Žarko Paić / 2015
The greatest taboo, dogma, and totem of that which we call contemporary art is its paradoxical task to make itself timeless by entirely blending in with the space of its disappearance. Although it has declared its mission in the spirit of absolute de-foundation of the fundamental idea of imitating God and nature (mimesis), arranging the Euclidean space and opening many worlds of difference, which assumes a step beyond the boundaries of creation and the created, something still remains after this monstrous prohibition. The iconoclasm of the image and the transition of the realm of speech into the corporality of events have enabled the emergence of something which has been outlined in the works of great thinkers/artists of the 20th century, Duchamp and Artaud, since the very beginning of the contemporary obsession with the visualisation technology.
This is the experience of the end of metaphysics and its transition into pataphysics without/of moving up and down. What they anticipated in the impossibility of further depiction and representation of the pure artwork corresponds to the ideas of the philosophical and scholarly turn in relation to something which in analogy to the linguistic turn into image can be termed spatial turn. When in the idea of contemporary art we are not anymore able to find God, nature, man, or the world in the metaphysical sense, we face empty signifiers. The replacement does not simply come in for something original, so that maybe programming of digital media could replace the painting medium reaching from Giorgio de Chirico to Francis Bacon.