Exposition MILUTIN GUBASH Exhibition
MILUTIN GUBASH
Tuesday, September 7, 2010
How To Identify The Malar Rash
TITO MY FRIEND, AND OTHER STORIES
English follows
VERNISSAGE
This Thursday, September 9 at 17:00
EXHIBITION September 9 to October 8, 2010
My recent work ( Re-enacting Tragedies While My Parents Look On, 2003 Near and Far, 2005;
BATCH 2007; Born Rich Getting Poorer, 2009) have all been created from topics that are very close to me: my mother, my father, my lover and my daughter, some friends intimate and other artists accomplices. Appearing with me in my work, they allow me to express thoughts about love, failure, hope, death, film, television, past, future and art. My practice consists of anecdotes, dialogues, events or traits drawn from real life, which are then staged for the camera, then to the public, forming sequences and experimental portrait biography. I'm more and more to explore the process and aesthetics of narration in order to create and follow the thread of my own evolutionary history and that of those around me. In the video TITO HOTEL,
Then she tells her story in the video, I gathered a group of people - some familiar faces from the Montreal art scene including Sylvain Campeau, Doug Scholes, John Lalonde, ...) and other friends who are in my works earlier - to help me visualize this event which had a huge impact on what I am and what I'm here now, away from my own heritage and my culture. TITO HOTEL looks like a home version of the image I have of a TV series of the Eastern bloc during the 1960s, it could have looked at the visual and aural . The work was dubbed in French with the participation of another group of people from this time to the art scene in Quebec City. Recent adoption, but also interpret this piece in the video enthusiast. The exhibition is also accompanied by a project called THESE PAINTINGS, an assortment of what I call "false" abstract painting is like having all of the portraits of Tito (both visionary architect of socialism and, from 1945 to 1982, the ruthless dictator of Yugoslavia). It is often said that Modernism was born of disaster, that of war in particular. While abstraction was illegal in the Soviet Union, it was not in Yugoslavia after the war of 1950-1960. It just was not an art form recognized by the State (then the dominant style is the socialist realism). Behind the scenes, the fact remains that the means were taken for discourage this form of art, so as to disturb the lives of artists who tried to push those boundaries aesthetic. We report the case of police intimidation and allegations of imbalance or mental disabilities were made by various authorities to interfere and expose these practitioners. In this context, where the painterly abstraction was seen as a real political statement, I would propose a question as to its meaning in Yugoslavia
Born in Novi Sad (Serbia) and living in Montreal (Quebec) since 2005, Gubash presented exhibitions in Quebec, Canada, the United States and Europe. Recently, he presented his solo work in Montreal, Museum of Contemporary Art (Lots,
2007) and Optica (Born Rich Getting Poorer, 2009), Paris, Galerie 3015, and Marseille, the RLBQ ( Which Way to the Bastille?,
2008). Using photography, video and performance work is often directed Gubash his family and friends who play their own roles within achievements house comedies, soap operas, family portraits and plays improvised. In simple gestures and often comic, roles are reversed and tangles from the simple home to various social and professional status. Thus we are invited to follow the artist who mixes the received ideas about our identities and our surroundings.http://www.milutingubash.com
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Gubash
TITO MY FRIEND, AND OTHER STORIES
Opening
Thursday, September 9, 5 p.m.
Exhibition du 9 septembre au 8 octobre 2010
September 9 - October 8, 2010
All of my recent works ( Re-Enacting Tragedies While My Parents Look On 2003; Near and Far 2005;
LOTS 2007 ; Born Rich, Getting Poorer 2009) are created from the subjects I keep closest to me in my daily life. My mother and father, my lover and my daughter, some close friends and a few other artists with whom I share an affinity, appear alongside me in my work to express thoughts on love, failure, hope, death, movies and television, the past, the future, art. My practice borrows anecdotes, dialogue, events or character traits from actual life, and represents these elements in front of a camera, and eventually an audience, as a series of experiments in portraiture and biography. Increasingly, I have become interested in engaging with the process and aesthetics of narrative, creating and maintaining an evolving story of myself and those around me. In the video HOTEL TITO,
While she relates her story in the video, I assemble a group of people -- a few recognizable from the Montreal art milieu (Sylvain Campeau, Doug Scholes, Jean Lalonde…), and other friends who appear in my earlier works -- to help me visualize this event which had an enormous impact on who I am, and why I am now here, removed from my own heritage and my own culture. Created as a homemade version of what I imagine an Eastern-Bloc sitcom from the 1960s may have looked and sounded like, the HOTEL TITO has been dubbed into French by soliciting the participation of another group of people from the art milieu in Quebec City, who animate and interpret the amateur theatre presented in the video. Accompanied by a related project entitled THESE PAINTINGS, the exhibition is further constituted by a set of what I call « false » abstract paintings, all claimed to be portraits of Tito (the alternately visionary architect of socialism and ruthless Yugoslav dictator from years 1945-1982). It is often said that Modernism was born from catastrophe, war most particularly. Unlike the Soviet Union, where abstraction was illegal, in post-war Yugoslavia in the 50s and 60s, it was simply not a state recognized form (the dominant form was social realism). Nonetheless, unofficially it was « unsupported » in ways that were detrimental to the lives of artists who pushed at those boundaries. There are documented instances which suggest that police intimidation, allegations of mental instability and incompentance were used by various officials to destabilize and denounce its practioners. I want to put into register questions about what abstraction in Yugoslavia meant since it was seen there as a determined political statement. Born in Novi Sad (Serbia) and lives in Montréal (Québec) since 2005, Milutin Gubash has mounted exhibitions in Québec, Canada, the United States, and Europe, including recent solo shows in Montréal at the Musée d’art contemporain de Montréal (“LOTS”, 2007), and Optica (“Born Rich, Getting Poorer”, 2009), Galerie 3015 in Paris and RLBQ in Marseille (“Which Way to the Bastille?”, 2008). His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends, who portray versions of themselves in Gubash’s Do-It-Yourself sitcoms, soap operas, family photos, and improv theatre pieces. Using simple means and often comical gestures, conventional domestic, social and professional roles are mixed-up and up-ended, as we are invited to follow the artist in reconsidering assumptions about our own identities and environments. http://www.milutingubash.com
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