Galerija likovnih umjetnosti,

Osijek, 7. – 28. siječnja 2010.

Muzej moderne i suvremene umjetnosti,

Rijeka, 10. veljače. – 2. ožujka 2010.

DAVOR VRANKIĆ DOZVOLI DA TE UČINIM STVARNIM • LET ME MAKE YOU REAL

Izdavač / Publisher Galerija likovnih umjetnosti, OsijekEuropska avenija 931000 Osijek, Hrvatskatel.: + 385(0)31 251 280fax: + 385(0)31 251 281www.gluo.hrgluo@gluo.hr

Za izdavača / Editor-in-ChiefBranka Balen

Kustos / CuratorVlastimir Kusik

Urednik kataloga / Catalogue EditorDaniel Zec

Dizajn kataloga, plakata i pozivnice / Catalogue, Poster and Invitation DesignMirko Ilić Corp., Mirko Ilić, Jee-eun Lee

Predgovor / Foreword Vlastimir Kusik

Kataloški podaci / CataloguersSilva Vrankić, Daniel Zec

Prijevod / Croatian to English TranslatorKsenija Mitrovich

Lektura / Croatian Text EditorDijana Stanić-Rešicki

Fotografije / PhotographsAlberto Ricci, Studio Bavoljak, Darko Bavoljak

Tisak / PrintKerschoffset Zagreb d.o.o.

Naklada / Number of Copies700

Postav izložbe / Exhibition Installation Davor Vrankić, Vlastimir Kusik

Tehnika / Technical supportTihomir Ferlin, Mirsad Bećarević, Ranko Lalić

ISBN 978-953-6695-56-0

CIP zapis dostupan u računalnom katalogu Gradske i sveučilišne knjižnice Osijek pod brojem 120909055

iskretan pogled unazad

put je razumijevanju stilskih odlika umjetničke poetike Davora

Vrankića. Na početku, bila je to gotovo apstraktna slika gusto

uslojenih geometrijskih likova oblikovanih spektrom od bijelog

preko sivih nijansi do crne, središta te umreženosti. Dominirala

je jasnoća kompozicije i minuciozna razrada mrežnog sustava. To

je bio prvi plan, a iz drugog se diskretno nazirala figura. Promo-

virani su slikarski red i disciplina; red je bio znakom kompozicije,

a disciplinu je izražavala preciznost razrade apstraktnih i figu-

rativnih sastavnica. Sadržaj je bio predstava nekog imaginarnog

zemljovida, čije ćemo sastavnice upoznavati kasnije.

Vrlo je brzo bilo jasno kako će Vrankić izričaj svoga

imaginarnoga svijeta oblikovati olovkom u mediju crteža. Na

djelu je bila temeljito odnjegovana slikarska kultura likovnog

govora vrlo složenog vizualnog jezika, koji je slikar stvarao po

vrlo preciznim načelima vlastitog slikarskog izbora, kako teme

n order to understand

stylistic characteristics of Davor Vrankić’s artistic poetry, one

must take a discreet look back into the past. First, there was the

almost abstract painting depicting a thickly layered geometric

shapes ranging in value from white and all shades of gray to

black in the center of the network. The clarity of the composition

and the minute details dominated the work in the foreground,

while a faint figurative shape remained in the background. The

composition revealed order, and the precise details of the ab-

stract and figurative interplay exuded discipline. The content

was the presentation of some imaginary map whose connec-

tions one would decipher later.

It was soon obvious that Vrankić was going to express

his imaginary world through the medium of pencil drawings.

What was at work was a thoroughly groomed and rather com-

plicated visual vocabulary created according to the artist’s very

OSOBNI REALIZAM SLIKARSKOG SVIJETA DAVORA VRANKIĆA PERSONAL REALISM OF DAVOR VRANKIĆ’S PICTORIAL WORLD

i sadržaja, tako i slikarske forme. Ikonografske sastavnice toga

slikarskog sadržaja Vrankić je polučio iz svijeta stripa, fotografije,

filma, horror ilustracije, računalnih igrica, SF filma, pa i fantastike

klasičnog slikarstva. Sve je to djelovalo kao neskriveni košmar i

pobuna svih protiv svih.

Svijet toga sadržaja, kao govor toga jezika, udomila je

olovka kao sredstvo, tehnika i materijal, koju koristi, kako će sam

reći, “kao skalpel kojim seciram bit neke ideje koja me opsjeda”

i crtež kao samostalna i samosvojna, dakle posve autonomna

slikarska vrsta, a želja je “iz crteža izvući maksimum, iskoris-

titi sve njegove mogućnosti do krajnjih granica” neskriveno

dopuštajući da se “crtež spontano hrani svim mogućim, novim

vizualnim iskustvima”. Tome nastojanju olovka je mnogoznačni

izbor osnovnog alata koji koristi kao sredstvo koje pruža bit-

no, primarno i elementarno, novo, ali i klasično, za postizanje

željenog minimalističkog izraza kojim bi crtež, podignut na ra-

zinu slike, bio tvorcem ostvarenja “nekog mog osobnog realizma”.

Tome realizmu bitno je svojstvo, ali i sadržaj, vizualni jezik zas-

novan na dinamizmu koji Vrankić stvara zahtjevnim postupkom

kretanja slike u slici, intermedijalne koreografije kojoj su pravci

kretanja različiti rakursi motrenja te izmjena dubinskih, širokih,

srednjih i krupnih planova, što stvara likovni slog različitih oblika

vizualnosti. To stvara sliku novog i drugog vizualnog realiteta;

ishodišna je točka u različitih medijima, prvotno filmu, fotografiji

i stripu, ali i računalnoj animaciji, no to je istodobno i odredište; u

konačnici, slika je rezultat bitnih svojstava tih medija. Odlika slike

da se razlaže i puca po rubovima tih planova njezino je bitno vi-

zualno svojstvo, slika tako oblikuje svoju statiku okvira i dinamiku

unutrašnjosti, a sve u funkciji udomljenja motiva. Za motivom će

Vrankić posegnuti u svijet popularne, urbane i medijske kulture

kako bi dokučio što je moguće dublje svijet intime svojih likova,

ali i one vlastite. Kako bi ideja toga slikarskoga svijeta postala

slikarskom stvarnošću, kako bi tome svijetu dopustio da ga učini

stvarnim, Vrankić je proširio okvir teme na više slika. Tako nastaju

veliki i zaokruženi ciklusi kojima taj intimizam postaje glavnim

sadržajem. Ova izložba upravo je takav ciklus, bitne odlike ovog

slikarstva prepoznajemo u cjelosnosti izložbe, ali i svakom dijelu

slike, pa i njezinu najmanjem detalju.

Upravo to svojstvo velika je, ako ne i najveća, vrijednost

ovog slikarstva.

Vlastimir Kusik

precise tenets adhered to in the choice of both the topic and

the form. He derived iconographic ties of his content from the

realms of comic strips, photography, film, horror illustrations,

computer games, and science-fiction movies as well as fantasy

elements in classical paintings. All this suggested an obvious

nightmare– a rebellion of everyone against everyone else.

The medium of the pencil gave home to the realm of

this content; it became the means, the technique, and the mate-

rial that the artist uses, as he himself says, like “a scalpel to dis-

sect the core of an idea that obsesses me.” He also uses drawing

as an independent and self-standing painterly species, desiring

to “draw out a drawing the maximum and use all its possibili-

ties to the utmost limits” while openly allowing “the drawing

to feed on all possible new visual experiences.” The pencil is the

basic multi-purpose tool of choice to this end, a tool which at

the same time affords the crucial, primary, elementary, and new

but also classical means to achieve the desired minimalist ex-

pression; with this, the drawing medium, elevated to the level

of the painting, facilitates the actualization of “my own private

realism.” The important feature and content of this realism is

the visual language based on the demanding process – move-

ment of a picture within a picture, the diverse media choreo-

graphed to go in varied directions through the use of different

foreshortenings and interchanges of deep-set, wide, centered

and close-up images, thus creating a pictorial unity of different

visual aspects. A new visual reality that uses the different media,

i.e. film, photography, and computer animation, becomes both

the starting point and the destination. In the end, the picture

is the result of the inherent properties of these media. The fact

that the picture is disintegrates or breaks on the edges of the

planes is its crucial feature; the picture thus contains the still-

ness of its outskirts and the dynamics of its center, all for the

purpose of positioning a motive. Vrankić finds his motives in the

realms of popular, urban and media culture, seeking to reach the

deepest possible intimacy of the characters as well as of his own.

In order to artistically realize the idea of that pictorial world and

allow it to come to life, the artist spreads the topic over several

pictures, creating big and completed cycles whose main theme

is this isolated familiarity. This exhibition is in fact such a cycle;

one recognizes the important characteristics of these works in

both the entirety of the exhibition and in each of its parts, even

in the smallest details.

This very quality is perhaps the greatest value of this art.

Vlastimir Kusik

Stay Beautiful, 2008. olovka na papiru / pencil on paper, 105 x 260 cm

Stay Beautiful (detalj / detail) 2008. olovka na papiru / pencil on paper, 105 x 260 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cmLes Cadeaux, 2007.-2008. olovka na papiru / pencil on paper, 32,5 x 50 cm

Les Cadeaux, 2008. olovka na papiru / pencil on paper, 112 x 77 cm

Go to Sleep, You’re Too Big For a Lullaby, 2005.-2007. olovka na papiru / pencil on paper, 220 x 320 cm

Go to Sleep, You’re Too Big For a Lullaby (detalj / detail) 2005.-2007. olovka na papiru / pencil on paper, 220 x 320 cm Go to Sleep, You’re Too Big For a Lullaby (detalj / detail) 2005.-2007. olovka na papiru / pencil on paper, 220 x 320 cm

Go to Sleep, You’re Too Big For a Lullaby (detalj / detail) 2005.-2007. olovka na papiru / pencil on paper, 220 x 320 cm Go to Sleep, You’re Too Big For a Lullaby (detalj / detail) 2005.-2007. olovka na papiru / pencil on paper, 220 x 320 cm

Je T’aime Beaucoup, 2007.-2008. olovka na papiru / pencil on paper, 120 x 80 cm

Je T’aime Beaucoup, 2008. olovka na papiru / pencil on paper, 120 x 80 cmJe T’aime Beaucoup (detalj / detail) 2008. olovka na papiru / pencil on paper, 120 x 80 cm

Je T’aime Beaucoup, 2007.-2008. olovka na papiru / pencil on paper, 120 x 80 cm

Interior, 2008. olovka na papiru / pencil on paper, 120 x 80 cm

Interior, 2008. olovka na papiru / pencil on paper, 80 x 120 cm

Scenes From the Interior 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cm

Scenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cmScenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 80 x 120 cm

Scenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cm Scenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cm

Scenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cmScenes From the Interior, 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cm

Scenes From the Interior 2005.-2006. olovka na papiru / pencil on paper, 34,5 x 51 cm

Inside, 2008. olovka na papiru / pencil on paper, 106 x 260 cm

Inside (detalj / detail) 2008. olovka na papiru / pencil on paper, 106 x 260 cm

STUDIJ / EDUCATION

1995. – 1999. Université Paris VIII, „Arts Plastiques“, Paris

1988. – 1991. Akademija likovnih umjetnosti u Zagrebu, Odsjek grafike / The Academy of Fine Arts, Zagreb, Department of Graphic Arts

1986. – 1988. Akademija likovnih umjetnosti, Sarajevo, Odsjek grafike / The Academy of Fine Arts, Sarajevo, Department of Graphic Arts

SAMOSTALNE IZLOŽBE / SOLO EXHIBITIONS

2010. Dozvoli da te učinim stvarnim / Let Me Make You Real, Muzej moderne i suvremene umjetnosti, Rijeka / Museum of Modern and Contemporary Art, Rijeka

Dozvoli da te učinim stvarnim / Let Me Make You Real, Galerija likovnih umjetnosti, Osijek / Gallery of Fine Arts, Osijek

2009. Dozvoli da te učinim stvarnim / Let Me Make You Real, Galerija Kranjčar, Zagreb

2008. Go to Sleep, You’re Too Big for a Lullaby, Galerie Deborah Zafman, Paris

2006. Arrivée du Magicien, La lune en parachute, Epinal

Asphyxia & Scenes from the Interior, The Proposition Gallery, New York

2001. Stedelijk Museum, Kabinet Overholland, Amsterdam

2000. P. P. O. W Gallery, New York

Galerie des Aéroports de Paris, Orly

Le Dernier Printemps du Siècle, Bordeaux

Galerie Le Lys, Paris

1999. Galerija Likovnih Umjetnosti, Osijek / Gallery of Fine Arts, Osijek

Les Usines Bertheau, Ivry-sur-Seine

1997. Galerie de la Halle St. Pierre, Paris

1995. Centre Culturel de Mousseau, Elancourt

1995. Ateliers Thorigny, Paris

1995. Château de Plaisir, Plaisir, France

SKUPNE IZLOŽBE / GROUP EXHIBITIONS

2010. Galerie Polad Hardouin, Paris

2009. 3ème Salon du Dessin Contemporain, Galerie Deborah Zafman, Paris

Sav taj crtež, Muzej moderne i suvremene umjetnosti, Rijeka / Museum of Modern and Contemporary Art, Rijeka

2008. La main qui dessinait toute seule, Galerie Magda Danysz, Paris

4. hrvatski trijenale crteža, Kabinet grafike HAZU, Zagreb / Croatian Academy of Sciences and Arts, Department of Prints and Drawings

Art Elysées, Moderne & Contemporain, Champs-Elysées, Paris

Sur le Dessin, Dessins contemporains, Galerie Alfa, Paris

L’œil du cyclon, Galerie Deborah Zafman, Paris

2007. RawGoo, Galerie Deborah Zafman, Paris

1èr Salon du Dessin Contemporain, Galerie Deborah Zafman, Paris

2006. Twice Drawn, The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York

Block Party, Daniel Weinberg Gallery, Los Angeles

2005. Dessins pointus, Halle Saint Pierre, Paris

Sun Rises in the Evening, Feature Inc. Gallery, New York

2004. SITE Santa Fe, 5ème biennale internationale, New Mexico, Disparities and Deformations: Our Grotesque, curated by Robert Storr

2003. Mighty Graphitey, Feature Inc, New York

2001. New to the Modern, MOMA, New York; otkup rada „Arrivee du Magicien“ / “Arrivee du Magicien“, Museum Acquisition

Biennale crteža, Muzej moderne i suvremene umjetnosti, Rijeka / Museum of Modern and Contemporary Art, Rijeka; Otkupna nagrada Muzeja / Purchase Award

2000. 17. slavonski biennale, Galerija likovnih umjetnosti, Osijek / Gallery of Fine Arts, Osijek; nagrada Ex-Aequo / Ex-Aequo prize

Espace Belleville, Paris

Galerie Béatrice Soulier, Paris

1999. Salon de Juillet, Galeria La Bacheca, Cagliari

1998. 16. slavonski biennale, Galerija likovnih umjetnosti, Osijek / Gallery of Fine Arts, Osijek; Priznanje 16. slavonskog biennala / Honorable Mention at the 16th Slavonian Biannual

Le Musée de l’Erotisme, Paris

L’art contemporain Croate Mairie du 6ème arrondissement, Paris

1996. Galerie Procréart, Paris

Galerie Varnier, Paris

1994. 14. slavonski biennale, Galerija likovnih umjetnosti, Osijek / Gallery of Fine Arts, Osijek

1990. Osječki atelijer danas, Galerija likovnih umjetnosti, Osijek / Gallery of Fine Arts, Osijek

AVOR VRANKIĆ

Rođen 1965. u Osijeku, živi i radi u Parizu i New Yorku.

Born in Osijek 1965. Lives and works in Paris and New York.

ODABRANA BIBLIOGRAFIJA / SELECTED REFERENCES

2009. Danchin, Laurent: Le retour du dessin pur dans l’enfer graphique de Davor Vrankic, Le dessin à l’ère des nouveaux médias, 209–219, Paris, 2009.

2008. Frédéric – Charles Baitinger: Davor Vrankic ou la violence tenue en respect, Artension n°44, Novembre/Decembre 2008.

Zafman, Deborah: Rolling the Fabric of Fetal Form, The Appetition of The Sensible, Catalogue Davor Vrankic

Grgić, Dario: Povratak sposobnosti normalnog uočavanja, Riječi, časopis za književnost, kulturu i znanost, 1–3, 2008.

2006. Kusik, Vlastimir: Moj realizam (D. Vrankić), Kontura 88, Zagreb 2006.

Jonhson, Ken: Asphyxie and Scenes from the Interior, New York Times, 28. 4. 2006.

Grgić, Dario: Umjetnost je koncentrirana energija, Zarez, VIII/171, 12. 01. 2006.

2005. Johnson, Ken: The Sun Rises in the Evening, New York Times, 10. 6. 2005., E44

2004. Kimmelman, Michael: The Convention of Beastly Beauty, New York Times, 6. 8. 2004., E29 (reprodukcija)

Storr, Robert: Disparities & Deformations Our Grotesque, Catalogue, Santa Fe Biennial, 2004., E128

2003. Smith, Roberta: Review, New York Times, 8. 8. 2003., E31

2001. Danchin, Laurent: L’enfer graphique de Davor Vrankic, Graphis 336, November/December 2001.

2000. Kusik, Vlastimir: Slikarski svijet Davora Vrankića, Književna revija 1–2, Osijek, 2000.

1999. Kusik, Vlastimir: Slika svijeta svih nas / L’image du monde de nous tous, u: Davor Vrankić – crteži, katalog izložbe, Galerija likovnih umjetnosti, Osijek, 1999.

ZBIRKE / COLLECTIONS

Ronald S. Lauder, New York

Cognacq – Jay, Paris

Jedermann, New York

Rosenthal, Cincinnati

MOMA, New York

Overholland Museum, Amsterdam

Moderna Gallerija, Zagreb / Modern Gallery, Zagreb

Muzej suvremene umjetnosti, Zagreb / Museum of Contemporary Art, Zagreb

Muzej moderne i suvremene umjetnosti, Rijeka / Museum of Modern and Contemporary Art, Rijeka

Izložba je realizirana sredstvima Osječko–baranjske županije /

This exhibition was funded by Osječko-baranjska County

Odsjeka za kulturu Upravnog odjela

za društvene djelatnosti grada Osijeka /

Osijek Social Service Department, Sub Department of Culture

Zahvaljujemo na suradnji Galeriji Deborah Zafman, Pariz,

Muzeju moderne i suvremene umjetnosti, Rijeka, Galeriji Kranjčar,

Zagreb, Sonji & Miljenku Dumenčić, Ivani Kutuzović, Robertu Lešu,

Jee-eun Lee i posebno Mirku Iliću za oblikovanje vizualnog izgleda

kataloga, plakata i pozivnica.

I naravno, Silvi i Davoru…

We would like to extend our gratitude towards Galerie Deborah

Zafman, Paris, Museum of Modern and Contemporary Art, Rijeka,

Kranjčar Gallery, Zagreb, Sonja & Miljenko Dumenčić,

Ivana Kutuzović, Robert Leš, Jee-eun Lee and especially to

Mirko Ilić for the catalogue, poster and invitation card design.

And of course, to Silva and Davor…

Interior (detalj / detail) 2008. olovka na papiru / pencil on paper, 80 x 120 cm