<<              WORDS FOR TWO PIECES Monotony, the word which Milica Lukic uses in a most appropriate way at one of hers recent texts, some associate with a negative concept. On the contrary, I tend to use it when I want to praise certain kind of works. Composers like Eric Satie, Morton Feldman, or Steve Reich, are wonderfully monotonous. Painters like Malevich, Morandi, Tanguy, Rothko or Sol LeWitt are wonderfully monotonous. There are so sculptors as Naum Gabo, Tony Smith or Donald Judd, are wonderfully monotonous. Repetition, obsession, persistence, to chase certain motifs - in particular geometrical ones - , turning and turning again to those motifs in a kind of musical movement. Milica Lukic and Miroslav Perkovic are Serbian artists living in Spain for several years, nowadays they live in Valencia. They offer us to contemplate, in a place assigned by Madrid's Circulo de Bellas Artes, where in 1995 these artists participated in the sculpture's workshop given by the British Richard Deacon-, two works which were exhibited several months ago in belgrade, and which are insert into that modern horizon of creative monotony. We are facing two geometrical, lineal, metallic, plain and precise, restrained, unadulterated works, of industrial manufacture and net post-constructive and post-minimalist lineage. Two compositions which are talking to each other and to they surroundings. Two works with the similitudes which I have just mentioned, but also different. Milica Lukic's has no tittle, supports itself in the wall, and is made with aluminium, a hard but not the less material. A primary, reiterative, self-concerning structure, in which the chosen program, a formalist one similar to Donald Judd's is not slightly altered. Its section offers to us the last meaning of its space articulation. The work of Miroslav Perkovic tends to ground and is brass made, a more malleable, more tactile material; words are its companions - Arm positions, Port de bras- lead us to a world of dance. Being equally reiterative and minimalist, its start - like and twisted geometry seems to tremble in comparison with the one which supports its companion, something which reminds us that in the previous work of this sculptor, who is now questioning himself about proustian enigmas, we have already seen metaphorical elements, for instance, when some profiles bent to the ground suggested such an intrinsic poetic reality -the image of lightness itself- like fallen leaves. Juan Manuel Bonet, 20 Mayo 1998                                   Essay "Words for Two Pieces" by Juan Manuel Bonet, From the Catalogue "It Cuts Both Ways", Show "Bras & Lightness" of M.Perkovic y M.Lukic, Circulo de Bellas Artes, Juana Mordo Hall, Madrid 1998 Slides, From the Gallery Zvono, Belgrade 1997