Montenegro

Siniša Radulović’s glass-covered floor installation contours a “subterranean”, parcelled-up, entrenched and moulded world-life characterised by sharpness, completeness, boundaries, while the large-scale videos projected on the walls create a “higher”, ethereal realm of fluidity, lightness, brightness, openness, possibility.

The ”subterranean” part is marked by stark reproducibility and terrifying relentlessness of a sterile, uniform matrix that builds a particular anthropogenic hothouse in which we are disciplined and controlled, while simultaneously hypnotised into a phantasy of a normality. These artificial, boxed-in micro-units of life unfold as a model for the operation of macro-social system, for the biopolitical “gardening”.

Through the large-scale videos we are swept away into a light, gentle flight towards something that is currently only a foreboding, a seed of something that is yet to become a relationship, an action, an event. Those are intimate micro-moments of radiance and alertness, sufficiently light to bring forth the feeling of being untethered, fluid and calm. The strict, sharp lines of separation, limitation, siloing and control become soft, pliable, permeable, fluid: they enable the healing of our relationship to ourselves and the world that we inhabit.