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FREEDOM, Irena Jevtović


This series of Irena’s photographs is the result of her two years’ active researching and artistic experimenting in her home town Cacak,  where she, symbolically, realizes her first new steps, this time in the field of photography. Trying to achieve a dialogue with the audience, this  series being materialized thoroughly for a long time represents the display of the actual moment which, as it appears, stands still, doesn’t change, doesn’t flow, stands paralysed and shows no sign of possible disappearance. Through this series of photographs we become witnesses of a space that  seamlessly wavers and resists, and coming across the globalization impacts this space can bear no change, even the seasonal change it can hardly endure.

A photograph in its basical meaning reveals a frozen moment in time. By thoughtful and precise choice of the photographed object the author creates a new dimension of frozen immobility, the immovability of space, apropos the territory she explores.

Freedom as a symbol of the town where the author comes from in that way receives a new meaning and brings an observer in a state of wonder if such a thing really exist at all.

By her work the author doesn’t tend to reveal unknown in the known, but she maps and accentuates the known, bringing the architecture, nature, graffiti, the everyday life of Cacak in the focus of an observer, pointing in that way the environment in which a modern-day habitant lives and forms his or her feelings, c experiences, and lastly  the frame of his or her consciousness.

By the young author’s photographs the matter gets on its physiognomy and by making no intervention in the enclosed space she sums up all banality, monumentality, nostalgia, dynamics of the town, Freedom and the atmosphere of modernity. Cry out of the unfinished architecture is  louder than modern, finished fatal failure architecture.

Melancholy meets the objective sharpness of the artist bringing the observer in the bad language box opposite silence, in the box of creativity opposite emptiness.

This box sucks up all observer’s attention; Irena turns the gallery walls into the walls we meet every day while we are leaving all our boxes behind. Very maturely and skillfully the young artist turns the gloomy and dull pictures of one area into above all optimistic, coloristic picture permeated  with intelligent humour.

The artist is succeeding in evoking romantic, tender relationship towards the places she choses to be set on the pedestal, however having perceived her motives a whole field of her reviews, nausea and liberation is being revealed and it is in a process while she is outlining originality, peculiarity, particularity of the town that is confronting her with its bizarreness and confusing solutions.

At the Freedom exhibition there is hardly any sunshine or bright light, there is no clear solution nor any big truth that are so often required from an artist.

This exhibition reveals new possibilities for departure, pause, escape, search and discovery. It detects the opposing of opinions as a new mean of communication, it detects the postponing of an immediate activity for some better moment in the future.

The exhibition setting shows that indulgence in the banal reality could be a possible way to enjoy the imposed surrounding from which no one expects anything.

In fact this surrounding, this town which are synonyms for the word Freedom, paradoxically created boundaries so hard to overcome but possible to delete.

Kristina Armuš


Irena Jevtovic was born in 1996 in Cacak. She graduated in 2019 at the Painting Department of the Faculty of Fine Arts in Belgrade, in the class of professor Mileta Prodanovic. She continues the Master Studies in the class of the same professor. She took part in many group exhibitions in our country and abroad. In August 2019 she had a solo exhibition That which Remains in the Historical Archive Gallery in Cacak.