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Контрапункт Слевање на маргините Tочка Маргина Галерија





 

Shkart-biography

From "the smallest town in the city" - Huma (17 villagers), to the flea market in Panchevo, Horkeshkart have participated (and still are) in spaces outside the privileged culture-markets (villages, schools, refugee camps) and also on art happenings (Opening of the Contemporary art museum in Belgrade, Cetinje Bienalle, presentation in Gratz, Osaka, Brehmen),



The art group Shkart, formed 1990 in Belgrade is one of the most significant artistic groups that comes from the ex-Yugoslavia, which gain great international success. Focused mainly on the lyrical-subversive treatment on the immediate reality and on everyday life and they create a kind of "recycled" works which correspond with the most recent trends in the socially orientated art. Until now they have exhibited in more than 30 towns around the world, and is one of the rare from the region in the respected museum MOMA in New York. They have participated in Manifesta and worked and exhibited in America, Europe and Japan. Their art works are published in many important magazines for visual art like Print, Interview, where Andy Warholl have published. They have been grafic designers to many publications for B92 and the magazine Rech.

Horkeshkart question the values of the cultural heritage breaking through the local-traditionalism and mixing the optimism from the socialist era of rebuilding the country (from the 1950s and 1960s) with a lyrical note of the cant-authors (A. Dedic, D. Radovic, Z. Brasans...), the energy of the liberating new wave (V. Divljan) and the inventiveness of all the "new waves" (Jarboli, Chinch).

From "the smallest town in the city" - Huma (17 villagers), to the flea market in Panchevo, Horkeshkart have participated (and still are) in spaces outside the privileged culture-markets (villages, schools, refugee camps) and also on art happenings (Opening of the Contemporary art museum in Belgrade, Cetinje Bienalle, presentation in Gratz, Osaka, Brehmen), washing out the prejudices for the "place" of the chorus music in the contemporary art and in the new-old forms of colective.

 

 
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