The entrance into Tanja Vujinović’s artworld represents a magical, overwhelming, intriguing and, above all, an inspirational experience. The new media artist Tanja Vujinović represents the selection of video works created in the computer game engine, digital prints and ambient installations within her exhibition Universal Objects on show in the Lucida gallery space. The exhibition consists of five art entities under four media: digital prints Omen and Observers 2, video works Legacy 1&2 and Formations 4&5 as well as the interactive video work Still Life 2 and objects within spatial installation Still Life: Warehouse; the works are linked by the presence of “universal objects” after which the series they belong to, as well as the exhibition itself, was named. What, in fact, are “universal objects”? The term “object” implies all forms that appear in a virtual environment, whether they are anthropomorphic (avatars), zoomorphic or subject matter; these objects can be found in digital databases that are accessible to everyone, they can be transformed, manipulated, and therefore, are “universal” by their nature.
Tanja Vujinović’s artworks bring us into new, virtual environments, situations and intriguing, indicative-narrative and non-narrative “events.”
Tanja Vujinović uses computer game technology to explore the position and reach of art in the digital age. In all of her artworks, representations of the avatars indicate the presence of consciousness within the digital world. The artist does not create the illusion of space, but through exploring various possibilities of noise poetics which segments she transposes into the domain of virtual, she creates new visual and sound forms, environments and situations that have their anchorage in the noise. Vujinović does not commence from the established forms of digital communication but, using a different angle of perspective, she uses glitches and remains of the information in the code of the computer game programmes to which she applies the new set of algorithms establishing new, unexpected forms of relations within the infinity of her artwork. Tanja Vujinović says that the beauty of the objects conceals deformed, broken 3D vectors and random glitches on which their forms are based and which originate from the digital noise that she treats as a substance, but also as an organisational principle.
Tanja Vujinović modifies universal objects and incorporates them into non-narrative events and situations. In her artworks, the form is constantly being deconstructed and re-established, at the same time remaining attached to its non-narrative context. Objects are not phenomena for themselves; they are the inexhaustible source of different concerns regarding their function and manipulation. All Tanja Vujinović’s artworks contain the characteristics of traditional art forms, but the artist keeps overcoming them by deconstructing and reconfiguring them, thus creating 3D virtual environments that exist in real time, last endlessly and suggest the state of existence governed by assigned algorithms.
With her exhibition “Universal Objects” in the Lucida Gallery, Tanja Vujinović creates a space of virtual and realistic ambiances – she commences from virtual environments that she incorporates into the real space of the gallery and, in that way, gives meaning to a new, self-sufficient artistic whole. Virtual works represent a kind of “porthole”, the connection between the real and the virtual world. By merging real and virtual, Tanja Vujinović indicates that virtuality is nothing but an extension of reality, its integral part. “The attractiveness of new technologies, the dependence on them, the proximity that is established with them are just some of the current topics related to a close and complex connection that is created over time between people and their devices,” says the artist.