Pavle Pavlović - Sigurni rizici

PAVLE PAVLOVIĆ

SIGURNI RIZICI

O autoru

About the Author:

Pavle Pavlović rođen je 02.11.1983. godine u Beogradu. Studirao je na Akademiji likovnih umjetnosti u Zagrebu, smjer slikarstvo u klasi prof.

Zlatka Kesera, a diplomirao 2010. pod mentorstvom prof. Zoltana Novaka. Član je Hrvatskog društva likovnih umjetnika. Živi i radi u Samoboru i Zagrebu.

Pavle Pavlović was born in Belgrade on February 02, 1983. He studied at the Academy of Fine Arts in Zagreb, Department of Painting, in the class of professor Zlatko Keser. He graduated in 2010 under the mentorship of professor Zoltan Novak. He is a member of the Croatian Association of Artists. Lives and works in Samobor and Zagreb.

Kontakt: Tel: 095/ 536 0 681 e-mail : mail@pavlepavlovic.com website: http://pavlepavlovic.com

Contact: Phone: 095/ 536 0 681 email : mail@pavlepavlovic.com website: http://pavlepavlovic.com

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Bačva | Galerija Bačva Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: srijeda – petak: 11 – 19 h, subota i nedjelja 10 – 18 h, ponedjeljkom, utorkom i blagdanom zatvoreno Working hours: Wednesday to Friday: 11am – 7pm, Saturday and Sunday: 10am - 6pm, Monday. Tuesday and holidays - closed IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika/For the publisher: Josip Zanki | Upravni odbor HDLU/Executive board of HDLU: Josip Zanki (predsjednik/ president), Tomislav Buntak (dopredsjednik/vicepresident), Fedor Vučemilović (dopredsjednik/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet/Artistic board: Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Branka Benčić, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Mia Orsag | Predgovor/Preface: Vladimir Čajkovac | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod/ Translation: Zana Šaškin | Tisak/Printed by Cerovski | Naklada/Print run: 150 Izložba je realizirana uz financijsku potporu Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba.

Galerija Bačva | 13. - 22. siječnja 2017. | Bačva Gallery | January 13 - 22, 2017

SIGURNI RIZICI

SAFE RISKS

„U davnim vremenima ljudi su gledali u zvijezde i vidjeli heroje u konstelacijama. U ovim modernim vremenima činimo manje više isto, samo što su naši junaci ljudi od krvi i mesa.” 1, riječi su predsjednika Nixona povodom slijetanja posade Apolla 11 na Mjesec u srpnju 1969. godine. Osvajanje Mjeseca, događaj je od mogućeg povijesnog značenja i ikonični prizori koje je proizveo urezani su u kolektivnu memoriju dvadesetog stoljeća. Slijetanje pak, koje ovaj govor slavi, nikad se nije dogodilo i ne misli se pritom na mnogobrojne teorije zavjere koje od samog početka osporavaju ovaj događaj pa upečatljive prizore pripisuju između ostalih i režiji Stanleya Kubricka. Navodi su ovo iz govora predsjednika Nixona za slučaj neuspjeha misije. Paralelni protokol u slučaju nužde uključuje osobni telefonski poziv udovicama otpisanih, kratko i dostojanstveno obraćanje naciji i ritualno prekidanje veze s nasukanim astronautima. U nedostatku primjerenijeg i svećenik će za blagoslov slijediti ove maritimne metafore i uz obred standardnog pogreba na moru preporučiti njihove duše „to the deepest of the deep”, najdubljem od najdubljih.

Pavlovi junaci potječu također iz dubina, onih manje ili više dokumentiranih područja informacijskog kozmosa i košmara mreže svih mreža. On stvara repozitorij, odlagalište prizora, slika i memova prikupljenih po društvenim mrežama, digitalnim kanalima i opskurnim i tamnim zakutcima interneta. U daljnjem slikarskom procesu on je taj koji ponovno ispisuje njihove priče. Ono što digitalne plime nanesu često su bizarni motivi, lišeni bilo kakve pozadinske priče i jedino što nam preostaje su paralelni protokoli, koji će po potrebi presložiti sastavne dijelove i uvjeriti nas u istinitost prizora koji se odigrava pred našim očima.

Bizarnost je pritom sasvim proizvoljna kategorija upitne kvalitete. Jednako kao i određenje realnosti i realizma, ona uvelike ovisi o danom društvenom određenju norme, onome koji ima kontrolu nad narativom i njegovom/njenom obziru prema mogućem Drugom i Drugačijem. Nesumnjivo, mnogi od njegovih protagonista, svoju su karijeru pred kamerom započeli nesvjesni vlastite nezgrapnosti i vlastite vrlo niske pozicije na općoj društvenoj ljestvici, ako ne prihvatljivog, a ono barem dostojanstvenog ponašanja. U Pavlovim radovima norme i određenja normalnog u svakom slučaju nema i on nesmetano preslaguje i ugrađuje ove društvene gubitnike u jedan sasvim novi i uvjerljivi svijet.

U arhivima Gorgone u Muzeju suvremene umjetnosti u Zagrebu nalazi se jedno od najljepših i ujedno najpotresnijih pisama koje sam ikada imao prilike pročitati. Radoslav Putar, Gorgonaš, povjesničar umjetnosti i kritičar opisuje polagano i neumoljivo nadiranje bolesti koja će mu potrgati sjećanja i ispremiješati slike „jer to više i nije samo obični propust … Po srijedi je vjerojatno - trošnost duha koji se iscrpio u besmislicama i suvišnom, nepotrebnim nastojanjima; iluzijama” 2.

Bezobzirni i nezaustavljivi proces gubljenja kontrole nad vlastitim narativom višestruko je naglašen u današnje doba digitalne slike. Pavlova metoda preuzimanja motiva i slika s Interneta i njihova kolažiranja, također je metoda potrgane memorije. No, on nastavlja tamo gdje potrgana memorija prestaje, ispunjava nastale praznine i ciklusi njegovih slika napućuju jedan zajednički svemir koji ima svoja pravila i svoje zakonitosti. Ova dosljednost daje uvjerljivost njegovim prizorima i od napuštenih dokumenata besmislica i suvišnog stvara nove junake od krvi i mesa.

“In ancient days, men looked at stars and saw their heroes in the constellations. In modern times, we do much the same, but our heroes are epic men of flesh and blood.” 1, said President Nixon on the occasion of the Apollo 11 crew landing on the moon in July 1969. The conquest of the moon, an event of potential historical significance and iconic images it produced are imprinted onto the collective memory of the twentieth century. However, the landing celebrated in his speech never happened. This statement does not refer to numerous conspiracy theories that have disputed this event from the very beginning and even attributed the memorable scenes to Stanley Kubrick’s directing, among others. These are President Nixon’s statements from the speech prepared in case of the mission’s failure. Parallel protocol in case of emergency includes a personal phone call to the widows of the written offs, short and dignified address to the nation and a ritual closing down communication with the stranded astronauts. In the absence of something more appropriate, priest’s blessing would also follow these maritime metaphors, and along with following the ritual of burial at sea, he would recommend their souls “to the deepest of the deep”.

Pavle’s heroes also come from the depths, those more or less documented areas of information cosmos and vortex of network of all networks. He creates a repository, landfill of scenes, images and memes collected from social networks, digital channels and obscure and dark corners of the Internet. In the following painting process, he is the one who rewrites their stories. Digital tides often bring bizarre motifs, devoid of any background stories, and the only thing that is left are parallel protocols that rearrange the components according to need and convince us of the truthfulness of the scene before our eyes.

In this connection, bizarreness is a completely arbitrary category of questionable quality. Like the determination of reality and realism, it largely depends on the given social determination of standards, on the one who controls the narrative and his/her consideration for the potential Other and Otherness. Undoubtedly, many of his protagonists began their career in front of the camera, unaware of their own clumsiness and their own very low position in the general social ladder of, if not acceptable, then at least decent behaviour. In Pavle’s work, standards and definitions of normal do not exist in any case and he freely rearranges and incorporates these social losers into a completely new and convincing world.

Gorgona’s archives in the Museum of Contemporary Art in Zagreb contain one of the most beautiful, and at the same time most moving letters I have ever had the opportunity to read. Radoslav Putar, a member of Gorgona, an art historian and critic, describes a slow and relentless spread of disease that was about to tear his memories and mix up images. “as it is no more just an ordinary failure ... It is probably – the fragility of the spirit exhausted in the nonsense and superfluous, unnecessary efforts; illusions” 2.

The ruthless and unstoppable process of losing control over one’s own narrative is repeatedly emphasized in today’s age of digital image. Pavle’s method of taking the motifs and images from the Internet and collaging them is also a method of a broken memory. However, he continues where the broken memory stops, fills the resulting gaps, whereas the series of his paintings populate a common universe that has its own rules and laws. This consistency gives credibility to his scenes and from abandoned documents of nonsense and superfluous creates new heroes of flesh and blood.

Vladimir Čajkovac

Vladimir Čajkovac 1

https://www.archives.gov/files/presidential-libraries/events/centennials/nixon/images/exhibit/rn100-6-1-2.pdf 2 http://www.digitizing-ideas.hr/en/search:all:all/putar/page:1/entry:20119.

1

https://www.archives.gov/files/presidential-libraries/events/centennials/nixon/images/exhibit/rn100-6-1-2.pdf 2 http://www.digitizing-ideas.hr/en/search:all:all/putar/page:1/ entry:20119.