
MD:
Why did you chose “Overground Post-Pop” as the title of the exhibition?
AML:
“Overground Post-Pop” suggests that my art emerged from the underground punk
subculture, reaching the higher sphere of universality that art carries. The appropriated term
“overground” is a link to its inventors, the progenitors of punk, Malcolm McLaren and
Vivienne Westwood, who were also characterised by a rise from the spheres of subculture
and cult to the universal. “Post-Pop” is the key to understanding the layers of meaning in my
artistic practice and the use of the language of pop art and punk, albeit not literally, as these
phenomena preserve the spirit of another time.
MD:
In your cycle 1984–2024, you question the relationship between dictatorship, freedom and
human nature. Do you believe that art can change society, or does it just reflect the reality in
which we live?
AML:
Every important phenomenon and segment of life, including art, carries the duality which
rests in the foundation of the world. Art not only changes the world and society, but can
redeem them. In the humanistic context, art exalts and harmonises the world we live in and
saves it from confusion and disintegration inherent in conflicting, negative phenomena,
which are both figuratively and metaphorically – horsemen of the Apocalypse. As for the role
of art a catalyst for change, I can offer two examples form recent history where art changed
society significantly, and through a domino effect – subsequently changed the world. In the
first example, in the midst of World War I, the flame ignited by Hugo Ball, Richard Hilsenbeck
and Tristan Cara, members of the Dadaist political-artistic current, spread from a small
Zurich pub called Cabaret Voltaire. The second example is the emergence of the subculture
and style of early British punk whose codes were unknown to the establishment. This threat
to the institutions of the state and church, school and family was quickly “silenced” by the
System. The punk movement fed into critical phenomena such as the subversive K
Foundation collective, whose members burned a million pounds on a boat and denied the
corporate Turner Prize with a performance in a parallel event in front of the location where
the Turner Prize was awarded; the Bristol graffiti movement led by Banksy; and hip-hop as
an authentic ghetto subculture that has had a far-reaching and long-term impact on the
position of African Americans (which we are witnessing today). Art as a reflection of reality
has the effect of observing events from a different angle, and yet – incorporated into the
capitalist system – it sustains its survival. Dangerous art is quickly neutralised and becomes
invisible. Cabaret Voltaire was immediately closed after the reading of the Dada manifesto.
MD:
Your work is imbued with symbols and layered meanings. How do you decide which symbols
become part of your work? Do they arise spontaneously or are they the product of a deeper
philosophical analysis?
AML:
I tend to, consciously or unconsciously, repeat motifs that I find interesting, whereby they
become symbols. The language of symbols also echoes a kind of perversion because their
connotations are often hidden. Similar to Aristotle’s explanation of the concept of “poiesis” –
the artist withdraws a thought from the world of ideas and embodies it in a work of art. The
magic of creating a work of art is hidden in that process. Some of the symbols have a deep
background rooted in philosophical and cultural research and reflect attitudes and thoughts.
For example, in the Gold Rush series, gold is featured as a universal symbol of purity, while
simultaneously representing greed. Symbols have the power to speak louder than words
because they embody ambiguity. They are like archetypes that are interpreted time and time
again, which is particularly important to me in the artistic process and later, when meanings
are infused into perception.
MD:
The portrait series Unpainted Heroes and Heroines is dedicated to unknown but key figures
from the field of punk culture. What does the concept of a hero mean to you in modern
society and how can art redefine that concept?
AML:
The social and historical concept of a hero is debatable because it depends on the angle
from which things are viewed, especially today, when there are more conflicting discourses.
Fundamentally, a hero is one who acts in line with the “inner witness”, i.e. with moral
principles, and acts in accordance with the principles that each of us intimately know are
correct. In modern society, heroes are often associated with fame and success, but for me –
the real heroes and heroines are those who operate quietly, under the radar, and leave a
mark on culture and society through their subtlety. Unpainted Heroes and Heroines depict
those who created movements, inspired revolutions or artistic trends, but did not become
part of the mainstream because they were not particularly interested in fame. Art has the
power to illuminate them, to redefine the notion of a hero as someone who may not be
recognised on a global scale, but whose contribution has a long-term impact on society.
MD:
Your works often offer humour as a contrast to sobriety. How do you balance between these
two elements? Do you think humour can be as powerful as political or social critique?
ALM:
Humour in my works is subversive. Through laughter, we can often see things more clearly
because it has the power to break down rigid structures and barriers that serious discourse
cannot. Humour is not just fun, it is a tool for criticism. Humour makes it easier to ask difficult
questions because it softens the edge of criticism, but makes it even more murderous. So,
when I talk about political and social issues, humour comes as a filter that allows the
audience to connect with these themes on a deeper level, without fear of judgment or
rejection. It represents only one of the layers of the work, which then reveal something of
substance. Here, we inevitably return to the previous story about symbols and language
coding.
MD:
In the Gold Rush series, you question the meaning of gold as a symbol of moral purity. Do
you see art as a means of exploring paradoxes and contradictions in human behaviour?
ALM:
Absolutely. Art is an ideal medium for exploring paradoxes because it provides space for
interpretation, but also the expression of ambiguity and layering that we often ignore in
everyday life. In the Gold Rush cycle, gold carries contradictory meanings – it is pure, but it is
also filthy; it is a symbol of innocence, but it is also an object of desire and a symbol of
corruption; and it contains meaning that we feed into it. I explore human nature – as beings
inclined to strive for ideals, but also succumb to greed and destruction. Art is there to remind
us of contradictions and to challenge us to think about them on a deeper level.
MD:
How does your art communicate with the audience? Do you expect visitors to actively
participate in interpreting your works, or do you think that art should be independent and
speak for itself?
ALM:
My art is open to interpretation, and I believe that the audience plays a key role in the
process. Everyone brings their own experience and perspective and that’s what interests me
– how different people see different aspects of my work. Art can speak for itself, but its power
comes from interaction with the observer. When an observer sees something in my work that
I may not have planned, it is a sign that art is functioning at a higher level.
MD:
How much has the punk subculture influenced your artistic expression and do you feel that
the punk philosophy is still relevant in today's world?
AML:
Punk is a philosophy, an approach to life. It influenced me greatly and taught me that art is
personal, honest, and that it does not have to fit into the established social standards and
codes of mainstream culture. In addition to energetic music and provocative lyrics, punk
inspired me aesthetically in my youth with strong visual graphic messages and authentic
fashion style (those visuals are still good and pertinent today). I think punk is still relevant
because the world we live in is constantly looking for new forms of resistance.
MD:
What are the key themes that you want the audience to recognise in your works? Is your
artistic goal to ask questions, evoke emotions or something else?
AML:
My goal is not to provide answers, but to ask questions that can inspire the audience to
engage in deeper thinking. The key themes are always related to issues of freedom, power,
identity and human nature. I want to evoke an emotional response, but not just at surface
level. In the context of social themes, I do not deal with daily politics, but with the
phenomena of politics and society at a universal scale.
3 Immanuel Kant. Critique of Practical Reason. Belgrade: Kultura, 1973, p. 269.
4 Zinn, Howard. A People’s History of the United States. Dispute, 2010.