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Univerzitet Umetnosti U Beogradu Univerzitet umetnosti u Beogradu Fakultet likovnih umetnosti, vajarski odsek Doktorske umetničke studije, III Predmet: Metodi umetničko istraživačkog rada Broj indeksa: 4327/12 Miodrag Krkobabić Fenomen Briljantne! YBA Senzacije Mentor: docent Zoran Todorović Beograd, 2013. Briljantno! i Senzacionalno, jesu naslovi koji više posećaju na tabloidski način izražavanja nego na nazive umetničkih izložbi, ali u potpunosti odgovaraju izložbama koncepcijski sačinjenim i produkcijski upakovanim u moćnu kombinaciju umetnosti, marketinga, antropologije, glamura i sponzorstva. Nastale su na talasu izložbi održanih u Londonu tokom prve polovine devedestih godina XX veka, kao potvrda revitalizacije britanske pop kulture šezdesetih (Cool Britannia) i savremena repriza izložbe Swingeing London, Ričarda Hamiltona (Richard Hamilton) iz 1967. godine. Izložba Briljantno! ("Brilliant!" New Art from London), održana 1995. godine u Walker Art Centru u Mineapolisu, jeste prva izložba koja pravi sveobuhvatni presek tog fenomena nove britanske umetnosti. Pored detaljnog pregleda radova dvadeset i dva mlada britanska autora, organizovana je i panel diskusija posvećena značaju uloge njihovog prethodno stečenog umetničkog obrazovanja i iskustava stečenih uglavnom na Goldsmith Koledžu u Londonu. Već 1996. godine Muzej moderne umetnosti iz Pariza pravi sličan pregled pod nazivom Life/Live, a iste godine ova nova britanska umetnost osvaja i Nemačku publiku izložbom Full House u Muzeju iz Volfsburga. Na jesen 1997. godine održana je izložba Senzacionalno (Sensation), pod patronatom marketinškog magnata Čarlsa Sačija (Charles Saatchi) u Kraljevskoj akademiji umetnosti (Royal Academy of Arts). Izbor radova na ovoj izložbi je bio posledica njegovog sopstvenog stava, ukusa i odnosa prema savremenoj umetnosti, kojoj Sači jeste bio posvećen, ali najviše u korist sopstvene promocije. YBA The Young British Artists (u daljem tekstu YBA), takođe poznati i kao Britart, jeste naziv za neformalnu grupu vizuelnih umetnika koji su, većinom, stekli svoje umetničko obrazovanje na Goldstmit koledžu u Londonu i počeli zajedno da izlažu krajem osamdesetih godina XX veka. Ta nova britanska scena se formirala oko niza izložbi organizovanih od strane samih umetnika, održavanih u napuštenim skladištima i fabrikama širom Londona. Početak tog samoorganizovanja predstavlja izložba Freeze koju inicira i realizuje Demian Herst (Damien Hirst) 1988. godine. Zajedničko izlaganje se nastavlja 1990. godine izložbama: Modern Medicine, koju Demian Herst organizuje zajedno sa Bili Selmanom (Billee Sellman) i Karlom Fridmanom (Carl Freedman) i East Country Yard Show koju organizuju Henri Bond (Henry Bond) i Sara Lukas (Sarah Lucas). Sam termin The Young British Artists se pojavljuje 1992. godine, a danas opšteprihvaćeni akronim YBA je skovan tek 1996. godine, u magazinu Art Mesečnik (Art Monthly). S obzirom da je većina YBA umetnika rođena sredinom šezdesetih godina XX veka, taj naziv postaje istorijski termin. Zbog upotrebe sopstvenih iskorišćenih i odbačenih stvari, provokativnih tema i materijala u svojim radovima ali i neobuzdanog života, kao i kontradiktornog subverzivnog stava koji se preplitao sa izvanrednim preduzetničkim duhom, pripisano im je (zlo)upotrebljavanje šok taktike. Zahvaljujući tome, oni jesu ostvarili veliku medijsku pokrivenost i dominantan položaj u britanskoj umetnosti tokom devedesetih godina XX veka, što potvrđuju i zvanična međunarodna predstavljanja britanske umetnosti izložbama kao što su Briljantno! (Brilliant!) i Senzacija (Sensation). Najpoznatiji i najkontroverzniji umetnik ove neformalne grupe je, svakako, Demian Herst sa ključnim radovima kao što je ajkula u vitrini sa formaldehidom – Fizička nemogućnost smrti u umu nekog živog (The Physical Impossibility of Death in the Mind of Someone Living) i kravlja glava u vitrini sa muvama – Hiljadu godina (A Thousand Years). Većina umetnika jeste, u početku, bila podržana i kolekcionirana od strane Čarlsa Sačija ali je on na njih više uticao posredno, izložbom New York Art Now održanoj od septembra 1987. do januara 1988. godine u njegovoj galeriji (Saatchi Gallery). Ta izložba, po prvi put, Britaniji predstavlja američke provokativne umetnike, poput Džefa Kunsa (Jeff Koons) i Roberta Gobera. Mešavina minimalizma, pop arta i konceptualne umetnosti otvara put mladim britanskim umetnicima da usvoje te, već istorijske, umetničke forme, slobodno im pridajući sopstvena značenja i sadržaje, čime se i ovaj segment britanske kulture, konačno, dočepao svetske pažnje. Ali je taj, mladalački jezik, imao i razne neprijatne forme izražavanja, kao što su: gnev, nezainteresovanost, dosada i lenjost. Radovi su svojim agresivnim izgledom i čvrstim stavom, stvarali utisak neprijatnosti. Ovi novi mladi umetnici su, naizgled, ležerno ušetali na umetničku scenu i bez odobrenja ili želje da traže dozvolu ili potvrdu od strane institucija, svoju umetnost pravili kao i bilo koji drugi životni izbor, naglašavajući britanski eklekticizam, ekscentričnost i individualnost. Vrlo brzo su shvatili da je internacionalna scena za njih već bila pripremljena, kulturnom raznolikošću britanske mode i muzike. Vrata su im bila otvorena jer su ljudi vrlo jednostavno razumeli takvu umetnost koja se obraća savremenom životu. Njihov lični primer i tih nekoliko zajedničkih izložbi, postavili su putokaze i postali pokretačka snaga koja je institucionalizovana 1997. godine, izložbom Sensation u Kraljevskoj Akademiji (the Royal Academy of Arts) organizovanom, opet, od strane Čarlsa Sačija. Tako se situacija, iz korena, promenila. Umetnost je postala glamurozna, kao moda, a umetnici popularni kao pop zvezde, koje sada žele da budu umetnici. Otvaranje izložbe the New Contemporaries1 sada je prepuno mladih ljudi koji žude da ponove uspeh i slavu, deceniju starije generacije britanskih umetnika. Njima se čini da je uspeh na dohvat ruke. Otvoreno je mnogo privatnih galerija, Sači sada otkupljuje radove mladih umetnika još u pripremnoj fazi izvođenja projekata. Ali, deceniju ranije, sve je izgledalo potpuno drugačije. Goldsmit Kao što je već rečeno, srž ove neformalne umetničke scene je formirana od studenata koji su diplomirali na Goldsmit koledžu u periodu od 1987. do 1990. godine. Sačinjavju je Liam Gilik (Liam Gillick), Fiona Rae, Stiv Park (Steve Park) i Sara Lukas koji su diplomirali 1987. Godine. Zatim, Ian Davenport, Geri Hjum (Gary Hume), Henri Bond i Anđela Bulok (Angela Bulloch), koji su diplomirali 1988. godine. Demian Herst, Engus Ferharst (Angus Fairhurst), Met Kolišou (Mat Collishaw), Sajmon Paterson (Simon Patterson) i Abigeil Lein (Abigail Lane) su diplomirali 1989. godine, dok su Džilijan Vering (Gillian Wearing) i Sem Tejlor-Vud (Sam Taylor-Wood) diplomirale 1990. Pored preduzimljivosti i nesumnjivog talenta koji su posedovali svi navedeni umetnici, od ključnog značaja za formiranje njihovog stava jesu, takođe, i profesori koji su u tom periodu bili vrlo aktivni na Goldsmit koledžu: Džon Tomson (John Thompson), Majkl Kreg-Martin (Michael Craig- Martin), Ričard Ventvort (Richard Wentworth), Ian Džefri (Ian Jeffrey), Helen Čedvik (Helen Chadwick), Mark Volinger (Mark Wallinger), Džudit Kauan (Judith Cowan) i Glen Bakster (Glen Baxter). Goldsmit koledž je, u to vreme, bio inkubator promena ponajviše zbog svog nehijerarhijskog nastavnog programa, pod vođstvom dekana Džona Tomsona i 1 Izložba koja se redovno održava još od 1949, kao podrška mladim umetnicima na početku karijere umetnika Majkl Kreg-Martina, koji Tomsona smatra vizionarom i radikalnim prosvetiteljem. On je podržavao slobodno korišćenje materijala i demokratičnost mišljenja i lično formirao grupu slobodoumnih profesora sastavljenu od uspešnih umetnika različitih generacija i poetika. Takođe je uveo i novi sistem prijema studenata – kroz razgovor sa kandidatima, uvažavajući ih kao mlađe kolege. U skladu s tim, u školi se tražilo od studenata da prave novu umetnost, koja nešto znači i govori, koja je angažovana i povezana sa savremenim životom. Ukinuta je podela na odseke i omogućeno studentima da eksperimentišu i slobodno kombinuju predmete i kurseve po sopstvenim potrebama. To je obogatilo njihov rad i, suprotno očekivanjima, nije dovelo do haotičnog lutanja od kursa do kursa, niti marginalizovanja bilo koje discipline. Svaki student je, uz pomoć izabranog profesora, sam stukturisao sopstveni kurs. Takav sistem otvorenih studija, uz stalne diskusije o studentskim radovima, direktno je uticao na motivaciju studenata da usavršavaju ono što su sami izabrali. Ipak, jedan od profesora bio je poseban. Pored širokog praktičnog znanja koje im je nudio, imao je neverovatan dar da prepozna i otkrije potencijal svakog studenta ponaosob. Zato i jesu svi studenti, koji će kasnije učestvovati na izložbi Freeze, makar u nekom delu školovanja, birali njega za mentora. To je bio Majkl Kreg-Martin. Potpuno suprotnih shvatanja od poetskog simbolizma romantičarskog intelektualca Džona Tomsona, Majkl Kreg-Martin je imao direktan i zdravorazumski pristup umetnosti koristeći uobičajene, svakodnevne materijale i izgled objekata, pragmatično usvajajući i komercijalnu stranu činjenice da se profesionalno bavi umetnošću. Oko njega se formirala ta grupa znatiželjnih, ambicioznih i snažnih individualca sklonih zdravom rivalitetu i preispitivanju svega oko sebe. U narednih nekoliko godina oni će sami sebe učiniti vidljim na umetničkoj sceni, samoorganizovanim izložbama širom Londona, koje su pratile i dizajnirane, skupe publikacije. Iako su njihove poetike i radovi i konceptualno i estetski različiti, povezuje ih zajednička
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