Beyond The Boundary
20/06 – 01/07 ‘24
Podgorica, jun-avgust 2024.
Impressum
Organizator | Organizer
JU Muzeji i galerije Podgorice
Marka Miljanova 4, Podgorica pgmuzej@t-com.me
Izdavač | Publisher
Muzeji i galerije Podgorice
Za izdavača | For the Publisher Ivana Ćupić
Postavka izložbe | Exhibition display Miloš Marjanović
Tekst | Text
Vuk Vuković
Lektura | Proofreading Ana Popović
CIP - Kaталогизација
ISBN 978-9911-557-14-8
COBISS.CG-ID 29724420
Prevod | Translation
Mirjana Delić
Dizajn | Design
Milena Kaluđerović
Fotografije I Photography Duško Miljanić
Štampa | Print
Golbi print, Podgorica
Tiraž | Circulation
300
Godina | Year
2024
„Umjetnost umiče definiciji, ostajući pritom najbliskiji svijet“
Albreht Velmer
Albrecht Wellmer
At a time when the personal visualartistic world (centred around mass media) is predominantly conveyed through video or digital media, academic artist Marija Radusinović, a member of the younger generation of Montenegrin visual artists, does not revert to so-called anachronistic methods (as they are casually labelled nowadays). Instead, she embraces what could be described as subversive methods of aesthetic representation, employing drawing and painting. These methods open up the possibility for the audience to perceive the artist in a different light. Through her exhibition titled ‘Beyond The Boundary’, Radusinović spatially articulates an ontology that aligns thematically with what could be characterised as post-surrealism. By insisting on figuration that occupies a central position on her canvases, artisan Marija Radusinović
Pripadnica mlađe generacije likovnih stvaralaca u Crnoj Gori, akademska umjetnica Marija Radusinović, u dobu kada se likovno-vizuelni lični svijet (ili masovno mediocentrični) plasira putem videa ili digitalnog medija, crtežom i slikom, ne vraća se takozvanim (kako se to olako danas zna formulisati) anahronim, već prije bi se reklo – subverzivnim metodama estetskog izraza – onima koji otvaraju mogućnost da se kao publika drukčije približimo samoj umjetnici, koja izložbom radova naslovljenih „Izvan Granice“, oprostoruje ontologiju koju formira i oblikuje, tematski bliska onome što bi se dalo označiti kao postnadrealizam. Insistirajući na figuraciji koja na njenim platnima zauzima centralno mjesto, umjetnica Marija Radusinović registruje sve aktuelne deformitete savremenog čovjeka, koji sve više nalikuje –dehumanoj, začudnoj i anamorfnoj “Art eludes definition, remaining closest to the world.”
anatomskoj izraslini, na jednom haotizovanom horizontu, koji je sav spleten od oblika koji nijesu ni glava niti trup, nego nešto što bi se u stalnoj transfiguraciji moglo prepoznati i prozvati onim što je – bezoblično, dekonstruisano, posuvraćeno. To je svijet u kojem se gusto uvezuju i silovito prožimaju anatomija, arhitektura, voda i vazduh, jedan, posve – spontani sklop, koji je reklo bi se kontigentan, u smislu da odbija dobiti konačni oblik. U pitanju su –transfigurativne građe, potpuno i do kraja odrođene, kao da su pretrpjele katastrofu ili su vizije onoga što nas čeka sjutra. Dakle, lica koja su grimase, izobličeni izrazi u kojima ne čitamo – beskraj u licu, kako je to naučavao filozof drugosti, Emanuel Levinas.
Ako još jedino manjine nemaju model, opiru se kapitalističkom kalupu, te odbijaju da se predaju procesu formiranja i formatiranja, egzemplarnog egzistencijalističkog i ekonomskog rješenja, one su tim prije ucijelo izložene trpnji u realnosti restrikcije i represije, u ovom „karnevalu mišljenja“ (Žan Bodrijar) koji svijet sagledava kao besvjetovnu scenu, u kojoj samo viralno i virusno mogu da kruže i cirkulišu. Nesumnjivo, na slikama i crtežima, Marija Radusinović, uvjerljivo i krajnje sugestivno prenosi dramatiku i tragiku savremenog konteksta koji živimo u sistemu kojem ne uspijeva da se razotuđi, tako da ljudoidi, bolesno bilje, porozni pejzaži koji su pritom
captures all the contemporary deformities of the modern human being, who increasingly resembles a dehumanised, astonishing, and anamorphic anatomical growth. This figure is set against a chaotic horizon interwoven with shapes that are neither heads nor bodies, but rather something in constant transfiguration that could be recognised and named as shapeless, deconstructed, and contorted. This is a realm where anatomy, architecture, water, and air are densely interconnected and intensely interwoven, manifesting as wholly spontaneous constructs that, one might say, are contingent in the sense that they resist taking a final form. These are transfigurative structures, thoroughly and profoundly alienated, as though they have endured a cataclysm or are glimpses of what lies ahead in our future. They portray faces contorted into grimaces and distorted expressions devoid of the infinity of the face as taught by the philosopher of otherness, Emmanuel Levinas.
If minorities stand as the sole entities to defy any model, resisting the capitalist matrix and refusing to surrender to the process of formation and standardisation, the exemplary existentialist and economic solution, they become even more exposed to suffering in the realities of constraint and repression in this “carnival of judgement” (Jean Baudrillard), wherein the world is depicted as a stage devoid of the mundane, where
destruisani, izrazi koji su amblemi agoničkog, sve to biva uhvaćeno u katastrofalni kovitlac, u nered kojim umjetnica preko platna priča da je pomračujuća priča ono što navodi narativ da sve glasnije nijemi.
Izbjegavajući da tekstualno odem u dubinu metainterpretacijskog zahvata u kojem bih pravio paralele sa drugim umjetnicima, rekao bih samo da Marija Radusinović jeste umjetnica koja se angažuje prema problematici egzistencijalnog, u kojem je komunikacija kumulativna, a simbioza shizoidna; na sve strane možemo samo registrovati eho, fragment, odjek, cjelinu koja nestaje, što jeste i ostaje dominatni program postmoderne. Nakon proglašenja „kraja velikih priča“ (Žan-Fransoa Liotar), proklamovanja estetike koja je egzaktna, umjetnici se upuštaju u projekte, u polja istraživanja, u spajanje osjećajnog/intuitivnog sa programerskim, artificijelnim. Ljudska sudbina i „biće koje jedino u univerzumu jeste sposobno da metafizički pati“ (Anaksimandar), i pored tog fakta i fatuma, okamenjene konačnosti, ono misli i osjeća izvan granica, međutim, sve to kao da je uznastojalo usljed tehnizacije postati novi „zaborav bića“, kojeg je skrivila metafizika onostranujući se ka (kao) višim i temama koje su vječne.
Utoliko prije, Marija Radusinović kao mlada umjetnica, prije svega zato što ostaje privržena slici i crtežu (primarnim likovnim medijumima
only the viral and virus-like elements can thrive. Therefore, undoubtedly, within the paintings and drawings of Marija Radusinović, the drama and tragedy of the contemporary milieu we live in are powerfully and extremely suggestively conveyed, portraying a system unable to reconcile itself. Thus, humanoid figures, ailing plants, landscapes rendered porous and desolate, and expressions as emblems of agony —all of these elements are encapsulated within a catastrophic whirlpool, within the chaos that the artist unfolds across her canvases, telling us that the narrative is becoming increasingly silent due to the encroaching darkness of the story. Without delving into an overly meta-interpretative approach that draws parallels with other artists, I would simply assert that Marija Radusinović is an artist who engages with existential concerns, where communication is cumulative yet symbiosis remains schizoid. Throughout, we encounter only echoes, fragments, reverberations, and the dissipation of entirety, which altogether is and remains the dominant program of post-modernism. Following the proclamation of the “end of grand narratives” (François Lyotard) and the annunciation of a precise aesthetic, artists embark on ventures and fields of research, amalgamating the emotional/intuitive with the programmatic and artificial. Human
u kojima se manifestuju osnovni likovni elementi, od linije ka boji), promišljenim problematizovanjem savremenosti i onoga što sistemski ostavlja kao biljeg na svima nama, zaslužuje svu pažnju crnogorske scene, koja se trenutno, zaista, polako vraća pitanju – sudbine i udesa čovjeka – njegove (od)bačenosti, konačnosti i smrtnosti, iz koje se ne može izvući, ali u kojoj prije svega može dublje i ontološkije ponirati u vlastiti fantazam koji se ne da ničim suspendirati. Zato je „umjetnost otpor: ona se opire smrti, robovanju, zloglasnosti, sramu“ (Žil Delez), što čini da umjetnik djeluje izvan granica.
fate of “a sole being in the whole universe capable of metaphysical suffering” (Anaximander), despite underscoring the petrified finality of existence, transcends capacity to think and feel beyond boundaries. However, all this seems to have veered towards becoming a new “oblivion of a being” due to technisation, a phenomenon metaphysics has instantly triggered by gravitating towards exalted and eternal themes.
Vuk Vuković
All the more so, Marija Radusinović, as a young artist, by standing out notably for her steadfast commitment to painting and drawing—the primary visual media through which fundamental visual elements, from line to colour, are articulated—as well as due to her thoughtful interrogation of contemporary issues and the indelible imprints the system leaves on all of us, deserves all the attention of the Montenegrin art scene, which is currently, indeed, gradually revisiting questions surrounding human fate and destiny, its abandonment, termination, and mortality, from which one’s escape is impossible, but within which one can delve deeper and more ontologically into one’s own phantasm, impervious to suspension by external forces. This is why “art is resistance: it resists death, slavery, infamy, shame” (Gilles Deleuze), compelling the artist to operate beyond boundaries.
Vuk Vuković
ima G inari U m , 2023
ulje na platnu, 250 x 200 cm
ima G inari U m , 2023, oil on canvas, 250 x 200 cm
t hresh
detalj / detail
Biografija
MARIJA RADUSINOVIĆ, rođena 1997. godine u Podgorici (Crna Gora). Fakultet likovnih umjetnosti i postdiplomske studije završila 2020. na Cetinju, u slikarskoj klasi profesora Ratka Odalovića. Trenutno je na magistarskim studijima pod mentorstvom mr.Ratko Odalović. Članica je Udruženja likovnih umjetnika Crne Gore od 2020. godine.
OBRAZOVANJE:
2019 - Faculdade de Belas-Artes da Universidade de Lisaboa, Portugal.
2022 - Academy fo Fine Arts in Gdansk, Poljska.
2016 - Fakulet Likovnih Umjetnosti Cetinje, Univerzitet Crne Gore.
2013 - Srednja likovna škola Petar Lubarda, Cetinje.
NAGRADE:
2013 – Prva nagrada za sliku – Poljska
2014 – Prva nagrada za grafiku – Mađarska
2018 – Prva nagrada za najbolji crtež – Luštica Bay, CG
2019 – Nagradaza najbolji crtež – FLU Cetinje
2018 – Prva nagrada na West Herzegowina Fest-u, BiH
2014 – Prva nagrada za sliku – Češka
SAMOSTALNE IZLOŽBE:
2020. Podgorica - ULUCG.
2020. Tivat - JU Muzej i galerija.
2020.Budva - Moderna galerija.
KOLEKTIVNE IZLOŽBE:
2020 - 75. Tradicionalna izložba ULUCG
2021 - 76. Tradicionalna izložba ULUCG
2022 - 77. Tradicionalna izložba ULUCG
2023 - 78. Tradicionalna izložba ULUCG
2022 - Izložba Studenata Gdańsk, Poljska.
2019 - Izložba Studenata Lisabon, Portugal.
2021 - Narodni muzej Crne Gore “Što je nama naša borba dala”.
2020 - Studentska izložba FLU, Cetinje.
2022-55. Hercegnovski zimski salon pod sloganom „Mnogolikost“.
2021 - Gradska galerija Grožnjan pod sloganom ,,Metafora vremena“.
ANGAŽMAN:
Dio projekta teatarske scene “Bunt“ (Bunt Scena).Predstava “Izložene“...
Živi i stvara u Podgorici.
Kontakt telefon: 00382 (0) 69 235 396
Mail: marijaradusinovic22@gmail.com
Biography
MARIJA RADUSINOVIC, born in 1997. in Podgorica (Montenegro). Graduated from Faculty of Fine Arts in 2020. in Cetinje, in class of professor Ratko Odalovic. She is currently pursuing a master’s degree under mentorship of Ratko Odalovic. She is a member of the Visual Artists Association of Montenegro since 2020.
EDUCATION
2019 – Faculty of Fine Arts of the University of Lisbon, Portugal
2022 – Academy of Fine Arts in Gdansk, Poland
2016 – Faculty of Fine Arts Cetinje, University of Montengro
2013 – High School of Fine Arts Petar Lubarda, Cetinje, Montenegro
AWARDS
2013 – First prize for paining – Poland
2014 – First prize for graphics – Hungary
2018 – First prize for best drawing – Lustica Bay, Montenegro
2019 – Prize for best drawing – Faculty of Fine Arts, Cetinje, Montenegro
2018 – First prize at West Herzegovina Fest, Bosnia and Herzegovina
2014 – First prize for paining – Czech Republic
SOLO EXHIBITIONS
2020. Podgorica - Visual Artists Association of Montenegro
2020. Tivat – City Museum and Gallery
2020. Budva – Modern Gallery
COLLECTIVE EXHIBITIONS
2020-75. Traditional Exhibition Visual Artists Association of Montenegro
2021-76. Traditional Exhibition Visual Artists Association of Montenegro
2021-77. Traditional Exhibition Visual Artists Association of Montenegro
2021-78. Traditional Exhibition Visual Artists Association of Montenegro
2022. – Exhibition of the students of Gdansk, Poland
2019. – Exhibition of the students of Lisbon, Portugal
2021. – National Museum of Montenegro “What Our Fight Gave Us”
2020. – Exhibition of the students of Faculty of Fine Arts Cetinje, Montenegro
2022 – 55. – Herceg Novi Winter Salon “Multiplicity”
2021. – City Gallery Groznjan “Time Metaphor”
EMPLOYMENT
Participated in theater production “Bunt” (Bunt Scene). Play “Exposed”
Lives and creates in Podgorica.
Phone number: 00382(0)69235396
Email: marijaradusinovic22@gmail.com