Srđan Tunić

art historian, curator

“Da ne kvarimo / Let’s not spoil it” (crteži/drawings 2012-2014) – Aleksandar Jevtić / info & text

Info

Samostalna izložba Aleksandra Jevtića Da ne kvarimo (crteži 2012-2014) bila je održana u Galeriji Zadužbini Ilije M. Kolarca u Beogradu od 23. septembra do 11. oktobra 2014. U toku trajanja izložbe bile su organizovane likovne radionice pod nazivom Zamišljena geografija, u saradnji sa Centrom za likovno obrazovanje Šumatovačka i Udruženjem Prijatelji dece Srbije, u okviru manifestacije Dečija nedelja 2014. Ista izložba biće predstavljena i u SKC Kragujevac 09.12.

Moj doprinos se ogledao u pisanju teksta kataloga, kao i nezaobilazne kreativne razmene ideja i predloga između umetnika i kustosa u pripremi jedne izložbe.

Let’s not spoil it (drawings 2012-2014) was a title of the exhibition by visual artist and educator Aleksandar Jevtić held in gallery of Kolarac foundation in Belgrade, from 23rd September till 11 October 2014. The exhibition has a series of fine art workshops titled Imaginary geography, in collaboration with Center of fine arts and education Šumatovačka and association Children’s friends, as a part of Children’s week of 2014. The same exhibition will be presented in SKC (Students’ cultural center) of the city of Kragujevac on 9th December.

My part was centered around writing the exhibition catalog, as well as participating in the creative exchange and brainstormings of ideas and suggestions between an artist and a curator, during a preparation of this exhibition.

Radovi /Artworks

(http://aleksandarjevtic.tumblr.com/)

 

Tekst kataloga / catalog text

SR

Aleksandar Jevtić: Da ne kvarimo (crteži 2012-2014)

 

Gledajući crteže Aleksandra Jevtića, polako bivamo uvučeni u fiktivan svet koji stoji kao paralela svakodnevici. Udaljavajući se od naturalizma, ovaj svet je više okrenut metaforama, fantaziji, prožimanju mašte i geografije. Radove takođe odlikuju i plošnost pozadine, nedostatak perspektive i odstupanje od trodimenzionalnosti. Na taj način, naglašava se potreba za aktivnom imaginacijom nas sa „druge strane“ u cilju oživljavanja objekata i stanovnika ovih crteža.
Predmeti i bića „naseljavaju“ prostor, okruženi jedni drugima, u slobodnom prožimanju odnosa i značenja. Ljudi su prilično potisnuti kao protagonisti, nadjačani, ako već ne realnim životinjama, onda čovekolikim robotima-životinjama. Okruženja su nestabilna i neuhvatljiva, međutim izgleda kao da se nalaze na pola puta između urbanih celina i prirode, sa nadrealnim prizvukom (primer Šuma-tranzistori). Spoj realnog i sveta mašte, apstrakcije i figuralnog, u osnovi je ovih crteža, gde jedan nadograđuje drugi. Možda baš taj trenutak prepoznavanja detalja iz našeg života u minucioznim radovima poziva na dalja istraživanja ovih malih svetova.
Geometrizacija objekata i bića prevladava, poigravajući se sa našim asocijacijma. Ovaj niz različitih oblika menja se poput džez improvizacija od crteža do crteža, od scene do scene, ispunjen šarolikošću boja. Koristeći se jeftinim sredstvima poput drvenih bojica, ali i kombinovanom tehnikom (ugljen, tuš, akril, pastel, hemijske olovke, i dr), umetnik daje crtežima elemente (materijalno) dostupnog i lako (vizualno) prepoznatljivog. Razlike postaju zamagljene: da li se radi o ilustracijama, stripskim likovima koji su izašli iz svojih polja ili dečjim crtežima…
Jevtić navodi da su ovi radovi nastali pod uticajem dugih šetnji po gradu i „krugu trojke“ (radovi Pas i trojika 1&2), posmatranjem i zamišljanjem, poput mentalnih mapa. Ovaj pristup podseća na psihogeografiju Situacionističke Internacionale sredinom XX veka, gde su šetnje i istraživanje odnosa arhitekture, ljudskih emocija i fizičke uslovljenosti bile početna tačka za igru i kreativnu reinterpretaciju utabanih staza i doživljaja javnih prostora. Rekonstruisanje viđenog u Jevtićevim radovima postaje početna tačka za stvaranje jednog psiho-pejzaža, imaginarnog repetitivnog mapiranja poput arheologa ili antropologa. Popunjavanje prostora oblicima varira – od zasićenosti (kao u strahu od praznog prostora) do delova površine koji su netaknuti i čija belina papira dominira.
Ova maštovita geografija često nema hijerarhiju, nema svoj centar – kao da pluta u prostoru. Dok se mape prave da bi opisale prostor, dokumentovale aktuelno stanje i uputile onoga ko mapu koristi, ove mentalne mape izbegavaju takvu upotrebljivost. Takođe, svako mapiranje podrazumeva i pogled onoga ko u mapu gleda. Naš pogled u radovima Da ne kvarimo usmeren je na prostor koji delimično prepoznajemo i u kome se faktički ne nalazimo. Ovaj svet je mahom antropocentričan, svet oko nas, svet stvari, ali i ne samo naš.
Tako, ove mape su ujedno i mreže odnosa, prostora, predmeta i svih njegovih bića. Kao takve, oslanjaju se na savremene teorije aktera i mreže (Actor-Network theory), gde predmeti, neljudi i neživa bića takođe (aktivno) učestvuju u (društvenim) mrežama. Naš odnos prema predmetima nikada nije neutralan, već je napunjen emocijama i čini važan deo kreiranja naših identiteta – bilo da se radi o našim željama, opsesijama, ili nečemu trećem. Moglo bi se tako i pretpostaviti da skup odnosa koje čovek poseduje čini njegovu „kartografiju“, ličnu mapu, ako se posmatra kroz mrežu.
Mentalne mape i imaginarne mreže u crtežima Aleksandra Jevtića inspirisane su različitim idejama, raznolikim poput sveta koji je u njima prikazan. Dvodimenzionalnost kompjuterskih igrica starije generacije stoji kao snažan naboj, ali i podsetnik na umetnikove ranije radove.
Inspiracija marginalnom i dečjom umetnošću takođe je jedna od njegovih referenci, iako umetnik svesno ne želi da se pretvara da crta kao dete. Deo ovog senzibiliteta svakako dolazi i od intenzivnog rada sa decom i bavljenja umetničkom terapijom. Umetnik rado izlaže radove uz svoje učenike, izbegavajući hijerarhizaciju na bazi umetničkog iskustva i obrazovanja.
Vredna pomena je energija koju umetnik crpi i iz tzv. primitivnih kultura i umetnosti iz celog sveta. Apstrahovanje predstavljenog, geometrizacija, spoj nespojivog, mašta i realnost, čovek i priroda, živo i neživo, čine vizuelni kod koji Jevtić kreativno interpretira u svom radu, poput nekog neoanimizma. I pored toga, u radovima, kao i u slučaju dečjeg elementa, mogu da se uoče ne citati, već samosvojnost izraza.
Za ove crteže umetnik kaže da oni čine njegovu ličnu mitologiju. Nešto što leži na razmeđi stvarnosti i imaginacije, jer na kraju krajeva, ljudi razmišljaju i stvaraju svet između ta dva pola. I to nije vezano isključivo za određeni geografski prostor, zajednicu, godište, istorijski period, već je deo naše svakodnevice. Puni humora i neočekivanosti, radovi na izložbi Da ne kvarimo odskočna su daska u svet mašte.

Srđan Tunić, istoričar umetnosti, nezavisni kustos, avgust 2014.

EN
Aleksandar Jevtić: Let’s not spoil it (drawings 2012-2014)

 

While looking at Aleksandar Jevtić’s drawings, we are being drawn into a fictive world which stands as a parallel to our own. Distancing itself from naturalistic approach, this world is greatly referring to metaphors, fantasy, juxtaposition of imagination and geography. Additionally, artworks are emphasizing the flatness of its surfaces, the lack of perspective, and a departure from three-dimensionality. And with it, the stress is on the active imagination of us, on the other side of the surface, in order to revive the objects and inhabitants of this drawings.
Objects and beings are populating the space, surrounded by each other, in a manner of open permeation of relationships and meanings. People are pretty pushed out as protagonists, if not by real animals, than by human-appearing robot-animals. The surroundings are instable and elusive, seemingly in a half way between urban complexes and natural environments, with a somewhat surreal overtone (such as Forest-transistors). The blend of everyday and imaginary worlds, mix of abstraction and figuration, is the basis of these drawings, where one contrast element is supporting the other. Maybe this is the point where the recognition of everyday life’s elements is calling the viewers to explore these small and detailed worlds more closely.
The geometrization of objects and beings is a general tendency, playing with our associations. This compound is in a constant change from work to work, from scene to scene, like a jazz improvisation, filled with colorfulness. By using “cheap” materials like wooden crayons (but also combined with carbon, Indian ink, acrylic paint, pastel, pens, etc), the artist is emphasizing the material availability of his artistic means. The borders are becoming blurry: are the artworks made in a style of illustrations, comic books characters or children’s drawings, or something else.
Jevtić says that these works were greatly influenced by long walks around the city of Belgrade and the tram no.3 line (drawings Dog and no. Three 1&2), looking and imagining the surrounding, as mental maps. This approach bears resemblances with the psycho-geography of Situationist international of the mid-XX century, where walks were means of exploring the relationships between architecture, human emotions and physical limitations, as a starting point for a play and creative reinterpretation of beaten tracks and experiencing public spaces. The reconstruction of experience in Jevtić’s works becomes a threshold for developing a psycho-scape, imaginary and repetitive mapping system of an archaeologist or anthropologist. The filling of the space varies – from saturation (as in fear of an empty space) to spaces which are empty of content and where the whiteness of the paper dominates.
This imaginative geography often lacks hierarchy, its center – as it’s floating in space. While generally maps are being made to describe a space, to document the actual condition of a place and serve as a guide for its users, these maps are avoiding such applicability. Also, every mapping is enabled by the gaze of the viewer. Our glance in Let’s not spoil it is targeted towards the space which is partially recognizable and where we are not situated physically. This world is predominantly anthropocentric and a world of objects, which is, in fact, not just ours.
The drawings-maps are at the same time networks of relationships, spaces, objects and all its beings. As such, they are related to contemporary Actor-Network theories, where objects, non-humans and non-living beings are participating (actively) in social networks. Our relationships with objects are never neutral, they’re charged with emotions and having an important part of creating our identities – whether speaking about our desires, obsessions, or something else. Following this thought, it could be said that an assemblage of relationships one has makes one’s own “cartography”, a personal map, if understood as a network.
Mental maps and imaginary networks of Aleksandar Jevtić’s drawings are inspired by different sources, as diverse as the world they visualize. Two-dimensionality of computer games of older generation stands as a powerful inspiration, but also an reminder of artist’s previous artworks.
One of the inspirations lies in marginal and child art, although the artist avoids pretending to be drawing as a child. Part of this sensitivity is affected by his intensive work with children and involvement in art therapy. Jevtić is willingly exhibiting his artworks with his students’, tending to evade a hierarchy based on artistic experience and education.
Important to mention is the energy the artist draws from so-called primitive cultures and arts from the whole world. Overwhelming abstraction, geometrization, juxtaposition of contrasts, imagination and reality, human and nature, live and non-living, are contributing to a visual code that Jevtić is creatively interpreting, as a sort of neo-animism. Despite it, in artworks one could notice not quotations, but autonomous expression.
Aleksandar Jevtić says that these drawings are contributing to his personal mythology. A vast field that stands between reality and imagination, because after all we are thinking of and developing our world between these two poles. And this tendency is not solely tied to a specific geographical space, community, age, historical period, but is a fact of our everyday lives. Full of humor and unexpectedness, drawings Let’s not spoil it are a spring-board to imagination.

Srđan Tunić, art historian, freelance curator, August 2014.

Otvaranje izložbe / exhibition opening

 

Kratka biografija umetnika / Artist’s short bio

Aleksandar Jevtić je rođen 1978. godine u Čačku. Završio je Fakultet primenjenih umetnosti, smer Grafika i knjiga. Bavi se ilustracijom, crtežom i grafikom. Vodi radionicu ilustracije u Centru za likovno obrazovanje „Šumatovačka“ i radi sa decom u Udruženju roditelja dece bolesne od malignih bolesti „Zvončica“.

Samostalne izložbe:
2012. – Kafe-galerija „Izba“, Novi Sad
2013. – Galerija „Stepenište“, Centar za likovno obrazovanje „Šumatovačka“
2014. – Dom kulture Čačak

Aleksandar Jevtić is born on 1978 in the city of Čačak in Serbia. He graduated from The faculty of fine arts, University of Belgrade, in the department of graphics and book-illustrations. He works with illustration, drawings and graphics. In the Center of fine arts and education Šumatovačka in Belgrade, he is leading series of fine arts workshops for youngsters and also working with children in Association for parents with children affected by malignant deceases Zvončica.

Solo exhibitions:

2012 – cafe-gallery Izba, Novi Sad

2013 – gallery Stepenište, Center of fine arts and education Šumatovačka

2014 – Cultural center of Čačak

Radionice / workshops

Foto: Aleksandar Jevtić, Kolarčeva zadužbina, Šumatovačka

 

Links

Aleksandar Jevtić artwork: Tumblr & FB page

Fotografije postavke izložbe / exhibition setting photos by Milan Kralj: Gallery shots

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