Issuu on Google+

ARANDUS documentum UmjetniÄ?ki paviljon, PODGORICA


ARANDUS documentum UmjetniÄ?ki paviljon, PODGORICA, 2011.


4

Stadt-Galerie Teloy-M端hle, Meerbusch, 2010.


Thoughts to the paintings of Arandus Arandus is an artist, who follows his intuition with an eradicative consequence. He thereby takes a special position in versatile settings of present art, Arandus does not follow any fashion attitudes or short-term trends: being a veritable border crosser, his paintings agitate between emphaty and scepsis, between realism and sur-realism, between intellect and emotion. At first sight his paintings show the ?beautiful illusiveness, the beautiful surface, but, at a second glance you can tell that this fragile beauty is being questioned and erased. Contrasts and contradictions rule his uwe, especially if his topics quote clergy contents. His painting Schnuller (engl. Soother) shows the extreme diversity of metaphorical levels: In front of a strongly physical daedal fond with glowing shades of red, in a dark over-all, the ciphes of a bird and a bird house seem to appear in the upper border of the painting. Within these ciphers the magically illuminated body of a sparsely dressed model rises. Barely behnv the vulva, the abdomen is covered by a lustrous bright pitbull, who is floating above an ensemble of clergies one of them pictured with a soother in its mouth. Each object in this painting is ambivalent: the model so innocent but yet so lascivious, the dog so artless and dangerous, the clergies indifferent and infantile. The bird, flying as a free character of nature, yet is connected (even through a line) to the house assigned to him, Arandus associates heterogeneous pictographs without embracing them to a consistent message. In this context you could say he is a sur-realist. Nevertheless, his picturesque articulation is far beyond conventional sur-realism he developed a unique style for every pictograph. These range >from linear counter drawings to Rembrandt-like chiaroscuro. The artist Arandus has a competent way of handling with fragments of art history yet at the same time negating a historical classification in the main appearance of his painting. With an incredible intelligence, the artist plays with the requirements of artistic locations, which he confirms and confutes in the same sentence. This refinement demonstrates, in particular, Arandus*s art dealing with erotic connotations such as Maculata, On a roughly textured, crosswised and torn screen, the artist appationally shows the face of a young woman with big, wet eyes stepping forward from the dark background. Physic a I-informal painting is, in this case, associated to realistic-modelling concreteness. Highly visible, the title Maculata evokes its opposite the Immaculata and thereby defines the person as beautiful sinner, Arandus*s masterpiece prooves in his complete act, by translating the semantic breakings of his topics into stylistic rejections. The enigma and ambivalenve of his unique picture language herewith becomes a continuous principal in style, whose allusions and antagonisms can solely be solved by the consciousness of each individual viewer. The joy of knowing how to read a painting and yet having the freedom of subjective interpretation is a special quality of art, in which Arandus always finds a new way of representing it to his audience. Jost Funke, Professor for Visual Arts and Art History

5


6

Stadt-Galerie Teloy-M端hle, Meerbusch, 2010.


Archeology of Antithesis Već u prvom susretu sa Aranđusovim slikama 1997. godine, formirao sam ličnu odrednicu prema njegovoj likovnoj poetici kao svojevrsnoj “arheologiji antiteze”. Učinilo mi se da ova simpatična formulacija na prihvatljiv način sugeriše, ne samo sveprisutnu tematsku angažovanost autora, koja zna da se graniči i sa dnevnopolitičkom, već i njegovu unutrašnju borbu-traženje sa uticajima koje je sticao izučavajući tradicionalne slikarske tehnike, ali i aktuelne moderne izraze likovnog angažovanja. Naime, njegova vizuelizacija, kao neskrivena potreba da se odredi prema stvarnosti i konkretnim dešavanjima u okruženju, obavezno sadrži antipod kao zadatu tezu, a izražajna tehnika antisklad ili čak antižanr osnovne, početne postavke platna. Tako je nastao program. I dok tematski, kao orjentacija, ciklusi poput oređivanja prema: religiji, ratu, ekologiji, ljubavi, ženi, socijali itd; sami po sebi nisu predstavljali problem, metafore “pro” i “kontra” u likovnom izrazu zahtijevale su koncept u kojem kontra argument ne smije ugroziti sliku. Aranđus to rješava kompozocijom svojih radova u kojima često u prvom planu dominiraju ekspresivni potezi četke, ili crteži koji podsjećaju na grafite, tim prije što su simboli koje koristi urbani, opšti, lako prepoznataljivi i u kontrastu sa harmoničnom, klasičnom postavkom i slikanjem portreta, likova i objekata koji sačinjavaju ostatak poruke. Rezultat sugeriše čitanje/gledanje, doživljaj, koji u konačnom rezultira dramskim karakterom djela. I to je poenta. Tonalitet, paleta boja ili materijali na kojima izražava svoje stavove, mogu biti, a najčešće i jesu - iznenađujući, ponekad na prvi pogled i začudni, vic ili doskočica; čašav, padobran, vreća, šator, bure, ili transparent ogromnog formata u prostoru, na zgradi ili mostu, nad čijim se sadržajem međutim nećemo razgaliti. Ozbiljan je, promišljen i vapi za odnosom. Čak, kada nakon dužeg vremena smiruje izraz, poput ovog poslednjeg ciklusa kojim se upravo predstavlja podgoričkoj publici, na dramaturško pitanje zašto Aranđus ne odgovara samo kontra pitanjem (a zašto ne?), mada je ono veoma blisko njegovom temperamentu, već i u likovnom i u filozofskom smislu sugeriše kako da se i sami zapitamo. Prof. Neven Staničić

7


8

Sophie’s Fear, oil and acryl / canvas, 95x190 cm, 2004.


9

Advocatus Diaboli, oil / canvas, 190x210 cm, 2005.


10

untitled, oil / wood, 40x40 cm, 2011.


11

untitled, oil / wood, 40x40 cm, 2011.


12

untitled, oil / canvas, 160x160 cm, 2006.


13

untitled, oil / canvas, 95x190 cm, 2009.


bronze, 38x15x14 cm, 1/20, 2010.

14


15

untitled, oil / canvas, 190x200 cm, 2010.


16


17


Vita Arandus: 1964 geboren in Kotor,Montenegro 1979 Fachschule für Elektronik 1986 Übersiedlung nach Deutschland 1992 Kunststudium an der Akademie in Düsseldorf bei Prof. Michael Buthe

AUSSTELLUNGEN (Auswahl):

18

1991 St. Andreas, Düsseldorf 1992 G  alerie ACP, Salzburg / Austria 200 Meter-Kunst gegen Gewalt, Königsalle, Düsseldorf 1993 G  alerie Weihergut, Salzburg / Austria 200 Meter-Kunst gegen Gewalt, Kurfürstendamm, Berlin 1994 2  00 Meter-Kunst gegen Gewalt, Ljubljana / Slowenien Linden-Museum, Stuttgart, ,,Das Kind im Krieg“ 1995 Galerie Kontraste, Düsseldorf Theater und Konzerthaus, Solingen, Institut für politische Kultur 1996 G  alerie Strudlhof, Wien / Austria Jahresausstellung-Kunstpalast, Düsseldorf Kind in Not, Landesmuseum für Volk und Wirtschaft, Düsseldorf 1997 G  alerie Hame-Diehl, Düsseldorf Zündorfer Wehrturm, Stadtmuseum Köln 1998 Viskonti Fine Art, Arco Madrid / Spanien 1999 Viskonti Fine Art, Arte Fiera, Bologna / Italien Viskonti Fine Art, Arco Madrid / Spanien 2000 Stadt-Galerie Buca, Tivat / Montenegro 2001 Art Repräsentenz Austria, Kitzbühel / Austria 2002 Deutsche Bundesbank, Düsseldorf Galerie Henseleit, Dortmund 50 Meter Bühnenbild, Theater Open Air, Tivat / Montenegro 2003 Museum Meyenburg, Nordhausen Dresdner Bank, Leibzig Galerie Kunsthaus Oberkassel, Düsseldorf 2004 G  alerie Viellage, L`Art Lonnes, Worpswede Galerie Kunsthaus Oberkassel, Düsseldorf Staatliches Museum Buca, Tivat / Montenegro 2005 Museum of Non-Conformist Art, St. Petersburg / Russia Galerie Kunsthaus Oberkassel, Düsseldorf Museum Artera, Spazio Thetis Arsenale Novisimo la Biennale die Venezia 2006 Galerie Henseleit, Köln 2007 Temporäre Galerie Schloss Neersen, Neersen Galerie Der Turm, Schwalmtal 2008 Art Innsbruck, Austria 2009 Galerie Lonnes, Bremen 2010 Stadt-Galerie Teloy-Mühle, Meerbusch European Art Gallery, Badenweiler


Temporäre Galerie Schloss Neersen, 2007.

19

Museen Linden.Museum, Stuttgard Zündorfer Wehrturm, Stadtmuseum, Köln Landesmuseum für Volk und Wirtschaft, Düsseldorf Kunsthaus Museum Meyenburg, Nordhausen Staatliches Museum Buca, Tivat / Montenegro Museum of Non-Conformist Art, St.Petersburg / Russia Museum Artera, Spazio Thetis Arsenale Novisimo la Biennale die Venezia


www.arandus.de

© ARANDUS 2011

20 design&prepress: Slobodan Tonić


Arandus Documentum