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Milija Pavićević's exuberant body of work is a life-long and wanton, ardent and fervent self-creation through art. His art is a long journey of change, of gathering energy, followed by complete discharge, of creating the new and unmaking the created, of engaging the existent and denying the expected, of undermining the completed. Pavićević's art is an art of perpetual self-portraiture, a relentless, mass production of the artist's own image (and creation in his own image), a disarming persistence of self-exposure and unabashed, uncompromising self-revelation. His memory is not a regressive force, sickened by resentment: it is creative, disturbing and re-setting the vectors of time, space, meaning and sense. His use of photography is not an attempt to stop the destructive work of Time, to fix, to freeze a past that will always have the face of Death. Like many appropriation artists, Pavićević naturally and inevitably uses photography. Photography, as a medium that can be reproduced and endlessly multiplied, eliminating the instances of authorship, originality and authenticity, was the most suitable tool of "citation culture", a natural partner in the "conspiracy" of confiscation and appropriation. Pavićević's artistic self is constructed from a multitude of images with which he doubles himself: image-memories, image-thoughts, images-of himself and images-of other living people, images-of other people's art, mass media images, images of desire and images of personal phantasmal projections that manically multiply, circulate and leap out at him in public spaces and the spaces of his private everyday life. (text excerpt from the essay M.P. - A Time Odyssey by Svetlana Racanović)

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