2010 Ribnica Kraljevo
POSEBNA SLIKOVNA KRETNJA
Petar Radlović: slike
Pitanje preobražaja je temporalna kategorija. Provlači se kao stvarnosni fenomen u svim aspektima našeg opažanja. Podjednako izbija iz neposredno posmatrane prirode i njenih elementarnih sila; kao takvo, preobražavanje postaje prenos iz jednog u drugo. Njihov redosled doslovno zahvata sve aspekte umetničkog traganja, uključujući svesnu, ali i nevoljnu stranu svega vidljivog, opipljivog i, uopšte, dokučivog.
Privlačno u svojim osmotrenim etapama preobražavanja našeg doba nije samo antička ‘ovidijevska’ poetizacija preobražaja kao izmene, već se ona u dugoj tradiciji evropske kulture pronalazi i uspostavlja u vrstama slikanja, javljajući se kao nevidljiv pratilac u etapama ideje progresa i razvojnih kriza proteklog 20. veka.
Kolorističko kodiranje, površine sa skraćenjima i dominantni sastojci upotrebnih produžetaka od tkanina, keramike i plastike susreću se s neobično podešenom istorijom iluzionizma u slikama Petra Radlovića, pažljivo nastalim u okviru njegovog doktorskog umetničkog projekta o principima slikarskog prenošenja, uz dodatke realnih sastojaka likovnog dela.
Savladavanje meteža provlači se unutar preobražavajuće enigme stilizovanih viđenja i nagoveštaja odnosa koje uspostavljamo, prenesenih iz raspona običnih senzacija stvarnosti. Nalaze se tako motivi i striktna određivanja u naslovima Kuća, Ormar i Vrata, ali i prirodni izazovi poput celina naslovljenih Šuma i Planina.
Istraživački pravac kojim se sprovodi ovo otkrivajuće slikanje naglašava evropejsku kontemplativnost nad predmetima i prema vidljivosti u prostoru raspoređenih i svedenih pojava. Optika očekivanog redosleda je izneverena; odnosi velikog i sasvim malenog, igra s maketom i shematskim prikazom, kao i dubina prodora u zatamnjenje, obeležavaju svaku celinu kao mali spektakl otkrivanja.
Različito od Pop Arta, kojem takvi rasporedi slike–objekta aludiraju, beogradski slikar stupa u produktivno nemirenje, prenoseći temporalizaciju opažajnog kretanja. Vreme u vizuelnim umetnostima oduvek je imalo sopstvene zakonitosti, posebno od prodora i individualnih stvaralačkih intuicija umetničke Moderne.
Od rane avangarde ili Tatlinovih primera sa ugaonim smeštanjem energije zakrivljenosti, do beleženja incidenata i refleksija u crtežu, slikanju i fotografiji nadrealizma, stizalo se do pojmovnih epitheta igre s iluzijom, kakvu je René Magritte podvrgao pojmovnim i predmetnim izmenama. Slike te vrste su raskrsnice za dugo osmatranje, gde se jednako njihove formalne geometrizovane granice i iluzionizam dubine nude kao odvažan izazov. Neočigledna, defanzivna dinamika predmetnih rasporeda prerasta u konstruktivno i maštovito građenje prizora i izgleda.
U njima se Petar Radlović istovremeno pokazuje kao diskretan nosilac različitih ravnoteža i težišta iluzionističkih prostiranja i zakrivljenja, dajući svojim brižljivim slikarskim impulsom energetsko građenje stvaranja neočigledne ravnoteže gde celina slike postaje autorovo pribežište izazovne snage.
Formalna suština slikanja u dve dimenzije odvija se kao isticanje vlastite prirode, a sve provokacije u tehnici i predstavi nose ono što je površinski dato, kao i ono što je predstavljeno i skriveno u jeziku slikanja. To se može pratiti u svojevrsnoj genealogiji otkrivenog i neočiglednog, pa čak i tajnovitog, od formalnih elemenata umeća do skrivenih signala koji psihološki i socijalno razotkrivaju pozadinsko pružanje predstavljenog. Primeri su mnogobrojni: od Maneta, preko pojedinih simbolista i De Chirica, do razigranih prostornih zagonetki u slikama Ernsta, Dalija i Magrita, sve do obnove zakrivljenih paralelnih linija u kasnijim slikama Franka Stele i teorijskih premisa izvedenih iz njihovih principa.
Tragajući za idejnim kontraverzama predstave pojmova, Radlović pribegava ne samo stapanju s tzv. ‘izvanslikarskim’, realnim predmetima i teksturama, već i igri s konstantama prirode. U ranijim ciklusima iluzionistički je prodirao u drukčiju dimenziju i raspoloženje, u stilu Magritteovih paradoksalnih spojeva plavetnila neba i zaustavljenih oblaka, u očiglednom prepuštanju ideji transformacije ili novog preobražaja. Ova praksa podređena je optičkoj nužnosti slikarske tradicije u trodimenzionalnim iznenađenjima, uključujući konstruisan i proširen prostor te uvođenje predmeta, kontemplativnosti i duhovitosti ukupne kompozicije.
Iluzionizam i senzacija dodira imaju dugu istoriju i egzistencijalne razloge. U holandskom zlatnom veku, slikanje predmeta i raspored mrtve prirode u perspektivi 17. veka uslovljeno je narastajućim potrošačkim univerzumom kolonizacije i trgovačkih puteva. Nastale kao iznenađenje u redosledu uobičajenih motiva, slike razuđenih ivica Petra Radlovića pripadaju ciklusu koji je delimično trasiran geometrijskim ustrojstvom i psihologijom današnjih potreba za senzacijama. Iluzionizam ili hiperrealno medijsko stanje često služi kao teorijska potpora realnim činjenicama, što potvrđuje obilje primera gubljenja prisebnosti u savremenom svetu preopterećenom informacijama i besmislenim zahtevima.
Kretanje dana i noći predstavlja za slikara sopstvenu ekspanziju ‘magritovske’ vizuelizacije konstanti koje nas okružuju. Mere stvari, predmeta i dimenzija, kao i ljudske proporcije, čine jezgro njegovih utišanih događaja i kolorističkih prodiranja. Neke deonice odnose se i na sopstvena tonska i arhetipska raščlanjivanja, kao u primeru telesnosti muškog i ženskog akta u slici Vrata, ili u enigmatskoj, psihološki intoniranoj perspektivi dela Šuma, koja sadrži plastičnu repliku lutke s pokrivenim licem noći.
Postoji neskrivena poetizacija u enigmatičnosti ovih razuđenih čvorišta, često s prorezima i usecima, beskonačnostima, kao i minijaturizovanim sugestijama predmeta, tekstura i svetlosti koji se nalaze izvan površine slike, bliže pozadini koja se uključuje pri kačenju dela, ostvarujući svoju prostornost.
Kroz boju, komplementarnost i dubinu, ove intervencije u pozadinu i daljinu, ova poigravanja s realnim i slikovnim u razvoju ciklusa, postaju vrhunski ostvareni, umetnički artikulisani doprinos.
Septembar 2012
Nikola Šuica
Izložba je deo doktorskog umetničkog projekta Predstavljeno i stvarno u likovnom delu Petra Radlovića.
MOMENTOUS PICTORIAL MOTION
Petar Radlović: Paintings
Transformation is a temporal category. It appears as a phenomenon of reality across all aspects of our observation. Transformation emerges equally from directly observed nature and its elemental forces; thus, metamorphosis becomes a transfer from one state to another. This sequence engages all aspects of artistic pursuit—both the conscious and the reluctant sides of everything visible, tangible, and generally fathomable. What is compelling in the observed stages of transformation in our time is not only the ancient, Ovidian poetization of metamorphosis as change, but also its presence within the long tradition of European culture in painting styles, where it appears as an invisible companion to ideas of progress and to the crises of development that marked the twentieth century.
Coloristic coding, surfaces with foreshortenings, and dominant components created through the extension of fabric, ceramics, and plastics encounter an unusually adapted history of illusionism in Petar Radlović’s paintings. These works are carefully conceived within the framework of his doctoral art project, based on principles of pictorial conveyance and enriched with realistic components of the artwork.
The mastery of chaos unfolds within this transforming enigma of stylized visions and hints of relationships derived from ordinary sensations of reality. Motifs and strict attributes appear in titles such as House, Closet, and Door, as well as in natural challenges embodied in works titled Forest and Mountain.
The direction of research pursued in this revealing painterly language punctuates the European contemplation of objects and the visibility of arranged and reduced phenomena in space. Conventional optics of expected spatiality are abandoned. Relations between the large and the minute, play with scale models and schematic representations, as well as deep penetrations into darkness, mark each entity as a small spectacle of discovery.
Unlike Pop Art, to which certain arrangements of the picture-object may allude, the Belgrade-based painter enters a productive non-acceptance by conveying the temporalization of perceived motion. Time in visual art has always followed its own laws, particularly since the breakthroughs of modern art and individual creative intuition.
From early avant-garde examples or Tatlin’s angled constructions of distorted energy, through the recording of incidents and reflections in drawing, painting, and surrealist photography, expression has extended toward conceptual engagements with illusion—such as those to which René Magritte subjected both concepts and objects. Paintings of this kind become sites of prolonged observation, where formal geometric boundaries and illusionistic depth offer an audacious challenge. The non-apparent, defensive dynamics of object spacing transform into a constructive and imaginative organization of the pictorial scene. In his paintings, Petar Radlović reveals himself simultaneously as a discreet carrier of multiple equilibria and as an advocate of illusionistic expansion and distortion, giving his thoughtful artistic impulse an energetic structure aimed at creating a concealed balance in which the entire picture becomes a refuge of challenging power.
The formal essence of two-dimensional painting unfolds as an articulation of one’s own nature, while provocations in technique and presentation convey what lies on the surface, as well as what is presented and hidden within pictorial language. These qualities can be traced through a genealogy of the visible and the concealed—from formal elements of mastery to subtle signals revealing psychological and social expansions of meaning. Numerous examples can be found in the history of artistic inquiry, from Manet and certain Symbolists to De Chirico, as well as in the playful spatial puzzles of Ernst, Dalí, and Magritte, and later in the restoration of distorted parallel lines in the work of Frank Stella, alongside the theoretical premises derived from these approaches.
In searching for conceptual tensions in the depiction of phenomena, Petar Radlović has not only resorted to scenographic fusions with so-called “out-of-picture” real objects and textures, but has also engaged in a game with the constants of nature. In earlier cycles, he depicted access to bounded space through illusionistic penetration into different dimensions and moods, akin to Magrittean fusions of paradoxical phenomena such as blue skies and freeze-framed clouds—suggesting an apparent surrender to transformation or a new metamorphosis. This tendency follows the optical necessity of pictorial tradition entering tactile, three-dimensional surprises, as well as constructed and expanded spaces populated by objects that introduce variability, contemplation, and a subtle sense of humor into the overall composition.
Illusionism and tactile sensation possess a long and well-established history, along with their existential motivations. In Dutch Golden Age painting, still-life objects and spatial arrangements expanded perspective in the seventeenth century, influenced by the growing consumer universe of colonization and trade. Developed as a surprise within the sequence of conventional motifs, Petar Radlović’s paintings with indented edges belong to a cycle only partially traceable through geometric structure and the psychology of contemporary demand for sensory stimulation. Illusionism, or the hyperreal media state, often serves as a theoretical support for reality itself—confirmed by numerous contemporary examples marked by IT overload and purposeless excess.
For the artist, the movements of day and night represent an extension of a Magrittean visualization of the constants that surround us. Measures of things, objects, and dimensions—as well as human proportions—form the core of his silent events and coloristic penetrations. Certain sections resonate through sound-like associations and archetypal dissections, such as the corporeality of male and female nude figures in Door, or the psychologically distorted, enigmatic perspective of Forest, which includes a plastic replica of a doll veiled by the face of night. An unmistakable poetization emerges in the inscrutability of these indented nodes, often depicted through slits and notches, infinites and miniaturized suggestions of objects, textures, or light positioned beyond the pictorial surface—closer to a background that unfolds as the works are installed and exercise their spatial presence.
Structured through color, complementarity, and depth, these incursions into background and distance—these playings with realism and pictorial illusion—evolve into a finely articulated artistic contribution.
September 2012
Nikola Šuica
The exhibition is part of the doctoral art project Presented and Real in Works of Art by Petar Radlović.
Predstavljeno i stvarno u likovnom delu Petra Radlovića
Kakva je stvarnost čiji smo i mi sastavni deo, a viđena i predstavljena svim čulima Petra Radlovića? Prisustvovao sam prvim njegovim predlozima koji su se odnosili na prostor i vreme, tema koja lako sklizne u dubinu svemirske noći, koja usisava kao crna rupa, jer se dotiče svega i svačega, pa tako i ničega. Radlović, svestan ogromnosti takvog poduhvata, oko meseca maja, u vreme kad sve cveta i uliva nadu, naglo skreće svoj pogled na drugu stranu svoje slike, odnosno prema ogledalu koje mu se tu takoreći samo pokazalo, reflektujući baš ono što on slika, ono što naziva predstavljeno i stvarno u likovnom delu.
Petar Radlović želi da nam pokaže da nam je sve naizgled opipljivo, tu na domak ruke, da nam je sve prepoznatljivo, a u stvari je sve samo fiktivno, nedorečeno i predstavlja lažnu realnost. René Magritte je naslikao lulu i napisao da to nije lula! Petar Radlović slika scenografiju u kojoj postavlja šolju za kafu, ali i on, kao i mi, zna da to nije ni prostor za šolju, niti šolja za kafu. Draperije koje se ogledaju u ogledalima ovih slika mogu biti i oblaci i šarene krpe, kao što mogu biti naše brige ili bolovi.
Čitaćemo ove Radlovićeve slike onako kako nam to naša savest i naše znanje nalažu. On ih je stvorio kao da su realne kopije našeg sveta i ubedio nas da zaista takav svet stoji pred nama. Reklo bi se, posmatrajući njegove slike, da ovakav raspored stvari zaista postoji u našim životima, sa svim detaljima kojima tražimo ulogu u tom prostoru koji se zove Radlovićeva slika.
Slikar je u neku ruku i mađioničar i želi da nas obmane i fascinira predstavom realnosti na njegov način. Zato se prepustimo da nas ponesu njegove iluzije. Petar Radlović ovim slikama upravo to i postiže.
Miloš Šobajić
Presented and Real in Works of Art by Petar Radlović
What is the reality of which we are part, seen and presented by all the senses of Petar Radlović? I attended his first proposals pertaining to space and time, a topic that can easily slip into the depth of cosmical night, which sucks like a black hole, because it relates to everything and anything, including nothing. Radlović, aware of the vastness of such an enterprise, in the month of May, a time when everything blooms and brings hope, suddenly turned his gaze to the other side of his picture, or to the mirror that, so to speak, just showed itself, reflecting what he paints, what he calls presented and real in works of art.
Petar Radlović wants to show us that everything is seemingly tangible, within reach; that all is recognizable, but in fact everything is fictional, incomplete and presents a false reality. René Magritte painted a pipe and wrote that it wasn’t a pipe! Petar Radlović paints scenery in which he sets a cup of coffee, but he, just like us, knows that it’s not a space for a cup, or a cup of coffee. Draperies, reflected in the mirrors on these pictures, may be clouds and colorful cloths, as well as our worries or pain.
We will read Radlović’s pictures as our conscience and our knowledge dictate. He created them as if they are actual copies of our world and convinced us that in front of us there really exists a world like that. While looking at his pictures, one could say that this spacing of objects actually exists in our lives, with all the details for which we seek a role in that space called Radlović’s picture.
A painter is a kind of magician and wants to trick and fascinate us by presenting reality in his way. So let us abandon ourselves to his illusions. That is exactly what Petar Radlović achieves with these pictures.
Miloš Šobajić
