The exhibition titled Info vs. Info, relates to that aspect of social perception of visual information, that we receive via the media.This is the overlap of information/events with new information/events in the sense, that duration or public attention to one event is exactly measured and known by the media, who know when to get on the day with a new event that replaces old and takes its actuality. So it is created a lack of interest in personal and social tragedies that are happening around the world. Chronic conditions of tragedies, famine, disaster and war in recurrent areas, however create a sense of repetition of information, that loses function of the news (and novelty) and remains a pale shadow of the event.
The event at the same moment, when it loses its actuality, also loses reality in terms of, if it is no longer present in the media, it has stopped happening. Too many information, that nullify each other, are creating fragmentation of events and images.
Exhibited paintings imitate strategies of media outlets, namely: actuality, dynamism, aesthetics, and the simulated disability. And so, they are tearing apart the image – information from their original context, directing events and creating otherwise an attractive fine art world, but this is often a trap. The viewer gets caught up in it, when he notices that he likes the painting, where kids wear gas masks, where ecological disaster is threatened, it fascinates him the aggressive intervention of the institutions in our personal space, etc. He is trapped therefore the time when he finds out that the actual contents do not comply with the picturesque of image. One of the characteristics of these paintings is that they are able to defragment the scenes in artistic way, which are otherwise torn out of various media. This can only be done by fine art painting, which with such gestures defines its place in contemporary art.
If the struggle between the visual information in the media is designed to keep the viewer in front of a screen, these paintings do something else. Due to unusual encounters of images they compel the viewer to become an active observer and with his own interpretations complements and transforms their content. And what is most important is that they generate discourse.