Curated by: Andrea Busto
Nebojša Despotovic's works are inexorably detached from a recognizable context and, although all appear to us as extraneous to our life, many speak of experiences that we recognize, resulting as reflected in a foggy but familiar mirror. The characters / actors who populate them play parts in which the artist identifies himself, to such an extent, that he assigns names or nicknames to the figures while he paints them. The fact that they look like characters in costume, makes them seem even more real because they are transposed into a timeless world, without precise references to our experience and everything belongs to an infinite moment in the great comedy of life.
Sometimes I wondered if all these men and women and, above all, children, had come from the Polish Jewish world after or immediately before the German bombings in Warsaw, if they were children of an oversized London, or anonymous extras of the twentieth century by Bertolucci. The cinema that, with all Neorealist.
Each of his works, examined in depth, appears as an appropriation of the worlds and poetics of others. The erotic world of Scipione, the overlapping matter of Picabia and all the derision of the bourgeois world of Bunüel of Le chien andalou or of the discreet Charm of the bourgeoisie appear in some, the expressionist distortion of Doctor Caligari by Robert Wiene but also that of Murnau also appears , Lang and Pabst. The connections are therefore infinite - the game of dominoes or cadavre esquis, in which one card accompanies another and generates a third and then a fourth and so on, such as the psychological associations in which the psychoanalyst asks you to associate images to other images - this is how the artist's work operates in his mind formal, conceptual and aesthetic associations and ties that go automatically, metaphorically, as in a mescaline writing of similar and consequent images.
He mentally immerses himself in the story painted on the canvas, then estranges himself from it and, taking a step back, to summarize the role of the creator and therefore director of the scene. The theater, the painting, the person, the characters, the director and the actors, the roles and the life, true or false, who live in a mental and real ballet that is expressed beyond the canvas / curtain / backdrop, beyond the study of the artist, but also all within his mind.
Especially the interiors, the living rooms of the houses depicted, are sets of theatrical scenes where Ibsen (Doll house), James (Portrait of a lady) could be recited, but also Beckett (Waiting for Godot) and Jarry (Ubu Roi). These bourgeois interiors where there is always a lamp, a coffee table, redundant armchairs, rugs and chandeliers, are the stereotype of the bourgeois house, of the anonymous and colorless place, designed to leave more space for family tragedies that do not need refined interiors and of selected and personal objects, important paintings and recognized authors. The place assumes the status of "non-place", a furnished desert, they could be sand dunes from a desert or mountain rocks. These non-places are the setting for the characters depicted who could, in a phantasmatic way, transmigrate from one work to another.