The opening of Budimir Dimitrijević’s Exhibition -“Magical Journey”

Journey Around the Day in 80 Worlds

The painting by Budimir Dimitrijević – Buda, entitled, “Journey Around the World”, is reminiscent of Jules’ Verne novel, “Journey Around the World in 80 Days”. In emphasized irrationalism of Buda’s fiction painting, it could also be “Journey Around the Day in 80 Worlds”. A large fish is traveling alongside the ship and the captain on the deck, but floating in the air. This is certainly not an analysis of one painting, but a reference to the painting method of this artist, which, among other things, includes surrealist juxtaposition, the famous concurrence of umbrellas and sewing machines in surrealist theory, the encounter and intersection of adverse objects, characters, figures, phenomena, and energies. “Magic of the extreme” – as defined by Miro Glavurtić in the theory of the Mediala group, is hence even closer to Dimitrijević. Paradox and innocuous humor, without cynicism, are other spiritual weapons used by our painter.

Perhaps the essence of this young master’s painting is a passionate desire for journeys, but those endless ones, inner ones, sweeping flight over one’s own imaginary landscape, descending into the abyss, where one can discover tortoises carrying entire cities on their backs and bull-motorcycles, animal-cyborgs. The landscape revealed to this traveler is never infernal but delicate and discreet, and yet irrational. Fiction is not defined by wild alterations of unbridled imagination but in the confluence of the rational and the irrational. The painter is a psychonaut, a shaman in ecstasy who reveals only one portrait in the painting, with an old key hovering above him. Real art is unforthcoming, its nature is secretive and mystical. Monsters are not essential in well-founded fictional painting, the grotesque aesthetic is not imperative, a character and a key hovering above his head are sufficient. Dimitrijević paints incomprehensibly, however not even the wildest fiction can avoid the influence of reality, just as every fictional painting simultaneously requires a rational grasp and the touch of insanity. The same insanity that permeates the entire history of fictional art is perhaps just a wrong reflection, a mirror of divine wisdom.

Budimir Dimitrijević – Buda is one of the last great, native Serbian painters of fiction, who appeared after the great nineties. Epigones, satellites and small masters trying to paint on big canvases seem to appear after his era. The format of Dimitrijević’s painting is a chamber, intimate, hence mysterious, and not aggressive or grotesque. He hovers over his paintings as a good ghost, his fiction is methodically based on the ancient principle of transformation, so present in magic as in Serbian folk tales. Perhaps it’s not even all fiction but mythology in art, however, in some particular way his work stands out from that wide range of artists. While others create dangerous, dark, pessimistic worlds of blackness and nihilism, thus illustrating an easier concept of an irrational sphere, Buda completely deprived his world of evil, without any threat of becoming infantile or belonging to a lower fantasy genre. Dimitrijević is paving his own path as a demiurge by constructing the welfare fantasy, effervescent and bright, which is the most difficult way.

Dejan Đorić

Translated by Mira Vujović

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