Art Dictionary

Goran Djurovic

Biography

Goran Djurovic (*1952 in Belgrade, Serbia) lives and works in Berlin. 1975: Studied art at the Hochschule für Bildende Künste, Dresden. 1993: Grant from the Stiftung Kulturfonds, Schloss Wiepersdorf. Numerous exhibitions since 1985, including Galerie Caprice Horn, Berlin (2005), and Leonhardi Museum, Dresden (2008).

Book related to this subject

Goran Djurovic

Goran Djurovic
Ich sehe was, was du nicht siehst

out of print
ISBN 978-3-7757-2168-4
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Panopticon of a Philosophy in Paint

A mysterious and absurd irony inflects the small-format pictures by the Belgrade-born painter Goran Djurovic. With almost psychoanalytic tenacity, they deal with self-deception, social maladjustment and defects of character—but most of all, human failure in all its unrestrained vanity.

A virtual recluse, Djurovic works among hundreds of books, magazines, and pictures in his studio in Berlin-Adlershof. The scant furniture, and the absence of an easel, makes it more reminiscent of a study than a painting studio. »I´m interested in failure. Since my earliest youth my god has been Dostoyevsky. When I read him I sometimes have the feeling I´ve lived his stories myself. I keep getting a sense of déjà vu. I just find all these successful, athletic, beautiful people that you get in Anglo-Saxon culture terribly unaesthetic. What matters above all is life: who´s the winner then?

Djurovic´s pictures are reflections of society, where human beings are shown with all their fears, hopes, and dreams, their longing for recognition, freedom, and above all friendship. In recent years his works have achieved a poetic openness which does not exhaust itself in narratives, but creates unsettling and heterogeneous levels of reality with a highly individual use of color and a gestural concision. Confusion and the collision of incompatible realities are systematically presented in a play of disguises. In many images, the protagonists wear masks, or the viewer makes out only on closer inspection marionettes or automatons—the artificial person or the mechanical animal—who are trapped in roles without their own identity. From these paradoxical distortions and the fusion of incompatible realities there emerges a philosophy in paint of absurd failure. Schooled in melancholy and the laconic sarcasm of Venetian art, his pictures constantly question anew the authenticity of human life in relation to its inner and outer nature.

June 28, 2010 Caroline Schilling

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