katalog KRAJOLICI SVIJESTI.pdf

GALERIJA VLADIMIR BUŽANČIĆ

j a s e n k a b u l j i g o r z i r o j e v i Ć d a m i r b a b i Ć i v o n a j u r i Ć

KrajoliCi SvijeSTi

KrajoliCi SvijeSTi

landscapes of conscIoUsness

poKroviTelji patrons

Grad Zagreb – Gradski ured za obrazovanje, kulturu i sport city of Zagreb – city office for education, culture and sports

Ministarstvo kulture republike Hrvatske Ministry of culture of the republic of croatia

Republika HrvatskaMinistarstvokultureRepublicof CroatiaMinistryof Culture

Grad Zagreb

SavjeT Galerije vlaDiMir buŽaNČiĆ

VladIMIr BUZančIć Gallery coUncIl

Branka BenčićŽelimir Koščević dr. sc. lovorka Magaš Bilandžić dalibor stošićBojan Šumonja

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s GalerIJa GalleryVladIMIr BUŽančIć

zaGrebveljača - srpanj 2014.february - July 2014

GalerIJaGallery lUKa pula 3. listopada - 20. listopada 2014.

october 3 - october 20 2014

GalerIJa KaZaMat KaZaMat Gallery

oSijeK 12. prosinca 2014. - 21. siječnja 2015. december 12 - January 21 2015

Landscapes of Consciousness is a collective exhibition mounted in the framework of inter-institutional and inter-county collaboration by the Vladimir Bužančić Gallery, HDLU Istra and HDLU Osijek. As a whole, it is a cross-section of four individual exhibitions from the annual programme of the Vladimir Bužančić Gallery in 2014, which can conveniently be brought together into a single unit with respect to the problems and themes touched upon. The exhibition contains works that are the results of the personal researches of each of the authors, in both the capacities of the media they use – photography, painting and video – and in their spiritual questings.

We found a raison d’être for presenting these works in common in the joint interests of the artists in exploring human perception, the relationship between inner and outer, physical space and mental. The exhibition addressed a particular quality of looking that is a result of the artist as subject standing back a little way from the object being looked at. An observer is present in the scenes, but is displaced and is not caught up in the situation. The observer takes in what we might conventionally call pretty and ugly, good and bad, useful and harmful – nature and the consequences of human action, tree and man, flowers and trashcan, the silence and the row of the big city - as a whole and reflects them just as they appear. Without expounding any critical judgement with respect to the motifs in the same scene, which in the standard cultural discourse are placed in semantic opposition to each other, the authors have endowed the scenes with a certain aura of silence. The figurative and almost realistic painting and the documentary photographic and video records, however, present and represent nothing. Unlike the conventional notions that inscribe meanings into events on the grounds of their references to a culturally grounded discourse, the scenes in the works of Jasenka Bulj, Igor Zirojević, Damir Babić and Ivona Jurić are free of signification. What they tell of simply is. Undisturbed by the mind, the paintings have become a master scene that reflects the landscapes of consciousness.

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Krajolici svijesti skupna je izložba realizirana u okviru međuinsti-tucionalne i međužupanijske suradnje Galerije Vladimir Bužančić i HDLU-a Istre te HDLU-a Osijek. Kao cjelina, ona je presjek če-tiriju samostalnih izložbi iz godišnjeg programa Galerije Vladimir Bužančić u 2014. koje je moguće konceptualno povezati u pro-blemsko-tematsku cjelinu. Izložba donosi radove koji su rezul-tat osobnog istraživanja svakoga autora, kako u mogućnostima medija koji koriste – fotografije, slikarstva i videa – tako i njihovih vlastitih duhovnih potraga.

Razlog njihova zajedničkog predstavljanja pronašli smo u intere-su tih umjetnika za istraživanjem čovjekove percepcije, u odno-su između vanjskog i unutrašnjeg, fizičkog i mentalnog prostora. Izložba apostrofira jednu osobitu kvalitetu pogleda koji je rezultat stanovitog odmaka autorskog subjekta od objekta promatranja. U prizorima je promatrač prisutan, ali izmaknut i neupleten u „si-tuaciju“. Ono što bismo konvencionalno nazvali lijepim i ružnim, dobrim i lošim, korisnim i štetnim – prirodu i posljedice ljudskog djelovanja, stablo i čovjeka, cvijeće i kantu za smeće, tišinu i buku velegrada – promatrač zahvaća kao cjelinu i zrcali ih upravo ona-ko kako se pojavljuju. Ne iznoseći kritički sud prema motivima u istom prizoru koji su u standardnom kulturnom diskursu postav-ljeni u značenjske opozicije, autori su prizorima podarili stanovitu auru tišine. Figurativno, gotovo realističko slikarstvo i dokumen-tarni fotografski i video zapis ništa međutim ne predstavlja niti re-prezentira. Za razliku od konvencionalnih predodžbi koje doga-đajima upisuju značenja temeljem njihovih referencija s kulturno uvjetovanim diskursom, prizori u radovima Jasenke Bulj, Igora Zirojevića, Damira Babića i Ivone Jurić slobodni su od označa-vanja. To o čemu svjedoče jednostavno jest. Umom neuznemi-rene slike postale su nadprizori koji reflektiraju krajolike svijesti.

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jbjAseNkA BULj rođena je 1954. godine u Splitu. Diplo-mirala je slikarstvo na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu 1978. u klasi profesora Nikole Reisera, gdje je nagrađena kao diplomant godine. Poslijediplomski studij pohađa na Majstorskoj radionici profesora Ljube Ivančića i Nikole Reisera 1978. – 1980. Tijekom osamdesetih živjela je u Ljubljani, gdje je sura-đivala i izlagala u tamošnjim galerijama. Devedesetih se vraća u Zagreb i otad sudjeluje na mnogim skupnim i samo stalnim izložbama te umjetničkim radionicama u Hrvatskoj i inozemstvu. Studijski je boravila u zemlja-ma Europe, SAD-u i Australiji. Godine 2011. bila je na rezidencijalnom boravku u Cité Internationale des Arts u Parizu. Članica je profesionalnog udruženja samo-stalnih umjetnika i Hrvatskoga društva likovnih umjet-nika u Zagrebu. Kao samostalna umjetnica živi i radi u Zagrebu. Uz slikarstvo intimne refleksije i sintezne de-finicije izvorne povezanosti čovjeka i prirode, Jasenka Bulj poznata je i po ciklusima fotografija/dnevnika i vi-deoinstalacija sugestivne diskretnosti, dokumentarne izvrsnosti i spoz najne utemeljenosti.

jAseNkA BULj was born in 1954 in Split. Took her MFA in painting at the Academy of Fine Arts of the University of Zagreb in 1978, class of Nikola Reiser, having been given a prize as graduate of the year. She did post-grad work in the master workshops of Ljubo Ivančić and Nikola Reiser from 1978 to 1980. During the 1980s she lived in Ljubljana, working with and exhibiting in the galleries of the town. In the nineties she returned to Zagreb and has since then taken part in many collective and held numerous individual exhi-bitions, as well as participated in art workshops at home and abroad. She has spent time studying in the countries of Europe, in the USA and Australia. In 2011 she had a residency in the Cité Internationale des Arts in Paris. She is a member of two artists’ associations in Zagreb. She works as a freelance artist, living in Zagreb. In combination with a painting of intimate reflection and a synthesising definition of the authentic connection between man and nature, Jasenka Bulj is also known for her series of photographic diaries and video installations that are discreetly suggestive, documentarily accomplished and founded in perception.

mob: ++385 98 799 615; e-mail: [email protected]

GALLERY VLADIMIR BUŽANČIĆ

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17. veljače - 7. ožujka 2014.feburary 17 - March 7 2014

eTape oTvoreNoGKruGa

staGes of an open cIrcle

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In the last few years Jasenka Bulj has been recording spaces that she has iden-tified as important sites in her personal history: the motorways she has been travelling on since childhood, kitchens, her own bedrooms… These spaces are not designated by architectural definitions, but by an interior and subjective order that consists of traces of the artist’s having been there. They are as it were un-derpinnings of identity, something and somewhere that creates a feeling of self and around which an idea of self is constructed.Stages of an Open Circle, which consists of a three-channel video installation and nine photographs, however, brings new values into the investigation already mentioned. They came into being during the artist’s stays in new rooms, new towns, new places. A change in the place of our residence offers a special and displaced experience of reality. We seem, in such a case, to leap off the rails of our own life trajectories. Some new world comes into being, in which we seem to see more clearly, hear better. For this reason, the video works of Jasenka Bulj place at the centre of their interest the actual act of looking and listening, in quite ordinary, down-to-earth and direct situations. The photographs, just the same, portray the relations of spaces and structures. But these places, scenes and situations are more than themselves.What’s yours? asks the author? Are we really there where nothing is ours?New abodes in their physical bareness are devoid of any trace of personality. They do not reflect habits and they do not invoke memories. The spaces in which no meanings have as yet been written seem to take us back to the beginning in ourselves. To that majestic moment from which once again we create ourselves and the world in which we make ourselves known. Their emptiness opens up the space to new opportunities, and at the same time fills us with uncertainty and impels us to find new footholds for being. How is one to take a breather a moment from the world outside? Be alone with oneself in the silence of a room that offers shelter, and yet is not one’s own? It is darkened, the light that comes from outside is the only event in the space. The window offers no view outside. Only light alternates with shadow on it. The movement of the light along the walls embodies the membrane separating in-ternal and outer world. The invisible acquires the clarity of the image. A cry for silence that is carried away by the sounds of the city.Going out. The square in front of the Opera in Paris. No meeting arranged. People walk and sit, wait and talk, cars pass by. The murmur of conversation, the roar and rattle of cars. Everything is on the move, meeting, merging. A zone

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U nekoliko posljednjih godina Jasenka Bulj snima prostore koje prepoznaje kao važna mjesta osobne povijesti: autoceste kojima putuje od djetinjstva, kuhinje, vlastite sobe… Ti prostori nisu označeni arhitektonskim određenjima, već unu-trašnjim, subjektivnim poretkom koji čine tragovi autoričina bivanja. Oni su svo-jevrsna uporišta identiteta, nešto i negdje što stvara osjećaj sebe i oko čega se konstruira ideja o sebi. Etape otvorenog kruga, koje čine trokanalna videoinstalacija i devet fotografija, unose pak nove vrijednosti u spomenuta istraživanja. Nastale su za autoričinih boravaka u novim sobama, novim gradovima i novim mjestima. Promjena mjesta boravka pruža nam poseban, izmaknut doživljaj stvarnosti. S njom kao da iska-čemo iz tračnica vlastitih životnih putanja. Događa se neki novi svijet u kojem kao da jasnije vidimo i bolje čujemo. Upravo stoga videoradovi Jasenke Bulj u središte postavljaju sam čin gledanja i slušanja, i to posve običnih, nereprezen-tativnih mjesta i neposrednih situacija. Fotografije, jednako tako, portretiraju odnose prostora i objekata. Ali ta mjesta, prizori i situacije više su od njih samih. What’s Yours? – pita se autorica. Ima li nas tamo gdje ništa nije naše? Nova su boravišta u svojoj fizičkoj ogoljenosti lišena svakoga traga osobnosti. Ne odražavaju navike i ne prizivaju sjećanja. Prostori u kojima još nisu ispisana značenja kao da nas vraćaju na početak u nama samima. U onaj veličanstveni trenutak iz kojeg iznova stvaramo sebe i svijet u kojem se očitujemo. Njihova praznina otvara prostor novim mogućnostima, a istovremeno ispunjava nas ne-sigurnošću i nagoni za pronalaženjem novih uporišta bivanja. Kako predahnuti na trenutak od vanjskoga svijeta? Biti sa sobom u tišini sobe koja pruža zaklon, ali nije naša? Zamračena je, svjetlo koje dolazi izvana jedino je događanje u prostoru. Prozor ne pruža pogled prema van. Na njemu se samo izmjenjuju svjetlo i sjena. Kretnja svjetla po zidovima otjelovljuje opnu između unutrašnjeg i vanjskog svijeta. Nevidljivo dobiva jasnoću slike. Vapaj za tišinom koju otimaju zvukovi grada. Izlazak van. Trg pred pariškom Operom. Nema zakazanog susreta. Ljudi hodaju, sjede, čekaju i razgovaraju, automobili prolaze. Žamor razgovora i buka automo-bila. Sve se kreće, susreće i prožima. Zona kontakata, nevidljivi prostor između nas i svijeta zadobiva oblik i zvuk. Promatrač jest. Grad je lice koje ga gleda. To lice postaje kako promatračeva bivanja. Promatrač i promatrano su jedno. Vanjski i unutrašnji svijet međusobno se uvjetuju, kao ja i ti, kao mi i oni. Njihovo dinamično stapanje pojavljuje se kao prizor i slika u svojim promjenjivim manife-stacijama. Svijet se pojavljuje kao manifestacija odnosa.

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e of contacts, an invisible space between us and the world that takes on shape and sound. The observer is. The city is the face that looks at him. This face be-comes the how of the observer’s being there. The observer and observed are one. Outer and inner world are mutually conditioned, like me and you, us and them. Their dynamic merging appears as scene and image in its variable mani-festations. The world appears as a manifestation of relationships.If it conditions how we are then what are we?Stages of an Open Circle, unlike similar earlier pieces by Jasenka Bulj does not attain its meaning in story, in illustration or memories, but in the current moment. In the moment that leaves us without any concepts, in which tested-out matrices of existence emerge as anxieties and lose their point, and via the mediation of images, sounds and settings, the physical and sensory become the handholds of being. The feeling of self is transformed into an existential experience; it is new and unrepeatable, from moment to moment. Moving in an open circle is a form of the relationship between self and the world that Jasenka Bulj has identified as a possible life’s orbit, in places where nothing is ours, and yet everything is possible. Even liberty is possible.

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Uvjetuje li ono kako jesmo ono što jesmo?Etape otvorenog kruga, za razliku od ranijih srodnih ostvarenja Jasenke Bulj, smisao ne ostvaruju u priči, ilustraciji ili sjećanjima, već u sadašnjem trenutku. U trenutku koji nas ostavlja bez koncepata, u kojem iskušane matrice postojanja izranjaju kao tjeskobe i gube smisao, a posredovanjem slika, zvukova i ambi-je nata fizičko i osjetilno postaju uporišta bivanja. Osjećaj sebe transformiran je u egzistencijalni doživljaj, iz trenutka u trenutak nov je i neponovljiv. Kretanje u otvorenom krugu forma je odnosa sebe i svijeta koju Jasenka Bulj prepoznaje kao moguću životnu putanju, na mjestima gdje ništa nije naše, a sve je moguće. Moguća je i sloboda.

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UVoDNI fILMINtRoDUctoRy fILM

2014.

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VeČeRNje BILješke EVENINg fLAshEs

3. 4. 2011. ApRiL 3 2011

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sjeNe shADows28. 4. 2011. ApRiL 28 2011

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L‘opeRA23. 3. 2011. ApRiL 3 2011

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17L’eNDRoIt sANs peRsoNNALItÉ, 2011.

1. L’eNDRoIt sANs

peRsoNNALItÉ 2011. serija fotografija (12 fotografija, 13 x 20 cm) a series of photographs (12 photographs, 13 x 20 cm) 29,5 x 42 cm ink-jet print Hanemülle 300 gm2 u boji . colour

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INtRoDUctoRy fILM

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video rad video work HD video, 1:20’ loop

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EVENINg fLAshEs

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video rad 1 video work 1 HD video, 6:47’

4. L‘opeRA

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MARch 23 2011

video rad 2 video work 2 HD video, 11.20’

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shADows

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ApRiL 28 2011 video rad 3 video work 3 HD video, 2.08’

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izIgoR zIRojeVIĆ rođen je u Puli 1967. Fotograf je i gra -fički dizajner. Diplomirao je arhitekturu na Arhitektonskom fakultetu Sveučilišta u Ljubljani in 1993. Godine 1998. osniva Stožer, studio za grafički dizajn, fotografiju i vi-zualne komunikacije. Osim dizajnom bavi se komerci-jalnom i namjenskom fotografijom te istovremeno reali-zira serije umjetničkih fotografija. Izlagao je na nekoli-ko skupnih i sedam samostalnih izložaba. Dobitnik je 1. nagrade u kategoriji pejzaža na Photodays u Rovinju 2011. godine. Živi i radi u Puli.

IgoR zIRojeVIĆ was born in Pula in 1967. He is a photographer and graphic designer. He took a bache-lor’s in architecture at the Architectural Faculty of the University of Ljubljana in 1993. In 1998 he founded Stožer, studio for graphic design, photography and visual communications. As well as design he deals with commercial and special purpose photography and at the same time produces series of art photographs. He has exhibi ted at several collection shows and seven individual exhibitions. He took the first prize in the landscape category at Photodays in Rovinj, 2011. Igor lives and works in Pula.



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10. ožujka - 28. ožujka 2014.March 10 - March 28 2014

eNTropijSKi pejzaŽi

entropIc landscapes


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The series of photographs called Entropic Landscapes by Igor Zirojević is designed as a continuation of research into the relationship between nature and man, i.e. the degrees of human presence within the natural sphere, which has occupied the author for some time now. Since 2011, when at Photodays in Rovinj he won the first prize in the landscape category for his large format aerial photography, continuing and deepening his interest with a series of meditative Zen Gardens of 2012 (Makina Gallery, Pula), it has been clear that the photographer is inclined to the problematisation of the power of the perception of the very idea of spatiality. Dealing with scenes that from the aspect of the classic generic canon of beauty can of a surety not be called ordinarily beautiful or attractive, the photographer speaks about the other view that he sees beyond and behind the reality, thus building for himself a definition of anti-landscapes through which to approach the paradigm of the landscape of the human awareness.At first sight it might be said that taking pictures of the vast spaces of quarries, acres of seascapes, areas burned to the ground, polluted and destroyed, he is speaking out critically of a social awareness that, in spite of ecology having been spoken of more and more and being ever more featured in political and everyday discourse, is still, on the ground, at a very low level. Circling over the scene from a sufficient distance to be able to see clearly, taking with equal fervour now the margins and now the focal point, he makes landscape a supra-scene in which the elements are deconstructed and start to live a completely detached life unconnected with the literalness of their being fastened in content. Although some of them can freely stand as examples of the revelation of the immense dimensions of human destruction, and then as a kind of inflation of spirituality in a world of ruthless consumerism, still, these entropic landscapes are much more than the ordinary kind of engaged commentary and critical deliberation. From a mere and hardly visible presence inscribed into the vast expanses of nature via the wastes that are measured and marked by various fortuities such as samples and traces, down to shaped, enhanced, appropriated and subjugated nature, and that which at the end man destroys, i.e., pollutes, all these are in some respect imprints on the mental map of the artist who uses a camera in a way quite similar to the way a poet writes out his verses with a pen.

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Ciklus fotografija Entropijski pejzaži Igora Zirojevića smisleni su nastavak istraži-vanja odnosa prirode i čovjeka, tj. stupnjeva ljudske prisutnosti u njoj koji autora zaokuplja već duže vrijeme. Još od 2011. kada na Photodays u Rovinju velikim formatima zračnih snimaka osvaja prvu nagradu u kategoriji pejzaža te nastavlja i produbljuje interes ciklusom meditativnih Zen vrtova iz 2012. (Galerija Makina, Pula), evidentno je da fotograf naginje problematiziranju percepcijske moći same ideje prostornosti. Baveći se prizorima koji se s aspekta klasičnog žanrovskog kanona ljepote sasvim sigurno ne mogu nazvati uobičajeno lijepima i privlač-nima, fotograf progovara o onom ‘drugom pogledu’ koji vidi onkraj i iza zbilje pa tako sam za sebe gradi definiciju antipejzaža kojim se približava paradigmi krajolika ljudske svijesti.Na prvi pogled moglo bi se reći da fotografirajući nepregledne prostore kameno-loma, puste morske površine, spaljene predjele, zagađenja i uništenja, on kritički progovara o svijesti društva koja je – unatoč tomu što se u posljednjih nekoliko desetljeća ekologija sve više spominje i sve je zastupljenija u političkom i svako-dnevnom diskursu – u zbilji i dalje veoma niska. Kružeći iznad prizora s dovoljne udaljenosti da se istodobno vidi jasnije hvata-jući s podjednakim žarom jednom marginu, a drugi put žarište, on krajolik čini natprizorom u kojem se elementi dekonstruiraju i počinju živjeti sasvim odvojen život nevezan s doslovnosti sadržajnoga sidrišta. Premda neki od njih slobodno mogu stajati kao egzemplari razotkrivanja nepre-glednih dimenzija ljudske destrukcije, a zatim i svojevrsne inflacije duhovnosti u svijetu bespoštednoga konzumerizma, ipak, ovi entropijski pejzaži mnogo su više od običnog angažiranog komentara i kritičkog promišljanja. Od puke i jedva vidljive prisutnosti upisane u nepregledan prostor prirode preko prostranstva koje se mjeri i markira raznim slučajnostima poput uzoraka i tragova pa sve do obliko-vane, oplemenjene, prisvojene i pokorene prirode, i one koju na kraju čovjek uni-štava, tj. zagađuje, sve su to svojevrsni otisci na mentalnoj mapi umjetnika koji se fotoaparatom služi na gotovo jednak način kao što pjesnik ispisuje stihove perom.

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Instead of the usual kind of article, I’m writing something entirely personal to the photographer.The way that a thought starts up, develops, gets away and then comes back when one is standing in front of his big formats that let him break off parts of reality – caught with the lens from a great height, from the air, that significant space reserved for the angle of the omnipotent gods of myth and of the free birds. This is the moment of revealing the simulacrum that becomes an entirely different reality. One does not get into this non-reality along the beaten track of some general perceptive power but everyone with his or her own path and with their own bundle of experiences on their crook, and I am thus looking at them

The more reality … is reconciled with its con-cept in a generality with no object, the more we need to make the initial break and seek the power of illusion. If we cannot make the world the object of our desires, we can at least make it the object of a higher convention, which indeed evades our desire. … Every new object must fulfill all the simultaneous dimensions of the game be it visiual, analyti-cal, conceptual or photographic, find all the dimensions of the game – the aleatory, the vertiginous, the agonic and the allegorical – in a single one. To recompose the spectrum. A work of art, an object, a park, a piece of architecture or anti-architecture, a crime, an event, a journey – they should be an allegory of something, a challenge to someone. They should bring in an element of chance, and give you vertigo.

Jean BaudrillardThe Indifference of Space

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Umjesto uobičajenog teksta pišem fotografu nešto sasvim osobno. Onako kako se misao otvara, razvija, bježi, a onda ponovo vraća stojeći pred njegovim velikim formatima kojima otkida dijelove stvarnosti – uhvaćene objek-tivom s velike visine, iz zraka, onog znakovitog prostora rezerviranog za rakurs omnipotentnih mitskih bogove, ali i slobodnih ptica. Trenutak je to razotkrivanja njenog simulacruma koji postaje jedna sasvim druga stvarnost. U tu ne-stvar-nost ne stiže se utabanom stazom jedne opće perceptivne moći nego svatko svojim putem i sa svojim iskustvenim zavežljajem na štapu, a ja ih evo, upravo gledam na rubu vrtoglavice. Poput onog zadnjeg udaha pred zaron u procjep unutarnjih svjetova, a koji upravo izmiču mom peru i riječima, ulazim u prostore entropijskih krajolika iz kojih ne znam je li moguće vratiti se i uspjeti ispričati do-življaj na površini doslovnosti jer na ovim su fotografijama dokinuti postulati eu-klidovskog prostora i kategorije povijesti. A onda i doživljajnog smisla. Ukinuta

Što se više stvarnost miri sa svojim pojmom u bespredmetnoj općenitosti, tim više treba potražiti početni rascjep i snagu iluzije. Ako svijet ne možemo učiniti predmetom naših želja, barem ga možemo učiniti predme-tom višeg ugovora koji izmiče upravo našim željama. Svaki stvoreni predmet, bio on vizualan ili analitičan, konceptualan ili fotografski, mora iznova prepoznati sve dimenzije igre u samo jednoj dimenziji: alegorijsko, reprezen-tativno, agonalno, slučajno i vrtoglavo.Ponovo sastaviti spektar.Djelo, predmet, arhitektura, fotografija ali na-ravno i zločin, događaj moraju biti: alegorija nečega, izazov nekomu, pokrenuti slučajnost i izazvati vrtoglavicu.

Jean BaudrillardInteligencija zla ili pakt o lucidnosti

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now on the verge of vertigo. Like that last breath before diving into the fissure of internal worlds, which in fact escape my pen and words, I enter into the space of entropic landscapes from which I do not know whether it is possible to return and manage to tell of the experience on the surface of the literal, for in these photographs the postulates of Euclidian space and the category of history have been done away with. And then of experiential pointfulness. Point A and point B and all their relations have been annulled. The space of the literal has been abolished, the recognisability of content is broken down just as a surface eva-nesces and vibrates into a thousand of experiential facets. There is some mar-vellous miraculous poetics of landscape unreality here, or perhaps – surreality, in which the photographer reveals to our eye the recognisable fragments and literalnesses in their new worlds, in those that exist on the far side and in count-less potencies. In which he opens us the door for an entry into that other land-scape, beyond experientially known scenes in which life begins in some entirely different reality. A single street light whose point as light is done away with by its shadow in clear and present spacelessness, almost unknowable bathers in the blue as copy of the night sky, just like the well trodden traces of movement in the white of the quarry that have never more tenderly evanesced its notion of materiality and stoniness, lose their literal point and become at the same time both image and graphism and interference and tone and vibration on the mental maps of those who look at them. In these scenes at the same time challenges occur and allegories are read and accidentals are allowed and that unavoid able vertigo that tells of the strength and ponderousness of these broad and mira-culous scenes. For this is what it is after all like, the landscape of art itself that eternally exists at the border of the stimulation of intervals between the world of objects and the world of notions about it. A landscape in which an infinite pos-sibility of finishing the unfinished, the origination of new and parallel and at the same time different and other worlds, is vivified. Deeply aware that my words written for the occasion for the fair voyage of views are themselves on the other side of the magic, are absolutely incapable of trans-mitting the truthfulness of the experiences engendered out of the reality that the photographer, following up his previous series, like a consecrated religious depre-catingly inherits with his inner artistic propensity, I write these words as a thwarted attempt to speak out about the existence of such experience. Irrespective of the awareness of the impossibility of conveying the individual and unrepeatable immersion into scenes of entropic landscapes, this is an experience that tells

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je točka A i točka B i njihova relacija. Dokinut je prostor doslovnosti, rasipa se prepoznatljivost sadržaja upravo kao što se ploha rasplinjuje i vibrira u tisuću doživljajnih faseta. Postoji tu ta neka predivna čudesna poetika pejzažne ne-stvarnosti, ili možda još bolje – nadstvarnosti u kojoj prepoznatljive fragmente i doslovnosti fotograf otkriva našem oku u njihovim novim svjetovima, onima koji postoje s onu stranu i u bezbroj potencija. U kojima nam otvara vrata za ulazak u onaj drugi krajolik, onkraj iskustveno spoznatih prizora u kojima se otpočinje život u nekoj sasvim drugoj zbilji. Jedna ulična lampa čiji smisao svjetla ukida njena sjena u evidentnoj besprostornosti, gotovo nespoznatljivi kupači u modrini kao preslik noćnog neba, baš kao i utabani tragovi kretanja u bjelini kamenoloma koji nikada nježnije nije rasplinjavao svoj pojam materijalnosti kamenitosti – gube svoj doslovni smisao i postaju istovremeno i slika i grafizam i šum, i ton i vibracija na mentalnim mapama onih koji u njih gledaju. U tim se prizorima istovremeno događaju i izazovi i čitaju alegorije i dopuštaju akcidencije i onaj neizbježni ver-tigo koji svjedoči o snazi i bremenitosti tih širokih čudesnih prizora. Jer takav je uostalom i krajolik umjetnosti same koja vječito postoji na granici podražavanja intervala između svijeta predmeta i svijeta predodžbi o njemu. Krajolik u kojem se oživljava beskrajna mogućnost dovršavanja nedovršenog, nastajanja novih, paralelnih, istovremeno drugih i drugačijih svjetova. Duboko svjesna da moje riječi pisane prigodno za dobru plovidbu pogledima već su i same s onu stranu magije, apsolutno nedostatne da prenesu vjerodo-stojnost doživljaja iznjedrenih iz zbilje koje fotograf, na tragu prethodnih ciklusa, poput posvećenog redovnika smjerno baštini svojim unutarnjim umjetničkim nagnućem, pišem ovaj tekst tek kao krnji pokušaj da progovorim o postojanju takvog iskustva. Bez obzira na svijest o neprenosivosti individualnog i nepo-novljivog uranjanja u prizore entropijskih pejzaža, to je iskustvo koje alegorijski pripovjeda, izaziva, pokreće i izaziva ugodnu Baudrillardovsku vrtoglavicu. Ono koje ponovno sastavlja spektar.Pokušaj prevođenja slike u svijet riječi doista jest ravan prelaženju iz sfere mita u sferu povijesti. Iz doba kaotične svemogućnosti u doba reda ali i svojevrsne nemoći. Na ovim fotografijama, međutim, istovremeno sretno pulsiraju i magija i povijest. I kaos i red. Stupnjevano prisustvo čovjeka u prostoru u kojem živi i koji upravo gledajući zaključujem da mi u svom rasapu nudi puno više od puke evokacije žanra krajolika. Možda bih zato ove entropijske pejzaže mogla nazvati poezijom.

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in allegory of, excites, generates and chal-lenges the pleasant vertigo of Baudrillard. An experience that re-composes the spectrum. An attempt at translating image into the world of words really is equivalent to passing over from the sphere of myth into that of history. From an age of chaotic omnipotence into an age of order and a kind of impotence. In these photographs, however, magic and history pulsate happily at the same time. Chaos and order. The graduated presence of man in the space in which he lives and which, just look-ing at, I conclude offers me in its breakdown and dissolution much more than a mere evo-cation of the genre of landscape. Perhaps I might thus be able to call these entropic landscapes poetry.

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dbDAMIR BABIĆ rođen je 1962. u Zagrebu. Diplo mi-rao je slikarstvo na Akademiji likovnih umjetno sti Sveučilišta u Zagrebu 1991. u klasi profeso ra Đure Sedera. Pojavio se na hrvat skoj umjetničkoj sce-ni ranih 1990-ih. Još dok je bio student na ALU u Zagrebu, njegovi su radovi privlačili pozornost kriti-ke i kustosa. Tada je afirmaciju stekao konceptual-nim instalacijama i fotografijama vrlo snažne poru-ke i neobično profinjena senzibiliteta koje karak-terizira beskompromisan stav, potpuno neovisan o trendo vima koji su utjecali na tadašnju likovnu scenu u Hrvatskoj. Od 2003. Babić se vraća sli-karstvu, svojoj akademskoj disciplini. Najprije je to apstrakt no slikarstvo, da bi unatrag nekoliko go-dina izazvao pozornost posve figurativnim rado-vima, što je dramatičan odmak od njegove pret-hodne produkcije. Član je Hrvatske zajednice sa-mostalnih umjetnika. Trenutno živi i radi u Splitu.

DAMIR BABIĆ was born in 1962 in Zagreb. He took a BFA in painting at the Academy of Fine Arts of the University of Zagreb in 1991, class of Đuro Seder. He appeared on the Croatian art scene in the early 1990s. While still at the Academy, his works drew the attention of reviewers and curators. At that time he made his name with conceptual installations and photographs with powerful messages and an uncommonly re-fined sensibility characterised by an uncompromising stance, entirely independent of the trends that mou-lded the fine arts scene in Croatia at the time. Since 2003, Babić has been back with painting, his major at the Academy. First of all he went to Abstractionism, and then a few years back he attracted atten tion with completely figurative works, a dramatic departure from his previous production. He now lives and works in Split. He is a member of Croation Associations of Independent Artists.



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7. travnja - 25. travnja 2014.april 7 - april 25 2014

TKo je proTjerao TiŠiNu? SrCa veNu.

WHo Has drIVen oUt tHe sIlence? Hearts WIlt.

damirbabiĆ


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The series of paintings by Damir Babić that we are presenting in the Vladimir Buzančić Gallery comprises oil paintings on canvas, some of which are up to two metres wide, inviting the observer to the contemplation and creation of en-vironmental values in the space of the gallery. Damir Babić drew attention a few years back with extremely figurative works, a dramatic departure from his previous work.The new figurative paintings, just as much as the previous abstract works, are characterised by perfectionism in the execution and the integration of the theme into a cycle. They are also distinguished by the entirely original surreal and met-aphysical atmosphere created with the relation between the meticulously and practically hyper-realistically painted figurative motifs and the non-mimetic use of colour, creating paintings then of a completely original style and a remarkable character. Such too are the titles of the paintings, some in the form of a question, others in the form of a stance: Where were you till now? What actually is a tree? Where does the world cross over into reality? or You see you’ve nothing to be end afraid of, It is all one breath, Every look is internal… To the motifs of forest, trees and leaves, Babić has added human figures – self-portraits or portraits of people very close to him – incorporated discreetly into the composition at the bottom of the painting, in a corner or somewhere at the side, being used within the theme as agents of Silence. One the one hand narrative, on the other con-templative, at first glance monochromatic – everything is in some greyish tones and shades – revealing only on a more careful look the lush palette of colours – of browns, reds, greens and pinks – Babić’s paintings indicate the crucial role of the observer in the manifestation of reality.Although the observer looking at an exhibition composed of paintings of trees is bound to conclude that the series is inspired by trees, the motif actually just serves the artist as a medium via which he wants to convey to the viewer the “space of his own Silence”. Silence as a possible quality of the mind opens up the human spirit to a deeper understanding of Reality. For us to be able at all to gather the meaning of the Silence that Babić is talking of, the opposition of the notion itself will be useful to us as illustration. The experience of most people is flooded with a precisely opposite experience, the state of mind in which Row rules. We live at a rapid pace, incessantly in pursuit of something, and in a mind scattered into a thousand thoughts rumbles the cacophony of their reverbera-tions. Noise from the external world meshes with the internal, the world in which we live and we ourselves are one. The world produces us and we produce the

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u.Ciklus slika Damir Babića koji predstavljamo u Galeriji Vladimir Bužančić čine ulja

na platnu, od kojih su neka i do dva metra širine, pozivajući tako promatrača na kontemplaciju i ostvarujući ambijentalne vrijednosti u prostoru galerije. Damir Babić izazvao je prije nekoliko godina pozornost krajnje figurativnim rado-vima, što je dramatičan odmak od njegove prethodne produkcije. Nove figurativne slike u jednakoj mjeri kao i prije apstraktne karakterizira perfek-cionizam izvedbe i zaokruženost teme u ciklus, ali odlikuje ih i posve originalna nadrealna i metafizička atmosfera ostvarena odnosom minuciozno, gotovo hiper-realistično slikanih figurativnih motiva i nemimetičke uporabe boje, stvarajući tako slike posve osobnog stila i začudnoga karaktera. Takvi su i naslovi slika, neki u formi pitanja, drugi u obliku stava: Gdje si dosad bio?, Što je zapravo stablo?, Gdje svijet prelazi u stvarnost?, ili Vidiš da se nemaš čega bojati, Sve je to jedan dah, Svaki pogled je unutarnji... Motivima šume, stabala i lišća Babić je pridodao i ljudske likove – autoportrete ili portrete vrlo mu bliskih ljudi – ukomponirane diskretno pri dnu slike, u kutu ili negdje po strani, a koji su unutar teme u funkciji posrednika Tišine. S jedne strane narativne, a s druge kontemplativne, na prvi pogled monokromatske – sve u nekim sivkastim tonovima i nijansama – a tek pažljivijim zagledanjem otkriva-jući raskošnu paletu boja – smeđih, crvenkastih, zelenkastih, ružičastih tonova – Babićeve slike upućuju na presudnu ulogu promatrača u očitovanju stvarnosti.Iako se promatraču koji gleda izložbu sastavljenu od slika stabala nameće za-ključak da je ciklus nadahnut stablima, taj motiv zapravo autoru služi tek kao medij kojim gledatelju želi prenijeti „prostor vlastite Tišine“. Tišina kao moguća kvaliteta uma otvara čovjekov duh dubljem razumijevanju Stvarnosti. Da bismo uopće razaznali značenje Tišine o kojoj govori Babić, za ilustraciju dobro će nam poslužiti opozicija sama pojma. Iskustvo većine ljudi preplavljeno je upravo su-protnim iskustvom, stanjem uma u kojem caruje Buka. Živimo ubrzanim tempom, neprestano trčimo za nečim, a u umu raspršenu na tisuću misli tutnji kakofo-nija njihovih odjeka. Buka iz vanjskog svijeta poklapa se s onom unutrašnjom, svijet u kojem živimo i mi sami jedno su. Svijet proizvodi nas i mi proizvodimo svijet. Preplavljeni bujicom misli, dojmova i reakcija život provodimo u odjecima tih virtualnih sadržaja, dok nam izravan kontakt sa Stvarnošću sve više izmiče. Zarobljeni u vlastitim nekoherentim i nefokusiranim mislima, ostajemo na povr-šini iskustava i otuđujemo se od svakoga dubljeg doživljaja života. Život na po-vršini rastače i osjećaj smisla života koji nametnuti ili samonametnuti imperativi i ostvarenja želja ne mogu nadomjestiti. U međuodnosima to se manifestira kao

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world. Overwhelmed by a torrent of thoughts, impressions and reactions, we spend our life in the echoes of these virtual contents, while direct contact with Reality evades us ever more. Locked in our own incoherent and unfocused thoughts, we remain on the surface of experience and become alienated from any and every more profound experience of life. Life on the surface dilutes even the feeling for the meaning of life for which imposed or self-imposed imperatives and accomplished desires cannot compensate. In relationships this is manifested as impatience and aggression. In the impossibility of achieving more lasting and deeper satisfaction, and hence meaning and purpose, life is turned into a drama of the absurd that closes with a cry of despair. Where is the way out? – the the-atregoer would wonder to himself after such a performance and hurriedly look for the exit, but in life itself? In these paintings Babić suggests some possible different perception of Reality and a new quality of life stemming from it. Silence is a different possibility than Noise. It is entered at a different door. But few are those who find the key.

ANItA zLoMIsLIĆ

We all have access to the feeling that behind the thinking filtering all our experi-ences there is something else. This is the moment in which we allow ourselves to stop and see that we do not have to believe in every one of these impulses that on the whole take place in our absence and determine our own action in line with them. This is the moment of Silence.Our psychological and cultural conditioning does not allow us to pay attention to this moment or to recognise something real in it. Instead of us allowing Silence its natural movement, we are more apt to cover it up with thinking and thus send it back to the zone of the certain that separates us from what is. Reality is what is.Our perception of the world on the whole brings us into contact with ideas, no-tions and thoughts about what should or what should not be, and very seldom or never with the huge and undistorted Reality. Almost nothing can enter the space of our experience, without us adding something to it. We are dependent

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nestrpljenje i agresija. U nemogućnosti ostvarenja trajnijeg i dubljeg zadovoljstva, a time i smisla, život se pretvara u dramu apsurda koja završava krikom očaja. Gdje je izlaz? – upitao bi se nakon takve predstave u kazalištu gledatelj i žurno potražio izlaz, a u životu?Babić ovim slikama pokazuje na moguću drukčiju percepciju Stvarnosti i novu kvalitetu života koja iz nje proizlazi. Tišina je druga mogućnost od Buke. U nju se ulazi na druga Vrata. No rijetki pronalaze ključ.

ANItA zLoMIsLIĆ

Svakom od nas dostupan je osjećaj da se iza misli koja filtrira sva naša iskustva nalazi nešto drugo. Taj je trenutak onaj u kojem si dopuštamo stati i vidjeti da ne moramo vjerovati u svaki od tih impulsa koji se većim dijelom odvijaju u našoj odsutnosti i u skladu s njima određivati vlastito djelovanje. To je trenutak Tišine.Naša psihička i kulturna uvjetovanost ne dopušta nam da tom trenutku posvetimo pozornost i prepoznamo u njemu nešto stvarno. Umjesto da dopustimo Tišini prirodno kretanje, skloniji smo prekriti je mišlju i tako se vratiti u zonu sigurnog koja nas odvaja od onoga što jest. To što jest je Stvarnost.Naša percepcija svijeta uglavnom nas dovodi u susret s idejama, predodžbama i mišljenjima o tome što bi trebalo ili ne bi trebalo biti, a vrlo rijetko ili nikad s golom i neiskrivljenom Stvarnošću. Gotovo ništa ne može ući u prostor našeg iskustva, a da tomu nešto ne dodamo. Ovisni smo o događajima koje neumorno proizvodimo, a možda još i više o tumačenjima i značenjima koja im pridajemo, pa su nam nerijetko ona sama dovoljna. Gomilamo uvjerenja kako bismo našli prikladnu zamjenu nemoći da dođemo u dodir sa Stvarnošću i te smo privide u svakom trenutku spremni braniti. Zanimljivo je kako nam ne pada na pamet da onomu što je stvarno nije potrebna obrana. Nije mu potrebno ni naše mišljenje. Zaboravili smo na Tišinu. Svi napori svijeta usmjereni su prema tome da nam onemoguće zapaziti i prepoznati njezinu Prisutnost. U najboljem slučaju sje-timo se pobjeći u njezin zaklon kada nas borba s iluzijama dovoljno iscrpi, ali najčešće se zadovoljavamo njezinom površinom ili vanjskim karakteristikama.

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t. on the events we tirelessly produce, and perhaps more on interpretations and meanings that we attribute to them, and quite commonly they are themselves sufficient to us. We accumulate convictions so as to find an appropriate substi-tute for our inability to get in touch with Reality and we are ready to defend these illusions at any moment. It is interesting that it never occurs to us that what is real does not need defending. It does not even need our thinking.We have forgotten Silence. All the endeavours of the world are directed to pre-venting us from noticing and identifying its Presence. In the best case we re-member to flee to its shelter when our fight with illusions has tired us enough, but most often we are satisfied with its superficial or external characteristics. Genuine Silence remains unknown to us, if we just understand it as a resting place before some new challenge. The Silence that I want to draw attention to is a constant Presence in us and in all the forms and appearances of the world. It is the core of Being and the pass that leads to Reality. Whether my claim is acknowledged or not, our halting before this space is marked with thick depos-its of fear. But it is entirely normal, for Silence is a border on which the surety of our illusions begins to wobble.If these paintings do not give up on the attentive registration of the forms of the perceptional world, that is because Reality is not somewhere else. It is in the look. Actually, it is the look itself that has not yet been appropriated by thought.All Nature is our internal Nature. We can deny this relation, as we do, but we cannot totally stifle the call that exists in this relation to stop constantly looking for something outside what already is. All of reality sends us the same call, every moment. Yet it is clearer in contact with Nature, for such is the Silence that that Nature mediates to us. When Silence is let in, the borders between self-observa-tion and observation of the world become more transparent, precisely because the pressure of our identification with mental structures we believe represent us or are useful in communication with the world diminishes. We unconsciously en-deavour to diminish the abyss in the perception between internal and external by new ideas about ourselves or the object of our observation in order to palli-ate the awkward feeling of lasting separation. The creation of an entirely oppo-site effect seems not to give us a moment of concern. Just as the body mainly consists of empty space, so the mind in its natural con-dition consists mainly of Silence. The measure to which we are distancing our-selves from this fact is clearly reflected in the world that we know.

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Istinska Tišina ostaje nam nepoznata ako je shvaćamo kao odmorište pred neki novi izazov. Tišina na koju želim ukazati stalna je Prisutnost u nama i svim obli-cima i pojavama svijeta. Ona je jezgra Bića i prolaz koji vodi u Stvarnost. Htjeli mi to priznati ili ne, naše zaustavljanje pred tim prostorom obilježeno je debelim naslagama straha. A on je sasvim normalan, jer Tišina je granica na kojoj se po-činje klimati sigurnost naših privida. Ako ove slike ne odustaju od pomnog bilježenja oblika opažajnog svijeta, to je zato jer Stvarnost nije negdje drugdje. Ona je u pogledu. Zapravo, ona je sam pogled koji još nije prisvojila misao.Sva je Priroda naša unutarnja Priroda. Taj odnos možemo negirati, što i činimo, ali ne možemo potpuno prigušiti poziv koji u tom odnosu postoji, da prestanemo stalno nešto tražiti izvan onoga što već jest. Sva nam stvarnost upućuje isti poziv, svakoga trenutka, samo što je on u dodiru s Prirodom jasniji, jer je takva i Tišina koju nam ona posreduje. Dopuštanjem Tišine granice između samoopažanja i opažanja svijeta postaju prozirnije upravo zato što slabi stisak naše poistovje-ćenosti s mentalnim konstrukcijama za koje vjerujemo da predstavljaju nas ili da nam služe u komunikaciji s tim svijetom. Ponor u percepciji između unutar-njeg i vanjskog nesvjesno nastojimo smanjiti novim zamislima o sebi samima ili objektu svojeg opažanja kako bismo ublažili nelagodu osjećaja trajne odvoje-nosti. Stvaranje sasvim suprotnog učinka čini se da nas uopće ne zabrinjava.Kao što se tijelo većim dijelom sastoji od praznoga prostora, tako se um u svom prirodnom stanju sastoji uglavnom od Tišine. Mjera u kojoj se udaljujemo od te činjenice jasno se odražava u svijetu kakav poznajemo.

DAMIR BABIĆ

stR. p. 42/43

sVAkI je pogLeD UNUtARNjI.

EVERy Look Is INtERNAL.

2011.

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1. gDje sVIjet pReLAzI

U stVARNost? whERE DoEs thE woRLD

cRoss oVER INto REALIty? 2013.

ulje na platnu . oil on canvas 130 x 180 cm

2. sVAkI je pogLeD

UNUtARNjI.

EVERy Look Is INtERNAL. 2011. ulje na platnu . oil on canvas 123 x 175 cm

3. sVe je to jeDAN DAh.

It Is ALL oNE BREAth.

2012. ulje na platnu . oil on canvas 130 x 180 cm

4. VIDIš DA se NeMAš

ČegA BojAtI!

yoU sEE yoU

hAVE NothINg

to BE AfRAID of!


5. poD IstIM NeBoM.

UNDER thE sAME sky. 2012. ulje na platnu . oil on canvas 99 x 137 cm

6. gDje sI DosAD BIo?

(AUtopoRtRet)

whERE wERE yoU UNtIL Now?

(sELf-poRtRAIt)

2011. - 2012. ulje na platnu . oil on canvas 135 x 183 cm

7. otVoReNo sRce.

opEN hEARt. 2013. ulje na platnu . oil on canvas 120 x 170 cm

8. što je zApRAVo stABLo?

whAt ActUALLy Is A tREE?


9. kAD RAzLozI

postANU NeDostAtNI.

whEN REAsoNs BEcoME

INsUffIcIENt.

2012.


10. Mjesec je oD sUNcA.

MooN Is of thE sUN.

2013.


11. ČeMU sLUŽe IMeNA?

whAt ARE NAMEs foR?

2013.


VIDIš DA se NeMAš ČegA BojAtI!

yoU sEE yoU hAVE NothINg to BE AfRAID of!2012.

stR. p. 44/45

gDje sVIjet pReLAzI U stVARNost?

whERE DoEs thE woRLD cRoss oVER INto REALIty?

2013.

stR. p. 46/47

otVoReNo sRce. opEN hEARt.

2013.

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ijIVoNA jURIĆ rođena je 1987. godine u Zagrebu. Ma-gistrirala je slikarstvo na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu 2010. godine u klasi prof. Duje Jurića. Od 2011. godine članica je HDLU-a. Izlagala je na nizu skupnih i ostvarila pet samostalnih izloža-ba. Sudjelovala je na rezidencijalnom programu Cité Internationale des Arts u Parizu. Dobitnica je Nagrade ALU u Zagrebu za izniman uspjeh tijekom studija i di-plomskI rad te Nagrade HDLU-a za mladog umjetni-ka 2013. godine. Živi i radi u Zagrebu.

IVoNA jURIĆ was born in 1987 in Zagreb. She took a master’s at the Academy of Fine Arts of the University of Zagreb in 2010, class of Duje Jurić. Since 2011 she has been a member of the art association HDLU. She has exhibited at a number of collective shows and has also had five individual exhibitions. She took part in the residential programme of the Cité Internationale des Arts in Paris; she won the Academy of Fine Arts Prize in Zagreb for exceptional achievements during her undergraduate years and her dissertation and the HDLU prize for a young artist in 2013. She lives and works in Zagreb.


mob: ++ 385 98 959 7695 // e-mail: [email protected] // www.ivonajuric.blogspot.com

04 14 ivonajuriĆ

16. lipnja - 2. srpnja 2014.June 16 - July 2 2014

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Since her first exhibition in 2011, unpeopled spaces, but still with the traces of human presence, have been the thematic preoccupation of Ivona Jurić. In the few years that have passed since that exhibition, the artist has honed her poetic idiom, linking the whole atmosphere (not in the sense of a superficial mood im-pression rather in the meaning of a meteorological fact) of the painted space in a uniform tone, often blue, and in a dense and rich brushstroke consisting of a series of similar elements, linear and divergent lines of force that create the im-pression of some flickering and vibration in the immovable spaces. The exteriors that create most of the paintings from this exhibition suggest a unique coexist-ence, of being merged, practically, in the mass of being. This being is undirected, insignificant and at base pointless: the only sense is that which it is assigned by the painter’s artistic interpretation. In it we can read the feelings of discomfort, anxiety and tedium because of the abandonment and lack of definition, as well as a world of memories and dreams. For it we look at the flora in her paintings, we will see that often concerned are plants that do not grow in the biocoenoses represented (for example, edelweiss and violets in hay fields).The overlapping of scenes is generated by the overlapping of different areas of memory and associations, different intellectual views. The combination of mon-tages of places, their condensation into a single space, additionally brought to-gether by tone and stroke invite us to plunge into the dense canvas before us, engrossing us with the complexly elaborated vacuity. In the picture Encounter of internal and external world (bed) these joins are brought out as the spatial overlapping of a bedroom with the window and a park, which unites flowers at several fictitious levels of existence – in a pot, in nature and on the drapes. I say fictional, for it exists actually only as a painted fact, as articulation of painting in a given form. Here we arrive at the issue of reality, the issue rather of the extent to which her paintings can (to which they even want to) be mimetic. There is here certainly a geometrical, illusionist construction of space and structure in it, and the dimensions and proportions are faithfully rendered. But the reality that she shows is highly individualised, the fruit of impressions and speculative linkages, and so the motif of the veil that wafts over the fields, the scene in the forest or the burned out bus in her watercolours is extremely significant. This is the tissue that conceals, if not totally, that blurs or changes perception. Oscar Wilde said that art was more veil than mirror, more a mystification than a reproduction of reality. The painter justifies her powerful visions with a painterly approach that is at once gentle, almost filigreed in the fine weaving of linear strokes that fill up the

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Prostori bez ljudi, s tragovima njihove prisutnosti tematska su preokupacija Ivone Jurić od njezine prve izložbe 2011. U nekoliko godina koje su prošle od te izložbe autorica je izbrusila svoj poetski izričaj, povezujući cijelu atmosferu (ne u smislu površne, ugođajne impresije, nego u značenju meteorološke činjenice) naslikanog prostora u jedinstvenom, često plavom tonu te gustom i bogatom potezu koji se sastoji od niza sličnih elemenata, linearnih i raznosmjernih „silnica“, koje stvaraju dojam ustreperenosti nepokretnih prostora. Eksterijeri koji čine većinu slika s ove izložbe sugeriraju jedinstveno supostojanje, gotovo utopljenost u masi bivanja. To bivanje je neusmjereno, beznačajno i u svojoj osnovi besmisleno: jedini smisao je onaj koji mu pridaje slikaričina umjetnička interpretacija. U njemu čitamo osje-ćaje nelagode, tjeskobe i dosade zbog napuštenosti i nedefiniranosti, ali i svijet sjećanja i snova. Naime, pogledamo li floru na njezinim slikama, opažamo da je često riječ o biljkama koje ne rastu u prikazanim biocenozama (primjerice runolist i ljubice na poljima sa sijenom). Preklapanje prizora potaknuto je i preklapanjem različitih područja memorije i asocijacija, različitih misaonih vizura. Spoj, odno-sno montaža mjesta, njihovo sažimanje u jedinstveni prostor, dodatno ujedinjen tonom i potezom pozivaju nas da uronimo u gusta platna pred nama, koja nas obuzimaju svojom složeno elaboriranom prazninom. Na slici Susret unutarnjeg i vanjskog svijeta (krevet) ti su spojevi istaknuti kao prostorna preklapanja sobe s prozorom i parka, koje ujedinjuje cvijeće na više fiktivnih razina postojanja – onome u tegli, u prirodi i na draperiji. Kažem fiktiv-nih, jer ono postoji zapravo isključivo kao naslikana činjenica, kao artikulacija boje u određenoj formi. Tu dolazimo do pitanja stvarnosti, odnosno pitanja do koje mjere njezine slike mogu (i do koje uopće žele) biti mimetične. Tu je svakako geometrijska, iluzionistička konstukcija prostora i objekata u njemu, a razmjeri i odnosi dočarani su vjerno. Ali stvarnost koju prikazuje je visoko individualizirana, plod dojmova i misaonih povezivanja, pa je zato vrlo značajan motiv vela koji se vije preko polja, šumskog prizora ili izgorenog autobusa na njezinim akvarelima. To je tkanina koja skriva, ali ne u potpunosti, koja zamućuje i mijenja percepciju. Oscar Wilde je za umjetnost rekao da je prije veo, negoli zrcalo: da prije mistifi-cira stvarnost, negoli je reproducira. Slikarica svoje snažne vizije opravdava slikarskim pristupom koji je istodobno nježan, gotovo filigranski u sitnom tkanju linearnih poteza koji ispunjavaju skelet crteža kao čipka, ali je i punokrvno-slikarski, energičan: koji se drži tona, ali ne dopušta mrtve, „flah“ dionice i žubori bogatom podlogom svakog poteza, kolo-ristički neintenzivnom, ali raznovrsnom. To je punoća koja doprinosi uvjerljivosti

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skeleton of the drawing, as lace, but it is also full-bloodedly painterly and ener-getic, which keeps its tone, and does not allow dead and flabby sections and murmurs with the rich ground of every stroke, not intense in terms of colour, yet highly diverse. This is a fullness that contributes to the persuasiveness of the world represented, not in the sense of the transmission of reality, rather in that of conveying the painterly fascination. Objects from everyday life have their own associations and feelings, and in the interpretation of art their essential inessen-tiality is cancelled out and they are elevated to the level of symbol, indicator of the awareness that conjoins them into a common reality. This awareness is ac-tually like the already mentioned formal factors of these paintings that create the impression of a singleness of appearance in them. In the perception of a single person, they are part of the same continuous experience and view. As for their mimetic quality, that is an attempt at an extremely precise introduction into the artist’s internal world: through a representation of her vision of the outer world. Things do not exist in and for themselves, or rather, such are unknowable (even when the painterly procedure seems to the uninitiated like an effort to mirror re-ality), but only the way the individual sees them. The paintings do not limn reality (nor do they attempt to) – rather the artist’s awareness of it.In this exhibition the artist also features her watercolours. The motifs are similar and are part of a dialogue with those on canvas: forests, flowers, vehicle shells, but because of the character of the technique, they do not engage strokes that give a feeling of material and depth, rather show the play of irregular forms within the already mentioned figure of the veil, to which the semi-transparent medium of the watercolour is fitting. The wrecks, the forests and fields without people do not speak of anything and do not wish to convey anything save their own existence. But this is not a matter of that Warholish tautology that can be seen for example when he does his well-known silkscreen print of a smashed car, voiding the scene of any expression with the mechanical reproduction, or, let us say, in the case of César Baldaccini, who denies metaphor and formal fascina-tion, exhibiting the crushed cubes of former cars. This is a painterly aesthetici-zation of that pointlessness, in speech that abounds with traditional and repre-sentational methods. And it is the while close to the contemporary international movement of the new exploration of the capacities of the painting, that area of the possibility of highly individualised expression, which directly depends on the hand and mind that moves it.

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prikazanoga svijeta, ne samo u smislu transmisije stvarnosti, nego i onome pre-nošenja slikarske fascinacije. Predmeti iz svakodnevice nose svoje asocijacije i osjećaje, a u umjetničkoj interpretaciji poništava se njihova suštinska nebitnost i oni se uzdižu na razinu simbola, indikatora svijesti koja ih povezuje u zajedničku stvarnost. Ta je svijest upravo poput već spomenutih formalnih faktora ovih slika koji stvaraju dojam jedinstva pojava na njima. U percepciji jedne osobe, oni su dio istog, kontinuiranog doživljaja i pogleda. Što se tiče njihove mimetičnosti, ona je pokušaj što preciznijeg uvođenja u unutarnji umjetničin svijet: kroz pre-dočavanje njezine vizije vanjskog. Stvari ne postoje „po sebi“, odnosno takve su nespoznatljive (čak i kada se slikarski postupak neupućenima čini kao pokušaj zrcaljenja stvarnosti), nego samo kakvima ih pojedinac vidi. Slike ne ocrtavaju stvarnost (niti to pokušavaju), nego autorovu svijest o njoj.Na ovoj se izložbi umjetnica predstavlja i akvarelima. Motivi su slični i u dijalogu su s onima na platnima: šume, cvijeće, olupine vozila, ali zbog karaktera tehnike tu ne poseže za potezima koji pružaju osjećaj materije i dubine, nego prikazuje igru nepravilnih oblika unutar već spomenute figure vela, kojoj odgovara polu-transparentan mediji akvarela. Ostatci vozila, šume i polja bez ljudi ne govore ni o čemu niti žele prenijeti išta, osim svog postojanja. Ali tu nije riječ o warholov-skoj tautologiji, koja se vidi, primjerice, kada on radi poznatu serigrafiju također razbijenog auta, lišavajući tu scenu ekspresije mehaničkom reprodukcijom, ili recimo kod Césara Baldaccinija, koji niječe metaforiku i formalnu fascinaciju izla-žući kompresirane kocke bivših vozila. Ovo je slikarska estetizacija tog besmisla, u govoru koji obiluje tradicionalnim, prikazivačkim metodama. Pritom je bliska suvremenom međunarodnom pokretu novog istraživanja mogućnosti slike, tog područja mogućnosti visoko individualnog izražavanja, koje direktno ovisi o ruci i o umu koji je pokreće.

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NAkoN Nekog VReMeNA AftER soME tIME

2014.

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pRozoR wINDow

2014.

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2013.

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twIcE 2014.

ulje na platnu oil on canvas 140 x 225 cm

2. koš

BAskEt

2013. ulje na platnu oil on canvas 150 x 130 cm

3. RUNoLIst

EDELwEIs


4. LjUBIce VIoLEts


5. sUsRet UNUtARNjeg

I VANjskog

(kReVet)

ENcoUNtER of

INtERNAL AND

ExtERNAL (BED) 2014. ulje na platnu oil on canvas 150 x 130 cm

6. IzMeđU DVIje stRANe

BEtwEEN two sIDEs

2014. akvarel na papiru watercolour on paper 57 x 77 cm

7. NAkoN Nekog

VReMeNA

AftER soME tIME 2014. akvarel na papiru watercolour on paper 57 x 77 cm

8. sIVA LUkA

gREy poRt


9. pUt

RoUtE 2014.

akvarel na papiru watercolour on paper 57 x 77 cm

10. pRozoR

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11. zAtVoReNI kRUg

cLosED cIRcLE

2014. akvarel na papiru watercolour on paper promjer 30 cm

4. DogAđAj

EVENt

2014. akvarel na papiru watercolour on paper 57 x 77 cmRUNoLIst

EDELwEIs

2013.

stR. p. 60/61

DVA pUtAtwIcE

2014.

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oRgANIzAtoR I NAkLADNIk oRgANIsER AND pUBLIshER

Centar za kulturu Novi Zagreb – Galerija Vladimir Bužančić The New Zagreb Culture Centre – Vladimir Bužančić Gallery Trg Narodne zaštite 2, Remetinec, Zagreb tel./fax: 6140-189, 6140-190; e-mail: [email protected] www.czk-novi-zagreb.hr

AUtoRIcA IzLoŽBe ExhIBItIoN AUthoR Anita Zlomislić postAV IzLoŽBe

ExhIBItIoN sEtUp

Damir BabićJasenka Bulj Ivona JurićIgor ZirojevićAnita Zlomislić

kUstosIcA IzLoŽBe ExhIBItIoN cURAtoR Anita Zlomislić tehNIČkI postAV tEchNIcAL sEt-Up Tomislav Kušević

zA NAkLADNIkA foR thE pUBLIshER Branko Marić

tekstoVI tExts

Damir Babić, Feđa Gavrlović,Paola Orlić, Anita Zlomislić

UReDNIcA EDItoR Anita Zlomislić gRAfIČko oBLIkoVANje gRAphIc DEsIgN Ana Zubić

fotogRAfIje photogRAphs

Boris Berc (Damir Babić) Luka Gusić (Jasenka Bulj, fotografija postava)

pRIjeVoD NA eNgLeskI ENgLIsh tRANsLAtIoN Graham McMaster

LektURA I koRektURA copy EDItINg AND pRoof READINg

Ivana Kurtović Budja, Graham McMaster tIsAk pRINt

Printera, Zagreb

NAkLADA pRINt RUN 400 primjeraka copies

IsBN 978-953-7800-24-6


landscapes of conscioUsnessj a s e n k a b u l j i g o r z i r o j e v i Ć d a m i r b a b i Ć i v o n a j u r i Ć

Documents

katalog KRAJOLICI SVIJESTI.pdf