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Ivana Bašičević Antić Moguća Putanja

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Ivana Bašičević Antić Moguća Putanja SADRŽAJ CONTENT SMRT UETNOSTI, ŽIVELA UETNOST DEATH TO ART, LONG LIVE ART Ivana Bašičević Antić I B A Moguća putanja radikalnih umetničkih praksi SRT UETNOSTI. ŽIVELA UETNOST u našem regionu dgovor na pitanje šta je okupilo kustosko-selektorski tim 19.og Bijenala ...vodeći kriterijum bio je umetnosti u Pančevu, istovremeno je i definicija koncepta ovog Bijenala. iskrena vera umetnika Naime, okupila nas je ideja da se prošlost ne sme zaboraviti i odbaciti, Oiako je to, čini se, globalna težnja učesnika današnje umetničke scene. Mladih umet- SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT u snagu umetnosti i njenu vezu nika posebno. Šta je to u prošlosti vredno pamćenja, naravno, složeno je pitanje i naš je izbor samo jedan od niz mogućih odgovora. Različiti kriterijumi vodili bi ka sa životom uopšte, vera koja je sasvim različitim izborima, a naš je vodeći kriterijum bio iskrena vera umetnika pojedince vodila ka teškim u snagu umetnosti i njenu vezu sa životom uopšte, vera koja je pojedince vodila ka teškim borbama sa svojim okruženjem i vrlo često ka nezasluženom brisanju iz borbama sa svojim okruženjem istorijskih pregleda. Pri tom, što je zanimljivo, uglavnom iz lokalnih pregleda jer i vrlo često ka nezasluženom u očima svetske odnosno međunarodne umetničke scene upravo su te pojave bile 10 jedine vredne pamćenja. Tako nastale umetničke prakse označene su stalnim pre- 11 brisanju iz istorijskih pregleda. ispitivanjem značenja i smisla umetnosti, spajajući je sa životom jer u očima tih autora granice između ličnih života i domena umetnosti nikad nije bilo. Na osnovu Ljubomir Micić, 1925. navedenih kriterija napravili smo izbor umetnika savremene produkcije tragajući za onim autorima koji su u dijalogu sa dostignućima prethodnih generacija. Za nas okretanje ka istoriji ne potencira tugu za nekim prošlim vremenima, nego je ono zasnovano na traganju za načinom da se rekonfiguriše sadašnjost i da se na osnovu 1 SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT poznavanja prethodnog načine novi iskoraci. Najzad, na polju interpretacije, is- postavlja se da vera tih autora u snagu umetnosti poziva na drugačiju interpretaciju radova tih umetnika. 1 U ovom je cilju sproveden opsežan projekat pod nazivom: Art Always Has Its Consequences, nastao u saradnji new media center_kuda.org (Novi Sad), tranzit.hu (Budapest), Muzeum Sztuki (Lodz) i What, Art Always Has Its Consequences ▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶ How & for Whom/WHW (Zagreb). I B A Istorijski, linija kojom se krećemo počinje pojavom (László Moholy-Nagy), Georg Gros (George Grosz), Egon Šile časopisa Zenit2 - zamišljenog kao mesečna internacionalna re- (Schiele), Pablo Pikaso, Aleksandar Rodčenko, Vasilij Kandin- vija za umetnost i kulturu, koji nastaje inicijativom Ljubomira ski i dr, ali i progresivnih domaćih autora među kojima Mi- Micića. Dva su aspekta ove pojave koja izložba “Smrt umet- hailo S. Petrov, Vilko Gecan, Jo Klek (Josip Seissel) i Vjera Bil- nosti. Živela umetnost” potencira. Najpre, časopis Zenit koji er (Biller). Drugi aspekat postojanja Zenita i rada Ljubomira izlažemo u originalu zahvaljujući podršci Univerzitetske bib- Micića koji smo pokušali da prikažemo, jeste kolekcija umet- lioteke “Svetozar Marković” iz Beograda, koji je sam po sebi ničkih radova koju je Micić stvorio i prezentovao kroz časopis ŽIVELA UMETNOST UMETNOSTI SMRT predstavljao umetničko delo, određeni avangardni Gesamt- Zenit, a koja je danas u vlasništvu Narodnog muzeja Srbije. kunstwerk, te je kao takav činio radikalan iskorak Micića i Jedan od najvećih poznavaoca dela Ljubomira Micića, prof dr njegovih saradnika u domenu tumačenja pojma umetnosti i Irina Subotić, ističe upravo dela iz njegove kolekcije kao i te umetničkog dela uopšte. Izuzetno je važna i uloga Zenita kao kako važan moment u ukupnoj zenitističkoj praksi.3 Međutim, informatora o najnovijim zbivanjima u umetnosti i društvu upravo zbog visoke vrednosti tih radova i činjenice da su neki u širem smislu, koji je prenosio tekstove autora poput Vasili- u stalnoj muzejskoj postavci, nismo uspeli da ih donesemo na ja Kandinskog, El Lizitskog (El Lissitzky), F.T. Marinetija Bijenale. U tom smislu četiri ovde izložena: B.V. Poljanski, Eu- 12 13 (Marinetti), Kazimira Maljeviča, kao i reprodukcije radova rope, Jo Klek, Nacrt za Zeniteum II, M. Petrov, Zenitu u počast niza umetnika čija je umetnost vremenom doživela vrhunsko 1921, A. Černigoj, Nacrt za scenografiju Papa Eccelenza III Mangelos, Glagoljsko slovo C, m.5, priznanje: El Lisitski, Aleksandar Arhipenko (Archipenko), govore u ime svih ostalih koji se nalaze u Narodnom muze- 1951-1956, akril-drvena tabla, Vladimir Tatljin (Tatlin), Kazimir Maljevič, Laslo Moholji-Nađ ju Srbije, o neverovatnoj viziji Ljubomira Micića i ogromnom Foto: ljubaznošću Ilija&Mangelos legatu koji je na posletku postao vredan posed društva, društva Fondacije 2 “Zenit, koji je, sa povremenim zastojima zbog organizacionih i materijal- nih problema, kao i zbog sudskih i policijskih osuda, posle Zagreba izlazio i države koja ga je konstantno ponižavala.4 Mangelos, Glagolitic letter C, m.5, u Beogradu od aprila 1924. do decembra 1926. godine, kada je definitivno 1951-1956, acrylic-wood, zabranjen zbog teksta dr M. Rasinova Zenitizam kroz prizmu marksizma. 3 Monografija Zenit 1921-1926, Vidosava Golubović i Irina Subotić, SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT Photo: Courtesy of Ilija&Mangelos Objavljeno je četrdeset i tri boja Zenita, raznorodnog idejnog i stilskog us- Narodna biblioteka Srbije, Institut za književnost i umetnost, SKD Prosvjeta Foundation merenja, različite tipografije i likovnih rešenja, neujednačenog sastava sarad- Zagreb, Beograd, 2008, str.63 nika, ali obeleženog od početka do kraja avangardističkim raspoloženjem, 4 Ljubomir Micić je svoju vrednu kolekciju sačuvao u stanu a deset godina izrazitom kritikom društvene i političke situacije, nemilosrdnim obračunom posle njegove smrti, pošto nisu nađeni naslednici, sve je to proglašeno za sa religioznim, građanskim i malograđanskim vrednostima.” Irina Subotić, njegovu zaostavštinu i podeljeno izmedju Narodnog muzeja i Narodne Od Avangarde do Arkadije, Clio, Beograd, 2000, str.3,4 biblioteke Srbije. I B A Micićev fokus interesovanja je književnost ali svoje zaključke primenjuje i u domenu plastičkih umetnosti, slike i skulpture, te podržava pojave ekspresionizma, konstruktiv- izma, dade i futurizma. Međutim dadaizam postaje predmet → Upravo ta neslaganja sa principima Micićeve kritike, tako da njegova sintetička proza i poezija, umetnosti koja postaje “moderna” i formira se koja naizgled pripada duhu dade, zapravo nastaje na osnovu Kako će se izmeniti civilizacija pojavom moćne mašine u neki prihvaćen pravac ili stil, dokaz su analogije sa futurizmom. Odnos prema pojavama nadrealiz- koja menja prirodu ljudskog rada i tokove radnih procesa, njegove nepomirljive borbe protiv površnih ma kompleksna je tema koja je podrazumevala česte kritike pita se Micić oduševljeno prizivajući brzinu aeroplana, radija, izmena u svetu umetnosti i želja da se nadrealista upućene na rad Micića. Upravo ta neslaganja sa Teslinih otkrića i svih novina. Nešto kasnije, tokom pedese- principima umetnosti koja postaje “moderna” i formira se tih godina dvadesetog veka, motivisan mašinskom proizvod- umetnost iskreno spoji sa životom i povede u neki prihvaćen pravac ili stil, dokaz su njegove nepomirl- njom koja je zamenila ručnu, umetnik Dimitrije Bašičević SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT čoveka ka nekoj boljoj budućnosti. jive borbe protiv površnih izmena u svetu umetnosti i želja Mangelos manifestom saopštava da je potrebna nova umet- da se umetnost iskreno spoji sa životom i povede čoveka ka nost jer je u potpunosti anahrono stvarati emocijom i meta- nekoj boljoj budućnosti. Micić je nepomirljiv sa činjenicom forom u vreme kada je mašinska civililizacija uveliko zame- da postoje nosioci moći koji određuju šta je dobro a šta loše nila ‘ručno-radnu’ i postavila pred čoveka zahtev da stvaranju u umetnosti a što je vrlo zanimljivo, reagovaće Micić često i umetnosti pristupi svojim raciom a ne emocijom.5 Za pravil- povodom van-umetničkih događaja – kao primer navodim nije razumevanje obe ove prakse, i zenitističke i Mangelosove, predavanje Rabindranat Tagorea u Beogradu. Neiskrenost potrebno je primeniti model tumačenja - “značenje se nal- 6 14 organizatora i govornika uznemiruje Micića i to demonstrira azi ispred objekta” - koji ukazuje da određeno umetničko 15 ne samo tekstom u Zenitu (br.43, god.1926) nego i akcijom delo predviđa neku idealnu budućnost koja će doći. Projekat sprovedenom u okviru samog predavanja. Ili povodom nedo- “Utopia Station” Hansa Ulriha Obrista (Hans Ulrich Obrist) voljnog razumevanja i poštovanja značaja dela Nikole Tesle. na Venecijanskom bijenalu 2003. godine pokazao je da je taj motiv u poslednje vreme ponovo prisutan usled pojave umet- ničkih praksi koje nastaju kao rezultat vere autora da umet- nost može uticati na određene promene te da se zato njome ima smisla baviti. SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT 5 O tome govori ovde izložen rad manifest o psihičkom životu picassa i pretpostavljenog panthe altamirskog, D.B.Mangelos, 1978. 6 David Joselit, After Art, Princeton University Press, 2012, str. 57. Ovaj model autor primenjuje na predstavnike ruskog konstruktivizma i holandskog De Stijla. I B A Kritičar Bašičević će definisati postulate nove umet- U slučaju Bašičevića Mangelosa ta je grupa bila Gorgo- držaja umetnosti. Međutim, zamišljati umetnost bez fizički nosti najpre u okviru svog teksta “Aktuelnost funkcionalne na
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