UMJETNIČKA KOLONIJA - DANILOVGRAD / 2006

U svojim »Beleškama o skulpturi« čuveni likovni kritičar Lazar Trifunović iznosi stav da »slikarstvo i skulptura nisu nastali iz igre i zabave, već iz duboke unutrašnje nužnosti, iz čovekove potrebe da njima organizuje haos svog života i vere da će kroz njih opstati kao biće«.
Nadovezujući se, dalje, na ovaj stav Trifunović iznosi tumačenje moderne skulpture u odnosu na iracionalnu, kojim bitno utiče na razjašnjenje samog pojma moderne skulpture.
Naime, moderna skulptura se u svojoj suštini oslobađa od antičkog »mimezisa« (stvoriti djelo prema prirodi) koji je preko dva milenijuma utemeljeno vladao prostorima evropske likovne civilizacije. Ovim stavovima su pokrenuta nova teorijska razmišljanja u shvatanju umjetnosti skulpture koja su kod Brankuzija, Arpa, Mura, Gaboa i Pevsnera kvalitativno transformisana u sistem novih načela shvatanja moderne skulpture.
Početkom devedesetih na crnogorskoj likovnoj sceni susreću se dvije generacije vajara. Jedna, nešto starija, započela je svoja traganja polovinom sedamdesetih, a punu aktivnost imala u osamdesetim, kojima je dala određen pečat i ton utičući na sveopštu likovnu klimu ovog perioda.
U devedesete ona ulazi sa već usvojenim ličnim poetikama, umjetničkom zrelošću, velikim iskustvom i opravdanim autoritetom. Druga, mlađa generacija, na samom kraju osamdesetih, stupa na likovnu scenu donoseći sobom jedan novi duh, novi plastički koncept. Prodor novog izvršili su, naime, slikari koji izlaskom slike u prostor čine odlučujući korak u kojem se gube stroge granice između slikarstva i skulpture.Veliki je doprinos ove generacije vajara na popularizaciji skulpture koja u Crnoj Gori nema bogatu tradiciju. Svojim angažovanjem učinili su da život skulpture u osamdesetim bude aktivniji i bogatiji. Pojava sasvim mlade generacije vajara početkom devedesetih otvara novo poglavlje u crnogorskoj skulpturi. Skulptura postaje nosilac novih umjetničkih znakova. Iskorak slike u prostor, sintetizovanje u slikama-instalacijama pikturalnih i skulptorskih elemenata više je inspirisalo mlađu generaciju umjetnika s početka devedesetih i uticalo na nju.
Pokazalo se da se nova skulptura služi jednim više racionalističkim postupkom, svedenim formama, geometrizmom, neokonstruktivizmom i prisjećanjima na minimalističku tradiciju. Nova skulptura je potvrdila mogućnost eklektičnog bavljenja idejama uz znatno korišćenje znanja iz istorije umjetnosti.
U savremenoj crnogorskoj skulpturi nema jedinstvenog pravca i stila, već vladaju estetski pluralizmi kroz egzistiranje određenih ličnih koncepta.
Svakako da je značajno napomenuti i izbor materijala i odnos prema njemu.
Pored klasičnih uvodi se koža, mreža, najlon, poliester, guma...
Nova skulptura nije više samo oblik u prostoru već u sebi sadrži prostor kao integralni dio. On aktivno učestvuje u gradnji određenog plastičkog koncepta. Savremenoj skulpturi sve više odgovaraju termini: objekti, instalacija, fragmenti, ambijent. Skulpture se manje postavljaju na postamente, one su na podu, na zidu, prislonjene na njega, ili pak slobodno vise na tavanici.
Bez namjere da ovim putem navedem ili izdvojim bilo koje ime učesnika izložbe ili se upustim u analizu njihovih radova, te pojedinačnog doprinosa, navela sam samo neka zapažanja koja se tiču osnovnih odlika sastava i rada učesnika. Obzirom da je riječ mahom o afirmisanim, široj javnosti pa i stručnim krugovima već poznatim likovnim stvaraocima, koji iza sebe imaju dosta godina rada, zamašne i značajne opuse, njihova ostvarenja su u znatnoj mjeri u domenu dosadašnjih kreativnih domašaja, te i stilskih naznaka koje njeguju.
Umjetnici okupljeni u Danilovgradu, svojim skulpturama ukazali su na aktuelni trenutak crnogorske likovne scene.
Organizatori izložbe su promišljenim odabirom stvaralaca pokazali da je ona postala autentična likovna manifestacija koja će obogatiti kulturu mjesta kome pripada.

Petrica Duletić

CONTEMPORARY MONTENEGRIN SCULPTURE 2006
ART COLONY - DANILOVGRAD / 2006

Famous art critic Lazar Trifunović states in its »Notes about sculpture« that »painting and sculpture did not arise from the play and fun, but the deep inner necessity, from the man’s need to organize a chaos of his life by them and the faith that he would subsist as a human being through them«. Further supervening this premise, Trifunović produces interpretation of modern sculpture in relation to the irrational one, whereby he considerably influences explication of modern sculpture term itself.
Namely, modern sculpture is in its essence freed from antic »mimesis« (creation of work according to nature) that had ruled firmly for over two millenniums in areas of European art civilization. These premises have initiated new theoretical reflections in comprehension of the art of sculpture that were qualitatively transformed by Brancusi, Arp, Moore, Gabo and Pevsner into a system of new doctrines of comprehension of the modern sculpture.
Two generations of sculptors met in Montenegrin art scene at the beginning of nineties. One of them, somewhat older, has started its search in mid-seventies, and had reached its full activity during eighties, whom it gave a certain seal and tone influencing global art climate of this period. It entered nineties with already adopted personal poetics, artistic maturity, great experience and justified authority. Second, young generation enters the art scene, at the very end of eighties, bringing along one new spirit, new plastic concept. In fact, those were painters who made a break-through, with a picture getting out into the space, who made a decisive step after which firm boundaries between painting and sculpture had begun to fade. This generation of sculptors gave an enormous contribution to popularization of sculpture that had not had a rich tradition in Montenegro. Through their engagement they made a life of sculpture in eighties more active and richer. Appearance of the very young generation of sculptors at the beginning of nineties opens entire new chapter in Montenegrin sculpture. Sculpture becomes a bearer of new art signs. Stepping out of picture into the space, synthesization of pictorial and sculpture elements in paintings-installations had more inspired and influenced younger generation of artists from the beginning of nineties.
It has showed that the new sculpture used one more rationalistic procedure, adjusted forms, geometries, neo-constructivism and remembrance of minimalist tradition. New sculpture has confirmed a possibility of eclectic pursuance of ideas with considerable use of knowledge from art history. There is no unique direction and style in contemporary Montenegrin sculpture, but aesthetic pluralisms rule through existence of defined personal concepts.
Certainly, it is also important to mention the choice of material and relation to it. Besides classic ones, leather, net, nylon, polyester, rubber, … are being used.
New sculpture is not just a shape in the space any longer, but also it contains the space as its integral part. It takes the active part in construction of the certain plastic concept. Contemporary sculpture more and more corresponds to terms: objects, installation, fragments, and ambience. Sculptures are being less posted onto stands; they are on the floor, at the wall, leaning onto it, or again freely hanging from the ceiling.
Without intention to herewith list or distinguish any of names of participants in the exhibition, or go into analysis of their works, and their individual contributions, I have stated just a few observations that concern basic characteristics of participants. Considering that they are mostly established art authors, known to wider public and professional circles, that have accomplished many years of work, substantial and significant opuses, their achievements are in considerable proportion in the domain of previous creative scope, and style references they tend to.
Artists gathered in Danilovgrad, through their sculptures, have pointed out the live moment of Montenegrin art scene.
Organizers of the exhibition showed by their thoughtful choice of authors, that the Colony became an authentic art manifestation that would enrich the culture of the place it belongs to.

Petrica Duletić