VELIBOR BOŽOVIĆ

IN SEEING, THERE IS NO RIGHT NO WRONG

January 5 – February 16, 2019

PATRICK MIKHAIL GALLERY IN MONTREAL PRESENTS "IN SEEING, THERE IS NO RIGHT NO WRONG" AN EXHIBITION OF NEW PHOTO-BASED WORKS BY VELIBOR BOŽOVIĆ

 

VELIBOR BOŽOVIĆ

IN SEEING, THERE IS NO RIGHT NO WRONG


MONTRÉAL
JANUARY 5 TO FEBRUARY 16, 2019


ARTIST RECEPTION:
SATURDAY, JANUARY 5, 2019
2 P.M. TO 6 P.M.

 

PATRICK MIKHAIL GALLERY in Montreal is pleased to present IN SEEING, THERE IS NO RIGHT NO WRONG, an exhibition of new photo-based works by Montreal artist VELIBOR BOŽOVIĆ.  The exhibition launches our 2019 artistic programme with a site-specific installation that explores the true archival nature of photography and it's ability to challenge our perceptions, confound our senses, rearrange our memory and chronology, upend our storytelling, and alter our landscape,  The exhibition marks BOŽOVIĆ'S  second presentation with Patrick Mikhail Gallery.  He previously appeared in THE LONG MOMENT as part of the gallery's contribution to Momenta - Bienalle de l'image in September 2017.

 

VELIBOR BOŽOVIĆ's professional practice draws from his interest in archives, memory, storytelling and history, both collective and personal. He explores how images, still and moving, influence memory and the role they play in the space where the historical, the fictional and the personal interrelate. BOŽOVIĆ mostly works with photography and video but also uses other media and strategies such as sound and installation. Combining elements of autobiography, documentary, and fictional storytelling he grapples with memory’s malleability, raising the questions about how we remember the past and what is the role of imagery in that process.

 

VELIBOR BOŽOVIĆ grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and Velibor spent the duration of the siege of Sarajevo honing his survival skills. In 1999, BoÊovi¬ moved to Montréal where he worked as an engineer in aerospace industry before he devoted his time fully to image creation. Subsequently, BOŽOVIĆ earned a Master of Fine Arts degree in Studio Arts at Concordia University where he currently teaches. His projects have been supported by the Canada Council for the Arts and by Conseil des arts et des lettres du Quebec. In 2015, he was awarded the Claudine and Stephen Bronfman Fellowship in Contemporary Art.  His work has been exhibited in Canada and internationally.

 

 

In Seeing, There is No Right No Wrong

Zeenat Nagree


"Certain things emerge from the images if you look at them long enough." – W.G. Sebald


Photographs accumulate over the years, contact sheets pile up, and one humid afternoon decide to call themselves an archive. The collection becomes an assembly of propositions, statements on how it might be possible to see the world, framed and fragmented by an external eye. In its ambition, every archive appears infinite. Each photograph within it is given the task of disciplining time such that you might through a single moment be able to see not only what is captured in its present but also everything that is absent, the past and the future. As the archive gains force, tries every trick to encompass the world, certain images resist being archived. They slip away. They serve no purpose. They refuse to be indexes. They offer no data. They withdraw.


Withdrawal is one strategy to gather strength, to recuperate after a period of fatigue, to allow the possibility of encountering the unexpected, to refuse. There is potential in restraint, in not yielding entirely, in waiting. Withdrawal encourages a recalibration in strategies of listening and looking. The rituals of processing content and form, and of determining a relationship between the two, have to be rethought. Withdrawal is a period of suspension and suspense: Is it an interim or a terminus? What might come after?


Somehow, images have a way of scrambling time. When we look at them, we do not see what we saw. There might have been a vitrine, an entire museum within which it was placed, bodies moving around objects. But the image retains only what it does, and before our eyes, there is a neck, a jaw wide open, on the verge of attack. It becomes so large, almost a monument in its animated isolation. If on another day, on another ambiguous evening long after, we see another set of teeth poised to bite, the memory surfaces, and superimposes itself upon the present, without regard for its own fickle power over our perception.

 

We do not know where we are. We cannot quite tell what time it is. How have we arrived here? The missiles landed before us, the concrete has cracked, a helicopter is hovering. Is it a ruin we are wandering through, or a rearrangement of the ordinary? It might be possible to tell many stories at once, to look towards history and the violence it contains for clues to this tableau, to use its pieces to put together a landscape on the verge of unravelling, to see it all as a dark joke disguised as a puzzle. Everything depends on the way a thing is thought. The minute marks that swirl across the black background evoke the material and the cosmic. They could be images of a great tragedy, of an emptiness that cannot be represented otherwise. There might be other words to describe them if the scale is shifted. We might call them lapses, phantoms, underexposures, evanescent opportunities. In seeing, there is no right, no wrong.*


• The title of the exhibition is taken from the fragment of a sentence found in the novel Go, Went, Gone by Jenny Erpenbeck, translated from German by Susan Bernofsky.