ARTISTS
Radenko Milak: 14|09|XX
Radenko Milak creates a space for a new way of looking via the translation of appropriated photographic motifs into watercolor. He modifies the formal pictorial language of source material found on the internet, in print media and films and therefore generates renewed interest in historical events on the part of the viewer. For Koenig2 Radenko Milak has created a unique series which formally and in terms of content follows on the series of works created in 2013, '365 – Image of Time', yet which chronologically relates to the date of the opening of the exhibition: thus, September 14th becomes a leitmotif for all of the works shown here.
It is the confrontation with catastrophes which has greatly occupied Milak most recently, and which is tangible in an extended form in the Bosnian pavilion of this year's Venice Biennale. In contrast to the majority of solo presentations by the countries, Milak expands his contribution in that, in addition to his own monographic show, he invites international artists, curators and writers to a direct dialogue. The goal, as stated in the accompanying publication, is the creation of a collective space for the transfer of knowledge and imagination.
The preferred artistic media for his black-and-white series are generally watercolors, but he also works with painting, drawing, installations and animations. The image as topos and the uninterrupted, multi-media flood of images are the principal considerations of his praxis. Milak questions the historical and contemporary realities in that he transfers the over-medicalization, and the hype often generated from it, into a type of fiction by means of his technical virtuosity. Especially in those moments when the contours threaten to dissolve, as in an out-of-focus photo, the impression emerges of a resolution, which is also contextual.
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Radenko Milak creates a space for a new way of looking via the translation of appropriated photographic motifs into watercolor. He modifies the formal pictorial language of source material found on the internet, in print media and films and therefore generates renewed interest in historical events on the part of the viewer. For Koenig2 Radenko Milak has created a unique series which formally and in terms of content follows on the series of works created in 2013, '365 – Image of Time', yet which chronologically relates to the date of the opening of the exhibition: thus, September 14th becomes a leitmotif for all of the works shown here.
It is the confrontation with catastrophes which has greatly occupied Milak most recently, and which is tangible in an extended form in the Bosnian pavilion of this year's Venice Biennale. In contrast to the majority of solo presentations by the countries, Milak expands his contribution in that, in addition to his own monographic show, he invites international artists, curators and writers to a direct dialogue. The goal, as stated in the accompanying publication, is the creation of a collective space for the transfer of knowledge and imagination.
The preferred artistic media for his black-and-white series are generally watercolors, but he also works with painting, drawing, installations and animations. The image as topos and the uninterrupted, multi-media flood of images are the principal considerations of his praxis. Milak questions the historical and contemporary realities in that he transfers the over-medicalization, and the hype often generated from it, into a type of fiction by means of his technical virtuosity. Especially in those moments when the contours threaten to dissolve, as in an out-of-focus photo, the impression emerges of a resolution, which is also contextual.
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