During the 1990s he often appears in feature films, works as graphic designer and as DJ at Academy night club, known as "Rupa" (english: the hole).

by Stevan Vuković “The author and the work are only the starting points of an analysis whose horizon is a language: there cannot be a science of Dante, Shakespeare, or Racine but only a science of discourses.” Roland Barthes Uroš Đurić’s strong presence in the popular media as a public personality, and his very charismatic appearance, constitute the major obstacles in grasping the specificity of the discourses he develops in order to intervene in the field of contemporary art and culture.

What usually happens when his works, especially the ones that feature images of himself, are interpreted without insight into the grammar of visual language and into the conceptual strategies he uses, can easily be designated as a “naturalistic mistake”.

From this quote, it is quite clear that, at least on the level of intentionality, the image of the author is not used as a simple mirror-image of himself or of his identity belongings and affiliations, but as a tool for conceptual manoeuvres.

Therefore, Uroš Đurić may appear as an “organic intellectual”, in the sense of visually codifying and making more coherent, presenting and making more broadly present in the public, a specific shared non-hegemonic and, both culturally and socially, underrepresented world-view “in a way that is directive and organizational, i.e. educative, i.e. intellectual”, but he does not do that as someone who enters the field of art from the outside.

“It was created to reduce to a minimum the possibility of shallow stories about our painting”, stated their text of the Manifesto, referring to the history of its own making.

Going back to the experiences of the local historical avant-gardes, namely, Zenitism, whose manifesto these artists not only quoted in their own manifesto but even claimed to repeat, they looked for a way to avoid being listed among the “urban section” of “figurative painters”, following the “other line” of former Yugoslav art, who institutionalized those practices within the histories of neo-avant-gardes, of neo-constructivists, conceptual and process art movements, considered to be tendencies of “radical”, as opposed to “soft” modernism.

He switched his preferred techniques from oil painting and charcoal drawing to electronic collages, photographs, performances and whatever else might come as the most appropriate medium for the realization of some concrete project.

What he kept was a passionate attachments to self-portraits, so that his own image still played the “theoretical object” in most of the works, only the process and the final result were much more open with respect to the manner of realization that before.

The images of the author featured in different segments of the project, presenting him as part of the most prominent football teams in Europe, in the company of various public personalities, on the cover of an imaginary magazine entitled “Hometown Boys”, and among the most prominent authors in the field of art production and interpretation from what was once geopolitically labelled as Eastern Europe, all of whom were shown as proudly wearing a red pioneer scarf, in a glorious posture taken from the iconography of socialist realism.