/facebook.png){kind=icon}
/twitter.png){kind=icon}
/flickr.png){kind=icon}
/linkedin.png){kind=icon}
/youtube.png){kind=icon}
/vimeo.png){kind=icon}
/tumblr.png){kind=icon}
|
A lady with a broad smile and an ultimately arranged hair. Men no doubt pleased with the waxen look on his face and polished shoes. Perfect girl, as affluent parents, and serious. These are designs exhibitions Happy family / Happy Family, in which the Serbian artist Dejana Vučićević show family atmosphere of harmony 20th century in Belgrade.
The images of happy families, as set by Dejana Vučićević, does not hide that in a strictly idealized world there is no room for discussion of rainbow colors, but can only be black and white community perception of the mother, father and child - no matter what's for flawless smile and scowling parents view girl.
Three-member family photos put middle class (in all ten images appear the same three players) in Belgrade in each decade of the century with a variety of aesthetic and ethical standards, but with the same message: if you are on a family photograph, which is a kind of identity document, family, laughing , this is proof that we are happy family. In this style were either accompanied by quotes:
He: "Lucky me, therefore, follow ... You wish to become my life. "
She: "Let our common life of happiness and joy and full of loyalty ..."
Photos by Dejana Vučićević directed, filmed and photographer Dušan Joksimovic, showing the image of happy families so idealized that it is almost grotesque.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
“Happy Family”. Is it?
The “Happy family” concept, project of Dejana Vučićević, is presented through a series of ten photographs, with each depicting the totality of a certain delicate context within an individual decade of the 20th century. In terms of conceiving “happiness”, this notion is relativised and filtered through the artist's personal prism; this is characterised by an ironical or even humoresque-like attitude to the notion of happiness within the framework of a dramatic plot. The author thus stages situations which radiate the atmosphere of assurance, prosperity and harmony of a three-member middle-class “Happy Family” living in Belgrade throughout the 20th century.
The same persons are always presented in different ambiance, visualized by an adequate setting, in situations familiar to all of us - holidays, celebrations with gatherings in a warm home setting, casual moments of the small family shelter – all situations which emit the atmosphere of safety, well-being and harmony of one little middle-class Happy Family in our society.
In this project’s realization the artist uses mostly authentical, original clothes pieces and accessories for all three characters, as well as furniture and other objects, including toys from specific epochs – all those elements needed for creation of an authentic atmosphere within herself own artistic expression. In order to achieve this, for all decades of the 20th century the artist authentically imitates the appearance of photographs and their technical possibilities, since she was aware of transformation’s range in the period that covers the entire century.
The Happy Family project’s realization, made by Dejana Vučićević required the thorough two years multi-level research, due to the fact that 20th century offers challenging layers, very requiring work, taking into account that each of the epochs has its own recognizable “manuscript”.
Dejana Vučićević is prompted by this theme in her exceptionally complex artistic creation, showing a fine understanding of those transient situations that follow the development of relationships in a three-member family. In conceptualising the idea called “Srečna družina/Happy Family”, Dejana centered her attention on an “as–if” situation. She thus eliminates the pathetic element and, by slanting the idealistic plane to slight irony, she brings in a well-intended critical view. She consciously adopts the visual language of a theatre or film scene because that is the only medium with a broad enough span to cater to all of Dejana’s requirements. She places actors into a carefully conceived mise-en-scène and instructs them to freeze certain gestures and facial expressions.
The choice of approach placed several requirements on the artist. In her many roles – as a scriptwriter, set and costume designer, choreographer, organiser and director – Dejana Vučićević is the absolute author of this project, capable of expressing her high level of professional competence, excellent education and artistic maturity.
For the first time the project was presented in Salon of the Museum of Contemporary Art in Belgrade in December 2006 and January 2007 with production team: actors - Nada Šargin, Vladimir Tintor and Olivera Sadžaković; photography - Dušan Joksimović; digital image processing - Vladimir Tatarević; make-up and hair - Tina Šubic Dodočić and Lidija Škorućak.
Tekst: B. Ž. and Press Release
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Iluzija ili mogućnost?
Dejana Vučićević, uspešni modni kreator i stilista, pokazala nam je i novi, podjednako kvalitetan segment svoje umetničke ličnosti – u Galeriji Muzeja savremene umetnosti otvorena je njena izložba Happy family. U saradnji sa Dušanom Joksimovićem Dejana je ostvarila fantastičan uvid u jednu istu ( utopistichku? ) ideju, koja datira od početaka moderne civilizacije i ne posustaje do današnjih dana. Ideju o srećnoj ( heteroseksualnoj?! ) porodici, i njenom srećnom potomstvu. Na fotografijama, koje je snimio Joksimović, glumci Nada Šargin i Vladimir Tintor, i devojčica Olivera Sadžaković prikazani su kroz epohe, u do detalja preciznim kostimima i scenografiji, chime je Dejana prikazala svoje mogucnosti u segmentima u kojima suvereno vlada. Ova vizuelna preciznost, ali i smisao za humor, stavljaju je u red nasih najvecih potencijala u oblasti kostimografije.
Izložba o porodici koja prevazilazi vreme i prostor, i uvek ostaje ista, kao da podseća na rajeve koje smo izgubili, i upozorava da čuvamo osvojene. Da li su njihovi osmesi iskreni ili će se posle fotografisanja posvađati oko toga ko je juče vukao sa pijace a ko nije izvukao veš iz mašine, o tome razmišljamo samo mi, neuništivo cinični. Za sve ostale, normalnije ljude, ova izložba je katarzično iskustvo.