We are in need of a new way of seeing things

We introduce our readers to the first issue of EYE TO I magazine, which is dedicated to contemporary visual art. In its structure, this number is on the borderline between a journal and a magazine. It basically consists of ‘long-read’ essays related to problems of contemporary artistic practice, but also to some specific artistic productions and phenomena. The authors of the texts are theoreticians and art historians who come from the region of Southeastern Europe, as do the four artists also presented here.

In a time defined by limited information and brief attention span, dictated by the protocols of social networks and digital media, we have opted for a printed edition of the magazine which presents texts that require a certain amount of time to be read. At this turning point for both the system of contemporary art and world history in general, we understand that the existing solutions in the field of art are no longer fully applicable. This brings the matter back to thinking itself.

A new situation calls for a new way of thinking. And this new way of thinking, we hope, could contribute towards a new view of the problem. That is why we are presenting texts by Jovan Čekić, Nikola Dedić, Zoran Gajić, Goran Gocić, Saša Janjić, Petar Jevremović, Mario Kopić, Miško Šuvaković and Anica Tucakov, whose range of topics moves from insights into the contemporary artistic situation to the work of individual artists.

This first edition of EYE TO I also presents the works of four artists of different generations, who problematise the key phenomena of the times, each from a different position.

The well-known conceptual (anti)artist Goran Đorđević (1950), who for a considerable part of his career problematised the issues of the system of contemporary art, and, at the same time, of art itself, under the name of Gregor Mobius, focused his attention on the problem of deciphering the instructions for his own use contained in the DNA, and also directed his attention towards questions of the development of the biosphere as a self-conscious being. We are talking about a personality who, in his work, problematised the ruins of the systems that have remained behind us, whilst, on the other side of the Möbius strip, in these moments when we are clearly entering a new historical epoch, he turns his gaze back again to the issue of preserving life and further evolutionary developments.

Zoran Todorović (1965) is an artist who mostly works in the field of new media and transmedia artistic practices, through video performance, actions and installations. In his works, he thematises issues of biopolitical administration and control. He recognises the body as a field of political struggle, and therefore in his work he treats the body and bodily resources radically, exploring the sensory fields of the relationship between the body and the machine, and the new biomedical procedures and conditions of exploitation.

Vladan Joler (1977), a visual artist and researcher, explores in his maps and cartographic essays new models of exploitation and extractivism, and thus provides us with the possibility of staging the acute phase of the contemporary social situation, i.e. looking at the relationships that exist between the elements of the system of technological exploitation and the principles of contemporary extraction.

Finally, the artistic practice of Igor Simić (1988) is also characterised by a hybrid expression of several media, whose boundaries he examines, expands and combines – video art, film, philosophical essay, storytelling, and recently also the field of computer games, music and lecture performance. His cross-media projects are based on the philosophical-essay narrative, which sometimes follows and sometimes opposes the nature of cinematographic expression and media procedure, while thematising issues of the relationship between man and machine, the profitability of interpersonal relationships, and various forms of exploitation of people and other planetary resources.

By crossing the different paths of these works and texts, we believe that we can experience a more profound reflection of the times. In the light of that reflection, things can become visible in a new way. And that is the meaning of the existence of the two titles of this edition, which on its back presents the inversion of the name on the front page I TO EYE. The contents of this edition, placed between the title EYE TO I on the front page and I TO EYE on the back, offers a contribution to the possibility of a different (new) way of seeing things.

Anica Tucakov
Jovan Čekić
The Art of Multitude
Artist Profile Igor Simić
Igor Simić
Notes on multimedia montage
A Brief Guide: Art Institutions
Museum of Contemporary Art Belgrade
Museum of Contemporary Art of Vojvodina, Novi Sad
Mario Kopić
From the good life to the bare life
Artist Profile
Zoran Todorović
Miško Šuvaković
Unavoidable antagonisms of three biopolitics
Zoran Gajić
An Undistilled Critique
Nikola Dedić
The other line and the Yugoslav ‘third way’: the birth of the new artistic practice in the era of market socialism (1965-1974)
Former Artist / Researcher Profile
Goran Đorđević / Gregor Mobius
Gregor Mobius
Visual Representation of RNA/DNA
Jelena Vesić
Harbingers of the Apocalipse and other stories
Saša Janjić
Art as Institutional Criticism
A Brief Guide: Art Events
October Salon, Nadežda Petrović Memorial
Petar Jevremović
A brief apology for Light or The tale of the happy poet
Goran Gocić
Biopolitics, Reality shows and Social networks
Artist Profile
Vladan Joler
Anica Tucakov
“I thought I saw convicts!”
Publisher: NGO “Anonymous said:”, Belgrade, Serbia
Represented by: Sandra Marković Milisavljević
Editor-in-Chief: Anica Tucakov
Graphic design and layout: Monika Lang
Translation to English: Katarina Radović, Jovan Jakić
Proofreading: Jonathan Boulting
Printed by: Službeni glasnik, Belgrade
Belgrade, Autumn 2022.
This publication is supported by the Ministry of Culture of the Republic of Serbia