The Evil Painter is my semantic model, a network of concepts and their interrelationships exploring painting as the most democratic means of depicting social reality. The continuity of painting overlaps with the imaging of history, which is why it is able to record counter-stances in the perception of history and in the central public sphere order. The Evil Painter aims at creating disagreement about what is visible in a given situation, what is its essence in relation to the social reality and what can be said and done about it. Central public sphere applies "smokescreen" military manoeuvre so as to hide the movement of reality behind phantasmagorical phenomena that occupy our view. The Evil Painter engages the imaginative and points at the invisible behind the smokescreen to enable its continuous presence in terms of historical continuity and the continuous challenge the the official visuality.
The Evil Painter begins his research trajectory in the field of politics through goal visualization of counter-public and defines itself as a counter-visuality segment. He explains his model of counter-picture as imaging actively engaged in the network of seeing that is opposed to the dominant visuality. In the field of aesthetics, the Evil Painter redefines representation as embodiment and asserts that the presence of an image is achieved through emphasizing its absence, which removes direct effects of things in exchange for effect projection. The artistic of the Evil Painter embodies the absent political and allows it to express itself through a form that can compete in the sphere of representation, allowing it to repoliticise through the field of aesthetics. Finally, the Evil Painter visualizes the invisible behind the smokescreen and lets it compete for acknowledgement continuity and continuity of challenges to authority. To paint is to fight for the right to continuity in the space of representation - a space where desires and conflicts of social reality are transformed into forms and images, political (representative democracy) or other.
Born in Belgrade, in 1976. After graduating from the Painting Department of the Faculty of Fine Arts in Belgrade, he won a two-year residency at the Rijksakademie van Beeldende Kunsten in Amsterdam, a one-year stay at Delfina Studios in London, and became a Casa de Velazquez scholar at the French Institute in Madrid.
Significant solo shows: Serbian Pavilion at the 56th Venice Biennale, Loock Galerie in Berlin, MUSAC - Museum of Contemporary Art in Leon, Le Grand Cafe Centre for Contemporary Arts in Saint-Nazaire, the National Museum of Contemporary Art in Athens, the Cultural Centre Gallery and Museum of Contemporary Art in Belgrade, Stroom Centre for Contemporary Art in the Hague.
Participations in group shows include the Museum of Contemporary Art in Krakow, Witte de With in Rotterdam, the 10th Istanbul Biennial, the 1st Thessaloniki Biennial, Stedelijk Museum, SMART Project Space and De Appel in Amsterdam, the Drawing Center and Apex Art in New York, Kunsthalle in Bern, Extra City Kunsthal in Antwerp, the Kiasma Museum in Helsinki, Henie Onstad Art Centre in Oslo, Museu Colecção Berardo in Lisbon, Iaspis in Stockholm, the 3rd Bucharest Biennial of Young Artists, the 5th Tirana Biennial, two editions of both Spa Port Biennial in Banja Luka and Pancevo Biennale , the Biennial in Algeria (International Festival of Contemporary Art of Algiers), Moderna Galerija in Ljubljana, the City Gallery in Prague, the Blackwood Gallery in Toronto. His works are in the collections of the National Museum of Contemporary Art in Athens, the Museum of Contemporary Art in Belgrade, the Museum of Art in Bern, Deutsche Bank Collection in Frankfurt and many others.