Vlatka Vujošević Ovaj život | This Life NARODNI MUZEJ CRNE GORE ATELJE DADO Tijelo koje “ćuti” „... Ja bijah onaj koji cijeli život na raskrsnici stajah, razmišljah, oklijevah. Bijah onaj koji se pitao kako to da nebo ne stari, a iz njega se stalno rađaju nova i nova godišnja doba. I u sobi gdje bjeh bijaše prozora a iza prozora beskraj, ali ja uporno gledah u pod…”1 Crnogorska vajarka Vlatka Vujošević još od prvih nastupa na studentskim izložbama izdvojila se poetikom kojom nas uvodi u jedan novi svijet naizgled bezbrižan i lepršav, a koji zapravo oslikava njen intimni prostor – mjesto za ozbiljna preispitivanja sopstvene duše. Vrlo upečatljiva serija radova od poliestera nazvanih Look at Her, My Little Warrior (Vidite moju malu ratnicu) serijom figura djevojčica u prirodnoj veličini o čijim karakterima ne možemo saznati na osnovu njihovih fizionomija već samo na osnovu njihovih gestova odnosno položaja ruku i tijela koje sugerišu burna zbivanja i “bujanje” unutrašnjeg života. Ono je dodatno potencirano uvođenjem elemenata iz biljnog i životinjskog svijeta, kako bi se naglasilo paralelno bitisanje ovih svjetova čiji smo dio (ponekad je skulptura doslovno integrisana u taj svijet – prirodno okruženje, stopljena sa njim, sjedi - kontemplira), sa našim instinktima, porivima, prikrivenim osjećanjima koja ponekad ne doživljavamo kao integralni dio našeg bića. “Elementarne moći u kaotičnome plesu ljudskog i neljudskog života spajaju niti isprepletene mreže. U njoj se beskonačno ogleda u konačnome, vječnost u istinskoj vremenitosti, a slike neprikazivoga u pojmovnoj čistoći svijeta kao događaja”.2 Upravo je i Vlatkin svijet sažet u jedinstven događaj – mnoštvo elemenata koji sačinjavaju jedan kontinuirani tok, “jednokratno zbivanje vremena” u kojem je umjetnik “namjesnik događaja” (Delez). Novom serijom radova pod nazivom Ovaj život usložnjava svoja promišljanja, a figure dobijaju jasnije obrise i zrelije ljudske proporcije. U prostor Ateljea smješta tri figure realizovane u prirodnoj veličini i njihove “priče”. Realistično urađene u tehnici paper mache, one su postavljene tako da u galerijskom prostoru egzistiraju sasvim samostalno, kao zasebni mikrosvjetovi, predstavljene svaka u određenoj pozi koja reflektuje psihološko/emotivno stanje koje se da naslutiti iz položaja njihovog tijela. Cjeline su upotpunjene elementima biljnog i životinjskog svijeta, čime su transponovane u sasvim novu, bajkovitu, izmaštanu atmosferu nestvarnog ambijenta, a što u ovoj novoj konstelaciji čini da oni postaju njegovi jedini realni činioci. Njihova naglašena tjelesnost – djevojke koja sjedi ukršetnih nogu, mlade žene koja spava i mladića koji je usmjeren na nježni poljubac sa imaginarnom vizijom žene koja je stopljena sa bjelinom zida sugeriše njihova unutrašnja stanja. Gledalac osjeća njihovo fizičko prisustvo, i poput voajera ulazi u njihovu intimu, naslućuje prikrivenu melanholiju u nestvarnoj fizičnosti tih stranih tijela koja istovremeno izazivaju znatiželju i nelagodu. Ove forme su nalik na masivne hiperrealističke gigantirane, “sirovo intimne” skulpture Rona Mueka (Ron Mueck), koje su realizovane sa do detalja razrađenom svakom pojedinošću na licu i tijelu. Upravo taj duboko lični, skriveni trenutak komuniciranja sa sobom, za koji je potrebno biti u samoći i tišini, doživljavamo i pred Vlatkinim radovima - mlada zamišljena žena “samuje” pognute glave, mladića vidimo s leđa i iz profila a ženska figura smještena na krevet zaustavljena je u trenutku apsolutne opuštenosti usnulog bića. 1 Dio natpisa sa Stećka Ljubenova, Crna Gora, 1258. godina, izvor http://www.montenegrina.net/pages/pages1/ istorija/nemanjici/stecci_u_cg_predrag_malbasa_i_tijana_samardzic.html 2 Žarko Pajić, Tijelo-slika kao događaj: Deleuze i vibracije suvremene umjetnosti, u Slike mišljenja Žila Deleza, zbornik radova, priredila Kristina Bojanović, Nikšić, 2011, 283/4 Bez naziva | Untitled, 2014. | paper mache, kombinovana tehnika | mixed media, 64 x 74 x 64 cm Ove scene/stanja predstavljaju tri isječka, tri situacije kojima svjedočimo jer zalazimo u njihov prostor, lični svijet koji ne bi trebalo da bude dostupan pogledu stran(a)ca. “Kad se suvremeni svijet otvara u svojem artimičnome pulsiranju zemlje i vibracijama neljudske tehno-sfere u svemu što još pripada klasičnome određenju čovjeka i njegove biti, tada se ponajprije sluti nadolazak nečeg uzvišeno neizrecivoga i strahovito mračnoga. To je ono što se prikriva iza koprene aktualnosti koja samu sebe proždire.”3 U savremenom, disfunkcionalnom vremenu današnjice sa poremećenim elementarnim međuljudskim relacijama i normama ponašanja kada dominira potreba za što većom, skoro perverznom glađu za prisustvom u virtuelnoj stvarnosti možda nas baš ovakva simulacija ulaska u jedan rekonstruisani intimni kosmos i nelagoda koju možemo osjetiti može p(r)ozvati da preispitamo nužnost ponovnog uspostavljanja granica između onog što bi trebalo da je javno i nečega što bi trebalo biti sačuvano od pogleda drugih. Preplitanje stvarnog (duboko ličnog, jedinstvenog kod svakog od nas) sa virtuelnim svijetom čini da se stvaraju paralelne realnosti koje su često u apsolutnom neskladu. Vlatkine male ratnice iz prethodnog ciklusa, djevojčice koje putuju svijetom poput likova iz japanskih crtanih filmova4 bez lica i jasne fizionomije u potrazi za sopstvenom identitetom kao da obrisima neodoljivo podsjećaju na nju samu. Kasnije, postaju ličnosti zamišljene nad svojom (postignutom) individualnošću koja je spolja oblikovana variranjem grube i sasvim glatke površine - uglačanih ruku i ovlaš definisanog lica, uvučene su u sopstveni svijet u kome nalaze utjehu i vraćaju se na razmišljanja o nekim univerzalnim temama – ljubavi, smrti, usamljenosti, međuljudskim odnosima ... a umjetnost u tom činu nadilazi umjetnika i njegovu posebnost “stvaralačkim kaosom postojanja/bivanja vječito drugim”. Neočekivano, ovaj introspektivni univerzum se preslikava na opšti egzistencijalistički nivo, u Vitmenovskom maniru, ali lišen ushićenja. Mirjana Dabović Pejović 3 Ibid, citat iz teksta Giorgio Agamben-a, ”Was ist Zeitgenossenschaft?“, 287 4 Japanski crtani Spirited away, 2001. u kojem je glavni lik desetogodišnja djevojčica koja tumara svijetom kojim vladaju bogovi, vještice i čudovišta, a ljudi su pretvoreni u životinje The ”Silent” Body “... I was the one who spent his whole life at a crossroads, pensive and hesitant. I was the one who wondered how come the sky never grew old but kept giving birth to new and new seasons. And there were windows in the room where I was, and infinity behind them, but I kept looking down at the ground…”1 From her first appearances in student exhibitions onwards, Vlatka Vujošević has distinguished herself with her poetics which leads us into a new world, a world which seems carefree and breezy but which actually depicts her intimate space – a place for serious reexamination of her own soul. The series of works of polyester entitled Look at Her, My Little Warrior is quite remarkable; it represents life-size figures of girls whose characters are not revealed through their physiognomies but rather through their gestures or the positions of their hands and bodies which suggest turbulent events and inner exuberance. This was made even more prominent with the addition of elements from the flora and fauna, in order to accentuate the co-existence of these worlds that we are a part of with our instincts, our drives and hidden feelings which we sometimes do not take as an integral element of our being (sometimes a sculpture is literally integrated into this world - the natural environment; it merges into it, sits and contemplates). “The elemental powers in the chaotic dance of the human and non-human life are linked by the threads of the intricate network. In it, infinity is reflected in the finiteness, eternity in the true temporality and the images of the unpresentable in the conceptual purity of the world as an event”.2 Vlatka Vujošević’s world is also summarized in a single event – a multitude of elements which make up a continuous flow, “a single happening of time” in which the artist is the “creator of the event” (Deleuze). With her new series of works entitled This Life, Vlatka Vujošević makes her thinking even more complex while her carvings gain clearer contours and more mature human proportions. 1 Part of the inscription on Ljuben’s Standing Tombstone, Montenegro, 1258, http://www.montenegrina.net/pages/ pages1/istorija/nemanjici/stecci_u_cg_predrag_malbasa_i_tijana_samardzic.html 2 Žarko Pajić, Tijelo-slika kao događaj: Deleuze i vibracije suvremene umjetnosti, in Slike mišljenja Žila Deleza, zbornik radova, edited by Kristina Bojanović, Nikšić, 2011, 283/4 In the exhibition area of the Atelier, she introduces three life-size figures and their ‘stories’. Realistically produced in the paper mache technique, they are placed in such a way that they are totally independent of one another, as separate micro-worlds, each found in a certain position reflecting a certain psychological/emotional state which can be discerned from the body positions themselves. The figures are added some elements of the flora and fauna, transposing them to an entirely new, imaginary, fairy-tale atmosphere of an unreal ambience, which in this new constellation makes them become its only real actors. The marked corporeality of a girl sitting cross-legged, of a young woman sleeping and a young man focused on a gentle kiss with the imaginary vision of a woman merged with the whiteness of the wall, suggests their inner states. The viewer feels their physical presence and, like a voyeur, enters into their privacy and discerns the hidden melancholy in the unreal physicality of these foreign bodies which provoke curiosity and cause discomfort at the same time. These forms resemble the massive, hyper-realistically gigantic and “rawly intimate” sculptures by Ron Mueck, characterized by intricate and minutely detailed faces and bodies. This deeply personal and hidden moment of communicating with oneself, requiring silence and solitude, is what we experience in front of Vlatka Vujošević’s works – a solitary young woman absorbed in thought with her head bowed; a young man seen from the back and in profile; a female figure placed on the bed and captured at the moment of absolute relaxation in sleep. These scenes/states represent three situations we are witnessing since we are entering into their space, their intimate world which should not be exposed to the view of a stranger(s). “When modern world opens up in its arrhythmic pulsations of the earth and the vibrations of the non-human techno-sphere in all that still belongs to the classical definition of man and his essence, then we first anticipate the surge of something unutterable and tremendously dark. This is what hides behind the veil of actuality which devours itself.”3 In the dysfunctional modern times characterized by a distortion of elementary interpersonal relations and norms of behaviour with the overpowering and almost perverse need of man to be present in the virtual reality, perhaps this simulated entry into a reconstructed intimate universe and the discomfort it may cause can invite us to re-examine the necessity to reestablish the borders between what should be public and what should be kept away from the eyes of the others. The interweaving of the real (deeply personal and unique in each of us) and the virtual world seems to create parallel realities which are often completely incompatible. Vlatka Vujošević’s little warriors from the previous series, the girls wandering the world in search of identity like characters from Japanese cartoons4 devoid of faces and clear physiognomies, seem to irresistibly remind the viewers of the artist herself. Later on, they start reflecting on their (achieved) individuality which is shaped through the variations of rough and very smooth surfaces – polished hands and superficially outlined faces, absorbed in their own world in which they find comfort and restore the thinking of some universal themes – love, death, solitude, interpersonal relations and others, and in this act art surpasses the artist and her distinct character “with the creative chaos of existence / of being always different”. Unexpectedly, this introspective universe is transferred onto the general existentialist level in the Whitmanian manner, but devoid of rapture. Mirjana Dabović Pejović 3 Ibid, the quotation taken from Giorgio Agamben’s text “Was ist Zeitgenossenschaft?”, 287 4 The Japanese cartoon Spirited Away, 2001, in which the main protagonist is a ten-year-old girl wandering the world which is ruled by the gods, witches and monsters while people have been turned into animals. Bez naziva | Untitled, 2014. | paper mache, kombinovana tehnika | mixed media, 66 x 198 x 85 cm Bez naziva | Untitled, 2014. | paper mache, kombinovana tehnika | mixed media, 169 x 49 x 50 cm Vlatka Vujošević Rođena 1978. godine u Titogradu, SFRJ Završila vajarstvo u klasi Prof. Pavla Pejovića, FLU Cetinje Živi u Podgorici, Crna Gora Born in 1978 in Titograd, SFRY Graduated from the Faculty of Fine Arts, Cetinje, Department of sculpture Resides in Podgorica, Montenegro Izložbe | Exhibitions Crnogorska savremena skulptura, Galerija Ljetnjikovca Buća, Tivat, 2014. Od futurizma do savremene umjetnosti, Porto Montenegro, Tivat, 2013. Look at Her, My Little Warrior, (samostalna izložba), Perjanički dom, Centar Savremene Umjetnosti, Podgorica, 2013. Mladi, Umjetnički paviljon ULUCG, Podgorica, 2012. Noć Muzeja, Podgorica, 2011. Susreti, Ekonomski fakultet Podgorica, 2010, 2011. Art staza, Skadarsko jezero, 2010. Izložba studenata specijalističkih studija završne godine, 2010. Noć Muzeja, Cetinje, 2009. Contemporary Montenegrin Sculpture, Art Gallery Buća, Tivat, 2014 From Futurism to the Contemporary, Porto Montenegro, Tivat, 2013 Look at Her, My Little Warrior, (solo exhibition), Contemporary Art Centre, Podgorica, 2013 Young ones, Art pavilion, Artist Association of Montenegro, Podgorica, 2012 The Night of Museums, Podgorica, 2012 Encounters, Faculty of Economy, Podgorica, 2010 Students’ Exhibition, 2010 Art Path, Skadar lake, 2010 The Night of Museums, Cetinje, 2009 Stipendije i nagrade | Scholarships and awards Nagrada za najboljeg studenta FLU Cetinje za 2008/9, Univerzitet Crne Gore Atlas stipendija, 2008. Godišnja nagrada za vajarstvo, FLU Cetinje, 2010. Otkupna Nagrada Univerziteta Crne Gore, 2010. Award for best student at the Faculty of Fine Arts Cetinje, for 2008/9, University of Montenegro Atlas scholarship, 2008 Annual award for Sculpture, Faculty of Fine Arts Cetinje, 2010 Purchase award of the University of Montenegro, 2010 Kontakt | Contact E-mail: [email protected] Phone: +38269764392 Izdavač: Narodni muzej Crne Gore | Za izdavača: Pavle Pejović | Kustos | Tekst: Mirjana Dabović Pejović Prevod: Olivera Kusovac | Fotografija: Danilo Pendo | Dizajn: Branka Vujović | Štampa: DPC Podgorica | Tiraž: 300 Cetinje, septembar | oktobar 2014.