OD SUMRAKA DO SVITANJA, 2003.
FROM DUSK TO DAWN, 2003.
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ROĐENJE, 1992.
BIRTH, 1992.
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AKT OBIČNE KOMŠINICE U NEOBIČNOM POLOŽAJU POSLE KOGA JE PALA U NESVET, 1993.
NUDE OF AN ORDINARY NEIGHBOUR IN AN UNCOMMON POSITION, AFTER WHICH SHE FAINTED, 1993.
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MAJKA SA DETETOM, 1993.
MOTHER WITH A CHILD, 1993.
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GLUVO DOBA, 2005.
NIGHTIME,2005.
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 «Marginalna umetnost nastaje u ambijentu alarmantnog otuđenja čoveka. Razoreni međuljudski odnosi, sav metež pomahnitale tehnokratije sve više ugrožavaju humani odnos prema jedinki. Outsider art i marginal art su zapravo pokušaji prevoda izvornog Dibifeovog termina art brut na engleski jezik. U umetnosti autsajdera on je našao najviše prostora za manevar poptuno oslobođenog likovnog izraza. Godine 1945. daje joj termin artbrut što u prevodu znači - sirova umetnost...
Umetnici marginalne umetnosti, stvorili su novi svet opažanja, inicirali promenu stavova o umetnosti, uznemirali mnoge duhove. Svojim originalnim delima skidali su civilizacijsku prašinu umornog artizma, klaustrofobičnog elitizma akademske umetnosti. Jedinstveni prizori sa njihovih dela, značili su buđenje novih oblika lepota: samotnih, bizarnih, hibridnih, sirovih. Dela najznačajnijih slikara marginalne umetnosti kod nas: Save Sekulića, Vojislava Jakića, Ilije Bosilj Bašičevića, Emerika Feješa itd, najbolje svedoče o njenom visokom ugledu u svetu. Među živim outsiderima, koji će dosledno nastaviti kontinuitet razvoja marginalne umetnosti svakako treba pomenuti ime Barbarien.»
(deo uvodnog teksta iz kataloga izložbe)
Predrag Milićević - BARBERIEN je rođen u Jagodini, 17. februara 1963. Počeo je da slika 1992. Izlagao je samostalno na dvadeset izložbi u zemlji i inostranstvu. Njegova prva samostalna izložba, pod nazivom Šamar građanskom ukusu, u galeriji Stara kapetanija, Zemun, januara 1994. proglašena je izložbom nedelje i meseca u Beogradu. U organizaciji Radio-Pingvina, ovom izložbom učestvuje i na tradicionalnoj Izložbi godine u Jugoslovenskoj galeriji umretničkih dela u Beogradu, gde izlaže slike i fotografije. Počev od 1994. godine, član je ULUS-a. Više puta je bio učesnik Prolećnih izložbi ULUS-a u Umetničkom paviljonu Cvijeta Zuzorić u Beogradu. Uspešno se bavio poezijom i prozom i umetničkom fotografijom takođe. Do sada je izlagao na preko dve stotine grupnih izložbi, na kojima je dobijao u zemlji i inostranstvu mnogobrojne nagrade i priznanja.
Počev od 2000. godine, učesnik je svih bijenala naivne i marginalne umetnosti u MNMU u Jagodini. Dobitnik je dva Posebna priznanja za izložena dela na Jedanaestom i Dvanaestom bijenalu, a na Trinaestom bijenalu, 2007. godine dobija i Veliku nagradu bijenala. Te iste godine, vrlo uspešno će učestvovati i na Osmom svetskom trijenalu – IN SITA 2007, u Slovačkoj nacionalnoj galeriji u Bratislavi.
Širokim potezima četke i transparentnim koloritom, umetnik nam se ispoveda, opisujući formom svoje, unutrašnje konflikte. Zahvaljujući ekspresivnosti dijagonalnog poteza i sirovom umetničkom izrazu ubraja se među najznačajnije outsidere u Srbiji. Izlagao je na samostalnim i grupnim izložbama u zemlji i inostranstvu. Živi i radi u Jagodini i Beogradu.
Umetnik se uglavnom izražava figurom. Izražajni i deformisani, likovi sa njegovih slika ukazuju na ljudske mane, borbu između dobra i zla. Metafora ljudske slabosti izražena je kroz prikaze životinja koje, kao u basnama, otkrivaju usplamtele, često skrivene strasti. Kompozicije stvara brzo, žustro, naglašavajući time intenzitet doživljaja. Bez prethodnog razmišljanja, umetnik dopušta četkici da ga vodi. Otuda jasni i divlji kolorit obogaćuje predstave njegovih dečjih košmara i neprijateljstva prema konvencionalnoj stvarnosti koju doživljava od ranog detinjstva. Njegovi likovi simbolizuju požudu, prezir prema licemerju. Oni spontano oslikavaju bes prema uniformisanom, usađenom sistemu lažnih vrednosti, ismevajući ljudsku glupost i taštinu u kovitlacima moćnog kolorita.
Bogatog duha i ironije, umetnik, kao ljutito, prevareno dete ili čovek neispunjenih snova i nadanja, čupa sugestivnu snagu svoje agonije iz unutrašnjih dubina, pretvarajući je u divlji kolorit i snažne i široke poteze četkom. Jedini način da komunicira sa spoljašnjim svetom je da otvori Pandorinu kutiju i otkrije zabranjene misli i ideje. Barberien otelotvoruje u sjedinjene sile, sve svoje konflikte iz ambisa lutajućih duša.
Njegovi oštri potezi raspršuju mit običnih ljudi iz susedstva. Priseća se brojnih estetskih principa; njegovo interesovanje za život u svim amoralnim vidovima uzdiže konflikte i strasti na nivo univerzalno ljudskog, stvarajući tako unutrašnju napetost formi. Ovaj podsvesni instinkt umetnika i njegov zanos za slikarski čin simboliše osobenu estetiku u kojoj stvaranje postaje imanentno slobodi. Ovo ispoljavanje nesvesne sublimacije i meta jezika koje Barberien koristi, pretvara platno u lakmus koji burno reaguje na sve promene stvaralačkog uma.
Nina Krstić
ENGLISH VERSION
"Marginal art appears in the ambience of alarming alienation of a man. Destroyed human relations and the turbulence of delirious technocracy threaten the relationship to an individual. The terms Outsider art and marginal art appeared in the attempts to translate original Dubuffet's expression art brut into English. In the art of outsiders, he found the widest area for maneuvers of liberated pictorial expression. In 1945, he named it art brut, which, in translation, denoted raw art. Threatened, alienated, and excommunicated individuals with distinct identity, who were marginalized by cultural community, did this art…
The marginal artists have created a new world of perception, initiated the alteration of attitudes in art and disturbed many spirits. With their authentic works, they removed the dust of weary art for art's sake and claustrophobic elitism of contemporary art. Unique presentations in their paintings marked the awakening of new forms of beauty, lonely, hybrid and raw. The works of our most prominent artists in marginal art, Sava Sekulić, Vojislav Jakić, Ilija Bosilj Bašičević, Emerik Feješ etc. bear witness to its excellent reputation worldwide. Among living outsiders who will consistently continue the development of marginal, he name of Barbarien should be mentioned."
(excerpt from the exhibition catalog introductory)
Predrag Milićević - BARBARIAN was born on 17 February 1963 in Jagodina. He began painting in 1992. He has exhibited at 20 one-man shows in the country and abroad. His first exhibition, Punch on the middle-class was declared the exhibition of the week and month in Belgrade in January 1994, and hence participated in traditional Exhibition of the year, organized by Radio Penguin. He has been a member of Association of Serbian Artists (ASA) since 1994. He repeatedly exhibited at traditional Spring Exhibitions of ASA at Art Pavillion Cvijeta Zuzorić in Belgrade. In addition to painting, he successfully wrote poetry and made artistic photographs. He has participated in over 200 group exhibitions (photographs and paintings) so far, where he received more than 30 awards in the country and abroad.
Since 2000, he has participated in all Biennials of Naïve and Marginal Art at Museum of Naïve and Marginal Art in Jagodina. He received two Special Mentions for exhibited works at the 11th and 12th Biennial, and Grand Prix for exhibited works at 13th Biennial in 2007. In the same Year he suscessfully participated in the 8th Triennial of Self – Taught Art IN SITA at Slovak National Gallery in Bratislava. He works and lives in Jagodina and Belgrade.
With broad strokes of his brush and transparent colouring, the artist illustrates his instantaneous inner conflicts. Owing to the strength of his diagonal stroke and robust artistic expression, he ranks among the most significant marginal artists in Serbia. He has exhibited at independent and group shows in the country and abroad. The artist speaks mainly through figures. They are expressive and distorted; they ecstatically point to human characteristics and struggle between the good and the evil. The metaphor of human weakness is expressed in the images of animal figures that, like in fables, reveal burning, often hidden passions. He creates compositions in rapid manner, vigorously and sketchy, thus emphasizing the intensity of experience. Without premeditation, the artist allows his brush to conduct him. Hence transparent, wild colouring enriches the presentation of his childish nightmares of animosity towards conventional reality that he has experienced since early childhood. His characters symbolize lust, grinning at hypocrisy and enmity. They depict spontaneously expressed revolt against the uniformed embedding into the system of false values. Therefore, his characters ridicule at stupidity and vanity in whirls of powerful colouring. The act of creation is the artist's only weapons. Aboundant with spirit and irony, the artist, like an angry child or a man with unfulfilled dreams and expectations, seizes suggestive strength of his agony from his inner depths, transforming it into uncultivated colouring and vigorous and broad strokes of his brush. The only way how he can communicate with the outside world is to open Pandora's Box and unveil forbidden thoughts and ideas. He embodies into united forces all the conflicts in the abyss of wandering souls. His sharp strokes dispel the myth of ordinary people from neighbourhood. He recalls numerous aesthetic principles; his interest in life in all its amoral aspects elevates conflicts and passions to the level of universally human, thus creating inside tension of forms as everlasting fight between the good and the evil. This subconscious instinct in the artist and his enthusiasm for painting process symbolize his individual aesthetics, in which the creation becomes immanent to freedom. This manifestation of unconscious sublimation and meta-language used by Barberien turn the canvas into litmus that turbulently reacts to all changes in the author's mind. Hence deformations of forms show his innocent spontaneity that is a result of his efforts to uncover ultimate truth.
Nina Krstić
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