The modern art broadens, day by day, the areas of its activities. Making use of many forms of modern living, but also boundlessly, freely and sometimes even arbitrarily or accidentally using the heritage of the past periods, the artists today create “works of art” which radically stand out from the former meaning of that word. This especially happens in the segment of visual arts terminologically marked as installations, where deeds not infrequently get developed as spatial and visual interpretations of historic data, scientific theories or literal notes sourcing from myth, factual or realistic events. Such installations often look like bizarre cabinet ambients in which it is difficult to find the border between rationality of calculation and inexplicability or intuitiveness of artistic inspiration.
The new exhibition of Matica Hrvatska Gallery, the project imagined by Dawor Preis and released in cooperation with KD Studec, accompanied by the music of Obscure Eucalyptus, is exactly an example of such unitary spatial work in which the art dimension harmoniously emerges from its almost scientific basis. Based on the significant discoveries of Pitagora, Arhimed and Newton, Preis builds a complex visual construction within which each element subordinates to the unitary interpretation.
With the photographs of the eclipse of the moon, reflecting Einstein’s theories, KD Studec gave, as a matter of fact, the final spatial encircling, creating the prospective background into which, viewed from the ideal position, the elements positioned in the premises harmonically fit. With the combination of five “tables” which with what is positioned on them (spheres, triangles, bowls with water) associate with some of the laws, theorems or theories from the opus of the stated mathematicians, physicians and philosophers and photographs, Preis and Sudac give shape to the space through one may pass and thereby in parts review portions of variously illuminated triad, but which may equally be interpreted also from the position of the overall view. When looked at from that point the segments fit into the two-dimensional picture – polyptih which connects scientific levels of the timely separated epoch, celebrating in the form of a saint picture, not the ranges of religion, than of its rational opponent – the science. In that manner, the entirety is in the end, interpreted through the connection of photographs, music and tables with their contents, as standardizing, filmic arbitrary, but on the other hand also calculated and precisely measured sublimation of various media, times, figures, spaces, ideas and effects, being deconstructed and questioned by each detachment from the ideal place of observation.
Right this connection of changeability and fixed condition, flatness and spatiatility, fragmentarism and completeness, calculation and imagination, provides to the set entirety a ludistic atmosphere, raising it from dimension of scientific-philosophic well-foundedness to the level of artistic ambiguousness evading a definitive solution. Precisely being interested more in making enquiries than in finding solutions and replying, Dawor Preis together with K D Sudec and the new exhibition captures one step of the artistic research more. Presenting his up to now the most complex gallery project, the author creates also the basis for the future, probably even more complex (virtual?) artistic researches, which we are, considering his curiosity and productivity, not going to wait for a long time.