Izložba: Matko Vekić MASKA SLIKE BOŽJE

 

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Preklapanja različitih svjetova, prožimanja i paralelna postojanja umjetničkog i ne-umjetničkog, unutarnjeg i izvanjskog, ljudskog i ne-ljudskog stalne su teme umjetničkog istraživanja Matka Vekića. Iako jasno ostaje opredijeljen za tradicionalni medij slikarstva, ne shvaća ga hermetično i izdvojeno od suvremenosti i utjecaja ostalih medija.
Prvi radovi u kojima je Vekić koristio prizma panoe nastali su prije deset godina. Zanimljivo je napomenuti da su tada prizma panoi korišteni u reklamne svrhe, prije široke uporabe video zidova i led panoa, kako bi se jedno reklamno mjesto moglo iskoristiti istovremeno za više različitih sadržaja. Dakle, umjetnik je preuzeo formu tipičnu za medije oglašavanja da bi dobio veću mogućnost narativnosti i utjecao na drukčiju percepciju slikarskog rada. U tim ranim radovima (ciklus Mijena) figuralni slikarski prizori izmjenjivali su se s monokromima i fotografijama. Gledano iz današnje perspektive, tehnički usavršeni panoi postali su jednostavno oruđe u rukama slikara, a utjecaj medijskog prostora jasno je svoje mjesto našao u motivima rotirajućih slika. Serija prizma panoa izloženih 2010. u Galeriji Bačva pod nazivom Okrutnost kruga pokazuje motive preuzete iz televizijskih programa, od prepoznatljivih filmskih scena, logotipa multinacionalnih korporacija, do anonimnih prizora koji izgledaju kao da su preuzeti iz povijesnih dokumentarnih filmova. Slojevitost radova očita je u mnoštvu vizualno preklapajućih elemenata – isti se simboli pojavljuju u logotipima velikih produkcijskih kuća i na zastavi Europske unije, prikaz aviona u bombardiranju sličan je onom iz poznate scene iz filma Sjever-sjeverozapad… Mogli bismo asocijativno i dalje „čitati“ ove radove, no Vekićeva poruka vrlo je jasna. Umjetnik prenosi na platno istu onu histeriju kojoj smo svakodnevno izloženi. Dok okretanje prizmi donosi nove prizore, ne možemo se oteti asocijaciji na vlastito sjedenje na kauču i besciljno okretanje televizijskih programa.
Iako je kritika društva stalno prisutna u Vekićevim radovima, rijetko kad ima nazubljenu oštricu. On ne želi šokirati promatrača, već ga nastoji postepenim procesom spoznaje prikazanoga natjerati na razmišljanje, na svojevrstan put prema unutra. Upravo na razmeđi unutarnjeg i vanjskog, u prostoru između prizora i doživljaja, nastala je serija velikih kompozicija naslovljenih Obični ljudi i Unutarnja zbivanja. Prostor slike Vekić gradi u dva plana: u prednjem smješta skupine ljudi ili pojedine figure uhvaćene u „beznačajnom“ trenutku svakodnevnice – dijete koje se nervozno otima majci, obitelj u trenutku opuštanja na plaži i sl. Sam prostor je nedefiniran, tek naznačen geometrijskim skraćenjima. Pozadinski plan čine nizovi slika iz prethodno opisanog ciklusa. Autocitat se može iščitati kao osobno preispitivanje pozicije umjetnosti u vlastitom životu (i obratno), ali i kao opće mjesto odnosa stvarnih događanja u bilo čijem životu i paralelnom misaonom svijetu, svijetu ideja, slika, slutnji, nelagoda, strahova i svega onog što čini ljudski život. Posebno mjesto zauzima slika naslovljena po tekstu Tina Ujevića – Magnetsko brdo vremena (čijom parafrazom autor i naziva izložbu). Usamljeni muški lik (umjetnik?) zaklanja izvor svjetla (istine?) u svojoj ruci dok se u pozadini nižu dramatični prizori i „U svemiru ide sve kao navijeno po časovniku…“.
Posljednju seriju izloženih radova čine neobični, uvjetno nazvano, portreti pod zajedničkim nazivom Maske slike božje. Riječ je od nizu od tridesetak prikaza ljudskih glava od kojih su neke doslovno pod maskama (ronilačkim, zaštitnim), lica skrivenih pod velom, sunčanim naočalama ili jednostavno zatamnjenih. Pod maskama možemo prepoznati svećenike, liječnike, vojnike, a simbolika je dodatno pojačana jedinim jasno prikazanim licem – licem Bogorodice.
Bez obzira koja se tematika i motivi u danom trenutku nalaze u Vekićevom fokusu, zajedničko svim njegovim radovima je činjenica da su to prvenstveno slikarski jaki radovi. Vekić je umjetnik koji suvereno vlada prostorom slike, slobodno gradeći izraz korištenjem valjka, matrica, naglašavajući pritom materičnost slikarskog postupka. Stoga je, koliko god tema njegovog rada bila ozbiljna, uvijek jasno vidljivo uzbuđenje i užitak samog stvaranja.
EN
The overlapping of different worlds, the infusion and parallel existences of the artistic and the non-artistic, the inner and the outer, the human and the non-human are constant themes of Matko Vekić’s artistic exploration. Although he clearly remains committed to the traditional medium of painting, he does not perceive it as something hermetic and set apart from contemporaneity and the impact of other media.
Vekić first used prism panels in his work ten years ago. It should be noted that at that time, before the widespread use of video walls and LED panels, prism panels were used for advertising, so that one advertising space could be used simultaneously for several different types of content. Thus, the artist took over a form typical for advertising media in order to gain a greater narrativity and to have an influence over a different perception of his paintings. In his early works (the Change series) the figural scenes in the paintings alternate with monochromes and photographs. Seen from today’s perspective, the technically perfected panels have become a simple tool in the hands of the painter, and the influence of media space has clearly found its place in the motifs of rotating paintings. The series of prism panels entitled The Cruelty of the Circle exhibited in the Bačva Gallery in 2010 depicts motifs taken from television programmes, ranging from easily recognizable film scenes, multinational company logos to anonymous scenes that look like they were taken from historical documentaries. The layering of the works is evident in the multitude of overlapping elements – the same symbols appear in the logotypes of large production companies and on the EU flag, the scene of an aeroplane bombing is similar to the famous scene from the film North by Northwest…We could continue to “read” these works associatively, but Vekić’s message is quite clear. The artist transposes to the canvas the same hysteria that we are exposed to daily. While turning to the prism offers new scenes, we cannot shake off the connection to one’s own sitting on the couch, aimlessly flipping through TV programs.
Even though a criticism of society is constantly present in Vekić’s works, rarely does it have a sharp edge. He does not want to shock the viewer but rather through a gradual process of understanding that what is shown to compel the viewer to think, on a kind of journey inward. It is precisely at the crossroads between the inner and the outer, in the space between scene and experience, that the series of large compositions entitled Ordinary People / Inner Happenings takes place. Vekić builds on two levels: in the foreground he places groups of people or single figures caught in a “meaningless” moment of the everyday – a child nervously trying to escape its mother, a family relaxing on the beach, etc. The space itself is undefined, marked only by geometric truncations. The background is made up of a series of images from the previously described series. The self-citations can be read as a personal questioning of the position of art in one’s own life (and vice-versa), but also as the general setting for the relations of real events in anyone’s life and the parallel world of thought, the world of ideas, images, premonitions, discomfort, fears and everything that makes up human life. The painting named after a text by Tin Ujević –Magnetic field of time – occupies a special place (indeed, the title of the exhibition itself is a paraphrase of that title). A lone male figure (the artist?) shields the source of light (truth?) in his hand, while dramatic scenes fill up the background.
The last series of exhibited paintings is made up of unusual portraits, if we can call them that, entitled The Masks of God’s Image. The series comprises some thirty-odd portraits of human heads, some of which are literally hidden behind masks (diving masks, protective masks), faces hidden behind veils, sunglasses, or simply darkened. Behind the masks we can make out priests, doctors, soldiers, and the symbolism is further reinforced by the only clearly displayed face – that of the Mother of God.
Regardless of the themes and motifs that are in Vekić’s focus at a given moment, what is common to all his works is the fact that they are exceptionally strong artistic works in terms of technique. Vekić is an artist whose mastery over the space of the painting is absolute, freely building his expression through the use of rollers, stencils, while emphasizing the materiality of the painting process. That is why, however much the theme of his work is serious, the excitement and joy of the creation itself is always visible.
Jasminka Babić

 

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