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Histiry of Art Review

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Selektivna izložba Aprilski Salon 2012 je jedinstvenog tipa, jer prvenstveno okuplja naše poznate bosanskohercegovačke umjetnike koji dolaze iz Udruženja ZDO kantona, koje je podružnica ULUBiH-a. Samom tom činjenicom smo svjesni koliko različitom, a ipak u nekim segmentima i sličnom formom i stilom vladaju naši umjetnici. Po mišljenju Oscara Wilde-a: ‘Umjetnik je kreator lijepih stvari’, pa zasigurno možemo reći da sve što ova izložba daje sigurno spada pod pojmom “lijepog” ali i samo to je individualno kao i stilovi i tematika koja nam se predstavlja na izložbi. Rado ostavljam samog posmatrača da napravi svoj dojam izložbe i radova kroz moju malu pomoć koja slijedi. Svako od djela ima svoj intezitet i jačinu, koja privlači oko posmatrača i ulazi u dubine umjetničke kreacije. Ova grupa umjetnika se izražava kroz više umjetničkih formi i žanrova u svom slikarstvu kao što su crtež, grafika, neki pejzaž, apstrakcija i portret. Tematika same izložbe, kao i njen stilski i konceptualni sadržaj je dosta raznovrstan. Generalno govoreći, većina umjetnika radi sa dozom apstrakcije tj. kompozicije koja postoji nezavisno od vizualnih elemenata u realističkom svijetu. Djela mogu da predstavljaju odlazak od realnosti, da li to bilo malo, djelimično ili u potpunosti, zavisi od posmatrača. Njihova djela su oličenja i daju naznake pokreta Fuvista, koji koriste jake boje iznad realističnih prikaza. Mi smo svjedoci umjetničkih djela koja prave most između realnog i nadrealnog, između prošlosti, sadašnjosti i budućnosti, a koja odišu dramskom kompozicijom. Svaki od umjetnika, sa svojim medijem, pruža individualnost lirksog izražaja. Prednost je ta što izložba nema limitirajuće faktore dimenzija ili tematike, i time pruža umjetnicima punu slobodu izražaja i ekspresije u svom punom poletu. Umjetnici pružaju mogucnost posjetiocu da se vežu uz odredjeno djelo ili djela koja ga ostvaruju na svoj jedinstven način i omogućuju mu da se izrazi. Mislim da je jako bitno privući poklonike svojim djelima i time kreairati grupu ljudi koja prati i vrednuje njegov rad. Ovim putem iskazuju naklonost prema pravoj bosanskohercegovačkoj umjetnosti i mislim da je vrijeme da ovakve i slične izložbe izadju na svjetlost dana i prikažu ono što stvarno jesu. Zato želim da okvirno predstavim ove umjetnike i njihove radove i da što više ljudi doživi i iskusi njihov rad, koji zasigurno odiše ljepotom. Ovi umjetnici i njihova djela bude u nama, u očima posmatrača, egzistencijalno pitanje: Da li oni stvaraju da bi živjeli ili žive da bi stvarali? Jer u svakom od djela je udahnut život, težnja za očuvanjem onog individualnog, onog samo ‘njegovog’. Bilo da su to manualne umjetničke pripreme u stvaranju grafika Handukića, kolorita Perazića, ili minimalizma Šetke, njihov instiktivni nagon jeste samo stvaranje. Ova izložba predstavlja put posmatrača u ekspresiju, u subjektivizam , u ono što jest umjetnost. Ovi umjetnici žive da bi stvarali, jer ne poznaju ništa drugo do umjetnosti i umjetnost stvaranja. Zbog svoje raznovsrnosti i ljepote, ova izložba može i hoće zaintrigirati oko posmatrača i u svakom naci nešto umjetničko, a istovremeno i nešto ljudsko.

Ahmed Hundur stvara pod dva uticaja: historjiskim i mističnim, te time spaja realizam i nadrealizam u svojim djelima. U njegovim kombinovanim tehnikama, Hundur nam kroz naraciju predstavlja motive konja, bilo da su oni oličenje realizma, ili pak metafore, te motive stećaka, koji su svjedočanstvo naše bogate prošlosti. Prizori koje oslikava su karakretistični za stećke, a to su prizori iz lova, borbe, života, te floralni motivi. Među slikarskim medijem se našao i akademski kipar Alen Džindo, koji oblikuje skulpture od žice. Njegova plesačica/balerina neminovno podsjeća na radove impresioniste Edgar Degas-a, kao što su Primabalerina, plesačica itd. Džindo ne raskida vezu sa realizmom, već ga radije doživljava na individualan, intrističan način. Na izložbi se nalaze i vrsne koloristične slike Tomislava Perazića, koji inspiraciju nalazi u oslikavanjima pejzaža i prirode. Baš kao pravi impresionista Perazić hvata trenutak na platnu, kao kod Claude Monet-a i ‘Impresije’ iz 1872. Slike Mehmeda Klepe evidentiraju umjetnikovom studioznosti oslikavanja platna jakim koloritom, gdje se isprepleću topli i hladni tonovi, omeđeni tankim crnim konturama u geometrijskim oblicima. Njegova djela pokazuju blagi uticaj Pieta Mondriana i njegovih ranih djela kao što je Brodway Boogie Woogie, 1944. Mensur Verlašević izlazi iz svijeta predmetnog i ide u svoj nadrealni svijet, koji se ogleda u crtežima urađenim sa nevjerovatnom preciznošću i detaljima. U svoj crtež unosi manje kolorita, i usljed te urijeđenosti još više naglašava sam kolorit. Sami crteži posmatračko oko asociraju na mreže, koje su pomno i detaljno isprepletene. Irfan Handukić nam na ovoj izložbi nudi listove urađene tehnikom dubokog i visokog tiska. Ovi listovi svjedoče o Handukićevoj neposrednosti poteza, spontanosti nanošenja crteža te linearnoj izražajnosti. Njegove grafike su u bogatom koloritu i evidentno predstavljaju više faza nabojavanja. U njegovim grafikama postoji planirani kontrast horizontalnih, vertikalnih I dijagonalnih formi I oblika. Posmatrač može i treba ova djela doživjeti na individualan način i pokušati se približiti umjetničkoj viziji i ideji. Miroslav Šetka je ostao i na ovoj izložbi dosljedan radu na drvenoj ploči, koju premazuje bojom, te kasnije izgrebava oštrim predmetom. Šetka nam otkriva svoje motive i ekspresije, te je u obrnutoj sličnosti sa američkim akcionim slikarom Jacksonom Pollockom, što se tiče procesa izdrade rada i istog doživljaja. Mirza Mameledžija nam predstavlja kolaž, kao medij, koji je očito sastavljen od komada novina, bojenog papira radi stvaranja nove cjeline. Ova tehnika je doživjela svoj povrat i procvat početkom dvadesetog stoljeća. Mameledžija kao figurativac predstavlja kuću u jakom koloritu, ali na dječiji, art brut način. Vidljiv je uticaj Kurta Schwittersa, Juana Grisa i drugih. Miralem Brkić radi u linorezu, ali sa sličnom dječijom, art brut tehnikom izvođenja, baš kao i Mameledžija. Na ovoj izložbi imamo motive psa, kao nekog mitološkog, nadrealnog bića, te motive žena, koje podsjećaju na rad Henri Matisse-a, u njegovom djelu Nude II iz 1962 godine. Biljana Vrbić nam na ovoj izložbi prikazuje djela rađena na jedan specifičan način. Vrbić lijepi materijal na platno, a zatim ga prebojava, kako bi dobila reljefno djelo. Njeni radovi me asociraju na pokret Spacializma, koji je nastao u Italiji, i imao za cilj da napravi sintezu između boje, zvuka, prostora, pokreta i vremena. Vrbić, baš kao i Lucio Fontana, nastoji da posmatrača uvuče u samo djelo. Džemail Silajdžić predstavlja zanimljivo poslikavanje, koje odiše surealizmom i razigranošću boja i motiva. Rad Silajdžića nalazi inspiraciju u radovima Juana Miroa, gdje prikazuje neki svoj davno prošli doživljaj iz djetinjstva, koji je okarakterisan bojama jakog intenziteta. Ostalo je za reći, nakon nekoliko kratkih karakteristika za svakog od ovogodišnjih izlagača na izložbi Aprilski Salon 2012, da će posmatrači i kritičari moći samo da uživaju u ostvarenjima bosanskohercegovačkih umjetnika.…...

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