Sky Keepers

CATEGORY / Texts AUTHOR / adm1nf1l DATE / November 13, 2015

Pictures have long been credited with great power, given magical properties to heal, destroy and seduce. Since ancient times, the artist has been seen as a kind of the sorcerer whose illusions, depending on the moment, are prized or decried. In this case, the photography is rolled out as a strong vehicle of liberation. It represents the freedom from personal experience. The photograph becomes the crib for subject matter offered to the artist as a necessary leap from the first person in the third. There is supposed alienating quality about these pictures, a distant quality that for us becomes an important component of their character.

Barthes argues that photography is where we put the death in modern society, now that it has left religion and ritual that it finds its anthropological context in “this image” which produces death while attempting to preserve life.
The concept of the exhibition entitled Sky keepers is the serial that consists of black and white prints that are appropriated from the book with the same title. The book is about the history of the former Yugoslav Air force dating from Tito`s era. The explicit documentary character of the pictures gives us not only the idea about the aesthetics of social – realism, but the very notion of depicting the communist era in a broader sense. It explains the mentality of representation itself, in other words, ways to identify and depict equally one of the generic factors of material culture of the former Yugoslavia.

Equally it tends to roll out the general atmosphere from the times of so-called Tito`s path for the purpose of revealing it`s an important psychological profile that more accurately defines and characterizes the nations (Serbs) relation towards the notion of authority.

The content of the given pictures, in front of our eyes, turns into a discourse that becomes equally controversial and ambivalent as medium that it stands for. Thence, by reactivating the very medium, one emphasizes at the same time the phenomenology of the very medium (photography) and its diversified and complex effect on our material perception. The constant changes in looking at reality influences the shift of aesthetic convention, due to which not only that our material perception in this case is challenged by the relation between the substance and the medium, but the content it changes its social and epistemological character and puts itself in a totally different context.
The ambivalence of the content that is offered underlines the issue about the cognition, quality of the photo depiction. This cognition, quality of the photograph thus bears the constant revision.
The dubiousness of the photo depicts carries also the doubt about the content itself.

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