todorovi
aladinov duh
15. 3. 19. 4. 2014.
aladinov duh
predraga todorovia
antun marai
Izloba Predraga Todorovia u Galeriji Forum sastoji se od dva strukturalna elementa, odnosno od etiri izloka: tri crtea/slike na pocinanom limu i velikog objekta
nastalog na licu mjesta, zmijolike forme
varirajue debljine, koja bogato meandrirajui prizemljem i katom ini markantnu
dominantu unutar galerijskog prostora.
Iako u konanom izgledu i dojmu izlobe
prikljueni dvodimenzionalni izloci nesumnjivo korespondiraju kao suvisli vizualni sastavni dio, inei organski i komplementarno nadopunjujuu komponentu
decentno rijeenog ambijenta, oni slue i
kao predmeti za mogunost uvida u porijeklo velike sredinje skulpture/instalacije,
kao neka vrsta didaktikog materijala. Naime, objekt koji kruei prelazi iz prizemlja
na kat galerije i obrnuto, debljajui prema
sredini i tanjei se poput zmije prema svojim krajevima, trodimenzionalni je prijevod
spomenutih plonih izloaka.
Nakon ranih radova od kraja 1980-ih nadalje (1990. Todorovi zavrava studij Likovnih umjetnosti na Pedagokom fakultetu u Rijeci) bliskih (neo)informelnom
Posljednjih godina Todorovi koristi metalne povrine koje prekriva tuem, a potom otrim predmetima urezuje navedeni
tip crtea. Te guste crtake ispune cjelokupnih podloga nastaju upornim radom,
pri emu, ini se, izostaje preliminarni plan
konanog izgleda, koji se formira spontano automatistiki kao posljedica mentalnog stanja u vremenu djelovanja, stanja emocija i smjerova misli koje se preko
crtea specifinim ritmom reflektiraju na
povrini. Takvu aktivnost istodobno bismo mogli atribuirati kao svojevrsni vid
tenje neutilitarnom, utopijskom djelovanju, kao prijepis vlastitog vremena, kao
oblik terapije ili pokuaja panine potvrde vlastite prisutnosti u svijetu, kao nain
molitve-iskupljenja ili kao medijski karakteristinu praksu mantre kojom se tei inducirati vlastita duhovna esencija, odnosno bie tako nastalog produkta.
Dakako, formalno gledajui, u ovim Todorovievim radovima moemo evocirati i oblike primarnog, elementarnog slikarstva iz sedamdesetih godina. No za razliku
od suhih temeljnih zahvata koji analiziraju
samu podlogu, materijal i proces nastanka
slike, kod ovog autora evidentan je naglasak na drai pa i dekorativnom uinku materijala, kao to je i primisao na predstavljake, izvanmedijske sadraje (ma koliko
u vrlo stiliziranom obliku) takoer paralelno prisutna. Autor je, primjerice, analogiju teksturi i ritmu svojih crtea pronaao
u gustim i ljeskavim formacijama jata riba
koje se u munjevitim, udesno sinkroniziranim skupnim pokretima, nepredvidivom
dinamikom i promjenama smjerova gibaju, krue i vrtloe ispod povrine mora. Istina, iako je autor nerijetko i eksplicite slikao motiv riba, snimao ih videokamerom
ili tek na razliite naine aludirao na njihove forme, njegovi radovi su daleko od trivijalne ilustracije te bioloke vrste i ive skupne prirodne pojave. Naime, ovdje je rije
vie o prepoznavanju i komparaciji, o vizualizaciji podudarnih struktura i dinamike apstraktnih kategorija poput ritma emocija ili misli.
Ova difuzna galerijska instalacija, ma koliko markantno okupirala prostor, ukljuuje dakle i ideju blokiranog energetskog
naboja, supstance koja tek iekuje svoju kreativnu akciju realizacije ina-elje. Naime, iako djeluje kao osloboena i
prostorno izdano razvedena forma, prema autorovom tumaenju, unutranjost
galerije postaje metafora boce s duhom,
oklopa bia koji onemoguuje oplodnju
zarobljene duhovnosti. Time se dodatno
komprimira, odnosno obogauje znaenje prezentiranog oblika, koji istodobno
drastino manifestira i razvija svoju protenost te, paradoksalno, trpi osporenost
razmahivanja svog potencijala.
No ako zanemarimo spomenutu sugestiju metaforikog znaaja sredinjeg eksponata, u izlobenom smislu Todoroviev
nastup jedan je od onih koji naglaavaju prostornu injenicu izlagakog mjesta,
nadilazei tako tradicionalni odnos prema
galeriji kao kontejneru za artefakte koji su
izvan relacije s neposrednim kontekstom.
Njegova izloba poprima tako znaaj jedne u nizu kreativnih programskih inaica
koje doprinose dobrodolom naglaavanju i osvjetenju prostora, odnosno svih
karakteristika i posebnosti same Galerije
kao medija prezentacije ive suvremene
umjetnosti.
there are systematic, long-lasting, drawings made in little strokes, swarms of circular and undulating, spiral strokes-scorings, spiral agglomerations that well out of
the different points of the surface, interfusing at the end in a saturated weave of
the surface of the paper, plywood or panel.
In recent years Todorovi has used metal surfaces he covers with ink, into which
with sharp objects he then inscribes the
type of drawing mentioned. These crowded drawn fills of whole surfaces are created with persevering labour, in which, it
seems, there is no preliminary plan for the
final appearance, which is formed spontaneously and automatically, as a consequence of his mental state at the time of
the work, the state of his emotions and directions of thought that are reflected on
the surface in a specific rhythm by the
drawing. We might describe this kind of
activity at the same time as a kind of form
of aspiration to an non-utilitarian utopian
action, a transcript of his own time, a form
of therapy or an attempt at a panicky confirmation of his own presence in the world;
Polje, 1. - 20. kolovoza, 2013. pocinani lim, crni tu, grebano grafikom iglom |
Field, August 1-20, 2013, galvanised sheet metal, black ink, scratched with a with a dry point needle
a manner of redemptive prayer or a media-wise characteristic practice of a mantra with which the aspiration is to induce
his own spiritual essence, the being of a
product so created.
Of course, looked at formally, we might
find that these works of Todorovi evoke
the forms of primary, elementary painting
of the seventies; but unlike those dry, fundamental operations that analyse just the
support, the material and the process of
creation of a painting, in this artist there is
a clear emphasis on the charms and the
decorative effect of the material, as there
is a subdued consideration of the representative, extra-media content (if in very
stylised form) also present in parallel. The
artist has, for example, found an analogy to the texture and rhythm of his drawings in the dense shimmery formations of
a shoal of fish that in lightning-fast, amazingly synchronised collective movements,
with unpredictable dynamics and changes of direction shift, circle and spiral below
the surface of the sea. Indeed, although
the author has sometimes explicitly painted fish motifs, shot them with video camera and alluded to their forms in various
ways, his works are far from being a trivial illustration of the species and live collective natural phenomenon. This is more
about recognition and comparison, the
visualisation of correlated structures and
the dynamics of abstract categories like
the rhythm of emotions or thoughts.
These abstract categories are incarnated
in the diverse materials that, with his special sensitivity, Todorovi richly varies, in-
ducing in each means and support a different effect and vibration. His work on sheet
metal, for example, according to the nature of the material, includes ultimately
an illusion of the third dimension, a kind
of Op Art effect, changing with the position of the observer vis--vis the exhibit, or
the effects and changes of the light. This
illusion of spatiality or the dynamism of
change of a static drawing prompted the
artist literally to transmit his drawing into
the third dimension. And so, as an equivalent, a match to the line or the score on the
surface, he found a ready-made object,
a plastic straw that in his spatial addition
and knitting will be spatialised by the authors drawing, made into sculpture, and
at the same time result in a new associative dimension. Apart from the shoal of fish
that now slip through the air cavity of the
gallery, the artist in the new, spatial form
has found the possibility of a parallelism
for the ethereal fluid, of the spiritual substance or literally of the spirit the spirit or
genie of Aladdin from the ancient oriental tale. In the words of the author himself:
I experience the inner space of the gallery
like my own inner space (within the ribcage
or within the consciousness, or inside and
close to some centre of mine), which I still,
once again, do not know well enough.
Experience of the Being that roars and
rushes among the walls inside (and that
here has been materialised with the help
of the silver-grey straws), is in constant
metamorphosis, from the Omnipotent Genie of Aladdin to the captured, trammelled
Spirit that cannot seem to be able to break
through to the light of day.
This diffused gallery installation, howev-
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biografija
al prizes and commendations. His works are kept in numerous private collections at home and abroad, in the
2005.
likovnu scenu u Italiji, Njemakoj, Finskoj, Egiptu, Maarskoj i Makedoniji. Od 2000. do 2006. godine radio je
kontakt | contact
2003.
e-mail: srijeda@gmail.com
www: predragtodorovic.com
ti, crtei)
Rijeka, HKD na Suaku, ambijentalna instalacija Slu-
slikarstvo na Akademiji primijenjenih umjetnosti u Rijeci 2009. i 2010. Od 2006. g. ivi i radi u Zagrebu. Do
ni prostori u kulturi)
2014.
2000.
2013.
1998.
zeja suvremene umjetnosti Zagreb i Nacionalne i sveuiline knjinice u Zagrebu. lan je Hrvatske zajednice
samostalnih umjetnika.
biography
2012.
vi i Melitom S. Stanii
Rijeka, Galerija Filodrammatica, Prolazne metamor-
nje neobjavljenog
2011.
1996.
2010.
Boiem
Zagreb, Galerija proirenih medija, crtei
Rijeka, Otvoreni krug, (ex kavana Sarajevo), projekt s
1995.
2009.
tar / Specter
1994.
Rim, DDT CLUB
2008.
1993.
2006.
12
13
tisak | printing
Intergrafika, Zagreb
1997.
gf@kic.hr
naklada | edition
Preradovieva 5, Zagreb
150
www.kic.hr
__________
jetnosti
grafikom iglom, 60 x 80 cm
2011.
Goran Matovi
1996.
exhibits
urednik | editor
2008.
1995.
2007.
ki umjetnici
predgovor | preface
2006.
x 200 cm
Antun Marai
europskog Mediterana
1994.
60 x 80 cm
Sinia Labrovi
1993.
prijevod | translation
80 x 100 cm
Graham McMaster
vo-ekstatino
2002.
1992.
Predrag Todorovi
Vanja Babi
fotografije | photographs
Tomislav Turkovi
2000.
2013. Rovinj, Zaviajni muzej, Likovna kolonija Rovinj
1998.
hvala irija
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