Umetnost je slatka / Art is Sweet
Rad je zasnovan na podizanju svesti građana, podrazumeva interdisciplinarni pristup pri realizaciji same ideje, povezivanjem performativne umetnosti sa kulinarstvom. Kritikuje dopadljivu i sladunjavu umetnost, ali ne dopadljivost kao neku vrstu umetničkog koncepta, već dopadljivost koja je deo marketinškog trika, koja ugrožava kredibilitet umetničkog dela. Takođe kritikuje i nesposobnost stvaraoca da pojmi negativno delovanje takve produkcije na društvo, koje stvara iluziju da su umetnost i prave vrednosti deo našeg svakodnevnog iskustva i života. Na taj način društvo gubi mogu mogućnost interakcije i „konzumiranja“ visoke umetnosti. Osim što se kod stvaraoca i publike ne neguje kritičko mišljenje, ne razvija se ni svest o kontekstu u kojem se stvara savremeno umetničko delo, jer je umetničko obrazovanje koncipirano kao zanatsko tehničko obrazovanje, u okviru koga nema mnogo prostora za promišljanje i artikulisanje savremene umetničke prakse. Za izvođenje performansa angažovane su učenice obrazovnih profila kuvar i konobar, Srednje škole „Svetozar Miletić“ u Novom Sadu. Saradnice i saradnici tokom celovečernjeg performansa prave slatke palačinke, i na jedan bukvalan način pokazuju da je umetnost konstruktivna i da hrani. Ono što je bitno je taj proces, kroz koji se propituje umetnički položaj u društvu, kao i promena negativne konotacije pojma „umetnost je slatka“ u pozitivnu, kroz čin izvođenja umetničkog koncepta. Nakon završetka performansa rad egzistira u formi interaktivne skulpture. The work is based on raising awareness of citizens and the realization of the idea implies an interdisciplinary approach, connecting artistic performances with cooking. It criticizes likable and cheesy art, with likability not being defined as an artistic concept, but rather as a part of a marketing trick that jeopardizes the credibility of the artwork. It also criticizes the inability of the creator to understand the negative effect of such production in the society, which creates the illusion that art and true values are a part of our everyday experience and life. In this way, society loses the possibility of interaction and "consumption" of high art. Not only does such work lacks in cultivating critical thinking of the creator and the audience, but it also misses on development of the context awareness in which a contemporary artwork is created, especially since artistic education is defined as a vocational and technical education, within whose framework there is not much room for reflection and articulation of the contemporary art practice. In order to realize the performance, students from the Secondary school "Svetozar Miletić" in Novi Sad, educational profiles ‘cook’ and ‘waiter’ were engaged. The collaborators were making sweet pancakes during the evening performance, and showed in a literal way that art is constructive and nutritious. What is important is the process of questioning the artistic position in society, as well as the transformation of the negative connotation of the notion that "art is sweet" into the positive, through the act of execution of the artistic concept. After the completion of the work, it exists in the form of an interactive sculpture.

Ova umetnička instalacija pod nazivom “Sloboda” je vršenje intervencije u javnom prostoru. Intervencija podrazumeva postavljanje traka sa natpisom “ZATVORENO GRADILIŠTE GRAĐANSKA INSPEKCIJA” koje povezuju obe strane Pirotskog Keja. Cilj je bio, da se na ovaj način skrene pažnja javnosti na značaj očuvanja mobilijara na Keju, koji je na meti vandala, kao i uništavanje mladih sadnica na Keju. Lajtmotiv “ZATVORENO GRADILIŠTE GRAĐANSKA INSPEKCIJA” postavlja pitanja o načinu gledanja na svet, gde je priča o postojanju krutog načina razmišljanja I kontrole kojoj su ljudi podvrgnuti. Rad govori upravo o sagledavanju vremena u kome živimo I načinu postojanja u svetu. Jedna od poenti ovog rada je, da postavi pitanja o našem svetu i natera pojedinca da razmišlja na malo drugačiji način, gde se neznanje postavlja kao problem, a rešenje je buđenje koje se postiže kroz spoznaju. Postoje ljudi koji su zatvoreni u svoja ograničenja. Kao kod Platona, gde zatvorenici, koji su zarobljeni od rođenja na jednom mestu, u mračnoj podzemnoj pećini, ne znaju da su zatvorenici. To je realnost koju poznaju. Rođeni su u sistemu pogrešnih vredosti, nevoljni da razmišljaju izvan nametnutih okvira. Tako se potvrđuje destruktivni nagon koji, dovodi do potpune promene percepcije sveta, na osnovu čega mi gradimo dalje “budućnost”, što dovodi do uništenja. To je potpuno ocrtavanje generalnog pogleda, i onoga što se mora desiti kada, se zatvoreno društvo u celini nekritički odnosi prema svetu. Jedna od mogućnosti primene ovog lajtmotiva je, na polju kulture, koja je oblikovala čitave zajednice, neke od temeljnih vrednosti koje prepoznajemo ili ne prepoznajemo. Danas je vreme lake zabave, u kome postoje masovni sadržaji, koji su potisnuli ono što smatramo visokom kulturom. Da bi kultura opstala potrebno je da bude deo svakodnevnog iskustva, da oblikuje naš život I da ga menja. Obeležje ovakve poruke je uticaj na stvaranje kritičkog mišljenja, način gde se pojedincu ostavlja prostor za čuđenje I postavljanje pitanja. Pored lajtmotiva ne postoji nikakvo objašnjenje niti smernica za interpretaciju sadržaja. Na taj način pojedinac nije pasivni primalac neke poruke, već aktivno istražuje I promišlja. Značaj je u osvešćivanju, pružanju mainstream krugu proširenje percepcije. Trebamo li da razmišljamo o svomdelovanju I da li uopšte želimo da razmišljamo o tome? The name of this art installation is "Freedom" and it is an intervention in a public space. The intervention implies setting up a caution tape with the inscription "CLOSED BUILDING SITE CIVIL INSPECTION" connecting the riverbanks of the Pirot Kej. The aim was to focus public attention to the importance of preserving the street furniture and young seedlings on Kej, often destroyed by vandals. The leitmotif "CLOSED BUILDING SITE CIVIL INSPECTION" arouses questions about the view of the world, with the storyline based on the existence of a rigid way of thinking and control people are subjected to. The work is about the perception of the time we live in and the way of existence in the world. One of the points of this work is to ask questions about our world and make the individual think in a slightly different way, with ignorance being a problem, and the solution becomes awakening achieved through cognition. There are people who are confined to their limitations. Like with Plato, where prisoners are trapped in a dark underground cave from birth, and are not aware of being imprisoned. It's a reality they know. They were born in a system of wrong values, reluctant to think beyond the imposed frames. This confirms the destructive instinct that lead to a complete change in the perception of the world, on the basis of which we build a further "future", ending in destruction. It is a complete depicting of the general view, and what is inevitable if a closed society has uncritical relations to the world as a whole. One of the possibilities of applying this leitmotif is by means of culture which has shaped entire communities, some of the fundamental values that we recognize or do not recognize. Nowadays is the era of light entertainment, with massive contents suppressing everything considered to be high culture. In order for a culture to survive, it is vital that it became part of everyday experience, shape our life and change it. A feature of this kind of message is the impact on the creation of critical thinking, the way which leaves room for wondering and asking questions. There is neither explanation nor guidelines for content interpretation apart from the leitmotif. In this way, the individual is not a passive recipient of the message, but actively explores and reflects. The point is in becoming aware, providing the mainstream circle with a broader perception. Do we need to think about our actions and do we want to think about it at all?

Smena / The Shift
Ovaj rad ilustruje percepcije današnjeg društva u vezi sa poimanjem i značajem umetnosti. Performans se sastoji u ponavljanju apsurdne radnje, koju dovodim u vezu sa pogrešnom percepcijom umetničkog dela i umetnika uopšte kao apsurdne pojave. Kao simbol za samo izvodjenje uzimam gradnju kule od karata, koja se iznova i iznova urušava, u pratnji snažnog pulsirajućeg zvuka. Zvučna podrška performansu u trajanju od 00:02:51 sec. se reprodukuje u loop-u. Zvuk je nastao digitalnom obradom materijala, koji sam snimio u fabrici, u konfekcijskoj proizvodnji. Namerno uzimam obične karte za igranje kako bi umetničko delo moglo da se tumači na više načina, između ostalog i kao igra. Forma Sizifovog posla u radu stvara beskonačnost u izvođenju, što ovaj zvuk podržava i rad čini kompletnijim. This work illustrates the perceptions of today's society regarding the concept and the significance of art. The performance consists of repeating an absurd action, which I relate to the wrong perception of an artwork and artists in general as an absurd phenomenon. The symbol of this is the construction of a tower of cards, which falls down over and over again, accompanied by a strong pulsating sound. The sound support to the performance lasts 00:02:51 seconds, is played in a loop and was created by digital processing of the material, which I recorded in a confection manufacturing area. I have deliberately chosen ordinary playing cards so as to make the artwork possibly interpreted in many ways, among other things, as a game. The form of Sisyphus work in the production creates an infinite performance, which is supported and made more complete by this sound.