A step further from Klimt
(and in the opposite direction)
Why is it that in the theory of modern art, as well as in any other humanistic discourse, the mere mention of a hug is inevitably connected with Gustav Klimt, just as the kiss is always firstly Roden’s and then Klimt’s kiss? It is maybe because of that goldish decoration for which it is so hard to believe nowadays that caused abomination at the time of its making in 1908. That hit to the senses, or all of the senses, we can rightly judge today, was sugary, but that does not explain the attendance to Belvedere in Vienna. Miona Marković, though, in this new time, has been experimenting for a number of years, playing with coloured sensations which are, for her, more important than the content or illusory content of her paintings. We can all see that they are depersonalized hugs, which are called exactly like that, although her intriguing, even borrowed from the classical music, titles all lead to something else. Just as all the other elements, which she incorporates in the finished work, and just as she does with short music records or collages for example. Her hugs, therefore, except for colour have both sound and the third dimension. Some of them, therefore , may be low reliefs, if we see them as such. Even Egyptian paintings are low reliefs, and many of the visitors of muse¬ums and mausoleums are not even aware of that.
The exhibition in front of us is called The Meeting. But where does the meeting actually take place? Those who have met turned their backs to us, just as before. We cannot see their mimicry, and it could as well be a grimace. Although it is hard to believe in that because works of Miona Marković seem innocent, warm, soft…Maybe the painter tells us that we have to stick to each other, that it is a field of our poten¬tial intimacy in the time when it is endangered. But what is it that The Meetings keep our attention with? In any case, it is their plastic value, their painting life. Just as Svetlana Jovičić lucidly concluded writing about a previous exhibition in 2009 “Overall and the most compressed remark that refers to paintings from this exhibition is definitely the author’s
impression with colour. She has total confidence in it, using it as a constitutive element in creating a painting, and, more importantly, as a symbolically important part of its own poetics.” That is the role of colour, but what is the role of drawing, contour? What is the closest association when it comes to the job of a drawer? It is not a secondary question, for Miona Marković is extremely meticulous, even in a very small format. Perhaps it is not a coincidence that she gradu¬ated from the Academy of applied arts with a stained glass. And the role of the black contour, a drawing, is here very important. Just as the technique of creating it is extremely complicated and hard to complete. This is when the author’s unavoidable patience before the painting begins. In it, there is nothing of the speed of the present, neither of the sensa¬tionalism of a good craftsman Klimt. As if we could draw some seemingly, but only seemingly, parallel with Paul Klee and some of his almost detailed works, without segments, like Castle and Sun from 1928. And then we visually return to some Maljević’s blue-reddish cubes from the years of 1912-1913, to his vision of cubism. If not to the late Maljević on the whole. At least in the field of ideas. His return to figuring.
Miona Marković inherits the whole visual history, but since she lives in Italy criticism connects her to transavantgarde, perhaps rightly. People become their surrounding even if they resist it. Especially when they are curious about their new habitat, such as this artist is. The evidence is her photography work, particularly her fascination with façade altars. For this is how one can travel through towns: altar by altar. Like a kind of a pilgrimage. And most importantly, Tatjana Bošnjak concisely concluded: “Through style eclec¬ticism, quotes and dialogue, maniera of the artist is discov¬ered, her visual concept adapted to her own sensibility, soft irony and clever play with forms.”
Maniera, therefore, is not accidently an Italian word. And the plastic language attaches to the author’s empathy. One has to be careful in the time of alienation. There are various meetings, but this in the paintings of Miona Marković is simply returning and returning, the whole eternita
comfortably places in it. And umilta.