“Narcise sans miroir”
Narcissus without a mirror
We are dealing here with a man who cannot see, and yet gives us images to look at.
The situation is generously paradoxical – and all the more stimulating because it shows that truly meaningful images do not come from without, but from within.
More than anyone else, Evgen Bavcar is without a doubt a conceptual artist, as he does not know his work, except for the idea that he has created of it.
Therefore, as many other artists, Bavcar shows us the images that fill his head. These images, he can see. But he doesn’t show us anything more than their idea, as transposed on images on photographic paper.
I have serious reservations about the very principle of “conceptualism” – that is to say art that makes the image a simple illustration of the concept. This, I see as a complete reversal of what has been, from the outset, not only the art process, but the cognitive process as a whole.
This is undoubtedly a consequence of the reversal of the mental Gulf Stream of modern society. In fact for millennia, the cognitive process has led us from sub-conscious to conscious – from an unknown desire to the recognition of that desire, through a work that showed its reflection in the images of dreams or visions and thus enabled it to receive a name – a name that could introduce it into the community discourse.
Bavcar talks about his life experience. Art, in fact, does not portray the world but our individual experience, that is our own presence in the world.
And the blindness that struck him enables us, in the words of Shakespeare, to “see the obscure that the blind can see” – meaning the image that presents itself as the messenger of our dark desire to be.
Michael GIBSON (art critic), Maison Heinrich Heine , 8 October 2010 (extracts)