UMJETNIČKA KOLONIJA - DANILOVGRAD / 2009

„Umjetnost ne reprodukuje vidljivo, ona čini da vidimo“ Paul Kle
Parafrazirala bih jednog kolegu i ponovila pitanje u kojoj mjeri, i sa kojim pravom, se riječ može umiješati između posmatrača i umjetničkih djela? I izbor umjetničke tehnike danas zavisi od okolnosti: namjera određuje oblik djela i podstiče umjetnika da izabere jedno ili drugo sredstvo izražavanja prije nego što će ostati u okviru jedne tehnike ili oblasti za koju se specijalizovao. Većina skulptura ima čisto estetski ili umjetnički cilj. Kada trodimenzionalni objekat – skulptura ima, osim umjetničkog i upotrebni aspekt, možemo ga nazvati skulpturom samo ukoliko je umjetnički aspekt predominantan, a kada su upotrebni i umjetnički aspekt balansirani, nazivamo ga funkcionalnom skulpturom, a kako umjetnički aspekt prepušta više mjesto upotrebnom, vajarstvo postaje dizajn.
Da bi postojala djela uvijek moraju imati neki oblik, a on ni u čemu ne određuje prirodu suda koji može biti izrečen, kao ni način na koji se ono prihvata. Jedan tekst ne mora obavezno da pročita čitalac sjedeći u fotelji, on može biti izložen u nekom prostoru – tako se ni skulptura ne mora obavezno vidjeti tako što se gleda i oko nje kruži. Za to je upravo dokaz i Umjetnička kolonija u Danilovgradu i skulpture koje se nalaze slobodne u prostoru. Skulpture u njoj ne odlikuje ništa monumentalno i one se opiru unificiranom standardu namećući prolaznicima pitanje kako su one tu dospjele, tajanstveno, nenametljivo, kao dar sa nebesa.
Skulptori, pa i oni koji stvaraju u Crnoj Gori, preispituju i odvojenost djela od prostora u kojem se ono nalazi. Postolje ili postament, koje se tradicionalno umetalo između njih, ubrzo nestaje u korist neposrednog ubacivanja djela u prostor i moguće konfuzije oko toga šta je prostor djela, a šta prostor posmatrača. Radovi crnogorskih vajara navode skulpturu da smjelo iskorači van svojih prostornih i materijalnih konvencionalnih granica, oni napuštaju tradicionalne tehnike vajanja i klesanja, a skulpture obilježavaju nove tehnike poput ansamblaža a metal, drvo i drugi materijali postaju itekako omiljeni.
U nekim vajarskim djelima ima izvjesne antičke svedenosti i snage, ali tih atributa nestaje čim deskripcija posmatranih oblika postane isključiv umjetnikov cilj. Od renesanse je uobičajeno klasiranje umjetnika i djela prema periodima, stilovima i pokretima. Ali, iako te kategorije predstavljaju zgodne repere i uprkos tome što mogu pomoći prilikom postavljanja ozbiljnih pitanja, one, sa druge strane, stvaraju niz lažnih problema i sumnjivih objašnjenja. Treba imati na umu da je svako klasifikovanje često polemične, podcjenjivačke ili retrospektivne prirode. Uprkos tome svi radovi zadržavaju svoju upotrebnu vrijednost iako nejasno objašnjavaju smisao, čine sastavni dio istorije i daju kolektivnom pamćenju neophodne repere. U savremenoj crnogorskoj skulpturi nalaze se djela koja su nenametljiva, diskretna i mirna, a bila su dugo vremena zaklonjena megalomansko-reprezentativnim paravanom i djelima koja su svojstvena velikoj, monumentalnoj i herojskoj skulpturi.
Skulptura je sama po sebi specificna i ona je bez obzira na svoju vrstu, apriori trodimineyionalna, i svaki njen oblik razvijen je u prostoru koji je uvijek realan, nikad iluzionistički. Iluzionistički može biti samo motiv. Slika se može obuhvatiti jednim pogledom, skulptura se jednim pogledom obuhvata samo u jednom od svojih brojnih profila i načina egzistencije u prostoru: vrijeme je u njoj funkcija prostora. Skulptura je dinamična i promjenljiva, ali i više od toga, zbog kretanja svjetlosti i sjenke po njenoj površini, ona mjeri proticanje vremena, i pri tome ispoljava svoju suštinu, živi u prostoru, vremenu i našem duhu.
Ovom izložbom, Umjetnička kolonija u Danilovgradu još jedanput ukazuje na visoko mjesto koje zauzima u savremenoj likovnoj umjetnosti, a posebno u oblasti vajarstva, pokazujući da ima nezaobilaznu ulogu u procesu razvoja savremene crnogorske skulpture.
Još od njenog osnivanja, i 1972. godine kada počinje da podstiče i podržava razvoj skulptorskih aktivnosti, Umjetnička kolonija u Danilovgradu postala je prepoznatljiva po skulpturama na otvorenom – galerija na otvorenom, prerastavši u tradiciju nepoznatu bilo kojem crnogorskom gradu i postavši fenomen specifičan u i regionalnim okvirima.
Ova značajna likovna manifestacija, koja je postala značajno mjesto na mapi umjetničkih zbivanja u Crnoj Gori, uveliko obogaćuje likovnu scenu Crne Gore i, posebno, kulturu mjesta kome pripada, postajući pravo otkrovenje za svakog posjetioca Danilovgrada. Umjetnička kolonija već petu godinu organizuje izložbu Savremene crnogorske skulpture, sagledava i prezentuje razvoj, dostignuća umjetnika različitih generacija u ovoj oblasti.
Mladi umjetnici snagom svoga duha i likovnog izraza, se upuštaju u eksperimentisanje, kao da žele da se predaju novim iskustvima, traže nadahnuće u sasvim netradicionalnim materijalima, žicama, mehaničkim napravama, presovanom metalu, i izbjegavaju svaku aluziju na prirodu, tražeći suštinu u osnovnim stvarima.
Koliko su značajni, i za našu umjetnost dragocjeni, predstavljeni skulptori vidljivo je, i bitni i po tome, što su oni uspostavili kontinuitet, likovno postojanje, počevši već odavno vizuelno konstituisati našu svijest o sebi. Sa njima je skulptura u Crnoj Gori opet postala novi medij umjetničkog komuniciranja, sredstvo kulturne identifikacije sredine u kojoj je nastalo.

Slavka Mirosavljević

CONTEMPORARY MONTENEGRIN SCULPTURE 2009
ART COLONY - DANILOVGRAD / 2009

„Art does not reproduce visible, it makes visible“ Paul Klee
I would like to paraphrase one of my colleagues and repeat the question to what measure and with which right, can a word interfere between observers and a work of art? The very choice of the art technique today depends on circumstances: intention defines a shape of work and encourages the artist to choose one or another medium of expression rather than stay within the framework of one technique or area he has specialized in. Most of sculptures have a purely aesthetical or artistic goal. With a three-dimensional object – sculpture has, besides the artistic also an aspect of use, we can call it a sculpture only if its artistic aspect is a predominant one, and when aspect of use and artistic aspect are balanced, we call it a functional sculpture, and when artistic aspect yields to the aspect of use, sculpture becomes design.
In order to exist works always have to have a certain shape, which by no means does determine a nature of the judgment that could be said, nor the way it is accepted. One text is not necessarily read by a reader who is sitting in the armchair, he can be exposed in a certain space – likewise the sculpture is not mandatory seen by watching it while circling around it. Exactly, proof of that is also the Art Colony in Danilovgrad and its sculptures that are situated free in space. Sculptures in it are not distinctly monumental and they defy a unified standard by imposing a question how did they get there on passersby, mysteriously, unobtrusively, as a gift from Heaven.
Sculptors, even those who create in Montenegro, also question the separateness of a part of space wherein it is. Podium or pedestal, which is traditionally inserted between them, soon vanishes in favor of immediate insertion of the work into space and possible confusion about what is the space of the work and which is the space of the observer. Works of Montenegrin sculptors lead sculpture to bravely step out of its spatial and material conventional boundaries, they abandon traditional techniques of sculpture and carving, and sculptures are marked by new techniques like assemblage, while metal, wood and other materials become all so favorite.
There is a certain antic simplicity and strength, but those attributes vanish as soon as description of observed shapes becomes the ultimate goal of the artist. Ever since the Renaissance, classification of artists and works according to periods, styles and movements had become a standard. But, although those categories represent helpful references and in spite the fact that they can contribute when placing serious questions, on the other hand they create a row of false problems and suspicious explanations. One should have in mind that every classification is often in its nature polemical, undervalued or retrospective. Regardless of that, all works sustain their use-value although they dimly explain the essence, they make an integral part of history and provide necessary references to collective memory. There are unobtrusive, discrete and peaceful works in contemporary Montenegrin sculpture which have been for a long time overshadowed by megalomaniacal-representative screen and works inherent to the great, monumental and heroic sculpture.
Sculpture by itself is specific and no matter its kind it is a priori three-dimensional, and its every shape is developed in a space which is always real, never illusive. Only a motif can be illusive. Picture can be embraced at one glance, while at one glance sculpture can be covered only in one of its numerous profiles and ways of existence in space: time in it has a function of space. Sculpture is dynamic and variable, but more to it, due to movement of light and shadow over its surface; it measures the flow of time and thereby exhibits its essence, lives in space, time and our spirit.
By this exhibition, the Art Colony in Danilovgrad once again indicates its high position in the contemporary art, and especially in the field of sculpture, proving its unavoidable part in the process of development of the contemporary Montenegrin sculpture.
Ever since its establishment and 1972 when it began to encourage and support development of sculptural activities, the Art Colony in Danilovgrad had become recognizable by sculptures in the open – gallery in the open, outgrowing into tradition unknown in any Montenegrin city and becoming a phenomenon specific even in regional boundaries.
This significant art manifestation, which has become an important landmark on the map of artistic happenings in Montenegro, largely enriches Montenegrin art scene, and especially culture of the place it belongs to, becoming a true revelation for any visitor of Danilovgrad. For five years in a row, the Art Colony organizes an exhibition of the Contemporary Montenegrin sculpture, revises and presents development, achievements of artists from different generations from this field.
Young artists with power of their spirit and art expression venture into experimenting, as if they wish to submit to new experiences, look for an inspiration in entirely untraditional materials, wires, mechanical devices, compacted metal, and avoid any allusion to the nature, searching for the essence in elementary things.
It is evident how important, and for our art precious, presented sculptors are, also because they have established a continuity, art existence, started visual constitution of our self-consciousness. With them, sculpture in Montenegro has once again become a new medium of artistic communication, means of cultural identification of the environment it originates from.

Slavka Mirosavljević