Interrupted games is a self-realised project, an image trouvé; it is one of the best examples of Tolj’s perceptual-conceptual art (in this matter perception is a metaphor for artistic process). The medium of a work of art (according to Frederic Jameson, contemporary art is also something different than just “artworks”) are documentary cross-zoom photos of a cathedral and snapshots of a children’s game of striking a ball with a tennis racket. Tennis balls captured in tendril foliacé on the front capitals of the cathedral are the parable for the interrupted children’s game in the city radically transformed by the oppressive prose of daily life in war. The balls captured by Renaissance sacral architecture parlance (Boullée’s term) are the image of contemporaneity captured by history, being at the same time disintegrative fitting-pieces, objects made of synthetic materials used in contemporary sports as a metaphor for consumer kitsch, quite like plastic flowers in churches. Tolj practises a profanation of sacral motifs, expressing religiousness in Carravaggio’s manner.
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