25 Years Retrospective
House of King Peter I, Belgrade 2018
Illuminator of the new cycle
Sinisa Jeremic (Zagreb, 1966), is the successor of the Belgrade School of Visual Esoterism and one of its best representatives of the new cycle.
Siniša is at the very top of a new wave of fantastic art that has suddenly risen in Serbia in the new century. Unlike individuals, he is not a vulgar interpreter and follower of Mediala but an independent esthette of highly developed senses for a divine beauty.
His drawings have the rhythm and harmony of musical compositions, the sensibility and tactility of someone who has reached the limits of the sensual in art. Also, he had created a completely new aesthetic ideal, different from the Mediala, especially from the black wing of this group.
Jeremic, who is completely different from Dado, Velickovic, Ljubo and Toskovic, creates a shade of cheerfulness, heats the sun of dendism, he subtly and skillfully entered the dialogue with aesthetics from the end of the nineteenth century, with what began with Jean Delvil and severely interrupted the first modernists.
Kemp, androgine, esoteric, ultrabeauty, terror of beauty, higher meaning, antimodernism and supermodernism, categories are determined by this art of the finest weaving, silk structure, drawings understood as absolute. At a time when young people increasingly becoming more and more influenced with fantasy as a drawing roughness that should be synonymous of the power of expression, Jeremic presented an unprecedented culture of drawing, precision, fineness of modeling and perseverance in work, which can only be a consequence of ultimate enthusiasm and entchantment with art.
After Mediala, in Serbian art there were five waves of returns to fantasy, but Siniša Jeremić differs from all. He did not address the northern type of drawings with the ink and the pen, which was discovered by the group in our art, and since the fifties of the last century, it has been transferred to this day. His work is subtle, melodic, in the sphere of the finest shadows in the pen technique on paper, he creates amalgams of light, shadows and lines, magical works, not just figurative drawings. Jeremic is engulfing more streams of his story, such as many layers of drawings, turned to urban, cultured, civic and dendist aesthetics, not rural, warlike, or junklike.
His drawing is Rosicrucian, abstract, sets the ideals of eternal, ultimate youth and beauty, beyond which there is nothing beyond God.
Lonely, among the younger ones, he uncovered neo-symbiosis and a new secession when no one even thought of them, and from renaissance to impressionism, perhaps the best and most creative artistic phenomena, the dawn of modernity, as well as every dawn miraculous and short, unstable, illuminated by magical light and full hope. Vladimir Vlaja Jovanović has the work of "Iluminata" and Sinisa Jeremic his illuminations in response to this time and state of mind.
Sinisa is primarily concerned with spirituality in art, his pure state, as little as a link with the material. It creates an antimaterial, pure art, excluded from today's world, at a price not to be fashionable. He seeks for the extraordinary and is not like anyone in the present aesthetics of an overly vulgar, impenetrable and reckless reflection of reality.
His fine drawing tissues are like an epidermis, they make abstractions in terms of Renaissance allegories rather than modernistic reductions, drawings with style, meaning, content and endless symbolic value, which forbids and rejects (post) modern and especially (post) conceptual art.
It is not only about counterrevolution and neoconservativism of the higher order as resistance to nothingness and nihilism (post) modern but about openness to the wonders of the world, nature and secrets of the sexes, he captures the true nature of man and woman in the midst of the loss of gender and identity.
Dejan Djoric, art critic
Fictional creatures and where to find it
In his works, Sinisa Jeremic presents an guiding idea which is as fascinating as simple. Have we, people of modern times, explored ourselves in the same way that we were studying those we considered to be others or different? Despite our self-reflection, despite our great stories of identity and non-identity, have we had enough time, will and courage to move away from ourselves and expose to a view that leaves nothing hidden?
I think that Sinisa is responding to these questions, with hypnotic and secure style shatters the path through the thicket of overcome ideas and with a lot of irony, humor and anger, with a large number of pictures as impressive examples, he writes an exciting, powerful and important text.
There are fictional creatures in all of his works as a product of his psyche, soul, and intuition. However, fictional creatures could also represent a nomadic vision of a posthumous subject and It is precisely this perspective that provides a very important insight into the production of scientific knowledge in his art.
Surgical precise anatomy damaged by visible scars is characteristic of his early works. However, In recent works, the human body is presented as a surface for recording the event of the merging of two bodies of a different sex into a single whole. In this way, Sinisa clearly points to the long way that we, as a civilization, have crossed out to eliminate the visually available differences between empirical sexes, races, and species. It remains to be asked whether in this way Sinisa problematized the gender and fully liberated subject as one of the thesis of his work.
Sinisa's work drags and intertwines us observers into his story. This feeling can be compared with the enjoyment of listening to a favorite symphony in which the listener is never fascinated by the work, for he projects his subjectivity to that music, but because the work requires him to become part of the art. He can become a part of a story, a genius interpreter, a sharp critic, or an active observer. This is what art makes of us. For this reason, I'm confident that each of you will find part of this unusual interpretation of reality.
I believe that during the exhibition and after discussing between ourselves the fictional beings with the same passion, precision and propensity to prove as if we are discussing something that we know very well and what we adopted.
Those who feel, and I hope that you all will feel how the work holds you and puts through the changes by demands and ideas, means that you have allowed Sinisa work to move in you and fictional creatures from his drawings will continue their lives in you further, always in specific way.
dr Vesna Petrović, PhD
