Marijan Richter - Slike poslije naslikanih slika

Page 1

MARIJAN RICHTER SLIKE POSLIJE NASLIKANIH SLIKA Otvorenje

izložbe

održat

će

se

16.

ožujka

u

19

sati

|

Opening

of

the

exhibition

on

16th

of

March

at

7:00

pm Galerija

K aras

|

1 6.

-

2 9.

o žujka

2 015. Karas

G allery

|

March

16

-

2 9,

2 015


Posljednjih

nekoliko

godina

Marijan

Richter

uspješno

ostvaruje

jedinstvenu

i

zanimljivu

strategiju

-

poništava

svoje

već

gotove,

izlagane

i

katalogizirane

slike,

s

njih

uklanjajući

sve

ono

bez

čega

one

mogu

funkcionirati

kao

slike.

Riječ

je

„odslikavanju

i

raslikavanju,

rasterećivanju

slike

od

naslikana

sadržaja“

(Richter),

čime

se

autor

u

problemskom

smislu

jasno

određuje

prema

bitnim

pitanjima

slikarstva

danas,

poručujući

da

se

slikarstvo

više

ne

može

baviti

velikim

životnim

problemima,

nego

se

treba

okrenuti

samoj

sebi,

konstitutivnim

činiocima

same

slike.

Bitno

duhovno

i

morfološko

polazište

u

formiranju

ovakva

slikarstva

jest

slikareva

potreba

da

zaniječe

sliku

kao

završen

rezultat,

da

stalno

iznova

poriče

njezinu

dovršenost

i

nepromjenjivost,

da

prokazuje

njezinu

inertnost

i

statičnost,

da

je

zaniječe

kao

gotovu

estetsku

činjenicu.

Autor

svoje

već

pokazivane

slike

ljušti

i

rastvara

i

potom

nadograđuje,

poručujući

da

umjetničko

djelo

nikad

nije

zatvoren

i

do

kraja

izrečen

sustav.

Ustrajavajući

na

neprestanim

promjenama,

modifikacijama

i

transformacijama

slike,

Richter

istodobno

tjera

motritelja

da

se

odrekne

navika

u

promatranju

likovnoga

djela

i

da

ozbiljno

preispita

opravdanosti

vladajućih

estetskih

i

ideoloških

obrazaca.

Slikar

istodobno

ne

prihvaća

da

u

sliku

uđe

išta

izvan

nje

same.

U

najnovijim

slikama

-

pokazanim

u

Galeriji

Karas

-

svjedoci

smo

Richterova

novoga

slikogradbenog

zaokreta

-

to

više

nisu

radovi

čija

je

problematika

redefiniranje

prethodno

naslikanih

slika,

ali

i

ova

ostvarenja

rezultat

su

prethodna

procesa

slikarskog

poricanja

apriorna

i

nepovrediva

izgleda

naslikane

slike.

I

tu

autor

istražuje

do

koje

se

mjere

može

osloboditi

slikarskih

apriorija

likovnih,

estetskih,

ikoničkih,

simboličkih,

kolorističkih...

Ciklus,

predstavljen

u

galerijskom

postavu,

ponovno

okrenuvši

leđa

modusu

reprezentacije,

predstavlja

tri

tipološki

različita

podciklusa.

Počinje

na

katu

galerije

gotovo

praznim

bijelim

platnima,

a

prevladavajuća

lirska,

profinjena

i

prosvijetljena,

pamtljiva

bjelina

slikanog

prostora

posljedica

je

rasterećivanja

slike

od

utilitarne

funkcije

njezina

izgleda.

Projekt,

dakle,

počinje

realizacijama

koje

su

bijeli

monokromi

s

jedva

uočljivim

prisućem

autorove

intervencije

čiji

su

rezultati

tek

plahe

i

krhke

asocijacije,

a

čija

je

intencija

dogradnja

i

raščlamba

planova

slikanog

polja.

Kultiviranu

bjelinu

autor

postiže

nanosima

asimilirane

izuzetne

autorske

slikarske

senzibilnosti,

sada

još

upečatljivijeg

rafinmana.

Na

odmorištu

koje

razdvaja

prizemlje

i

kat

galerije

postavljena

su

dva

platna

na

kojima

se

iz

bijele

epiderme

odlučno

probija

asketski

grafizam

postojane

vizualizacije

ali

kriptofigurativna

određenja,

koji

još

uvijek

nije

znak

a

kamo

li

ideogram,

nego

je

tek

kohezijska

spona

koja

spaja

kompozicijske

planove.

Grafemi

odlučno

prodiru

kroz

bijelu

pozadina,

ali

istodobno

ih

percipiramo

i

kao

oblike

koji

kao

da

su

pred

iščeznućem

-

kao

da

tonu

u

bjelinu.

U

galerijskom

prizemlju

postavljene

su

slike

iz

ciklusa

Metastaze.

Na

lijevom

zidu

vise

dvije

slike,

a

na

desnom

zidu

jedna

slika

velikih

dimenzija.

Kratke

i

duže

vijugave

linije

meandriraju

slikanim

poljem,

katkad

kao

gestualni

tokovi

jasno

izdvojeni

na

bogatoj

podlozi,

ali

i

sporadično

isprepletene

ili

u

nesigurnoj

međusobnoj

različnosti

i

nepodudarnosti.

Autor

je

posebnu

pozornost

posvetio

neprikazivačkim,

ali

asocijativno

potentnim

aspektima

anatomskih

i

arhitektoničkih,

sažetih

formi

koje

ishode

iz

slikareve

analize

prostora.

Na

slikama

pratimo

cijeli

niz

nenametljivih

ali

do

kraja

uobličenih

grafizama,

uzgibana

crtovlja

i

oblika,

koji

također,

u

uzajamnim

odnosima,

stvaraju

dinamizirane

i

delikatne

kompozicijske

sustave.

Ti

enigmatični

grafizmi

ne

poprimaju

vrijednost

sadržaja,

ne

razvijaju

se

do

stupnja

simboličke

znakovitosti

jer

im

autor

odriče

označiteljsku

ulogu.

Dakle,

nije

riječ

o

znakovimašiframa,

nego

o

formama

koje

je

slikar

pronašao

u

samome

In

the

last

couple

of

years

Marijan

Richter

has

been

successfully

applying

a

unique

and

interesting

strategy

he

has

been

deleting

his

already

finished,

exhibited

and

catalogued

paintings,

removing

from

them

everything

without

which

they

can

function

as

paintings.

This

is

the

process

of

“de-painting

and

unpainting,

releasing

the

painting

from

its

painted

content“

(Richter),

which

the

author

uses

to

take

a

clear

stance,

in

the

problematic

sense,

towards

the

important

issues

of

present-day

painting;

stating

that

painting

can

no

longer

deal

with

the

big

problems

of

life,

but

needs

to

turn

inward,

to

the

constituent

factors

of

painting

itself.

An

important

spiritual

and

morphological

starting

point

in

creating

such

form

of

painting

is

the

painter’s

need

to

deny

the

painting

as

a

finished

result,

to

deny

its

completeness

and

unchangeability

again

and

again,

to

expose

its

sluggishness

and

inactivity,

to

deny

it

as

a

finished

aesthetic

object.

The

author

peels

off,

dissolves

and

then

builds

onto

his

already

exhibited

images,

stating

that

a

work

of

art

is

never

closed

and

fully

elaborated

system.

Pushing

for

constant

changes,

modifications

and

transformations

of

the

image,

Richter

at

the

same

time

forces

the

observer

to

abandon

his/her

own

habits

in

observing

the

work

of

art

and

seriously

re-examine

the

justification

of

the

dominant

aesthetic

and

ideological

patterns.

At

the

same

time,

the

painter

does

not

accept

anything

within

the

painting

except

the

painting

itself.

In

Richter’s

latest

paintings

exhibited

in

Karas

Gallery

we

are

witnessing

a

new

shift

in

constructing

his

paintings

these

are

no

longer

works

which

deal

with

the

issue

of

redefining

previously

painted

paintings;

however,

these

achievements

are

also

the

result

of

the

previous

process

of

artistic

denial

of

a

priori

defined

and

untouchable

appearance

of

a

painted

image.

And

this

is

where

the

author

explores

the

extent

to

which

he

can

free

himself

from

a

priori

painting

postulates

artistic,

aesthetic,

iconic,

symbolic,

colour,

etc.

The

series,

exhibited

in

the

gallery

setting,

once

again

turning

its

back

on

the

mode

of

representation,

represents

three

typologically

different

sub-series.

It

starts

on

the

gallery’s

first

floor

with

almost

empty

white

canvases;

the

prevailing

lyrical,

sophisticated

and

enlightened,

memorable

whiteness

of

the

painted

space

comes

as

a

consequence

of

releasing

the

painting

from

the

utilitarian

function

of

its

appearance.

The

project

thus

starts

with

achievements

which

are

actually

white

monochromes

with

barely

noticeable

presence

of

the

author’s

intervention,

which

result

in

shy

and

fragile

associations,

and

whose

intention

is

to

upgrade

and

decompose

the

plans

of

the

painting

field.

The

author

achieves

the

cultivated

whiteness

with

the

strokes

of

an

assimilated,

exquisite

painterly

sensitivity,

of

even

more

striking

refinement.

On

the

mezzanine

separating

gallery’s

ground

and

first

floor,

there

are

two

canvases

on

which

an

ascetic

graphism

of

stable

visualization,

but

of

crypto-figurative

definition,

decisively

breaks

through

the

white

epidermis.

It

is

not

even

a

sign,

let

alone

an

ideogram;

it

is

merely

a

cohesive

bond

connecting

composition

plans.

Graphemes

decisively

penetrate

the

white

background,

but

at

the

same

time

we

perceive

them

as

shapes

facing

disappearance

as

if

they

are

sinking

into

the

whiteness.

The

paintings

from

the

Metastases

series

are

exhibited

on

the

gallery’s

ground

floor.

Two

paintings

hang

on

the

left

wall

and

on

the

right

wall

there

is

only

one

large

painting.

Short

and

long

lines

meander

through

the

painting

field,

sometimes

like

gestural

flows,

clearly

emphasized

on

a

rich

background,

but

also

sporadically

intertwined

or

in

shy

mutual

diversity

and

discrepancy.

The

author

paid

special

attention

to

abstract,

but

associatively

potent,

aspects

of

anatomic

and

architectonic

concise

forms

arising

from

the

author’s

analysis

of

space.

In

these

paintings,

one

can

follow

a

range


slikarskom

činu.

Upisujući

grafizme,

slikar

definitivno

ne

polazi

od

podataka

iz

predmetna

svijeta,

nego

nudi

strukturu

samostalne

nepredmetne

forme,

što

znači

da

sliku

od

sama

početka

predmnijeva

kao

autonomni,

od

predmetna

svijeta

emancipirani

estetski

predmet.

Ovi

semantički

zamućeni

stratusi,

dakle,

podupiratelji

su

apstraktne

organizacije

slike,

dio

pikturalne

i

linearne

održivosti

slike

kao

likovne

a

ne

naracijsko-literarne

priče. Dakako,

izložba

se

može

razgledati

i

obrnutim

slijedom,

ali

njezine

će

poruke

ostati

iste! U

susretima

dvaju

planova

slike

autor

u

svakoj

pojedinoj realizaciji

propituje

opću

atmosferu

slike,

tu

se

zbiva

intrigantan

suodnos

pozadine

i

nanesena

znaka.

Pozadina

je

zapravo

izviranje

arheoloških

ostataka

prethodno

naslikane

slike.

Iz

slojeva

naknadno

slikanih

a

potom

struganjem

poricanih

mjestimice

proviruje

prvotna

slika.

Ono

što

se

ovdje

može

čitati

kao

znak,

zapravo

je

asemički

ostatak,

rezidijum

prethodna

izgleda.

Otkazivanje

mandata

postojećem

izgledu

naslikane

slike

generiralo

je

proces

sukcesivnih

slikanja

i

raslikavanja.

Ivica

Župan

of

unobtrusive,

but

fully

shaped

graphisms,

ruffled

lines

and

shapes,

which

also,

in

their

interrelations,

create

dynamic

and

delicate

compositional

systems.

Those

enigmatic

graphisms

do

not

assume

the

value

of

the

content;

they

do

not

achieve

the

level

of

symbolic

meaning

because

the

author

negates

their

signifying

role.

Therefore,

these

are

not

signscodes,

but

forms

that

the

author

has

discovered

in

the

very

act

of

painting.

By

inscribing

graphisms,

as

his

starting

point

the

author

definitely

does

not

take

objects

from

the

physical

world,

but

offers

a

structure

of

an

independent

abstract

form,

which

means

that,

from

the

very

beginning,

he

sees

painting

as

an

autonomous,

aesthetic

object

emancipated

from

the

world

of

objects.

These

semantically

blurred

strata

are,

therefore,

supporters

of

the

abstract

organization

of

the

painting,

part

of

the

pictorial

and

linear

sustainability

of

the

painting

as

an

artistic

and

not

narrative-literary

story.

Of

course,

the

exhibition

can

also

be

seen

in

reverse,

but

its

messages

will

stay

the

same! Where

two

plans

of

the

painting

meet,

in

each

achievement,

the

author

questions

the

general

atmosphere

of

the

painting;

this

is

where

this

intriguing

interrelationship

between

the

background

and

the

applied

sign

happens.

The

background

is

actually

the

rising

of

archaeological

remains

of

a

previously

painted

image.

The

first

painting

occasionally

peeks

through

from

subsequently

painted,

and

then

scratched

out

layers.

What

can

be

seen

as

a

sign

is

actually

an

asemic

residue,

residue

of

its

previous

appearance.

Cancelling

the

mandate

of

the

existing

appearance

of

the

painted

image

generated

the

process

of

successive

painting

and

unpainting.

Ivica

Župan


Marijan

Richter

rođen

je

1957.

u

Zagrebu.

Doktorirao

je

slikarstvo

s

temom

Slika

između

izgleda

i

pogleda

2013.

godine.

Realizirao

je

preko

trideset

samostalnih

izložbi

u

Zagrebu,

Čakovcu,

Križevcima,

Sisku,

Osijeku,

Trogiru,

Vinkovcima,

Karlovcu,

Slavonskom

Brodu,

Splitu,

Zadru. O

njegovom

radu

snimljeno

je

nekoliko

televizijskih

priloga

(Slikanje

fotografije,

Tv

izložba).

Monografija

Marijan Richter u

izdanju

ArTresora

objavljena

je

2012.

godine. Docent

je

na

odjelu

za

nastavničke

studije

u

Gospiću

Sveučilišta

u

Zadru.

Marijan

Richter

was

born

in

1957

in

Zagreb. He

received

his

Ph.D.

painting

with

the

theme

Figure

between

layouts

and

views

in

2013.

He

had

over

thirty

solo

exhibitions

in

Zagreb,

Cakovec,

Krizevci,

Sisak,

Osijek,

Trogir,

Vinkovci,

Karlovac,

Slavonski

Brod,

Split,

Zadar. His

work

has

been

presented

by

several

TV

reports

(Painting

photos,

TV

show).

2012.

ArTresor

published

Monograph

Marijan Richter. He

is

assistant

professor

in

the

department

of

pedagogical

studies

in

Gospic,

University

of

Zadar.

Kontakt:

mrichter@unizd.hr,

www.marijanrichter.com mob:

0915547864

Contact:

mrichter@unizd.hr,

www.marijanrichter.com mob:

0915547864

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Karas | Karas Gallery Praška

4,

10000

Zagreb,

Croatia

|

www.hdlu.hr Radno

vrijeme:

utorak

-

petak:

11

-

19

h,

subota

i

nedjelja:

10

-

14

h;

zatvoreno

ponedjeljkom

i

blagdanom. Working

hours:

Tuesday

-

Friday:

11

am

7

pm,

Saturday

and

Sunday:

10

am

-

2

pm;

closed

on

Mondays

and

holidays.

IMPRESUM

|

Nakladnik/Publisher:

Hrvatsko

društvo

likovnih

umjetnika/Croatian

Association

of

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

(zamjenik

predsjednika/vicepresident),

Fedor

Vučemilović

(zamjenik

predsjednika/vicepresident),

Ida

Blažičko,

Ivan

Fijolić,

Koraljka

Kovač

Dugandžić,

Anita

Kuharić

Smrekar

|

Umjetnički

savjet

HDLU/Artistic

board

of

HDLU:

Tomislav

Buntak,

Leonida

Kovač,

Suzana

Marjanić,

Ivica

Župan,

Koraljka

Kovač

Dugandžić,

Ivan

Fijolić,

Josip

Zanki

|

Ravnateljica/Director:

Ivana

Andabaka

|

Stručna

suradnica/Associate:

Mia

Orsag

|

Predgovor/Preface:

Ivica

Župan

|

Grafičko

oblikovanje

kataloga/Catalogue

Design:

Mia

Orsag

|

Fotografija/ Photography:

Ivan

Richter

|

Prijevod/Translation:

Zana

Šaškin

|

Tisak/Printed

by:

Cerovski

|

Naklada/Copies:

150 Izložba

je

realizirana

uz

financijsku

potporu

potporu

Gradskog

ureda

za

kulturu,

obrazovanje

i

šport

Grada

Zageba

/

The exhibition

is

financially

supported

by

the

City

Office

for

Culture,

Education

and

Sports

Zagreb.