Goran Denić listens to the territory he’s in. He created an outstanding work by connecting history and modernity. Referring to the technique of sand-painting used for Buddhist and other mandalas, he has replaced sand with spices of vivid colours immitating the pigment colors. Next to the visual, the spices emit a strong olfactory and taste sensation.With his two chosen colors, the artist semantically also encompasses the characteristical colours of the two political parties of the host country. Goran Denić unites them in his piece. On the gallery floor, he places a circular layer of red spice(curry), within which there is a sentence written with scattered yellow letters made from tumerik (a spice). In Thai, it reads: „The Smell of Spices Comes with a Smell of Polution“, which is also the title of the piece. No less important is the connotation of the temporarity of this piece, reminding the viewer of the evanescence and variability belonging to the Buddhist tradition, as well as the ideas of the constant flow and change of everything around us. We are reminded that spices were used-and still are-for the conservation and purification of food. They are natural, unlike the myriad of E-additives mixed into the western food without the knowledge of its consumers, or with completely obscure product information printed on the packing. Connecting the inner combustion of an engine with digestion in the human body is how the artist smartly shapes his installation. In his elaboration, he says: „historically speaking, Europe made first contacts to Asia because of spices which were then more worth then gold. From Thailand (Asia), we got spices, and they got inner combustion engines from us.“
The mighty sorceress Isis, or maybe the Halstatt fortune teller, Gotfred’s friend, a lady from the Aachen circle, or Granny Sera from theBelgrade plateau-all of them use a vessel or a bucket for liquid. Some have used it to store some opiate potion, others for liquid detergent, and others for holy or normal water.