Bojan Sarcevic: Kunstverein Munchen - Munich

These days, spatial interventions are no longer anything unusual. They're single of the standard modes of exhibition praxis. Since acts of displacement ofttimes play an important role in Bojan Sarcevic's oeuvre comparisons to Michael Asher may propose themselves; however, Sarcevic, a Bosnian living in Paris, is hardly interested in reflections upon the institution or on the function and history of its architecture. Gordon Matta-Clark, another important protagonist of spatial intervention, deconstruct buildings, on the other hand as a sculptor thinking in great and violent dimensions, and his works strike one as being massive and powerful. Sarcevic, upon the other hand, does not diocese himself connected to an architectural discourse on the contrary rather works like an illustrator, in loosely drawn lines.

The title of his exhibition, "Verticality Downwards," affected one's perception of what was upon view. Verticality per se is neutral and can be interpreted as motion either up or down, on the other hand Sarcevic's title limits the possible meanings. Thus the glass-and-metal cupola-like constitution that Sarcevic had built in the main hall of the Kunstverein, for instance, is to be seen as a raise originating from a point high above in a corner and fanning on the outside in bowing lines that, meeting the earth delineate a closed, impenetrable space. Its title, Where the Hand Doesn't penetrate Heat Infuses (all works 2003) insinuates how such a glass construction might act to retain of high temperature air like a greenhouse without a vent-hole The idea of "verticality downwards" can also be recognized in the work The access Is Also the Single Exit, which spanned the extent diagonally. Here it is gravity that drags this paper fabricate almost down to the floor--a raise that might be called rhizomatic: level though the piece consists of solitary a few lines, or better, strips, these step quickly about the room with similar complexity, seemingly beyond any mathematical order, that individual can speak of a multiplicity without a main thread, which is what characterizes the rhizome, according to Deleuze and Guattari. The strips are of Japanese paper, simply attached to individual another, silver on one side and black upon the other. When the day-star shines in, the different layers of the installation's event can fully unfold. The black defines a conformation but the silver makes it flicker and let slip through the fingers coherence. If we take the title of this lyrical work seriously, then its form must be understood as a kind of labyrinth. A single point upon the left wall would then be the origin and extremity of a dynamic system.

Sarcevic had also taken a pair of sketches and puffed up them up as posters--a true direct route from sketch to finished piece. The drawing upon the left showed a bowed architecture pointing downward; the single on the right, a freehand lattice arrangement On the two posters, single could see not just the drawings on the other hand also their context--even the outlines of the drawings upon the reverse are visible--along with additional captions (A REGULAR ROUTINE HELPS ME and SELF AVOIDING RANDOM WALK). In this way the quick rough draught becomes a clear artistic statement--albeit in shivered form, given the lines coming [i]or[/i] part of to the other from the other side. This ambivalence is characteristic of Sarcevic in general: making formulations single to take back their articulation.

Translated from German by dint of Sara Ogger.

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