ART Habens Art Review ART Habens Art Review - Special Issue #97 | Page 68

ART Habens Ante Kustre favorite prisons ” was created in a small bang : after connecting of the mirror and the bird cage , the inner flash showed to me all my favorite prisons and I recognized them , half finished , in my studio . So I turned my sleeves and grabbed the job .
My self in that process I experience as a mediator that mediates among different objects and makes their wish come true – the one for mutual fusion . Surprises that I come to refresh me and make me connect things even more . I like to talk and to write about serious problems in an easy and funny way , fluidly . Therefore I use cheap and rejected materials and thrown away objects to art-upuncture the neuralgic points of the collective body . That playful relation of the easy and heavy , low and high , temporary and lasting etc . Gives me possibility to maintaning inner balance easily , which is always threatened more or less on this unstable teritories that generate historical , collective and personal , discontinuums . Because of so much sharp edges , breakups and splitting ( which are here the product of a social and political enviroment ) I always come back to the technique of a collage , since my adolescence . You have to always and again stick together all those piecees of the ripped reality . For dadaists to have something to paste , the butchery of The World War One had to fall apart before that . After the end of Yugoslavia in a bloody war neo / dada knocked on the door of my atellier and I had to open them . It came to show me that my life is happening between two wars : World War Two and its sequel here in the 90ies ( or it was World War Three - small size ?). In the 90ies I made an exhibition of collages „ Stop smoking War / lboro “; too much smoke from war devastationing was in front of my eyes so , wanting to make myself and others cry of laughing , I arranged an audition of exhibits by principle – who offers less ! When the situation is too serious and the pressure too tough , humour give me wings to fly above that what pushes me down .
Someone said ( it was one German theorist whose name I forgot ) that an artist you become , and like a critic you were born . I ' m the son of the mother of all critics ( to whom the mother of Marina Abramovic looks like Tito compared to Staljin ). So it was inevitable to become sharp film critic , whom rarely titles could satisfy („ My mother was never satisfied “ – Prince ). The story about my mother ' s influence on me in my chilhood exceeds with its weight and deepness well known story of Marina Abramović about her relationship with her mother . The consequences of our similar raisings , under the shining Red star , therefore are of the same caliber , with that that she extremely worked to become planetary popular , and almost the same amount of effort I took to stay hidden ( diving in my blue submarine ) and limitedly mobile ( living in Split-isolation ). She decided to be in the mainstream after all , my choice was to swim in the painstream . That way needed to be : the queen moves in all directions , around all chess board , while king can take only one move forward-backwards or left-right ( as I move myself in Split ). Marina really is the world queen of the performance . She quiets : " Artist is present ", I say : " Artist is absent ". It ' s title of my next installation . To be absent is sometimes the strongest way to be present . Critic component in my work is the one of the constants and varies from the open one and radical to camouflaged and subtile ; the first component meets antiaircraft bursts here and the second one goes under the radars of the
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