Milan Antić (Belgrade, 1984), graduated from the Faculty of Fine Arts in Belgrade in 2010, department of painting. He received his doctorate in 2018 at the same faculty. Until now, the works of Milan Antić have been presented in numerous exhibitions in the country and abroad as part of group exhibitions since 2006. He is a participant in several art workshops and residencies of international character (Paris, Munich, Thessaloniki, Sofia, Belgrade). He has been exhibiting independently since 2010: Galerija Reflektor (Užice, 2021), Drawings, Haos Gallery, Laureates of the "Vladimir Veličković" Drawing Award (Belgrade, 2019), Dossier about everyday life (with Uroš Djurić), Haos Gallery (Belgrade, 2017), Untitled, U10 Art Space (Belgrade, 2016), Soma, FLU Gallery (Belgrade, 2016), Bodies, Center for Graphics and Visual Research (Belgrade, 2014), Drawings, (with Simonida Radonjić and Nikola Velicki), Serbian Cultural Center in Paris (Paris, 2012), Dialogue, (with Ivana Ranisavljević), UBSM Art Center (Belgrade, 2010). He is the author of a series of artistic interventions in public space. His works are in numerous collections in the country and abroad. His work in the field of visual arts has been awarded several times: Vladimir Veličković Drawing Award, (2018), Rista and Beta Vuksanović Painting Award, FLU Belgrade, (2010). Stevan Knežević Drawing Award", FLU Belgrade (2010) Since 2011, he has been working at FLU (Belgrade) as an assistant, and since 2014 as an assistant professor at the painting department of the Faculty of Fine Arts in Belgrade.
The proposed project is called New World. It is a cross-section of the work, which primarily aims to show the author's achievements in the field of image media in the last few years. The aforementioned project projects its historical references in the field known in the history of art/painting as Color field painting/Shaped canvases, i.e. Post-Painterly Abstraction. On the other hand, the basic determinants of a given approach to the image can be found in the very process of accentuating its materiality. Expressing in an associative abstract language, it clearly levitates over the realm of the minimal as well as relativizing the image form through the abolition of the border with other media (sculpture, design, digital art). As such, in the context of contemporary artistic practice, he intends to revise Greenberg's thesis in a certain way about the disappearance of narrative in the medium of the image, that is, the construction of the same through the identity of its own materiality. By directly referring to the abstract painting (Shaped canvases) that appeared in the second half of the twentieth century (New York) as a response to European modernism, the proposed painting concept has the idea of directly entering into the process of re-examining its new reading and seeing its new possibilities through the use of modern technologies. . The primary author's intention is reflected in locating a new position of this painting model through the relationship of its transhistorical identity with its contemporary reading. The review of the aforementioned relationships in this research takes place on several levels, and in addition to the above, it is important to point out that this mode of painting also relies on the idea of open painting, which is not subject to its formal reading. In this way, the author wants to emphasize the process of creation, as well as the sequence in the construction of the image, in which, in cooperation with the digital, a new form of image is created, which was initially seen as a stretched canvas on a frame.