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Petar DelijevićIza | Beyond

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Konstantin Kavafi

Polazište radova Petra Delijevića je u malenim, klasičnim, manuelnim crtežima koje umjetnik softverski obrađuje, prevodi u digitalne grafike i monumentalizuje, prilagođavajući ih izložbenom prostoru. Crteži neobične spektakularnosti, složeni poput fuga, nastaju beskonačnom recirkulacijom i rekombinacijom jednog eleme-nta, geometrijskog tijela, kvadra iz koga se, kao iz energetskog jezgra, razvija cijela kompozicija. Tako kvadar, kao modul, sempl, kroz repeticiju i invenciju istovreme-no, postaje konstitutivni element čitavog rada. Koncentrisanim i samozaboravnim crtanjem, u ponavljajućem ritmu iz koga ne izlazi, a koji možda može biti preuzet iz elektronske muzike, ali i mantri ili šamanskih rituala, umjetnik, zadržavajući bazični jezik i purizam, stvara začudne, polifonične forme. Ove forme podsjećaju na složene arhitektonske konstrukcije, nerješive matematičke probleme, simboličke ornamente, kodirane zapise nestalih civilizacija, vizije u transičnim stanjima. Njihovo dešifrovanje se opire logici koja operiše pojmovima mjesta i vremena, i moguće je samo u ličnom ključu, baš kao u sanovnicima, astrološkim kartama ili ezoterijskim priručnicima. Ipak, crtežima ne vlada haos, nasumičnost i impulsivnost, već jedna uređenost koja je na po malo paradoksalan način bliska lavirintu zbog otežanog snalaženja oka posmatrača, jer mu se nude mogućnosti odabira između velikog broja puteva, od kojih neki mogu biti bez izlaza.

Delijevićevi crteži su po svojoj provenijenciji bliski neogeo umjetnosti u onim domenima koji se tiču prikazivanja geometrijskih struktura elektronskih slika post-moderne kulture i prihvatanja geometrije kao jezika simbola iz ezoterične tradicije Istoka i Zapada.1 Gusta, katedralna mreža neekspresivnih, skoro tehničkih linija u potpunosti prekriva površine u smislu “straha od praznog prostora”. Dakle, radi se o totalnom zatvaranju prizora neprekidnim ponavljanjem modula koji čini osnovu ikoničke predstave plastičkog stanja ovih radova. U mrežama se povremeno pojavljuju i antropomorfne figure čiji oblici upućuju istovremeno i na totemsku, primitivnu umjetnost i na šematizovane, ekranske simbole čovjeka. Svedene na energizovanu formu, izvjestan “upis”, umjesto očekivane uloge glavnih aktera, figure na neki čudan način poprimaju mimikrijska svojstva i postaju neodvojivi dio lavirinata. Možda je umjetniku kroz ovakav tretman, tj. odsustvo posebnog tretma-na figure važno da vizuelizuje naviknutost savremenog čovjeka, anesteziranog virtuelnom komunikacijom, na život u sopstvenim ograničenjima i mrežama sistema, u okruženju bez uzbuđenja nepredvidljivosti.

Paterni prepleteni u sinkopiranom ritmu u kome je poslednji akord prethodne fraze postao prvi u narednoj, stvaraju dekorativno-konstriktivno-konceptualnu cjeli-

1 Miško Šuvaković, Pojmovnik modernei postmoderne likovne umetnosti i teorije posle 1950. godine, Beograd – Novi Sad, 1999.

nu koja kod posmatrača pobuđuje prije divljenje skopčano sa sviješću o hermetično-sti prizora nego uživanje. Osjećanje prisnosti sa Delijevićevim radovima izostaje, ali se kod gledaoca javlja neutažena čežnja za svjetovima s onu stranu krhkosti, realnosti i varljivosti naših opažanja, podstaknuta umjetnikovim crtežima. Da bi se ukazala izmijenjena, nova slika svijeta, potrebni su vizuelni jezici koji omogućavaju pogled “iza”, pogled iza vidljivog, iza uma. Vizuelni jezik Petra Delijevića je jedan tih jezika mogućnosti koji čini da vidimo i povjerujemo u svijet iza čulne percepcije i nama poznatih zakona.

Ljiljana Karadžić, istoričarka umjetnosti

As you set out for Ithaka Hope your road is a long one, Full of adventure, full of discovery.

Constantine Cavafy

The starting point of Peter Delijević’s works is in miniature, classic, manual drawings, that are processed by the artist using software, converted to digital graphics and monumentalized, adapting them to the exhibition area. Drawings of unusual spectacles, arranged like fugues, arise through endless recirculation and recombination of one element, a geometric body, the cuboid from which, as from the energy core, the entire composition develops. In that manner, the cuboid, as a module, sample, through repetition and invention at the same time, becomes a constitutive element of the whole work. Concentrated and self-absorbed drawing, in a repeating rhythm from which it does not come out,that might be taken from electronic music, but also from mantras or shamanic rituals, the artist, while retaining the basic language and purism, creates surprising, polyphonic forms. These forms are reminiscent of complex architectural structures, unsolvable mathematical problems, symbolic ornaments, coded records of missing civilizations, visions in states of trance. Their decryption resists the logic that operates in terms of time and place, and is possible only in a personal key, just like in dream books, astrological charts or esoteric manuals. However, the drawings are not ruled by chaos, randomness and impulsivity, but by an arrangement that is, in a little paradoxical way, close to a labyrinth, because of the difficult orientation for the observers’ eyes, because they are offered a choice between a large number of paths, some of which may not lead to an exit.

Delijević’s drawings are, by their provenance, close to Neo-Geo art in the pre-sentation of the geometrical structures of electronic images of postmodern culture and acceptance of geometry as a language of symbols from the esoteric traditions of East and West1. A dense, cathedral network of non-expressive, almost technical, lines completely covers the surface, as if revealing a “fear of empty space”. So, it is a total closure of sight by constant repetition of the module - which forms the basis of the iconic performance of the plastic state of these works. From the networks occasionally emerge anthropomorphic figures, whose forms suggest both a totem, primitive art and schematic symbols of man. Reduced to the energized form, instead of the expected roles of the main actors, the figures in some strange way acquire features by mimicry and become an inseparable part of the labyrinth. Perhaps the artist through this treatment, i.e. the lack of special treatment for the figures, found it important to visualize the familiarity of modern man, anesthetized by virtual communication, living in their own limitations and networks in an environment without the excitement of unpredictability.

1 Miško Šuvaković, Pojmovnik modernei postmoderne likovne umetnosti i teorije posle 1950. godine, Beograd – Novi Sad, 1999.

These patterns intertwined in a syncopated rhythm, in which the last chord of the previous phrase became the first in the next, are creating a decorative-con-strictive-conceptual whole that, in the viewer, arouses admiration coupled with an awareness of the hermeticity of the sight, rather than pleasure. The feeling of intimacy with the works of Delijević is absent, but the viewer feels an unquenched yearning for worlds beyond the fragility, reality and moldability of our perceptions, encouraged by the artist’s drawings. In order to show the changed, new image of the world, we need visual languages that allow you to see “behind”, look beyond the visible, beyond the mind. Petar Delijević’s visual language is a language of possibility, which enables us to see and believe in a world beyond the sensory perceptions and laws we know.

Ljiljana Karadžić, Art Historian

Petar Delijević je rođen 27.10.1983. godine u Nikšiću.Diplomirao je na Fakultetu likovnih umjetnosti u Beogradu, grafički odsjek u klasi profesora Dragana Momirova. Završio je master studije na Fakultetu za umetnost i dizajn u Beogradu u klasi profesora Vladimira Radišića.

2015. nagrada za inovativan pristup crtežu na 48. Hercegnovskom zimskom salonu.

Izložbe:Bijenale studentske grafike, Dom kulture Studentski grad, Beograd, 2006.Prolećna izložba ULUS-a, Umetnički paviljon Cvijeta Zuzurić, Beograd, 2006.Izložba grafike studenata FLU, Grafički centar, Beograd, 2006.Bijenale studentskog crteža, Dom kulture Studentski grad, Beograd, 2007.Izložba malog crteža studenata FLU, Dom omladine Beograd, 2005, 2006, 2007, 2008.Samostalna izložba crteža i grafika, Dom omladine Beograd, 2008Samostalna izložba fotografija, Dom omladine Beograd, 2009.Samostalna izložba digitalnih grafika, Centar svaremene umjetnosti Crne Gore, Podgorica, 2013.48. Hercegnovski zimski salon, Herceg Novi, 2015.Samostalna izložba crteža, Galerija A, Nikšić, 2015.

Petar Delijević born 27.10.1983. in Nikšić. He graduated from the Faculty of Fine Arts in Belgrade, Graphics Department in the class of Professor Dragan Momirov. He also completed master studies at the Faculty of Art and Design in the class of Professor Vladimir Radišić.

In 2015 he was awarded for the innovative approach to drawing on the 48 Winter Salon in Herceg Novi.

Exhibitions:Biennial of Student graphics, Student City Cultural Centre, Belgrade, 2006ULUS spring exhibition, Art pavilion Cvijeta Zuzurić, Belgrade, 2006Graphic exhibition of FLU students, Graphic Centre, Belgrade, 2006Biennial of Student drawing, Student City Cultural Centre, Belgrade, 2007FLU student’s small drawing exhibition, Belgrade Youth Centre, 2005, 2006, 2007, 2008Solo exhibition of the drawings and graphics, Belgrade Youth Centre, 2008Solo photo exhibition, Belgrade Youth Centre, 2009Solo exhibition, Centre for Contemporary Arts Montenegro, Podgorica, 201348 Winter Salon in Herceg Novi, 2015Solo exhibition of the drawings Galery A, Nikšić, 2015

kontakt | contact: petardelijevic@gmail.com

Cetinje, septembar 2016.

Izdavač: Narodni muzej Crne Gore | Za izdavača: Pavle Pejović Kustos izložbe: Ljiljana Karadžić | Tekst: Ljiljana Karadžić | Prevod: Milena Krković

Fotografija: Petar Delijević, Lazar Pejović | Grafičko oblikovanje: Branka Radunović Štampa: DPC – Podgorica | Tiraž: 300