//poster design//
The poster was done for the 1/18 Poster Exhibition held from 23th march - 5th April in Stepenište gallery, in Belgrade, Serbia. The concept of the exhibition was to identify and interpret many possible meanings of the English word “Relation”.
The poster was done for the 1/18 Poster Exhibition held from 23th march - 5th April in Stepenište gallery, in Belgrade, Serbia. The concept of the exhibition was to identify and interpret many possible meanings of the English word “Relation”.
The starting point of my interpretation of the Relation concept, were the geometric modules of traditional Serbian carpet named ćilim [also gelīm or kilim]. According to the believes, certain symbols and their combination will
bring the luck to the ćilim owner. These visual charms are often related to prosperity of the home and the spouses.
During my childhood, I had the fortune to have the loom for weaving in my own house, and to captivate some of the traditional forms inside my childhood memory. Many years later, I’ve found a textbook where certain
modules and modul-combinationes were depicted. I decided to create my own fortune-combination of these modules. The digital interpretation emphasized the geometrical relation of the single elements of the composition. Just after I’ve created the work, I read the reinterpretation of the myth of Penelope by A. Monterroso (Penelope’s Cloth, or Who Is Deceiving Whom). Since I found that this story was connected to
my visual work, I have included it as a description of the manifesto inside the catalogue of the exhibition.
Augusto Monterroso, La tela de Penélope o quién engaña a quién
bring the luck to the ćilim owner. These visual charms are often related to prosperity of the home and the spouses.
During my childhood, I had the fortune to have the loom for weaving in my own house, and to captivate some of the traditional forms inside my childhood memory. Many years later, I’ve found a textbook where certain
modules and modul-combinationes were depicted. I decided to create my own fortune-combination of these modules. The digital interpretation emphasized the geometrical relation of the single elements of the composition. Just after I’ve created the work, I read the reinterpretation of the myth of Penelope by A. Monterroso (Penelope’s Cloth, or Who Is Deceiving Whom). Since I found that this story was connected to
my visual work, I have included it as a description of the manifesto inside the catalogue of the exhibition.
Augusto Monterroso, La tela de Penélope o quién engaña a quién
Hace muchos años vivía en Grecia un hombre llamado Ulises (quien a pesar de ser bastante sabio era muy astuto), casado con Penélope, mujer bella y singularmente dotada cuyo único defecto era su desmedida afición a tejer, costumbre gracias a la cual pudo pasar sola largas temporadas.
Dice la leyenda que en cada ocasión en que Ulises con su astucia observaba que a pesar de sus prohibiciones ella se disponía una vez más a iniciar uno de sus interminables tejidos, se le podía ver por las noches preparando a hurtadillas sus botas y una buena barca, hasta que sin decirle nada se iba a recorrer el mundo y a buscarse a sí mismo. De esta manera ella conseguía mantenerlo alejado mientras coqueteaba con sus pretendientes, haciéndoles creer que tejía mientras Ulises viajaba y no que Ulises viajaba mientras ella tejía, como pudo haber imaginado Homero, que, como se sabe, a veces dormía y no se daba cuentade nada.
Dice la leyenda que en cada ocasión en que Ulises con su astucia observaba que a pesar de sus prohibiciones ella se disponía una vez más a iniciar uno de sus interminables tejidos, se le podía ver por las noches preparando a hurtadillas sus botas y una buena barca, hasta que sin decirle nada se iba a recorrer el mundo y a buscarse a sí mismo. De esta manera ella conseguía mantenerlo alejado mientras coqueteaba con sus pretendientes, haciéndoles creer que tejía mientras Ulises viajaba y no que Ulises viajaba mientras ella tejía, como pudo haber imaginado Homero, que, como se sabe, a veces dormía y no se daba cuentade nada.
