Djurovic’s Existential Absurdity

Serbian-born, Berlin-based artist Goran Djurovic “is a painter of pitch-black reality ... [with] figures that stand, sit, look and wait in scenes straight out of the Theatre of the Absurd. … He is the painter-philosopher of existentialism now. Like a merciless director or brilliant puppeteer, he confronts his figures with the Big Nothing: they are attracted to enticing, deceiving light but are actually en route to ineluctable darkness. And yet, every now and then, there is a flicker of hope in his paintings.”

–Excerpt from Eric Rinckhout’s introduction for “Goran Djurovic: Prime Time.”

Artist: #GoranDjurovic

Book: Eric Rinckhout, Bernard Dewulf, Goran Djurovic

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Show Us the Way

Ikebana (arranging flowers or making flowers alive) or kado (way of flowers) is the Japanese art of flower arranging that dates back to the 15th century.

Guided by the desire to create harmony between the plant, its container and their surroundings, arrangements are composed with sculptural precision by combining as few stems and leaves as possible into elegant forms to highlight their inner qualities.

Ikebana/kado is counted as one of the three classical Japanese arts of refinement, along with kodo (way of fragrance) and chado (way of tea).

Artist: Watarai Toru (@Watara_Ikebana)

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Lego Stave

Stave churches, built mainly during the middle ages in Northern Europe (ca. 800 -1200), are made entirely of wood and pole (“staver” in Norwegian) construction, often using nothing more than expertly crafted joints with no nails or glue.

Every piece is locked into position by others–trusses, brackets and rafters–to form an enduring and rigid construction technique.

Today only 28 remain in Norway, including the Urnes Stave Church (ca. 1132), listed on UNESCO’s World Heritage List, and the particularly well preserved Borgund Stave Church (ca. 1180), brilliantly represented in Lego by @MartyTheLegoParty

Site: Borgund Stave Church, Lærdal, Norway

Photo: @MartyTheLegoParty (photo 1), Stephen Roth (photo 2), Volant (photo 4)

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