{"id":1191,"date":"2026-01-21T00:05:49","date_gmt":"2026-01-21T00:05:49","guid":{"rendered":"http:\/\/petarart.com\/?p=1191"},"modified":"2026-01-30T22:48:14","modified_gmt":"2026-01-30T22:48:14","slug":"2012-predstavljeno-i-stvarno-suluj","status":"publish","type":"post","link":"https:\/\/petarart.com\/sr\/2026\/01\/21\/2012-predstavljeno-i-stvarno-suluj\/","title":{"rendered":"2012 Predstavljeno i stvarno SULUJ"},"content":{"rendered":"<div data-elementor-type=\"wp-post\" data-elementor-id=\"1191\" class=\"elementor elementor-1191\">\n\t\t\t\t<div class=\"elementor-element elementor-element-41f1d4b e-flex e-con-boxed e-con e-parent\" data-id=\"41f1d4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-fe5627c e-con-full e-flex e-con e-child\" data-id=\"fe5627c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element 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data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>2010 Ribnica Kraljevo<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-ea256b7 e-flex e-con-boxed e-con e-parent\" data-id=\"ea256b7\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-c15597e e-con-full e-flex e-con e-child\" data-id=\"c15597e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ff37d3b elementor-widget elementor-widget-text-editor\" data-id=\"ff37d3b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p data-start=\"213\" data-end=\"243\"><strong data-start=\"213\" data-end=\"241\">POSEBNA SLIKOVNA KRETNJA<\/strong><\/p><p data-start=\"245\" data-end=\"272\"><strong data-start=\"245\" data-end=\"270\">Petar Radlovi\u0107: slike<\/strong><\/p><p data-start=\"274\" data-end=\"686\">Pitanje preobra\u017eaja je temporalna kategorija. Provla\u010di se kao stvarnosni fenomen u svim aspektima na\u0161eg opa\u017eanja. Podjednako izbija iz neposredno posmatrane prirode i njenih elementarnih sila; kao takvo, preobra\u017eavanje postaje prenos iz jednog u drugo. Njihov redosled doslovno zahvata sve aspekte umetni\u010dkog traganja, uklju\u010duju\u0107i svesnu, ali i nevoljnu stranu svega vidljivog, opipljivog i, uop\u0161te, doku\u010divog.<\/p><p data-start=\"688\" data-end=\"1011\">Privla\u010dno u svojim osmotrenim etapama preobra\u017eavanja na\u0161eg doba nije samo anti\u010dka &#8216;ovidijevska&#8217; poetizacija preobra\u017eaja kao izmene, ve\u0107 se ona u dugoj tradiciji evropske kulture pronalazi i uspostavlja u vrstama slikanja, javljaju\u0107i se kao nevidljiv pratilac u etapama ideje progresa i razvojnih kriza proteklog 20. veka.<\/p><p data-start=\"1013\" data-end=\"1367\">Koloristi\u010dko kodiranje, povr\u0161ine sa skra\u0107enjima i dominantni sastojci upotrebnih produ\u017eetaka od tkanina, keramike i plastike susre\u0107u se s neobi\u010dno pode\u0161enom istorijom iluzionizma u slikama Petra Radlovi\u0107a, pa\u017eljivo nastalim u okviru njegovog doktorskog umetni\u010dkog projekta o principima slikarskog preno\u0161enja, uz dodatke realnih sastojaka likovnog dela.<\/p><p data-start=\"1369\" data-end=\"1699\">Savladavanje mete\u017ea provla\u010di se unutar preobra\u017eavaju\u0107e enigme stilizovanih vi\u0111enja i nagove\u0161taja odnosa koje uspostavljamo, prenesenih iz raspona obi\u010dnih senzacija stvarnosti. Nalaze se tako motivi i striktna odre\u0111ivanja u naslovima <em data-start=\"1602\" data-end=\"1608\">Ku\u0107a<\/em>, <em data-start=\"1610\" data-end=\"1617\">Ormar<\/em> i <em data-start=\"1620\" data-end=\"1627\">Vrata<\/em>, ali i prirodni izazovi poput celina naslovljenih <em data-start=\"1678\" data-end=\"1684\">\u0160uma<\/em> i <em data-start=\"1687\" data-end=\"1696\">Planina<\/em>.<\/p><p data-start=\"1701\" data-end=\"2086\">Istra\u017eiva\u010dki pravac kojim se sprovodi ovo otkrivaju\u0107e slikanje nagla\u0161ava evropejsku kontemplativnost nad predmetima i prema vidljivosti u prostoru raspore\u0111enih i svedenih pojava. Optika o\u010dekivanog redosleda je izneverena; odnosi velikog i sasvim malenog, igra s maketom i shematskim prikazom, kao i dubina prodora u zatamnjenje, obele\u017eavaju svaku celinu kao mali spektakl otkrivanja.<\/p><p data-start=\"2088\" data-end=\"2400\">Razli\u010dito od Pop Arta, kojem takvi rasporedi slike\u2013objekta aludiraju, beogradski slikar stupa u produktivno nemirenje, prenose\u0107i temporalizaciju opa\u017eajnog kretanja. Vreme u vizuelnim umetnostima oduvek je imalo sopstvene zakonitosti, posebno od prodora i individualnih stvarala\u010dkih intuicija umetni\u010dke Moderne.<\/p><p data-start=\"2402\" data-end=\"2958\">Od rane avangarde ili Tatlinovih primera sa ugaonim sme\u0161tanjem energije zakrivljenosti, do bele\u017eenja incidenata i refleksija u crte\u017eu, slikanju i fotografiji nadrealizma, stizalo se do pojmovnih epitheta igre s iluzijom, kakvu je Ren\u00e9 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 odva\u017ean izazov. Neo\u010digledna, defanzivna dinamika predmetnih rasporeda prerasta u konstruktivno i ma\u0161tovito gra\u0111enje prizora i izgleda.<\/p><p data-start=\"2960\" data-end=\"3263\">U njima se Petar Radlovi\u0107 istovremeno pokazuje kao diskretan nosilac razli\u010ditih ravnote\u017ea i te\u017ei\u0161ta iluzionisti\u010dkih prostiranja i zakrivljenja, daju\u0107i svojim bri\u017eljivim slikarskim impulsom energetsko gra\u0111enje stvaranja neo\u010digledne ravnote\u017ee gde celina slike postaje autorovo pribe\u017ei\u0161te izazovne snage.<\/p><p data-start=\"3265\" data-end=\"3981\">Formalna su\u0161tina slikanja u dve dimenzije odvija se kao isticanje vlastite prirode, a sve provokacije u tehnici i predstavi nose ono \u0161to je povr\u0161inski dato, kao i ono \u0161to je predstavljeno i skriveno u jeziku slikanja. To se mo\u017ee pratiti u svojevrsnoj genealogiji otkrivenog i neo\u010diglednog, pa \u010dak i tajnovitog, od formalnih elemenata ume\u0107a do skrivenih signala koji psiholo\u0161ki i socijalno razotkrivaju pozadinsko pru\u017eanje 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.<\/p><p data-start=\"3983\" data-end=\"4617\">Tragaju\u0107i za idejnim kontraverzama predstave pojmova, Radlovi\u0107 pribegava ne samo stapanju s tzv. \u2018izvanslikarskim\u2019, realnim predmetima i teksturama, ve\u0107 i igri s konstantama prirode. U ranijim ciklusima iluzionisti\u010dki je prodirao u druk\u010diju dimenziju i raspolo\u017eenje, u stilu Magritteovih paradoksalnih spojeva plavetnila neba i zaustavljenih oblaka, u o\u010diglednom prepu\u0161tanju ideji transformacije ili novog preobra\u017eaja. Ova praksa podre\u0111ena je opti\u010dkoj nu\u017enosti slikarske tradicije u trodimenzionalnim iznena\u0111enjima, uklju\u010duju\u0107i konstruisan i pro\u0161iren prostor te uvo\u0111enje predmeta, kontemplativnosti i duhovitosti ukupne kompozicije.<\/p><p data-start=\"4619\" data-end=\"5313\">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 narastaju\u0107im potro\u0161a\u010dkim univerzumom kolonizacije i trgova\u010dkih puteva. Nastale kao iznena\u0111enje u redosledu uobi\u010dajenih motiva, slike razu\u0111enih ivica Petra Radlovi\u0107a pripadaju ciklusu koji je delimi\u010dno trasiran geometrijskim ustrojstvom i psihologijom dana\u0161njih potreba za senzacijama. Iluzionizam ili hiperrealno medijsko stanje \u010desto slu\u017ei kao teorijska potpora realnim \u010dinjenicama, \u0161to potvr\u0111uje obilje primera gubljenja prisebnosti u savremenom svetu preoptere\u0107enom informacijama i besmislenim zahtevima.<\/p><p data-start=\"5315\" data-end=\"5832\">Kretanje dana i no\u0107i predstavlja za slikara sopstvenu ekspanziju \u2018magritovske\u2019 vizuelizacije konstanti koje nas okru\u017euju. Mere stvari, predmeta i dimenzija, kao i ljudske proporcije, \u010dine jezgro njegovih uti\u0161anih doga\u0111aja i koloristi\u010dkih prodiranja. Neke deonice odnose se i na sopstvena tonska i arhetipska ra\u0161\u010dlanjivanja, kao u primeru telesnosti mu\u0161kog i \u017eenskog akta u slici <em data-start=\"5694\" data-end=\"5701\">Vrata<\/em>, ili u enigmatskoj, psiholo\u0161ki intoniranoj perspektivi dela <em data-start=\"5762\" data-end=\"5768\">\u0160uma<\/em>, koja sadr\u017ei plasti\u010dnu repliku lutke s pokrivenim licem no\u0107i.<\/p><p data-start=\"5834\" data-end=\"6140\">Postoji neskrivena poetizacija u enigmati\u010dnosti ovih razu\u0111enih \u010dvori\u0161ta, \u010desto s prorezima i usecima, beskona\u010dnostima, kao i minijaturizovanim sugestijama predmeta, tekstura i svetlosti koji se nalaze izvan povr\u0161ine slike, bli\u017ee pozadini koja se uklju\u010duje pri ka\u010denju dela, ostvaruju\u0107i svoju prostornost.<\/p><p data-start=\"6142\" data-end=\"6338\">Kroz boju, komplementarnost i dubinu, ove intervencije u pozadinu i daljinu, ova poigravanja s realnim i slikovnim u razvoju ciklusa, postaju vrhunski ostvareni, umetni\u010dki artikulisani doprinos.<\/p><p data-start=\"6340\" data-end=\"6375\"><em data-start=\"6340\" data-end=\"6356\">Septembar 2012<\/em><br data-start=\"6356\" data-end=\"6359\" \/><em data-start=\"6359\" data-end=\"6373\">Nikola \u0160uica<\/em><\/p><p data-start=\"6377\" data-end=\"6483\">Izlo\u017eba je deo doktorskog umetni\u010dkog projekta <em data-start=\"6423\" data-end=\"6464\">Predstavljeno i stvarno u likovnom delu<\/em> Petra Radlovi\u0107a.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-695895e e-con-full e-flex e-con e-child\" data-id=\"695895e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4f5d65a elementor-widget elementor-widget-text-editor\" data-id=\"4f5d65a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p data-start=\"259\" data-end=\"289\"><strong data-start=\"259\" data-end=\"289\">MOMENTOUS PICTORIAL MOTION<\/strong><\/p><p data-start=\"291\" data-end=\"320\"><strong data-start=\"291\" data-end=\"320\">Petar Radlovi\u0107: Paintings<\/strong><\/p><p data-start=\"322\" data-end=\"1111\">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\u2014both 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.<\/p><p data-start=\"1113\" data-end=\"1520\">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 Radlovi\u0107\u2019s 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.<\/p><p data-start=\"1522\" data-end=\"1842\">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 <em data-start=\"1729\" data-end=\"1736\">House<\/em>, <em data-start=\"1738\" data-end=\"1746\">Closet<\/em>, and <em data-start=\"1752\" data-end=\"1758\">Door<\/em>, as well as in natural challenges embodied in works titled <em data-start=\"1818\" data-end=\"1826\">Forest<\/em> and <em data-start=\"1831\" data-end=\"1841\">Mountain<\/em>.<\/p><p data-start=\"1844\" data-end=\"2278\">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.<\/p><p data-start=\"2280\" data-end=\"2614\">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.<\/p><p data-start=\"2616\" data-end=\"3570\">From early avant-garde examples or Tatlin\u2019s 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\u2014such as those to which Ren\u00e9 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 Radlovi\u0107 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.<\/p><p data-start=\"3572\" data-end=\"4346\">The formal essence of two-dimensional painting unfolds as an articulation of one\u2019s 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\u2014from 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, Dal\u00ed, 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.<\/p><p data-start=\"4348\" data-end=\"5172\">In searching for conceptual tensions in the depiction of phenomena, Petar Radlovi\u0107 has not only resorted to scenographic fusions with so-called \u201cout-of-picture\u201d 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\u2014suggesting 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.<\/p><p data-start=\"5174\" data-end=\"5931\">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 Radlovi\u0107\u2019s 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\u2014confirmed by numerous contemporary examples marked by IT overload and purposeless excess.<\/p><p data-start=\"5933\" data-end=\"6834\">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\u2014as well as human proportions\u2014form 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 <em data-start=\"6351\" data-end=\"6357\">Door<\/em>, or the psychologically distorted, enigmatic perspective of <em data-start=\"6418\" data-end=\"6426\">Forest<\/em>, 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\u2014closer to a background that unfolds as the works are installed and exercise their spatial presence.<\/p><p data-start=\"6836\" data-end=\"7042\">Structured through color, complementarity, and depth, these incursions into background and distance\u2014these playings with realism and pictorial illusion\u2014evolve into a finely articulated artistic contribution.<\/p><p data-start=\"7044\" data-end=\"7077\"><em data-start=\"7044\" data-end=\"7060\">September 2012<\/em><br data-start=\"7060\" data-end=\"7063\" \/><em data-start=\"7063\" data-end=\"7077\">Nikola \u0160uica<\/em><\/p><p data-start=\"7079\" data-end=\"7185\">The exhibition is part of the doctoral art project <em data-start=\"7130\" data-end=\"7166\">Presented and Real in Works of Art<\/em> by Petar Radlovi\u0107.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-b976c77 e-flex e-con-boxed e-con e-parent\" data-id=\"b976c77\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-dd815f4 e-con-full e-flex e-con e-child\" data-id=\"dd815f4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-dfa2aea elementor-widget elementor-widget-text-editor\" data-id=\"dfa2aea\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p data-start=\"123\" data-end=\"184\"><strong data-start=\"123\" data-end=\"182\">Predstavljeno i stvarno u likovnom delu Petra Radlovi\u0107a<\/strong><\/p><p data-start=\"186\" data-end=\"802\">Kakva je stvarnost \u010diji smo i mi sastavni deo, a vi\u0111ena i predstavljena svim \u010dulima Petra Radlovi\u0107a? Prisustvovao sam prvim njegovim predlozima koji su se odnosili na prostor i vreme, tema koja lako sklizne u dubinu svemirske no\u0107i, koja usisava kao crna rupa, jer se doti\u010de svega i sva\u010dega, pa tako i ni\u010dega. Radlovi\u0107, svestan ogromnosti takvog poduhvata, oko meseca maja, u vreme kad sve cveta i uliva nadu, naglo skre\u0107e svoj pogled na drugu stranu svoje slike, odnosno prema ogledalu koje mu se tu takore\u0107i samo pokazalo, reflektuju\u0107i ba\u0161 ono \u0161to on slika, ono \u0161to naziva predstavljeno i stvarno u likovnom delu.<\/p><p data-start=\"804\" data-end=\"1322\">Petar Radlovi\u0107 \u017eeli da nam poka\u017ee da nam je sve naizgled opipljivo, tu na domak ruke, da nam je sve prepoznatljivo, a u stvari je sve samo fiktivno, nedore\u010deno i predstavlja la\u017enu realnost. Ren\u00e9 Magritte je naslikao lulu i napisao da to nije lula! Petar Radlovi\u0107 slika scenografiju u kojoj postavlja \u0161olju za kafu, ali i on, kao i mi, zna da to nije ni prostor za \u0161olju, niti \u0161olja za kafu. Draperije koje se ogledaju u ogledalima ovih slika mogu biti i oblaci i \u0161arene krpe, kao \u0161to mogu biti na\u0161e brige ili bolovi.<\/p><p data-start=\"1324\" data-end=\"1698\">\u010cita\u0107emo ove Radlovi\u0107eve slike onako kako nam to na\u0161a savest i na\u0161e znanje nala\u017eu. On ih je stvorio kao da su realne kopije na\u0161eg sveta i ubedio nas da zaista takav svet stoji pred nama. Reklo bi se, posmatraju\u0107i njegove slike, da ovakav raspored stvari zaista postoji u na\u0161im \u017eivotima, sa svim detaljima kojima tra\u017eimo ulogu u tom prostoru koji se zove Radlovi\u0107eva slika.<\/p><p data-start=\"1700\" data-end=\"1906\">Slikar je u neku ruku i ma\u0111ioni\u010dar i \u017eeli da nas obmane i fascinira predstavom realnosti na njegov na\u010din. Zato se prepustimo da nas ponesu njegove iluzije. Petar Radlovi\u0107 ovim slikama upravo to i posti\u017ee.<\/p><p data-start=\"1908\" data-end=\"1925\"><em data-start=\"1908\" data-end=\"1923\">Milo\u0161 \u0160obaji\u0107<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9bfc3e9 e-con-full e-flex e-con e-child\" data-id=\"9bfc3e9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f389943 elementor-widget elementor-widget-text-editor\" data-id=\"f389943\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p data-start=\"85\" data-end=\"143\"><strong data-start=\"85\" data-end=\"141\">Presented and Real in Works of Art by Petar Radlovi\u0107<\/strong><\/p><p data-start=\"145\" data-end=\"780\">What is the reality of which we are part, seen and presented by all the senses of Petar Radlovi\u0107? 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. Radlovi\u0107, 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.<\/p><p data-start=\"782\" data-end=\"1301\">Petar Radlovi\u0107 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. Ren\u00e9 Magritte painted a pipe and wrote that it wasn\u2019t a pipe! Petar Radlovi\u0107 paints scenery in which he sets a cup of coffee, but he, just like us, knows that it&#8217;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.<\/p><p data-start=\"1303\" data-end=\"1707\">We will read Radlovi\u0107\u2019s 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 Radlovi\u0107\u2019s picture.<\/p><p data-start=\"1709\" data-end=\"1924\">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 Radlovi\u0107 achieves with these pictures.<\/p><p data-start=\"1926\" data-end=\"1943\"><em data-start=\"1926\" data-end=\"1941\">Milo\u0161 \u0160obaji\u0107<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>2010 Ribnica Kraljevo POSEBNA SLIKOVNA KRETNJA Petar Radlovi\u0107: slike Pitanje preobra\u017eaja je temporalna kategorija. Provla\u010di se kao stvarnosni fenomen u svim aspektima na\u0161eg opa\u017eanja. Podjednako izbija iz neposredno posmatrane prirode i njenih elementarnih sila; kao takvo, preobra\u017eavanje postaje prenos iz jednog u drugo. Njihov redosled doslovno zahvata sve aspekte umetni\u010dkog&#8230;<\/p>","protected":false},"author":1,"featured_media":1192,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[27,30,37],"class_list":["post-1191","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","tag-party","tag-pool","tag-summer"],"acf":[],"_links":{"self":[{"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/posts\/1191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/comments?post=1191"}],"version-history":[{"count":13,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/posts\/1191\/revisions"}],"predecessor-version":[{"id":1534,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/posts\/1191\/revisions\/1534"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/media\/1192"}],"wp:attachment":[{"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/media?parent=1191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/categories?post=1191"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/petarart.com\/sr\/wp-json\/wp\/v2\/tags?post=1191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}