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Skulpture i crteži u kreativnom balansu pri stalnom kretanju prilozi za razumevanje radova Petra Hranuellija Teško da bi se dosadašnji opus Petra Hranuellija, umetnika koji je rođen na Braču a već duže vremena živi i radi u Zagrebu, mogao pravilno razumeti samo na osnovu teorije geštalta ili pak na osnovu fokusiranosti na najkaraktirističnije tematske odrednice unutar izložbenih postavki: ženu – pra-ženu – heroinu, ukoliko se ne otvore i druga pitanja koja ga definišu. Generalno, teškoće sa prezentacijom skulptorske produkcije, što je fundament Hranuellijevog opusa, proizilaze iz specifičnosti rada u tvrdim materijalima kao što su kamen i mermer kojima se autor u najvećoj meri služi i, ako radovi prevaziđu kamerne dimenzije, jednostavno ne mogu bez velikih problema biti dislocirana i preneta u izložbeni prostor a zatim vraćena nazad u svoj matični ambijent. A stoga ni pravilno sagledana. Zato, iako se svi mi u najvećoj meri srećemo sa Hranuellijevim radovima manjih dimenzija koji ispunjavaju našu percepciju, zapravo sa onim radovima koji su operativno funkcionalni, lako prenosivi i dostupni, nikako ne bi trebalo zanemariti i one radove koji su izvedeni za otvoreni prostor i koji su rađeni najmanje u prirodnoj veličini i za pogled sa distance. Razmatrajući radove iz domena sitne plastike, imam uvek u pozadinskoj projekciji i one radove koji slobodno stoje u prirodnim ambijentima, bilo da su to tematski parkovi ili jednostavno ambijenti pod vedrim nebom, kao recimo one skulpture koje su postavljene u neposrednoj blizini autorovog ateljea u Lici. Mišljenja sam da tek sagledani zajedno, i mali i veliki radovi, nude kompletan uvid u poetiku autora ali i u strategiju njegove umetnosti. To, naravno, povlači za sobom nekoliko pitanja, a pre svega pitanje odnosa masivnih skulptura postavaljenih na otvorenom prostoru i ovih manjih koje pratimo po izložbama. Odnosno, da li male skulpture imaju moć da adekvatno, poput velikih skulptura, reprezentuje autorove ideje. Odnosno da li su to dve strane jednog izraza ili bliska ali i veoma različita medija. Da bi se odgovorilo na ovo veoma značajno pitanje koje se tiče sveukupnog autorovog delanja, potrebno je odgovoriti na jedno drugo pitanje – čime se zapravo autor bavi i kako to čime se bavi sprovodi u delo, ili rečeno savremenim jezikom istorije umetnosti, šta definiše diskurzivno polje autora? Poći ću od pretpostavke da autor koristi svoju umetnost, svoju umeće da oblikuje materijale, kao platformu sa koje istražuje granice slobode pri čemu slobodu uzima kao conditio sine qua non svoje umetnosti. Dakle, nema umetnosti bez slobode i obrnuto, nema slobode bez umetnosti. Pri tome, ovde ne mislim na bilo kakvu slobodu, pogotovo ne na neobaveznu i neobavezujuću slobodu, već na slobodu koja proističe iz prethodno dostignutih granica znanja i prethodno osvojenih sloboda. A svaki osvojeni nivo slobode otvara nova i šira područja koja treba osvojiti što predstavlja glavni motivacioni faktor u stvaralaštvu. U tom smislu, ako bih suzio fokus na značenje pojma slobode unutar same umetnosti, iako Hranuelli doslovno teži multiplim i razgranatim slobodama, dolazim do pojma liberalnog modernizma koji je negde na prelasku visoke moderne u postmodernu proširio i fizički i mentalni prostor umetnosti dozvoljavajući umetnicima da se slobodno služe prethodnim iskustvima i da ih koriste kao materijal za svoje delo putem citiranja, samplovanja, apropriisanja, miksovanja ili nadgrađivanja. Stoga je sasvim razložno, kako Zvonko Maković govori o njima u predgovoru Hranuellijevih skulptura u staklu, ne kao o prikazu konkretnih osoba i likova već o „prikazu prikaza odnosno likovima likova“ te, zatim, kao „ponavljanju formula koje su se poznavale od ranije“. Uvodeći meta jezik u svoje stvaralaštvo, odnosno tvoreći figure žene koja referira na dijalog sa drugim, prethodno izvedenim skulpturama na tu temu, Petar se zapravo distancira od samih prirodnih izvora kako bi dao značaj novonastalim situacijama kao nezavisnim pozicijama. Zato je fokusiranje interpretatora njegovog dela na dominantni tematski motiv – ženu, tek delimično opravdano jer je stvarni i dominantni motiv zapravo –umetnosti umetnost o umetnosti, melanž mentalnih i manuelnih praksi, istorije i istorije umetnosti, te načina praktikovanja i konzumiranja života pri čemu je hedonizam veoma prisutna odrednica za razumevanje kako umetnikovog stvaralaštva tako i pojma slobode koji stoji u osnovi. Pri tome, kada se govori o uživanju pogrešno bi bilo izvući u prvi plan samo fascinirajuće žensko telo već je taj pojam, koji je ovde u direktnoj vezi sa pojmom slobode, tu da ukaže na korpus elemenata koji tvore punoću hedonističkog, a odmah zatim i umetničkog pehara. Za skulptora Hranuellijeve vokacije veoma je bitno stalno prisustvo sećanja na umetnost skulpturalnog pri čemu je on, eto, izabrao motiv žene kao svoj modus operandi. Zatim, važno je naglasiti da je u istoj ravni važnosti inkarnacija žene u kamenu kao i vetar koji je primarno oblikuje u svesti autora. Zato mi je za razumevanje njegovog dela isto toliko važno stajanje na vetru pored skulpture koja predstavlja ženu na buri kao što je bitno neumorno glačanje i poliranje mermernih površine do granice oživljavanja materije. Pigmalionski sindrom svakako je ugrađen u svaku od Hranuellijevih skulptura i ne mogu se osloboditi poređenja njegove „Nikae“ sa pozicijom Kejt Vinslet na pramcu Titanika iz istoimenog filma gde ona, prkoseći snazi vetra, upija i živi svu moguću slobodu sveta. No, naravno on svakako referira i na Boccionija i njegove forme u kretanju. U zaključku, svakako bih se odlučio za to da je produkcija sitne plastike izvedene u različitim materijalima, kamenu, mermeru, staklu ili šupljikavom kamenu, poseban medij koji proističe iz strategije autora da upravo preko kamernih skulptura komunicira sa publikom i scenom da bi time osvojio i ona druga područja sloboda bez kojih su i one primarne slobode nemoguće. Sa druge strane njegova sitna plastika je sastavni deo života kao neka vrsta votivnih figura, uvek prisutna kao nasušni hleb duhovnosti. Pri tome zaprepašćujuće je sa koliko veštine autor udahnjuje malim kamenim skulpturama prozirnost, ritam i lakoću što kod posmatrača izaziva osećaj prijatnosti i uživanja. To je svakako i posledica činjenice da one izazivaju potrebu da budu dodirnute i uvučene u lični svet pojedinca. U posebnom statusu stoje crteži, kao neka vrsta vezivnog tkiva između masivne skulpture i sitne plastike. Izvedeni jednostavnom linearnošću i sa značajnom dozom duhovitosti njegovi crteži premošćuju različitost u karakterima ova dva medija na taj način što posmarač istovremeno može osetiti težinu i masivnost nacrtanog objekta ali i njegovu mobilnu lakoću. I upravo kreativni balans različitih postupaka unutar generalnog diskursa čini ovog autora jednim od izuzetnih predstavnika savremenog oblikovanja. Slavko Timotijević GALERIJA NLB - BEOGRAD 18.2-13.4.2020. Sculpture and drawings in creative balance with constant movement Contributions for understanding the works of Petar Hranuelli It is unlikely that the works of Petar Hranuelli, and artist who was born on Brac, and has lived and worked in Zagreb for a long time, could properly be understood only on the basis of Gestalt theory or on the focus on the most characteristic thematic determinants within the exhibition: woman – prehistoric woman – heroine, unless other questions that define him are opened. In general, difficulties with the presentation of sculptural production, which is the foundation of Hranuelli`s oeuvre, arise from specifics of working in hard materials such as stone and marble, which the author mostly uses, and if the works exceed chamber dimensions, they simply cannot be dislocated without major problems and transferred to the exhibition space and then returned to its home environment. And therefore, not properly perceived. Therefore, although we all mostly encounter Hranuelli`s works of smaller dimensions that fulfill our perception, in fact those works that are operationally functional, easily transferable and accessible, we should not neglect those works that were performed for open space and which are made at least life-sized and for viewing from a distance. Considering works from the domain of small plastics, I always have in the background projection those works that stand freely in natural environments, whether they are theme parks or simply open-air ambiences, such as those sculptures that are placed near the author`s studio in Lika. I am of the opinion, that just seen together, both small and large works offer a complete insight into the poetics of the author, but also into the strategy of his art. This, of course, raises several questions, and above all the question of the relationship between the massive sculptures placed in the open space and the smaller ones that we follow in the exhibitions. In other words, do small sculptures have the power to adequately, like large sculptures, represent the author`s ideas. That is, whether they are two sides of the same expression or close but also very different media. In order to answer this very important question concerning the overall work of the author, it is necessary to answer another question – what does the author actually do and how does he put it into practice or in the modern language of art history, what defines the discursive field of the author? I will start from the assumption that the author uses his art, his ability to shape materials, as a platform from which he explores the limits of freedom while taking freedom as a conditio sine qua non of his art. So, there is no art without freedom and vice versa, there is no freedom without art. At the same time, I do not mean any freedom here, especially not non-binding and non-binding freedom, but freedom that results from previously reached limits of knowledge and previously won freedoms. And each level of freedom won opens up new and wider areas to be conquered, which is the main motivating factor in creativity. In that sense, if I narrow the focus on the meaning of the notion of freedom within art itself, although Hranuelli literally strives for multiple and branched freedoms, I come to the notion of liberal modernism which somewhere at the transition from high modern to postmodern expanded the physical and mental space of art, letting the artists feel free to use previous experiences and use them as material for their work by quoting, sampling, appropriating, mixing or upgrading. Therefore, it is quite reasonable, as Zvonko Makovic speaks of them in the preface to Hranuelli`s sculptures in glass, not as a depiction of specific persons and characters but as a “depiction of characters” and then as a “repetition of formulas known from before”. By introducing meta language into his work, that is, by creating figures of a woman who refers to a dialogue with other, previously performed sculptures on the subject, Petar actually distances himself from natural sources in order to give meaning to new situations as independent positions. This is why the focus of the performer of this work on the dominant thematic motive – woman, is only partially justified because the real and dominant motive is actually art – art about art, a mix of mental and manual practices, history and history of art, and ways of practicing and consuming life, by which a very present determinant for understanding both the artist`s work and the notion of freedom that underlines it. At the same time, when it comes to enjoyment, it would be wrong to bring to the fore only the fascinating female body, but the notion, which is directly related to the notion of freedom, points to a corpus of elements that form the fullness of hedonistic and immediately artistic cup. For the sculptor of Hranuelli`s vocation, the constant presence of the memory of the art of sculpture is very important, and he chose the motif of a woman as his modus operandi. Then, it is important to emphasize that the incarnation of a woman in stone is of equal importance as the wind that primarily shapes her in the consciousness of the author. That is why standing in the wind next to a sculpture representing a woman in a storm is just as important to me for understanding his work, as it is important to tirelessly iron and polish marble surfaces to the limit of reviving matter. Pigmalion syndrome is certainly built into each of Hranuelli`s sculptures and I can`t help but compare his “Nikae” with Kate Winslet`s position on the bow of the Titanic from the film of the same name, where she, defying the power of the wind absorbs and lives all possible freedom of the world. But, of course, he certainly refers to Boccioni and his forms in motion. In conclusion, I would definitely decide that the production of small plastics made in different materials, stone, marble, glass or hollow stone is a special medium that stems from the author`s strategy to communicate with the audience and the stage through chamber sculptures those other areas of freedom without which even those primary freedoms are impossible. On the other hand, his small plastic is an integral part of life as a kind of votive figure, always present as the bread of spirituality. At the same time, it is astonishing ho skillfully the author inspires transparency, rhythm and lightness with small stone sculptures, which causes a feeling of pleasure and enjoyment in the viewer. This is certainly a consequence of the fact that they cause the need to be touched and drawn into the personal world of the individual. The drawings have a special status as a kind of connective tissue between a massive sculpture and small plastic. Derived with simple linearity and with a significant dose of wit, his drawings bridge the difference in the characters of these two media in such a way that the observer can simultaneously feel the weight and massiveness of the drawn object, but also its mobile lightness. And it is precisely the creative balance of different actions within the general discourse that makes this author one of the exceptional representatives if contemporary design. Slavko Timotijevic NLB Gallery – Belgrade February 18 th – April 13 th , 2020 |
