Selektor Olivera Vukotić / Selector Olivera Vukotić
Žiri za nagrade/ Award jury: Vasilije Sujić, Ivona Rajačić Barandovski i Milica Petronijević
Nagrade / Award:  Šemsa Gavrankapetanović i Branko Raković

U SLAVU SLIKARSTVA NA POČETKU 21. VEKA

„Egipatska freska, vizantijska ikona i moderna slika su međusobno više slične nego različite, zato što se u njima znak konstruiše na sličan način i slikar sa spoljašnje, statične pozicije prelazi u unutrašnji prostor slike.“

Lazar Trifunović

Slikarstvo danas je dinamičan, slojevit i otvoren sistem koji se razvija prema potrebama vlastitog bića. Nekada nametani kanoni, bilo da su predstavljačke, materijalne ili neke druge prirode, neraskidivi su deo istorije umetnosti. Slikarstvo sada, na kraju prve decenije 21. veka u stanju je permanantnih interakcija i transformacija različitog tipa i u suštini nosi individualna svojstva umetnika na osnovu kojih se može govoriti o određenim pojavama. U toj lepezi različitih modaliteta, osnovu čini slikarstvo u tradicionalnom smislu, izvedeno na platnu a pluralizam pojavnih formi ovu likovnu disciplinu čini, verovatno, najvitalnijim segmentom savremene umetničke produkcije.

Navedeni citat L. Trifunovića govori u prilog tome da je slika oduvek reflektovala unutrašnji svet njenog tvorca, a činjenica da su prve slike napravljene još u starijem kamenom dobu dovoljno govori o suštavstvenoj potrebi čoveka da se izrazi na taj način. Drugo je pitanje šta sve slika danas jeste - može da bude, i da li se uopšte treba baviti determinantama plastičnih umetnosti koje evolutivni tok neminovno pomera/briše.

Recentno slikarstvo nema unitaran izražajni sistem i ova izložba je jedan od mogućih odgovora na ovu tezu. Namera nije da se daju definicije, određuju granice ili vrši formalna valorizacija, već da se istakne značaj koji likovni iskazi izabranih autora imaju u našem umetničkom životu. Šemsa Gavrankapetanović, Zoran Graovac, Dimitrije Pecić, Bora Iljovski, Zoran Jovanović Dobrotin, Jadran Krnajski, Velizar Krstić, Bojan Otašević, Aleksandra Pavićević, Branko Raković, Milan Stašević i Jelena Šalinić-Terzić su umetnici sa izgrađenim i autentičnim likovnim rukopisima. Samostalni i nezavisni svetovi njihovih poetika, sa sopstvenim zakonima i načelima, nit su koja spaja ovih dvanaest stvaraoca, što je istovremeno bio i kriterijum za njihov izbor.

Koncepcija ovog, trinaestog po redu Anala, napravljena je u slavu slikarstva i bogatstva njegovog stilsko-formalnog jezika. Poetske orijentacije selektovanih autora ishodišta su njihovih osećanja, unutrašnjih dilema i preispitivanja moralnih, društvenih i etičkih normi. Prepuštanjem energiji tako sazdane likovne lingvistike uviđa se da je ovo slikarstvo rezultat složenog procesa u kome racionalni faktor ima podjednako važnu ulogu kao i emocionalni.

Krajnje svedene, asocijativne oblike Iljovskog odlikuju ritmična kretanja, apstraktni lirizam je osnova Dobrotinovog slikarskog doživljaja, Stašević demonstrira bogatstvo likovnih vrednosti koje slika u svom arhetipskom obličju može da ima, a bespredmetne kompozicije Aleksandre Pavićević isključuju slučajnost bilo kog tipa. Graovčeva likovna vizija levitira na granici apstraktno-asocijativne ravni, dok je slikarstvo materije prerogativ u stvaralaštvu Šemse Gavrankapetanović i Branka Rakovića. Emotivna dejstva ovih u osnovi distinktivnih poetika (Graovac, Gavrankapetanović i Raković) postižu se dijalektikom na relaciji: materija-estetika-semantička dimenzija. Figuralno slikarstvo čiji je izraz isto toliko važan kao i poruka kojom se komentarišu nus pojave savremene civilizacije, opredeljenje je Krstića i Otaševića. Naspram njih, realna datost je kod Krnajskog pretočena u razdraganu igru elemenata, kod Pecića je to fascinacija rekom kao simbolom protoka života dok kod Šalinić-Terzić je prilika za reinterpretaciju sakralno intoniranog motiva.

Neodvojiv i podjednako važan segment za percepciju slike su inkorporirani materijali čiji je simbolično-scenični jezik stavljen u funkciju likovnosti. Reciklirani, materijali iz svakodnevnog života i sl. su upotrebljeni u svojstvu podloge ili sredstva u postupku nastanka slike, što zavisi od njihovih kvalitativnih svojstava. Tehnološko-izvođačka preplitanja ukazuju na novu prirodu slike i njenu otvorenost ka intervencijama i interpretacijama različitog tipa, što je čini živim i elastičnim organizmom koji istovremeno bogati svoj vizuelni jezik ali i neguje tradicionalne specifičnosti.

Klasično tretirana slika nudi spektar plastičnih vrednosti (Iljovski, Jovanović, Krnajski, Krstić, Otašević), fiksiranjem predmeta na platno slika postaje trodimenzionalna celina (Šalinić-Terzić), upotrebom različitih materijala akcenat se stavlja na plemenitost bojene materije (Gavrankapetanović, Raković), pravljenjem slike od papira, parafina i sl. na drvenoj podlozi (Graovac, Pavićević) takođe se insistira na taktilnim vrednostima, i u formalnom smislu svođenje slike na nivo levitiranja sa crtežom (Stašević, Pecić) - neke su od pojavnosti koje slika danas ima i zastupljene su na ovoj izložbi....

Olivera Vukotić

ENGLISH VERSION

CELEBRATING THE ART OF PAINTING AT THE TURN OF 21st CENTURY

‘The Egyptian fresco, the Byzantine icon and the modern painting have more in common than they have differences, because the symbol in them is constructed in a similar fashion and the painter moves from the outer, static position, towards the inner space of the painting.’

Lazar Trifunović

Painting today is a dynamic system, composed of multiple layers and conducive to development in accordance with one’s own needs. The canons that used to be imposed in the past, either in the area of presentation, use of materials or indeed any other area, are an inseparable part of the history of art. Today, at the end of the first decade of 21st century, painting is in a state of permanent interactions and transformations of various sorts, with a core built of individual characteristics of artists, allowing us to talk about specific phenomena. In this range of diverse modalities, the main stream belongs to the painting in its traditional form, produced on canvas. It is the multitude of expression forms and formats that makes this discipline of painting probably the most resilient segment of the contemporary artistic production.

The quoted ideas of Lazar Trifunović support the claim that the painting is always a reflection of the inner world of its creator. Furthermore, the fact that the first paintings were made in the early stone age speaks volumes of the essential need of man to express himself in this way. It is a completely different question what a painting is or can be today, and whether it is worthwhile at all to delve in determinants of plastic arts, as these are inevitably shifted and by the course of the evolution.

The corpus of recent painting has no unified system of expression and this exhibition represents another possible answer to this thesis. Its intention is not to give any definitions, set boundaries or conduct formal valorisation – rather than this, its aim is to highlight the significance that the artistic expression of the selected authors has in our artistic living. Šemsa Gavrankapetanović, Zoran Graovac, Dimitrije Pecić, Bora Iljovski, Zoran Jovanović Dobrotin, Jadran Krnajski, Velizar Krstić, Bojan Otašević, Aleksandra Pavićević, Branko Raković, Milan Stašević and Jelena Šalinić-Terzić are artists with formed and authentic artistic signatures. The independent and free-standing worlds of their poetics, each with its own laws and principles, are a line that connects these twelve creators, and at the same time the principal criterion applied in their selection.

The concept of this thirteenth Annual focuses on celebrating the art of painting and the richness of its stylistic and formal language. The poetic orientations of the selected authors develop as a result of their feelings, inner dilemmas, and pondering over moral, social and ethic norms. By succumbing to the energy of the painting linguistics formed in this way, one comes to a realisation that these paintings are a result of a complex process in which the rational plays and equally important role as the emotional.

The fully summarised, associative forms by Iljovksi are characterised by their rhythmic movements, while the base of the Dobrotinov’s painting experience lies in its abstract lyricism. Stašević, on the other hand, demonstrates the richness of the artistic values that a painting can have in its archetypical form; the subject-free compositions of Aleksandra Pavićević exclude coincidence of any sort. The painting vision followed by Graovac levitates on the verge of the abstract and associative plane, and the prerogative in the artistic work by Šemsa Gavrankapetanović and Branko Raković lies in painting the substance matter. The emotional impacts of these distinctive poetic manners (Graovac, Gavrankapetanović and Raković) are dialectically outlined within the relation matter-aesthetics-semantic dimension. The commitment expressed by Krstić and Otašević deals with figurative painting, whose expression is just as important as its message that comments on the side phenomena of the contemporary civilisation. As a contrast to this approach, the accessible reality of Krnajski is transformed into a joyful play of elements, while Pecić focuses on his fascination by the river as a symbol of the flow of life and Šalinić-Terzić provides us with an opportunity to reinterpret the intonated sacral motif.

When it comes to the perception of the paintings, the materials incorporated in them represent an inseparable and equally important segment, with their symbolic and scenic language acting as a function of the pictorial. The recycled materials from everyday life and similar, have been used as the background or a means utilised in the process of the creation of a painting, depending on their physical characteristics. The technical and constructive juxtapositions are an indication of a new nature of the painting, and its openness to interventions and interpretations of various types, a quality that makes it a living, adaptable organism that generates and ever richer visual language, while at the same time nourishing the traditional specific features.

A classical treatment of a picture opens a range of plastic values (Iljovksi, Jovanović, Krnajski, Krstić, Otašević), by fixing the objects on the canvas, the painting becomes a three-dimensional entity (Šalinić–Terzić), by using diverse materials, the emphasis is placed on the noble character of the coloured substance (Gavrankapetanović, Raković), a picture composed of paper, paraffin and similar on a wooden base (Graovac, Pavićević) also insists on the tactile aspects of perception, a formal rendering of the picture to the level of levitation with a drawing (Stašević, Pecić) – are some of the forms of manifestations that the paintings have today and are represented in this exibtion…

Olivera Vukotić