“Če ne bi bilo kriz, se ne bi porodilo nič novega … in glede na to je moderna umetnost v nenehni krizi,” je v nekem zelo zgodnjem intervjuju izjavil umetnik Dean Jokanović Toumin, čigar umetniško delovanje traja že štirideset let. Njegova izjava nas zato napeljuje k sklepu, da je omenjene krize sam delovno živel, jih torej sooblikoval in permanentno obvladoval ter tako ustvarjal svoj opus, v katerem se novo delo nenehno pojavlja kot “trditev” o določeni problematiki splošnega stanja, vendar pa se namesto “pike” na koncu nenehno pojavlja skrajno individualno začrtana “vejica”, nekakšna osebna, načelna odprtost do “nedovršenosti” konteksta v celoti, nenazadnje pa tudi stališče, ki ga je mogoče odkrivati in prepoznavati samo v trajanju, v sinhronem in diahronem redu.
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“If there were no crises, nothing new would happen… and accordingly, modern art is in constant crisis,” is what Dean Jokanović Toumin once said in an early interview. As his own involvement in art runs almost 40 years, this leads us to the conclusion that he has lived the said crises through his work. Co-shaping them and permanently overcoming them, he has created an oeuvre in which new work is continuously appearing in light of the “assertion” on the specific problematics of a general state of things, but instead of a final “full stop” at the end, what continuously appears is a final individually drawn “comma”, a kind of personal, principled openness towards the “incompleteness” of the context in its entirety, and finally the standpoint which is possible to detect and interpret only in the lasting, in the synchronous and diachronic order.
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