Movement, however, is also possible, though only as a form of (dangerous) acrobatic play – figures represented in free motion, as if attempting to break free from their petrified attachment to space and from the conditions of their own existence within it (Players).

Four figures arranged in a circle, caught in the attempt to perform a handstand or a bridge, become a sign of the human aspiration toward free flight, an inverted solitary dance, or an acrobatics of liberation from gravity, constraint, and stillness. Such liberation, it seems, can only be achieved by turning the conventional perspective upside down.

In this way, Darko Kuzmanović points to the paradoxical position of the human being between attachment to matter and the aspiration toward the spiritual, between the danger of falling and the liberating potential of play. This freedom becomes possible only through an inverted “dance on one’s hands” or through the unexpected curvature of the figure, in which the human body itself becomes a communicative bridge – both toward the self and toward the absolute – transcending its own rigid materiality.

Ivana Bašić