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Damir Žižić and Kristian Kožul focus on commenting products and habits of members of the consumer society. They use products, the bearers of an illusion of happiness and well-being, to emphasize the transformation of the mental landscape under the influence of the logic of profit. The value of their creation lies in the fact that they have articulated a copy of the global tendencies by means of experiences taken from the local context, using a wide spectre of contextually specific symbols. Those symbols are mostly casts and photographs of evocative objects such as plastic bottles with a refund value, fake plants which are used to decorate public spaces, mass-produced objects used in tourism or multi-colour trash food packaging. They use the visual language adapted from the field of commercial activities in all of their projects in order to critically question the habits and phenomena of modern consumer society, drawing attention to the presence of the increasingly aggressive presence of marketing ideology and its aesthetics, which is often at odds with our own social and economic reality.
In ‘The Recurring Landscapes’ the motifs of the elements built into the gallery landscape belong to imaginary costal tourism and leisure, while the form of its presentation and its materials is taken from the world of trade and marketing. There are also visual elements well known to advertising techniques, the ways of presenting an assortment of products in their individual settings or arrangements. However, their visual statements also include ironic detachment, making the primary commercial function of their adopted aesthetics useless.