sible to differentiate from the work. Certain mythologisation of mystification of avant-garde. Avant-garde rhetoric of radical poetic
turns, but of avant-garde that did not despise the radical politics.
Politics to which too often it offered an alibi. Avant-garde rhetoric
that did not stop at the transgressive poetic metaphor. Iconic whiteness of the chosen material gains new weight from there. The
weight of history written in many ways.
EPILOGUE
Cloud in Trousers, 2001
“This work is from the same series, but it is from a certain
point the most complete one. It appears to me that this bottle was
supposed to create in a spectator a sense of being in front of a simple machinery. This object should have a certain esoteric action and
should function by itself.” We are back to the beginning, the simple
machines of Raymond Roussel. To the comment to all histories of
photographs, sculptures and machines.
Comments, works in a form of certain still-lives. Still-lives
that play with examples (common pictures and objects, mostly consumer goods) in some new, collage, edited dispositions. Traces of
memory and history, that political history that in Serbia was always
relocated and mythologised in many different, violently opposite
ways. Also of history of art, of sculpture. History of a kind of art discipline that was always in a threat of either fetish or phantasmagoria
depending of its size, time and place. It had always provoked opposite reactions, that is maybe in the modernism and history of the
20th century art the best translation of the duality of object trouvé
and perfectly designed (functional) consumer good of Bauhaus, as
the French sociologist Jean Budrillard noticed already in 1960s. In
all this, Caranović and his works that start facing its audience somewhere in the 1970s, choose their identity very carefully. Identity of
a constant work always and again in the trace of inconstancy.
Identity of a work that still today tenaciously warns that history is written in many ways.
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