Goran Bertok’s series The Visitors hinted at guidelines of an artistic development that focuses on obsessive documentation and staging of body transience without any pathos or moralizations: after its physical death, the body merely remains a doomed dead piece of meat. Thus the motifs of burning corpses in abstracted spacelessness represent a naturalist, yet completely aestheticized document on the omnipresent cremating procedure, hidden carefully from the public eye. Old age, disease, death and facing death bodies are somehow placed on the edge of the contemporary society, which rather uses various channels to emphasise the imperative of health, youth and strength. Bertok approaches death from the perspective of life: he is intrigued by its mythology reflecting through history the notion of the so-called dignified death, he is fascinated by the psychological effects of the omnipresent fear of death and by the organic remnants of the once alive bodily system. He never idealizes death, as it always stands for fear, pain, agony and pain, he rather sees it as a consequence of life.