Priđi bliže da ne vidiš ništa / Come Closer to See Nothing

Galerija Doma omladine Beograda / Belgrade Youth Centre Gallery
06/09/2016 - 18/09/2016

Priđi bliže da ne vidiš ništa

Unutrašnja arhitektura umetnika na subjektivan način ispoljava proživljena iskustva koristeći se logikom geometrije, prostora, serijalnosti, repeticije i boje. Iskustva, doživljaji, posmatranja, saznanja, preuzimanje simbola, tehnika, modela i prihvatanje uticaja iz spoljašnje sredine, izvornu memoriju transformišu u apstraktne fragmente na slici koji svoju osnovu imaju u svakodnevnoj prostornoj realnosti. Slike, akvareli i objekti predstavljeni na ovoj izložbi u svom sadejstvu čine apstraktnu slagalicu koju posmatrač pokušava da protumači i naizgled ni iz čega pronađe nešto – asocijaciju samo njemu blisku i razumljivu.

Kvadratna mreža se pojavljuje na platnima i u samoj kompozicionoj postavci pružajući se u svim pravcima, pozivajući se na svet i njegovu strukturu čiji je i sama deo. Ističući i mapirajući bojene površine kao jednostavne fragmente svog beskraja, mreža identifikuje površinu rada kao nešto kompletno i strogo organizovano. Mreža koja čini osnovu slikanog platna narušena je gustim nanosima boje koji teže da razruše uspostavljenu harmoniju. Slobodni nanosi četke ili špahtle bore se protiv utiska reda, harmonije i kompaktnosti same podloge i teže da reorganizuju naše sagledavanje rada istovremeno podstičući posmatrača da preokrene ugao posmatranja, uspostavi neočekivane veze i vidi stvari drugačije. Pažnja usmerena na prostor bitna je ne samo u samim umetničkim radovima u kojima povlačimo vezu između različitih bojenih površina ili elemenata, već se odnosi na celokupan izlagački prostor. U prostoru, geometrijska mreža, repetitivne serije i pretežno pravougaone bojene površine i oblici uspostavljaju i održavaju ravnotežu preciznim identifikovanjem svoga mesta, tako čineći deo mise en scene kreiranog kako bi se ostvarila čvrsta i integrisana celina. Igrom mešanja i kombinovanja slika, akvarela i objekata, taktično je postavljena kompozicija sa namerom da deluje kao koherentna celina koja se sklapa, rasklapa i ponovo konstruiše zavisno od arhitektonskog prostora u kome se izlaže. Slike teže da svoje dvodimenzionalne površine rasprostru u prostor i postanu objekti dok, sa druge strane, objekti teže da budu trodimenzionalne slike pre nego oslikani objekti. Ovakva postavka svoju koheziju duguje tematskoj srodnosti izloženih elemenata pri čemu onaj „slabiji“ ističe „jači“, a onaj „jači“ daje snagu „slabijem“. Poslednja, ali ne i manje važna karakteristika ove postavke je boja. Boje su na ovoj izložbi neprestano uključene u interakciju, pri čemu svaka od njih (plava, zelena, pink, narandžasta...) predstavljaju povratak fundamentalnim pitanjima kompozicije kao glavnog subjekta. Oslobođene reference, boje su redukovane do same suštine postajući volumen, forma, prostor i svetlost.

Sama postavka svoj puni smisao postiže u komunikaciji sa arhitekturom izložbenog prostora i prilika je za jasnije sagledavanje karaktera likovne poetike autora. Izložba u ovom trenutku predstavlja pregled rada skorijeg vremenskog perioda, kao i zaokruženu celinu i priliku da se rad sagleda iz druge perspektive. Stoga je potrebno prići bliže i razotkriti slojevitu prirodu ove kompozicije.


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Come Closer to See Nothing

The artist’s inner architecture expresses personal experiences in a subjective manner by means of the logic of geometry, space, seriality, repetition, and colour. Experiences, observations, perceptions, the adopting of symbols, techniques, and models, and the accepting of influences from the outer world, transform the source memory in the painting into abstract fragments whose basis is in the everyday spatial reality. Paintings, watercolours, and objects presented in this exhibition by virtue of interaction among them make up a jigsaw which a spectator attempts to interpret and, seemingly from nothing discover something – an association close and comprehensible solely to him or her.

The squared grid appears on the painting surfaces and in the very compositional arrangement by spreading out in all directions, thus making a reference to the world and its structure of which it is a part itself. By emphasising and mapping coloured surfaces as simple fragments of its infinity, the grid identifies the surface of the artwork as something complete and strictly organised. The grid that makes up the foundation of the painted canvas is disturbed by thick layers of paint that tend to fracture the established harmony. Free moves of the brush or palette knife struggle against the impression of the order, harmony, and compactness of the surface and are aimed at reorganising our perception of the artwork, simultaneously encouraging the spectator to change his or her point of view, establish unexpected connections between things and see them differently. Attention concentrated on space is important not only in the very artworks in which we draw connections between different painted surfaces and objects, but also has a bearing on the entire exhibition space. In the space, the geometric grid, repetitive series, and mostly rectangular painted surfaces and objects establish and maintain a balance by precisely identifying their own place, thus being part of a mise-en-scène created with the purpose of bringing into existence a compact and integrated whole. By combining paintings, watercolours, and objects, the composition has been purposely set up to function as a coherent whole which can be assembled, disassembled, and reassembled depending on the architectural space in which it is exhibited. The paintings show a tendency to spread out their two-dimensional surfaces into space while, on the other hand, the objects incline to be three-dimensional paintings rather than painted objects. This exhibition owes its cohesion to the thematic affinity that the artworks have with each other, wherein the ‘weaker’ one emphasises the ‘stronger’ one, and the ‘stronger’ one gives prominence to the ‘weaker’ one. The last but not the least important characteristic of this exhibition is colour. The colours in this exhibition are constantly in interaction, each of them (blue, green, pink, orange...) representing a return to the fundamental questions of composition as the principal topic. Freed from reference, the colours are reduced to the very essence, thus becoming volume, form, space, and light.


This exhibition achieves its full purpose in its communication with the architecture of the exhibition space, and is an opportunity for a clearer understanding of the character of the author’s artistic poetics. The exhibition at this point represents an overview of recent activities, as well as a cohesive unit and an opportunity to have an alternative view on the work. It is therefore important to come closer and discover the multilayered nature of this set of works. 

Translation into English: Božo Vukićević
Photography: Boris Burić