DANILOVGRADSKI ARHITIPOVI

Umjetnička kolonija u Danilovgradu, centralnom naselju pitome bjelopavlićke ravnice, već duži niz godina pozicionira se u kontekstu analize kvaliteta crnogorske savremene likovne kulture kao reprezent razvoja i prezentacije sku - Iptorskih aktivnosti.
Medju brojnim dostignućima danilovgradske Umjetničke kolonije jedno od najvažnijih i počasnih mjesta pripada Simpozijumu skulpture internacionalnog karaktera. Iako je u Crnoj Gori poslednjih decenija uočena ekspanzivnost razvoja »najstarije« likovne discipline - kako često atribuiraju skulpturu, našto ukazuje kreativni potencijal brojnih autora, paradoksalno - često bolje valorizovanih van matične sredine, evidentno je da se ovom posvećenom skulptorskom bratstvu rijetko pruža mogućnost rada sa kvalitetnim materijalima kroz neke od monumentalnijih formi.
Rijetke prilike ukazane u slučaju podizanja nekog javnog spomenika ni izbliza ne zadovoljavaju optimum potreba. U takvoj situaciji statusa medija skulpture stvarane na domicilnim prostorima, aktivnosti Umjetničke kolonije sa Internacionalnim simpozijutnom obezbjedjuju Danilovgradu ulogu specifičnog kultnog umjetničkog centra savremene Crne Gore. Posebno značajnom čini se činjenica što danilovgradsko artističko utočište omogućava rad u najarhaičnijem i najslavnijem skulptorskom materijalu - kvalitetnom kamenu.
Realizovan 2OO4 danilovgradski Internacionalni simpozijum rezultirao je radovima jednog, ujedno i najmladjeg, crnogorskog i dva inostrana skulptora starije generacije. Izvedena kamene skulpture, heterogenih autorskih vidjenja, pokazuju zajedničku kohezionu nit izraženu preko utiska korišćenja nekih arhitipskih modaliteta transponovanih u savremeno skulptorsko poimanje i umijeće.
Radovi Saše Stanišića i, gosta iz Bjelorusije, Henadzia Buralkina sa sigurnošću se mogu definisati kao kreacije privržene sferi figuralnog koncepta baziranog na viševjekovnim iskustvima animalizma i tretmana ljudske figure kroz dugu povijest skulpture.
Stanišić, najmladji učesnik Simpozijuma, još tokom školovanja na cetinjskom Fakultetu likovnih umjetnosti, gdje trenutno okončava magistarske studije, izražavao je veći interes za animalističke skulptorske aranžmane koristeći arhitipove praistorijske umjetnosti, mesopotamske, egipatske, rane egejske i civilizacija antičke Grčke i Rima. Pomenuti uzori i njihove varijacije očitavaju se u skulpturi »Bez naziva« izradjene na danilovgradskom Simpozijumu. Prethodna istraživačka iskustva i, dobrim dijelom, rad u materijalima poput gline u sitnoj plastici, suočili su ovog mladog, talentovanog i rafiniranog, skulptora sa pravim kreativnim izazovom - kamenom figurom u prirodnoj veličini, arhitipske, mitske, moćne, svojeglave i tajanstvene životinje. Ovan, prastari simbol oholosti, moći i snage, na prvi pogled u Stanišićevom skulptorskom tretmanu djeluje statično poput praistorijskihfigurina i reljefnih prikaza, mudrih egipatskih sfinga i taktilno harmoničnih animalističkih tvorevina grčke i rimske antike. Moćni rogovi i masivno tijelo sa bogatim runom tretiranim vrhunskom tehnikom klesanja, lišene kod mladih umjetnika tako izražene želje za pretjeranom tehničkom perfekcijom kom-plikovane anatomske strukture, omogućili su Stanišićevoj skulpturi status simboličkog i spomeničnog karaktera. Naoko smiren i imobilan, ponosit i nedokučiv, potencirane zatvorene forme, ovaj simbol moćnog olimpijskog Zevsa u interpretaciji mladog umjetnika djeluje kao da će iz stanja neke, na tren, zamrznute eruptivnosti eksplodirati neobuzdanom snagom.
Jaka narativna nota kanakteriše temu rada pod nazivom »Dijalog« afirmis-anog bjeloruskog skulptora Henadzia Buralkina. Opredijeljen za provjerenu, statičnu i zatvorenu »klasičnu« formu, Buralkin danilovgradskim projektom pozi-cionira tematsko interesovanje za arhitipske hrišćanske modele institucije porodice. Izmedju sjedećih figura mladih muškarca i žene, realistična profilisanih lica i torzoa, postavljena je reljefna dječija figura identične skulptorske obrade. Kose i odjeća naglašeni su grubljom fakturom pomoću vještih i odsječnih intervencija. Desna ruka majke zaštitnički usmjerena ka nagom djetetu čija fiksacija figure stavom upućuje na simbol krsta, motiv Bogorodice Filermske na poledjini skulptur-alne cjeline - sve to upečatljivo ukazuje na arhitipske modela »sacra famiglia«: Josif, Marija i maleni Isus. Bazirana na brojnim iskustvima klasičnog koncepta ljudske figure, Buralkinova skulptura »Dijalog« zrači mirnom i dostojanstvenom atmosferom i monolitnošću snage hrišćanskog poimanja porodičnog sistema.
Uočljivi arhitipski podsticaji su dominatna nit koja povezuje treću skulpturu nefiguralne vokacije pod imenom »Oko Zete« - rad poznatog ex - jugoslavenskog i bosanskohercegovačkog umjetnika Mustafe Skopljaka. Ocijenjen kao dinamičan stvaralac, sa nizom interesovanja u okviru široke lepeze savremenih artističkih intervencija - skulptura u raznim materijalima, bojena skulptura, skulpturalne konstrukcije, objekti i instalacije, performans.. - autor se u Danilovgradu odlučio za realizaciju jedne od tipičnih i originalnih vertikalnih »skopljakovskih praformi«. Riječ je o kamenom piramidalno-kupastom objektu čije su determinisane strane različito skulptorski tretirane - grublje trakaste fakture izmedju kojih se na glatkoj površini usijecanjem i izdubljivanjem pojavljuje reducirani sistem simboličkih geometrijskih znakova : krug, trougao, vretena, romb, kvadrat, pravougaonik. Taj intimistički geometrizirani simobolički sistem moguće je u potpunosti dešifrovati samo nakon objašnjenja njihovog autora. Dio njih može se konstatovati i u nizu ranijih Skoplka-kovih djela inspirisanih tragovima formi i mistike egipatskih piramida, faraonskih obeliska, te srednjovjekovnih stećaka. Koncepcijski definisana preciznom analitikom strukturalnih problema, svojom prefinjenom formom i jezikom tajnovitih arhitipskih simbola, skulptura Mustafe Skopljaka predstavlja spomeničnu odu Zeti i danilovgradskom ambijentu.
Sumirajući ova kratka zapažanja, slučajno ili namjerno, sve izvedene skulpture na odredjen način korenspondiraju i sa, vjerovatno, najvažnijim crnogorskim arhitipovima - epski junaci i ovnujsko meso, patrijahalno čvrsto utemeljen porodični kult, istorijska potreba za spomen obilježjima i monumentalnim spomenicima.
Produkcija Internacionalnog simpozijuma skulpture - Danilovgrad 2OO4, visokog nivoa umjetničkih kvaliteta, nesumnjivo zaslužuje šire kritičke elaboracije i zapažanja - takav tretman očekujemo u nekoj, mišljenja smo neophodnoj budućoj opširnoj monografiji posvećenoj danilovgradskim skulptorskim projektima i dostignućima.

Aleksandar Čilikov

ARCHETYPEE OF DANILOVGRAD

Art Colony in Danilovgrad, central settlement of domestic plain of Bjelopavlici, has been positioned for some years as a represent of development and presentation of sculptural activities in the context of quality analysis of Montenegrin contemporary art culture.
Among numerous achievements of Art Colony in Danilovgrad, Symposium of sculpture that has international character takes one of the most important and honorable places. Although a certain expansion of development of »the oldest« art discipline -- as sculpture is frequently attributed, has been observed during last decades in Montenegro, whereat creative potential of numerous authors refers to, which are paradoxically - often being valued higher outside their motherland, it is evident that this dedicated sculptural brotherhood is rarely given opportunity of work with quality materials through some of monumental forms. Rare opportunities in case of placing some public monuments do not nearly satisfy optimum of needs. Given such condition of status of sculpture media created in domicile area, activities of Art Colony with International Symposium provide Danilovgrad a role of specific cult art center of contemporary Montenegro. The fact that artistic resort of Danilovgrad provides work in the most archaic and glorious sculptural material - quality stone, seems to have a special significance.
Realized in 2OO4, International Symposium in Danilovgrad resulted in works of one Montenegrin sculptor, which is also the youngest, and two foreign sculptors of older generation. Realized stone sculptures of heterogeneous authorial visions, exhibit a common cohesive thread expressed through impression of use of some archetype modalities transposed into contemporary sculptural apprehension and skill. Works of Sasa Stanisic and our guest from Byelorussia, Henadzi Buralkin could be defined with certainty as creations devoted to sphere of figural concept based on multi-century experiences of animalism and treatment of human figure through long history of sculpture.
Stanisic, the youngest participant of Symposium, has expressed increased interest in animalistic sculptural arrangements through use of archetypes of prehis-torically art, Mesopotamian, Egyptian, early Aegean and civilizations of antic Greece and Rome, while he was only a student at Art Academy in Cetinje, where he is right now finishing his post-graduate studies. Mentioned models and their variations reflect in the sculpture »No title« that was realized during Symposium in Danilovgrad. Previous research experiences and, for some part, work in materials such a clay in small plastic, have confronted this young, talented and refined sculptor with true creative challenge - stone figure in life-size of archetypical, mythical, powerful, stubborn and mysterious animal. Ram, ancient symbol of arrogance, power and strength, at first glance in Stanisic's sculptural treatment seems static as pre-historical figures and relief representation of wise Egyptian sphinxes and tactilely harmonic animalistic creations of Greek and Roman Antics. Powerful horns and massive body with rich fleece treated with top-level carving technique, that is among young artists devoid of expressed wish for excessive technical perfection of complicated anatomical structure, have provided Stanisic's sculpture a status of symbolical and monumental character. Seemingly calm and immobile, proud and inscrutable, of potentiated closed form, this symbol of powerful Olympic Zeus in interpretation of young artist seems like it is going to explode in unrestrained strength from the state of some, frozen for a moment, ignitability.
Strong narrative note characterizes work theme titled »Dialogue« of established Byelorussian sculptor Henadzi Buralkin. Oriented towards verified, static and closed »classical« form, Buralkin positions thematic interest in archetypical Christian models of family institution through his project in Danilovgrad. Relief child figure of identical sculptural processing has been positioned among sitting figures of young men and woman, with realistically profiled faces and torsos. Hair and wardrobe have been emphasized though a rougher facture by skilled and brusque interventions. Mother's right hand protectively directed towards naked child whose figure fixation by its poise refers to a symbol of the Cross, motive of Our Lady from Filermo on the backside of sculptural ensemble - all that impressively points out archetypical model of »sacra famiglia«: Josef, Maria and little Jesus. Based on numerous experiences of classical concept of human figure, Buralkin's sculpture »Dialogue« radiates peaceful and dignified atmosphere and monolith strength of Christian apprehension of family system.
Obvious archetypical stimuli represent a dominant thread that joins the third sculpture of non-figural vocation titled »The Eye of Zeta« - work of famous artist from ex-Yugoslavia and Bosnia-and-Herzegovina Mustafa Skopljak. Appreciated as a dynamical creator, with a array of interests within a wide scope of contemporary artistic interventions - sculptures in various materials, colored sculpture, sculptural constructions, objects and installations, performance... - author has chosen to realize in Danilovgrad one of typical and original vertical »skopljakovian pre-forms«. It is a stone pyramidal-conical object whose determined sides had been treated sculpturally in different ways - rougher stripe fractures where between on smooth surface through carving and scooping a reduced system of symbolic geometrical signs emerges: circle, triangle, spindle, rhornb, square, rectangle. That intimate geometric symbolic system can be completely decoded only after explanation from its author. Part of it can be established also in a number of earlier Skopljak's works inspired by traces of forms and mystics of Egyptian pyramids, Pharaonic obelisks, and medieval tombs. Conceptually defined by precise analysis of structural problems, by its refined form and language of mysterious archetypical symbols, sculpture of Mustafa Skopljak represents a monumental ode to Zeta and ambience of Danilovgrad.
When summing these short observations, accidentally or intentionally, all realized sculptures in a certain way also correspond with, probably, the most important Montenegrin archetypes - epical heroes and mutton, patriarchal firmly founded family cult, historical need for memorials and need for statuesque monuments.
Production of International Symposium of sculpture - Danilovgrad 2OO4, with a high level of art quality, indubitably deserves wider critical elaborations and observations - a treatment we expect in some, which we believe is necessary, future voluminous monograph dedicated to sculptural projects and achievements in Danilovgrad.

Aleksandar Cilikov