UMJETNIČKA KOLONIJA - DANILOVGRAD / 2010

Izložba Savremena crnogorska skulptura 2010. u organizaciji Umjetničke kolonije Danilovgrad, jedna je od onih prilika koje potvrđuju staro pravilo da je umetnost ista kao život, upravo u tome što traži večitu afirmaciju svojih vrednosti. Veliki broj autora koji se odazvao pozivu organizatora, sam po sebi, dokazuje prvrženost jednoj umetnosti koja nije samo tehnika, već više traženje ličnog izraza i mesta svakog autora u sve složenijim promenama u savremenim vizuelnim umetnostima.
Izložba koja se po svom obimu, kvalitetu i karakteru izdvaja, ukazuje na kontinuitet sa najboljom tradicijom crnogorske skulpture ali i visok umetnički nivo ostvarenog kako starijih, tako i mlađih vajara. Gledano koz presek svih generacija, vajarstvo, kao jedna od osnovnih likovnih disciplina, prati sve tokove savremene umetnosti, jezički je perfektna, sigurna i u najboljem značenjskom smislu odražava naše vreme.
Kako bi uspostavilo komunikacijski kanal, likovno delo mora govoriti jasno i razgovetno, ljudski angažovano, prepoznatljivim likovnim znakom. U crnogorskom likovnom prostoru, preko ove izložbe, uspostavljen je most između klasičnog i novog shvatanja plastike koja se oslanja na osnovne vajarske tehnike i u isto vreme je data mogućnost realizovanja maštovitih formi u drugim materijalima i drugačijim tehnikama koje su bile do sada prisutne u slikarstvu i crtežu. Pojedini autori ostaju u okviru klasično shvaćenih vajarskih istraživanja, dok drugi teže novim formulacijama plastičkih oblika i prostornih rešenja.
Zapaža se jasna konstanta osobena za umetničke sredine koje preko ličnih iskaza izražavaju opšte simbolične vrednosti i duhovne orjentacije. Ta konstanta sastoji se u pokušaju da se za lični izraz nađe i novo shvatanje koje se u ovom slučaju formuliše kao nastavak tradicije, dodavanje novog starom, kontinuitet i prirodno rastenje. Umetnici koji stvaraju u podneblju velikih arhetipova, tradicionalne kulture i baštine pomerajući pojedine akcente, drugačije raspoređujući pojedine vrednosti, senzibilizuju ih i uvode u prostor savremenog. Nisu,dakle, prihvatili suprotan stav - novo kao diskontinuitet i prekida sa prošlošću, praćenje u uključivanje u aktuelne umetničke struje pri čemu ne bi bilo posledica jednog unapred zadatog modela kulture, uzora već čina koji kulturu ambijenta više nastavlja i potvrđuje.
Tradicija se na ovoj postavci vidi u plastičkoj strukturi celine, njihovim elementima i njihovim odnosima, a individualno nastojanje – i preko njega živo, savremeno osećanje i istraživenje - u načinu na koji se na prvi pogled prepozbnatljiva arhetipska celina realizuje, prebacuje u drugi semantički sistem. Može se zaključiti da se crnogorska skulptura, u celini po opštim smernicama kreće između savremenog realizma i apstraktnih formi, putem kojim ide savremena skulptura uopšte. Velikoj stvaralačkoj polarizaciji shvatanja i stvarnom preobražaju doprinose oni umetnici koji svojim istraživanjima i eksperimentima proširuju idejni i tematski dijapazon skulpture.
Širok spektar mogućnosti novih medja uslovio je umetnički govor oslobođen konvencija tradicionalnih likovnih disciplina proširenog sadržaja i svežine što se vidi kod jednog broja autora koji nose i emaniraju duh vremena i upečatljiv lični senzibilitet. Svaki pojedinačni rad čuva prisustvo sveta u umetničkom delu ali i trag po kome se umetničko delo može vratiti svetu.
Opšta shema postavke uključuje iskustvo, ali u okviru nje pažljivim posmatranjem otkrivamo čitavu enigmatsku priču sastavljenu od oblika, znakova, simbola
Većinu radova na ovoj izložbi mogli bismo, uslovno, da svrstamo među dela realističkog smera - ako se složimo da realizam nije samo onaj trend koji se oslanja na akademski šablon «ugledanje na pirodu». Za ove radove bi pre svega moglo da se kaže suprotno: vajarskim parafraziranjem oblika prirode dolazi se do tako ubedljivih rešenja koja se neodoljivo nameću kao realistička. Intimni, kamerni karakter skulpture je nastavio da se usavršava i produbljuje.
Veliko u vajarstvu označava masu, materijal, monumentalnost, otvorenu oblikovnost, kameni blok u jednom komadu, plastičnost u obličavanju tek naznačenih površina, oslobođen ritam i slobodan prostor.
Nekoliko izuzetnih ideja na ovogodišnjoj postavci, zapisanih tek u glini, veštačkom kamenu, terakoti... očekuju i vrebaju svoj prvi kamen od tri, sedam pa i više tona...

Natalija Cerović

CONTEMPORARY MONTENEGRIN SCULPTURE 2010
ART COLONY - DANILOVGRAD / 2010

Exhibition Contemporary Montenegrin sculpture 2010, organized by the Art Colony Danilovgrad, is one of those opportunities that confirm the old rule that art is the same as life, exactly in searching for eternal affirmation of its values.
Great number of authors that has responded to invitations by organizers, itself, proves loyalty to the art that is not just a technique, but more searching for a personal expression and place of every author in ever more complex changes in contemporary visual arts.
Exhibition that stands out by its volume, quality and character, indicates continuity with the best tradition of Montenegrin sculpture but also the high artistic level of the realized both by older and younger sculptors. In retrospective of generational cross-section, sculpture, as one of the basic art disciplines, follows all the flows of contemporary art, perfect in its language, confident and reflects our time in the best possible semantic terms.
In order to establish a communication channel, art work must speak clearly and articulately, with human engagement, in recognizable art sign. By this exhibition, a bridge has been formed in Montenegrin artistic space, between the classical and modern comprehension of plastics that leans onto the basic sculptural techniques and at the same time offers an opportunity to realize imaginative forms in other materials and different techniques that were so far present in paintings and drawings. Certain authors stay within classically accepted sculptural explorations, while others tend to new formulations of plastic shapes and spatial solutions.
There is a notable clear constant distinctive for artistic environments that express general symbolic values and spiritual orientation through personal statements. That constant comprises an effort to find the new comprehension for a personal expression as well, defined in this case as an extension of tradition, addition of new to the old, continuity and natural growth. Artists that create in the climate of great archetypes, traditional culture and inheritance, sensitize them and introduce them to the area of contemporary by shifting certain accents, repositioning some values. Therefore, they did not accept the opposite attitude – new as discontinuity and disconnection with past, follow-up into inclusion into modern artistic movements whereby there would not be consequences of the preset culture model, nor example but the act that continues and confirms the culture. One can see tradition in this set-up in plastic structure of entities, their elements and their relationships, and individual effort – and through it all alive, contemporary, modern feeling and exploration – in the way that recognizable archetypical entity is at the first sight realized into another semantic system. We can conclude that Montenegrin sculpture in general, by its common guidelines, is positioned between the contemporary realism and abstract forms, the way that contemporary sculpture has taken on the whole. Artists that expand conceptual and thematic diapason of sculpture by their research and experiments contribute to the great creative polarization of comprehension and real metamorphosis.
Wide spectrum of opportunities offered by new media has conditioned artistic speech freed of conventions of traditional art disciplines, one that has extended contents and freshness that can be observed at certain authors that carry and emanate spirit of time and distinct personal sensibility. Every individual work preserves the presence of the world in the art work but also the trace whereby the art work can be returned to the world.
General exhibition scheme includes experience, but attentive observation reveals the whole enigmatic story within made of shapes, signs and symbols.
Most of works at this exhibition could be, with reservations, categorized among realistic works – if we agree that realism is not exclusively the trend based on academic stereotype «imitation of nature». A priori the opposite stands for these works: sculptural paraphrasing of natural shapes results in solutions that are so persuasive that are irresistibly imposed as realist. Intimate, theatrical character of the sculpture has continued to improve and deepen.
Great in sculpture means mass, material, monumentality, open figurativeness, one piece stone block, plasticity in shaping barely marked areas, freed rhythm and open space.
Several extraordinary ideas in this year exhibition, written down only in clay, artificial stone, terracotta... await and lurk for their first stone of three, seven and more tons weight...

Natalija Cerović