Triennale di Milano presents an exhibition of photographs by Ljubodrag Andric, a renowned Serbian photographer whose work revolves around architectural surfaces, textures and shapes. The exhibition, which is part of this year’s Triennale programmed events, has been curated by Demetrio Paparoni and will be on show at the Palazzo della Triennale.
Ljubodrag Andric. Works 2008 – 2016
August 3 – September 24, 2016
Palazzo della Triennale
Viale Alemagna, 6
This exhibition presents a selection of works by Ljubodrag Andric produced since 2008: photographs of landscapes, walls, facades and interiors of mediaeval and modern buildings. These large-scale photographs are characterized by the absence of human figure and a strong formal structure that, despite the attention paid to realistic detail and space, is rooted in the various forms of geometric and material/textural abstraction. One of the most characteristic features of Andric’s works is the tactile quality that brings frescos to mind.
Captured as spaces in their essential form — presenting only the necessary — the locations photographed by Ljubodrag Andric are devoid of their intrinsic monumentality; the objective of this approach is to neutralize their narratives, both contextual and historic. Devoid of narration — the individual images do not offer any insight into what precedes or follows — Andric’s works revolve around the concepts of insurmountable limit (the wall), of emptiness (the interiors) and of absence (life devoid of human presence).
The photographs by Andric are in some way liberated from that which they are portraying: the formal structure transcends the subject. This peculiarity is reflected in the title that the artist gives to his works, labeled with the name of the city and a date. The size of the subject does not provide elements that make the place recognizable, neither are there in the image any narrative elements that lead back to a specific event.
The title has no explanatory value, but it is the equivalent of a storage number with which the artist identifies images. Therefore the photographs of Andric don’t show an architectural or natural space as such, but rather the vision that the artist has of that space. In other words, while showing images from the real world, these photographs tend to abstraction, as if they had existed only in the artist’s mind.