UMJETNIČKA KOLONIJA - DANILOVGRAD / 2011

Put od Moderne ka Postmoderni u savremenom crnogorskom vajarstvu odvijao se postepeno. U periodu od pedesetih do osamdesetih godina XX vijeka možemo pratiti bojažljivo pomjeranje tradicionalne figuralike prema proširenom i novom shvatanju skulptorskog medija. Krajem osamdesetih godina, otvaranje prema međunarodnoj likovnoj sceni, naročito nakon osnivanja Cetinjskog bijenala 1991, dovele su do naglog razvoja postmodernih tendencija u crnogorskoj umjetnosti. Međutim, promjene u kontekstu internacionalizacije i komunikacije sa novim formama vajarskog izraza u crnogorskoj umjetnosti zaživjele su i prije Bijenala, tako da su se naši umjetnici na njemu pojavili kao učesnici ravnopravni sa svjetskim priznatim imenima. Dakle, Bijenale nije eksplicitno uticalo, već je samo ubrzalo i na neki način legitimizovalo nova usmjerenja savremene crnogorske skulpture.
Iako su ove promjene nastale desetljećima poslije pojave evropskog postmodernizma crnogorski umjetnici su danas postali njegovi aktivni sudionici. O tome svjedoči i ova izložba koja je zaživjela kao godišnja manifestacija u organizaciji Umjetničke kolonije Danilovgrada, institucije koja zavrijeđuje sve naše komplimente. Njegovanjem i valorizovanjem skulpture u Crnoj Gori ona istovremeno čuva tradicionalne vrijednosti i daje prostor za prezentaciju savremenog. Podsjetimo se da vajarska artefakta na našim prostorima možemo pratiti od praistorijskih i antičkih recipijenata, preko kamene plastike na stećcima, na crkvenim građevinama i palatama, do rezbarija koje je sa toliko ljubavi i posvećenosti naš čovjek urezivao u drvetu, rjeđe kamenu, izražavajući tako svoje fantazije i veličajući simbole svoje zemlje. Ona su ostavila trag u idejnim i kreativnim ostvarenjima savremenog vajarstva što mu zapravo daje jednu specifičnu notu čineći ga osobenim i prepoznatljivim. Jer, ne treba zaboraviti da tradicionalne raznolikosti predstavljaju izvor najvećih vrijednosti i bogatstava savremene svjetske kulturne baštine.
Zavisno od individualnih poetika istaknutih protagonista danas se crnogorsko vajarstvo razvija u rasponu od asocijativnog antropomorfizma i animalizma prema neorganskim i apstraktnim formama, koje dovode do geometrijskog uprošćavanja minimalizma i purizma, i novog skulptorskog izraza koji mijenja svoj ontološki status nestajanjem/nastajanjem unutar proširenih medija.
Neke od ovih formalno-estetskih karakteristika evidentne su na izložbi Savremeno crnogorska skulptura 2011 na kojoj su predstavljeni umjetnici različite generacijske pripadnosti i raznovrsnih likovnih poetika, tako da ovu prezentaciju možemo posmatrati u kontekstu „varijacijeslobodnih skulptorskih interpretacija“ koje nam pružaju svaobuhvatnu sliku o mjestu i značaju savremene crnogorske skulpture, kako u nacionalnim tako i u globalnim okvirima.
Trideset dva umjetnika predstavlja se djelima koja ukazuju na njihovu likovnu dosljednost sa jasno definisanim kreativnim idejama i skulptorskom „pričom“ koja je jedinstvena i originalna. Ipak, u njihovom izrazu možemo naći dodirne tačke koje se mogu izdvojiti kao opšta slika ove ekspozicije. To je figuralni realizam, uslovno nazvan ovim terminom, odnosno asocijacija koja realno sagledavanje forme svodi na bitno, na njene esencijalne vrijednosti na kojima umjetnik vrši intervencije i uvodi latentni dinamizam koji mijenja statična skulptorska stanja. Nefiguralni, ili bolje reći, novokomponovani oblici anikoničnih svojstava svedeni su na simbol – znak koji je determinisan literarnom odrednicom koja često ima konceptualni ili angažovan kontekst, ili terminom „bez naziva“ koji nas upućuje da usmerimo našu pažnju na čisto likovni izraz koji diktira igra sa i u materijalima.
Idejne i stvaralačke reference crnogorskih vajara možemo posmatrati u kontekstu arhetipsko – tradicionalno – savremeno – angažovano.
Odnos prostor – materija pomjeren je u korist mase, a nekad u korist prostora koji je ograničen žicom koja ritmuje i „islikava“ prostor, dok njihove kombinacije stvaraju dinamične i vitalističke skulptorske cjeline. Poseban senzibilitet u korištenju materijala (kamen, drvo, terakota, metal, gips, poliuretan…) koji često diktira formalna rješenja, a nekad je saobražen umjetnikovoj idejnoj koncepciji „slikovnog“ i estetskog značenja karakteriše sve umjetnike prezentirane u ovoj postavci.
Izložba Savremene crnogorske skulpture 2011 u Umjetničkoj koloniji Danilovgrad pruža mogućnost da u njoj uživaju svi oni koji cijene ljepotu vajarskog umjeća i iskren izraz umjetnika koji crnogorsku skulpturu čine prepoznatljivom, i omogućava da se sagleda nivo recentnog crnogorskog vajarstva u odnosu na kvalitativne vrijednosti svjetske savremene scene koja je otišla korak dalje u „interpolaciji novih materijala i novih tehnologija, robotike, i samim tim odsustvu čistoće kiparskog medija…“.

Ljiljana Zeković

CONTEMPORARY MONTENEGRIN SCULPTURE 2011
ART COLONY - DANILOVGRAD / 2011

Path from Modern to Postmodern was steadily built in contemporary Montenegrin sculpture. Within the period starting from fifties until eighties of the XX century, we can follow carefully repositioned traditional figurals toward the extended new comprehension of sculptural medium. By the end of eighties, opening towards international art scene, especially after the Cetinje Biennale was founded in 1991, had caused rapid development of postmodern tendencies in Montenegrin art. However, changes in the context of internationalization and communication with new forms of sculptural expression in Montenegrin art have already resided even before the Biennale, so our artists had entered Biennale as equal to globally renowned names. Therefore, Biennale has not had explicit impact; it only had speeded up and in some way, legitimized new approaches in contemporary Montenegrin sculpture.
Although these changes took place decades after European Postmodernism had emerged, Montenegrin artists are its active participants nowadays. This exhibition, that has enrooted as annual manifestation organized by Art Colony from Danilovgrad, institution that deserves all our compliments, is witness to that too. Cultivation and valorization of sculpture in Montenegro at the same time preserve traditional values and provide space for presentation of the contemporary. Let us remind ourselves that we can trace sculptural artifacts in our region to prehistoric and antic recipients, from stone plastics on stone pages, churches and palaces, up to engravings that our man has carved into wood, more seldom stone, thus expressing its fantasies and celebrating symbols of his country. They had left trace in ideal and creative accomplishments of contemporary sculptural works which actually provides one specific note making it distinctive and recognizable. Because, we must not forget that traditional diversities represent a source of biggest values and wealth of contemporary world cultural heritage.
Depending on individual poetics by distinguished protagonists, development of Montenegrin sculpture today ranges from associative anthropomorphism and animalism towards inorganic and abstract forms, which leads to geometrical simplification of minimalism and purism and new sculptural expression that changes its ontological status through dissolution/emergence within extended media.
Some of these formalist-aesthetic features are evident at the exhibition Contemporary Montenegrin sculpture 2011 where artists from different generations and various art poetics are presented, so we can examine this presentation within the context of “variation of freesculptural interpretations” that provide us comprehensive representation about place and significance of contemporary Montenegrin sculpture, both in national and global scene.
Thirty two artists were represented by art works that indicate their art consistency with clearly defined creative ideas and unique and original sculptural “story”. Still, we can find points of contact that can be distinguished as general picture of this exposition. That is figural realism, conditionally named by this term, i.e. associations that reduce realistic introspection of the form down to fundamental, to its essential values whereon artist intervenes and introduces latent dynamism that varies static sculptural conditions.
Non-figural, or better said, newly written shapes of aniconic features are reduced to a symbol – sign determined by literal determinant that often has conceptual or engaged context, or term “no title” that indicates we should focus our attention to pure art expression dictated by a play with and in materials.
Conceptual and creative references of Montenegrin sculptures can be observed in the archetypical – traditional –contemporary – engaged context.
Relationship space – matter is being translated in favor of mass, and sometimes in favor of space bordered with wire that gives rhythm and “paints” space, while their combinations create dynamic and vital sculptural entities. There is a special sensibility regarding use of materials (stone, wood, terracotta, metal, plaster, polyurethane...) that often dictates formal solutions, and sometimes is compliant to artist’s conception of “pictorial” and aesthetic meaning that characterizes all the artists presented in this setup.
Exhibition Contemporary Montenegrin sculpture 2011 in the Art Colony Danilovgrad offers possibility for everyone who enjoys beauty of sculptural art and sincere expression of the artists that make Montenegrin sculpture recognizable, and provides introspection into recent Montenegrin sculpture in relation to qualitative values of global contemporary scene that has taken another step further in “interpolation of new materials and new technologies, robotics, and thereby absence of purity of sculptural medium...”.

Ljiljana Zeković