Still from "While Standing I Wonder." Courtesy of Zlatko Ćosić
When the late St. Louis actor George Malich was stricken with brain cancer, he responded in the unexpected fashion of crafting a web series from his experiences; it’s a topic that we wrote about more than once here at Look/Listen. One of the things that Malich discussed at the time was his joy in working with good friends, talented friends. And video artist Zlatko Ćosić was one of the people who pitched in, working quickly on a project that required speed.
While that video experiment hit some very personal chords for all parties involved, Ćosić has worked on projects with all sorts of emotional edges. So when interesting and unusual projects involving video crop up around town, he’s on the short list of names sought for collaboration, with St. Louis’ most interesting artists and organizations seeking his involvement. While his newest works are solidly his own, they also involved collaborations with some of his most enduring creative partners.
His latest public showing is coming up; quite quickly, in fact. Gallery 210, at UM-St. Louis, ushers in its 2014 programming with Still Adjusting, an exhibition of video and installation by Ćosić. The show opens on Saturday, January 25 at 4 p.m. with a slide presentation by the artist in the Gallery 210 Auditorium.
A press release for the event states that “The works in the exhibition, featuring seven experimental and nonfiction short videos and an installation, are inspired by the artist’s experience of dislocation resulting from 1990s conflicts in the former Yugoslavia. Ćosić’s artwork includes short films, video installations, theater projections and live audio-visual performances. Ćosić’s work often relates to issues of identity, immigration, the complexity of living in a new environment, the acceptance of cultural differences, and the necessity of establishing dialogue among people. His artwork was shown in over thirty countries, for which he has received a variety of recognition.”
In our continuing series of every-other-Thursday, online conversations with local artists, we present the same seven questions presented to Ćosić.
Art school? Self-taught? Some variety of both? Or none of the above?
I focused on art more seriously after the events in 1990s in Yugoslavia. Loaded with war and post-war experiences, I was looking for a way to communicate my stories and visual ideas. One day, I found myself creating experimental videos as a member of the Academic Film Center in Belgrade. After moving to St. Louis, I got involved in many multimedia collaborations and continued making my video art. Meanwhile, I received BA in Video Production and Interactive Digital Media from Webster University and later MFA in Visual Art from Washington University. The technical and art education helped shape my work but also gave me important knowledge and experiences to teach others. These days I create and teach, constantly learning new things and getting inspired by my students and artists I admire.
Regarding your creative habits, are you a night owl or an early bird?
I love working late at night. It was always my thing, even as a kid I did my homework very late at night. I am lucky that I don't have to wake up early, and then later in the day I immerse myself into art through teaching and advising art students. Throughout the day, I often think about ideas and get really excited about new pieces I will work on. I let these ideas linger in my head, shape them, discuss them with others, and then usually at night I approach the creation of the work. I enjoy this process.
In basic terms, can you describe the set up and vibe of your studio?
I am a very organized person, so my workspace is pretty clean and simple. That's how I like to work. I got trained like that by my father, who keeps his workshop in order and by the socialist system and educational discipline in Yugoslavia. My space and work structure help keep all my ideas and projects in some kind of order. The overall vibe is simple, which helps me focus on the actual artwork I am producing.
What are your thoughts on crowdfunding for the arts? And is that option any part of your own approach to creating and selling work?
Personally I have never tried crowdfunding for the arts, but I encourage artists to try those options to support their projects. It's not easy to sell work when you're a video artist, so I try not to put that pressure on myself anymore. I create because I have ideas coming to me every day, and I care about developing and sharing artwork with others. Since I used to work for production companies and also run my own multimedia production business, my skills help me get funding and commissioned work. Through collaborations and production projects, I generate financial support for the creation of my artwork.
Do you have a dream project that lacks only funding (or time)?
Yes, of course. I want to do something in space, outside of this planet. Maybe do something on the Moon. But before that, I am thinking about some global projects, involving expensive technology, utilizing performance, video and sound, in collaborations with artists around the world.
To what degree do you enjoy having public contact, whether that means selling your work at a fair, a gallery opening, etc.?
Well, one of the big reasons I make my work is to share with others. So I love showing my work in galleries and doing live performances with musicians and dancers. For me, there is really no point creating if it is not shared in public or through Internet technologies. Ideas live in my head and they need to come out to be seen and listened to, so: St. Louisans, support your local artists.
What other St. Louis artists inspire or motivate you?
My first love was video art, so when I moved to St. Louis, I followed the work of video artists Van McElwee, Pier Marton, and R D Zurick. Their work was always an inspiration to me. Later all three of them became my teachers, and then the inspiration got infused by motivation which helped me create stronger work. I learned so much from their teachings and artwork, and I try to share that experience with my students. Also, through my art career, I collaborated with many St. Louis artists. My greatest supporter and collaborator is my wife Rachel Ćosić, who worked with me on many videos and installations including the new piece “Without A Number.” Recently I created two new videos, “Re-Birth” and “Colorboarding,” with music by sound artist Anthony Accurso. Since 1999, I have been collaborating with musician and sound artist John Consiglio, who created sound for many of my videos including “Only the Chimney Stays,” which will screen in my solo exhibition Still Adjusting, together with “Re-Birth,” “Colorboarding,” and “Without A Number,” opening January 25 in the Gallery 210, UMSL.
