Filip Matić

My Work

Texts

  • Homeless/Epson project

    Four artists, (Alexandar Rasulić, Filip Matić, Camilla Wærenskjold and Casper Evensen) of diverse origin, showed their graphic works in Oslo. The starting point for this project was to present work that is done on screen (computer), transferred to material sheets. Thanks to collaboration with an American hardware manufacturer (Epson), the attempts have been made to …read more!

  • On Helicopters and Genitalia

    In the year of 1878, when Eadweard Muybridge made his celebrated photographs  of a galloping horse, it was not the beginning of a path towards  the discovery of the movie pictures , as those photographs thought of today. What fascinated his contemporaries most, was the overthrowing absurdity of those photographs related to the manner in …read more!

  • Sky Keepers

    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 …read more!

  • German Lessons

    Not so long ago, Jean Genet, taught us that each end every technological advancement sets free, any artistic medium from the notion of reality. Photography, liberates painting from the inevitability of facts. Film relieves photography from the necessity of recording eternity. Television, on the other hand, frees film from the documentary aspect.  Internet, sets television, …read more!

  • Everything is All

    “Everything is All” series of Paintings that are inspired by the poetry of the Persian poet and mystic Jallal-ad-Din Rumi. I combine own visual meditations, on love, politics, social issues, spiritual and everyday life, willingly interpreted in secular context with a spiritual twist. Rumi’s poetry, to my view, represents an increasing need many of us …read more!

Video

List of Works

A Matchless pair | Everything is All | German Lessons | Sky KeepersDrawings | Prints
portfolio/sky-keepers/

A Matchless pair 

Barbie, oil on canvas, 49x69cm;
Hind, mixed technique on paper, 90x154cm;
Helio, A Matchless Pair, print on tarpaulin, 174x121cm;
Helio, she loves me, print on tarpaulin, 90x 154cm;
Matchless pair, A Matchless Pair I, enamel paint on cardboard, 86×121
Matchless, A Matchless Pair II, enamel paint on cardboard, 86x87cm;
A Matchless Pair, oil on canvas, 150x300cm;
Parkveien 76a, enamel paint, oil on canvas, 102x169cm;
A matchless pair view, installation view, 2/3, digital print, acrylic, 138x300cm;

German Lessons 

Catwalk, oil on canvas, 80x124cm;
Friday night, oil on canvas, 126x132cm;
German lessons, Was Gibt es neues? Oil on canvas, 168x122cm;
Ist es so? Oil on canvas, 98x128cm;
Jat, oil on canvas, 130x180cm;
Desert storm, Ich kann nicht kommen, oil on canvas, 95x140cm;
War trophy, Was ist heute? Heute ist Freitag, Morgen ist Samstag, oil on canvas, 66x80cm;
Enterijer 1, Was ist heute? Heute ist Freitag, Morgen ist Samstag, oil on canvas, 129x181cm;
Enterijer 2, Was tust du,Ich schreibe einen Brief, oil on canvas, 135x191cm;

Everything is All 

Der Feind Sieht Dein Licht, the Enemy can see Your light, oil on canvas, 150x182cm;
I am not a Muslim nor a Christian, oil on canvas, 79x129cm;
Man and Woman arguing, oil on canvas, 120x99cm;
Security Council, oil on canvas, 142x141cm;
Sex Drive what it does women laughter and Substances of Masculinity, oil on canvas, 206x159cm;
Thebes, oil on canvas, 146x106cm;
Mouse and the Frog, oil on canvas, 146x139cm;
Newboo, oil on canvas, 120x92cm;
If only they knew, oil on canvas, 159x135cm;

Sky Keepers 

Sky keepers, print on a PVC tarpaulin, stretched on a wooden frame, 106x100cm;
On the runway, print on a PVC tarpaulin, 80x120cm;
Pair of migs, print on a PVC tarpaulin, 80x120cm;
Portrait of a general, print on a PVC tarpaulin, 120x80cm;
Sabre, print on a PVC tarpaulin, 80x120cm;
Sky keepers, print on a PVC tarpaulin, 80x120cm;
Sky keepers, oil on paper mounted on board, 70 x120cm;

Drawings 

Anima animus, pen, ink on white paper mounted on cotton paper, 29.5x22cm;
Can you imagine, water color, acrylic on archive paper, 170x124cm;
Carcass, oil on kraft paper, 18×24.5cm;
Cassiano, ball pen, fine line pen, on white paper, 22x29cm;
Fly, oil on kraft paper, framed with glass, 129x95cm;
Future, fine line pen, colored pencil on white paper, 22×29;
If you are not a member, fine line pen, ball pen, water color on white paper, 15x21cm;
Trouble, ball pen, fine line pen, acrylic on white paper, 21x30cm;
After Hans Baldung, fine line pen on white paper
Kurosawa, colored ink, fine line pen, on white paper, 21x30cm;
L26, fine line pen on textbook paper, 18x29cm;
Luke, fine line pen on cotton paper, 30×21.5cm;
Rainbow, fine line pen, computer generated images, colored pencil, on white paper, 18x21cm;
Single, colored pencil, scotch tape, photo copy and pencil, artist frame, 11x15cm;
Heroin, fine line pen on textbook paper, 21x30cm;
Some of them, fine line, ink, on white paper, 21x30cm;

Prints 

Ana, CMYK print on klirit, 55.9×55.2cm;
Bakarak, monoprint on paper, A4;
Bull colors, CMYK print on klirit, 120x84cm;
Bull hand-made, incision, print on klirit, 69x52cm;
Divided nation, CMYK print on klirit, 86×59;
Helio, CMYK print on klirit, 127x175cm;
Helicopter 1, CMYK print on tarpaulin, 112x89cm;
Horse head, ink jet print on paper, 62x41cm;
Indian women, CMYK print on klirit, 115x170cm;
Manual, CMYK print on klirit, 127x175cm;
Indian woman, print on metal, 124x198cm;
Mind, CMYK print on klirit, 159x115cm;
Mouse and the Frog, print on archival paper, 62x44cm;
Piloti/pilots, print on tarpaulin, 178x127cm;
Self-portrait, CMYK print on klirit, 54.4×53.8;
The Bomb Spangled Banner, CMYK print on klirit, 55.9×55.2;
Untitled, CMYK print on klirit, 127x175cm;
Homeless, ink jet print on a photo paper, variable size.
Homeless, ink jet print on an archival paper, variable size.

VENICE BIENNIAL

Konkurs Republike Srbije
na 59. Bijenalu u Veneciji 2022

Competition of the Republic of Serbia
at the 59th Venice Biennial 2022

We know where the road goes
but we don’t know what the scenery looks like

autor/author: Filip Matic

kustos/curator Marija Miletic

Vizuelni materijal prethodnih radova:

foto/photo Tatjana Matic Siemer

Vizuelni materijal predloženog projekta:

foto/photo Ana Radosavcev

We know where the road goes
but we don’t know what the scenery looks like

The concept of the exhibition offered in the Serbian pavilion considers the issue of alienation and distance from the human essence. The artistic strategy is based on creating an exhibition that goes beyond the exhibition’s concept. The practice of the curator performed by the artist, and the performing possibilities of the curator. This setting simultaneously questions, warns and invites reflection. In the process of searching for a new visual vocabulary and depicting an idea, what we might cite as the “opposite” experience to a broader audience is provided. A further intention is to explore possibilities more deeply, inventively exploiting potentials by creating a productive space of “physical encounters”, a kind of critical complicity, the relationship between the abstract and the embodied, while offering both subjectively and collectively.

Finally, a reminder of the importance of phenomenological experience, a return to the notion of fundamental reality, which should be understood as the interrelationship of processes. Giving up celebration of technology, insisting on anti-spectacularity, embodies the desire but also the need to avoid, above all, the ‘toxicity’ of prevailing digitality, but also to propose the principle, “here and now” return to process recognition “as the basis of vitality in art. Not only in art but also vitality in the context of life itself.

Nowadays, the digital revolution is considered inevitable and a factor of progress, but what is not clearly seen is that it paradoxically becomes a means of breaking the wholeness of the human essence. This state can be defined as virtual that wants to redefine the real, digitized abolishing analogue. At the same time, there is a hopeless submission to new rituals of meaningless classification, which indicates that the rush to process information becomes the essence of the human condition. A culture of banality is emerging, a platitude whose ubiquity grows in proportion to the flood of technological innovations, until what we might call the poetry of essence, that is, that deep existence is abolished from the context of the self.

The consequence of all this is that we become slaves, a new fact of the new age. Time is wasted by most people, leaving little or no room for critical thinking, while blind faith in scientific progress, as synonymous with applied technology and economic growth, erases every need and desire for essential experiences. Therefore, we are in the early stages of overturning the symbolic order, overturning theses, turning the real into the imaginary. We are experiencing a world almost becoming lifeless, unable to understand that life is actually more complex than we think.

And it is precisely in the complexity of life, complexity and implications of natural processes, processes of the spirit that the complexity of the structure of our being is reflected. An integral part of that complexity is the constant movement of elements in what can no longer be called matter, the transition from one state to another, unity in the multitude, profound existence, are the mysteries or secrets of life, yet we are conditioned to rush into the future deprived of the sanctity of the unknown. It is already pointed out that with such negligence, shortly, we might become unrecognizable, irrelevant and rejected as a species.

But does it have to be that way? Can we strive to create alternative conditions of existence?

“Marriage with the supersensible, the realization of a free personality, is possible in the human soul whose powers have been brought into a state of regularity which, in comparison with the normal state, represents transformation itself.” This is Goethe’s response to Schiller’s work entitled “Über die aesthetische Erziehung des Menschen” (Letters on the Aesthetic Education of Man), where one of the primary ideas discussed in this work focuses on the question of human freedom. Schiller realized that a harmonious social life could be founded only in free human personalities. He saw an “ideal human being” in everyone, and the challenge was to bring external life experiences into harmony with this “ideal”. Then, according to Schiller, the human being would lead a genuinely dignified existence. In conclusion, each element (individual) goes through its own process of separation, purification and reunion in a new thing.

Therefore, we understand that such an alchemical unification of all things, even man himself with all things, requires, metaphorically describing, the hope or goal that leads us to achieve the impossible. Although hopes are themselves such states that can be destructive and highly selfish, they are also necessary elements in higher achievements. That part of us that is willing to dive into the depths of the soul that seeks, from profane consciousness to the super-rational, unites and unifies. Looking for things in the depths of our unconscious world is of great value. In the end, we present what can be stated as a hidden treasure, bringing it to the surface, using the totality of oneself or another through the involvement of selfness.

This reminds us of the symbol of Yin and Yang as a symbol of harmony and unification. Unification is made possible because certain elements have just awakened deep in the soul. What awakens movement comes forward first, and then what unites the soul into a complete whole follows. So towards the vision of the spiritual whole, the spiritual wholeness, the image of connecting the warring dimensions of the self, the warring dimensions of society. Connection, born of an essential need, deep within the architecture of the self, offered in love.

In the end, Is the path we follow a trail of discovering the landscape actually? Is it the landscape that reveals signs along the way? And is a path without a landscape genuinely possible? A feeling that the landscape truly represents the mystery of life. The inevitable process of change and transformation on the course of our soul, or the deep essence of human existence.

Technical description of the exhibition

(WE KNOW WHERE THE ROAD GOES BUT WE DON’T KNOW WHAT THE SCENERY LOOKS LIKE)

The space determines the setting; the presented works are either paintings or peaces/installations on the wall or objects on the floor. The pieces symbolically intersect or define the visual and physical space for the audience’s movement. In such a way close contact is made, the audience moves in-between, in the direction of the identified objects, following the principle of interfering or diverting attention through the construction of a physical situation.

Two works at both ends of the space are paintings; a work in oil on a metal plate (MIRRORING FUTURE 240×280) the other is a mixed technique (Mirror 210×280). They act symbolically, therefore also in the sense of spiritual symbolism. Mirrors, or the term mirrors, reflect the truth. In a psychological sense, mirrors symbolize the threshold between the conscious and unconscious mind. Looking in the mirror (works), one can look into the depths of one’s subconscious.

Next to each of these works in the corners are objects made of baked clay with a motif of identical digital heads painted in porcelain blue, which suggests the human species’ paradoxical state (DIGITAL HEAD 140×71,2cm each work). Blue also represents the meaning of depth, trust, loyalty, honesty, wisdom, self-confidence, stability, faith and intelligence.

On the left side wall, opposite the main entrance to the pavilion, there is an installation work made of textile stripes called MOIRAI (35 stripes with abstract motifs, 4x17m). Textile as a symbol. In most societies that developed textile technologies, cloth and its production served as metaphors for life. In Greek mythology, three goddesses known as Moirai controlled the lives of mortals. This represents a central visual position with multi-layered symbolic indications. On the counter placed in front of the wall with strips, in the line of the entrance to the space is mounted an object-work also of textile structure, hand-embroidered, with 64 hexagrams from I ching or a work called KING WEN SEQUENCE, which indicates the meaning of profound existence or principle the inevitability of the process of change and eternal movement (Book of Changes).

Seven LED screens (55 “, number 55 symbolizes transition and growth) are mounted on the right side wall (entrance to the space), as an installation,work entitled (THE VALLEY OF SEVEN SCREENS, number 7 symbolizes inner wisdom) symbolically extinguished (inoperative) all the time of the exhibition. Below the monitor are vinyl letters with textual content (WE KNOW WHERE THE ROAD GOES, BUT WE DO NOT KNOW WHAT THE SCENERY LOOKS LIKE, 11m long) as the exhibition’s title and visual symbolic complement to the central, visible position.

Exhibition View

Filip Matić

Your Name Your E-Mail Address Your Message

CV

Filip Matic (1963), born in Belgrade, Serbia, lives in Oslo/Belgrade

 EDUCATION

Instituto Europeo di Design, Graphic design department/Franco Zeri/, Rome, Italy

Metier Academy, Project Management,

Motivational Management and Effective Communication,

Oslo, Norway

SELECTED PROJECTS/EXHIBITIONS

2015  “New Works”, Gallery Zvono, Belgrade, Serbia

2013,  “Everything is All”, Gallery Ramfjord, Oslo, Norway

2008   “ Talking to Kitai”, Gallery Ramfjord, Oslo, Norway

2007   ” Was gibt es neues”, Shock Gallery/Art Clinic/, Novi Sad, Serbia

2005   “Nemacki u sto lekcija/German lessons”/,CZKD, pavilion Veljkovic,

Belgrade, Serbia

2005  “Sky keepers”, Gallery Zvono, Belgrade, Serbia

2004  “David Reid studio”, “three objects”, Oslo, Norway

2003  “A matchless pair”, Gallery Zvono, Belgrade, Serbia

2001  “My dairy”, own studio project, Oslo, Norway

SELECTED GROUP PROJECTS/EXHIBITIONS

2013  “The story of the Creative”, See.Me, NYC Gallery, New York

2013  “ALISN at Supermarket Art Fair”, “Blind Date”, Kulturhuset, Stockholm, Sweden

2011,  Agora Gallery, Chelsea, New York, USA

2010  “Cultural Center,” Embassy of Republic of Serbia, Serbian Artists, Oslo, Norway

2010  “7th Berliner Kunstsalon, Germany, (short listed)

2009,  “Florence Biennale”, Florence, Italy

2009   “Biennale Chianciano”, Chianciano, Italy

2009  “London Biennial, UK, London.

2007  “The festival of the first ones”, “Social responsibility of the capital”, Gallery Prozori (windows), contribution to the project of Gabriela Vasic, Zagreb, Croatia

2006  “Suffah, camisia”, April encounters/, Aprilski susreti/, SKC, Belgrade, Serbia

2006  “Status” online questionnaire, project with artist Gabrijela Vasic, Belgrade, Serbia

2005  ”Artforum, Berlin” Berlin, Germany (Gallery Zvono)

2005  ”ViennaAffair”, Wienna, Austria (Gallery Zvono)

2004   “Juleutstilling” Gallery Semmingsen, Oslo, Norway

2000   “Homeless”, Epson Norway project, Gallery Matic, Belgrade, Serbia,

four artists: Camilla Wærenskjolds, Aleksandar Rasulic,Casper Evensen, Ellen Ane Eggen

2000   “Molde jazz festival” project/Camilla Wærenskjolds, Molde, Norway

COLLECTIONS/GRANTS/AWARDS

Art Grant, Ministry of Foreign Affairs, Norway, OUT OF THE BOX project

International support, OCA, Office for Contemporary Art Norway, OUT OF THE BOX project

The 26th Chelsea International Fine Art Competition Award of Excellence, New York, USA, Juried by Elisabeth Sherman, curatorial assistant at Whitney Museum of American Art

The Gagliardi Family Collection, UK, London

Tirsova childrens hospital, Belgrade, Serbia

Pamet group, USA, Belgrade office, Belgrade, Serbia

Ministry of Culture, Republic of Serbia, Belgrade, Serbia

Secretariat for Culture, City of Belgrade, Belgrade, Serbia

Private collections: Oslo (Norway), Belgrade (Serbia), San Francisco (USA), Canada, Germany

Seven paintings project, Asker, Norway

ART – RELATED PRAXIS

2015-2019, Contemporary Art project, Museum of Yugoslav History (MYH) /Norwegian Royal Embassy/Norwegian Contemporary Art scene.

2013, Qvisten Animation AS, set designer, Oslo, Norway

2007 “B92, “Stiklom u vrata”, tv show, artists profile, Belgrade, Serbia

2004 “Theatre chronology” by D. Klaic, art director, IDEM publisher, Oslo, Norway

2001  U. Eco book, art director, IDEM publisher, Oslo, Norway

2000 “Degraded capability”, art director, IDEM publisher,Oslo, Norway

1997  “EURO RSCG”, space design, own art objects, decoration, Oslo, Norway

1994   “CMC Group”, Art Director, Belgrade, Serbia

BIBLIOGRAPHY

Norwegian Royal Embassy, online article/Norway and Serbia, Belgrade, Serbia

Art & Culture magazine, article, Oslo, Norway

Press realize, Agora Gallery, Chelsea, New York, USA

Catalogue review, Agora Gallery, New York, USA

Gallery Ramfjord, 10 years, edition, catalogue, Oslo, Norway

Florence Biennial 2009 edition, Florence, Italy

Chianciano Art Museum 2009 edition, Chianciano, Italy

Magazine Rez, I. Pravdic article: “Exhibition that initiate a discourse”

“German lessons”, catalogue text, V. Tupanjac, I. Pravdic, Center for Cultural Decontamination

“Suffah, Camisia”, text for april encounters, F. Matic V.I.P. gallery/SKC, Belgrade, Serbia

“Sky keepers”, catalogue text, F. Matic, N. Matic,publisher gallery Zvono, Novi Sad, Serbia

“A matchless pair”, “On helicopters and genitalia” catalogue text by B. Dimitrijevic, publisher    Gallery Zvono, Novi Sad, Serbia

“One story completed”,  Politika newspaper, article by M. Djordjevic , Belgrade, Serbia

“Homeless”, text by C.Evensen, photos by E. A. Eggen

Filip MatiĆ
artist


Serbia

+381 60 14 98 332