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DUJE MEDIĆ - Pariške studije

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<strong>Pariške</strong> <strong>studije</strong><br />

Nigeria<br />

<strong>DUJE</strong> <strong>MEDIĆ</strong>


Egipat Egipat<br />

Nepal<br />

Bez naziva


“Čovek je stvorenje sa maskom“, piše Oto Bihalji Merin<br />

u velikoj monografiji Maske sveta objavljenoj 1970. U<br />

njoj daje pregled brojnih maski kojima se čovjek koriso<br />

od kamenog doba do danas, kao i njihovih funkcija<br />

u ritualima: podjednako onim religioznim i onim<br />

svakodnevnim, gdje maske postoje u obliku radne<br />

opreme, šminke, odjeće ili ponašanja. To su predme<br />

kojima su ljudska društva pripisivala magijska svojstva,<br />

to jest pomoću kojih su zajednice pokušavale ostvari<br />

komunikaciju sa svijetom demona i duhova, s<br />

metafizičkim temeljem ljudskoga postojanja.<br />

Čini mi se da je posve prirodno što su maske različih<br />

(uglavnom afričkih) plemena, kao i glave njihovih<br />

božanstava bile pocajne za ciklus crteža grafičara<br />

i crtača Duje Medića, autora inače zadivljenoga mis-<br />

kom tradicijske kulture. Njegov susret s blagom neeuropske<br />

umjetnos dogodio se u muzeju Quai Branly,<br />

jednom od mlađih pariških muzeja (otvorenom 2006.),<br />

čiji je osnutak inicirao predsjednik Francuske republike<br />

Jacques Chirac, u tradiciji svojih prethodnika Georgesa<br />

Pompidoua, Valéry Giscard d’Estainga i Françoisa Mitterranda<br />

(od kojih je svaki podržao gradnju jednog<br />

muzeja u Parizu), s misijom predstavljanja umjetničkog<br />

stvaralaštva različih, uglavnom primivnih, kultura<br />

svijeta. Ekspresija i vješna sažimanja forme na brojnim<br />

tamošnjim eksponama konkurira i počesto nadilazi<br />

oslobođenu maštovitost modernih i suvremenih<br />

umjetnika.<br />

U tom je muzeju, spomeniku istodobno kolonijalizmu<br />

i humanisčkom univerzalizmu, Medić osjeo moć<br />

tradicionalne kulture i još jedno opravdanje svoje fascinacije<br />

njome. Lica koja utjelovljuju sile zadužene za<br />

funkcioniranje fizikalnog svijeta i ljudske duše, progovarala<br />

su mu rječito o čovjekovom pokoravanju dubokim<br />

i nedokučivim zakonitosma prirode i o ljudskom<br />

pokušaju ovladavanja njima. Riječima Ota Bihalji Merina<br />

iz spomenute knjige, maska njezinu nositelju:<br />

„dopušta da uče na nadzemaljske sile kojima se<br />

obraća, a u is mah da se i sam preobrazi pod njihovim<br />

dejstvom. On prima od njih supstanciju, pa je zrači na<br />

svoje saplemenike“.<br />

Tradicijski oblici i movi prisutni su u brojnim<br />

Medićevim dosadašnjim ciklusima, ali on ih nikada<br />

nije ho agresivno eksploara ni ih prisilno uklapa<br />

u današnje moduse umjetničkog stvaralaštva, te im je<br />

uvijek pristupao s interpretavnim poštovanjem i diskretno.<br />

Crtajući ritualne maske, uglavnom iz muzeja<br />

Quai Branly (uz nekoliko maski i figurica iz Louvrea),<br />

odao je počast drevnim izvorišma ljudske svijes o<br />

sebi, čiji tragovi još žive u umjetničkom stvaralaštvu i<br />

religijskim obredima i praksama različih kultura, pa<br />

i naše. Nizom malih crteža h sveh predmeta umjetnik<br />

nam prenosi njihovu sabijenu energiju, njihove<br />

elegantne forme i misku kojom isijavaju. U njegovu<br />

crtežu olovkom ta bezvremenska obličja izgledaju<br />

posebno monumentalno. Svedena na sive tonove<br />

između crnine grafita i praznine papira, ona djeluju<br />

poput ljudskog postojanja na ovom svijetu između<br />

dva ništavila. Vješto sjenčanje otkriva brojna začudna<br />

i dinamična lica koja predstavljaju bogove i demone,<br />

ali su u svojoj osnovi zapravo samo ljudska lica: krinke<br />

pod kojima se skrivaju naši prastari strahovi i čežnje.<br />

Feđa Gavrilović<br />

Kongo Mali


Mali<br />

Mali<br />

Bez naziva<br />

Nigerija


Bez naziva<br />

Nepal<br />

Mali<br />

Obala Bjelokos


Kongo<br />

Mali<br />

Afrika<br />

Obala Bjelokos


“Man is a creature in a mask”, says Oto Bihalji Merin<br />

in his great monograph Masks of the World published<br />

in 1970. It contains an overview of numerous masks<br />

used by man from the Stone Age to the present day<br />

as well as the funcons of those masks in different<br />

rituals – the religious ones but also those that appear<br />

every day in the form of work equipment, make-up,<br />

clothing or behaviour. These are the objects to which<br />

human sociees used to aribute magical properes,<br />

while aempng to establish communicaon with the<br />

world of demons and spirits, with the metaphysical<br />

foundaon of human existence.<br />

It seems quite natural that the masks of different<br />

(mainly African) tribes and the heads of their dei-<br />

es provided inspiraon for the cycle of drawings<br />

by graphic arst and draughtsman Duje Medić, who<br />

is also an author fascinated by the myscism of tradional<br />

culture. His encounter with the treasures of<br />

non-European art took part in the Quai Branly Museum,<br />

which was opened in Paris in 2006 and was founded<br />

following the iniave of the former President of<br />

the French Republic Jacques Chirac, in the tradion of<br />

his predecessors Georges Pompidou, Valéry Giscard<br />

d’Estaing and François Mierrand (each of these supported<br />

the construcon of a single museum in Paris);<br />

all these museums were founded with the sole purpose<br />

of showcasing the arsc creaon of different,<br />

mainly primive cultures of the world. The expression<br />

Liberia<br />

and ability to reduce the form on numerous exhibits<br />

displayed in those museums compete and more oen<br />

than not go beyond the freed imaginaon of modern<br />

and contemporary arsts.<br />

This museum, which is a monument to both colonialism<br />

and humanisc universalism, enabled Medić to<br />

feel the power of tradional culture and another excuse<br />

for being fascinated by it. The faces embodying<br />

the forces responsible for the funconing of the physical<br />

world and the human soul spoke eloquently to him<br />

about man’s compliance with profound and unfathomable<br />

laws of nature as well as about man’s aempt<br />

to manage them. As Oto Bihalji Merin wrote in the<br />

above-menoned book, a mask “allows its bearer to<br />

influence the supernatural forces that he is addressing<br />

but also to be transformed due to their effects. The<br />

bearer receives their substance and then transmits it<br />

to his or her co-tribesmen”.<br />

Tradional forms and mofs can be found in numerous<br />

Medić’s exisng cycles but he has never wanted<br />

to exploit them in an aggressive manner or to make<br />

them adapt at any cost to suit today’s modes of ar-<br />

sc creavity, while consistently approaching them<br />

discreetly, with interpretave respect. Drawing ritual<br />

masks, mostly those from the Quai Branly Museum<br />

(along with several masks and figurines from the Louvre)<br />

was his way to honour the ancient sources of human<br />

consciousness of themselves, whose traces are<br />

sll present in the arsc creaon and religious ceremonies<br />

and pracces of different cultures, including<br />

ours. With a series of small drawings of those holy<br />

objects, the arst conveys their compressed energy,<br />

elegant forms and radiang mysque to us. In his pen<br />

drawings these meless forms look parcularly monumental.<br />

While being reduced to grey tones between<br />

the blackness of the graphite and the blankness of the<br />

paper, they resemble human existence in this world<br />

between two nothingnesses. Skilful shading reveals<br />

numerous mesmerizing and dynamic faces representing<br />

deies and demons, which turn out to be nothing<br />

but human faces; they act as a disguise concealing our<br />

ancient fears and desires.<br />

Feđa Gavrilović


Duje Medić rođen je 1986. u Makarskoj, a<br />

odrastao je u Brelima. Godine 2010. diplomirao<br />

je na grafičkom odsjeku Akademije likovnih<br />

umjetnos u Zagrebu u klasi Nevenke Arbanas.<br />

hp://dujemedic.com<br />

Duje Medić was born in Makarska in 1986 but<br />

he grew up in Brela. In 2010 he graduated from<br />

the Academy of Fine Arts in Zagreb, Department<br />

of Graphic Arts, in the class of Nevenka Arbanas.<br />

hp://dujemedic.com<br />

Izloženi radovi<br />

Egipat, olovka na papiru, 10 x 14 cm, 2017.<br />

Egipat 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Egipat 3, olovka na papiru, 10 x 14 cm, 2017.<br />

Nepal, olovka na papiru, 10 x 14 cm, 2018.<br />

Nepal 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Afrika, olovka na papiru, 10 x 14 cm, 2016.<br />

Afrika 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Afrika 3, olovka na papiru, 10 x 14 cm, 2016.<br />

Afrika 4, olovka na papiru, 10 x 14 cm, 2018.<br />

Kongo, olovka na papiru, 10 x 14 cm, 2018.<br />

Kongo 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Nigerija, olovka na papiru, 10 x 14 cm, 2018.<br />

Nigerija 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali, olovka na papiru, 10 x 14 cm, 2017.<br />

Mali 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali 3, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali 4, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali 5, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali 6, olovka na papiru, 10 x 14 cm, 2018.<br />

Mali 7, olovka na papiru, 25 x 25 cm, 2018.<br />

Obala Bjelokos, olovka na papiru, 10 x 14 cm, 2018.<br />

Obala Bjelokos 2, olovka na papiru, 10 x 14 cm, 2018.<br />

Obala Bjelokos 3, 25 x 25 cm, olovka na papiru, 2018.<br />

Liberija, olovka na papiru, 10 x 14 cm, 2017.<br />

Exhibited works<br />

Egypt, pen and ink, 10 x 14 cm, 2017<br />

Egypt 2, pen and ink, 10 x 14 cm, 2018<br />

Egypt 3, pen and ink, 10 x 14 cm, 2017<br />

Nepal, pen and ink, 10 x 14 cm, 2018<br />

Nepal 2, pen and ink, 10 x 14 cm, 2018<br />

Africa, pen and ink, 10 x 14 cm, 2016<br />

Africa 2, pen and ink, 10 x 14 cm, 2018<br />

Africa 3, pen and ink, 10 x 14 cm, 2016<br />

Africa 4, pen and ink, 10 x 14 cm, 2018<br />

Congo, pen and ink, 10 x 14 cm, 2018<br />

Congo 2, pen and ink, 10 x 14 cm, 2018<br />

Nigeria, pen and ink, 10 x 14 cm, 2018<br />

Nigeria 2, pen and ink, 10 x 14 cm, 2018<br />

Mali, pen and ink, 10 x 14 cm, 2017<br />

Mali 2, pen and ink, 10 x 14 cm, 2018<br />

Mali 3, pen and ink, 10 x 14 cm, 2018<br />

Mali 4, pen and ink, 10 x 14 cm, 2018<br />

Mali 5, pen and ink, 10 x 14 cm, 2018<br />

Mali 6, pen and ink, 10 x 14 cm, 2018<br />

Mali 7, pen and ink, 25 x 25 cm, 2018<br />

Côte d’Ivoire, pen and ink, 10 x 14 cm, 2018<br />

Côte d’Ivoire 2, pen and ink, 10 x 14 cm, 2018<br />

Côte d’Ivoire 3, pen and ink, 25 x 25 cm, 2018<br />

Liberia, pen and ink, 10 x 14 cm, 2017<br />

Mali<br />

Obala Bjelokos<br />

GALERIJA SV. KRŠEVANA ŠIBENIK<br />

14. rujna - 6. listopada 2018.<br />

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

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

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

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