Is this a real child we look at, or a mirror of our own adult regrets? This creature whose cheeks we pinch and hair we ruffle, does it exist outside the mythology of innocence we’ve constructed?
Kevin Murray, Three Child Proofs, essay

a few answers to the viewer...
a photograph is, and yet it is not a novelty in the art practices of dejan kaludjerovic... after the works in which he used it mainly as a pattern, a material combined with other media (classical painting, for example), or an object on which he intervened thanks to the “amenities” of computer technology, now for the first time, he tested himself (as an artist, of course) in its “creation”…if the first process amused him with the role of the editor, the latter brought him even more excitement with the opportunity to record and direct the situations…however it may be, in both cases the effect is the same, because kaludjerovi? sees the photograph, in fact its “nature”, as an ideal collocutor for the viewer, and the most appropriate transmitter for the message/idea, but also as a big intriguer...

provocative shots
the sight of a girl, all made up and in a mini-skirt, with red boots, striking a pose of a “tired from the life and glory” or “overdosed” punk-rock star, is no more provocative, no more shocking, no more disturbing then, for example, his pioneers, little marko - the racing car driver who leaves a bloody trail, or the children modeling for the underwear in the manner of experienced models... or, if we want to broaden the story, it is no more perverted and dark then “cute” posters of babies in leather jackets and with mohawk hair-cuts, tv commercials in which three-years-old kids imitate adult hugs and kisses, or the family photos in which parents, looking for a confirmation of a biological connection with their offspring, place cigarettes and bottles of hard liquor into the child’s hands... explicit exposure of genitals in some photos, to be quite honest, does cause a reaction, but the sensation remains just for the ones who in reading and understanding of this art work don’t go deeper then the surface, further then what can be seen with the naked eye... every little scratch, every wish to see what lies beneath, is the only way to get to what’s essentially the most provocative, that is to what the artist has to tell us or the idea he wants to transmit...

stealing innocence...
... one of the key moments for understanding kaludjerovic’s cycle “the future belongs to us”, which includes the new series of photos called “electric girl”, is the issue of children engagement in the building of the society, and their unconsciousness of the fact that for what ever reason (commercial, political, ideological...), their naivety, innocence and charm can be used for those purposes... christianity first offered the image of an “innocent child” to whom the gates of every realm are wide open, and whose chastity and kindness cannot be doubted... educators enhanced this standpoint with a theory that a child keeps its stage of purity until the moment the society meddles with its life, until the modern science puts the effort to explain to us that what remained of the child’s innocence is just the myth, and that today it is quite clear that genetics is very important in forming of a personality, and that a child even in its early childhood, if it has the genetic predisposition for being bad-tempered, for example, can be very far from “an angel”... but, like every other myth, this one is still secretly believed in, regardless of everything, and there is no human capable of remaining indifferent to the images of cute little beings that represent his most subtle and most distilled form, and who won’t believe that such a being can sell a product, attract someone’s vote for some political program, or make someone forget about his doubts that he might had in some idea... economizing with children is as old as the world, and although at some points in the past it had the form of physical cruelty, today it gained a more perfidious feature, mainly owing to the mass communication media...

poison container...
... everyone will agree (majority even from their own experience) that the children culture is largely shaped by the rules and expectations of the adults... there are people who believe that the children are active participants in defining their own identity, but the prevailing opinion is that in that stage they are mainly carriers of conflicting values, goals and desires of their relatives and the society... psychologist lloyd demause, explaining the main psychological mechanism functioning in every case of child (ab)use, symbolically describes the status of the children as “poison container” - a place where parents and the community dispose their “undigested” mental material... “be brave”, “be careful”, “be honest”, “try to manage by yourself”, “this is for the boys”, “this is for the girls”. “this is good”, “this is bad” throbs and twists in the minds of children, not leaving much space for some other rhythm or image... the child lives in the world which is in some way created for it by the people who in some way take care of it... kaludjerovic’s heroine carries a message of resistance to that world and to clichés of the society, in which she is supposed to fit, although she is surrounded by the decor and the attributes also invented and comprehended as symbols of rebellion by the adults... presented even as a miniature version of the ones who dictate the rules of the game, it seems that she shares their destiny and is left with a possibility of only two choices: to resign herself to the same destiny, forever trapped in the vicious circle of cause and effect, or to be self-willed like a real child and with an attitude: F*** OFF, THIS IS MY LIFE...

miroslav karic