Žižić and Kožul's exhibition project is oriented towards the exploration of modern socio – psychological, marketing and economic phenomenon of vacations, tourism, leisure time and idleness, their apologization and placement at the very core of the hedonist culture. Forms and media used in depicting these phenomena are not unambiguous, but as a whole they form an ambiance which reveals a spectacular show of tourist splendour and heavenly destinations disturbed only by the occasional cloud in the clear blue sky. The fact that this method of contrasting materials and media and superimposing meanings and symbolic properties achieves a certain humour, or even a grotesque notion of this paradise, seems to take all responsibility away from the authors, especially the responsibility for the original and its aura. These artifacts were created by collecting existing, ready – made objects or their parody surrogates, or by placing said objects in paradoxal relations which create new meanings. Of course, this is by no means a casual or harmless game, nor is it played by unskilled players: Žižić / Kožul's combinations are products of a carefully worked – out relation towards the language of advertising, economy and politics. At the same time, their work contains subtle references to contemporary artistic languages or, in Groys's words, a complex interplay of dislocation and interlocation, deteritorialization and reteritorialization, deaurization and reaurization. Since we are already quoting this art theoretician, it should be said, albeit carefully, that this tandem's aesthetics can be seen both from the position of Groysian repolitization of art and from the angle of a Dantean quest for beauty in an aestheticized daily life. In fact, their installations offer a critical commentary of the symbolic positions of the post – transitional social and economic reality, achieved by means and methods which balance their visual and aesthetic component and search for an inner, contextual beauty which can be manifested even by the most ordinary of objects.
This should not be misunderstood, though: Žižić / Kožul are not radical, activist artists whose intention is to engage in open battles against rampant capitalism or its polished, neoliberal version, but they are certainly not harmless, Baudelairean dawdlers who stroll around discovering splendour in proscribed, symbolic signs of contemporary civilization.
Temporary Landscapes (excerpt from the catalogue essay)
Museum of the City of Koprivnica and Nomad
City of Koprivnica, Ministry of Culture of the Republic of Croatia