Exhibition  in “java” gallery

 

     A photography, especially a theatrical photography, is simply blasphemous in that the theatre is a hopelessly ephemeral thing. That is the beauty of it! Actors are also ephemeral things. This is better yet! The theatre's ephemerality reminds us of our minor, miserable human measure. The theatrical photography however impudently mocks the ephemerality principle. Therein lies its blasphemy. It leaves you breathless, freezes your gaze, grinds your insides across arteries and all in futile, thus human hope that the eye will, just this once, catch a glimpse of soul! It then conveys that frozen gaze, that caught breath, those ground and still untouched insides, from our and intimate theatrical HERE and NOW to that strange and monstrous, ubiquitous WHEREVER and FOREVER. We, we from this side of the stage, we who look at you from within these photographs are lit up like conspirators caught in a wrongful act. We, who clownishly laugh, even when we do not feel like laughing, we who make plots of life, are left monstrously naked under mean looks.


    Fortunately, this is not always the case. There are some who make the theatrical photography such that it is actually proof of a conspiracy, but a conspiracy against wicked intention, severe words and mean thoughts. Such a photograph opens the door through which, not only actors, but also all people of good temper, will enter the theatre as the sole and final shelter. Such an exquisite photograph, rare, so rare, can be made, after all, only by a CONSPIRATOR.


Milenko Goranović