About the Artist
Graduated from the Faculty of Art, University of Belgrade in 2009. Studied Philosophy at the Faculty of Philosophy in Belgrade. Besides sculpture, her work comprises of performance art, installation...View Profile
The piece called RGB was created in 2006. It consists of two segments:
1. A sculpture called RGB (dimensions 155 x 90 x 30 cm, material – plaster, car spray), a triptych made by repeating the same shape – a female torso sculptured using a live model and painted red, green and blue and placed on a wall at a height of 170 cm.
2. Advertising material (posters, stickers) which invites the audience to take part in the project “Art for Sale”, by buying the RGB sculpture: “Art lovers and beautiful female body lovers, don’t hesitate! These girls are waiting for their sugar-daddy!”
“In today’s transitional atmosphere – the one of looking for an economic model which would include art in its system – art itself is in an unfavourable position since it is supposed to compete with other goods in the market, as if it was a commodity. Ana reduces this fact to absurdity in the second part of her work with stickers and posters inviting art lovers to buy some of it and thus become the owners of these sculptures –“sugar daddies”of these beauties. Ana expresses her refusal to accept this kind of vulgar transaction using its opposite – the vulgar offering of art as a commodity. She does not diminish the status of art in this way; on the contrary - it is a brave act of rebellion against the helplessness of artists to resist the trend of treating art as a commodity.
At the same time – the name of the piece Red, Green, Blue is suggestive of Technicolor – the colours of a screen and the role it plays in creating an image typical of media, of a screen which symbolises the lack of originality and the existence of a large number of copies – in this particular case an image of a female body which loses its authenticity. Ana’s work is a way to recognise the integrity of a piece in a global spectacle of late capitalism, as well as in the specific state of art in our belated economic transition.”
From Jovana Stokic’s review, within the “Critic’s couch” workshop, the Faculty of Fine Arts, Belgrade, June 2006
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