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Certain artists have entered the adventure of search for emptiness preceding and following every act of life: human productive reproduction the society. In different historical periods, those artists – Savic Gecan included – have obsessively, persistently and dramatically confronted the powers of emptiness within social and cultural institutions, apparatuses and situations. Tomo Savic Gecan started investigating the empty at the time of artistic reflections following the eclectic postmodernism of the 1980s or, more precisely, at the time of the so-called art in the ‘of culture.’ Tomo Savic Gecan’s works, installations and performances brought forth in this context even though they were with standard art production of that time. His production differs from practices based on media representations and performances referring to or rooted in and cultural conditions and circumstances. Gecan’s work is different through displacement, absence, totalizing minimalism and exception from fictional contexts of ordinary life featuring unexpected instruments of intervention. This paper argues that Tomo Savic Gecan’s artworks are based on the idea that the spectator’s mind is oriented towards external objects. If such objects are empty, then they become indexing structures for mental constructions.

Moć praznine - Spekulativni realizam i umjetnički radovi Tome Savića Gecana