Distortions...
12:50 p.m.06/05/24 - Redenko Milak (Travnik, former Yugoslavia, 1980) works with a very reduced palette, only blacks and whites, in tempera. What makes his works even more particular is that, from afar, they look like photos. Milak reinterprets photos published in newspapers or on the Internet but gives them a twist and a new sentimental or intimate reading. The image below looks like a photograph but if we get close enough the paint strokes surprise us. On this staircase the characters, who come and go, remind us of lack of connection in this alienated society in which we live. The artist observes, almost like a flaneur, this singular urban space and in just two colors defines the entire situation. The absence of nature, the coldness of industrial architecture is the perfect setting to define ourselves.
Redenko Milak
Ani Molnár Gallery
Sándor Körei (Mór, Hungary, 1995) develops a unique visual language where it is very difficult to specify what we are seeing. It is, certainly, a still life but the particular thing is that it is no longer presented in two dimensions but in three: an object made from others found by the artist, which he gathers and encloses between glass. This mixture of methods, in which art and the laws of nature merge, results in an object that symbolizes the decay of the passage of time (the literal still life).
Sándor Körei
Ani Molnár Gallery
The “trompe l’oeil" that Milak proposes and the ready-made or the encapsulated still life of Körei are challenges proposed by the works of these artists who are examples of ultra-contemporaneity.
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