GO

RA

N JU

REŠAslikovna žrtva the pictorial off

ering

GORAN JUREŠAs l i k o v n a ž r t v a t h e p i c t o r i a lo f f e r i n g

Goran JurešaSlikovna žrtvaThe Pictorial Offering

Kustos Izložbe I Exhibition CuratorNikola Šuica

Producenti I ProducersJovan Jakšić, Luka Kulić

Tehnička podrška I Technical supportĐorđe Popić, Pajica Dejanović

Muzej savremene umetnosti VojvodineMuseum of Contemporary Art Vojvodina

05. jun – 29. Jun 2014. I June 5 – June 29, 2014

GORAN JUREŠAs l i k o v n a ž r t v a t h e p i c t o r i a lo f f e r i n g

NIKOLA ŠuICA

s l i ko v n a ž r t v a ~ a k a D a s b i l d l i c h e O p f e r

„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.

1

5

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.

6

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. 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.

Odilon Redon Oko sa makom 1892.

6 7

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.

8

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 9

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.

10

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 11

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

12

alegorije – središnja tema te knjige o tragediji – prvi put je pružila uvid u odavno zanemarena područja poetskog i teološkog jezika.9

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.

9 W. Benjamin, Porijeklo njemačke žalobne igre, Veselin Masleša, Sarajevo, 1989.

Ijasent Rigo Luj XIV 1701.

Hernan Kortez

12 13

Hronika najavljene propasti ili ostaci pernate zmijeKroz 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.

14

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 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, 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.

Stereskopska projekcija 1891.

Kortezovo kretanje tlom Meksika, juli 1520.

14 15

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 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.

Odslikati zbivanja kakva su bila Kolumbova 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.

Saj Tvombli Leda i labud 1963.

Džon Vanderlin Kristofer Kolumbo otkriva Amerike za Španiju 1842-47.

16

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 17

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.

18

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 19

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 „vreme-prostor“ 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 u filozofiju jezika uveo ga je 1937. slavni sovjetski teoretičar književnosti Mihail Bahtin.

Žan Mišel Baskija Hollywood Africans 1983.

20

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 21

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.

22

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.

JouissancePostinformatički 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 23

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 poja- 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.

Gaston Noveli Želim da se ponovi 1967.

24

NIKOLA ŠuICA

Th e P i c to r ia l O f fe r in g ~ a ka D as b i l d l i ch e O pfe r

“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

1

24 25

A visual society is permeated by demanding information systems. Visible sensations permeate all types of communication in a fluctuating civilization, and seem to be chal-lenging 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 artis-tic 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 un-loading of casual games in ideology, ethics, identities and society. Principles of cre-ative 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 unifor-mity, 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 ac-quired 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.

26

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 cre-ation 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 thresh-old 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 terri-tories 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 mu-seum collections presented an abundance of examples, from the Renaissance to Symbolist sketches and detailed drawings of devotional, mythological, often supernatural excesses and 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, rep-resents 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 perspec-tive 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 confron-tation 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.

Odilon Redon Eye with Poppy 1892

26 27

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 ap-plied 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 West-ern 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 paint-ing, 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 seg-ment of reality. The Greek word eco, introduced by the German naturalist Ernst Haeck-el 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,

28

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 pho-tographic 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 cul-ture 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 present-ers, 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 sur-rounding 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 chang-es, 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 mea-surements 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 rep-resentation.

These are the battles in the artist’s process to highlight the remains of ideals and asso-ciations as results of lost and hopeless situations.

„Der Ursprung des Trauerbildes”Creating a painting is an excess of freedom. Post-war existential agony brought resig-nation which conditioned creativity according to the dictate of random procedurality.

3 Susan Sontag, Eseji o fotografiji/On Photography, Radionica SIC, Belgrade 1982.

28 29

These performance principles in visual arts, probably resulting from the motoric of surrealist automatism, introduced final products as parts of mental acts. Action map-ping 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 mo-tivational 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 evi-dent 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 revo-lution 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 deter-minant 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. Creat-ing 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, most-ly 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, trans-historical 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.

30

unique prodigy had with his wife Constanza, were transferred from fragmented epis-tolary 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 mar-zipan, 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 enter-taining 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 classi-cism, 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 cir-cularity and reveal a self-conscious quest for multilayered meanings of artistic freedom, liberation from constraints and childish offenses. Mozart’s writings are also scandal-ized 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 mu-sical 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 31

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 ephem-eral 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 re-searched 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 psychol-ogy 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, cre-ating 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 objectifica-tion 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 vi-

8 Serž Tiseron: Naum crteža - grafički gest i žalovanje, Gradac no. 160-161, theme: Melanholija/ Melancholia, Dom kulture Čačak 2007, pp.184-193.

32

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 trans-formation. 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 un-deniably 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 trau-erspiel, 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 con-temporary 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 ex-pansions is affected by visual inputs of duration and introductions of the language of inscriptions, fragments and testimonies of knowledge. Visual representation is a syn-thesis 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 33

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 cartograph-ic 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.

Chronicle of an announced fall or the remains of the Feathered SerpentThe 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 tactil-ity of use of acrylic, graphite and pastel styles of drawing, rubbing, printing, etching and overlapping. The direction of the compositions in horizontal geographical cartographic distance is given as a somewhat different immersion into the portrait, or in the tem-plates of religious confessional vertical dimensions of the altar. Similar to the ritual of confession, the painter finds himself in the domain established since abstract expres-sionism 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

Hyacithe Rigaud Louis XIV 1701

Hernan Cortes

34

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 contra-dictory 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 me-dium 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 ob-jects 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 demon-strates 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 com-municative instances circulated this offering through public entertainment represen-tations 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 pow-

10 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 35

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 carto-graphic 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 traces and intertwining, serve as the outcomes of a ceremonial quest, becoming a visual ar-chive 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 influ-ences, 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 in-scribed 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 vibran-cy 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 contri-bution reach? Civilizational shift? These questions correspond to a historical place of innovation ex-empt of methods of input. They were consistently applied by the 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

Stereoscopic projection 1891

Cortes’ route through Mexico July 1520

36

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 civiliza-tion.12

Branched according to intensity, the direction of such a de-scent 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 assump-tions 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 reali-zation of movement. It refers to the property of mobility of plans or the position within the shelter of the surface and drawing, the record and the chromatic and graphic trac-

es 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 span-ning from Columbus to Hernán Cortés, and the affair of colonial exploitation of Cen-tral America and Mexico, seems to neither be a continuous nor a linear flow within a perpetual metamorphosis of historical knowledge.

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

12 Kirk Varnedoe, “Inscriptions in Arcadia” in Cy Twombly: A Retrospective - MoMA, New York 1994.

Cy Twombly Leda and the Swan 1963

John Vanderlyn Christopher Columbus discovers the Americas for Spain 1842-47

36 37

of painting and inscription is a continuous change of direction, and, through the as-sessment 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 civili-zations - the confrontation of the indigenous population with Spanish conquistadores. The words of the oracles and sacrifices of the indigenous population, and the Catho-lic 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 person-ifications, 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 ma-tured 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 cru-elty, 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. Accord-ing 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 con-quest 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.

38

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 ter-ritorial 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-in-dustrial 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 top-onyms of the author’s individual style.

Disgusted with tribal customs, advocates of the Age of Reason, and on other sub-con-tinents, as well, intended to present displacement and the ideology of conquest as the royal rule. Dark and frightening aspects of aggressive and devastating massacres be-come 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, extinc-tion 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 con-quest 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 39

persistently imposed directions, Goran Jureša is not a follower of a counter-Enlighten-ment 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 pas-tels, layering of intimate contact and concentration on the imprinted, scribbled struc-ture, 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 SpectacleToponyms 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.

40

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 au-dience, to Cortés in the 1520s.

Paintings with heads and passages of dialogue are part of the shift in the energy mea-sures 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-biologi-cal 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 naviga-tion, as well as a territorial deployment of maps, ships logs and experiences. Such loose-ness 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 an-thropological 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 subjec-tive 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 41

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 distort-ed 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 am-bientalization references the models of the masters such as Van Dyck or Velázquez, whose experience 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 draw-ings 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.

J.M.Basquiat Hollywood Africans 1983

42

world of images, human multiplications, migrations and different levels of plunder. The cosmogram of emerging economies is entirely possible. Merchandise credit and invest-ment 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 appropri-ated 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 exhi-bition 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 accord-ing 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 exclusiv-ities.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 43

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 dynam-ics. The chocolate narrative is a mobilized debate of the contemporary trace that con-nects 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 quan-tity 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 histo-ry 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.

JouissanceThe post-IT vortex of critical revision is the merging of temporal and historical struc-tures. 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.

44

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 loca-tions 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 in-corporated 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 con-nected 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, subcon-sciously 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 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 strik-

20 G. Jureša, from the book-project Istorija čokolade/ History of Chocolate, “Bel Art” Gallery, Novi Sad and “Zvono” Gallery, Belgrade, Novi Sad 2013.

Gastone Novelli Voglio che si ripetano 1967

44 45

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 choco-late maker, Theodor Tobler from Bern is shown through a photo portrait and an un-usual 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 cut-ter, 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 mediat-ed creation of the parallel and hidden world of operational mechanicalness. Perhaps Goran Jureša’s consistent painting and processing position unfolds according to the fa-mous 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.

46

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.

Odl

omak

iz

prič

e G

ista

va F

lobe

ra L

egen

da o

svet

om Ju

lijan

u go

stop

rimcu

prevod: Tin ujević, 1964.

46 47

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

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.

The excerpt from the story by G

ustave Flaubert The Legend of Saint-Julian the Hospitaller

Adagio Var. X 2003. uljani pastel na papiru 50x70 cmAdagio Var. X 2003 oil pastel on paper 50x70 cm

Amade 2006. akril i ulje na platnu 155x165 cmAmade 2006 acrylic and oil on canvas 155x165 cm

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

Aus dem Brief von Wolfgang Amadeus Mozart an Maria Anna Thekla Mozart

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

Nespremnost 2008. ulje i uljani pastel na platnu 200x130 cm

Unprepared 2008 oil and oil pastel on canvas 200x130 cm

Erzlümmel 2007. ulje na platnu 180x160 cmErzlümmel 2007 oil on canvas 180x160 cm

Osvajanje Meksika (3.1.2013) olovka na papiru 70x100 cmThe Conquest of Mexico (3.1.2013) pencil on paper 70x100 cm

Osvajanje Meksika (4.1.2013) grafit i akril na papiru 70x100 cmThe Conquest of Mexico (4.1.2013) pencil and acrylic on paper 70x100 cm

O torturi 2011. kolaž 49x34 cmOn Torment 2011 collage on paper 49x34 cm

Crne misli more Hernana Korteza 2010. ulje, akril i uljani stik na platnu 200x166 cmDark Thoughts are Swarming the Mind of Hernan Cortes 2010 oil, acrylic, oil sticks on canvas 200x166 cm

Otumba 2013. voštani blok na papiru 70x100 cmOtumba 2013 wax blocks on paper 70x100 cm

Mapa Mundi (pobeda Korteza) 2011. ulje, akril, uljani stik i olovka na platnu 160x140 cmMapa Mundi (Victory of Cortes) 2011 oil, acrylic , oil stick and pencil on canvas 160x140 cm

Zlato zaslepljuje 2013. kolaž 30x19,5 cmBlinded by Gold 2013 collage on paper 30x19,5 cm

Putevi slasti 2011. ulje, akril, uljani stik i olovka na platnu 200x166 cmThe Paths of Sweetness 2011 oil, acrylic, oil stick and pencil on canvas 200x166 cm

Luj XIV 2010. akril, ulje i olovka na platnu 200x166 cmLouis XIV 2010 acrylic, oil and pencil on canvas 200x166 cm

Skrhana neverstvima Luja XIVtog i okružena patuljcima Marija Tereza ispija čokoladu2010. olovka, ulja i akril na platnu 230x140 cmDevastated by Louis XIV’s Infidelities andSurrounded 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 2011oil, acrylic and oil pastel on canvas 230x140 cm

Orizaba (12.4.2014) voštani blok na papiru 70x100 cmOrizaba (12.4.2014) wax blocks on paper 70x100 cm

Otumba 2012. olovka, akril, uljani stik i uljana boja na platnu 140x230 cmOtumba 2012 pencil, acrylic, oil sticks and oil on canvas 140x230 cm

Hujeotlipan (12.1.2014) voštani blok i akril na papiru 70x100 cmHujeotlipan (12.1.2014) wax blocks and acrylic on paper 70x100 cm

Cofre de Perote 2013. olovka, akril, ulje i uljani stik na platnu 155x235 cmCofre de Perote 2013 pencil, acrylic, oil and oil sticks on canvas 155x235 cm

Dolazi Kolumbo! 2010. olovka, akril i ulje na platnu 200x166 cmColumbus Arrives! 2010 pencil, acrylic, oil on canvas 200x166 cm

Otumba (16. 2.2013) olovka na papiru 70x100 cmOtumba (16. 2.2013) pencil on paper 70x100 cm

Rio Blanco (7.8.2013) voštani blok na papiru 70x100 cmRio Blanco (7.8.2013) wax blocks on paper 70x100 cm

Orizaba 2013. olovka, akril, ulje i uljani stik na platnu 155x235 cmOrizaba 2013 pencil, acrylic, oil and oil sticks on canvas 155x235 cm

Jalapa (11.1.2014) voštani blok i akril na papiru 70x100 cmJalapa (11.1.2014) wax blocks and acrylic on paper 70x100 cm

Hujeotlipan (10.1.2014) voštani blok i akril na papiru 70x100 cmHujeotlipan (10.1.2014) wax blocks and acrylic on paper 70x100 cm

Cholula (2.2.2014) voštani blok i akril na papiru 70x100 cmCholula (2.2.2014) wax blocks and acrylic on paper 70x100 cm

Cholula (2.2.2014) voštani blok i akril na papiru 70x100 cmCholula (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 cmDark Thoughts of Pedro de Alvarado 2014 pencil, oil stick and oil on canvas 120x120 cm

Pet crnih misli Pedra de Alvarada 2013. kolažFive 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 cmHujeotlipan 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 cmCalpulalpan 2014 wax blocks and acrylic on paper 70x100 cm

Aztlan 2014. voštani blok, akril, uljani stik i ulje na platnu 235x155 cmAztlan 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 cmOtumba 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 cmHalfheads With a White Balloon 2014 acrylic, pencil, wax blocks and oil stick on canvas 140x160 cm

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.

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.

Ruka (29.3.2012) kolaž 23x15,5 cmHand (29.3.2012) collage on paper 23x15,5 cm

Kolaži iz serije “O diktatoru” 2012. Collages from the series “About a Dictator” 2012

Perform mass mutilationsFamilies in blackTo rule

Thinks he is normalBites rabid bitesBites with a knife stupidArm him with a black listWhy will there be tragedy?Impossible to rinse blood

Not balancedRottenFear down the neckBurnt down shoresTo others flameunbearable Perform mass mutilationsColourless dead

Power insatiabilityRumbled throughBecame bellowsDoesn’t stopWas shiveredPerform mass mutilationsMan the worst

Kolaži iz serije “O diktatoru” 2012. Collages from the series “About a Dictator” 2012

‹‹ ‹ ‹

‹

Ruka noga (28.5.2013) kolaž 30x36 cmArm and Leg (28.5.2013) collage on paper 30x36 cm

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

He arrivedHappyThroatAttacked.Kin are calling

Cuts everythingCutsCutsHappyBlackenedComesRegularly

He arrivedKillingDogs.

‹ ‹ ‹

‹

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 cmPlateau of Anahuac (16.2 2014 ) wax blocks and acrylic on paper 70x100 cm

Orizaba (2013) voštani blok na papiru 70x100 cmOrizaba (2013) wax blocks on paper 70x100 cm

Cholula/ mali grobovi (10.1.2014) akril i voštani blok na papiru 70x100 cmCholula/ Little Graves (10.1.2014) acrylic and wax blocks on paper 70x100 cm

Tollan 2014. akril, olovka, uljani stik i ulje na platnu 155x235 cmTollan 2014 acrylic, pencil, oil stick and oil on canvas 155x235 cm

Otumba 2013. akril i voštani blok na papiru 70x100 cmOtumba 2013 acrylic and wax blocks on paper 70x100 cm

Cholula 2014. akril, olovka, uljani stik i ulje na platnu 155x235 cmCholula 2014 acrylic, pencil, oil stick and oil on canvas 155x235 cm

Pobeda Korteza (1.11.2013) voštani blok i akril na papiru 70x100 cmVictory of Cortez (1.11.2013) wax blocks and acrylic on paper 70x100 cm

Otumba 2014. olovka, akril, uljani stik i ulje na platnu 235x155 cmOtumba 2014 pencil, acrylic, oil stick and oil on canvas 235x155 cm

‹

‹

Poluglave (5.5.2014) voštani blok na papiru 70x100 cmHalfheads (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 cmCholula 2014 acrylic, wax blocks and oil stick on canvas 155x235 cm

Poluglave (5.5.2014) voštani blok na akrilnoj osnovi 70x100 cmHalfheads (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 cmHalfheads With a White Balloon (II) 2014acrylic, 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 JurešaSlikovna žrtvaThe Pictorial Offering

Izdavač I Published byMuzej savremene umetnosti VojvodineMuseum of Contemporary Art Vojvodina21000 Novi Sad, Dunavska 37office@msuv.orgwww.msuv.org

Za izdavača I Executive PublisherSanja Kojić Mladenov

Tekst I TextNikola Šuica

Prevod I TranslationMilana Vujkov

Lektura I ProofreadingPredrag Rajić

Dizajn I DesignMirjana Dušić Lazić

Fotografije I Photographs byMarko Ercegović

Štampa I PrintSlužbeni glasnik, Beograd

ISBN978-86-6333-011-5

Tiraž I Print run400

CIP - Каталогизација у публикацијиБиблиотека Матице српске, Нови Сад

75.071.1:929 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 savremeneumetnosti Vojvodine, 2014 (Beograd : Službeni glasnik). - [112] str. : ilustr. ; 17 x 23 cm

Uporedo srp. tekst i engl. prevod. - Tiraž 400.

ISBN 978-86-6333-011-5a) Јуреша, Горан (1973- ) - Сликарство - Изложбени каталозиCOBISS.SR-ID 286489095