GORAN
JUREŠA
slikovna
žrtva the
pic torial
offering
Goran Jureša
Slikovna žrtva
The Pictorial Offering
Kustos Izložbe I Exhibition Curator
Nikola Šuica
Producenti I Producers
Jovan Jakšić, Luka Kulić
Tehnička podrška I Technical support
Đorđe Popić, Pajica Dejanović
Muzej savremene umetnosti Vojvodine
Museum of Contemporary Art Vojvodina
05. jun – 29. Jun 2014. I June 5 – June 29, 2014
GORAN
JUREŠA
slikovna
žrtva the
pic torial
offering
Nikola Šuica
slikovna
žr tva ~ aka
Das bildliche
Opfer
1
„Sve je iščezlo, samo je preostala masa
materijala od koje će se graditi nove forme…
Sve do sada imali smo realizam predmeta, ali
ne i naslikane formacije bojâ. Svaka forma je
slobodna i individualna. Svaka forma je svet.“
Kazimir Maljevič, Moskva, 1915.
Vizuelno društvo prožimaju zahtevni informacioni sistemi. U fluktuirajućoj civilizaciji
vidljive senzacije prožimaju se sve vrste naših saobraćanja i, čini se, počinju da ispravljaju
milenijumsku prevlast reči nad slikom. Međutim, ne radi se o oprobanom i neupitnom
odmaku. Pronicanje u oblast neočiglednog i nevidljivog i dalje opstaje u sferi umetnosti
kao odstupnica od potrošački prodorne i banalizovane vizuelne prevlasti. Ekspanzivna
nuđenja i prenošenja slike, i to ma kakve vidljive objave i njenog korišćenja, dosegli
su do konvencionalnih ponuda i epidemijske ravnodušnosti. To važi i za liberalna,
demokratski učvršćena, kao i za tranzicijska i totalitarna društva i u odmičućem XXI
veku.
Hegelijansko stvaranje filozofije istorije i formacije lične umetničke vizije ne nalikuju
na takmičenje u sistematizaciji, niti u obuhvatnosti. Čini se da je Hegelova putanja
ka materijalizaciji politike i duha zastala nad neobičnim stvaralačkim oblastima,
na vidljivosti predstave i likovnim obradama. Ne bi se, međutim, ni u kom slučaju
etapno naslojavanje današnjice u savremenoj kulturi moglo zamisliti bez usamljenih
konstruktora umetnosti, oslobođenih istraživača kakvi su bili Duchamp ili Rothko, u
svemu različitim sem u svrhovitom traganju za duhom tajne, za prividnim odsustvom
od poslova sveta, kroz vibrantnost emocija i u svojim raznolikim poduhvatima
dosezanja nedokučivog.
Razdoblje nastalo u umetnosti posle postmodernizma neretko postaje dinamični
istovar neobavezujućih igri sa ideologijama, sa etičnošću, sa identitetima i društvima.
Principi stvaralačke slobode retko su pre kao u drugoj deceniji ovog veka ušli u spektrum
konstruisanih, i po kategorijama objektnih svojstava. Njihovo slobodno fluktuiranje i
razmena su očigledna težnja cikličnih ponavljanja i pretapajućih varijanti.
S druge strane, uočljiva nametljivost mnoštva i površna uniformnost potiskuju ili
obesmišljavaju senzibilne pristupe viđenja, ali i saznajne doživljaje, kako posmatrača
tako i stvaralaca.
U običaju starom više od trideset hiljada godina pravljenje slike steklo je svoje
antropološko sadejstvo sa vrstama crtanja i bojenja silovitog redosleda serijskih
ostavljanja tragova. Ljudska vrsta upuštena je u opsesivne oscilacije vizuelnog oblikovanja
1 Naslov je parafraza prihvaćenog naziva Bachove zbirke Kanona i Ricercara „Musikalische opfer“ (BWV 1079,
iz c. 1747), decenijama prisutne u srpskom i hrvatskom jeziku kao „Muzička žrtva“, zapravo „Muzička ponuda“.
Dvoznačna mogućnost te imenice odgovara i postavci umetnosti G. J.
5
još od svojih ritualnih, pa zanatlijskih i radioničkih principa u stvaranju umetnosti.
Baš u razdoblju dozivanih ulazaka u novo doba devedesetih godina, francuski mislilac
Jacques Derrida u Louvreu priređuje izložbu Sećanja slepog2, gde se u muzejskom
odabiru crteža i grafika naglašava pojam osobe zahvaćene slepilom ili gubitkom slike,
ličnosti ili pripovedne individue koja ne uočava, biva zaslepljena i u skladu s njegovim
poimanjem difference doseže ukorenjenu, memorisanu meditaciju. Vreme održavanja
izložbe i objava Derridinog eseja svedoči geopolitičkom lomu temporalnog praga
izmena: poimanje „novog svetskog poretka“, globalnih
trgovinskih ugovora, početak informatičke revolucije
personalnih kompjutera, isto tako plemenskih ratovanja
i genocida po afričkim teritorijama i mizeriji nekada
kolonizovanog i potcenjenog sveta ispod polutara. Struji tada
i politička konsolidacija raspadanja sovjetske imperije, uz
sijaset parlamentarnih zapadnih kriza, rušenje Berlinskog
zida i ujedinjenje Nemačke i, nadasve za balkanske oblasti,
krvavog sloma jugoslovenske federacije. Jedno od planetarno
najuzbudljivijih razdoblja iskušenja i stradanja, nevoljno
nevidljive, automatizovane, ideološki slepo i eruptivno
izvedene multirealnosti. Postavka izložbe zapadne umetnosti
crtanja iz raskošnih muzejskih zbirki donosila je obilje
primera, od renesansnih do simbolističkih crtanih skica i
pomno izvedenih crtanja molitvenih, mitoloških, neretko
natprirodnih ispada i tragedija. Po temi „zaslepljivanja“ i
tragičnih pripovesti ljudske vrste demonstrirana je i teza kod
italijanskih i severnjačkih majstora, preko Rembrandta i J.
Odilon Redon Oko sa makom 1892.
L. Davida, sve do Odilona Redona. Čin crtanja je za Derridu
poseban izraz slepila i zamene realnosti s prazninom između upamćenog i prenesenog,
kao i od posmatrača željenog i očekivanog.
Pokazaće se, u pojedinim refleksivnijim umetničkim postavkama, da otkrivanje
univerzuma umetničkog rukopisa i tome slične, nepretpostavljene ili nesagledane ravni
donosi suočenje sa paradoksima straha, uživanja, zadovoljstva, ali i zanosnih tenzija i
autorskih odgovornosti.
Nastanak i pobuđivanje tih slika doseže nesigurne preplete i složene pravce nevidljive
ili neuočene povezanosti. Rezonantni pravac umetničkih traganja koje Goran Jureša
u Novom Sadu postavlja u stvaranje svoje slikovite kompozicije prati nadnesen
strukturalni opit. Premda takva refleksivnost dopire iz iskustva stvaralaštva koje nastaje
u našem dobu posle iskustva medijuma, unesene uctane linije, dimenzije i nagovešteni
2 Jacques Derrida, Mémoires d’aveugle: l’autoportrait et autres ruines, Musée du Louvre, Paris: October 26,
1990 – Jan. 21, 1991.
6
oblici podvrgnuti su dinamici dubine poniranja u protivurečna saznanja tema i povoda.
Zamena linija crtanja ili njihovih snopova za sva obličja i predstave sveta zamena je za
govornu ispovest, za hroniku ili svedočenje.
Odstupanje od gledanja na svet, kod egocentričnog parohijalnog i zapadnog stanovišta
unosi senzualni nemir. Distanca između upamćenih događaja, prenesenih saznanja i
fascinacija je kroz umetnikova pravila iskustva i podložnost igri data ka senzitivnim
tematskim dozivima: vladavini, otimanju, samoisticanju i podjarmljivanju drugih
i drukčijih, stvaranju plena, nagradi u priznanju, slavi, čulnoj ljubavi i, naposletku,
metafori slatkog trijumfa ukusa čokolade. Instanca minimalne harmonije ima
dugačak autorski put transformacije, a fokus na Treći svet je u autorskom obzoru
prerađen u kuhinjama imperijalne Evrope. Otud i u umetničkoj zrelosti takav vid
ekscentričnog duševnog i saznajnog preplitanja u tematskim izborima i pozivanjima
odaje disciplinovano prepuštanje samoispitivanju, od dečjih sanjarenja do ekscesnih
detalja. Od naznaka, ravnoteže i uvođenja likovnih sitnih upisa i naslojavanja do
bilansa slikovne drame, od prizora do prizora i od jedne varijacije i imenovanja do
lirsko povišenih temperamentnih ekspresija.
Slična je i osnova sa definisanjem stanovišta između realnog povoda i izmišljanja kao
procesa rukopisne slobode. Osnovu naseljava razrada autorskog prisustva naspram
sveta predmeta i događaja. Staza ulaska u sliku, crtež ili slikovni razmeštaj kolaža za
etape Gorana Jureše je markiranje putanje i igra sa sopstvenim fizičkim činom.
Stvaranje slike o datim okolnostima i okružujućim izmenama, još je od Platona kroz
sliku – iluziju iz našeg doba istrajno uvezana u deo realnosti. Grčka reč eko, koju je uveo
nemački prirodnjak Ernst Hekela u eko-logiju, jednako je vezana za nastanjivanje u
ekologos ili ekonomiku – proces koji se adaptira u šire shvatanje opažanja: u okružujuće
flore i faune, ali, pokazaće se, i zverstva u društvenim odnosima.
Još krajem sedamdesetih godina, Susan Sontag je u svom preispitivanju razvojnosti
svojstva medijuma fotografije postavila ključne dijagnoze o zamenjivanjima stvarnog
sveta svetom slike. Isto tako, i o izjednačenju, odnosno – suprotno – razlikovanju
slike od svoje pojave.3 U kapacitetu slika da poremete ili uzurpiraju stvarnost,
prateći srebronitratni trag u istoriji fotografskog medijuma, pokazaće se i opstanak
najbanalnijeg i sveprisutnog dokaza snimka sa poprišta sveta kakav jeste u svim
etapama svojih izmena.
Za razliku od depersonalizacije u fotografiji, neočekivane lokacije slikarstva u kulturi
otežavaju uporedivost, ali i unose teksture ekologije sistema slika, taj modus ispitivanja
koji u slikarstvu prerasta u autorski operativni sistem nauke o životu i procesualne
adaptacije realnosti oko nas kakva ona zaista fizički jeste.
3 Susan Sontag, Eseji o fotografiji, Radionica SIC, Beograd, 1982.
7
Poimanje i prihvatanje prostora iskustva u rasponu umetničkih dela upućuje na situacije,
na karaktere, i na sam iskazujući jezik predstavljača. Dinamiku sličnu pripovedanju ili
rečima, blisku objavama i dokazima prisvajaju laka i jednostavna shvatanja. Promene
ljudske vrste u saznanju, verovanju i korišćenju – opšte su slike okružujućeg sveta.
Vizuelna polifonija naslikane materije života, kao i životnih mogućnosti, pokatkad
izmiče statičnim definicijama zaustavljenih trenutaka. Oblici stvarnosti i njene izmene,
ta putopisna potreba za pribežištem i osvajanjem pokazaće se kao sublimacija za veći
deo ciklusa i stabilizovano dinamične eruptivnosti koje slike i crtanja Gorana Jureše
ispunjavaju u višegodišnjoj istrajnosti. Jer slike i jesu površine sa značenjem.
Civilizacijska prevlast pisma nad slikom tek u vreme mikromerenja u pikselima
otpočela je kao kodirana borba sa univerzumom shvatljive energije ljudskog opažanja.
Rekonstrukcija nečega od pre, ili od ko zna kada i ko zna gde, uporno se javlja kao
otvoreni pravac saznanja. Postupak čini praćenje pređenih, prelomljenih, savladanih,
porušenih, ali i novih granica. Iz tih razloga, po svoj prilici, kod slikara kompozicione
teme, zapisi, pozivanja i metamorfoze uzimaju u obzir dejstvo svih vrsta elemenata,
odlike koje postoje iz dana u dan, odvojeno od neke stvarne referirajuće predstave.
U umetnikovom procesu, to i jesu borbe za isticanje ostataka ideala i asociranja usled
izgubljenih i beznadnih situacija.
„Der Ursprung des Trauerbildes”
Stvaranje slike eksces je slobode. Posleratna egzistencijalistička agonija unela je
rezignaciju koja je uslovila stvaralaštvo diktata nasumične procesualnosti. Takvi
izrađivački principi u likovnoj umetnosti, možda proistekli iz motorike nadrealističkog
automatizma, uneli su konačne proizvode kao deo duševnih činova. Akciona ucrtavanja
i slikanja, bojenja, kapanja i doškrabavanja, nagli i impulsivni razmeštaji, postali su
logička i umetnička koherencija. Medijum slobodno izvedene razgradnje neodvojiv je
od pravaca umetničke oslobođenosti i grozničavih traganja u slikarstvu i sada muzejski
nezaobilaznih pojava, kako u Evropi (Dubuffet, Mathieu, Wols, Burri), tako i u Americi
(Gorky, De Kooning, Frankenthaler, Gotlieb, Pollock). Takvi procesi umetničkog
stvaranja i različite interpretacije njihovih objektivnih sadržaja mogli su da u
raznolikostima ekspresije otvore tumačenja za psihološko i motivacijsko razumevanje.
Moguće je da se odstupanjem od figurativnih prisustava, od likovnih tema uočljivosti
ambijenta, pejzaža, plana ili ljudskih objava javlja svojevrsno tumačenje stvaranja
postupka akcionog unosa i egzistencijalnih dinamika stvaranja prizora kao poprišta.
U principima zahvata prema preklapanjima slikarske materije po tonu i na površini
izrazito dosledan postupak naslojavanja boje Mark Rothko je ispoljio u vidu pravca
otvaranja novih ishoda. Izvesno je da se koncentracija romantične varijante zanosa
8
pojavila u njegovoj tehnici naslojavanja do praga pravljenja neuočljivog vidljivim,
izazvavši postepeno revoluciju u opažanju.4 U funkcijama i značenjima materijalnog
sveta otuda se objava ljudskog prisustva, taj figurativno-portretski entitet uočava kao
glavna odredljivost i fantazam prikrivenog sadržaja, od rukopisa vizuelne umetnosti ka
opštem okrilju kulture i nazad, sa velikim značenjskim prtljagom i spontanim, afektivno
unesenim sadržajima. Dela nisu puko formiranje analogija. Stvaranje intuitivnih
emocionalnih obličja u vibrantnim prizorima predmetnih selidbi i pomeranja po
svoj prilici sugerišu izvesnu obuzetost i svest o nimalo bezazlenom svetu društvenih
odnosa. Slike tako, paradoksalno, postaju više realne nego bilo kakva realnost o kojoj
se slike prave. Da li je gustina boje ili sabijena naziruća vidljivost forme drugo ime za
lepotu ili istinitost?
Fragmentisan unos u postupak Gorana Jureše sadrži konture, ostatke oblika i izvesne
vidljive trase antropoloških nalaza. Dekomponovani postupak je uočljiv. Nižu se, kroz
deonice boje i pasaže, serijski ispadi od intimnih vizija aktivnosti, realnog plana i
fantazma sve do zabavnih odnosa. U ciklus slika Wolfgang, ostvarivan u prvoj polovini
decenije, učestalije od 2003. do 2008, uvedeno je iskustvo prekršaja i sasvim neobičnog.
Mozartova dopisivanja sa ocem Leopoldom ili opisi koje je jedinstveni vunderkind
imao sa svojom ženom Constanzom, preneta su iz fragmentisanih epistolarnih hronika,
sa žovijalnim uzdasima, jezički skatološkim fantazmima kreacije, kao i govornim
neučtivim opisima ekskremenata. Polazište je to i za sve što će mnogo kasnije uslediti
za čulnim efektom delotvorno slatkog austrijskog konditorskog recepta „mozart kugli“,
čokoladiranog nugata sa pistaćima i marcipanom, preraslog u civilizacijski brend
privlačne potrošačke želje.5
Tako je i sa rečenicom naslovljenom za naslikano delo Erzlümmel6, jednako i s delima
koja objedinuju ciklus Wolfgang sa istrgnutim fragmentisanim i uvrnuto zabavnim
ispadima koji dospevaju iz Mozartove prepiske i naslovima slika kao što su Groster
Schroll get das Moll, Without Hardness ili Što nemam tri glave.
S kulturološke strane, bavljenje u kontekstu evropske prosvećenosti istorijskom, pa
i umetničkom i transcendirajućom pojavom čuda od deteta do apsolutno suverenog
4 Pozicija Rothka i pomne koncentrisanosti ka slikanoj viziji dokaz je uticajnog, transistorijskog tumačenja
umeća slikanja. Radi se o objavi promene u predstavi kao romantičnog impulsa – Robert Rosenblum, Modern
Painting and the Northern Romantic Tradition: Friedrich to Rothko, Thames & Hudson, London and New York,
1975.
5 O indikatoru i statusu „mozart kugli“ u zbirci priča: Mileta Prodanović, Putopisi po slikama i etiketama:
Jedanaest lakih komada, Matica srpska, Novi Sad, 1993.
6 U pitanju su Mozartovi mali komadi za orgulje.
9
putnika u unutarnju dimenziju muzičke harmonije klasicizma, slikar se odlučuje za
naslov njegovog prvog detinjeg imena.7
Mora da je ta zabavno-skaradna naracija iz pisama, sprovodiva kao bizarno nasleđe
zaprepašćujućih oblikovnih postupaka samog kompozitora, otvorila putanju ka
umilnom i menuetski zavodljivom unošenju lamentozne i, bez ostatka, duboke
paralelele doživljaja sveta.
Dela usredsređena na portrete, na geste ili izgovorenu frazu možda prizivaju vlastito
kruženje i odaju samosvesno traganje za višeslojnim značenjima umetničke slobode,
oslobađanja od stega i detinjih prekršaja. Mozartova pisanja su i skandalizovani
dokazi psihološkog delovanja mladalačkog karaktera i usredsređenosti na detalje koji
se u analitičkom ogledu mogu pronaći i u muzičkom pismu pojedinih citata, vlastitih
parafraza i zatvorenih igri, u sopstvenom svetu same biti muzičke forme. Ciklus
Wolfgang donosi, uz kolorističke gestove i reske deonice boje, i pojedine rečenice koje
destrukcijom očekivanosti lica i tela iskazuju ruševnu trošnost ma koje ličnosti i gde se
likovno dinamizuje priroda ljudskih vrlina i eruptivne strasti.
Neizostavno vidljiv u linijama i pasažima te serije je trag zaustavljene akcije slikareve
pokretljivosti. „Kako nas podseća Paul Klee, u grafičkom gestu od suštinske važnosti
je pokret, a crtež je samo naknadna posledica. Tako on stoji nasuprot gestu pisanja i
slikanja. Gest pisanja u stvari mora ovladati grafičkom konvencijom znaka kojim se
misao prenosi; gest slikanja svoj efekat dobija kroz svrhu da se uskladi sa pikturalnim
planom; sam gest crtanja, koji se ostvaruje namah, bez mogućnosti ponavljanja, ne
izvlači svoju posebnost ni iz čega drugog osim iz sposobnosti ruke da mu dozvoli da
se poveže sa pokretom koji se događa. A linija nam govori o pokretu više nego bilo
koji drugi oblik ispisa. (…) Prva teškoća sa kojim se srećemo (…) tiče se efemernog
karaktera gesta. Zar on nije ono što umire zato da bi opstao trag?“8
Koliko se površina naslikanih tragova, urezanih i upisanih vidljivosti izmenila svedoče
paralelne i istrajne verzije hvatanja ukoštac sa spomenicima u svim medijumima, sa
istraženim mestima i otkrivenim pravcima. U delima Gorana Jureše sa otisnutim,
suprotnim smislovima prareči ili praslika ukazuje se psihologija rukopisnog intenziteta
umetnosti crtanja, slikanja i preobražaja. Razlomljenost slike i reči pronalazi se opet u
konstruktima kolaža, čineći pronicljiv i otvoren voljni zamajac njegovog postupka, kao
7 Nastalom na tragu rukopisne pretrage po infantilnim izlivima i neočekivanostima. U likovnom delu datim
karakterizacijama crteža i slika istoimenog ciklusa. Postupak se razlikuje od poentiranja filmske adaptacije
drame Petera Schafera koja za svoj naslov i konfliktni momenat preuzima Wofgangovo srednje ime Gottlieb,
tj. italijanizirano Amadeus ili „Onaj koji Boga voli“, u stvari „Bogoljub“, koji nije sam Mozart već glavni junak,
njegov zavidljivi takmac iz doba Josefa II, bečki kompozitor Antonio Salieri.
8 Serž Tiseron, Naum crteža – grafički gest i žalovanje, Gradac br. 160–161, temat: Melanholija, Dom kulture,
Čačak, 2007, 184–193.
10
i domašaja njegove umetnosti. Radi se o lociranju razumevanja izmena ljudskih kretnji
u prošlosti.
Organska, unutarnja anatomija istorijskog prisustva u slici je objektivizacija psihičkih
procesa, govora i genetičkog razumevanja prirode ljudskog izraza, po svoj prilici
grohota, besa ili motivacije, kao i stvaranja novog niza kauzalnih pitanja. Uzročna
objašnjenja fenomena ponašanja su i otvaranje kataloga povoda i odabranih ličnosti iz
evropske tradicije u klasifikovanju etike delovanja.
Rastresita i proporcionalno okružujuća struktura u delima izvire iz unesenog položaja
tela i funkcije dominirajuće ljudske glave izvedene iz portreta u prostoru.
Kroz linearnu i slikarski raznoliko tretiranu količinu poteza i akcije vidljiva je i suštinska
orijentacija ka istraživanju oslobođene ljudske težine, ta bestelesna ili nagonima i
izrazima uvedena identifikacija. Počevši od Mozarta i pitanja bestelesnosti, snažne
demarkacije i kontrasti prožeće i nastupajuće serije crteža, slika i kolaža koje od 2008.
pa do 2014. zahvataju pravce portretskog porekla i ljudske aglomeracije bačenosti u
prostor. Teze za zajednički imenitelj nalaze se u unosima likovnih tragova, urezivanja,
utrljavanja i bojenih i linearnih preklapanja i, opšte uzev, u visceralnim izlivima eterične
slikarske materije dinamičkog prizora.
Po svoj prilici, osnovna postavka je i brižljiva i unosna koncentracija postupka:
moguće je da se takav fiziološki i anatomski lom razgradnje fizičnosti pruža kao
putanja probavnog kanala ljudske vrste kroz procese uzimanja, varenja, prerade i
transformacije. Materijalna istorija sveta – gradacija tragova, iskaza i stavova, koja prati
ceremonijalni portret pokazaće se i kao rastreseno i melanholično suočenje s ljudskom
voljom i odlukama kao spomenima beščašća. Plovidbe i jedrenja, ta produktivna
putanja otkrivanja i korišćenja Novog sveta, sprovedena je kroz otiskivanje samog
slikarskog radnog procesa, kao gledanje novih mogućnosti i zadovoljavanje apetita.
Gradacija i intenzitet likovne materije, njenih fizičkih svojstava i posrednih značenja
dozivaju neporecivo i avanturu čežnjive žudnje za prevazilaženjem unutar mitskih
osnova upisanih u pamćenje. Okolnosti koje su činjenica ljudske nedoraslosti i ponora
svireposti otvaraju se kao apetit duboke međuigre između konačnosti i eshatologije
i realno odvijane istorije unutar profanih borbi za političkom moći. Kraljevsko
vrhunsko zakonodavno i verujuće biće pokazaće se središnjom spekulativnom
konstrukcijom figurativnih tragova u slikarstvu Gorana Jureše. Pruženost likovne
materije u kompozicijama je bez konstruktivnih delova i spojeva. Prisustvo glave kao
polazišta i sakrosanktne evropske prošlosti doseže do „satanske zone“ suverenosti, kao
što je Walter Benjamin raspoznao na osnovu „trauerspiela“, ili nemačke žalobne igre,
narodnog nasleđa koje je od ranog baroknog doba odredilo antropološki udes zapadnih
samosvesti.
Benjamin je u tom spisu iz 1928. dao nacrt estetičke teorije melanholije i alegorije,
osvetljavajući licemerne predstave istorije, ali i njegove savremenosti. Spasavanje
11
alegorije – središnja tema te knjige o tragediji – prvi put je pružila uvid u odavno
zanemarena područja poetskog i teološkog jezika.9
Ijasent Rigo Luj XIV 1701.
Život tih kolorističkih implozija, karakternih iskrivljenja
i topografskih pružanja zahvaćen je likovnim unosima
trajanja i unošenjima jezika ispisa, fragmenta i iskaza
saznanja. Slikovna predstava je sinteza apstraktnih obrta
i unosa, čineći, po Benjaminu, stvaranje istovremeno sa
propadanjem. Tek stvorene stvari – entiteti, predmeti,
akcije i pomeranja postaju pozadina na kojoj se sve jasnije
vidi žig njihovog propadanja. Istorijski i paradni portret
iz prošlosti za slikara je serijska operacija nad suverenima,
neprikosnovenim vrhovnim bićima, apsolutistima i
kolonizatorima. Vizuelni prelom odvija se u svojstvima
glava ili portretskim pokazivanjima, i to od kada je
zapadnoevropska istorija podarila silu i pravila kako šta
izgleda i kakvim nam se zaista čini. Iskazana muka je i
trijumfalna, i pokazuje uspehe ljudske vrste. Otkrivanje
novih svetova kroz pomorska otkrića teritorija evocirano
je u delu ironijske najave, Dolazi Kolumbo (2010),
dvometarskom zahvatu u kartografsko pokazivanje
osvajanja. Kolumbovi brodovi Santa Maria, Pinta i Ninja
javljaju se kao zatamnjeni i ustalasani plovidbeni ostaci
markantnih istorijskih znakova. Četiri naporna putovanja
i moreplovačka ukrštanja su zamena za ciklus dvorskog
barokizovanog eksponiranja. Ukoliko bi se Benjaminova
ideja tereta premetnula ka obnovi „drveta saznanja“ i
otkrivanjima novog kontinenta i novih mogućnosti, tada
su realni ali i simbolički plodovi uzorka pruženi u razradi
i istrajnosti umetnikovog istraživanja.
Hernan Kortez
9 W. Benjamin, Porijeklo njemačke žalobne igre, Veselin Masleša, Sarajevo, 1989.
12
Hronika najavljene propasti ili ostaci pernate zmije
Kroz gustine i podvučena jezgra u sukobima i dinamizaciji slika i poteza istorijski se
odvijala borba sa korišćenim bojenim pigmentima. Sprovedena je, što dela i pokazuju,
s taktilnošću upotrebe akrilnih, grafitnih i pastelnih pravaca ucrtavanja, utrljavanja,
otiskivanja, radiranja i preklapanja. Pravac kompozicija u horizontalnom geografskom
kartografskom razmaku dat je kao i unekoliko drukčije portretsko poniranje ili u
predlošcima religijski ispovedne vertikalne oltarske dimenzije. Nalik ritualu ispovesti,
slikar se nalazi u domenu postavljenom još od apstraktnog ekspresionizma ili
rastvaranja senzitivnog nizanja predanosti u samoći ateljea. Riskantan trag je uočljiv,
iscrpljivanje pripovednog potencijala je vreme ulogâ, personifikacijâ i pozivanja u svim
ciklusima koji odaju funkcije, uloge i istorijsku matricu hronike nekadašnjeg, drugog i
drukčijeg života.
Ucrtani, naslikani i kružeći oblici zaustavljeni su u osećaju stalnog protoka. Nanošenja
boje dodirujućim utiskivanjem prstima ili dlanom uljane boje ili uljanih pastela
zapisano je u pojavama i ranijih apstraktno vibrantnih kolorističkih prizora.10 Po
svemu sudeći, umetnikovo stanovište na planu dvodimenzionalnosti je i nastojanje da
se razume, naglasi i pokaže priroda odnosa. Odnosi se lako određuju između tradicije,
između ljudskog unosa i predanosti. Objektivno raspoznavanje i pamćenje uključuje
pokretljivost, koja u likovnu umetnost dolazi iz književnosti, ali se odvijaju između
politike, ekonomije i sadašnje ili nekadašnje tehnologije. Isto tako, takav ukupni,
holistički pristup sveukupnom zahvatu uključuje kretnje, kao i stepene različitosti
nacija, zajednica i rodova. Interesovanje i isticanje odnosa na poprištu određuje
dinamizaciju likovnih dela, njihovo otiskivanje i protivrečne paradokse u ime pojmova
delovanja: identiteta, čovečnosti, razlike, slobode, demokratije, etike, kao i suprotnosti
život – smrt i moći upamćivanja. Od moreplovačkih tragova u zapisima i infantilno
asociranim plovilima i površinama raspoznaje se slikareva procesualna težnja.
Postavljena je kao obuhvatna putanja odlaženja, otkrivanja, akcije, prevrata i spletki,
uništenja i vraćanja. Teorijski pristupi svode se na nemogućnost ujednačene definicije.
Uočavanjem je ta iluzija shematske dubine slike ili dubine shvatanja fenomena morskog
prostranstva osobena za medijum modernizma. Sa psihološke strane, kod Gorana
Jureše se naslikana plovidba površinom slike, moguće je, približava stanju izrazite
izolacije, udaljavanju od društvenih nameta. Prihvatanje oblasti procesa i putovanja sa
istorijskim pozivanjem na moreplovačka otkrića pojačava čistinu čulnog ne-prostora
vodene nepreglednosti.
Kako se radi o automatizmu prema vizuelnosti i prema začudnom stapanju predmeta
i lica, stvaranje novog slikovnog ansambla je s jedne strane inovacija, a s druge strane
povratak na ustaljene predstave i figure, pri čemu se demonstrira granica optičkih
10 Postupak izrade je praćen u zapažanjima sugestivnosti slika i crteža u tekstu Koste Bogdanovića: 22.
novembar 2003, sa websitea G. Jureše.
13
protokola – kako šta vidimo i kako šta projektujemo. Krajem XIX veka zapadna
društa su te projekcije „drugog“ i drukčijeg, sablasnog i zagonetnog, uvele kao izazov.
Iz sve komunikativnijih instanci ponuda je strujala javnim zabavnim predstavama
s vizuelnim senzacijama. Dinamika iluzije
pokreta je još pre Lumiereovog patentiranja
kamere bila podložna efektima poput projekcije
stereoskopije. Priroda sagledavanja u iskoraku
zahvatila je kroz dvojnu sliku i njena odstupanja
i ranije pojmove, od bajkovitih jednostavnih
matrica do imitacije o tome kako Priroda
zaista izgleda, i kako se u njoj krećemo, sa
svim pratećim efektima i scenskim optičkim
varkama.11 Prvobitno začudno snažni istorijski
fenomen dosluha sa čudesnim u ciklusu
Stereskopska projekcija 1891.
Wolfgang ili kasnija parafraza na istorijske
portrete vrhunske hijerarhije poput Louisa
XIV – „kralja Sunca“ (1638–1715) imenovani su i razmaknuti u obličje na krajnje
zatamnjenoj pozadini ličnosti iz ranijeg istorijskog pohoda, na zrenje pustolova,
političara, vojskovođe i genocidnog komandanta Hernana Korteza (1485–1547).
Invazivna putanja elemenata sa kartografskih mapa i odmerena i izračunata podela
obrazuje najveći deo slika i crteža spontano horizontalnog rasporeda.
Kraljevski dvorovi Portugala, Španije i Francuske, njihove monarhijske veze i habzburški
tragovi i preplitanja su ishodi
ceremonijalnih traganja, postajući
vizuelna arhiva ukupne prošlosti i
pamćenja pozlata i zatamnjenosti
Velaskezovih portreta ili Rigaultove
predstave Kralja Sunca.
Sagrađenost prizora slike vrvi
elementima, kanonskim uplivima,
tragovima ubrzanih oznaka i upisa,
Kortezovo kretanje tlom Meksika, juli 1520.
prenosnih zapisa i pripovednih
nameta i modulacija. Koncepcija i plan su stvaranje sistema akcija rukopisnog unosa
(namerenih gestova), kao i slučajnosti (trenutka i unesenog traga ili otiska koji nastaje
slučajnošću). Struktura umetničkog teksta i zapisa je potresena. Slika postaje raskrsnica
događaja za vibrantnost subjekta ili zapleta.
11 O tim vidovima naslojavanja javne slike – Jonathan Crary, Suspensions of Perception – attention,
spectacle, and modern culture, MIT Press, Cambridge, Ma., 1999.
14
Koliko i kako delimo naše shvatanje prostora? Gde tačno dosežu univerzum saznanja
i stepeni doprinosa? Civilizacijski pomak? Na ta pitanja odgovara istorijsko mesto
inovativnosti oslobođenih metoda unošenja. Njih je dosledno
sproveo američki slikar Cy Twombly (1925–2011) na
tragovima antičkih i drevnih nasleđa, decenijama samostalno
delujući u Rimu. Twombly je stvorio vlastite poetičke figure
tragova kaligrafskih unosa u poljima slike, brisanja, prekida
i pobuđivanja uvedenih, užvrljanih slučajnosti iskustva koje
počinje nehotično da pripada, po Benjaminu, „svakoj novoj
sadašnjosti“. Njegova rastvarajuća predmetna nerealnost
nudi emocionalni intenzitet i površinsku izranavljenost
tkiva slike kao područja metamorfoza, pokatkad vezanih
za mitološka, epska ili i pastoralna mediteranska polazišta i
civilizacijske osnove.12
Razgranat na intenzitete, pravac takvog poniranja se
odvija na slikama ili u raznobojnim crtanjima, u pažljivo
Saj Tvombli Leda i labud 1963.
odmerenim i pruženim papirnim tragovima na kolažima
Gorana Jureše. Umetnik u iskustvu odmicanja saznanja i svepritiskajuće implozije
slike nema retoričnu proizvoljnost, niti kolebanja. Postaje poetični istraživač smelih i
gnusnih pretpostavki ljudske avanture.
Gest u nastajanju poteza i tragova ucrtavanja ili korišćenja boje je suštinski prostorni
trenutak ostvarivanja kretnje. Upućuje na svojstvo pokretljivosti planova ili razmeštaja
u okrilju površine i crteža, zapisa i samih
kolorističkih i grafoloških tragova u nastanku
kompozicije. Morska površina i tematizacija
zapadnih osvajanja je modus refleksivnog
apstrahovanja i odlaska iz ponuđenog sveta.
Medijum u kome se ispoljava kolonizatorska
borba, nadasve period od Kolumba do
Hernana Cortesa i afere kolonizatorske
eksploatacije Srednje Amerike i Meksika
nije kontinuiran niti linearni tok unutar
neprekidne metamorfoze istorijskih saznanja.
Džon Vanderlin Kristofer Kolumbo
Odslikati zbivanja kakva su bila Kolumbova
otkriva Amerike za Španiju 1842-47.
audijencija kod Isabele od Aragona po
povratku iz „novog sveta“, ili Cortesovi pohodi upućeni su individualnom činu ličnog
prilaska slikanju neproverljivih događaja. Otud iscrtati-ispisati, odigrano u domenu
12 Kirk Varnedoe, „Inscriptions in Arcadia“, u: Cy Twombly, A Retrospective – MoMA, New York, 1994.
15
likovne kompozicije, nikada ne znači razbuditi prošlost ili predstaviti sadašnjost.
Moguće je da se objektivno predstavljanje nestalih okolnosti i zapanjujućih posledica
prepušta slikovnoj formaciji i u samom značenju. Istorija postaje iščezavajuća alegorija.
Kretanje slikanja i upisivanja je neprekidna promena pravaca, i kroz sagledavanje
kompozicijske dinamike i dokaz nedostatka predvidljivih prelazaka.
Slučaj pernate zmije ili Quetzalcoatl za astečka pravila mitskog proročanstva i
zemaljskih muka, prati sudar dve civilizacije – suočenje domorodaca sa španskim
konkistadorima. Izreke proročišta i žrtvovanja starosedelaca i katoličko kolonizatorska
evokacija bogomdanog prelaska u rastvor „drugog“, izazivaju različite oblike
varvarstva. Suštinska, etnografski uočljiva zazornost od neprijatelja i ubeđenja koja
se protežu evropskim nasleđem raznih mitskih priča još od indoevropskih tragova i
selidbe religijskih simbola i personifikacija svoje zrenje doseže u katoličkoj osvajačkoj
putanji. Otud se Cortes pojavljuje kao zamena za diverzanta i za preteču odmetnutih
drevnih fantazija koje sežu do svih pojava karnalnog korišćenja, proždiranja samog
obreda kanibalizma kao najvišeg varvarskog ali i zapadnjačkog fantazma. Oralno
trošenje raskomadanog bića se javlja ne samo kao nasleđe principa zrelog XVI veka već
i kao slučaj koji se po svojim pretpostavkama uliva u instinktivno etičko vrednovanje
priziva nadovezivanja na helenske mislioce.
U slavnim ogledima Michel de Montaigne je temu i iscrpni opis „O ljudožderima“
zahvatio kao promišljajuću spekulaciju o ponašanjima.
Etnografske nalaze hijerarhije službi i uverenja drugog, u poređenjima sa antičkim
pripovestima i poukama iz beščasnih odnosa, za njega se odvijaju na granici svojevrsnog
kataloga izopačenosti, izdajstva, tiranije i svireposti, nemajući sklonost ni za jednu
podeljenu stranu, ni osvajača, niti egzotičnih, kako Montaigne i navodi, „divljaka“.13
Inventar te putanje za slikara je verovatno i neposredno povezan sa iskrivljenjem cilja
i objekata i može se pretvoriti čak i u svoju suprotnost. Likovna tekstura slika, ali i
crteža i kolaža je proces iskidanih predavanja u izradi. Po tom procesu nadovezuju se
monumentalna kompozicija Jedanaest crnih brodova Hernana Korteza / Eleven Black
Ships of Hernan Cortes (2009) u istrajno osobenoj kombinaciji akrilika i ulja na platnu,
koju prati Kortez kao Kvatcakoatl (2011), kolaž sa portretom osvajača i mitološkim
ekspresivnim tragovima božanstva pernate zmije ili sličnih astečkih nalaza, ili raznim
ishodima meteža u crtežima, koji podiže epizode prolaska kroz osvajanje Mexica oko
1520. i suočenje sa astečkim vladarem Montezumom II.
Zaslepljujuća, uglavnom svetla i bela, gotovo mapirana osnova prizora s pohodima i
konfliktima pandan je ranijim serijama na zatamnjenim pozadinama. Čini se da je
duh gneva i deo istrebljivačkih zverstava genocidnih satiranja jezgrovito akumuliran
u pravcima ukupne istorije i varvarskih tragova. Oni se ukazuju kao razumski i
13 „O ljudožderima“ u: M. de Montenj, Ogledi, Ušće, Beograd, 2001.
16
emocionalni napad na temu i likovnu materiju i u drugim delima, kolažima i iscepkanim
upotrebama uz zlato i plen biljnih kultura i mahune kakaovca. Prah koji će se, kao
transformacija u čokoladu, javiti u proizvodnom spomenu eksploatacije, materijalni je
supstrat izliva osvajačkih suočenja i nemilosti.
Raspon tih agresija je i demarkacija sa džinovskom temom teritorijalnih pustošenja i
upotrebe ljudskih resursa, postajući i ogledalska varijanta pitanja ko se i koliko nalazi,
i sa koje strane, u kanibalskim ulogama. Između osvajanja teritorija severa i juga
Amerike i avantura koje od Cortesa zahvataju i putnike kakvi su Bartolomé de las Casas
ili Jean de Léry, nastaje istraživanje opravdanosti humanizma evropske imaginacije
svega drugog i drukčijeg. Agresivni univerzalizam modernog Zapada je ne samo
apsolutistički pravac koji je trajao više od tri stotine godina, već i jedna od najvažnijih
etičkih tema dugotrajnog procesa industrijalizacije i modernizacije u Evropi, kao i
postindustrijskih domašaja. Cortesove putanje u ime kralja Karla V stapaju likovne
naznake, ispise sa mapa i prolaske kroz mesta Tlaxacan, suočenje sa Cholula ratnicima,
te astečke prestonice Tenochtitlán, koji prerastaju u integrisane toponime autorovog
rukopisa.
Zgnušani nad pravilima zajednice, pobornici Doba razuma, i to i na drugim
potkontinentima, imali su za cilj da iskažu raseljavanje i otimačka uređenja kao
vladarsko pravilo. Tamni i zastrašujući vidovi agresivnog i uništavajućeg masakra
postaju ne samo satiranje kultova inskripcija i vradžbina stare civilizacije već zahvataju
ironijsku stranu zapadnog promišljanja. Najranije gnušanje sproveo je Jonathan Swift
u Gulliverovim putovanjima, a te postavke se pokazuju u svim vidovima prinudnih,
izazvanih netrpeljivosti i surovosti, od proročanstava do genocidnih satiranja plemena
i naroda. Posledica i pamćenje na njih tek u poslednje tri decenije, na osnovu istorijskih
podataka i nagađanja, stižu u fokus mnogih istraživanja i užasavajućih otkrića: žrtava
u Kongu pod belgijskom krunom, indijskih satiranja, istrebljenja severnoameričkih
Indijanaca, sudbine udaljenih amazonskih plemena, ruskih „pogroma“ i antisemitizma,
ili na evropskom istoku arijevskog programa eugenike i Holokausta.14
Nalik na obradu događaja kao što su putopisni napadi, rezervoar hronika, zapisa, mapa
i predanja oko istrebljenja astečke civilizacije i španskog osvajanja Meksika, doktrina
postaje pokretač za instinktivno i intuitivno građenje opšte zapadne mitologizacije
Trećeg sveta. Kod tih istrajno uvedenih pravaca, Goran Jureša nije sledbenik
kontraprosvećenog uzmaka u samonađeni romantizam saosećanja sa represiranima,
već posredan posmatrač sveta umetnosti današnjice i škrtih pravila u aktuelnim
kulturnim i ekonomskim eksploatacijama i političkim dominacijama. Ironijski
14 O pravcima podela i podrugljivim opisima i odslikavanjima klasifikacije ljudskih bića kroz književnu
imaginaciju u kulturološkoj studiji – Claude Rawson, God, Gulliver and Genocide, Oxford UP, 2001.
17
privržen rasvetljavanju svojih unosa u polje slike, on se odaje prenosu rituala prosute
krvi od žrtvovanja do pripovesti višegodišnjeg Cortesovog suočavanja, trgovanja,
prevara i obračuna s narodom pernate zmije.
Neznano i nestalo Srce tame, po istoimenoj afričkoj avanturi romana Josepha Conrada,
kao i svi vidovi referencijalnog postkolonijalnog traga, prepušteni su potresenim
potezima i zagrcnuto iscurelim tragovima, kao i eksplozivnoj gustini. Po pravilu, dela
nastala olovkama i utrljavanjem mase voštanih pastela, naslojavanjima prisnog dodira i
koncentracije u utisnutu, užvrljanu strukturu, izvedena su iz već odnegovanog refleksa
višegodišnje, decenijske pretrage po strukturi prizora, po efektima suočenja jedne,
druge ili treće boje, sve do dejstva osobenog udaljenog figurativnog palimpsesta.
Crne misli more Hernana Korteza (Dark thoughts are swarming the mind of Hernan
Cortez) su istoimeni i za kolaž i za razvijenu sliku s dominantnim za slikara osobenim
crvenim gustinama. Kolaž koji joj je prethodio ima drugo poreklo, asocijativnu
pretpostavku: egzaktan nacrt sa tri modularna crna obrisa nalik na Duchampove
krojačke modle telesnosti muške odeće, bliske shemi konkistadorskih oklopa,
imenovane prosioce iz Velikog stakla. Entiteti napadnog i razjarujućeg jada i pustošenja,
i po naslovu te složene tvorevine čine metatekstualni odnos ka podsvesti i krivici, ka
postavkama religijskih sudara utemeljenih u upravljanju nacijama i raznim vidovima
podmuklih rešenja. Iz obilja varijanti i verzija moreplovačkih pomorskih putanja mapa
– slikarstva nastale su pretežno slike – prizori horizontalnog rasporeda. Sa njima se
uklapaju vertikalne postavke, prethodnica prizora-akcija ili svojevrsnih anamneza
portretskih apsolutističkih fantazmagorija iz puke realnosti.
„Fair Trade Spectacle“
Toponimi Srednje Amerike uvedeni u pojedine slike ili crtanja, kao što je, na primer,
Orizaba, čine da topografija mesta otkrivanog po osvajanjima teritorija seže u raznolike
nalaze, dostupne enciklopedijskim putanjama i opštim informacijama, utopljenim u
podrazumevajuće znanje i izražena čulna uživanja. Kakaovac i lučenje endomorfina ili
hormona sreće najdirektniji je udar na čulo ukusa i zadovoljstva. Svest kao da opstaje i
počiva tragajući za karbohidratima i prešećerenju doživljaja.
Hemijsko preobraćanje svesti iz želje u zadovoljstvo ostvaruje putanju pozivanja i
učvršćuje matricu ljudske pretrage i poriva i egocentričnih slavljeničkih ili fanatizovanih
uverenja: od Kolumba još od 1489, njegove ceremonijalne audijencije, sve do Cortesa
1520-ih godina.
Slike s glavama i odlomcima dijaloga deo su odstupanja energetskih mera eksploatacije.
Korišćenje prirodnih i ljudskih resursa i razbijeni izlivi likovne materije uočljivi su kao
dvodimenzionalna mreža tragova i ljudskosti – krvi i obrta u zagrcnutom spektaklu.
18
Kroz kartografsko-biološki prenos likovno tretirane materije možda se odvijaju vidovi
promena, preobražaji od morskog organizma moguće ribe ka sagrađenim brodovima,
dubinama vodene energije i plovidbi, odnosno teritorijalnog razmeštanja karte,
brodskog dnevnika i doživljaja. Takva rastresitost likovne granice odgovara upravo
aktivnom refleksu i masovnosti trošenja, potrošnje i ispada. Postoji zanimljiva obrtna
metafora ukoliko su ti vidovi slikovne avanture spovedeni kao interslikovito hvatanje
ukoštac sa osnovnim antropološkim nalazima shvatljivog, izmerljivog i dokučivog
zapadnog mišljenja.
Tela i glave dinastičke obrade dosežu munjevite izmene u kojima se u autoru
svojstvenoj izmičućoj odredljivosti nalaze i suvereni španskog dvora i habzburške loze,
i Louis XIII, potom njegov naslednik Kralj Sunce i Maria Theresa (1638–1683), sve do
svetogrdnih vizija ličnosti nalik na džinovske bankete ili budoare. Ličnosti mora da su
indikatori za hronotope, oblikovna stecišta vremena i prostora. Poreklo tih „vremeprostor“ ljudi je subjektivni realizam nove vrste. Oni i postaju „hronotopi“ odabranog
istorijskog vremena i raskriljuju izražajnu funkciju stvaralaštva po žanrovima. Mada
je termin dospeo iz dvadesetovekovne književne teorije,15 hronotopski pravci mogu
svoju prostornu primenu da zauzmu i u modernističkoj matematici i fizici: metafora
hronotopa, ma koliko formalna kategorija, fuzija je umetnikovog odnosa prema
proteklom vremenu i istorijskim zapletima.
Sudelovanjem na hronotopskoj sceničnosti prizora kao da je otvorena slikarska
lingvistička antropologija između priviđenja i emocionalnog razočaranja. Sastojci
serije crteža i slika odaju didaktičnu, liričnu i
melodramatsku strukturu odnosa na dvoru.
Serija Louis XIII, nastala 2008, ucrtanu shemu
muzejske umetnosti premetnula je u moralni
život savremene transformacije vladarske
autoritarnosti.
Podsećajući
na
postupke
slikarskih ritualno nehotičnih „vudu” upisivanja
J. M. Basquiata i na moći ljudožderskih svojstava,
ta vulgarna politika ka podanicima i njihovoj
nepripremljenosti postaje tanani kontrapunkt.
Osvojeni kolonizovani svet njihovi vladari
doslovno skrivaju i istovremeno objavljuju
zamračenje
„slepe
teritorije”
prividnog
odsustva zapleta. Nesporno u varijanti dečjeg
prelamanja oblika, Louis XIII i Ana od Austrije
su distorziran figurativni potres obeščašćivanja
i degradacije optičkih očekivanja. Moguće je
15 Žan Mišel Baskija Hollywood Africans 1983.
U filozofiju jezika uveo ga je 1937. slavni sovjetski teoretičar književnosti Mihail Bahtin.
19
da se radi o triku paradne uniformnosti i suverenosti dostojanstva dvorskih slikara i
dubina ambijentalizacije cilja na predloške majstora poput Van Dycka ili Velasqueza,
čije iskustvo u rasvetljenju ljudskog izgleda nadvladava kreštavi upravni govor i
ceremonijalne objave postojanja iz simboličke tame enterijerskih pozadina. Racionalni
svet takvih rešenja nije u interesu minimalne harmonije.
Štaviše, logika podele na protivurečnosti i muke dvorskih i dinastičkih preklapanja
izvedena je kao zapuštena, neorganizovana energetska teškoća vidljivosti, jednako na
slikama i u naletima autorove rukopisne izražajnosti na crtežima naslovljenih tema.
Delo Skrhana neverstvima Luja Četrnaestog i okružena patuljcima, Marija Tereza pije
čokoladu (Devastated by Louis XIV’s Infidelities and Surrounded by Midgets Maria
Theresa is Drinking a Cup of Chocolate), nastalo olovkama, akrilom i uljem na platnu
2010, je čvorište za egzistencijalnu dramu sravnjivanja hijerarhije i groteski vladarskog
bilansa. Objava čokolade postaće za autora i izazov praćenja njenog kulturološkog
sveprisustva i upisivanja u čulno iskustvo. Ne radi se samo o sirovini i prahu donesenom
iz Novog sveta u Evropu, već i o podsvesnom jedinjenju ogromnog uticaja. Pronalaženje
kakaovca, početkom XVI veka, morepolovca Cristóbala Colóna poznatijeg kao
Kolumbo, i njegov povratak kralju Ferdinandu od Aragone i kraljici Izabeli od Kastilje
bio je prvi zabeležen prenos čaure kakaovca.16
U svemu se protivurečnost proizvoda određuje kao izvestan depresivni fantazam,
gde se kolonijalistički efekti, prosuta ljudska plazma i tragovi nasilja i brzih promena
stapaju sa epizodama kulinarskog ili alhemijskog spravljanja uživanja, gde se vrelina
kuvane crne slatke čokolade nameće u porcelanskim Meissen šoljicama; otimačina,
prekomponovanje, izjedanje slobode ili ukidanje ma kakvih principa saosećanja
iz istorijskih hronika, po svemu sudeći, pobuđeni su nemilosrdnim, informacijski
zasićenim svetom komunikacije današnjeg sveta slika, ljudskih umnožavanja,
migracija i različitih nivoa otimanja. Kosmogram o novim ekonomijama vrlo je moguć.
Trgovačka robna kreditna i investiciona razmena i fluktuacija berzanskih koeficijenata
doseže zapanjujuće varijabile i odstupajuće dinamike. Slično je i sa migracionim
uredbama, praksama i posledicama u kojima kroz zemlje ispod polutara struji
eksploatatorski doprinos. Radna snaga Trećeg sveta ustaljeno je iskrivljena i preuzeta
iz svojih prvobitnih kolonijalnih uporišta. Tranzitorni prenos je dosledno zahvaćen
ka globalnom poretku, još od Derridinog izbora umetnosti crteža za izložbu Sećanja
slepog u Louvreu s početka devedesetih godina. Fluidna transformacija vrednosti i
stvaralačkog investiranja je fenomen nevidljivog ili teritorija zaslepljenosti. Prenos i
stalna otrovna pažnja za cenovnicima za sve bez ikakvog obzira na vrednosti zahvatila
je i umetnički opstanak gorivom finansijskog prinosa.
16 O tome u autorovom zapisu: Kakaovac pronalazi Kristobala Kolona / Cocoa Tree Finds Cristóbal Colón, iz
knjige-projekta G. Jureše „Istorija čokolade / History of Chocolate“, Galerija Bel Art – Novi Sad i Galerija Zvono –
Beograd, Novi Sad, 2013.
20
Ne radi se samo o utisnutoj realnosti iz sveta privrednog vrtloga, virtuelnih parametara
i cifri. Realan nanos je kroz liberalni kapitalizam i trgovinu prirodnim resursima
nerazvijenog Trećeg sveta primenljiv i unutar razigranog sveta novih klasifikovanja
umetničke potražnje za novostima. Svedeni u pravcu neumoljivog umetničkog tržišta,
proizvodi nastaju za neretko otuđenu arenu sopstvenih zavidljivih protagonista i
učesnika pomodno ispraznih i svirepih isključivosti.17
Seme xocolatl koje tek Cortes pred povlačenjem u otadžbinu donosi u upotrebu na
španski dvor jedinjenje je novog hemijskog izazova i veza u podsvesnim oblicima.
Istoriju čokolade je, u svojoj istoimenoj knjizi , autor podario raznolikim kolažnim
traganjima. Mnoge kompozicije, kolaži manjih dimenzija donose uživalački kontekst
usred globalizovane potrošačke groznice. Oni su i kao mahuna u delovima pojedinih
funkcionalnih tragova od Cortesa do marketinga, ali i izbor sekvencionih odnosa sa
dijaloškim principima kulturnog rastvora u velikom broju primera igranih, pretežno
zapadnih filmova, čiji se odabrani kadrovi nalaze u izboru u knjizi. Čokoladno „gorivo“
je u samom procesu nastajanja i imaginarna veza sa ispunjenjem.
U tekstu knjige, Jovan Despotović primećuje da je, kao ciklus, Put čokolade zapravo:
„Prvi slikarski manir koji je Jureša primenio bio je da u tim slikama, poput Mapa
mundi ili Putevi slasti (obe iz 2011), naznači imaginarno kretanje…“18
Ne radi se samo o već uvedenom geografskom preslikavanju i asociranju na
kartografske pravce osvajanja, već i o „imaginarnom kretanju“ ka performativnom
shvatanju slikarskog jezika i potresajuće grafološke dinamike. Čokoladna povest
je mobilisana rasprava današnjeg traga koji se od poznog XVIII veka vezuje za
degenerisanu aristokratiju elitizma, koja danas skupoceno održava luksuzna dobra i
pogubno stradanje podređenog sveta od informatičkih sistema, od dezinformacija, od
terminalnih softverskih aplikacija do ispuštene količine zaborava istorije i potiskivanja
sećanja.
Još od spisateljskih zapažanja Marquisa de Sada do ushita Jane Austen, taj unutrašnji
duševni doživljaj prati se u vidu otkrivanja sklonosti, zavisnosti i opsesije.19
Slikarstvo i principi građenja postaju nova dimenzija povesti o rasutim referencama i
mogućim čokoladnim nalazima. Mahuna – simbolična „ljuska jajeta“ samog saznanja
polazište je dejstva i osećaja zasićenosti, iza slatkog i izvan okolnosti pojavnog pravca.
Iza ubranog ploda kakaovca i spravljanja čokolade, van osvojene imovine i otetog
17 Svojstvo je vidljivo u pravilima galerijskih, muzejskih i festivalskih manifestacija savremene umetnosti
i njihove očekivane umreženosti, sa neuporedivim i apsurdnim dokazima, iznetim u visokotiražnom
dokumentarnom ogledu – Sarah Thornton, Seven Days in the Artworld, Granta, London, 2008, ali i u medijskoj
satiri ponašanja aktera savremenih umetnosti u igranom filmu Untitled, režija: Jonathan Parker, prod. The
Samuel Goldwyn Films, USA, 2009.
18 J. Despotović, Na putu čokolade Gorana Jureše, u: „Istorija čokolade“, op. cit.)
19 S. Moss and A. Badenoch, Chocolate –A Global History, Reaktion Books, London, 2009.
21
blaga, nalazi se rastresita vitalistička putanja energije odnosa. Genealogija katoličke
dominacije, španskih, francuskih i austrijskih vladarskih porodica pred osvajajućim
terenima srednjoameričkog i južnoameričkog kontinenta, postaje ranija verzija isto
tako postavljenog političkog modaliteta našeg doba. Obrtna perspektiva, ta istaknutost
likovnih planova, zagasita je svečanost eksplozivnih događaja umetničke energije
izrade u polazištima od nekada, podešenim za trenutke naših posmatranja.
Jouissance
Postinformatički vrtlog kritičkog preispitivanja je stapanje vremenskih i istorijskih
struktura. Svakodnevica realnosti kretanje je koje obavljamo u ma kakvim pustolovnim
i uhodanim brzinama i rutinama. Pitanje kretanja i prelaženja, koje je još Benjaminov
flaneur sprovodio tumarajući kroz svet prelomljenih slika, građenih i nadzidanih
mogućnosti kroz hodnike zakopanih tajni, nestalih rituala ili svetkovina svakodnevice
koja se utapa u najčešće izrazitu kulturološku ravnodušnost.
Prošlost je vreme koje pokazuje ono što dolazi, a pamćenje je uvek dodirnuto zaboravom.
Uz pojedine autorove fotografije pogledâ na urbane slepe uglove, prigradske lokacije i
neočekivane paravane, zidove, grafite, ispuste i tragove življenja u ovakvoj civilizaciji,
to je i više nego jasno:
„Osećaj je prijatan. Ako nisam siguran gde me vodi započeto platno ili u mene nedeljama
sa poda bulji isti crtež, izaći ću na ulicu. Nekada tumaram da bih našao fotografiju,
ponekad ‘situaciju’ spazim iz taksija, najčešće naletim na nju. S jedne strane, nastala
fotografija olakšava proces rada, a s druge omogućava da u vašem dvorištu pronađete
nenamernog Rotka ili ugledate ranog Baskiju.“ 20
Slično kao sa slikama i crtežima koji izazivaju svojim energetskim uplivima unesene
grafike i njene energičnosti, kolaži se pojavljuju u vidu katalizatora koji možda
nisu odmah čitljivi jer se sastoje od prilepljenih hartija sa fotografija, reprodukcijâ
umetničkih predložaka i shematskih tehničkih prikaza. Oni ne odražavaju celinu iz
koje su otkinuti, niti se međusobno mogu povezati u neki razumljiv odlomak.
Takvi fragmenti, figurativni i predmetni, jezički i uporno porazmešteni kao da traže
nove oblike opažanja. Mora da se u njima, podsvesno sledeći Benjamina, pokazuje
razlika između aure i njenog nestajanja i razaranja.
Ispod stranica prilogâ iz časopisa, datih sa asocijativnim pružanjem prema isečcima,
kolaži i jesu uglavnom na papirima različitih formata, opšte uzev oko 30–40 cm.
Naslov Utočište izjelica je zrela socijalna vivisekcija nesvesnog fantazma za kakaovcem
20 G. Jureša, iz knjige-projekta „Istorija čokolade / History of Chocolate“, Galerija Bel Art, Novi Sad i Galerija
Zvono, Beograd, Novi Sad, 2013).
22
i čulnim uživanjem, nalik na potragu za plemenitim metalima ili dijamantima. S
druge strane, umetnik Gaston Noveli kaže da je slovo i glas „A“, poteklo od ljudi iz
plemena koji izgovaraju i sporazumevaju se jednim
glasom, oznaka traumatizovane sudbine zamorenog
informacijskog, zastrašujućeg i genocidnog
društva. Njegova objava kao pozivanje javlja se
i u jedinstvenom romanu – putopisu-ispovesti
i fotografskoj malenoj zbirci, u markantnom i
uticajnom delu Austerlitz W. G. Sebalda21, postajući
kulturološki doprinos melanholičnom uzdahu nad
istrebljivanjima i nerazumevanjima prolaznosti i
zaborava prošlog veka.
Ljudi koji postaju brojevi određeni su taktilnošću
olovke i ritmizovanjem grafitnog praha ili u mahuni
kakaovca, a nalaze se i u kritičkim komentarima,
poput reklamne ironije „Tobler se iznenada pojaGaston Noveli Želim da se ponovi 1967.
vljuje u Švajcarskoj“, gde je tvorac čuvene čokolade,
Theodor Tobler iz Berna, pokazan foto-portretom, ali i neobičnom pozadinom i
pobudama koje skreću pažnju na fabrikantsku istoriju i status, od osporavateljâ
antisemitskog pamfleta „Protokola sionskih mudraca” do fenomena trougla slavnog
Tobleronea koji podseća na piramide Srednje Amerike i, svakako, blizinu alpskih vrhova.
Razdrobljavanje čokolade i proces preoblikovanja, curenja i ponovnog nestajanja nije
samo odgovarajući odraz u kolažu koji uvodi Duchampov citat drobilice za čokoladu,
pripremljen za Veliko staklo, već i promena simbolične sfere okružujuće materije.
Upravo je Duchampovo Veliko staklo paradigmatična konstrukcija posredujućeg
stvaranja paralelnog i skrivenog sveta operativne mehaničnosti. Po poznatoj
duchampovskoj liniji ka savremenoj umetnosti, bez obzira na uzlete raznih medijuma,
možda se odvija i dosledna slikarska i izrađivačka pozicija kojom Goran Jureša
registruje, stvara i raščlanjuje etape svojih nalaza.
U pitanju je posao u kome se bogatstvo opažanja odaje u strukturnoj postavci
razumevanja sveta, te spontanom i oslobođenom vlastitom napretku.
21 Prevod – V. G. Zebald, Austerlic, Paideia, Beograd, 2009.
23
Nikola Šuica
The Pic torial
O f fering ~ aka
Das bildliche
Opfer
1
“Everything has disappeared; only a mass of
materials from which new forms will be built
remains... Until now, we had the realism of the
object, but not painted formations of colors.
Each form is free and individual. Each form is
the world.”
Kazimir Malevich, Moscow 1915
24
A visual society is permeated by demanding information systems. Visible sensations
permeate all types of communication in a fluctuating civilization, and seem to be challenging the millennial dominance of word over image. However, this is not a tested
and undisputable shift. Seeking insight into the areas of the discrete and hidden still
survives in the sphere of art, as a retreat from the consumer-centered, overwhelming
and simplified visual dominance. Expansive presentations and transferring of images,
through any type of visible publication and form of use, have reached conventional
offers and an epidemic indifference. This is also the case with liberal, democratically
secured, as well as transitional and totalitarian societies in the unfolding 21st century.
The Hegelian creation of the philosophy of history and the formation of personal artistic vision do not resemble a competition in systematization, or in comprehensiveness.
It seems that Hegel’s path towards the materialization of politics and spirit came to a
halt in unusual creative areas, the visibility of representation and visual processing.
However, the methodical layering of contemporary life in modern culture could not be
in any way imagined without the solitary art constructors, liberated researchers such as
Duchamp and Rothko, altogether different than anyone else, except in purposeful quest
for the spirit of secrets, the apparent absence of world affairs, through the vibrancy of
emotions in their various endeavors of reaching the unreachable.
The period established in arts after postmodernism has often become a dynamic unloading of casual games in ideology, ethics, identities and society. Principles of creative freedoms had rarely before, as in the second decade of this century, entered the
spectrum of constructed and categorized object properties. Their free fluctuation and
exchange are an obvious tendency of cyclical repetitions and morphing variants.
On the other hand, the apparent intrusiveness of the masses, and superficial uniformity, suppress or impede sensitive approaches to understanding, as well as cognitive
experiences, both of the observers, and the creators.
The ancient custom of creating images, more than thirty thousand years old, has acquired its anthropological interaction with various types of drawing and painting of
1 The title is a paraphrase of the approved translation of the title of Bach’s collection of canons and ricercars
Musikalische Opfer (BWV 1079, from c. 1747), present for decades in the Serbian and Croatian languages ​​as The
Musical Sacrifice, while it is actually The Musical Offering. The ambiguous possibility of this noun corresponds to
the position of the G.J. arts.
25
dramatic sequences of serial imprints. The human species has recessed into obsessive
oscillations of visual design since its ritual, craft and workshop principles in the creation of art. Right in the period of the awaited entering into a new era, in the 1990s, the
French philosopher Jacques Derrida holds an exhibition at the Louvre, Memoirs of the
Blind,2 where, in the museum’s selection of drawings and prints, the notion of people
affected by blindness or loss of vision is emphasized; a personality or an individual
in a narrative who does not notice things, becomes blind and, in accordance with his
understanding of difference, attains a rooted, memorized meditation. The timing of the
exhibition and the publication of Derrida’s essay serves as
testimony to the geopolitical fracture of the temporal threshold of change: understanding of “new world order,” global
trade agreements, the beginning of the IT revolution of the
PC, as well as tribal warfare and genocide in African territories and the misery of a once colonized and undermined
world below the equator. The political consolidation of the
decomposition of the Soviet empire was in full force at the
time, along with a host of Western parliamentary crises, the
fall of the Berlin Wall and the reunification of Germany, and,
above all, regarding the Balkans, the bloody collapse of the
Yugoslav federation. One of the planet’s stormiest periods of
trials and tribulations, of involuntarily invisible, automated,
ideologically blind and explosively executed multi-reality.
The exhibition of Western art of drawing from the rich museum collections presented an abundance of examples, from
the Renaissance to Symbolist sketches and detailed drawings
of devotional, mythological, often supernatural excesses and
Odilon Redon Eye with Poppy 1892
tragedies. The topic of “blinding” and the tragic tales of the
human race has been demonstrated in the thesis of the Italian and northern masters,
from Rembrandt and JL David, to Odilon Redon. The act of drawing, for Derrida, represents a special kind blindness, and the replacement of reality with a void between the
memorized and the transmitted, as well as the desired and expected, from the perspective of the observer.
In particular reflective artistic settings, it would be revealed that the discovery of a
universe of artistic style, and similar, unpredictable, or vast planes, brings up a confrontation with the paradoxes of fear, enjoyment, satisfaction, as well as captivating tensions
and authorial responsibilities.
2 Jacques Derrida: Mémoires d’aveugle: l’autoportrait et autres ruines, Musée du Louvre, Paris: 26 October,
1990 – 21 January 1991.
26
The origin and instigation of these images reaches uneasy entanglements and complex
directions of invisible or undetectable associations. The resonant direction of artistic
quest which Goran Jureša, in Novi Sad, puts into creating his visual compositions,
follows an imposed structural experiment. Although such reflexivity comes from the
experience of creation that occurs in our time after the experience of the media, the applied lines, dimensions and implied forms are subjected to the dynamics of the depths
of plunging into contradictory knowledge of topics and causalities. Replacing the lines
of the drawing, their multitude, with all the shapes and representations of the world are
a substitute for verbal confession, chronicle or testimony.
Deviations from observing the world, from the self-centered parochial and Western viewpoint, brings sensual discomfort. The distance between memorized events,
transmitted knowledge and fascinations, through the artist’s rules of experience and
susceptibility to play, has been given to sensitive thematic experiences: rule, plunder,
self-promotion and subjugation of others and the different, amassing loot, recognition
in reward, fame, sensual love and, ultimately, the metaphor of the sweet triumph of the
taste of chocolate. The instance of minimum harmony travels a long authorial path of
transformation, and the focus on the Third World, in the authorial horizon, has been
processed in the imperial kitchens of Europe. Hence, even in artistic maturity, this type
of eccentric mental and cognitive overlap in thematic choices and references reveals a
disciplined indulgence in self-analysis, from children’s day-dreams, to excessive details.
From manifestations, equilibrium and introducing fine visual text and layering, to the
balance of visual drama, scene by scene, and from one variation and identification to
lyrically elevated expressions of temperament.
Similar to this is the basis of defining the point between a real issue and invention as
a process of creative freedom. The base is inhabited by the elaboration of the author’s
presence in opposition to the world of objects and events. The road of entering a painting, drawing or the image deployment of a collage, for the phases of Goran Jureša,
represents the marking of a path and a play with one’s own physical act.
Creating a painting in given circumstances, and the surrounding changes, since Plato,
through to the painting-illusion of our time, has persistently been bound with a segment of reality. The Greek word eco, introduced by the German naturalist Ernst Haeckel in eco-logy is equally related to the establishment of ecologos or economics - a process
that can be adapted to a wider understanding of observation: of the surrounding flora
and fauna, and, it would be revealed, of the atrocities in social relations.
Since the end of the 1970s, Susan Sontag, in her examination of the development of
properties of the medium of photography, offered a crucial diagnosis on substituting
the real world with the world of the image. Similarly, on the equalization, or, conversely,
27
distinguishing the image from its phenomenon.3 The capacity of the image to disrupt
or usurp reality, following the silver nitrate trail throughout the history of the photographic medium, would also reveal the survival of the most banal and ubiquitous
evidence of recordings from the world stage, as it is, in all its phases of change.
Unlike depersonalization in photography, the unexpected positions of painting in culture hinder comparability, but bring in textures of the ecology of the system of images,
as well, this mode of examination, which, in painting, grows into an authorial operating
system of the science of life and a procedural adaptation of reality around us, as it really
physically exists.
The understanding and acceptance of the space of experience within the range of works
of art refers to situations, characters, and the language of expression of the presenters, themselves. Dynamics, similar to narration, or words, close to proclamations and
evidence, is appropriated by easy and simple comprehensions. Changes in the human
species regarding knowledge, beliefs and utilization are generalized images of the surrounding world. A visual polyphony of painted life matter, as well as life opportunities,
sometimes eludes static definitions of frozen moments. Forms of reality and its changes, this narrative need for refuge and conquering, would be revealed as sublimation for
most of the opus and the stabilized dynamic explosiveness which the paintings and
drawings of Goran Jureša exhibit in many years of persistent work. For paintings are
surfaces with meaning.
The civilizational supremacy of the word over the image, only in the time of micro measurements in pixels, had begun as a coded battle with the universe of comprehensible
energy of human perception. The reconstruction of something from before, or from
who-knows-when, and who-knows-where, consistently appears as an open route to
knowledge. The process is made from tracing crossed, broken, vanquished, demolished,
as well as new frontiers. It is possible that for these reasons, the painter’s compositional
themes, notes, references and metamorphosis take into account the effect of all kinds
of elements, features that exist from day to day, apart from any actual referential representation.
These are the battles in the artist’s process to highlight the remains of ideals and associations as results of lost and hopeless situations.
„Der Ursprung des Trauerbildes”
Creating a painting is an excess of freedom. Post-war existential agony brought resignation which conditioned creativity according to the dictate of random procedurality.
3 Susan Sontag, Eseji o fotografiji/On Photography, Radionica SIC, Belgrade 1982.
28
These performance principles in visual arts, probably resulting from the motoric of
surrealist automatism, introduced final products as parts of mental acts. Action mapping and painting, coloring, dripping and scribbling, sudden and impulsive patterns,
became logical and artistic coherence. The medium of freely performed deconstruction
is inseparable from the schools of artistic liberation and feverish pursuits in painting,
the now unavoidable phenomena in the museums of Europe (Dubuffet, Mathieu, Wols,
Burri), as well as America (Gorky, De Kooning, Frankenthaler, Gottlieb, Pollock). Such
processes of artistic creation and different interpretations of their objective content
could open up, in the diversity of expression, interpretations for psychological and motivational understanding.
It is possible that with shifts from figurative presences, from visual themes of visibility
of the environment, landscape, plan, or human revelations, a sort of interpretation of
the process of creating an action input could emerge, and the existential dynamics of
creating a scene as an arena. In his operating principles towards the overlapping of
painting materials in tone and by surface, Mark Rothko exhibited a very consistent
method of layering color in shape of the direction of opening new outcomes. It is evident that the concentration of a romantic version of ecstasy appeared in his technique
of layering, up to the threshold of making the invisible visible, causing a gradual revolution in perception.4 In functions and meanings of the material world, the declaration
of human presence, that figurative-portrait entity, has been viewed as the main determinant and phantasm of hidden content, from the individual texts of visual arts to the
broader world of culture, and back, with ample semantic baggage and spontaneous,
affectively inserted content. Works of art are not a mere formation of analogies. Creating intuitive emotional forms within vibrant scenes of object manipulation and shifts
likely suggest a certain obsession and awareness of a not at all harmless world of social
relations. Paintings can, paradoxically, become more real than any reality upon which
they are made. Is color density or a compressed emerging visibility of form another
name for beauty or truth?
A fragmented insight into the process of Goran Jureša contains contours, remains of
shapes, and some visible traces of anthropological findings. The decomposition process
is evident. Color sections and passages, serial incidents of intimate visions of activities,
realistic plans and fantasy, they string along, ending with entertaining relationships.
The series of paintings entitled Wolfgang, created in the first half of the decade, mostly from 2003 to 2008, introduced the experience of the offensive and the particularly
unusual. Mozart’s correspondence with his father Leopold, or descriptions that this
4 The position of Rothko and careful concentration towards painted vision is evidence of an influential, transhistorical interpretation of the craft of painting. It is about the announcement of change in representation as a
romantic impulse - Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko,
Thames & Hudson, London and New York 1975.
29
unique prodigy had with his wife Constanza, were transferred from fragmented epistolary chronicles, along with jovial sighs, linguistic scatological fantasies of creation, as
well as verbally disrespectful descriptions of excrement. This is also the starting point
for all that would later follow with the sensory impact of the effectively sweet Austrian
confectionary recipe for Mozartkugeln chocolate nougat balls with pistachio and marzipan, which grew into a global brand of attractive consumer desires.5
The same is true for the sentence in the title of the painting Erzlümmel6 and equally for
the works that unite the Wolfgang series, with ripped, fragmented and quirkily entertaining excesses from Mozart’s correspondence and titles of paintings, such as Groster
Schroll get das Moll, Without Hardness or Why Don’t I Have Three Heads.
Culturologically speaking, within the context of European Enlightenment, dealing with
the historical, even artistic and transcendental phenomena of a prodigy, as well as an
absolutely supreme traveler into the internal dimensions of musical harmony of classicism, the painter choses his first childhood name as title.7
It must be this entertainingly obscene narrative from the letters, processed as bizarre
legacy of the astonishing formative proceedings of the composer, himself, which paved
the way towards a sweet and minuet-like seductive implementation of a lamenting and
unflinching deep parallel of experiencing the world.
Works focused on portrait, gesture and the spoken word possibly invoke their own circularity and reveal a self-conscious quest for multilayered meanings of artistic freedom,
liberation from constraints and childish offenses. Mozart’s writings are also scandalized evidence of the psychological effect of a youthful character and focus on details
which, in an analytical experiment, can be found in the musical alphabet of individual
citations, personal paraphrases and closed plays, in the world of the very essence of musical form. The Wolfgang series brings, along with chromatic gestures, sharp sections
of color, and individual sentences which, through the destruction of the expectation
of faces and bodies, express a dilapidated dissolution of any personality and where the
nature of human virtues and volcanic passions is visually dynamized.
5 On the indicator and status of “Mozart balls” in the collection of stories: Mileta Prodanović: Putopisi po
slikama i etiketama: Jedanaest lakih komada / Travels through pictures and labels: Eleven Easy Pieces, Matica
Srpska, Novi Sad 1993.
6 These are Mozart’s small organ pieces.
7 Originating on the trail of a manuscript search through infantile outbursts and unexpectedness. In the
artwork with characterizations of drawings and paintings from the eponymous series. The procedure differs
from the scoring of the film adaptation of Peter Schafer’s play that, for its title and moment of conflict, takes
on Wofgang’s middle name Gottlieb, i.e. the italianized Amadeus or “One Loved by God,” which is not Mozart,
himself, but the main character, his envious rival from the time of Joseph II, the Viennese composer Antonio
Salieri.
30
Necessarily visible in the lines and passages of this series is the trace of halted action of
the painter’s mobility. “As Paul Klee reminds us, movement is of essential importance
in graphic gesture, and the drawing is only a subsequent consequence. Thus it stands
opposite to the gesture of writing and painting. The gesture of writing must actually
master graphic convention of the sign that conveys thought; the gesture of painting
obtains its effect through the purpose of compliance with the pictorial plan; the gesture
of drawing, itself, achieved instantly, without the possibility of repetition, does not draw
its uniqueness from anything else other than the ability of the hand to allow connection
with the movement that is being executed. The line tells us more about the movement
than any other form of tracing. (...) The first difficulty we face (....) refers to the ephemeral character of the gesture. Is it not that which dies in order for the trace to survive?”8
The parallel and persistent versions of dealing with monuments in all media, with researched areas and discovered directions, serve as testimony to how much the surface
of painted traces, carved and inscribed visibilities had changed. The works of Goran
Jureša, with shifted, opposite senses of arch-words or arch-images, reveal the psychology of an individual intense style in the art of drawing, painting and transformation.
Fragmentation of images and words is again found in the constructs of collages, creating an insightful and open momentum of volition in his procedure, as well as in the
reach of his art. It is about locating the understanding of changes in human movement
in the past.
An organic, internal anatomy of historical presence in the painting is the objectification of mental processes, speech and genetic understanding of the nature of human
expression, presumably laughter, anger or motivation, as well as creating a new set of
causal questions. Causal explanations of behavioral phenomena are also the opening
of a catalog of causes and selected figures from the European tradition of classifying
ethics of action.
A loose and proportional encircling structure in the works emanates from the set
posture of the body and the function of the dominant human head derived from the
portrait in space.
Through a linear and visually variously treated amount of gestures and actions, there is
a discernable and core orientation towards the investigation of liberated human weight,
this disembodied or, through urges and expressions, invoked identification. Starting
with Mozart and questions of disembodiment, strong demarcations and contrasts will
also permeate the subsequent series of drawings, paintings and collages, which, from
2008 until 2014, include schools of portrait and human agglomeration of being thrown
into space. Theses for a common denominator can be found in the introductions of vi8 Serž Tiseron: Naum crteža - grafički gest i žalovanje, Gradac no. 160-161, theme: Melanholija/ Melancholia,
Dom kulture Čačak 2007, pp.184-193.
31
sual traces, incisions, rubbing, chromatic and linear overlaps and, in general, in visceral
outbursts of the ethereal painting material in a dynamic scene.
Presumably, the basic setting is a careful and initial concentration of processes: it is
possible that such physiological and anatomical degradation of physicality serves as an
alimentary canal of the human species, through intake, digestion, processing and transformation. The material history of the world – the accumulation of traces, statements
and opinions which follows a ceremonial portrait would be revealed as a distracted and
melancholy confrontation with human will and decisions as memorials of dishonor.
Navigation and sailing, this productive path of discovery and utilization of the New
World, had been carried out by setting sail of the painter’s working process, itself, as
well as through observing new opportunities and satisfying appetites. The gradation
and intensity of the visual material, its physical properties and indirect meanings undeniably invoke an adventure of longing and desire for transcendence within mythical
roots enveloped in memory. Circumstances that are evidence of human inadequacy
and depths of cruelty open up as an appetite for deep interplay between finality and
eschatology, and the real unfolding of history within secular struggles for political
power. The royal supreme legislative and devout being would reveal itself through a
central speculative construction of figurative traces in the paintings of Goran Jureša.
The spread of visual material in the compositions is free of structural components and
compounds. The presence of the head as a starting point and the sacrosanct European
past reaches a “satanic zone” of sovereignty, which Walter Benjamin recognized in trauerspiel, or the German tragedy, a folk heritage, which, from early Baroque determined
the anthropological fate of Western self-consciousness.
Benjamin, in his notes from 1928, offered a draft of an aesthetic theory of melancholy
and allegory, illuminating hypocritical representations of history, as well as his contemporary surroundings. The salvaging of allegory - the central theme of this book on
tragedy – for the first time provided an insight into long neglected areas of poetic and
theological language.9
The life of these chromatic implosions, character distortions, and topographic expansions is affected by visual inputs of duration and introductions of the language of
inscriptions, fragments and testimonies of knowledge. Visual representation is a synthesis of abstract turns and inclusions, forming, according to Benjamin, simultaneous
creation and decay. Things that have just been created - entities, objects, actions and
shifts become the background upon which the mark of their deterioration is even more
clearly observed. The historical and ceremonial portrait of the past was the artist’s serial
operation on the sovereigns, undisputed supreme beings, absolutists and colonizers.
9 W. Benjamin: Porijeklo njemačke žalobne igre/ The Origin of German Tragic Drama, Veselin Masleša, Sarajevo
1989.
32
The visual fracture is carried out through the characteristics
of the head or portrait representations, ever since Western
European history bestowed its force and rules to what things
should look like and what things should seem like.
The expressed anguish is both triumphant, and demonstrates
the achievements of the human race. The introduction of
new worlds through maritime discoveries of territories has
been evoked in the art work ironically entitled Columbus
Arrives (2010), a two-meter high intervention in cartographic display of conquest. Columbus’s ships - Santa Maria,
Pinta and Ninja appear as darkened and heaving maritime
remains of striking historical signs. Four arduous journeys
and sea crossings are the replacement for the opus of courtly
Baroque exposure. If ​​Benjamin’s idea of weight is transferred
into the renewal of the “tree of knowledge” and discovering
new continents and new possibilities, then the real, as well as
the symbolic fruits of labor are provided in the development
and persistence of the artist’s research.
Hyacithe Rigaud Louis XIV 1701
Chronicle of an announced fall or
the remains of the Feathered Serpent
The battle for use of colored pigments had historically been
carried out through the density and emphasized essence in
conflicts and the dynamization of images and strokes. This
was conducted, as revealed in the works, through the tactility of use of acrylic, graphite and pastel styles of drawing,
rubbing, printing, etching and overlapping. The direction of
Hernan Cortes
the compositions in horizontal geographical cartographic
distance is given as a somewhat different immersion into the portrait, or in the templates of religious confessional vertical dimensions of the altar. Similar to the ritual of
confession, the painter finds himself in the domain established since abstract expressionism or the dissolution of sensitive sequencing of commitment in the privacy of the
art studio. This risky trail is visible, and the exhaustion of narrative potential marks the
time of role-playing, personifications and invoking in all series that reveal functions,
roles and the historical matrix chronicling a former, other and different life.
Drawn, painted and circular shapes are halted in the sensation of a constant flow. The
application of color by imprint with fingers or palms of oil paint or oil pastels is also
33
inscribed in the phenomena of previous abstract vibrant chromatic scenes.10 Evidently,
the artist’s standpoint in terms of two-dimensionality is also an effort to understand,
emphasize and demonstrate the nature of relationships. Relations are easily determined
between tradition, human input and commitment. Objective recognition and memory
include mobility that comes to visual arts from literature, but they diverge in areas
of politics, economics and current or former technology. Also, such a total, holistic
approach to the overall procedure involves movement, as well as a degree of diversity
of nations, communities and genders. An interest and emphasis on relationships on
the battlefield determines the dynamization of the works of art, their path and contradictory paradoxes in the name of concepts of action: identity, humanity, differences,
freedom, democracy, ethics, as well as the opposites of life - death and the power of
memory. The painter’s procedural aspiration can be discerned in maritime traces in
inscriptions and infantile associations with vessels and surfaces. It is established as a
comprehensive path of departure, discovery, action, intrigue and upheaval, destruction
and return. Theoretical approaches boil down to the inability of making a uniform
definition. Through observation, this illusion of a schematic depth of image or deep
comprehension of the phenomenon of the vastness of the sea is particular to the medium of modernism. Psychologically, with Goran Jureša, the painted maritime voyage
on the surface of the painting is possibly moving closer to a state of extreme isolation,
alienation from social impositions. The incorporation of the areas of process and travel
with historical references to maritime discoveries reinforces the clarity of a sensory
non-space of the vastness of water.
As this concerns automatism towards the visual and the miraculous morphing of objects and faces, creating a new pictorial ensemble is, on the one hand, an innovation,
and on the other, a return to the established representations and figures, which demonstrates the limits of optical protocols - how we see things, and how we project them.
Towards the end of the 19th century, Western societies introduced these projections of
“the other” and the different, ghostly and mysterious, as a challenge. Increasingly communicative instances circulated this offering through public entertainment representations with visual sensations. The dynamics of the illusion of motion, even before the
patenting of the camera by the Lumière brothers, had been subject to the effects of such
stereoscopic projections. The nature of the shift in perception encompassed, through
the dual image, its deviations, as well as former concepts, from the simple fairytale
matrix to the imitation of how Nature really appears to us, and how we move within it,
with all the side-effects and optical illusions in scenery.11 Originally an amazingly pow10 The procedure of manufacture was followed in the observations of the suggestiveness of paintings and
drawings in the text of Kosta Bogdanović: 22 July 2003, from the website of G. Jureša.
11 On these types of layering of public image - Jonathan Crary: Suspensions of Perception - Attention,
Spectacle, and Modern Culture, MIT Press Cambridge Ma 1999.
34
erful historical phenomenon of collusion with the miraculous in the Wolfgang series or
the subsequent paraphrasing of historical portraits of the very pinnacles of hierarchy,
such as Louis XIV – the “Sun King” (1638 - 1715), had been identified and located in
form on an extremely dark background with
figures from earlier historical campaigns, the
maturation of adventurers, politicians, military
leaders and the genocidal commander Hernán
Cortés (1485-1547).
The invasive path of elements from cartographic maps and measured and calculated
division constitute the bulk of paintings and
drawings of a spontaneously horizontal layout.
Royal palaces of Portugal, Spain and France,
their monarchical relationships, and Habsburg
Stereoscopic projection 1891
traces and intertwining, serve as the outcomes
of a ceremonial quest, becoming a visual archive of the totality of the past and memory of the gilding and darkness of Velazquez’s
portraits or Rigaud’s presentation of the Sun King.
The construction of the scene of the painting is teeming with elements, canonical influences, traces of hasty designations and inscriptions, transferable records and narrative
impositions and modulations. The concept and the plan is the creation of a system of
individual stylistic actions (deliberate gestures) as well as randomness (of time and inscribed traces or imprints generated by chance). The structure of the artistic text and
record has been challenged. The painting becomes a crossroad of events for the vibrancy of the subject or plot.
How and in which way do we
share our understanding of space?
How far exactly do the universes
of knowledge and levels of contribution reach? Civilizational shift?
These questions correspond to a
historical place of innovation exempt of methods of input. They
were consistently applied by the
Cortes’ route through Mexico July 1520
American painter Cy Twombly
(1925-2011) on the trail of ancient
heritage, working alone for decades in Rome. Twombly created his own poetic figures
tracing calligraphic inscriptions in the fields of painting, erasure, interruptions and
instigations of introduced, scribbled coincidences of experience that begins to belong
35
accidentally, according to Benjamin, “to each new present.” His disintegrating object
non-reality offers emotional intensity and a surface scarring of the tissue of the painting
as an area of metamorphosis, sometimes associated with mythological, epic or pastoral
Mediterranean starting points and foundations of civilization.12
Branched according to intensity, the direction of such a descent takes place in paintings or multi-colored drawings, in
carefully measured and applied paper traces on collages of
Goran Jureša. The artist, through the experience of a shift
in knowledge, and an all-present implosion of the painting,
does not exhibit rhetorical arbitrariness or hesitation. He
becomes a poetic researcher of daring and heinous assumptions of the human adventure.
The gesture in the emerging stroke and traces of drawing or
the use of color is an essential spatial moment of the realization of movement. It refers to the property of mobility of
Cy Twombly Leda and the Swan 1963
plans or the position within the shelter of the surface and
drawing, the record and the chromatic and graphic traces in the creation of the composition. The sea surface and thematization of Western
conquest is the mode of reflective abstraction and leaving the world that is offered.
The medium, in which the colonial struggle is manifested, above all, the period spanning from Columbus to Hernán Cortés, and the affair of colonial exploitation of Central America and Mexico, seems to neither be a continuous nor a linear flow within a
perpetual metamorphosis of historical knowledge.
John Vanderlyn Christopher Columbus
discovers the Americas for Spain 1842-47
12 Visualizing events such as Columbus’s audience
with Isabel of Aragon, upon his return from
the “new world,” or Cortés’s expeditions, are
directed towards the individual act of personal
approach to painting unverifiable events. Hence,
to draw-inscribe the event in the field of visual
composition is never about awakening the past
or representing the present. It is possible that an
objective presentation of circumstances of the
past, and the appalling consequences, is left to
the pictorial composition, and the meaning, itself.
History becomes a fading allegory. The movement
Kirk Varnedoe, “Inscriptions in Arcadia” in Cy Twombly: A Retrospective - MoMA, New York 1994.
36
of painting and inscription is a continuous change of direction, and, through the assessment of compositional dynamics, the proof of the lack of predictable transitions.
The case of the Feathered Serpent or Quetzalcoatl, according to Aztec rules of mythical
prophecies and earthly suffering, has been accompanied by the collision of two civilizations - the confrontation of the indigenous population with Spanish conquistadores.
The words of the oracles and sacrifices of the indigenous population, and the Catholic colonial evocation of a God-given transition into the world of the “other,” caused
various forms of barbarism. An essential, ethnographically apparent suspicion of the
enemy and beliefs that permeate European heritage regarding various mythological
stories since Indo-European times, and the migration of religious symbols and personifications, reaches its maturation in the conquering path of Catholicism. Hence Cortés
appears as a substitute for a commando and the precursor of renegade ancient fantasies
that reach all the way back to the phenomena of carnal utilization, devouring the ritual
of cannibalism, itself, as the ultimate barbarian, as well as Western fantasy. The oral
utilization of a dismembered being occurs not only as a legacy of the principles of a matured 16th century, but also as an act, which, according to its assumptions, permeates
instinctive ethical evaluation, invoking connection to Hellenic thinkers.
In his famous experiments, Michel de Montaigne handled the topic and the detailed
description Of Cannibals as a reflecting speculation about behavior.
For him, ethnographic findings on the hierarchy of services and beliefs of the other,
compared to the ancient tales and wisdom of dishonorable relationships, are taking
place at the borders of a catalog of depravities, of sorts, of treachery, tyranny and cruelty, with no preference for any one side in the divide, the invaders, or the exotics, as
Montaigne sees and names “the savages.”13
An inventory of this path, for a painter, is probably directly related to the distortion of
goals and objects and can even turn into its opposite. The visual texture of paintings,
as well as drawings and collages, is a process of fragmented intent in creation. According to this process, the monumental composition Eleven Black Ships of Hernán Cortés
(2009) in a resolutely unique combination of acrylic and oil on canvas, is followed by
Cortés as Quetzalcoatl (2011), a collage with the portrait of the conquistador and the
mythical expressive traces of the Feathered Serpent deity or similar Aztec traces, or
with various outcomes of turmoil in drawings, which emphasize the phases of the conquest of Mexico, circa 1520, and the confrontation with the Aztec ruler Montezuma II.
A blinding, mostly light and white, almost mapped base of the scenes of campaigns
and conflicts is a match to earlier series on darkened landscapes. It seems that the spirit
of wrath and of genocidal atrocities was succinctly accumulated in the directions of
13 „O ljudožderima“/“Of Cannibals” in: M. de Montenj, Ogledi/ Michel de Montaigne, Experiments, Ušće,
Belgrade 2001.
37
history, overall, and the traces of barbarism. They appear as a rational and emotional
assault on the topic and visual material in other works, as well, collages and fragmented
applications, with gold and the loot of crops and cocoa beans. The powder that would,
with transformation into chocolate, appear as a memorial product of exploitation, is a
material substrate of the surge of confrontations, conquest and disgrace.
The range of such aggressions is the demarcation with the monumental theme of territorial devastation and the use of human resources, mirroring the question of who is
and to what extent on which side of cannibalism. Between the conquests of territory of
North and South America and the adventures that, from Cortés, inspire travelers such
as Bartolomé de las Casas or Jean de Léry, begins the study of the validity of humanism
of the European imagination regarding everything else and everything different. The
aggressive universalism of the modern West is not only an absolutist direction that
lasted more than three hundred years, but one of the most important ethical issues of a
long process of industrialization and modernization of Europe as well, and of post-industrial achievements. Cortés’s travels in the name of King Charles V merge visual
clues, inscriptions on maps, passages through Tlaxacan, confrontations with Cholula
warriors, and the Aztec capital of Tenochtitlan, which transform into integrated toponyms of the author’s individual style.
Disgusted with tribal customs, advocates of the Age of Reason, and on other sub-continents, as well, intended to present displacement and the ideology of conquest as the
royal rule. Dark and frightening aspects of aggressive and devastating massacres become not only the destruction of the cults of inscriptions and witchcraft of an ancient
civilization, but express the irony of Western thought too. The earliest examples of
loathing were conducted by Jonathan Swift in Gulliver’s Travels and these points of view
are evident in all forms of forced, instigated intolerances and cruelty, from prophecies
to the genocidal destruction of tribes and nations.
The consequences and the memory of these acts, only in the last three decades, based on
historical data and speculation, are the focus of a great deal of research and horrifying
discoveries: victims in the Congo under the Belgian crown, atrocities in India, extinction of North American Indians, the fate of remote Amazonian tribes, the Russian
“pogroms” and anti-Semitism, or the Aryan programs of eugenics and the Holocaust
in Eastern Europe.14
Similar to event processing, such as travelogue notes, a reservoir of chronicles, records,
maps and legends on the extermination of the Aztec civilization and the Spanish conquest of Mexico, the doctrine becomes the driving force for instinctive and intuitive
construction of a general Western mythologizing of the Third World. Regarding these
14 On the direction of divisions and mocking descriptions and reflections on classifications of human beings
through literary imagination in cultural studies - Claude Rawson: God, Gulliver and Genocide, Oxford UP 2001.
38
persistently imposed directions, Goran Jureša is not a follower of a counter-Enlightenment shift into a self-inspired romanticism of sympathy with the oppressed, rather an
indirect observer of the art world of today and austere rules in the current cultural and
economic exploitations and political dominations. Ironically devoted to shedding light
on his input into the field of painting, he gives into the transfer of the ritual of spilled
blood from sacrifice to the narrative of the many years of Cortés’s confrontations, trade,
fraud and conflict with the people of the Feathered Serpent.
The unknown and missing Heart of Darkness, as in the eponymous African adventure
novel by Joseph Conrad, as well as all types of referential post-colonial imprints, were
transposed into dramatic gestures and stunned, dripping traces, as well as explosive
densities. As a rule, the works created by pencils and the rubbing of a mass of wax pastels, layering of intimate contact and concentration on the imprinted, scribbled structure, had been derived from an already cultivated reflex of a decade-long research into
the structure of a scene, the effects of confrontation of the first, second or third color,
all up to the impact of a distinctive remote figurative palimpsest.
Dark Thoughts are Swarming the Mind of Hernán Cortés is the title for both a collage
and a developed painting with distinctive red densities, particular for the painter. The
collage that preceded it has other origins, an associative assumption: an exact plan,
with three modular black outlines, similar to Duchamp’s tailor models of men’s clothes,
close to the pattern of conquistadors’ armor, the named suitors from The Large Glass.
Entities of brash and inflaming misery and devastation, according to the title of this
complex formation, constitute a meta-textual relation to the subconscious and to guilt,
towards the stipulations of religious collisions, based on the leading of nations and
various forms of insidious solutions. From the multitude of variants and versions of
maritime maps and routes - it was mostly paintings that were created - scenes with a
horizontal layout. Vertical versions fit in with them, as precursors of action scenes or
peculiar anamnesis of portraitist absolutist phantasmagoria from mere reality.
Fair Trade Spectacle
Toponyms of Central America introduced to particular paintings or drawings, such as,
for example, Orizaba, render the topography of a place, discovered through conquest
of territory, to include various options, available in encyclopedic routes and general
information, submerged in implied knowledge and expressed sensuality. Cocoa and
the secretion of endorphins or the hormone of happiness, has the most direct impact
on the sense of taste and satisfaction. Consciousness seems to survive and is based on
searching for carbohydrates and the sugar-coating of experience.
39
Chemical conversion of consciousness from desire to pleasure achieves the trajectory of
invocation and fixes the matrix of human quests and impulses, as well as self-centered
celebratory or fantasized convictions: from Columbus, in 1489, and his ceremonial audience, to Cortés in the 1520s.
Paintings with heads and passages of dialogue are part of the shift in the energy measures of exploitation. The use of natural and human resources and shattered outbursts
of visual materials are visible as two-dimensional networks of imprints and humanity
- blood and turmoil in a gushing spectacle.
It might be possible to develop some aspects of change through a cartographic-biological transmission of visually treated material, transformations from a marine organism
of a possible fish into constructed ships, the depths of the energy of water and navigation, as well as a territorial deployment of maps, ships logs and experiences. Such looseness of visual boundaries corresponds exactly to an active reflex and the massiveness
of consumption, spending and excess. There is a good converse metaphor here, if these
types of pictorial adventures were executed as an inter-pictorial grip with the basic anthropological findings of the conceivable, measurable and reasonable Western thought.
Bodies and heads of a dynastic processing undergo rapid changes in which one can find,
through the author’s typical shifting of identities, sovereigns of the Spanish court and
Habsburg lineage, as well as Louis XIII, and then his successor, the Sun King and Maria
Theresa (1638 - 1683), all up to the blasphemous visions of personalities resembling
giant banquets or boudoirs. Personalities must be indicators of chronotopes, formed
focal points of time and space. The origin of these “time-space” people is the subjective realism of a new kind. They become “chronotopes” of a selected historical time
and reveal the expressive function of creativity according to genre. Although the term
originated in 20st century literary theory,15 chronotope directions can find their spatial
application in modernist mathematics and physics: a metaphor of the chronotope, no
matter how formal a category, is a fusion of the artist’s relationship to the times past
and historical plots.
Participation in chronotopic vividness of a scene seems to be an open visual linguistic
anthropology between delusions and emotional disappointment. The elements of the
series of drawings and paintings reveal a didactic, lyrical and melodramatic structure
of court relations.
The series Louis XIII, created in 2008, transposed the depicted scheme of museum art
into the moral life of contemporary transformation of ruler authoritarianism. Recalling
the actions of the visual, ritually accidental, “voodoo” inscriptions of J.M. Basquiat and
the power of cannibalistic traits, this vulgar policy towards subjects and their lack of
15 He was introduced to the philosophy of language by the famous Soviet literary theorist Mikhail Bakhtin,
in 1937.
40
preparation becomes a subtle counterpoint. The
conquered colonized world is literally hidden by its
rulers, while simultaneously promoting the eclipse
of the “blind territory” of a seeming lack of plot.
Indisputably, in a version of a childish fraction of
form, Louis XIII and Anne of Austria are a distorted figurative jolt of disrespect and degradation of
optical expectations. It is possible that this could be
a trick of a paraded uniformity and sovereignty of
the dignity of court painters, and the depth of ambientalization references the models of the masters
such as Van Dyck or Velázquez, whose experience
J.M.Basquiat Hollywood Africans 1983
in the illumination of the human form overcomes
the high-pitched directive speech and ceremonial announcements of existence from the
symbolic darkness of interior backgrounds. The rational world of such solutions is not
in the interest of minimal harmony.
Moreover, the logic of division into contradictions and troubles of court and dynastic
intertwining was performed as a shabby, disorganized energy difficulty in visibility,
both in the paintings and in the surges of the author’s stylistic expressivity in the drawings of titled topics. The work Devastated by Louis XIV’s Infidelities and Surrounded by
Midgets Maria Theresa is Drinking a Cup of Chocolate, created in pencil, acrylic and oil
on canvas, in 2010, is a hub of existential drama of the flattening of hierarchy and the
grotesque of the rulers’ balance. The announcement of chocolate would also become
the author’s challenge in observing its cultural omnipresence and imprint into sensual
experience. It is not just about the raw material and the powder brought from the New
World to Europe, rather a subconscious compound of enormous impact. The discovery
of cocoa in the early 16h century, by the mariner Cristbal Colóna, better known as
Columbus, and his return to King Ferdinand of Aragon and Queen Isabella of Castile,
was the first recorded shipment of cocoa beans.16
In all aspects, the contradictions of the product has been determined as a somewhat
depressed phantasm, where the colonialist effects, spilled human plasma, and traces of
violence, and rapid changes merge with episodes of culinary or alchemist preparations
of enjoyment, where the heat of cooked dark sweet chocolate is imposed in Meissen
porcelain cups; robbery, restructuring, diminishing of freedom or elimination of any
kind of principles of compassion from historical chronicles were apparently induced by
the relentless, information-saturated world of communications of the contemporary
16 About this, in the author’s notes: Kakaovac pronalazi Kristobala Kolona/ Cocoa Tree Finds Cristóbal Colón,
from the book-project by G. Jureša Istorija čokolade/ History of Chocolate, “Bel Art” Gallery - Novi Sad and “Zvono”
Gallery - Belgrade, Novi Sad 2013.
41
world of images, human multiplications, migrations and different levels of plunder. The
cosmogram of emerging economies is entirely possible. Merchandise credit and investment exchange and stock market fluctuation coefficient reach astonishing variables and
deviating dynamics. The same can be applied to migration regulations, practices and
consequences through which the contribution of the exploiter influences the countries
below the Equator. The workforce of the Third World is steadily distorted and appropriated from its original colonial strongholds. The transitional transmission is consistently
affected by the global order, since Derrida’s choice of the art of drawing for art exhibition Memoirs of the Blind in the Louvre in the early 1990s. The fluid transformation
of values ​​and creative investment is a phenomenon of the unseen or the territory of
blindness. Transmission and permanent toxic attention to price lists for everything,
no matter what the value, also affected the survival of art through the fuel of financial
returns.
This does not only concern the imprinted reality of the world of economic maelstroms,
virtual parameters and figures. The real drift, through liberal capitalism, and trade of
natural resources of the underdeveloped Third World, is applicable even within the
playful world of new classifications of the artistic demand for the new. Reduced according to the unforgiving art market, products are created for one’s own, often alienated,
arena of envious protagonists and participants of fashionably vain and cruel exclusivities.17
Seeds of xocolatl, which Cortés, just before retreating to his homeland, brings into use at
the Spanish court, represent a compound of a new chemical challenge and a bond with
unconscious quests. The author gifted various experiments in collage to the history of
chocolate in his eponymous book. Many compositions, collages of smaller dimensions,
introduce a context of enjoyment in the midst of globalized consumer frenzy. They are
also like pods in certain areas of functional traces, from Cortés to marketing, as well as
a choice of sequenced relations with the principles of dialogue within cultural solutions
in a large number of examples of films, mostly Western ones, with a choice of scenes
that can be found in the selection of the book. Chocolate “fuel” is in the very process of
creation and an imaginary connection with fulfillment.
17 The property is visible in the rules of gallery, museum and festival events of contemporary art and their
expected networks, with incomparable and absurd evidence, set out in the popular documentary essay - Sarah
Thornton: Seven Days in the Artworld, Granta, London 2008, as well as in the media satire of the behavior of
protagonists in the contemporary art world in the feature film Untitled, directed by Jonathan Parker, produced
by Samuel Goldwyn Films, USA 2009.
42
In the book, Jovan Despotović observes Chocolate Road, as series: “The first artistic
style that Jureša applied was to indicate imaginary movement in these images, such as
in Mapa Mundi or Roads of Delight (both from 2011)…”18
This is not only regarding an already introduced geographic mapping and associations
with cartographic directions of conquest, but an “imaginary movement” towards the
performative concept of the language of painting and the jolt-inducing graphic dynamics. The chocolate narrative is a mobilized debate of the contemporary trace that connects with late 18th century degenerate aristocracy of elitism, and is still maintained in
costly luxury goods and a devastating plight of the oppressed world, from information
systems, to misinformation, from terminal software applications to the released quantity of oblivion regarding history and the repression of memories.
From the written observations of Marquis de Sade, to the delights of Jane Austen, this
inner spiritual experience is observed in the form of detection of inclination, addiction
and obsession.19
Painting and the principles of construction are becoming new dimensions of history according to scattered references, and possible chocolate findings. Pods - symbolic
“eggshells” of knowledge are the starting point of the impact and the feeling of satiety,
beyond sweetness, and beyond the circumstances of phenomenal directions. Behind the
harvested cocoa beans and cooking of chocolate, beyond conquered property and looted
treasures, is a loose vital path of energy relations. Genealogies of Catholic domination,
Spanish, French and Austrian royal families in front of the conquered terrain of Central
American and South American continents, have become earlier versions of similarly
appointed political modalities of our time. The opposite perspective, this prominence
of visual plans, is a dimmed celebration of explosive events of artistic energy in the
creation of a backdrop from before, adjusted for the moments of our observation.
Jouissance
The post-IT vortex of critical revision is the merging of temporal and historical structures. Everyday reality is movement which we execute in all types of adventures and
well-established routines and speed. The question of movement and crossing is similar
to that which W. Benjamin’s flaneur conducted stumbling through the world of broken
images, built and constructed opportunities, through corridors of buried secrets, miss-
18 J. Despotović: Na putu čokolade/ Chocolate Road by Goran Jureša, from Istorija čokolade/History of
Chocolate, op.cit.
19 S. Moss and A. Badenoch: Chocolate -A Global History, Reaktion Books, London 2009.
43
ing rituals or everyday feasts surrounded by the most commonly emphasized cultural
indifference.
The past shows us that what is to come, and memory is always touched by oblivion.
With some of the author’s photographs of views of blind urban corners, suburban locations and unexpected screens, walls, graffiti, trails and traces of life in this civilization,
this is more than clear:
“It feels nice. If I am not sure where the canvass leads me, or the same drawing stares at
me for weeks, from the floor, I’ll go out into the street. Sometimes I wander around to
find a photograph, sometimes I spot “a situation” when I’m in a taxi, most often I run
into it. On the one hand, the resulting photograph facilitates the work process, on the
other, it allows you to find, in your own yard, an unintentional Rothko or see an early
Basquiat.”20
Much like the paintings and drawings that, through their energy influence, are incorporated into graphics and its energies, collages appear as catalysts that may not be
immediately readable, because they consist of glued pieces of paper from photographs,
reproductions of artistic templates and technical schematic representations. They do
not reflect the whole from which they have been ripped out of, as they cannot be connected into a readable piece.
Such fragments, figurative and objectified, displaced
through language and persistence, seem to seek new
forms of perception. It must be that in them, subconsciously following Benjamin, the difference between
the aura and its disappearance and destruction is
revealed.
Below pages of newspaper entries, with associative
connections to the cut-outs, collages are mostly on
paper of various formats, in general, about 30-40 cm.
The title The Sanctuary of Gluttons is a mature social
vivisection of unconscious fantasies of cocoa and
sensual pleasure, similar to the quest for precious
metals and diamonds. On the other hand, the artist
Gastone Novelli Voglio che si ripetano 1967
Gastone Novelli observes that the letter and voice
‘A’, originating from the people of the tribe which
communicates with one voice, speaks of a traumatized fate of a fatigued information
society, terrifying and genocidal. This announcement, as a call for action, occurs in a
unique novel-travelogue-confession and a small photographic collection, in the strik20 G. Jureša, from the book-project Istorija čokolade/ History of Chocolate, “Bel Art” Gallery, Novi Sad and
“Zvono” Gallery, Belgrade, Novi Sad 2013.
44
ing and influential work Austerlitz by WG Sebald,21 becoming a cultural contribution to
the melancholic sigh over the exterminations and lack of understanding of transience
and oblivion of the past century.
People who become numbers are determined by the tactility of the pencil and the
rhythm of graphite powder or cocoa pods, they are also part of critical comments, as
advertising irony “Tobler suddenly appears in Switzerland,” where the famous chocolate maker, Theodor Tobler from Bern is shown through a photo portrait and an unusual background and motivations that draw attention to manufacturing history and
status, from the denier of the anti-Semitic pamphlets The Protocols of the Elders of Zion,
to the phenomenon of famous triangular Toblerones, which resemble the pyramids of
Central America and, of course, the proximity of Alpine mountain peaks. The melting
of chocolate and the process of transformation, fluidity and recreation is not only an
appropriate reflection in collages, introduced by Duchamp’s quote of the chocolate cutter, prepared for The Large Glass, but in changes of the symbolic sphere of surrounding
matter, as well.
It is precisely Duchamp’s The Large Glass that is a paradigmatic structure of mediated creation of the parallel and hidden world of operational mechanicalness. Perhaps
Goran Jureša’s consistent painting and processing position unfolds according to the famous Duchamp connections with contemporary art, regardless of the surges in various
media, one through which he registers, creates and analyzes the stages of his findings.
This is a work in which the wealth of observations reveals the structural setting of the
understanding of the world, and a spontaneous and liberated personal progress.
21 Translation - V. G. Sebald: Austerlic/ Austerlitz, Paideia, Beograd 2009.
45
Odlomak iz priče Gistava Flobera Legenda o svetom Julijanu gostoprimcu
Zatim zađe kroz redove visokog drveća, čije su se krošnje spajale kao neki slavoluk na
ulazu u šumu. Srndać iskoči iz čestara, jelen lopatar izbi na jednom raskršću, jazavac se
pojavi iz rupe, jedan paun raširi svoj rep na proplanku, i kad ih je sve pobio, pojaviše se
drugi srndaći, drugi lopatari, drugi jazavci, drugi paunovi i kosovi, šojke, tvorovi, lisice,
ježevi, risovi, beskrajni niz životinja, pri svakom koraku sve mnogobrojnijih. Vrtjele su
se oko njega, dršćući, pogleda puna blagosti preklinjanja. Ali Julijan nije prestajao da
ubija, čas zapinjući luk, čas potežući mač, čas udarajući nožem i ne misleći ni na šta, ne
sjećajući se ničega. Lovio je u nekakvom kraju, ne bi se znalo koliko vremena. Samim
tim što je postojao, sve se odigravalo lakoćom koju osjećamo u snovima . Neobičan
prizor ga zaustavi. Cijelu jednu dolinu koja se širila kao arena ispunjavali su jeleni, i na
gomili, jedni uz druge, grijali su se svojim dahom koji se kroz maglu vidio kako se puši.
Od pomisli na toliki pokolj izbezumi se, za nekoliko časaka, od zadovoljstva. Zatim
sjaha, zasuče rukave i otpoče da gađa.
Kad prva strijela zazvižda, svi jeleni, u jedan mah, okrenuše glavu. U njihovoj gomili
stvoriše se udubljenja; tužni glasovi odjeknuše i veliki metež nastade u čoporu.
Padine u dolini bile su isuviše strme da uz njih pobjegnu. Skakali su po uvali, tražeći
kud bi pobjegli. Julijan je nišanio, odapinjao; a strijele su pljuštale kao mlazevi kiše.
Pobješnjeni jeleni stadoše se tući među sobom, propinjati se, uzjahivati jedni druge, a
njihova tijela izmiješana s rogovima činila su široke uzvišice, koje bi se rušile mičući se.
Najzad izdahnuše, polegavši po pjesku, s pjenom na ustima, s ispalom utrobom, dok
se dahtanje njihovih trbuha malo-pomalo smirivalo. Zatim sve postade nepomično.
Bližila se noć; a iza šuma, kroz granje, nebo je bilo crveno kao krvav pokrivač.
Julijan se nasloni na jedno drvo. Raširenih očiju promatrao je ogromnu klaonicu, ne
shvaćajući ni sam kako je on to izvršio.
Na drugom kraju doline, na rubu šume, ugleda jelena, košutu i njeno lane.
Jelen, crn i ogroman, imao je šesnaest parožaka i bjelu bradicu. Košuta, žuta kao uveli
list, pasla je na rudini; a šareno lane, ne prekidajući je u njenom hodu, sisalo je vime.
Strijela još jednom zašišti . Lane smjesta pade. Tada njegova majka, gledajući u nebo,
zarika glasom tužnim, prodornim, ljudskim. Julijan, van sebe, udarcem posred prsiju
obori je na zemlju.
Veliki jelen ga je bio ugledao, i skoči. Julijan odape na njega svoju poslednju strijelu.
Ona mu se zari u čelo i ostade tako zabodena.
Veliki jelen kao da je nije ni osjetio; preskočivši preko mrtvih primicao se neprestano.
Spremao se da jurne na njega, da ga probode. Julijan je uzmicao u neizrecivom užasu.
Čudnovata životinja se zaustavi. I, plamenih očiju, svečana kao kakav patrijarh i kao
sudac, dok je neko zvono udaralo, ponovi tri puta:
-Proklet! Proklet ! Proklet! Jednog dana, okrutno srce, ubit ćeš svoga oca i svoju majku!
Jelen previ koljeno, sklopi lagano oči i izdahnu.
prevod: Tin Ujević, 1964.
46
grass--and after he had slain them all, other deer, other stags, other badgers, other
peacocks, and jays, blackbirds, foxes, porcupines, polecats, and lynxes, appeared; in fact,
a host of beasts that grew more and more numerous with every step he took. Trembling,
and with a look of appeal in their eyes, they gathered around Julian, but he did not stop
slaying them; and so intent was he on stretching his bow, drawing his sword and whipping
out his knife, that he had little thought for aught else. He knew that he was hunting in
some country since an indefinite time, through the very fact of his existence, as everything
seemed to occur with the ease one experiences in dreams. But presently an extraordinary
sight made him pause.
He beheld a valley shaped like a circus and filled with stags which, huddled together, were
warming one another with the vapour of their breaths that mingled with the early mist. For
a few minutes, he almost choked with pleasure at the prospect of so great a carnage. Then
he sprang from his horse, rolled up his sleeves, and began to aim.
When the first arrow whizzed through the air, the stags turned their heads simultaneously.
They huddled closer, uttered plaintive cries, and a great agitation seized the whole herd.
The edge of the valley was too high to admit of flight; and the animals ran around the
enclosure in their efforts to escape. Julian aimed, stretched his bow and his arrows fell as
fast and thick as raindrops in a shower.
Maddened with terror, the stags fought and reared and climbed on top of one another;
their antlers and bodies formed a moving mountain which tumbled to pieces whenever it
displaced itself.
Finally the last one expired. Their bodies lay stretched out on the sand with foam gushing
from the nostrils and the bowels protruding. The heaving of their bellies grew less and less
noticeable, and presently all was still.
Night came, and behind the trees, through the branches, the sky appeared like a sheet of
blood.
Julian leaned against a tree and gazed with dilated eyes at the enormous slaughter. He was
now unable to comprehend how he had accomplished it.
On the opposite side of the valley, he suddenly beheld a large stag, with a doe and their
fawn. The buck was black and of enormous size; he had a white beard and carried sixteen
antlers.
His mate was the color of dead leaves, and she browsed upon the grass, while the fawn,
clinging to her udder, followed her step by step.
Again the bow was stretched, and instantly the fawn dropped dead, and seeing this, its
mother raised her head and uttered a poignant, almost human wail of agony. Exasperated,
Julian thrusthis knife into her chest, and felled her to the ground.
The great stag had watched everything and suddenly he sprang forward. Julian aimed his
last arrow at the beast. It struck him between his antlers and stuck there.
The stag did not appear to notice it; leaping over the bodies, he was coming nearer and
nearer with the intention, Julian thought, of charging at him and ripping him open, and
he recoiled with inexpressible horror. But presently the huge animal halted, and, with eyes
aflame and the solemn air of a patriarch and a judge, repeated thrice, while a bell tolled in
the distance: “Accursed!
Accursed! Accursed! some day, ferocious soul, thou wilt murder thy father and thy mother!”
Then he sank on his knees, gently closed his lids and expired.
47
The excerpt from the story by Gustave Flaubert The Legend of Saint-Julian the Hospitaller
Then he entered an avenue of tall trees, the tops of which formed a triumphal arch to the
entrance of a forest. A deer sprang out of the thicket and a badger crawled out of its hole, a
stag appeared in the road, and a peacock spread its fan-shaped tail on the
Adagio Var. X 2003. uljani pastel na papiru 50x70 cm
Adagio Var. X 2003 oil pastel on paper 50x70 cm
Amade 2006. akril i ulje na platnu 155x165 cm
Amade 2006 acrylic and oil on canvas 155x165 cm
Sada mi je čast, upitati vas, kako vam je stanje
i ostalo sranje? – jesu li vam vaške iste ko
naške? – da niste mili svrab dobili? – ili me još
malčice volite?- da li još redom po običaju pišete
kredom? – da li sam s vremena na vreme deo
vaše šeme? – zar vam nije povremeno uže bilo
malo duže? – jeste li bili smrknuti ili zabrinuti?
za me uboga s ludačkom puti; sada možete biti
mirni jer mi smo fini, u svojoj veri mogu jednog
ispustiti! Jesam li vas oslobodio? – victoria!
– naše guzice biće zastavice mira! – pomislio
sam da mi se nećete moći više opirati. da, da,
nespremnost mi ne može prići ni blizu, i ne
mislim se više dati na analizu, jer ću za 14 dana
biti već u Parizu.
Manhajm 28.2.1778.
Odlomak iz pisma koje je Volfgang Amadeus Mocart
uputio Mariji Ani Tekli Mocart
Nun aber habe ich die Ehre, sie zu fragen, wie
sie sich befinden und sich tragen? - ob sie noch
offens leibs sind? - ob sie etwa gar haben den
grind? -- ob sie mich noch ein
bischen können leiden? - ob sie öfters schreiben
mit einer kreiden? - ob sie noch dann und wan
an mich gedencken? - ob sie nicht bisweilen
lust haben sich aufzuhencken? - ob sie etwa gar
bös waren? auf mich armen narrn; ob sie nicht
gutwillig wollen fried machen, oder ich lass
bei meiner Ehr einen krachen! doch sie lachen
-- victoria! -unsre arsch sollen die friedens-zeichen seyn!
- ich dachte wohl, daß sie mir nicht länger
wiederstehen könnten. ja ja, ich bin meiner
sache gewis, und sollt ich heut noch machen
einen schiss, obwohl ich in 14 Tägen geh nach
Paris.
Mannheim, den 28. 2. 1778
Nespremnost 2008.
ulje i uljani pastel na platnu 200x130 cm
Aus dem Brief von Wolfgang Amadeus Mozart
an Maria Anna Thekla Mozart
Unprepared 2008
oil and oil pastel on canvas 200x130 cm
Erzlümmel 2007. ulje na platnu 180x160 cm
Erzlümmel 2007 oil on canvas 180x160 cm
Osvajanje Meksika (3.1.2013) olovka na papiru 70x100 cm
The Conquest of Mexico (3.1.2013) pencil on paper 70x100 cm
Osvajanje Meksika (4.1.2013) grafit i akril na papiru 70x100 cm
The Conquest of Mexico (4.1.2013) pencil and acrylic on paper 70x100 cm
O torturi 2011. kolaž 49x34 cm
On Torment 2011 collage on paper 49x34 cm
Crne misli more Hernana Korteza 2010. ulje, akril i uljani stik na platnu 200x166 cm
Dark Thoughts are Swarming the Mind of Hernan Cortes 2010 oil, acrylic, oil sticks on canvas 200x166 cm
Otumba 2013. voštani blok na papiru 70x100 cm
Otumba 2013 wax blocks on paper 70x100 cm
Mapa Mundi (pobeda Korteza) 2011. ulje, akril, uljani stik i olovka na platnu 160x140 cm
Mapa Mundi (Victory of Cortes) 2011 oil, acrylic , oil stick and pencil on canvas 160x140 cm
Zlato zaslepljuje 2013. kolaž 30x19,5 cm
Blinded by Gold 2013 collage on paper 30x19,5 cm
Putevi slasti 2011. ulje, akril, uljani stik i olovka na platnu 200x166 cm
The Paths of Sweetness 2011 oil, acrylic, oil stick and pencil on canvas 200x166 cm
Luj XIV 2010. akril, ulje i olovka na platnu 200x166 cm
Louis XIV 2010 acrylic, oil and pencil on canvas 200x166 cm
Skrhana neverstvima Luja XIVtog i
okružena patuljcima Marija Tereza ispija čokoladu
2010. olovka, ulja i akril na platnu 230x140 cm
Devastated by Louis XIV’s Infidelities and
Surrounded by Midgets Maria Theresa is Drinking a Cup of Chocolate
2010 pencil, acrylic and oil on canvas 230x140 cm
On ne kapira čemu služi ovo drvo 2011.
ulje, akril i uljani pastel na platnu 230x140 cm
He Still Hasn’t Figured Out What This Tree is For 2011
oil, acrylic and oil pastel on canvas 230x140 cm
Orizaba (12.4.2014) voštani blok na papiru 70x100 cm
Orizaba (12.4.2014) wax blocks on paper 70x100 cm
Otumba 2012. olovka, akril, uljani stik i uljana boja na platnu 140x230 cm
Otumba 2012 pencil, acrylic, oil sticks and oil on canvas 140x230 cm
Hujeotlipan (12.1.2014) voštani blok i akril na papiru 70x100 cm
Hujeotlipan (12.1.2014) wax blocks and acrylic on paper 70x100 cm
Cofre de Perote 2013. olovka, akril, ulje i uljani stik na platnu 155x235 cm
Cofre de Perote 2013 pencil, acrylic, oil and oil sticks on canvas 155x235 cm
Dolazi Kolumbo! 2010. olovka, akril i ulje na platnu 200x166 cm
Columbus Arrives! 2010 pencil, acrylic, oil on canvas 200x166 cm
Otumba (16. 2.2013) olovka na papiru 70x100 cm
Otumba (16. 2.2013) pencil on paper 70x100 cm
Rio Blanco (7.8.2013) voštani blok na papiru 70x100 cm
Rio Blanco (7.8.2013) wax blocks on paper 70x100 cm
Orizaba 2013. olovka, akril, ulje i uljani stik na platnu 155x235 cm
Orizaba 2013 pencil, acrylic, oil and oil sticks on canvas 155x235 cm
Jalapa (11.1.2014) voštani blok i akril na papiru 70x100 cm
Jalapa (11.1.2014) wax blocks and acrylic on paper 70x100 cm
Hujeotlipan (10.1.2014) voštani blok i akril na papiru 70x100 cm
Hujeotlipan (10.1.2014) wax blocks and acrylic on paper 70x100 cm
Cholula (2.2.2014) voštani blok i akril na papiru 70x100 cm
Cholula (2.2.2014) wax blocks and acrylic on paper 70x100 cm
Crne misli Pedra de Alvarada 2014. olovka, uljani stik i ulje na platnu 120x120 cm
Dark Thoughts of Pedro de Alvarado 2014 pencil, oil stick and oil on canvas 120x120 cm
Pet crnih misli Pedra de Alvarada 2013. kolaž
Five Black Thoughts of Pedro de Alvarado 2013 collage on paper
Drawing 2013. kolaž / collage on paper 29,5x21 cm
Untitled 2013. kolaž / collage on paper 29,5x21
Untitled 2013. kolaž / collage on paper 29,5x21
Drawing Thinking 2013. kolaž / collage on paper 29,5x21 cm
Hujeotlipan 2013. akrilik i voštani blok na papiru 70x100 cm
Hujeotlipan 2013 acrylic and wax blocks on paper 70x100 cm
Aztlan (I) 2013. kolaž
Aztlan (I) 2013 collage on paper
Aztlan (II) 2013. kolaž
Aztlan (II) 2013 collage on paper
Calpulalpan 2014. voštani blok i akrilik na papiru 70x100 cm
Calpulalpan 2014 wax blocks and acrylic on paper 70x100 cm
Aztlan 2014. voštani blok, akril, uljani stik i ulje na platnu 235x155 cm
Aztlan 2014 wax blocks, acrylic, oil stick and oil on canvas 235x155 cm
Otumba 2014. olovka, akril, voštani blok, uljani stik i ulje na platnu 120x150 cm
Otumba 2014 pencil, acrylic, wax blocks, oil stick and oil on canvas 120x150 cm
Poluglave sa belim balonom 2014. akril, olovka, voštani blok, uljani stik na platnu 140x160 cm
Halfheads With a White Balloon 2014 acrylic, pencil, wax blocks and oil stick on canvas 140x160 cm
Britanska fotografska revija (BJP):
Kako ste se počeli baviti kolažima?
Džon Stezaker: Moja majka je oduvek bila užasnuta
činjenicom da je moj rad proistekao iz detinjeg
vandalizma. Bavio sam se njima, izgleda, od samog
početka. Isecao sam i uništavao knjige, i smatrali su me
izuzetno nestašnim zbog toga. I dalje osećam tu krivicu,
postoji nešto veoma čudno u hvatanju za skalpel, koji je
izmišljen u hirurške svrhe, i rezanju fotografske emulzije.
Ne znam zašto sam osećao da je to neophodno. Ponekad
me uznemiri koliko su moji rani radovi bili nasilni.
Ali možete osetiti tu neprikosnovenu čistotu i svetost
fotografske emulzije jedino kroz njeno narušavanje.
British Journal of Photography (BJP):
How did you get into collage?
John Stezaker: My mother has always been horrified at
how my work emerged out of childhood vandalism. I
was into it from the beginning, seemingly. I cut up and
defaced books, and was regarded as very naughty for
doing it. I do still feel that guilt, there is something very
peculiar about taking a scalpel which was invented for
surgical purposes and cutting across the emulsion of a
photograph. I don’t know why I felt it was necessary. It
shocks me sometimes how violent my early work was.
But you can only get a feeling of the inviolable purity and
sanctity of the emulsion of a photograph by violating it.
Ruka (29.3.2012) kolaž 23x15,5 cm
Hand (29.3.2012) collage on paper 23x15,5 cm
Kolaži iz serije “O diktatoru” 2012.
Collages from the series “About a Dictator” 2012
Thinks he is normal
Bites rabid bites
Bites with a knife stupid
Arm him with a black list
Why will there be tragedy?
Impossible to rinse blood
‹
Power insatiability
Rumbled through
Became bellows
Doesn’t stop
Was shivered
Perform mass mutilations
Man the worst
‹
‹
‹
‹
Perform mass
mutilations
Families in black
To rule
Not balanced
Rotten
Fear down the neck
Burnt down shores
To others flame
Unbearable
Perform mass mutilations
Colourless dead
Ruka noga (28.5.2013) kolaž 30x36 cm
Arm and Leg (28.5.2013) collage on paper 30x36 cm
‹
‹
‹
He arrived
Happy
Throat
Attacked.
Kin are calling
Cuts everything
Cuts
Cuts
Happy
Blackened
Comes
Regularly
‹
He arrived
Killing
Dogs.
O Julijanu gostoprimcu (I) /
Saint-Julian the Hospitaller (I)
kolaž / collage on paper
2014. 29x19 cm
O Julijanu gostoprimcu (II) /
Saint-Julian the Hospitaller (II)
kolaž / collage on paper
2014. 35x25 cm
O Julijanu gostoprimcu (III) /
Saint-Julian the Hospitaller (III)
kolaž / collage on paper
2014. 29x20,5 cm
Das bildliche Opfer 2014. kolaž 33x23 cm
Das bildliche Opfer 2014 collage on paper 33x23 cm
Pismo Gastonu Noveliju 2013. kolaž
A Letter to Gastone Novelli 2013 collage on paper
Plateau of Anahuac (16.2 2014 ) voštani blok i akril na papiru 70x100 cm
Plateau of Anahuac (16.2 2014 ) wax blocks and acrylic on paper 70x100 cm
Orizaba (2013) voštani blok na papiru 70x100 cm
Orizaba (2013) wax blocks on paper 70x100 cm
Cholula/ mali grobovi (10.1.2014) akril i voštani blok na papiru 70x100 cm
Cholula/ Little Graves (10.1.2014) acrylic and wax blocks on paper 70x100 cm
Tollan 2014. akril, olovka, uljani stik i ulje na platnu 155x235 cm
Tollan 2014 acrylic, pencil, oil stick and oil on canvas 155x235 cm
Otumba 2013. akril i voštani blok na papiru 70x100 cm
Otumba 2013 acrylic and wax blocks on paper 70x100 cm
Cholula 2014. akril, olovka, uljani stik i ulje na platnu 155x235 cm
Cholula 2014 acrylic, pencil, oil stick and oil on canvas 155x235 cm
‹
Pobeda Korteza (1.11.2013) voštani blok i akril na papiru 70x100 cm
Victory of Cortez (1.11.2013) wax blocks and acrylic on paper 70x100 cm
‹
Otumba 2014. olovka, akril, uljani stik i ulje na platnu 235x155 cm
Otumba 2014 pencil, acrylic, oil stick and oil on canvas 235x155 cm
Poluglave (5.5.2014) voštani blok na papiru 70x100 cm
Halfheads (5.5.2014) wax blocks on paper 70x100 cm
“Te kasnije godine, izradio je crtež ugljenom po imenu
Očni balon. Na prvi pogled on izgleda kao duhoviti
vizuelni kalambur: okrugli balon i okruglo oko spojeni
su u jedno, dok ogromna sfera lebdi nad sivim predelom.
Kapak očnog balona je otvoren tako da su trepavice postale
rese na vrhu kupole. Sa balona visi gondola u kojoj se krije
neki manje-više polukružni obris: gornja polovina ljudske
glave. Ali ton crteža je nov i zloslutan. Ne možemo biti
dalje od uobičajene simbolike balona: slobode, duhovnog
uzdignuća, napretka čovečanstva.
Redonovo večito otvoreno oko izaziva duboku
uznemirenost. Oko na nebu; božja sigurnosna kamera.
A ta nezgrapna ljudska glava navodi nas na zaključak da
kolonizacija prostora ne pročišćava kolonizatore; dogodilo
se samo to da smo svoju grešnost preneli na novo mesto. “
Džulijan Barns, “Nivoi života”
“In the latter year he produced a charcoal drawing called
Eye Balloon. At first sight it seems just a witty visual
pun: the sphere of the balloon and the sphere of the eye
are conflated into one, as a vast orb hovers over a grey
landscape.
The eye balloon has its eyelid open, so that the eyelash
makes a fringe round the top of the canopy. Dangling
from the balloon is a cradle in which squats a rough
hemispherical shape: the top half of a human head. But
the tone of the image is new and sinister. We could not
be further from ballooning’s established tropes: freedom,
spiritual exaltation, human progress. Redon’s eternally
open eye is deeply unsettling. the eye in the sky; God’s
security camera. and that lumpish human head invites us
to conclude that the colonisation of space doesn’t purify
the colonisers; all that has happened is that we have brought
our sinfulness to a new location.”
Julian Barnes, “Levels of Life”
Cholula 2014. akril, voštani blok, uljani stik na platnu 155x235 cm
Cholula 2014 acrylic, wax blocks and oil stick on canvas 155x235 cm
Poluglave (5.5.2014) voštani blok na akrilnoj osnovi 70x100 cm
Halfheads (5.5.2014) wax blocks on acrylic surface 70x100 cm
Poluglave sa belim balonom (II) 2014.
akril, olovka, olovka u boji, voštani blok, uljani stik na platnu 140x160 cm
Halfheads With a White Balloon (II) 2014
acrylic, pencil, color pencil, wax blocks and oil stick on canvas 140x160 cm
Goran Jureša je rođen 1973. u Beogradu. Magistrirao
je slikarstvo na Akademiji umetnosti u Novom
Sadu 2002. godine. Od 1996. izlaže samostalno i
učestvuje na velikom broju kolektivnih izložbi.
Tokom 2003. ostvaruje rezidencijalni boravak u
CEAAC – Centre Europeen d Actions Artistiques
Contemporaines u Strazburu, a 2004. i 2005. u Cité
des Arts u Parizu. Dobitnik je WUS AUSTRIA
stipendije i nekoliko nagrada. Zaposlen je kao
docent na Departmanu za grafičko inženjerstvo i
dizajn Fakulteta tehničkih nauka u Novom Sadu.
U njegove trenutne načine izražavanja spadaju
slikarstvo, crtež i kolaž.
Goran Jureša was born in 1973 in Belgrade. Holds
an M.F.A. in Painting from the Academy of Arts
in Novi Sad. Since 1996 he has had solo exhibitions
and has participated in a large number of joint
exhibitions. In 2003 he enjoyed a residential stay
at the CEAAC – Centre Europeen d Actions
Artistiques Contemporaines in Strasbourg, and in
2004 and 2005 in Cité des Arts in Paris. Goran Juresa
is the winner of a WUS Austria grant and several
awards. He is currently employed as a professor
at the Department of Graphical Engineering and
Design of the Faculty of Tehnical Sciences in Novi
Sad. His current modes of expression are painting,
drawing and collages.
Goran Jureša
Slikovna žrtva
The Pictorial Offering
Izdavač I Published by
Muzej savremene umetnosti Vojvodine
Museum of Contemporary Art Vojvodina
21000 Novi Sad, Dunavska 37
[email protected]
www.msuv.org
Za izdavača I Executive Publisher
Sanja Kojić Mladenov
Tekst I Text
Nikola Šuica
Prevod I Translation
Milana Vujkov
Lektura I Proofreading
Predrag Rajić
Dizajn I Design
Mirjana Dušić Lazić
Fotografije I Photographs by
Marko Ercegović
Štampa I Print
Službeni glasnik, Beograd
ISBN
978-86-6333-011-5
Tiraž I Print run
400
CIP - Каталогизација у публикацији
Библиотека Матице српске, Нови Сад
75.0 71.1:9 29 Jureša G. (083.824)
ЈУРЕША, Горан, 1973–
Goran Jureša : slikovna žrtva : Muzej savremene
umetnosti Vojvodine, Novi Sad, 05.jun - 29.jun
2014. / [tekst Nikola Šuica ; prevod Milana Vujkov ;
fotografije Marko Ercegović]. - Novi Sad : Muzej savremene
umetnosti Vojvodine, 2014 (Beograd : Službeni glasnik). [112] str. : ilustr. ; 17 x 23 cm
Uporedo srp. tekst i engl. prevod. - Tiraž 400.
ISBN 978-86-6333-011-5
a) Јуреша, Горан (1973- ) - Сликарство - Изложбени каталози
COBISS.SR-ID 286489095
Download

GORAN JUREŠA Slikovna žrtva KATALOG