Vladislav Sčepanović

Montenegro

Vladislav Sčepanović graduated from the Faculty of Fine Arts in Cetinje, Montenegro, in 1994 and completed postgraduate studies at the Faculty of Applied Arts in Belgrade.

Selected Solo Exhibitions


Banski dvor, Solo Exhibition, November, 2018, Bosnia and Hercegovina

Anya Tish Gallery, Solo Exhibition, January-February 2018, Houston USA

Events


45th October art salon, CONTINENTAL BREAKFAST BELGRADE, 10. 09. – 31. 10. 2004.

Education


2009. PhD in art theory and media in Interdisciplinary doctoral studies, University of Arts in Belgrade.

Recognitions Awards and Prizes


2001. Award for painting “BELI ANĐEO / White Angel”, Mileseva 2001.

Publications


Monography. MEDIA SPECTACLE AND THE DESTRUCTION: Aestetics Destruction and Spectacularisation reality, Sluzbeni glasnik, Belgrade, 2010.



Artist Statement

The Theoretical Framework of My Art

Through my art, I discuss the problem of the world of simulations and acting of forces of domination and resistance in the mass media spectacle. The basic motive of my work is the research of media scenes which represent an open display of the power of capital and ruling economic and political structures. The world today is not free, it may not have ever been, but this form of non-freedom, caused by the reproduction of everything in the form in which any trace of its very material substance gets lost, gradually is becoming the state of disappearance in virtual world of images and information. I started from the critics of cultural industries, consumerism, utilitarianism, solipsism, and my tools are my paintings. My painting is not only the reproduced image of mass media, it is just an element in my work carrying a subversive message. My visual criticism is the painting created manually by an artist, the one characterized by its uniqueness, endurance and material form. One of the important forms of my work is strategy propaganda vs. propaganda. Therefore, I use elements like film, advertising, fashion, or any other industry modern culture is made of, and fixing, intervening, and manually creating paintings, I contextualize understandable message of the critics of the modern world-simulacrum. Above all, my criticism is oriented towards media aesthetics which is the first echelon, the vanguard of corporative capitalism and global hegemony.

Why painting?

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