Komunicirajmo baštinu.indd

komunicirajmo,
--
bastinu
komunicirajmo,
--
bastinu
__
Sabina Barbiš & Mario Depicolzuane Željko Skomeršić
Zlatne i srebrne točke
Ploviti se mora
__
Saša Lončarić Igor Gržetić
Vinske tišine
Rorschach & Nova pornografija
____________________
22-10-10-11-2o12 Pomorski muzej Crne Gore, Kotor
Maritime Museum of Montenegro, Kotor
komunicirajmo,
--
bastinu
how the
heritage
can bE communicated
komunicirajmo,
--
bastinu
Milica Žužić
Tvrdim da je otok Krk vrlo mudar izbor prostora za
življenje. Istovremeno dovoljno izvan središta zbivanja i
dovoljno u središtima zbivanja. U koraku s vremenom, a
opet tako tradicionalan. Dovoljno suvremen i odmjereno
konzervativan. Na njega nailazi budućnost i s njega odlazi
prošlost u idealno izmjerenim razmjerima. Danas je otok
Krk neka vrsta zlatnoga reza suvremenosti i prošlosti koja
na svoje područje propušta dovoljno tehnoloških pa zatim
i odnošajnih novotarija i otpušta prežitke bivših vremena
koji su se beživotno objesili ne ostavljajući povoda za
čuvanje. Drugi pak zvuci, oblici, boje vremena brižljivo
podešavaju korak sa sadašnjošću ostajući postojani temelj
za stabilnu kralježnicu otoka. Pritom su dovoljno elastični
da budu povijeni, ali da ne prepuknu, normirajući tako
kriterije za ulazak-izlazak iz zbirke i u zbirku osobina
i značajki otočnoga identiteta. Taj je proces iznimno
dinamičan – možemo ga zvati komuniciranjem baštine.
Znakovit primjer komuniciranja baštine zamijetila sam
2011. godine tijekom Festivala folklora otoka Krka: iz
mnoštva malenih, mladih, starijih i starih sudionika pozornost je privlačila jedna tinejdžerka šećući se odjevena u
narodnu nošnju, obuvena u starke. Poruka se čitala iz njenoga držanja: ja poznajem ovu glazbu, otplesat ću savršen
narodni ples. Ja poznajem i suvremenost svojih vršnjaka
– ponijela sam je sa sobom u starkama.
Na svoj su način, suvremenim medijem i suvremenim
znanjima svojih struka, tu istu tradicionalnu pučku glazbu
otoka Krka, suvremenicima komunicirali Sabina Barbiš
i Mario Depicolzuane putem dizajnersko-istraživačkoga
projekta “Zlatne i srebrne točke”. Srž ovog projekta jesu fotografije usmjerene na pojedinosti iz otočnog miljea, preko kojih je zlatnim i srebrnim točkama nanesen “grafički
prijevod” notnoga zapisa pučkih skladbi u tradicionalnoj
dvoglasnoj instrumentalnoj / vokalnoj izvedbi s uzdužnim
valovitim linijama kao oznakama tempa i cjelovitim
tekstom pjesme. Odašiljući istovremeno vizualnu, melografsku i tekstualnu poruku, “Zlatne i srebrne točke” ne
komuniciraju samo glazbenu baštinu otoka Krka već cijeli
njegov ambijent, a služeći se mogućnostima suvremenog
dizajnerskog postupka svjedoče da tradicija i suvremenost
nisu suprotstavljene krajnosti već dijelovi jedne cjeline.
[3]
Iz svoga “brodogradilišta” u središtu grada, drugačijim
medijem i drugom tradicijskom temom baštinu
komunicira Željko Skomeršić, vrsni hrvatski maketar.
Draž minijaturnog Željkovog “brodogradilišta” jest
u tome što se u istom prostoru i gradi i izlaže tako da
Željko baštinu komunicira neposredno – svaki posjetitelj
ima mogućnost pratiti tijek nastajanja brodskih modela.
Odavde se baština komunicira preciznošću i strpljivošću,
vjerodostojnim umanjenim replikama, težnjom za
savršenošću izrade: zamislite primjerice nastajanje jednog
elegantnog i složenog šambeka – trupa sa stotinu rebara
i izradu rešetkastih pajola koji teško da uopće mogu
biti sastavljeni od manjih komadića: najprije se izrezuju
gredice dimenzija 1x1 mm, a zatim se spajaju u kvadratiće
3x2 cm. I ne samo modelima, Željko komunicira baštinu
i putem strastvenog sakupljanja starih i suvremenih
pomorskih izdanja, bogate zbirke brodskih nacrta,
brodograđevnog alata...
Također barka – jedan od najbaštinskijih motiva ovoga
podneblja – središte je propitivanja i sljedećeg umjetnika, Saše Lončarića. Njegove su barke potpuno mirne.
Okovane su tišinom, usidrene odlukom da više nikad
nikud ne zaplove. One su prispjele da bi ostale. Baštini
koju Saša komunicira putem svojih akvarela i vinorela
oduzete su povišene emocije. Njegova je baština umirena i
zamišljena, zaustavljena u prostoru bez ljudi. Saša prenosi
baštinu započetu potezima iznimnog crtača – analitičara,
s nadgradnjom istančanih tonova akvarelne i vinorelne
boje. Neupućeni bi promatrač mogao pomisliti da se ovdje
radi o prenašanju motiva fotografskom preciznošću,
upravo doslovnom bilježenju stvarnosti. Međutim, ništa
na njegovim slikama nije opipljivo ni prepoznatljivo,
niti zbiljsko – riječ je ovdje o poetskom i autorskom
tumačenju zbilje, o komuniciranju baštine putem
stvaralačkog odraza ozračja otoka.
Na vrlo intrigantan način, gotovo relativizirajući svaku
pojavnost, u raspravu s viđenim krenuo je Igor Gržetić
projektom “Rorschach & Nova pornografija”. Polazeći od
postavke Hermana Rorschacha da svaki čovjek izgrađuje
ovaj svijet te da je ono što vidimo stvarno samo kao
konsenzus te višegodišnjim studiranjem jedne relativno
mlade ali zahtjevne discipline – teorije likovnosti, ušao
je u interdisciplinarno područje povijesti umjetnosti i
projektivne psihologije. Stvaralački pristup projekta “Rorschach & Nova pornografija” definirala je teorija Ernsta
[4]
Gombricha o tome kako slika prikazuje. Cijeli se ovaj projekt temelji na spomenutoj intrigi, odnosno na različitim
čitanjima istog obrasca, ovisno o mentalnoj usmjerenosti
promatrača, a okuplja dva grafička i jedan fotografski
ciklus, grafički diptih, slikarski eksperiment, niz memorabilija i (pseudo)dokumentarni video.
Već je i sasvim sažet prikaz prethodnih četiriju postupaka komuniciranja baštine dostatan za zaključak da baština
i suvremenost u Krku dijele ravnopravne udjele. Njihovo
je supostojanje prepoznato, čuva se i komunicira kao
(pra)počelo ovdašnjeg identiteta. Ovisno o području svoga interesa, autori koji su ovdje predstavljeni do baštine
dopiru različitim pristupima, različito o njoj promišljaju,
različito je interpretiraju i prenose je uobličenu u novu
vrijednost grafike, minijature brodskog modela, akvarela,
vinorela... Pritom, poticaje za nova i nova tumačenja
baštine ne nalaze kao etnografske izložbene eksponate,
muzejske primjerke. Baština je ovdje svuda oko njih, ona
je ovdje svakodnevica. Vrlo je živa, dinamična, spremna
na preoblike koje od nje zahtijevaju izazovi vremena. To
je čini gotovo izaći iz vlastite definicije i živjeti na rubu
proturječja: baština je ovdje sasvim suvremena.
[5]
komunicirajmo,
--
bastinu
[6]
komuni- grad
cirajmo, krk.
--
bastinu
[7]
komuni- grad
cirajmo, krk.
--
bastinu
[8]
how the
heritage
can bE communicated
Milica Žužić
Being in the centre of events and out of them at the same
time, Krk is claimed to be a wise choice of living. Krk is
modern, but also very time-honoured, contemporary
enough but also quite conservative. Future comes on this
island and past gives it up in proportions that are ideally
measured. Today, the right shares of modernity and past
have accepted coexistence on the island of Krk. These
two contrasting shares are overseeing the interfusion of
innovations and tradition. However, some other sounds,
shapes and colours of time have carefully become adjusted
with the present time forming the reliable spine of the island’s identity. This process is exceptionally dynamic – we
can name it the heritage communicating.
I saw a symptomatic example of heritage communicating in 2011 during the Festival of folk songs and dances
of the island of Krk. There was a crowd of the little ones,
the young ones, the grown-ups and the elderly participants and my attention was caught by a teenage girl. She
was roaming around dressed in a folk costume with the
green “all stars” trainers that were very much in fashion.
Her message could be read from her posture: “I know this
music well, I will complete a perfect folk dance, but I also
know me and my generation’s modernity – I took it along
in these green trainers.”
Exactly that folk music and the local ambiences are
communicated and mediated in such a way as to retain
the integrity and uniqueness of tradition, yet being interpreted in a contemporary language – that of design in this
case. The authors, Sabina Barbiš and Mario Depicolzuane
named their project “Gold and Silver Dots”. It is a series of
15 posters, each with a photography record of a characteristic motif from the island of Krk (the architecture,
costume, nature, customs...). Via photographs, a graphic
riddle develops: an enigmatic abstract structure that flows
in a regular rhythm. This is a transcription or a translation of the untempered hexatonic scale. Every poster also
conveys a composition in the traditional two-part instrumental or vocal performance. Along the poster there are
gently waving lines the vertical density of which marks the
tempo. Finally, there are words of the songs that bring in
the written word. Sending visual, musical and textual message at the same time, this project doesn’t communicate
only the folk music of the island of Krk, but its entire am-
[9]
bience. Using the possibilities of modern layout technique,
the authors testify that tradition and modernity are not
two opposed extremes, but two parts of one ensemble.
Using other media and another topic taken out from heritage, Željko Skomeršić, an excellent ship model builder,
communicates heritage from his “shipyard” in the centre
of the town as well. The charm of his miniature “shipyard”
is the fact that models are built and displayed in the same
room, so, from here, the heritage is communicated at
first hand – each visitor has the opportunity to follow the
process of an emerging model. From this “shipyard” the
heritage is communicated by preciseness and patience,
through the authenticity of the lessened replicas which are
close to perfection. Can you imagine a process of making
a hull with 100 ribs that could hardly be made of smaller
parts? Firstly, he cuts tiny parts 1x1 mm and then he puts
them together in squares 3x2 cm... And not only by models, Željko is communicating heritage through passionate
collecting of old and modern maritime literature, through
the rich collection of ships’ sketches, shipbuilding tools…
A boat is also in the centre of interest even for the next
artist, Saša Lončarić. His boats are completely calm. They
are bounded with silence, anchored with decision not to
float away anywhere, ever. They have arrived to stay. The
heritage that Saša is communicating through his watercolour paintings is deprived of exaltation. His motifs
are calm and thoughtful, constricted in a space without
people. The base of Saša’s painting are lines of an extraordinary sketcher and the superstructure are refined shades
of water colours. An uninformed observer could think of
motifs that are literally transferred from reality, but nothing on Saša’s paintings is palpable, recognizable or real.
His paintings are poetic and authorial interpretation of
reality. They are his way of communicating heritage
through creative reflex of island’s aura.
[10]
In a very intriguing way, relativizing almost each possible
manifestation, Igor Gržetić started a debate with “what
can be seen”. His project “Rorschach & the New Pornography” is based on Herman Rorschach’s thesis that each being is involved in developing of the world and that “what
can be seen” is real only as a consensus. For a couple of
years, Igor has studied quite recent, but demanding discipline – theory of visual arts, so he entered in one inter-
disciplinary area of art history and projective psychology.
Approach to his project is defined by Ernest Gombrich’s
theory about what can a picture present. Igor’s project lies
on this intrigue and on different possibilities of reading
the same pattern which depends on the mental orientation
of an observer. The project consists of two graphic and one
photographic cycle, a painting experiment, a sequence of
memorabilia and a quasi-documentary video recording.
This brief review of four different methods of heritage
communicating is enough to conclude that heritage and
modernity in Krk coexist on an equal footing. A good care
is taken of it and it is communicated as the (pre)element
of Krk’s identity. Depending on the areas of their interest,
the presented authors find their own ways to the heritage,
they are thinking about it in different ways, they interpret
it via different techniques... While they are doing so, they
are not finding motifs such as exhibits in some ethnographical museum, because they are surrounded by heritage, it is there in their everyday lives. It is vivacious, dynamic, ready for transformations demanded by challenges
of time. These characteristics are almost stepping out from
their own definition and exist on the edge of contradiction
because heritage in Krk is completely modern.
[11]
how the
heritage
can bE communicated
[12]
--
sabina barbis
mario depicolzuane
Zlatne i srebrne točke – vizualizacija pučke glazbe otoka Krka
Gold and Silver Dots – A Visualisation of the Folk Music of Krk Island
__________
U seriji od petnaest plakata,
autori profesionalno besprijekornom i autorski neutralnom fotografijom bilježe
karakteristične motive s otoka
Krka – graditeljstvo, nošnju,
prirodu, običaje... Te fotografije
u svojoj izbrušenoj estetici,
namjernom inzistiranju na
žanrovskim klišejima i fokusiranju na fragment, podsjećaju na
rafiniranu, no ponešto distanciranu maniru koju susrećemo
i u industriji oglašavanja u
turizmu ili pak u putopisima
u ambicioznijim časopisima.
Time je stvoren komunikacijski kontekst koji je poznat i
siguran, koji se ne oslanja na
egzotiku, nego na konceptualnu
egzaktnost bilježenja zatečenog.
Maroje Mrduljaš
[13]
In a series of 15 posters, the authors are recording characteristic
motifs from the island of Krk
– architecture, folk costumes,
nature, customs etc. using professionally perfect and their own
neutral photography. In their
high aesthetics these photographs
are insisting on the clichés while
focusing on a fragment. They
are reminding of a refine but a
bit distant manner which can be
met even in advertising industry
for tourism or in travel-books.
While doing so, the authors were
creating a familiar and safe
communication context, which
is not leaning on exotic but on
conceptual exactness of what can
be seen.
Maroje Mrduljaš
--
sabina barbis
mario depicolzuane
O autorima
About the authors
Mario Depicolzuane rođen
je 1985. Odrastao je u gradu
Krku na otoku Krku, Hrvatska.
Diplomirao je grafički dizajn na
Grafičkom fakultetu Sveučilišta
u Zagrebu. Trenutno radi u
studiju Bunch u Zagrebu.
Također, radi kao freelance
grafički dizajner na širokom
spektru naručenih i osobnih
projekata.
[14]
__________
Sabina Barbiš rođena je 1985.
Odrasla je u Malinskoj na otoku
Krku, Hrvatska. Diplomirala je
na Arhitektonskom fakultetu
Sveučilišta u Zagrebu. Trenutno
radi za “Oris” – časopis za
arhitekturu i umjetnost, te kao
freelancer u domeni arhitektonskog projektiranja, grafičkog i
produkt dizajna.
Sabina Barbiš, born in 1985.
Raised in Malinska, on the
island of Krk, Croatia. She
graduated from the Faculty of
Architecture in Zagreb. Momentary, she works for “Oris”
– magazine for the architecture
and art, and as a freelancer in
architecture planning, graphic
and product design.
Mario Depicolzuane, born
in 1985. Raised in Krk, on
the island of Krk, Croatia. He
graduated graphic design at
the Faculty of Graphic Arts in
Zagreb. Momentarily, he works
for Bunch studio in Zagreb as
well as a freelancer in design in
wide range of commissioned and
personal projects.
Sabina Barbiš & Mario Depicolzuane
Barka mala
[15]
goldandsilverdots.studio8585.com
__
Sabina Barbiš & Mario Depicolzuane
Budi hvajeno
[16]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Cviće mi poje pokrilo
[17]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Majko Jelenina
[18]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Mantinjada
[19]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Popuhnul je tihi vetar
[20]
goldandsilverdots.studio8585.com
__
Sabina Barbiš & Mario Depicolzuane
Prebir
[21]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Tanac na halop
[22]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Tonoc va kući
[23]
goldandsilverdots.studio8585.com
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Sabina Barbiš & Mario Depicolzuane
Tonoc na placi
[24]
goldandsilverdots.studio8585.com
__
--
-- -
zeljko skomersic
Ploviti se mora
Navigation is necessary
[25]
__________
Otkrivajući svijet stvaranja
jedinstvenog i po mnogočemu
iznimnog graditelja brodskih modela i maketa Željka
Skomeršića, čovjek ostane
začuđen marljivošću i znanjem, ali i neobičnim umijećem.
Naime, danas postoji u svijetu
i kod nas mnogo modelara
drvenih brodova. Posebice u
zemljama velike i stare pomorske tradicije. I u Hrvatskoj ima
lijepi broj tovrsnih majstora,
pa ipak Željko se izdvaja i po
godinama uspješnog stvaranja i
po širokoj paleti brodskih modela, a rekao bih i po izvrsnosti
svoga rada. Od zamisli do
koncepcije stvaranja i dovršenja
jednog modela protekne dosta
vremena, a sve treba držati u
glavi i rukama, jer svaki rad
mora biti pošteno do kraja
izrađen i zaokružen. Stoga su
Željka i dopala tolika priznanja
i nagrade.
Julijano Sokolić
Discovering the world of creation of the unique and extraordinary model ship builder, Željko
Skomeršić, we are amazed by
his diligence, knowledge and
unusual skills. Today, there are
lots of model ship builders in
the world especially in countries
with a long naval tradition.
There are also a lot of them in
Croatia as well, but Željko can
be singled out for his long and
successful existence on the scene,
for a wide range of built models
and for the excellent work. From
the initial idea to the finished
model a long time is needed. He
succeeded to keep all the details
in his mind and hands all the
time and to complete each tiny
piece to perfection. This is the
main reason why he got so many
acknowledgements and rewards.
Julijano Sokolić
__
* Vlasnik modela Bark Kostrena:
dr. Željko Plazonić [Viškovo]
--
-- -
zeljko skomersic
O autoru
About the author
[26]
__________
Željko Skomeršić rođen je
1952. u Rijeci, te živi i radi u
Krku. Željko je danas jedan
od najpoznatijih hrvatskih
graditelja modela brodova
okićen mnogim prestižnim
svjetskim odličjima i priznanjima. Istražujući građu za svoje
modele nalazio je i sakupljao
napuštene i odbačene dijelove
starih brodova i brodske
opreme, zemljopisne karte i danas nepotrebne i gotovo naivne
pomorske priručnike. Vraćao ih
je u život kako bi ih sačuvao od
propadanja i zaborava.
Željko Skomeršić, born in 1952
in Rijeka, lives and works in
Krk. Today, he is one of the best
known Croatian model ship
builder rewarded by numerous
prestigious world medals and
acknowledgements. Searching
for the information about his
models, he found and collected
discarded parts of old ships
and their equipment, maps and
books. He brought them back to
life and preserved them falling
into oblivion.
Željko Skomeršić
Šambek Le Requin
M 1:36 | drvo, mesing, pamuk
admiralitetni model
[27]
leut-krk.hr
__
Željko Skomeršić
Bracera
M 1:30 | drvo, mesing, pamuk
[28]
leut-krk.hr
__
Željko Skomeršić
Trabakul Sv. Ivan
M 1:30 | drvo, mesing, pamuk
[29]
leut-krk.hr
__
Željko Skomeršić
Brigantin Sv. Katarina
M 1:50 | drvo, mesing, pamuk
[30]
leut-krk.hr
__
Željko Skomeršić
Brik Polaris
M 1:50 | drvo, mesing, pamuk
[31]
leut-krk.hr
__
Željko Skomeršić
Leut
M 1:30 | drvo, mesing, pamuk
admiralitetni model
[32]
leut-krk.hr
__
Željko Skomeršić
Brik-škuner Gigino
M 1:30 | drvo, mesing, pamuk
admiralitetni model
[33]
leut-krk.hr
__
Željko Skomeršić
Bark Kostrena*
M 1:60 | drvo, mesing, pamuk
[34]
leut-krk.hr
__
Željko Skomeršić
Pelig Naprej
M 1:30 | drvo, mesing, pamuk
[35]
leut-krk.hr
__
Željko Skomeršić
Falkuša raspremljena
M 1:20 | drvo, mesing, pamuk
[36]
leut-krk.hr
__
--
--
-
Sasa loncaric
Vinske tišine
The silences of wine
Višnja Slavica Gabout
[37]
__________
U nekom nam trenutku
postaje jasno da je taj Sašin
“svijet predmetnoga iznad
predmetnosti”, u stvari neki
drugi svijet, u kojem uz profinjenu figuraciju žive metafore i
simboli, poetika i metafizika.
A u tom drugom svijetu je i
vrijeme drugačije, jer prolazi
polako, možda čak i stoji - i
“odzvanja” tišinom. Sve što se tu
na prvi pogled čini opipljivim
i prepoznatljivim, neopipljivo
je i izmaštano, jer je gledano
nekim pogledom stvarnijim od
stvarnoga. Pogledom poetskoga nadrealizma i magičnoga
realizma, koji transformira
viđeno i doživljeno u nestvarno
i irealno. Zato za sve što naša
osjetila kažu da je tu zbilja, naš
razum u konačnici otkrije da je
tek vrsta njezine poetske replike
- dakle - iluzija.
There is a moment when we
understand that Saša’s world
exists above the world of objects,
that in fact it is another world
where metaphors, symbols,
poetry and metaphysics live supported by refined figuracy. And
in that other world even time is
different because it passes slowly,
perhaps it is even stopped and
reverberated by silence. Everything that is palpable and known
there, is fiction in fact, watched
over by a glance that is more real
than the real one. It is a glance
of surrealism and magical reality
which transforms seen and experienced in unreal. That’s why
everything that our senses feel as
real, our minds see as only the
variation, as an illusion.
Višnja Slavica Gabout
--
--
-
Sasa loncaric
O autoru
About the author
[38]
__________
Saša Lončarić rođen je 1969.
u Rijeci. Godine 1972. odlazi u
Belgiju, gdje završava osnovnu
školu i gimnaziju, a nakon
toga u Bruxellesu završava
Akademiju likovnih umjetnosti
“St. Luc”, specijaliziravši se za
crtanje stripa. Uz to, u Belgiji
završava i trogodišnju školu za
fotografe. Nakon povratka u
Hrvatsku nastanjuje se u Krku
te od 1998. godine započinje
izlagačku aktivnost, samostalnim i skupnim izložbama,
a uz to vodi likovne tečajeve
i sudjeluje u radu likovnih
kolonija. Član je HDLU Rijeka i
ULUPUH-a. Živi u gradu Krku.
Saša Lončarić, born in 1969. in
Rijeka. Since 1972. he lived in
Belgium where he completed the
elementary school, college and
the Academy of “St. Luc” Art
College specializing in comics.
In Belgium he also finished the
school for photographers. After
his return to Croatia, he settled
in the city of Krk and since 1988
he has exhibited his work. He
teaches courses in art. He is a
member of HDLU (Croatian
Association of Artists) in Rijeka
and ULUPUH (Association of
Artists of the Applied Visual
Arts). He lives and works in Krk.
Saša Lončarić
Gajeta
vinorel [tehnika slikanja vinom]
[39]
__
__
Saša Lončarić
Oseka
vinorel [tehnika slikanja vinom]
[40]
__
__
Saša Lončarić
Mačja šetnja
akvarel
[41]
__
__
Saša Lončarić
Ribarska kućica
akvarel
[42]
__
__
Saša Lončarić
Portapizzana
vinorel [tehnika slikanja vinom]
[43]
__
__
Saša Lončarić
Starac
vinorel [tehnika slikanja vinom]
[44]
__
__
Saša Lončarić
Uvala Sv. Krševan
akvarel
[45]
__
__
Saša Lončarić
Krčke zidine
akvarel
[46]
__
__
Saša Lončarić
Bonaca
akvarel
[47]
__
__
Saša Lončarić
Uvala Čavlena
akvarel
[48]
__
__
--
-
igor grzetic
Rorschach & Nova pornografija
Rorschach & The New Pornography
Igor Gržetić
[49]
__________
Projekt “Rorschach & Nova
pornografija” javlja se kao rezultat višegodišnjeg studiranja
jedne relativno mlade, ali
zahtjevne, discipline –
teorije likovnosti. Ušavši dublje
u materiju ove struke sve mi je
jasnijim postajalo provođenje
interdisciplinarnosti – pažljivo
ispreplitanje povijesti umjetnosti s postignućima ostalih
znanstvenim disciplinama.
Ovaj projekt tako objedinjuje
raspravu o problemu iluzije
austrijskog povjesničara umjetnosti Ernsta Gombricha,
psihodijagnostička istraživanja
švicarskog psihijatra Hermanna
Rorschacha, te neobično igranje
slobodnim mrljama njemačkog
pjesnika, medicinara i parapsihologa Justinusa Kernera.
Project “Rorschach and the
New Pornography” is the result
of studying quite recent, but
demanding discipline – theory
of visual arts. Understanding
deeper and deeper meaning of
this discipline, he appreciated
more and more the importance
of an interdisciplinary aspect of
art history and other disciplines.
This project is a spot where the
discussion about the problem of
illusion set by the Austrian art
historian Ernst Gombrich meets
the researches of Swiss psychiatrist Hermann Rorschach and
the unusual play of free splashes
made by German poet, doctor
an parapsychologist Justinus
Kerner.
Igor Gržetić
--
-
igor grzetic
O autoru
About the author
[50]
__________
Igor Gržetić rođen je u Rijeci
1981. Školu Primijenjenih umjetnosti – smjer: kiparski dizajn,
završio je 2000. godine, da bi
te iste upisao studij likovne
umjetnosti na Filozofskom
fakultetu u Rijeci. Godine 2008.
završava Akademiju primijenjenih umjetnosti Sveučilišta
u Rijeci. Diplomirao je na
temu “Geneze ikonologije”
i “Uvoda u fetiš(izam)”. U
likovnoj praksi najčešće ostaje
u domeni kompjuterske grafike,
grafičkog dizajna i eksperimentalnog videa – unutar sva
tri diskursa istražujući načela
Creative Commons-a. Od 2004.
objavljuje analitičke tekstove u
riječkom časopisu za umjetnost
i kultutu “Re”.
Igor Gržetić was born in Rijeka
in 1981. He finished School of
Applied Arts in Rijeka (Statuary
Design) in 2000. In the same
year he became an art student
at the Faculty of Social Sciences
in Rijeka. In 2008 he finished
Academy of Applied Arts,
University of Rijeka. He graduated with theses on “Genesis of
Iconology” and “Introduction
in Fetish(ism)”. His art practice
includes computer graphic,
graphic design and video experiments. In all tree discourses he
has been exploring principles of
Creative Commons. He has been
publishing analytical essays since
2004 in Rijeka`s art and culture
journal “Re”.
Igor Gržetić
(Porno)grafija 5
[51]
igorgrzetic.com
__
Igor Gržetić
(Porno)grafija 6
[52]
igorgrzetic.com
__
Igor Gržetić
(Porno)grafija 8
[53]
igorgrzetic.com
__
Igor Gržetić
(Porno)grafija 9
[54]
igorgrzetic.com
__
Igor Gržetić
Novi Rorschach
[55]
igorgrzetic.com
__
Igor Gržetić
Novi Rorschach
[56]
igorgrzetic.com
__
Igor Gržetić
Schloss: Aufrauf
[57]
igorgrzetic.com
__
Igor Gržetić
Schloss: Beobachtungen
[58]
igorgrzetic.com
__
Igor Gržetić
Schloss: Entdeckung
[59]
igorgrzetic.com
__
Igor Gržetić
Schloss: Manuskript
[60]
igorgrzetic.com
__
komunicirajmo,
--
bastinu
pokrovitelji sponsors
IMPRESSUM
__ Centar za kulturu Grada Krka
Centre for Culture of Krk, Trg Sv.
Kvirina 1, 51500 Krk, e-mail: kultura@gradkrk.net, web: grad-krk.net
__ Pomorski muzej Crne Gore
Maritime museum of Montenegro,
Trg Bokeljske Mornarice 391 Kotor,
e-mail: pom.muzej.dir@t-com.me,
web: museummaritimum.com
__ Centar za kulturu Grada Krka
Izdavač Publisher:
Centre for Culture of Krk
Za izdavača For the publisher: __ Maja Parentić
__ Milica Žužić
Esej Essay:
Prijevod na engleski English
__ Milica Žužić
translation:
__ Igor Gržetić
Dizajn Design:
__ Printera grupa d.o.o. Zagreb
Tisak Printed by:
__ 150 primjeraka copies
Naklada Edition:
Organizatori Organisation:
komunicirajmo,
--
bastinu
Potpora u tiskanju
kataloga: Koncert
klapa “Sjećanje na
Mladena”
how the
heritage
can bE communicated