Interview

Daily newspaper “Blic”

MILICA VERGOT / GMTproject Shadows of technologics

THE PAINTER MUST CHALLENGE

‘This image of alienation is a continuation of the story concerning the phenomenon of our reality here that we have also experienced as technological terror by pressing the button in the spirit of video games. The planetary system, which is definitely marching to an ear of insecurity where free options and individuality are ‘off’, is represented by the figures of our potential future. Those figures are amorphous and unified in the mega space of
connections between the essential nature, festive quiet and silence. Sterile acrylic pillars, cold white and surrounded by a huge quantity of the rest of all white in the gallery, which
disturbs and stuns (but also offers  a lot of potential just like it did for Kandinsky), could mark the beginning of something new’ – explains her exhibition Milica Vergot for ‘Blic’.
The exhibition opened at the beginning of 2004 and it is a unique creative warning and
a spark of hope for a more human future. Milica Vergot has won awards for her creative work like the international prize Statutory Award won for her works “Shape the World I and II” that was done for the triennial at Maidanek in Poland (a protest against totalitarian thinking and acting and in the name of affirmation of man and justice).

What lies behind a somewhat bombastic name of your exhibition?


-    GMT is an abbreviation of ‘globalist mega trend’ that also implies the global communication network and it is about a picture happening globally. It is a reduced picture happening at the level of the whole gallery space; it is a picture that includes this space, as a purely painting element, in itself. Over time, I have gradually come to this extreme move, entry in an unconventional painting, a painting independent from the wall surface and changeable depending on the circumstances in which it has been given. This painting is a continuation of an urban picture – an archive which we experience. As it also includes observers, it attains a broader and more committed meaning. And it looks as it is not sufficient as it is. Who knows, it may even ‘ask me to leave the gallery space and get out of it...

Who do you choose non-painting materials?

-    New materials, cyber space, video... are just parts of a future story of new millennium techniques that will give new opportunities for research of new values. This ‘latest painting’ of mine, ordinary, unpolished, on transparent foil, dusty, stamped on, with sticky tape traces and blood stains from scalpel injuries, as an expression and reflection of technologics, is untamed and challenging. For me, as an author, it is an inspiration in itself for another new painting to be built on this one. However, my advantage and also a problem is that I easily adjust to
    those new opportunities and I quickly make new decisions. So, there is a constant danger for me to drift away to another story. There was such a possibility when this exhibition was being installed and I could have quickly entered to a ‘new’ painting and abandon my previous design.

Finally, what are your views of the current artistic scene?

-         The modern art cannot be separated from politics and economy and the image of an artist to the effect that he/she is not an integral part of the modern society is passé. On the contrary, the artist must be totally adjusted and neared to the situation and time, general problems should be adopted as his/her own, he/she     should have a critical approach, and artists should influence, provoke, challenge  and encourage thinking. In this respect, it seems that there is an imbalance to the benefit of the individual and that there are no proper reactions. But, honestly, I appreciate any effort especially during this needy period of time. In this respect, I     appreciate and have respect even for anything that does not represent painting art and is without quality.

                                Ljubica Jelisavac