played with the paradox of entrapped energy or the energy of paradox and polar charges, like for example a famous pair cotton/iron,
iron/living organism (a parrot, a cactus) or even more famous horse
in a gallery, simultaneously moving and interrogating institutional
limits, Caranovic in this work strongly underlines, or e ven more, thematizes the process of interrogation itself. The possibility, the meaning of the interrogation in a given historical situation.
The coil. Because one must not forget that this work, as all of
the Caranovic’s works, is univocally embedded to that period project
of Belgrade sculpture. It constructs and deconstructs the subject of
a very specific type of sculpture in Belgrade in the 70’s. Sculptures
of simple, bare forms and enamel surfaces. Sculpture that was manifested as a reaction to what in those days was a pop “mischief” of
a certain Belgrade tendency too keen towards what was considered
to be a glorification of the (Belgrade?) consumer society. Or better,
as a late post-enformel of unhidden ambitions of criticism. That type
of sculpture in Belgrade, it is necessary to stress, that had ended in
a completely unexpected manner (against all expectations) as a form
of a fetishism of material. In this contest, Caranovic, clearly and successfully marks his stake.
The Wire. All elements are present, but the “material” itself,
this highly desirable and in those days appraised, “materiality” of
work eludes. It slips away. Is it for the coil, that is the wire in the coil,
that cannot hide its “dirty” origin from technology, industry, massproduction (consumism)? The wire that spoils, cancels “pureness” and
“sincerity” of the material. Or is it for the utterly incomprehensive
connection of all (material) elements in the composition of the work?
Composition of the work and the disposition of the examples that still
unambiguously maintain visible, easy to recognise the usable.
As a conclusion: “These works should be pure sources of energy – simple machines.” It’s not ironic.
A3. Applied Arts (Camouflage)
In a wooden box there are three industrial, mass produced
bottles, plastered with newspapers. Again, a very simple choice of
examples, bottles and a box. Again, what is of the utmost impor-
34