The review of In Low Resolution by David Maljković at Palais de Tokyo, Paris

The solo exhibition In Low Resolution by one of the most prominent contemporary Croatian artists, David Maljković, invites the visitor to explore the ambiguity of a seemingly randomly constructed present. His first show at Palais de Tokyo continues the artist's exploration of the notions of time and history and Maljković's work is deeply rooted into the context of his native culture. Nevertheless, due to the intensity of de-contextualization in his artistic method it conveys a collection just of faint shadows of initial memories.

The show commences with a projection Afterform (2013), that animates characters from a Croatian cartoon, mocking modernism, and along with that displays the artist’s pieces inserted within the animation.

Most of the artworks are presented on white podiums, encouraging the viewer to ascend. Two fogged showcases of Display for Sources in the Air at MUSAC, and León, 2011 (2011) serve as a reactivation of Maljković's older works, even though they show off only their means of representation. The film Out of Projection (2009) depicts the rupture of time by showing retired workers and futuristic car prototypes: the figures dispassionately observe car models without revealing any connection to them. Aside from the film, Maljković exhibits a prototype vehicle created in 2004 by a young car designer for Peugeot. Paper print In Low Resolution (2009-2014) portrays the retired car industry workers on the background of contemporary concept cars, that rest indiscernible, showed off in pixels. In Undated (2013) David Maljković presents the hands of the Croat sculptor, Ivan Kožarić, a member of the renowned conceptual art collective, Gorgona. He manipulates a ball of aluminum while one notices some "glitches" on the screen, thus accentuating the gap between time, history, stories and generations. The perturbations in the film are intensified by the sound installation, which is actually a modified sound of the projector itself.

The creations of Maljković represent stratifying as an artistic method: both from the formal and conceptual point of view. He digs and accumulates, detaches and appropriates, puts into collages and disassembles, fills up and creates voids.

Ekaterina Shcherbakova

October 2015

Aesthetica Magazine, Winter 2014

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