost a primary print on paper. Djordjevi applies the color black on his sheets through printing in "one pass"; Vuini prints the same geometric motive-sign on both sides of each sheet. With such prints, the artists only just primarily indicate the tehnae principle as the specificity for media graphics. At the same time the graphic paper is transformed into a separate entity, a kind of module that visually exists only when it represents a repetitive, multiplied element of a spatial installation. Milo Djordjevi's installation is on the wall. The black, graphic prints are separated by the artist into three rows on the wall, composing and combining their layout completely at will, searching for a certain aesthetic sense. However, none of the proposed combinations is final; the artist is trying to achieve an open work, it is an important part of his idea of constantly changing and re-emerging. He extends the process of creating

and forming the work by engaging the observer, and expects or requires an active approach: the artist engages the observer in his own creative flow; new aesthetic situation, to form a new "message". Ljubomir Vuini's installation is spatial. Multiplied, interrelated and printed on both sides, graphics are set so they hang amid the gallery space. Through the arrangement of sheets, quantity and spatial coverage, Vuini defines the composition of this monumental graphic installation. Synthesized, multiplied sheets, with the repetitive geometric motif-sign, are experienced as a single coherent work. In addition, Vuini's spatial modular graphic is "functional"- printed on both sides, and this solution suggests/requires an overview provided by circular motion, perambulating the installation. After all, the specifically defined geometric character (peak) printed on each sheet, directs the observer and determines the direction of his movement. Milo orevi's and Ljubomir Vuini's modular graphics are created as the result of research, in an effort to find new, creative and perceptual potential in the graphic medium. Through their actions, these artists have reached the fringes of the graphic art; in the position of modern experimenters devoted to the field of graphics, images and art itself. Both artists achievements provide viewers with an active role, because they displace them from the static state of perception into active percipients who "regulate" their own artistic and visual, plastic, aesthetic and emotional experience. There is an impression of geometric and n-plastic characteristics in the format and layout of sheets, compositional layout and the printed surface (Djordjevi) and the motif (Vuini). This rationalist geometric arrangement always - since the time of the Russian Artistic Experiment, Malevich, Neo-plasiticism and Mondrian - in art has social meaning and function. With characteristic precision, rationalism defines aestheticism, the principle of order is established, harmony seeks to be imposed on society. Therefore, Djodjevi's and Vuini's modular graphics appear engaged because they are the kind of "recipe" for overcoming feelings of epochal crisis, with which we are intensely overwhelmed all these years. Sava Stepanov he requires an interactive relationship, urging him to (re)deploy the offered composition, to search for a