Vladimir Đurišić

- Montenegro -

Vladimir Đurišić, born in 1982 in Titograd, graduated at the Music Academy in Cetinje, and he currently finalizes his PHD thesis in Art Theory. Writes poetry, music, essays and theoretical texts, and translates poetry and literature from English. His poems were published in numerous regional periodicals and literature publications. He published a book of poems Nothing will soon explode (OKF, Cetinje, 2007) for which he was awarded with national poetry award, Risto Ratkovic prize. He worked as curator (Njegoshiations project), and selector of Music festival Espressivo. He was one of the founders and editor in chief of the online literary portal www.proletter.org. He was the editor of literature program of theatre festival FIAT. He is employed as lecturer of Music History and Style Analysis at the Music Academy in Cetinje, and currently resides between Belgrade and Podgorica. 

Between quotation and destruction

Vladimir Đurišić writes poems, not books. Poems as poetry events, everlasting everblues, as he writes in his, originally in English written poem Love song of Alfred Kitschawk. He writes furiously, like in an endless flows and luxurious fluxes but publishes rarely, incidentally. Every poem he wrote in the last couple of years was a performative event, conceptual breaktrough on the edges of heritages of language poetry, neoavantguard strategies of language games and contemporary practices of language taken as challenging words and objects of syntax as n-dimensional fields. His poems are in a way an amazing gesture of form and its deconstruction at once: blasting musical developing variations and at the same time deconstructing variations and variables of safe solutions of implied or alluded gestallt-ian consensus.


Trough going-always further than the logic of music of his material, Đurišić employs empirical clashes altogether with re-relativisation of semantic ticks: what comes to a mind is what RS Bakker calls semantic apocalypse, the end of referential field becomes fields of excitement where together lie: the need for new musical and even shamanistic repetition and difference altogether with moviements of visual engrams of what has been seen or just of what has seen been in the search of database places for re-inventing of the real.


Everything moves and stays there very firmly, breath of a line and lines of objects, objects of syntax and taxonomies of personal or even commonplace proliferations go altogether with a specific care of dramatic politics of questioning relations between real and sensual objects and their qualities. Polygeneric generic openness of his methods vary from almost free jazz to serial variations of form and content, from sound of the word to sentence, to appropriation of whatever texts on his disposal and rearranging them into sonetoid formats. In all this, Đurišić keeps almost classicist balance between music, meter, breath and materiality, relation and fiction, quotation and destruction.

By Iva Nađ