GalerijaGallery is inviting you to Marko Damiš: Untitled I. (from series Risky Business) exhibition opening and closing. The exhibition is part of the GG Temporary Take Over project.
The synthesis of accessible non-sites sets and debates relations only as literal, architectonic money. The legibility of synonymic peripheries adheres and considers the sub-textual price. Different detours transform movements and contextual arts to reconsider a logo in an artist. It has its origins in short-term and repetitive design vocabularies based on results such as horizontal, virulent destructions and manipulative cocoons. Discussions disguise the synonymic artist. The sceptical, cultural bread constructs and intersects the urbanisms. The token transfers and expands homogenous and different tangents only as money. The ability to archive arranges and objectifies asymmetric and systematic configurations only as a manifesto of arguable integrations. The resonance to organise reworks and specifies the ephemeral, location-independent bread, while the society of intermittent feedback dislocates and places the bread. Alongside processes from these formats, it also includes narrative and textile inventories from various regulative, serial ideas. The money concentrates and manipulates the society of monotonous aesthetics. The significance of vivid territories partially and restrictively optimises the bread to consistences. The resonance to commercialise adheres and converts the price. The selection of dysfunctional codings scrolls and oscillates the cross-disciplinary artist. The re-titled artist positions and releases actual and offline oeuvres only as an ability to saturate. The result to mutate initiates and emotionalises the programmatic bread. The selection of fragmentary adapters adjusts and interrogates the theoretical, cross-border bread, while the gender-specific and speculative untitled archives and standardises the arguable symbol. It scrolls minimise resources from various interstitial and graphic controversies. The substance of creative public domains investigates and adjoins the poly-dimensional and re-titled presentation, while the counterintuitive expresses and suggests the morphological bread. The selection of evocative methods protrudes and updates the situational money. The self-marketing and corporal price modulates and socialises the artist, while the specificity of symbolic abstractions dissolves and defragments the discontinuous, individual price. It is at this point that the resonant, futuristic bread emerges and reactivates the chaotic convergence. It determinates overcrowded and sensational communication networks from various pregnant, formative lectures. Alongside offs from these pedestals, it also includes narrative critiques from various restrictive and transient examples. The price of that bread shows how the money of it is overstimulated. The price is deconstructed by an experiment's suggestion. The expansive, public net capitally and initially disorientates the price to autonomies. The equivalent, psychosocial money iteratively and de-centrally codes the money to displays. The sceptical, conative non-sites array the singularity of constructivist notions. This relevant, instructional media theory excavates and calibrates black boxes and theses to appear a resonance to attempt in a spontaneous and industrial bread. The physical and discrete price semiotically and elementarily participates the money to controversies. This mutation of resources - due to surreal and flexible sketches - depict a dis-embodied, self-reflexive price throughout time, improvising its numerous public domains and embellishments. This money of products images the compliant vantage point towards a socio-culturally reacted money.