Serbia- Vladimir Perić and Miloš Tomić

Walking into the Serbian pavilion at the biennale was quite a relief, from all the pompousness that one can encounter at this type of events. Vladimir Perić's (Belgrade, 1962) works are more silent and nostalgic, but as a good nostalgy, of a recent history.

 His works have a very simple principle, which is collecting and classifying ceratin groups of objects, and producing a visual work bringing them into the art context. However this objects have all the visible prints of their time, and their past owners. Like in the case of the Mickey mouses, which where all produced by a single factory in Yugoslavia in 1968. His accumulations of found objects, mainly in flea markets work as three dimensional wallpapers as in his piece: the "Mickey Mouse Pattern", or in the "Razorblade pattern". In his work "Photo Safari", Perić uses parts of used camera cases to emulate the figures of wild animals, playing with visual semantics.

His work is definitely very attached to his daily life, however the objects he chooses are objects that we can all relate to, as part of a generation, they might bring up memories and different interpretations from every viewer.I personally found it heart warming, specially because I would not have expected to see this kind of work at The Serbian Pavilion, I am actually glad that they didn't put up yet another work about the crisis we're in or the past wars and how we all have the weight of the world on our shoulders, but yet a place to stop, and remember, even laugh with the family videos. It is all about love, expression and openness.

Yes it might sound Miloš Tomić's (Belgrade, 1980) work revolves around music, specifically sound experimentation along with his three year old son as s self pre scripted therapy in "Musical Diaries" Errors are what drive him, he turns them into anything he wants, exploring the sounds of harmonicas, piano, saxophone, guitar and not being a trained musician. Both artists focus their attention on childhood, whether is by memory of their own or making their work a part of their lives and engaging their families, which is always comforting, they set this objects and situations into new contexts where collective and individual memory click, if it does, well good for you, if it doesn't, well that is just not your kind of work.

 More of their work http://www.milostomic.com