Thirty-six Potential Audis, 2017, artist book, paperback, colour print, 44 pages. Published by inkCONCRETE, printed in the UK.

The book follows the formal tradition of works by Ed Ruscha, like “26 Gasoline Stations” and “Every Building on the Sunset Strip”. It questions the definition of legitimacy that art has to overcome to be regarded as such. The book is made up of two sections, each containing 16 photographs of a street segment. The first was produced by me, the second was outsourced to another artist, to be done in my name. Both follow the same algorithm which dictates the final product: both me and the other artist listened to the song “Djomla KS & Nixx in Nikita – Ćekam te u Budvi”, where during the song the word Audi is repeated sixteen times. The idea was, that each of these sixteen impulses leads to a snapshot, 36 altogether.

The two segments are both accompanied by a series of commercials, photographs of billboards taken by me with no postproduction done to the pictures. The idea is a simple question: What is a commercial — we are all used to their omnipresent function in any media source, regardless if newspaper, TV show, website … And most importantly, has the function of the commercial in media become a part of the media or is it still regarded as a foreign object and how do we perceive such a commercial in an art work, where our perception of the viewed is much more critical and aware. The subtitle of my work is Thirty-six Potential Audis and a Hamburger and with this addition of the Hamburger I wish to convey my own view of what an artwork is defined by. Therefore to the close observer it is clear that in my book I acknowledge the 36 photographs of a road segment and the photograph of the billboard depicting a hamburger. The rest of the commercials I do not. One must understand, that the photograph of the hamburger depiction is also a billboard, but subtle yet obvious traces of my presence during the photographical process legitimise it as a work of art.