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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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