Život

..Ono “iskopano” sa punim pravom nadvlađuje; umetnički zahvat ne deformiše, nego pomaže pri rađanju novog života. Nečemu što je već tu, jednom prirodnom smislu pridodaju se novi akcenti, a tako se u Geteovom smislu rađaju umetnička dela koja sama sebe izražavaju. Ova dela dozvoljavaju širok spektar interpretacija i odbijaju “dodeljivanje ” naslova ili definicije kako bi izbegli da budu lišeni začaranosti putem bitisanja u nekom jezičkom obliku. Rat u nekadašnjoj Jugoslaviji prekinuo je i estetsku postojanost Bokićevog dela u stilističkom smislu. Na svojoj trećoj Berlinskoj izložbi umetnik pokazuje tri predmeta kojima je svojstvena očita promena u umetničkom izrazu, a koji samim tim predstavljaju novu generaciju skulptura. Najveći objekat ove grupe na zidu ima dužinu od 1,30 metra, a sastoji se od ukupno osam fragmenata korenskog drveta povezanih kao udovi kratkim, ali grubim konopcima. Posmatrač ove kompozicije otprilike ima utisak jedne vage bez postolja. Strogošću geometričke redukcije na jednu šemu, na formulu od beskompromisne simetrije, Bokić uspeva da pokaže maksimalni minimum na granici ničega. On pokazuje čoveka paralizovanog u stanju između onoga što se još nije dogodilo i onoga već prošlog, kao isušenu pojavu na putu ka kosturu, na rubu ponora. “…

Manfred Milz,
istoričar umjetnosti, 1995.

(ENG)

…Whatever is “unearthed”, fairly rightfully gets the mastery. Artistic operation does not deform but rather gives assistance at birth of new life. New accents are added to something that is already there one natural sense, and in such a way, in the sense of Goethe. The creations of art are born which are expressed by themselves alone. These works allow of a wide spectrum of interpretations and refuse the “assignment” of a title or definition, in order to avoid being deprived of their bewitchment by way of existence in a linguistic form.
The war in ex-Yugoslavia interrupted also the aesthetic steadfastness of Bokic work in the stylistic sense. At his third Berliner show the artist displays the three things of which an obvious change in artistic expression is typical, and which, in them selves, represent a new generation of sculptures. The biggest object of this group on the wall has 1.30 meters in length, and is made up of eight fragments of rooty wood altogether, tied up as limbs, with short but coarse ropes. The spectator of this composition gets about the impression of a pair of scales without base. With strictness of geometrical reduction to one scheme only, to a formula of uncompromising symmetry, Bokic succeeds in demonstrating a maximal minimum on the bounds of nothingness. He shows a man paralysed in the situation between what has not yet happened and what has already passed, as a dessicated figure on the way to skeleton, to the edge of abyss…

Manfred Milz,
Art Historian, 1995.