{"id":8452,"date":"2022-04-19T01:11:41","date_gmt":"2022-04-19T01:11:41","guid":{"rendered":"https:\/\/zeptermuzej.rs\/?p=8452"},"modified":"2024-05-29T08:41:38","modified_gmt":"2024-05-29T08:41:38","slug":"dusan-todorovic-re-vizija-fantasticnog-sna","status":"publish","type":"post","link":"https:\/\/zeptermuzej.rs\/en\/dusan-todorovic-re-vizija-fantasticnog-sna\/","title":{"rendered":"DU\u0160AN TODOROVI\u0106"},"content":{"rendered":"

DU\u0160AN TODOROVI\u0106
\n1945, Kragujevac<\/strong><\/p>\n<\/div><\/section>\n

<\/div><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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Todorovi\u0107 graduate from the Academy\/Faculty of Fine Arts in Belgrade in 1972 and did his M.A. (1974) at the same institution, Department of Painting, the class of Professor \u0110or\u0111e Bo\u0161an.<\/p>\n

He has been a member of ULUS (ASA) since 1974. In 1980 he was chairman of the Association of Artists of Vojvodina – ULUV (presently, SULUV). He is a member of the Association of EUROPEAN ARTISTS in Essen.<\/p>\n

He taught at the Arts Academy in Novi Sad as Assistant Professor (1976-1981), Docent (1981-1986), Associate Professor (1986-1992), and Full Professor (1992 until his retirement). From 2004 to 2009 he was Dean of the Academy.<\/p>\n

He has been on study tours in almost all European countries; he also received a grant from the Government of Denmark and the \u201eMo\u0161a Pijade\u201c Yugoslav grant for visual artists.<\/p>\n

His first solo show was in 1979 in Belgrade (where he also had several more afterwards), and then in many cities in the country and abroad (London, Paris, Budapest, Timi\u0219oara, Przemysl, Poland). His first group exhibition was in 1974 in Romania and later on he exhibited in a number of shows in the country and abroad.<\/p>\n

He has received many awards.<\/p>\n

Todorovi\u0107 has participated in numerous symposia and artists\u2019 colonies.<\/p>\n

His works can be found in many public and private collections locally and abroad.<\/p>\n

More about the artist in the monograph study: \u0414\u0423\u0428\u0410\u041d \u0422\u041e\u0414\u041e\u0420\u041e\u0412\u0418\u040b, \u0412\u0418\u0417\u0423\u0415\u041b\u041d\u0418 \u0422\u0420\u0410\u0413\u041e\u0412\u0418, \u0417\u0430\u0432\u043e\u0434 \u0437\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0443 \u0412\u043e\u0458\u0432\u043e\u0434\u0438\u043d\u0435, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434, 2017.<\/p>\n

\n\n\n\n
\n\n\n\n
<\/td>\n\"\"<\/p>\n
PRVA ILEGALNA OPERACIJA (ADAM&EVA) \/ THE FIRST ILLEGAL OPERATION (ADAM&EVE), 2016, triptih \/ triptych<\/em><\/h6>\n<\/td>\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/p>\n
VIRTUALNI PROLAZNIK (WAP PORTAL)
\n\/ VIRTUAL PASSER-BY (WAP PORTAL<\/em>), \u00a02017<\/h6>\n<\/td>\n
\"\"<\/p>\n
SKUPTURALNI OBLIK, FESTUMSKI SKAKA\u010c
\n\/ SCULPTURED FORM<\/em>,\u00a0\u00a0 PAESTUM DIVER<\/em>, 2014<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/p>\n
TELOMERA_ELEKTRONSKA INFORMACIJA, NO MORE FREE SPACE \/ BODYMEASURE_ELECTRONIC INFORMATION, <\/em>NO MORE FREE SPACE<\/em>, 2019<\/h6>\n<\/td>\n
\"\"<\/p>\n
GEOMETRIJA SVETLOSTI_ELEMENTAL (PRELAMANJE) \/ THE GEOMETRY OF LIGHT_ELEMENTAL (REFRACTION)<\/em>, 2019<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n\n\n
\"\"<\/p>\n
FESTUMSKI SKOK
\n\/ PAESTUM JUMP<\/em>, 2014<\/h6>\n<\/td>\n
\"\"<\/p>\n
TABLET_E_AKRIL NA PLATNU sa aplikacijama
\n\/ TABLET\u00ad_E_ACRYLIC ON CANVAS with applications<\/em>, 2016<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/p>\n
SMS FROM PARADISO 1, 2019<\/h6>\n<\/td>\n
\"\"<\/p>\n
SMS FROM PARADISO 2, 2019<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

RE-VISION OF A FANTASTIC DREAM<\/p>\n

For almost fifty years Du\u0161an Todorovi\u0107 has served as example of an original activity of a committed intellectual and humanist. He has endowed his stand about contemporary life with a creative form and the following explanation: \u201cTo catch the spirit of the time as an abstract dimension beyond the visible space and record reality with an individual experience has been the quality of each artist\u2019s supreme desire.\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In a witty interpretation of a modern, frequently used part of clothing, he created his cycle ZIP <\/em>in the 1970s referring to the ambience of contemporary consumers and uniform society.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In the 1980s and in the wake of New Expressionism, having surrendered to an original version of painterly \u201cecstasy\u201d, he created his cycle Historical Gardens, <\/em>both luxurious and libertine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 At the beginning of the new century he is consumed with an overwhelming incentive to make critical comments, so that the cycle Virtual Passer-by<\/em> contains powerful social and political metaphors that make him a participant in the changes of contemporary consciousness.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Numerous symbolic scenes, entitled The First Illegal Operation of Adam and Eve<\/em> or Technomachia<\/em> suggest the artist\u2019s philosophic views on dichotomies between the contemporary way of life and his personal doubts of a user of technological benefits and the utopian need to be in Harmony with Nature and God … The specific quality of these works lies in the scenic appearance of a powerfully energised plastic milieu with intellectually committed and witty poetic commentaries \u201cwoven\u201d into it. All this is additionally supported by his comments about the present day society buried under the technological innovations of systems ruled by information war \u2013 the one leading to real wars…\u00a0 Therefore, anyone\u2019s dependence on an ambience overcrowded by screens, telephones and other vehicles of contemporary technology incites the Shakespearean dilemma: \u201cTo be or to click \u2013 that is the question today\u201d.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The artist\u2019s ecological awareness suggests his fear from technological civilisation, from meddling with the courses of Nature. What will happen to human kind? The technological system of electronic communication now has the upper hand. In his cycle Museum of Virtual Possessions<\/em> or Virtual Passer-by<\/em>, in the space of ready-mades, recycling, re-designing, the same dark figures (metaphoric pictograms) move as silhouettes or guided clones in uncorrelated directions, directed behind the screen by \u201cThe Man from the Shadow\u201d… It is the world of virtual sensations where the use of black light contributes to surrealistic visual effects…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Equally turned to classical painting and modern technologies, Todorovi\u0107 has been, as he himself says, \u201con a seesaw\u201d when applying either of those approaches. There is a profound agreement between an idealist and a sceptic, a dreamer and a cynic, a manual builder and a technical manipulator…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On this affluent and creatively diverse creative path, the present day phase seems to be a logical continuation \u2013 conceptually, plastically and visually. The artist has called it, after one of his paintings SMS from Paradiso<\/em>, as a kind of \u201cinstruction\u201d for the entire cycle of works entitled The First Illegal Operation of Adam and Eve<\/em>. Those pictures, objects, assemblages and luminokineme, are free from all \u201cadditional\u201d iconographic elements in order to focus on the mythological silhouettes of Adam and Eve. Now, the reduced space can be interpreted also as the artist\u2019s ideological \u201cpurification\u201d from existential fear in relation to manipulative technicist strategies and ecological peril.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 By invoking archetypal symbols, such as the Tree of Knowledge and the labyrinthine scheme (path to the \u201cway out\u201d) he suggests a heretic viewpoint about the \u201cstatus\u201d of Eve, thus promoting her role as the provocateur of \u201cthe original sin\u201d into a new symbol of total liberation of man\u2019s creative thought, mind and spirit…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The act of receiving the \u201capple of sin\u201d takes place in the mystic \u2013 mythological space of luminoambience, among the dark silhouettes of the protagonists. The dramaturgy of the scene accentuates the model of the key symbol \u2013 the bitten apple of sin on a separate stand illuminated by UV rays. It is simultaneously the fore-symbol of the original sin and the sublime act of liberation<\/em> … Light is the metaphor of spiritual light and power…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In the next, acrylic painting, a similar scene contains the lettristic segment that reads ILLEGAL OPERATION, \u201ccertified\u201d by the form of bitten apple in a medallion.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In that way we all become \u201cwitnesses\u201d of the ambivalence of the mentioned symbol and its allusion to the contemporary Macintosh sign of the APPLE. A representation of myth in contemporary civilisation…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Equally impressive is the scene based on the concept of LIBERATION<\/em> that we follow in the cycle of spatial installations Paestum Jump<\/em>, entitled after the Cretan fresco of the same name (from 480-470 BCE), where the basic idea acquires a new visual and plastic staging… The mythological representation of the naked Diver is transformed by means of computer stylisation into the metaphor of full corporeal and spiritual liberation. The conceptual arrangement of the artist follows the impressive staging of objects (metal, acrylic sheets, canvas as tablet, plasma, screen, black light) that certify the current value of the myth and link the past with the present.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The archetypal symbol of BAPTISM<\/em> by submerging into water has meant, in different periods and different civilisations, the purification from sin, new birth in the spirit of a new man… Water, as materia prima<\/em>, as a symbol of purification, at the same time keeps in its structure, in its elements, memory of the past, the present and the future…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Du\u0161an Todorovi\u0107 emphasises his fundamental credo: A LIBERATED CREATIVE SPIRIT AND THE ARTIST\u2019S IMAGINATION CAN CHANGE THE WORLD.<\/p>\n

Ljiljana Slijep\u010devi\u0107<\/p>\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

A few sentences about the antinomic ambience<\/p>\n

THE REVISION OF A FANTASTIC DREAM<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My artistic activity has been inspired by the postulates of time and the functioning of computers insatiably feeding on questions and answers, on an enormous quantity of information that we naively believe to be our possession while, in fact, when the computer is not ready to offer them we are practically confronted with a large void in our own knowledge. Therefore, most computers carry the warning: \u201eThis machine has no brain, use your own!\u201c<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 By using the systems that free our brain from memories and recollections, also our unrestrained imagination as well as adopted learning, we enter the world of virtual sensations with short flashes of vague associations, and leave our memory to oblivion.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I believe that the role of art is to be the general signpost, warning and essential refreshment in the worn-out and bleak times. Without it the world would certainly be poorer.<\/p>\n

THE BIG TRAP<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The virtually-real<\/em> is a formatted ambience of a materialised mental inbox<\/em>, buried under a multitude of information, but essentially it is a personalised dialogue with time.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The contemporary world has become a perfect global trap<\/em> that depersonalises us and transforms us into addicts of the info_screen<\/em> system. We are living in a labyrinth of information, alienated<\/em> by the rule of the screen, while real life is passing by.<\/p>\n

Du\u0161an Todorovi\u0107<\/p>\n<\/div><\/section>
\n

<\/div><\/div><\/div>
\n
PRVA ILEGALNA OPERACIJA (ADAM&EVA) \/ THE FIRST ILLEGAL OPERATION (ADAM&EVE), 2016, triptih \/ triptych<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
\n
VIRTUALNI PROLAZNIK (WAP PORTAL)
\n\/ VIRTUAL PASSER-BY (WAP PORTAL<\/em>), \u00a02017<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
\n
SKUPTURALNI OBLIK, FESTUMSKI SKAKA\u010c \/ SCULPTURED FORM<\/em>,\u00a0\u00a0 PAESTUM DIVER<\/em>, 2014<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
\n
TELOMERA_ELEKTRONSKA INFORMACIJA, NO MORE FREE SPACE
\n\/ BODYMEASURE_ELECTRONIC INFORMATION, <\/em>NO MORE FREE SPACE<\/em>, 2019<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
\n
GEOMETRIJA SVETLOSTI_ELEMENTAL (PRELAMANJE) \/ THE GEOMETRY OF LIGHT_ELEMENTAL (REFRACTION)<\/em>, 2019<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
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FESTUMSKI SKOK
\n\/ PAESTUM JUMP<\/em>, 2014<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
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TABLET_E_AKRIL NA PLATNU sa aplikacijama
\n\/ TABLET\u00ad_E_ACRYLIC ON CANVAS with applications<\/em>, 2016<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
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<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
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SMS FROM PARADISO 1, 2019<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

<\/div><\/div><\/div>
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SMS FROM PARADISO 2, 2019<\/h6>\n
\u00a0<\/em><\/h6>\n<\/div><\/section>
\n
<\/span><\/span><\/div><\/p><\/div>

Nekoliko re\u010denica o antinomijskom ambijentu<\/p>\n

RE-VIZIJA FANTASTI\u010cNOG SNA<\/p>\n

Moj umetni\u010dki rad inspirisan je postulatima vremena i funkcionisanjem ra\u010dunara koji se nezaja\u017enjivo hrani pitanjima i odgovorima, odnosno ogromnom koli\u010dinom informacija, za koje naivno verujemo da su na\u0161a svojina, a u su\u0161tini, kada ra\u010dunar nije u stanju da nam ih pru\u017ei, prakti\u010dno bivamo suo\u010deni s ogromnom prazninom u sopstvenom znanju. Zato na ve\u0107ini ra\u010dunarske opreme stoji upozorenje: \u201eThis machine has no brain, use your own!\u201d<\/em><\/p>\n

Koriste\u0107i ovakve sisteme koji osloba\u0111aju na\u0161 mozak od pam\u0107enja i se\u0107anja, kao i na\u0161u nesputanu ma\u0161tu i usvojena znanja, ulazimo u svet virtuelnih senzacija uz kratkotrajne bljeskove nejasnih asocijacija, a na\u0161u memoriju prepu\u0161tamo zaboravu.<\/p>\n

Verujem da je uloga umetnosti da bude sveop\u0161ti putokaz, opomena i su\u0161tinsko osve\u017eenje u umornim i sumornim vremenima. Bez nje bi svet bio svakako siroma\u0161niji.<\/p>\n

VELIKA KLOPKA<\/p>\n

Virtualno-realno<\/em> je formirani ambijent materijalizovanog mentalnog inboksa<\/em>, zatrpanog mno\u0161tvom informacija a su\u0161tinski je personalni dijalog s vremenom.<\/p>\n

Savremeni svet je postao savr\u0161ena globalna klopka<\/em> koja nas depersonalizuje i transformi\u0161e u zavisnike info_screen <\/em>sistema. \u017divimo u lavirintu informacija, otu\u0111eni<\/em> vladavinom ekrana, dok stvarni \u017eivot prolazi pored nas.<\/p>\n

Du\u0161an Todorovi\u0107<\/p>\n<\/div><\/section><\/p>\n<\/div><\/div>

<\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":6931,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":["post-8452","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-introducing-the-artist"],"yoast_head":"\nDU\u0160AN TODOROVI\u0106 - Zepter Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/zeptermuzej.rs\/en\/dusan-todorovic-re-vizija-fantasticnog-sna\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"DU\u0160AN TODOROVI\u0106 - Zepter Museum\" \/>\n<meta property=\"og:url\" content=\"https:\/\/zeptermuzej.rs\/en\/dusan-todorovic-re-vizija-fantasticnog-sna\/\" \/>\n<meta property=\"og:site_name\" content=\"Zepter Museum\" \/>\n<meta property=\"article:published_time\" content=\"2022-04-19T01:11:41+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-05-29T08:41:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2019\/04\/Screenshot-2021-12-28-at-12.58.15.png\" \/>\n\t<meta property=\"og:image:width\" content=\"676\" \/>\n\t<meta property=\"og:image:height\" content=\"441\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"zmmin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"zmmin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"17 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/\"},\"author\":{\"name\":\"zmmin\",\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/#\\\/schema\\\/person\\\/9dae5a82186c5073d070924a943e5de8\"},\"headline\":\"DU\u0160AN TODOROVI\u0106\",\"datePublished\":\"2022-04-19T01:11:41+00:00\",\"dateModified\":\"2024-05-29T08:41:38+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/\"},\"wordCount\":4738,\"publisher\":{\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/zeptermuzej.rs\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/Screenshot-2021-12-28-at-12.58.15.png\",\"articleSection\":[\"Introducing the artist\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/\",\"url\":\"https:\\\/\\\/zeptermuzej.rs\\\/en\\\/dusan-todorovic-re-vizija-fantasticnog-sna\\\/\",\"name\":\"DU\u0160AN TODOROVI\u0106 - 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