University of Arts, Faculty of Applied Arts, Belgrade, Serbia

MARIJA DRAGOJLOVIĆ: retro pogled na porodični arhiv slika
MARIJA DRAGOJLOVIĆ: a Retro-View on a Family Photo Archive

Journal 13/2017 (Museum of Applied Art), pages 41-47

Article category: original scientific paper

7.071.1 Dragojlović M.

Abstract (original language):
Marija Dragojlović, umetnica koja sa svakim novim umetničkim projektom preispituje granice slike, ukazala je na mogućnosti sinteze dva različita vizuelna jezika: analogne fotografije i crteža. U ciklusima slika Nostalgija (2005) i Fragmenti vremena (2015), ona je komplikovanim postupcima aproprijaci

Key words: (original language)
Marija Dragojlović, fotografija, slika, porodični arhiv slika, postmoderna, memorija

According to the manuals for the safeguarding of archival materials, the primary task of all guardians of family photo archives is to provide at least three copies for selected images and to place them in different places. Marija Dragojlović fully complies with this instruction. Therefore, she had her old family photos rephotographed by the master of modern photography, Vlada Popović. The rephotographing process was carried out as a retro-technique, as an analogue photography procedure in a period marked by the dominance of digital images. Meticulous interventions using colour pencils in the final stage of "refurbishing", or retouching, shape the coloured structure of the final image, which far outstrips the format of photo albums and private histories in pictures.

This is, in brief, the procedure used in creating Marija Dargojlović's paintings from the series Nostalgia and Fragments of Time, exhibited in galleries and museums in Novi Sad, Subotica, Belgrade and Banja Luka in 2015 and 2016. The above-mentioned multimedia works should be seen as artefacts and relics of a family history, transferred to the repository of postmodern art after these interventions. The retro-perspective and empathy for the family photo archive, extended to the public space of galleries and museums, endowed the painting workshop of Marija Dragojlović not only with retro-techniques, such as retouching, rephotographing and enlarging analogue photographs, but also with an intention to shape a new visual format: a profane family icon.

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