Works

K19 / 2014

K19, bricks from the Jasenovac concentration camp, EU pallets in aluminum fusion 120 x 80 x 20 cm

In an essay written for new work of Zlatko Kopljar, K19, Žarko Paić, in the context of Adorno, Badiou and Lyotard, ask a question: Can contemporary art provide a possibility for man’s redemptive reversal? How and when does it become legitimate to open the possibilities of facing the question of boundaries between the sublime and the evil if just turning

K18 / 2014

4K transferred to full HD video / 14ʼ42″ / sound / color

Camera is following the stream in the forest. All the time we hire recital which sound like a sound or music. The meaning of the recital is confuse and very often we do not understand what is said. At the end of the film camera finds death “ entity”. Film is finishing with vibrating rectangle light in dark forest.Film is based on the question: “ Isn’t it an artist job to say constantly good by to art?”

K17 / 2012

Full HD video / 10ʼ49″/ sound / color

One of the photographs from the work of K9 Compassion (2003) shows me in the kneeling position underneath the NYSE on Wall Street. After the stock market crash in 2008, Occupy movements and protests around the world emerged. I turned back to the same place and offer new commentary given these current events. This projects speaks about the urgent need for ethics in the area of global finance.

K16 / 2012

Full HD video / 10ʼ42″/ sound / color

I’m digging a hole at the edge of Europe. It’s a square hole of the unresolved deep history, workaday hole for the oblivion to trample down the everyday reality. The hole is deep.

K15 / 2012

Full HD video / 4ʼ22″/ sound / color

K15, is a re-enactment of Willy Brandt’s historic kneeling in Warsaw. Reaching for documentary material, i.e. footage, Kopljar reconstructed all known elements of Brandt’s 1970 commemoration of the Nazis’ victims in the Warsaw ghetto. With the mise en scène transferred to the night ambience of modern-day Warsaw, we follow the action from