Example III. Zoran Todorovic,
Framework for The Apocalypse, 2001

This complex work addresses the concept of graphic art and its full extent. All the sub-concepts (print - number of copies - message - reception) are moulded into a solid structural entirety. The dramatics of the work is achieved through the dichotomy of two series of meanings. The original and replica, manual and technical, historical and contemporary, individual and surrounding, author and audience are directly confronted. Starting with the deconstructionist method and redefining a computer-replicated woodcut dated 1497-98, Todorovic shows the vitality of the phenomenon noted by W. Benjamin, when he said "technical reproduction is more independent compared to the original, because it leads to the a situation not available to the original"." This is achieved through computer enhancement and printing, as well as subsequent personal intervention. At that moment the dynamic dialogue of two graphic artists begins, which is transformed into a continual communication with the audience and friends through e-mail. The audience becomes the co-author, and electronic communication is raised to the aesthetic level. The messages received show the modulation of original graphics and are complementary to it. The language of communication is the language of graphic symbols, which are interpreted through the laminate of civilisation. And finally, it is clearly shown that the artist is the existential mediator in historical and geographical areas and, "such an approach leads u8 to the conclusion that art is occurring today in the area of the dialectic relation of Debord's 'society of spectacles', in which social relations are mediated by images, and Bourriaud's artist, who lives in circumstances offered by the present, in order to transform the context of his life into a lasting universe".¹⁰

Zoran Todorovic, Framework for "The Apocalypse" - Shadow, 2001, images found on the net by artist's friends after his appeal