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DUSAN RODIC - Introductory text in artist' graduation catalogue
by Tatjana Macic ©
In his new work “Shelter” Dusan Rodic (1975, Belgrade), a young artist who is about to graduate at the Ceramics Department of Gerrit Rietveld Academy in Amsterdam, remains truthful to a niche he has carved for himself during his study. He is using “simple” materials to achieve his artistic goal: mud, wood, fire, wood and eatable plants. The architectonic sustainability of this artwork is guaranteed by such a choice of materials and by skilful design of the construction,
which resembles a tent or a mud house. A vegetable garden grown by the artist himself is surrounding the edge of the structure, while three openings lead to the centre where a fireplace is set.
With “Shelter” Dusan Rodic creates a possibility for the artists and visitors to meet each other, to engage in subjective rituals while growing their own radices, tomato and salad, to talk and cook
their own food using a “primitive” fireplace. In doing so the artist points out to basic human needs, as well as to our need to socialize, share experiences and hopes.
“Shelter” is intentionally sited in the middle of the public courtyard of the Gerrit Rietveld Art academy, and in front of a steal-and-glass building, therefore proclaiming these needs to the
artistic community in a bold fashion. Dusan Rodic creates a temporary, muddy platform where the actual and the ideal community meet. The “ideal” here inclines unconformity, informality and, above all,
primitive, raw condition. Some artists who searched for the unconventional and fulfilling life, for example Paul Gauguin, left Europe and embarked on a long-time understanding of culture and lifestyle of
indigenous communities. While echoing Gauguin's longing for meaning of life, Dusan Rodic is not travelling far away in order to find a “community spirit” and uncontaminated way of life - he creates it in
the midst of our consumerist society, challenging thereby our perception of progress in the Hegelian sense.
In creating the condition for socialisation and participating in it actively, Dusan Rodic is situating himself in the tradition of contemporary artists who often research the ambiguity of contact and
interaction, such as Rikrit Tiravanija. Yet, since he principally chooses not to place his own artwork in the context of the white cube but to challenge its premise, Dusan Rodic also sets himself apart
from that tradition. The young artist tackles many issues - such as western notion of democracy, the symbolic power of a “primitive” community and monumental sculpture versus contemporary architecture.
He does that in a playful and child-like way, building a welcoming outdoor environment in order to investigate underlying architectural and social conventions.
Other related works of Dusan Rodic are the installation with bricks “Lui” (2005), NDSM Amsterdam, an installation and performance “Genocide” (2008), and sculptural work
“Self-portrait as a fireplace” (2006), Amsterdam.
Dusan Rodic, SELTER in the proces of making, 2010,
photograph courtesy of the artist
Dusan Rodic, GENOCIDE, 2007, photograph
courtesy of the artist |
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