DUJE MEDIĆ - Pariške studije

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DUJE MEDIĆ


Egipat Egipat

Nepal

Bez naziva


“Čovek je stvorenje sa maskom“, piše Oto Bihalji Merin

u velikoj monografiji Maske sveta objavljenoj 1970. U

njoj daje pregled brojnih maski kojima se čovjek koriso

od kamenog doba do danas, kao i njihovih funkcija

u ritualima: podjednako onim religioznim i onim

svakodnevnim, gdje maske postoje u obliku radne

opreme, šminke, odjeće ili ponašanja. To su predme

kojima su ljudska društva pripisivala magijska svojstva,

to jest pomoću kojih su zajednice pokušavale ostvari

komunikaciju sa svijetom demona i duhova, s

metafizičkim temeljem ljudskoga postojanja.

Čini mi se da je posve prirodno što su maske različih

(uglavnom afričkih) plemena, kao i glave njihovih

božanstava bile pocajne za ciklus crteža grafičara

i crtača Duje Medića, autora inače zadivljenoga mis-

kom tradicijske kulture. Njegov susret s blagom neeuropske

umjetnos dogodio se u muzeju Quai Branly,

jednom od mlađih pariških muzeja (otvorenom 2006.),

čiji je osnutak inicirao predsjednik Francuske republike

Jacques Chirac, u tradiciji svojih prethodnika Georgesa

Pompidoua, Valéry Giscard d’Estainga i Françoisa Mitterranda

(od kojih je svaki podržao gradnju jednog

muzeja u Parizu), s misijom predstavljanja umjetničkog

stvaralaštva različih, uglavnom primivnih, kultura

svijeta. Ekspresija i vješna sažimanja forme na brojnim

tamošnjim eksponama konkurira i počesto nadilazi

oslobođenu maštovitost modernih i suvremenih

umjetnika.

U tom je muzeju, spomeniku istodobno kolonijalizmu

i humanisčkom univerzalizmu, Medić osjeo moć

tradicionalne kulture i još jedno opravdanje svoje fascinacije

njome. Lica koja utjelovljuju sile zadužene za

funkcioniranje fizikalnog svijeta i ljudske duše, progovarala

su mu rječito o čovjekovom pokoravanju dubokim

i nedokučivim zakonitosma prirode i o ljudskom

pokušaju ovladavanja njima. Riječima Ota Bihalji Merina

iz spomenute knjige, maska njezinu nositelju:

„dopušta da uče na nadzemaljske sile kojima se

obraća, a u is mah da se i sam preobrazi pod njihovim

dejstvom. On prima od njih supstanciju, pa je zrači na

svoje saplemenike“.

Tradicijski oblici i movi prisutni su u brojnim

Medićevim dosadašnjim ciklusima, ali on ih nikada

nije ho agresivno eksploara ni ih prisilno uklapa

u današnje moduse umjetničkog stvaralaštva, te im je

uvijek pristupao s interpretavnim poštovanjem i diskretno.

Crtajući ritualne maske, uglavnom iz muzeja

Quai Branly (uz nekoliko maski i figurica iz Louvrea),

odao je počast drevnim izvorišma ljudske svijes o

sebi, čiji tragovi još žive u umjetničkom stvaralaštvu i

religijskim obredima i praksama različih kultura, pa

i naše. Nizom malih crteža h sveh predmeta umjetnik

nam prenosi njihovu sabijenu energiju, njihove

elegantne forme i misku kojom isijavaju. U njegovu

crtežu olovkom ta bezvremenska obličja izgledaju

posebno monumentalno. Svedena na sive tonove

između crnine grafita i praznine papira, ona djeluju

poput ljudskog postojanja na ovom svijetu između

dva ništavila. Vješto sjenčanje otkriva brojna začudna

i dinamična lica koja predstavljaju bogove i demone,

ali su u svojoj osnovi zapravo samo ljudska lica: krinke

pod kojima se skrivaju naši prastari strahovi i čežnje.

Feđa Gavrilović

Kongo Mali


Mali

Mali

Bez naziva

Nigerija


Bez naziva

Nepal

Mali

Obala Bjelokos


Kongo

Mali

Afrika

Obala Bjelokos


“Man is a creature in a mask”, says Oto Bihalji Merin

in his great monograph Masks of the World published

in 1970. It contains an overview of numerous masks

used by man from the Stone Age to the present day

as well as the funcons of those masks in different

rituals – the religious ones but also those that appear

every day in the form of work equipment, make-up,

clothing or behaviour. These are the objects to which

human sociees used to aribute magical properes,

while aempng to establish communicaon with the

world of demons and spirits, with the metaphysical

foundaon of human existence.

It seems quite natural that the masks of different

(mainly African) tribes and the heads of their dei-

es provided inspiraon for the cycle of drawings

by graphic arst and draughtsman Duje Medić, who

is also an author fascinated by the myscism of tradional

culture. His encounter with the treasures of

non-European art took part in the Quai Branly Museum,

which was opened in Paris in 2006 and was founded

following the iniave of the former President of

the French Republic Jacques Chirac, in the tradion of

his predecessors Georges Pompidou, Valéry Giscard

d’Estaing and François Mierrand (each of these supported

the construcon of a single museum in Paris);

all these museums were founded with the sole purpose

of showcasing the arsc creaon of different,

mainly primive cultures of the world. The expression

Liberia

and ability to reduce the form on numerous exhibits

displayed in those museums compete and more oen

than not go beyond the freed imaginaon of modern

and contemporary arsts.

This museum, which is a monument to both colonialism

and humanisc universalism, enabled Medić to

feel the power of tradional culture and another excuse

for being fascinated by it. The faces embodying

the forces responsible for the funconing of the physical

world and the human soul spoke eloquently to him

about man’s compliance with profound and unfathomable

laws of nature as well as about man’s aempt

to manage them. As Oto Bihalji Merin wrote in the

above-menoned book, a mask “allows its bearer to

influence the supernatural forces that he is addressing

but also to be transformed due to their effects. The

bearer receives their substance and then transmits it

to his or her co-tribesmen”.

Tradional forms and mofs can be found in numerous

Medić’s exisng cycles but he has never wanted

to exploit them in an aggressive manner or to make

them adapt at any cost to suit today’s modes of ar-

sc creavity, while consistently approaching them

discreetly, with interpretave respect. Drawing ritual

masks, mostly those from the Quai Branly Museum

(along with several masks and figurines from the Louvre)

was his way to honour the ancient sources of human

consciousness of themselves, whose traces are

sll present in the arsc creaon and religious ceremonies

and pracces of different cultures, including

ours. With a series of small drawings of those holy

objects, the arst conveys their compressed energy,

elegant forms and radiang mysque to us. In his pen

drawings these meless forms look parcularly monumental.

While being reduced to grey tones between

the blackness of the graphite and the blankness of the

paper, they resemble human existence in this world

between two nothingnesses. Skilful shading reveals

numerous mesmerizing and dynamic faces representing

deies and demons, which turn out to be nothing

but human faces; they act as a disguise concealing our

ancient fears and desires.

Feđa Gavrilović


Duje Medić rođen je 1986. u Makarskoj, a

odrastao je u Brelima. Godine 2010. diplomirao

je na grafičkom odsjeku Akademije likovnih

umjetnos u Zagrebu u klasi Nevenke Arbanas.

hp://dujemedic.com

Duje Medić was born in Makarska in 1986 but

he grew up in Brela. In 2010 he graduated from

the Academy of Fine Arts in Zagreb, Department

of Graphic Arts, in the class of Nevenka Arbanas.

hp://dujemedic.com

Izloženi radovi

Egipat, olovka na papiru, 10 x 14 cm, 2017.

Egipat 2, olovka na papiru, 10 x 14 cm, 2018.

Egipat 3, olovka na papiru, 10 x 14 cm, 2017.

Nepal, olovka na papiru, 10 x 14 cm, 2018.

Nepal 2, olovka na papiru, 10 x 14 cm, 2018.

Afrika, olovka na papiru, 10 x 14 cm, 2016.

Afrika 2, olovka na papiru, 10 x 14 cm, 2018.

Afrika 3, olovka na papiru, 10 x 14 cm, 2016.

Afrika 4, olovka na papiru, 10 x 14 cm, 2018.

Kongo, olovka na papiru, 10 x 14 cm, 2018.

Kongo 2, olovka na papiru, 10 x 14 cm, 2018.

Nigerija, olovka na papiru, 10 x 14 cm, 2018.

Nigerija 2, olovka na papiru, 10 x 14 cm, 2018.

Mali, olovka na papiru, 10 x 14 cm, 2017.

Mali 2, olovka na papiru, 10 x 14 cm, 2018.

Mali 3, olovka na papiru, 10 x 14 cm, 2018.

Mali 4, olovka na papiru, 10 x 14 cm, 2018.

Mali 5, olovka na papiru, 10 x 14 cm, 2018.

Mali 6, olovka na papiru, 10 x 14 cm, 2018.

Mali 7, olovka na papiru, 25 x 25 cm, 2018.

Obala Bjelokos, olovka na papiru, 10 x 14 cm, 2018.

Obala Bjelokos 2, olovka na papiru, 10 x 14 cm, 2018.

Obala Bjelokos 3, 25 x 25 cm, olovka na papiru, 2018.

Liberija, olovka na papiru, 10 x 14 cm, 2017.

Exhibited works

Egypt, pen and ink, 10 x 14 cm, 2017

Egypt 2, pen and ink, 10 x 14 cm, 2018

Egypt 3, pen and ink, 10 x 14 cm, 2017

Nepal, pen and ink, 10 x 14 cm, 2018

Nepal 2, pen and ink, 10 x 14 cm, 2018

Africa, pen and ink, 10 x 14 cm, 2016

Africa 2, pen and ink, 10 x 14 cm, 2018

Africa 3, pen and ink, 10 x 14 cm, 2016

Africa 4, pen and ink, 10 x 14 cm, 2018

Congo, pen and ink, 10 x 14 cm, 2018

Congo 2, pen and ink, 10 x 14 cm, 2018

Nigeria, pen and ink, 10 x 14 cm, 2018

Nigeria 2, pen and ink, 10 x 14 cm, 2018

Mali, pen and ink, 10 x 14 cm, 2017

Mali 2, pen and ink, 10 x 14 cm, 2018

Mali 3, pen and ink, 10 x 14 cm, 2018

Mali 4, pen and ink, 10 x 14 cm, 2018

Mali 5, pen and ink, 10 x 14 cm, 2018

Mali 6, pen and ink, 10 x 14 cm, 2018

Mali 7, pen and ink, 25 x 25 cm, 2018

Côte d’Ivoire, pen and ink, 10 x 14 cm, 2018

Côte d’Ivoire 2, pen and ink, 10 x 14 cm, 2018

Côte d’Ivoire 3, pen and ink, 25 x 25 cm, 2018

Liberia, pen and ink, 10 x 14 cm, 2017

Mali

Obala Bjelokos

GALERIJA SV. KRŠEVANA ŠIBENIK

14. rujna - 6. listopada 2018.

Nakladnik: Galerija sv. Krševana Šibenik ● Za nakladnika: Antonija Modrušan ● Tekst: Feđa Gavrilović ● Prijevod

teksta: Joško Tošić ● Fotografije radova: Juraj Vuglač i Duje Medić ● Postav izložbe: Feđa Gavrilović i Duje Medić

● Grafička priprema i sak: SeMigraf, Šibenik ● Naklada: 150

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