Bio je to
Walter Benjamin koji je ustvrdio da gledatelj apsorbira umjetničko djelo u sebe
poput arhitekture koja je ujedno u stanju proizvesti simultanu kolektivnu
recepciju. Upravo se takvom čini prostorna instalacija naziva „Grey“ mlade
autorice Marije Mikulić Bošnjak, aktivne sudionice izrazito vitalne osječke
suvremene umjetničke scene, koja
navedenu taktilnu i vizualnu recepciju stvara „zamjenom mjesta s kojeg
se gleda mjestom u koje se gleda“.
Rad je, naime, kreiran za specifičnu
arhitekturalnu situaciju te je njegova veličina prilagođena prostoru; odnosno
radi se o „podnom“ crtežu na papiru čije velike dimenzije (otuda i nemogućnost
prvotnog „čitanja“ motiva) preuređuju i redefiniraju ovaj galerijski prostor u
čemu autorica vidi dobru priliku za „preuzimanjem“ i osnivanjem self-made galerijskog prostora gotovo
nalik art squat-u.
Posjetitelj
galerije je, prije nego uoči motiv crteža, suočen sa sivim grafitnim odsjajem
poda po kome je nužno gaziti provocirajući neizbježno dijalektičko razmišljanje
između slike golemih razmjera i male fragmentarne situacije te ono o
nepovredivosti i „svetosti“ umjetničkog djela u izložbenom prostoru.
Potenciranje psihološke dimenzije velikim, tehnički besprijekornim, apstraktnim
crtežom koji se pruža cjelokupnom površinom poda te ima karakter all-over efekta izdići će, odmaknemo li
se dovoljno, lik. Motivsko određenje inspirirano je osobom/događajima iz naše
nedavne prošlosti. Portret druga Tite za nas i autoricu (iako generacijski
udaljena od direktnog iskustva) nosi specifično značenje te neiscrpan izvor
imaginacije kao i iluzija te slojevita i
danas često kontradiktorna značenja iz čega bi se mogla iščitati politička i socijalna
angažiranost ove prostorne instalacije. Udaljena od tradicionalno mišljena
„spomenika“ sa duhovitim pa čak i irealnim karakteristikama provocira naša vlastita promišljanja,
povijesti i mitologije koje definiraju naš realni i imaginarni život.
Samo pozicioniranje
crteža; portreta, rekreirane ikone naše povijesti, provocira političko društvo,
ironizira, karikira i sardonizira autoritete te nužno vodi ka neizbježnoj
transformaciji i mutaciji postepenog uništenja crteža, istodobno motiviranim i
dokumentiranim kamerama postavljenim na zidovima galerije i projiciranim na screen,
te ujedno sadrži i jednu drugu
jednakovrijednu paralelnu realnost; intrističku kvalitetu crteža olovkom
na papiru, fragilnost, mirnoću i kontemplativnu ljepotu dobivenu polaganom i
strpljivom gradnjom milijunima repetitivnih gotovo meditativnih poteza.
Karmela
Puljiz
Grey
It was Walter
Benjamin who started that the viewer absorbs the piece of art as an
architecture, which is also capable of creating a simultaneous collective
perception. This is exactly what the spacial installation by the name of
''Grey'' seems like, the work of the young author Marija Mikulić Bošnjak, who
is an active participiant of the distinctly vivacious contemporary art scene in
the city of Osijek.The author creates the above mentioned tactile and visual
reception by ''switching the point of view with a point to view''. This work
has been created for a specific arhitectural situation, and its size has been
adapted to the given space; that is, it is a ''floor '' drawing on paper, whose
gigantic proportions (which makes it impossible to ''make out'' the motif at
first), rearrange and redefine the gallery hall, which the author sees as a
good opportunity to ''take over'' and create a self - made gallery space,
almost like an art - squat. The visitor of the gallery is, before discovering
the motif of the drawing, faced with the gray, graffite reflection of the
floor, which is necessary to be stepped onto, provoking the inevitable
dialectic question of a picture of enormous proportions and a tiny fragmental
situation, as the question of the inviolability and ''sanctity'' of a work of
art in an exibit hall. The emphasis on the psychological dimension by means of
a gigantic, technically infallible, abstract drawing, which takes over the
entire flooral space, evoking an all-over effect, will, eventually, if we move
sufficiently away from it, reveal a character. The motif has been inspired by a
person/event from our recent past. The portrait of commeade Tito has a specific
meaning for us, as for the author (who is generationally distant from direct
experience, though), and it presents not only an inexaustible source of
imagination and illusion, but also a stratified and, even today, contradictory
meanings, where the political and social engagement of this spacial
installation can be seen from. Distinct from the traditional figure of ''a
monument'' with witty and even surreal characteristics, it challanges our own
opinion of the history and mythology, which define our real and imaginary life.
The positioning of the drawing itself; a portrait, a recreated icon from our
history, challanges the political society, it ironizes, caricatures and
sardonizes authorities and, inevitably, leads to a transformation and mutation
as the drawing, gradually, gets destroyed. Simultaneously, motivated and
documented by the cameras on the walls of the gallery, proyecting on a screen,
the portrait holds both, equally valuable paralel realities; the intrinsic
quality of a pencil drawing on paper, the fragility, tranquility and the
contemplative beauty, created by the slow and patient process of construction
by millions of repetitive, almost meditative strokes.
Karmela
Puljiz
