UMJETNIČKA KOLONIJA - DANILOVGRAD / 2013

UNUTRAŠNJA SNAGA IZVORIŠTA

Niko, kao vrhunski majstor skulptoralnog izraza, Roden, nije bolje promislio savremenu skulpturu u vremenu kada je ona, nakon Mikelanđela zapala u krizu autoriteta, i široko otvorio mogućnost istraživanja u polju ovog umjetničkog izraza, dozvolivši da se destruisana forma proklamuje u novi estetsko-prihvatljivi model.
Spoznavši da sav život izvire iz jednog središta, a nakon toga se razvija i rascvjetava iznutra prema spolja, unutrašnji potisak, koji svako vajarsko djelo nosi u sebi, naslućivanje preobraćuje u nemjerljivu snagu autorizovanog govora, bio on mikropoetski ili udružen u idejno bratstvo kompatibilnih senzibiliteta.
Odlučnost, kojom umjetnici u savremenoj skulpturi preispituju nivoe realnosti i aktiviraju vjeru u novo umjetničko kazivanje, a koje nije u potpunosti odbacilo temelje tradicije, svakako je jedan od najjačih kvaliteta savremene crnogorske skulpture, gdje proces estetizacije savremenih pogleda na umjetnost nije poništio viševjekovne kulturološke depoe, ponikle na ekstatičnom krajoliku Balkanske vjetrometine.
Prepoznavanje bitnosti oslobađanja od predrasude, da je smisao skulpture bavljenje tehničkim i zanatskim problemima, i da pretvaranje bremenitih ideja u vidljivu cjelinu preko materijala i novih formi dopušta umjetnosti da bude oslobođena svih verbalnih nanosa, dalo je apsolutni legitimitet Umjetničkoj koloniji Danilovgrad, da već nekoliko godina, sa maksimalnom posvećenošću i vizionarstvom, uz nezaobilazan profesionalizam organizuje okupljanje vajara mlađe, srednje i starije generacije u smislu prezentovanja i tumačenja novih pogleda na vajarstvo 21. vijeka.
2013-ta godina ponovno pokreće pitanja mase i prostora, otkrivanja i uspostavljanja veze između materijala i ideje, spajanje prepoznatljivog i čitljivog sa unutrašnjim – meta stanjem umjetnikovog bila.
Dvadesetosam umjetnika, od kojih su većina postali dio identiteta ove Umjetničke kolonije, pokazuju vlastite obnovljene tokove stvaralaštva iz prethodnog perioda, ili hrabro redukujući realnost oko sebe, prave rezove već utemeljenih avangardnih govora iz sredina koje su davno izašle iz začaranog kruga umjetnosti.
Aktuelno pitanje „shvatanja vajarstva“, rekao je jednom Henri Mur, „zavisi od sposobnosti reagovanja na formu u tri dimenzije ... ako želi da svoje oko izoštri za skulpturu, posmatrač mora naučiti da osjeća oblik prosto kao oblik, a ne kao deskripciju ili reminiscenciju“.
U Murovom obrazloženju, prvi put nakon Rodena, ohrabruje se postupak „prihvatanja“ novih skulptoralnih „govora“, u kojem su itekako našli uporište crnogorski vajari, koji su vlastite taktilne senzibilitete, bez imalo ustručavanja, ogolili u svojoj čistoti i stavili pred sud javnosti, kritike i istorije.
Većina uvaženih kritičara, koja se u prethodnim godinama bavila ovim umjetničkim projektom (Ljiljana Zeković, Natalija Cerović, Lucija Jelušić-Đurašković, Anastazija Miranović, Slavka Mirosavljević, Petrica Duletić i Aleksandar Čilikov), redom apostrofira nekoliko elemenata koji su odlučujući u kvalifikaciji i valorizaciji ove respektabilne institucije, a to su: tradicija, sloboda u interpretaciji, intimizam, eksperiment, raznolikost, bipolarnost, znakovnost, asocijativnost i tehnička dotjeranost.
Imajući uvid u jednu od najvažnijih konstanti u stvaralačkom procesu, a to je volumen sa svim pratećim varijetetima i elementima, koji su uz uvođenje netradicionalnih materijala u skulpturu, i uz svesrdan angažman i nekih slikarskih elemenata (poput boje), okupljeni umjetnici i na ovogodišnjem sazivu dozvolili su da većina prezentovanih radova svoju arhitektoniku iz statičnog prevede u kinetičko stanje i obratno.
Ovakvim činom postaje jasno je da je savremena crnogorska skulptura odlučna da prati tokove svjetske savremene skulpture i da ne posustane pod balastom aktuelnog i modernog, u vremenu pluralizma i multikulturalne kreativne produkcije.
Čvrsto uspostavljeni temelji ove manifestacije, svojim kvalitetnim fundusom vajarskih ostvarenja, uz mogućnost praćenja pojedinačnih poetskih izraza domicilnih stvaralaca, predstavljaju nemjerljiv nacionalni kulturni potencijal jednog naroda, gdje se otvara mogućnost ozbiljne naučne analize i uspostavljanja komparativnih veza sa stvaralaštvom ostalih naroda, gdje se i treba tražiti mjesto savremene crnogorske skulpture danas.
Poštujući sve ono što je doprinijelo da u zadnje 4 decenije Umjetnička kolonija Danilovgrad stekne ovako prestižan status, možemo samo poželjeti da se njen rad nastavi u nesmanjenom intenzitetu, i u svim narednim godinama njenog opstajanja njeguje prepoznavanje onog što je veliki otac savremenog vajarstva Ogist Roden apostrofirao kao „unutrašnju snagu izvorišta“ koja daje snagu umjetnicima da iznova stvaraju, i u tom snu objektivnu stvarnost pretaču u umjetničku.

dr Siniša Vidaković, Istoričar umjetnosti

CONTEMPORARY MONTENEGRIN SCULPTURE 2013
ART COLONY - DANILOVGRAD / 2013

INTERNAL POWER SOURCE

There was no one who contemplated the modern sculpture at the time it experienced a crisis of identity after Michelangelo, as Rodin, the supreme master of sculptural expression, who had opened widely the possibility of research in the field of this artistic expression, allowing for destructed form to be proclaimed into the new aestheticallyacceptable model.
Having realized that all life originates from the singular centre, and after that develops and blossoms from within to the outside, anticipation transforms the inner thrust, which each sculptural work carries in it, into the immeasurable power of authorized speech, whether it is micro-poetic or allied into conceptual brotherhood of compatible sensibilities.
Determination, which artists in modern sculpture, invest into questioning the reality levels and use to activate faith in new artistic narration, which has not completely rejected foundations of tradition, certainly is one of the toughest quality of contemporary Montenegrin sculpture, where process of aestheticization of contemporary views of art has not diminished centuries of cultural depots, emerged from the ecstatic windswept Balkan landscape.
Recognition that deliberation from prejudices is essential, that the very meaning of sculpture is dealing with technical and trade issues, and that transposition of fertile ideas through material and new forms into the visible units allows for art to be deliberated from all verbal drifts, gave absolute legitimacy to the Art Colony in Danilovgrad, to organize the annual gathering of sculptors of younger, middle aged and older generation in terms of presentation and interpretation of new views of 21st century sculpture.
Year 2013 once again raises questions of mass and space, discovering and establishing a relationship between the material and idea, sublimation of recognizable and readable with inner-meta state of the artists’ pulse.
Twenty eight artists, whereof most of them became the part of identity of this Art Colony, showing their renewed courses of creativity from the previous period, or bravely reducing reality around them, make cuts on already established avant-garde expressions from backgrounds that have long gone out of the enchanted circle of art.
The current issue of “understanding of sculpture”, as Henry Moore said once, depends on ability of reaction to the three-dimensional form ... if the one wants to sharpen his eye regarding the sculpture, the observer must learn to feel the shape simply as a shape, not as a description or reminisce”.
The current issue of “understanding of sculpture”, as Henry Moore said once, depends on ability of reaction to the three-dimensional form ... if the one wants to sharpen his eye regarding the sculpture, the observer must learn to feel the shape simply as a shape, not as a description or reminisce”.
Majority of esteemed critics, who have dealt with this artistic project in recent years (Ljiljana Zeković, Natalija Cerović, Lucija Jelušić-Đurašković, Anastazija Miranović, Slavka Mirosavljević, Petrica Duletić and Aleksandar Čilikov) , respectively accentuate several elements that are crucial for the qualification and valorisation of this reputable institution, as follows: tradition, freedom of interpretation, intimacy, experiment, diversity, bipolarity, symbolism, associability and technical refinement.
Having in mind one of the most important constants in the creative process, and that is the volume with all its accompanying varieties and elements, along with introduction of non-traditional materials into the sculpture, together with a dedicated engagement of certain other art elements (such as colours), gathered artists have allowed for the most of presented works to transpose their architectonics from static into kinetic state and vice versa.
versa. Such an act makes clear that contemporary Montenegrin sculpture is willing to follow global contemporary sculpture and not to succumb under the ballast of the current and modern, in a time of pluralism and multicultural creative productions.
Firmly established foundations of this manifestation, through their quality funds of sculptural achievements, and possibility of monitoring poetic expressions by domicile creators, represent immeasurable national cultural potential of the nation, where possibility of serious scientific analysis and establishing comparative relationships with creations of other nations is made, is exactly where the position of contemporary Montenegrin sculpture should be sought after.
Respecting all that contributed to such a prestigious status of the Art Colony during the last four decades, we can only wish that its work continues unabated, and that all future years cherish recognition of that which the great father of modern sculpture Auguste Rodin emphasized as the “internal power source” that empowers artist to create again, and in that dream to transform the objective reality into art.

Dr Siniša Vidaković, Art historian